The Fiddler’s
Companion
© 1996-2010 Andrew Kuntz
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AR |
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] |
AR A' mBAILE SEO TA AN CHIOLFHIONN (In this village
dwells the fair lady). AKA and see "Within this Village
Dwells a Maid [1]."
AR
BRUAC NA ABAINNE. AKA and see "On the River Bank."
'AR ÉIRINN NI 'NEOSFAINN CE HI (“For
AR HYD Y NOS. Welsh, Air. The tune appears in Jones’s first edition of Musical and Poetical Relicks of the Welsh
Bards (1784).
AR LAOCHRA. Irish, Air (or Jig). D Major. Standard. AB. Composed by Frank Roche,
who compiled the early 20th century collection bearing his name. Roche Collection, 1982; vol. III, pg.
11.
AR
MAIDIN GO MOC. AKA and see "Early in the Morning [1]."
AR
MHUIN NA MUICE.
AKA and see “On the Pig’s Back.”
Irish, Reel. Composed by
AR
n-OILEAN BEAG FEIN. AKA and see "Our Own Little Isle."
AR
SLIABH BREAC. Irish, Slow Air (4/4 time). D
Major/Mixolydian. Standard tuning. AB. Composed by fiddler and pianist
Josephine Keegan (b. 1935), of Mullaghbawn, south
AR
THAOIBH NA CARRAIGE BAINE. Irish, Air. The tune printed under
this title in Petrie’s 1855 collection is, in fact, “Bruach na Carraige Baine”
(The Brink of the White Rock), explains Ó Canainn (1978), despite Petrie’s
protestations in his introduction that it is not “Bruach na Carraige Baine.”
ARABELLA’S
(WALTZ).
English (?), Waltz. D Major (‘A’ and ‘B’ parts) & B Minor (‘C’
part). Standard tuning. AABBCC. Kennedy (Fiddler’s
Tune-Book: Slip Jigs and Waltzes), 1999; No. 94, pg. 23.
ARABY'S
DAUGHTER. Irish, Air (6/8 time, "with
spirit"). D Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 305, pg. 53.
X:1
T:Araby’s
Daughter
M:6/8
L:1/8
R:Air
N:”With
spirit”
S:O’Neill –
Music of
Z:AK/Fiddler’s Companion
K:D
d | fzd
f>ed | e>de fdd | d>cB Adf | egf e2 d/e/ | f>ed f>ed | e>de
fdd |
dcB Adf |
f>ed
f>ed | e>de fdd | dcB Adf |
ARAIDH/AIRIDH NA mBADAN. AKA and see "The Glen of Copsewood." See Bayard's
notes for "Over the
River to Charlie."
ARAN
BOAT SONG. See "The
Arran Boat."
ARBANA. AKA and see "Ben Butler's
Reel." American, Reel. B Flat Major. Standard tuning. AABBCCDD. Cole (1000 Fiddle Tunes), 1940; pg. 17. Ryan’s Mammoth Collection, 1883; pgs. 42
& 78.
X:1
T:Arbana
M:2/4
L:1/8
R:Reel
B:Ryan’s Mammoth Collection, pg. 42 (1883)
Z:AK/Fiddler’s Companion
K:Bb
(3F/G/A/|B/F/d/B/
A/F/e/c/|B/F/d/B/ g/f/e/c/|B/F/d/B/ A/F/e/c/|A/F/G/A/ B:|
|:d|c/B/A/G/
F/A/c/e/|d/B/f/d/ b/f/e/d/|c/B/A/G/ F/A/c/e/|d/e/c/A/ B:|
|:(g/f/)|=e/g/B/g/
e/g/B/g/|f/c/a/f/ b/a/g/f/|=e/g/B/g/ e/g/B/g/|f/a/g/=e/ f:|
|:f|f/e/c/A/
F/E/C/E/|D/F/B/d/ f/d/b/f/|f/e/c/A/ F/E/C/E/|D/B/A/c/ B:|
ARBEADIE. Scottish, Strathspey. D Major. Standard tuning. AAB. Composed by J. Scott Skinner. Skinner (The Scottish Violinist); pg. 6.
X:1
T:Arbeadie
M:C
L:1/8
R:Strathspey
C:J. Scott
Skinner
Z:AK/Fiddler’s Companion
K:D
A>G
F>A D<D F2 | B>A G>B E<
|| g |
f/g/a (3gfe dFAd | (3gab (3agf eGBe | f/g/a (3gfe dFAd | (3cde (3bag f<d
d>g |
(3fga (3gfe
dFAd | (3gab (3agf eGBe | f/g/a g/f/e (3dcB (3AGF | (3EFG (3ABc d<D D2
||
ARBOE [1]. Irish, Jig. G Major. Standard tuning. AAB. Miller & Perron (Irish Traditional Fiddle Music), 1977;
vol. 3, No. 60.
ARBOE [2]. AKA and see “Come West
Along the Road,” “The Monasteraden
Fancy,” “Over the Moor to Peggy.”
ARCADIAN
CONTEST, THE. English, Jig.
ARCADIAN
NUPTIALS. English, American; Country Dance
Tune (9/8 time). F Major. Standard tuning. AABBCC. Charles and Samuel Thomson's
200 Country Dances, volume III
(London, 1773, pg. 100) contains one of the earliest printings of this melody,
however, it is perhaps quite a bit older since the piece by this title was
recorded as having been one of the melodies danced to at a 1752 "turtle
frolic" at Goats Island, near Newport, Rhode Island (a turtle frolic was a
special event when West Indes turtles, towed astern from the Carribean, arrived
in port). “Arcadian Nuptials” was reprinted in the Thompson’s 200 Country
Dances, vol. IV (London, 1780), and was also published in Longman and
Broderip’s Compleat Collection of 200 Favourite Country Dances (London,
1781). It appears in
X:1
T:Arcadian Nuptuals
M:9/8
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
F3 AFA cAc|F3 dBd G3|F3 AFA cAc|def gfe f3:|
|:a3 afd afd|efg gec|gec|a3 afd gec|def gfe f3:|
|:cAF cAF Acf|dBG dBG Bdg|cAF cAF Acf|cBA GFE F3:||
ARCADIAN
ONE STEP. Cajun, One‑step.
ARCHDUKE
JOHN OF AUSTRIA. Scottish, Strathspey. D Minor.
Standard tuning. AABB'. Archduke John of Austria (1782-1859) was a military
leader, unfortunately chiefly remembered in that role for his defeat at the
hands of Moreau at the Battle of Hohenlinden in Bavaria in 1800, closing the
“War of the Second Coalition” during Europe’s Napoleonic Wars. Later in life he
was appointed Regent of the Reich in Germany, replacing the German
Confederation. The latter government was forced to reorganize in response to
uprisings in many states in Germany after the French Revolution in 1848.
Stewart-Robertson (The Athole Collection),
1884; pg. 214.
X:1
T:Archduke John of
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:F
a|f<d d<c A<d d>f|e>cg>c e/f/g/e/ c<a|f<d d>c A<d d>f|e>c a/g/f/e/ f<dd:|
|:A|d>ef>e d<A A>F|E>cG>c E<C C>A|1 d>e f/g/e/f/ d<A A>F|
E>c A/B/^c/A/ d<DD:|2 D>FE>G F>AG>b|a>A
a/g/f/e/ ~f<dd||
ARCHIBALD MACDONALD OF
KEPPOCH. Scottish, Slow Air (6/8 time). D
Minor. Standard tuning. AAB. See "Keppoch A Wilderness" for related
history of the MacDonalds of Keppoch. The tune was first published by the Scots
fiddler, collector and composer Captain Simon Fraser (1773-1852) of Ardachie,
near Fort Augustus. Fraser's work The
Airs and Melodies Peculiar to the Highlands of Scotland and the Isles contained
many works collected from vaious sources during the period 1715-1745. The
MacDonalds of Keppoch were a distinguished branch of Clan MacDonald, who
supported the Stewart monarchs in the 17th century, culminating with
their participation in the Jacobite risings of the 18th century. As
a result of their support for the Jacobite cause they lost their lands in
Lochaber/ Roy Bridge and they are currently without an officially recognized
clan chief. Although it has
not been determined which individual has been honored in the title, an
Archibald MacDonald lived from 1678 to 1745, dying just prior to the entrance
of the MacDonald’s of Keppoch on the side of Bonnie Prince Charlie in his
ill-fated attempt to gain the crown of Scotland and England. Lerwick (Kilted Fiddler), 1985; pg. 71. Martin (Ceol na Fidhle), Vol. 2, 1988; pg. 20
(includes a harmony part). Matthiesen (Waltz
Book II), 1995; pg. 2. Culburnie Records CUL 121D,
Alasdair Fraser & Natalie Haas – “Fire and Grace” (2004). Green Linnet SIF
1047, Johnny Cunningham ‑ "Fair Warning" (1985). Elke Baker
& Liz Donaldson - "Terpsichore."
X:1
T:Archibald
MacDonald of Keppoch
R:Slow Air
M:6/8
L:1/8
K:Dmin
D/E/|F>GA
f>ed|c<AF G2 D/E/|F>GA f>ed |A<d^c d2:|
d/e/||f>ed
c>BA|B>AG A2 D/E/|F>GA f>ed|A<d^c d2 f/g/|
a>gf
A<fd|c>AF G2 D/E/|F>GA f>ga|A<d^c d2||
ARCHY BOYLAN. Irish, Air (2/4 time). E Flat Major/Mixolydian. Standard tuning. AB.
Stanford/Petrie (Complete Collection),
1905; No. 744, pg. 186.
X:1
T:Archy
Boylan
M:2/4
L:1/8
S:Stanford/Petrie
(1905), No. 744
Z:AK/Fiddler’s
Companion
K:Eb
G/A/ | BB
BA/B/ | c>B AF | AF EE | E3 || G/A/ | BB Bc/d/ |
ee ed/e/ |
f>e _dc/B/ | c3 c/B/ | BB Bc/d/ | ee ed/e/ | f>e _dc/B/ |
c3 d/c/ |
BB BA/B/ | c>B AF | AF EE | E3 ||
ARCHIE/AIRCHE
BROWN. Scottish, Reel. A Major. Standard
tuning. AAB. Composed by J. Scott Skinner.
MacDonald (The Skye Collection),
1887; pg. 20.
ARCHIE
MENZIE'S REEL. AKA and see "Bells of St. Louis."
Scottish, Canadian, New England; Reel. Canada; Ontario, Cape Breton, Prince
Edward Island. F Major (Brody,
X:1
T:Archie
Menzies Reel
M:C|
L:1/8
S:From a transcription
by Carmelle Begin of the playing of fiddler Dawson Girdwood.
K:D
A,2|:D2
(A,D) FDA,D|FABc dAFD|({E/F/}E2) (B,E) GEB,E|GABc dBAF|
D2 (A,D)
FDA,D|FABc dAFD|G2 (EG) (FE)(DE/F/)|1 EDCE D2 (A,B,/C/):|2
EDCE D2
(3ABc||
|:d2
(A>d) f>DA>d|f>de>c d>AFA|e2 (Be) geBe|gefd e(dc>A)|
d2 (A>d)
fdAd|fdec dA FD|G>FE>G F>E (3DEF|1 (3EED C>E D2 (3ABc:|2
E>DC>E
D2 (A,B,C||
X:2
T:Archie
Menzies Reel
M:4/4
L:1/8
K:F
C2|F2 CF
AFEF|Acde fdAF|G2 DG BGDG|Bdef gdBG|
F2 CF
AFEF|Acde fcAF|BdGB AcFA|GFDE F2:|
|:e2|f2 cf
afef|cfag fedc|g2 dg bg^fg|dgba gfed|cfef afef|cfag fedc|BdGB AcFA|GFDE F2:|
ARCHIE
NEIL CHISHOLM. Canadian, Pipe March (cut time).
Canada, Cape Breton. A Dorian. Standard tuning. AABB’. Composed by Cape Breton
fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton). Cranford (Brenda Stubbert’s), 1994; No. 3, pg. 2. Celestial Entertainment CECS001, Brenda Stubbert - “In Jig
Time!” (1995).
ARCHIE
STEWART’S FAVORITE.
Canadian, Jig.
ARCHIE
STEWART’S REEL. Canadian, Reel. Canada; Prince
Edward Island, New Brunswick. D Major. Standard tuning. AABB. Source for
notated version: the tune was learned from a broadcast from New Brunswick of a
radio fiddler and remembered (though not the title) by Archie Stewart (b. 1917,
Milltown Cross, South Kings County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island),
1996; pg. 80.
ARCHIE'S
FANCY. English, Waltz.
ÁRD
AN BHÓTHAIR (High Part of the
Road). AKA and
see “High Part of the Road,” “Blooming Meadows [1].”
ÁRD MHÍN, AN. AKA and see “High Level
{Hornpipe} [1].”
ÁRD NA BRAHAR. AKA and see "Friars' Hill."
ARDA
BERKSHIRE. AKA and see "The Berkshire Heights."
ARDAIDH CUAIN. Irish, Air. D Major. Standard tuning. AB. Ardaidh Cuain (Ardí Cuan or
Ardicoan) is a townland in County Antrim, situated on a hill above Knocknacarry
and Cushendun in the north-east part of the county.
***
Ardí Cuan (from, Ceolta Gael, ed. Seán
óg and Manus O Baoill)
***
Dá mbeinn féin in Airdí Cuan
in aice an tsléibhe úd 'tá i bhfad uaim
b'annamh liom gan dul ar cuairt
go Gleann na gcuach Dé Domhnaigh.
***
Curfá
Agus och, och Éire 'lig is ó
Éire lonndubh agus ó
is é mo chroi 'tá trom is é brónach.
***
Is iomaí Nollaig 'bhi mé féin
i mbun abhann Doinne is mé gan chéill
ag iomáin ar an trá bhán
is mo chamán bán i mo dhorn liom.
Curfá
***
Nach tuirseach mise anseo liom féin
nach n-airim guth coiligh, londubh nó traon,
gaelbhán, smaolach, naoscach féin,
is chan aithnim féin an Domhnach.
Curfá
***
Dá mbeadh agam féin ach coit is rámh
nó go n-iomarfainn ar an tsámh
ag dúil as Dia go sroichfinn slán
is go bhfaighinn bás in Éirinn.
Curfá
***
Tubridy (Irish
Traditional Music, vol. 1), 1999; pg. 42.
ARDCLACH. Scottish, Reel. B Flat Major. Standard tuning. AA'B. Composed by
Alexander Walker. Walker (A Collection of
Strathspeys, Reels, Marches, &c.), 1866; No. 43, pg. 16.
ARDERIN. Irish. Composed by County Tipperary fiddler Seán Ryan (d. 1985). Ryan (Seán Ryan’s Dream: The Second Collection),
26.
L'ARDEUR DE PARIS. American, Waltz. D Minor. Standard tuning.
Composed by Eric Scott (1924-1991) in 1985, who thought the melody reminiscent
of French cafe waltzes. His wife suggested the name, which means "glow of
Paris." One part. Matthiesen (Waltz
Book II), 1995; pg. 3.
ARDKINGLAS'S
REEL. Scottish, Reel. The tune appears in
a MS inscribed "A Collection of the best Highland Reels written by David
Young, W.M. & Accomptant."
ARDLAMON. Irish, Hornpipe. G Major. Standard tuning. AABB. Ardlamon is a place
name from County Limerick. "From Davy Cleary, piper and dancing‑master,
Kilfinane: 1842" (Joyce). Joyce (Old
Irish Folk Music and Songs), 1909; No. 39, pg. 22.
X:1
T:Ardlamon
M:C
L:1/8
R:Hornpipe
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:G
DGGF G2
Bc|dgfa gdBG|EAAG A2 BA|GFGE DCB,A,|
G,GGF
GABc|dgfa gdBG|Eedc BAGF|G2G2 G3z:|
|:Eeed
efga|bagf edBA|G2 GA BABd|egfd e/d/BAF|
E2 ed e2
ga|b/c’/baf edBG|Eedc BAGF|G2G2G2:|
ARDOIN TWO-STEP. AKA and see “Perrodin Two Step.”
Cajun/Creole, Two-Step. A version of the “Perrodin Two-Step.” Arhoolie CD445, Alphonse “Bois Sec” Ardoin with Canray
Fontenot - “La Musique Creole.”
ARDRISHAIG. AKA and see “Donald John
the Tailor.” Scottish, Cape Breton; Strathspey. Originally published in
Robert MacKinnon’s Collection of Highland
Pipe Music (1901/6). Ardrishaig (or, in Gaelic, ‘Rudh Ard driseig’) is a place
name. A Cape Breton pipe setting can be found in Barry Shears’ Cape Breton Collection of Bagpipe Music
(1995).
ARDROSSAN
CANAL, THE. Scottish, Strathspey. F Major.
Standard Tuning. AB. Composed by Nathaniel Gow
(1763-1831). The Glasgow, Paisley and Ardrossan Canal was a project originally
designed to connect industrial interior Scotland with the west coast ports. It
was the brainchild of Hugh Montgomerie, 12th Earl of Eglinton, in
1891 (to whom the Gows dedicated their Fourth Collection of Strathspeys
& Dances, Edinburgh,1803), in part to take advantage of his Ayrshire
coal fields and his new deep-water port of Ardrossan. Major portions of the
canal were completed by 1811, however, the canal was never completed to its
terminus and was outdated almost from the time it started to function. It was
quickly replaced in the service it was created for by railroads, and yielded
not a dividend for its investors. Poet Robert Tannahill (who suffered from
depressive episodes) drowned himself in a culverted stream under the canal in
1810, after receiving a rejection notice from a publisher. Carlin (The Gow Collection), 1986; No. 4. Gow (Fifth
Collection of Strathspey Reels), 1809; pg. 26.
X:1
T:Ardrossan
Canal, The
M:C
L:1/8
N:”Slow”
R:Strathspey
C:Nathaniel
Gow (1763-1831)
B:Gow – Fifth
Collection of Strathspey Reels (1809)
Z:AK/Fiddler’s
Companion
K:F
A|”tr”F2
{FG}A>F c>F AF|(D<F) (C>A,) C2 ~CD/E/|”tr”F2 A>F cA
{fg}a>g|f(FAF) {^F}G2 GA|
“tr”F2
{FG}A>F c>FA>F|DE/F/ (E/C/)(B,/A,/) {A,}C2 C>A,|(3#B,/D/F/ (3B/d/f/
b>B, (3A,/C/f/ (3A/c/f/ a>c|a>c f>F {^F}G2G||
c|f2
{fg}a>f {a}(g/f/)(g/e/) f/d/~c/A/|F/c/A/f/ (d/c/).B/.A/ {A}c2 “tr”cd/e/|fF
(a/g/).a/.f/ (g/e/)(f/d/) (c/A/)f/A/|(G/A/G/)^f/ (G/A/B/)c/ {Bc}d2 d
(c/d/4e/4)|
.fF
{b}a/>g/a/f/ {a}g/>f/g/e/ {g}f/>e/f/d/|c/>d/c/A/ (c/A/)f/A/ ~c2
.c/(f/g/a/)|.b/.f/.d/.B/ .F/.D/.B, .a/.f/.c/.A/ .F/.C/.A,|a/>f/g/>e/
f/>c/A/>F/ {^F}G2 G||
ARDTAOISEAC
FRASER, AN. AKA and see "Colonel Fraser."
ARDTAOISEAC
MIC BAEITINE, AN. AKA and see "Colonel McBain's."
ARDTAOISEAC
RODNAIG, AN. AKA and see "Colonel Rodney."
ARE
YE SLEEPIN’ MAGGIE?
Scottish, Air or March. E Minor. Standard tuning. AABB. A song air
employed as a march by fiddler Randy Miller. Miller (Fiddler’s Throne), 2004; No. 328, pg. 194.
ARE
YOU HUNGRY LITTLE SEAMUS? (A Sheamuis Bhig a
bhfuil Ocras Ort?). AKA and see “The Roving Bachelor.”
Irish, Highland. See “(A)
Sheamuis Bhig a bhfuil Ocras Ort?”
ARE YOU NOT THE BRIGHT STAR THAT USED TO BE BEFORE ME? AKA and see “One night I dreamt.”
ARE YOU READY YET? Irish, Reel. E Minor. Standard tuning. AABBCC. Composed by Danú flute player
Tom Doorley, “with a little inspiration from his girlfriend Deirdre.” Shanachie 78030, Danú – “Think Before You Think” (2000).
X:1
T:Are You
Ready Yet?
R:Reel
D:Danu:
Think Before You Think
Z:Bill
Reeder
M:C|
L:1/8
K:Em
B2AF
EGFE|FDFA dAFA|BAAF EGFE|FGFD ~B3A|
B2AF
EGFE|FDFA dAFA|BAAF EGFE|FGFD ~B3c:||
Beed
deef|gefa gfeg|fdBA B2fB|gBfB edBA|
Beed
deez|gefa g4|bage agfd|Bgfd e4:||
BAGF
~G3A|dBAG FEDF|E2BA (3Bcd eg|ef~f2 e2fe|
edBe
dBAF|BAGF EFGA|BedB AcBA|GAFA E4:||
ARE YOU SHOT? AKA and see "The Ducks and The Oats." See
also "The Tenpenny Bit [2],"
"The New Tenpenny."
ARE
YOU WILLING? (An E Do Toil E?)
Irish, Reel. A Major. Standard tuning. AB (O'Neill/1850 & 1001):
AA'B (O'Neill/Krassen). O'Neill (Krassen), 1976; pg. 150. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1494, pg. 276. O'Neill (Dance
Music of Ireland: 1001 Gems), 1907/1986; No. 718, pg. 126.
X:1
T:Are You
Willing?
M:C|
L:1/8
R:Reel
S:O’Neill –
Dance Music of Ireland: 1001 Gems
(1907), No. 718
Z:AK/Fiddler’s Companion
K:A
A2 EA
FAEA|ABcA BABc|A2 EA FAEA|faed cABc|A2 EA FAEA|
ABcA
BABc|defg agae|fdBd cA A2||agae fece|dBcA GAFA|
agae
fgae|fdBd cAAg|aece fece|dBcA BAFA|A,CEA ceae|fdBd cA A2||
AREIR A TEIRIGHIG SCEUL DHOM TREM NEULTA. AKA and see "Last Night a
Story Came to Me in My Dreams."
AREIR AS ME AG MACHTNAMH AIR BHEARTAIBH AN t-SAOGHAIL. AKA and see "Last
Night as I was Thinking of the Ways of the World."
ARETHUSA, THE. AKA – ‘The Saucy Arethusa.” AKA and see "The Princess Royal [1]." See
also Oswald's "My Love is Lost
to Me," which Bayard questions as to whether it is derivative of, or ancestral
to, Carolan's tune. The song appeared in the opera The Lock and Key, acted in 1796, with words by Prince Hoare, music
composed and selected by William Shield, and relates the engagement of the
English frigate The Arethusa with a
larger French warship, La Belle Poule,
in the English Channel in June, 1778.
Although often attributed to Shield, he himself only claimed to have
added the bass. Irish writers have
claimed that Turlough O’Carolan (1670-1738) composed the tune as “The Princess
Royal,” in honor of a daughter of Macdermott Roe. Kidson (Groves), however, maintains it was an English country dance from
the early 18th century, dedicated to Anne, daughter of George II,
who married the Prince of Orange in 1734. For more see Roly Brown’s article at
Musical Traditions (http://www.mustrad.org.uk/enthuse.htm),
No. 45.
ARGAN MOR. AKA and see "The Battle
of Argan More."
ARGEERS. AKA – “The Wedding Night.” English, Country Dance (2/2 time). B Flat
Major (Barnes, Fleming‑Williams, Raven, Sharp): D Major (Johnson,
Williamson). Standard tuning. AABB. The tune dates at least to 1651, when it
was first published in John Playford’s first edition of his English Dancing Master, with the
alternate title “The Wedding Night.” Williamson (1976) identifies the melody as
a morris dance tune from southern England, and suggests that the title might
have been a garbled version of the North African territory of 'Algiers.' This
may be true: the Barbary coast, including Algiers, was long the haven of
pirates that prayed on shipping for many centuries. Shakespeare and Dryden both
refer to Algerian pirates by the term ‘Argiers’, and Luttrell writes: “His
majestie hath granted a brief for making charitable collections for the
redemption of captives at Argiers” [I, 37]. The Barbary pirates remained active
into the next century, and they were a topic Playford’s day in England, as that
country sought to suppress them in support of trade. Samuel Pepys makes mention
in his diary for November 22nd, 1662: “News that Sir J. Lawson hath
made up a peace now with Tunis and Tripoli, as well as Argiers, by which he will come home very highly honoured.” The
entry references Sir John Lawson, born the son of a poor man in Hull,
Yorkshire, entered the navy as a common seaman but rose to the rank of
vice-admiral. Lawson spent the early 1660’s trying to suppress the pirates of
the African coast and, in 1664, he “made the Algerines disgorge eighteen
vessels…” after which he proceeded to relieve Tangier. He was killed fighting
the Dutch in 1665, acting as Rear-Admiral of the Red under the Duke of York.
***
‘
***
Barnes (English Country Dance Tunes), 1986.
Fleming‑Williams & Shaw (English
Dance Airs; Popular Selection, Book 1), 1965; pg. 7. Johnson (The Kitchen Musician No. 14; Songs, Airs and
Dances of the 18th Century), 1997; pg. 1. Raven (English Country Dance Tunes), 1984; pg.
20. Sharp (Country Dance Tunes),
1909/1994; pg. 30. Williamson (English,
Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 17. Maggie’s Music MMCD216, Hesperus - “Early American Roots”
(1997).
X:1
T:Argreers
M:2/2
L:1/8
S:Sharp – Country Dance Tunes (1909)
Z:AK/Fiddler’s Companion
K:Bb
|: (Bcde
c2.B2 | .A2.F2 F4 | (f2c2f3e | d2)B2 B4 |
(Bcde c2B2
| A3B c2 (F2 | GA B2) (ABcd | B6) z2 :|
|: (ABc2 )
(ABc2) .f2.c2.f2c2 | (ABc2) (ABc2) | .f2.c2.f2c2 |
(f2ed e2 fe
| d2 cB c3)(F | GABc ABcd | B6z2 :|
ARGILE'S
BOULING GREEN. Scottish, Country Dance. The melody
appears in the Holmain Manuscript
(1710‑50), a six‑page book of instructions for country dances.
ARGLYE('S) BOWLING GREEN. AKA and
see “The Braes of Glencoe.”
Scottish, Reel. C Major. Standard tuning. AB (Gow/Repository, Surenne): AAB (most versions): AABBCCDD (Bremner). The melody
appears in the Drummond Castle Manuscript,
inscribed "A Collection of Country Dances written for the use of his Grace
the Duke of Pert by Dav. Young, 1734,” which in the early 1970's was in the
possession of the Earl of Ancaster at Drummond Castle. However, perhaps not
aware of that work, Glen finds the earliest appearance of the piece in Robert Bremner's 1757 collection (pg.
70). It has been suggested that the ‘bowling green’ title is an Englished corruption
of the Gaelic "buaile na greine" (sunny cattle-fold). However,
Argyle’s Bowling Green is also the nickname of a range of hills and mountains
known as the ‘Arrochar Alps’, especially as seen from the fjord-like Loch
Long. A melody by this name (“Argile’s Bouling Green”) appears in the Holmain Manuscript (1710‑50), a
six‑page book of instructions for country dances. The name Argyll derives
from the Gaelic ‘Airer Gaedel’, or ‘coast of the Gaels,’ and refers to the area
of Scotland first invaded by the Irish tribes in the 5th century.
Source for notated version: George MacPhee (b. 1941, Monticello, North-East
Kings County, Prince Edward Island) [Perlman]. Bremner (Scots Reels), 1757; pg. 70. Gow (Completre Repository),
Part 4, 1817; pg. 31. Kerr (Merry
Melodies), Vol. 2; No. 85, pg. 12. Lowe (A Collection of Reels and Strathspeys), 1844. MacDonald (The Skye Collection), 1887; pg. 120.
Perlman, 1996; pg. 119. Stewart-Robertson
(The Athole Collection), 1884; pg.
66. Surenne (Dance Music of
See also listings at: Alan Syner’s Cape Breton Fiddle
Recording Index |
X:1
T:Argyle
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:C
E|C2c2 cded|cdcA G^FED|C2c2 cded|cBcE D3:|
c|GecE GEEA|GecE G2 GA|GecE GEEF|GAGE D2Da|
gec’e geea|gec’e g2ga|gec’e geef|gage d2d||
ARGYLE
IS MY NAME. Scottish, Jig. D Major. Standard
tuning. AABB. The name Argyll derives from the Gaelic ‘Airer Gaedel’, or
‘coast of the Gaels,’ and refers to the area of Scotland first invaded by the
Irish tribes in the 5th century. Kerr (Merry Melodies), vol.
1; No. 15, pg. 32.
X:1
T:Argyle is
My Name
M:6/8
L:1/8
R:Jig
S:Kerr – Merry Melodies, vol. 1, No. 15 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
A|d>ed
dcd|fee e2g|f>ed (f<a)A|ABc dfe|d>ed dcd|
fee
e2g|f>ed (f<a)A|ABc d2::a|afd dfa|agf g2b|
afd dfa|agf
eef|g>ag g>ag|A>BA g>ag|fed (f<a)A|ABc d2:|
ARGYLL REEL. Scottish, Reel. The name Argyll derives from the Gaelic ‘Airer
Gaedel’, or ‘coast of the Gaels,’ and refers to the area of Scotland first
invaded by the Irish tribes in the 5th century. Green
Linnet SIF‑1094, Capercaillie ‑ "Sidewaulk" (1989).
ARIA DI CAMERA. English, Country Dance Tune
(4/4 time). E Minor. Standard tuning. AABB. Composed by Thomas Farmer, c. 1683.
Barnes (English Country Dance Tunes,
vol. 2), 2005; pg. 117 (appears as “She Rose and Let Me In”, the name of a 1993
dance by Tom Cook set to the tune).
ARIEL HORNPIPE. AKA and see "Ball and
Pin Hornpipe." New England, Canadian; Hornpipe. A Major. Standard
tuning. AABB. The tune may just possibly have been named for the clipper ship Ariel, a name that appears in American Clipper Ships 1833-1858 by Howe
and Matthews. “The Ball and Pin” hornpipe also appears in Ryan’s Mammoth
Collection (1883), and is the same tune, with different endings. Cole (1000 Fiddle Tunes), 1940; pg. 90. Messer
(Anthology of Favorite Fiddle Tunes),
1980; No. 107, pg. 69. Ryan’s Mammoth
Collection, 1883; pg. 124.
See also listings at: Alan Snyder’s Cape Breton Fiddle Recording
Index |
X:1
T:Ariel
Hornpipe
R:Hornpipe
M:2/4
L:1/16
Z:Transcribed
by Bruce Osborne
K:A
A2|A,CEA
c2BA|BEGB d2cB|cAce aecA|BcdB AGFE|
A,CEA
c2BA|BEGB d2cB|Acea gfdB|A2c2 A2:|
|:(3efg|aece
a2ga|fdBd f2ed|cAce aecA|BcdB AGFE|
aece a2ga|fdBd f2ed|Acea Begb|gefg
a2:|
ARISAIG CAIRN. Canadian, March (2/4 time). Canada, Cape Breton. A Major/Mixolydian.
Standard tuning. AABBCCDD. Composed by
ARISAIG JIG. Canadian, Jig.
ARISAIG MIST. Canadian, Slow Air (4/4 time). D Dorian. Standard tuning. AABCCD.
Composed by Cape Breton fiddler Wilfred Gillis, originally set in D Minor.
Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton)
[Cranford]. Cranford (Winston Fitzgerald),
1997; No. 230, pg. 92.
ARIZONA STOMP. Old‑Time, Breakdown.
The tune was composed by fiddler Huggins Williams of the East Texas Serenaders.
The name Arizona had humble origins, and was first used by Spanish explorers
referring to ‘the little spring’. It was used by a mining company which brought
it to public notice and it soon came to represent an entire territory of the
American southwest (Matthews, 1972). County 410,
"The East Texas Serenaders, 1927‑1936" (1977).
ARIZONA WALTZ. Old-Time, Waltz. D
Major. Standard tuning. AA'B. The name Arizona had humble origins, and was
first used by Spanish explorers referring to ‘the little spring’. It was used
by a mining company which brought it to public notice and it soon came to
represent an entire territory of the American southwest (Matthews, 1972). The waltz
is copyrighted to Rex Allen, who recorded it in the 1950’s or 60’s. Source for
notated version: Clem Myers [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 238.
ARK AN D’OR HOUSE. Canadian, Slow Air (4/4 time).
Canada, Cape Breton. A Major. Standard tuning. AA’B. Composed by fiddler Brenda
Stubbert (b. 1959, Point Aconi, Cape Breton). Cranford (Brenda Stubbert’s), 1994; pg. 1. Brenda
Stubbert - “House Sessions” (1992).
ARKANSAS JITTERS. American, Breakdown. USA, Arizona. G Major. Standard tuning. AB. Ruth (Pioneer Western Folk Tunes), 1948; No. 98, pg. 35.
X:1
T:Arkansas Jitters
L:1/8
M:2/4
S:Viola “Mom” Ruth – Pioneer Western Folk Tunes (1948)
Z:AK/Fiddler’s Companion
K:G
G|BB/d/ BB/d/|BGAB|c/B/c/d/ cB|A3 (3A/B/c/|da/g/ fa/g/|
fdef|g/f/g/a/ ge|d/e/d/c/ B/A/G/A/|BB/d/ BB/d/|BGAB|
c/B/c/d/ cB|A3 (3A/B/c/|da/g/ fa/g/|fdef|g/f/g/a/ g/f/e/f/|
[d3g3] (g/a/)||ba g/f/e/f/|ag ff/g/|ag f/e/d/e/|fe d/B/G/A/|BB/d/ BB/d/|
BGAB|c/B/c/d/ cB|A3 (3A/B/c/|da/g/ fa/g/|fdef|g/f/g/a/ g/f/e/f/|[B2g2][Bg]||
ARKANSAS HOP. Old-Time, Breakdown. USA,
Missouri. A Major. AEae tuning. AA’BBCC. Related to “Rye Straw,” in the opinion of Mark Wilson.
Drew Beisswenger (2008) also notes similarties to the Ozark version of “Paddy Won’t You Drink Some Good Old
Cider.” The third part is entirely pizzicato, although source Teague
strummed instead of plucked the fiddle. Source for notated version: Howe Teague
(1913-2005, Dent County, Missouri), learned from Roy Wooliver [Beisswenger
& McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg.
147. Rounder CD 0435, Howe Teague – “Traditional
Fiddle Music of the Ozarks, vol. 1” (1999. Various artists).
ARKANSAS PUMPKINS. Old‑Time, Fiddle Tune. Appears in a list of traditional Ozark
Mountain fiddle tunes recorded by folklorist Vance Randolph for the Library of
Congress in the 1940's.
ARKANSAS SHEIK. See
note for “Old Leather Bonnet with
a Hole in the Crown.”
ARKANSAS STOMP. Old‑Time. Caney Mountain Records CEP 102
(privately issued extended play LP), Lonnie Robertson (Mo.), c. 1965‑66.
ARKANSAS TRAVELER. Old‑Time, Bluegrass, American; Reel, Country Dance. USA, almost universally known. D Major (Rosenberg, Sweet, Titon, White): G Major (Shaw): A Major (Kerr). Standard or ADae (Edden Hammons, Molsky) tunings. One part (Burchenal): AB (Shaw): AABB (most versions): AABBA'A' (Phillips, 1994). One of, if not the most famous of American fiddle tunes. E. Southern (1983) calls "Arkansas Traveller" a "plantation fiddle tune" (pg. 186), while Cauthen (1990) writes that it "had been played and sung as (an) anonymous folk tune, claimed and popularized by minstrel performers, then passed into the realm of folk music once more" (pg. 15). It is true that at least some of the elements of the famous dialogue typically attached to the melody (i.e. the conversation between the 'hick' and the 'city-slicker') were in circulation in the 1820's‑1830's, during the plantation era, and it has been found that the tune and sketch had been joined and were being performed (in minstrel shows) not long after (Yates and Russell, O.T.M. # 31 Winter 78/79). {For more information see article by H.C. Mercer in JEMFQ VI:2 (18) Summer 1970.} Rosenberg (198‑) records that "Arkansas Traveler" was first published by Oliver Ditson and Company of Boston in 1863 and attributed to an itinerant musician or stage comedian named Mose Case, although Cazden (et al, 1982) reports it had been previously published in Buffalo, N.Y., by Blodgett & Bradford in 1858.
***
The music itself was in print in 1847, Rosenberg states, and both the tune and the accompanying skit are presumed by him to have been in oral circulation at the time. Bayard (1981) thinks the whole melody may be an "American amalgam," as he was unable to locate a recognizable version in British Isles traditions. The second strain became a "floater," according to him, and appears in otherwise unrelated tunes, and he speculates a portion of the first part may itself have been a 'floater' that became attached to the tune. In Francis O'Neill's Waifs and Strays of Gaelic Melody (1922) "Arkansas Traveler" is regarded as having a 'presumable' Irish history and three tunes are given which are proffered as in part ancestral to the American melody. O’Neill says: “Vying in popularity with ‘Turkey in the Straw’, another American favorite claims our affection. Famous in song and story its origin has baffled investigation. An exhaustive research conducted by Dr. H.C. Mercer, an official of Buck's County Historical Society (Doylestown, Pa) relating to its history and antecedents failed of its purpose. All lines of inquiry extending to Kentucky, Arkansas, and Louisiana, ended in contradiction, and uncertainty. Furthermore, the quaint dialogue between the ‘Traveler’ and the backwoods fiddler was based on nothing more substantial than a fertile imagination. The opening paragraph of Dr. Mercer's essay published in the Century Magazine -On the track of the Arkansas Traveler- is well worth quoting:
***
Sometime about the
year 1850 the American musical myth
known as "The
Arkansas Traveler" came into vogue among
fiddlers. It is a
quick reel tune with a backwoods story
talked to it while
played, that caught the ear at sideshows
and circuses, and
sounded over the trodden turf of fair
grounds. Bands and
foreign-bred musicians were above
noticing it, but the
people loved it, and kept time to it,
while tramps and
sailors carried it across the seas to vie
merrily in Irish
cabins with The Wind that Shakes the Barley
and The Soldier's
Joy.
***
Though classed as a reel, the tune as printed with Dr. Mercer's clever essay and elsewhere, is scored as a Buckdance, and in a key much too low for certain instruments. The editor who is responsible for the setting above presented ventures to suggest that like ‘Old Zip Coon’ or ‘Turkey in the Straw’, ‘The Arkansas Traveler’ had been evolved from a venerable Irish strain by some backwoods fiddler whose identity is lost in the oblivion which engulfed the composers of the multitude of Irish melodies that have survived many influences inimical to their preservation.”
***
In Maine the piece was used for the dance "Green Mountain Volunteers" by the Singing Smiths (South Parsonfield, Me.), though the traditional tune for that dance was "Green Mountain Boys." It was one of the 'tune catagories' for an 1899 fiddle contest at Gallatin, Tenn.; i.e. the fiddler who played the best rendition of "Arkansas Traveller" won a prize (C. Wolfe, The Devil's Box, Vol. 14, No. 4, 12/1/80). Arthur Tanner (Ga.) remembers his father (Gid Tanner of Sillet Lickers fame) and uncle (Arthur Hugh Tanner) playing it "from the stage (in the 1920's/30's) and setting around the house...It would tear the audience up" (Rosenberg). The piece was found in the repertory of most traditional fiddlers in Union and Snyder counties, Pa. (Guntharp), while Cazden (et al, 1982) found the melody and humorous text well known throughout the Catskill Mountain (New York) region (he recorded a version from that locale in 1949). Kentucky fiddlers played the tune: it has been collected from Luther Strong (by Alan Lomax), John Salyer, J.W. Day, Clyde Davenport, African-American fiddler Bill Livers, Walter McNew and Kelly Gilbert (Titon, 2001). Cauthen (1990) notes in a very complete statewide survey that it was variously recorded as having been played throughout Alabama: in the northeast part of the state (in reports of the 1926‑31 De Kalb County Annual Convention), the northwest (mentioned in a 1925 Univ. of Ala. master's thesis), southwest (recorded in a newspaper account of a contest in Grove Hill, May, 1929, and recalled by Alfred Benners in his 1923 book Slavery and Its Results as having been played by slave fiddler Jim Pritchett in Marengo County), southeast (listed by Robert Park in his book Sketch of the 12th Alabama Infantry as played by Ben Smith, a Georgian in the regiment in the Civil War; and recorded as having been played at a fiddlers' convention in July 1926 at the Pike County Fairgrounds), and finally the central part of the state (played at a contest in Verbena in 1921, as recorded by the Union Banner). Seattle fiddler and musicologist Vivian Williams writes: "’Arkansas Traveller’ was played by fiddler Jake Lake (originally from Cook County, Illinois) at the wedding of Henry Van Asselt and Catherine Jane Maple in a cabin on the Duwamish River, near Seattle, on Christmas Day, 1862, according to an account written by the bride's brother, John Wesley Maple. Other tunes played at that wedding: ‘’The Unfortunate Dog’, ‘Fishers Hornpipe’, ‘The King's Head’, ‘Gal on a Log’, ‘Devil’s Dream’.”
***
In
another Deep South state, Mississippi, it was recorded in the field from the
playing of old‑time fiddlers Stephen B. Tucker, John Hatcher and W.E.
Claunch (Mississippi Department of Archives and History). The tune was listed
for sale on cylinders in a 1901 Columbia catalogue, and in the same format the
next year by Edison (Standard Cylinder 8202, played by Len Spencer, Oct. 1902
{The tune was re-released as "Return of the Arkansas Traveler" in
1910 by the same company [Standard Cylinder 10356]}). Edison also released a
version played by Joseph Samuels in Nov. 1919 contained in the "Devil's
Dream Medley" (1st tune). Texas fiddler Eck Robertson's (a duet with
fiddler and Confederate veteran Henry Gilliland)
recording of the piece for Victor records (backed by "Sallie Gooden")
was the third best-selling record of 1923 (although it had been released in a
limited pressing a year earlier). The piece was "very popular" at
Southwest dances around turn of the century, according to
***
Sources
for notated versions: Frank George (W.Va.) [Krassen]; James Marr (Mo., 1948)
[Bayard]; eleven Pa. sources [Bayard]; Gordon Tanner (Dacula, Gwinnett County,
Ga.) [Rosenberg]. Bayard (Dance to the
Fiddle), 1981; No. 20 (appendix), pg. 580; No. 74, pg. 49 (an odd
variation); and No. 316, pgs. 267‑271; Jim Bowles (Rock Bridge, Monroe
County, Kentucky, 1959, played with fiddle tuned ADae) [Titon]. Brody (Fiddler’s Fakebook), 1983; pg. 25‑
26 (3 versions‑ 1 Bluegrass). Burchenal (American Country
Dances, vol. 1), 1917; pg. 58. Cazden (Dances from Woodland), 1945; pg. 25. Cole (1000 Fiddle Tunes), 1940; pg. 4. Ford (Traditional Music in America), 1940; pg. 46. Jarman (Old‑Time Fiddlin' Tunes), 1938. Johnson (The Kitchen Musician: Occasional Collection of Old‑Timey Fiddle
Tunes for Hammer Dulcimer, Fiddle, etc.), No. 2, 1988 (revised 2003); pg. 1.
Kerr (Merry Melodies), vol. 1; No. 5,
pg. 22. Krassen (Appalachian Fiddle),
1973; pg. 44 (includes 'A' part variation). Linscott (Folk Songs from Old New England), 1939 ‑ "The Country
Dance," pg. 83. O’Neill (Waifs and
Strays of Gaelic Melody), 1922; No. 238. Phillips (Fiddlecase Tunebook), 1989; pg. 3. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 17.
Rosenberg, 198‑; pg. 106. Ruth
(Pioneer Western Folk Tunes), 1948;
No. 30, pg. 12. Ryan’s Mammoth Collection, 1883; pg. 26. Shaw (Cowboy Dances), 1943; pg. 390. Sweet (Fifer’s Delight), 1964; pg. 53. Titon (Old-Time
Kentucky Fiddle Tunes), 2001; No. 3. pg. 34. White’s Unique
Collection, 1896;
No. 171, pg. 32. American Heritage 516, Jana
Greif‑ "I Love Fiddlin.'" Atlantic Records LP1350, Hobart Smith
‑ "American Folk Songs for Children." Brunswick 225 (78 RPM),
The Tennessee Ramblers. CCF2, Cape Cod Fiddlers – “Concert Collection II” (1999). Columbia 15019‑D (78 RPM), Gid Tanner & Riley
Pucket. County 412, Doc Roberts. County 514, Earl Johnson and His Clodhoppers‑
"Hell Broke Loose in Georgia" (orig. rec. 1927). County 517, Eck
Robertson and Henry Gilliland‑ "Texas Farewell." County 526,
Gid Tanner. County 723, Cockerham, Jarrell, and Jenkins‑ "Back Home
in the Blue Ridge." County 775, Kenny Baker‑ "Farmyard
Swing." Edison 51381 (78 RPM), Jasper Bisbee {appears as 1st tune of
"Girl I Left Behind Me" medley}. Flying Fish 102, New Lost City
Ramblers ‑ "20 Years/Concert Performances" (1978). Folkways
FA2337, Clark Kessinger‑ "Live at Union Grove." Folkways
FA2371, Roger Sprung‑ "Ragtime Bluegrass 2." Folkways FTS
31089. Heritage 060, Art Galbraith ‑ "Music of the Ozarks"
(Brandywine 1984). Kicking Mule 203, Art Rosenbaum‑ "The Art of the
Mountain Banjo." Missouri State Old Time Fiddlers' Association, Cyril
Stinnett - "Plain Old Time Fiddling." Missouri State Old Time
Fiddlers' Association, Kelly Jones (b. 1947) - "Authentic Old-Time Fiddle
Tunes." Old Homestead OHCS‑145, the Skillet Lickers ‑‑"A
Day at the Country Fair" ("The Original Arkansas Traveller").
Paramount 3015 (78 RPM) {the same as Brunswick 8052}, 1927, and Edison 52294
(78 RPM), 1928, John Baltzell (Mt. Vernon, Ohio) {Baltzell was taught to play
fiddle in part by minstrel Dan Emmett, d. 1904, who was born in and returned to
[1888] the same town}. PearlMae Muisc 004-2, Jim Taylor – “The Civil War
Collection” (1996). Rebel 1552, Buck Ryan‑ "Draggin' the Bow."
Rebel 1515, Curly Ray Cline‑ "My Little Home in West Virginia."
Rounder 0100, Byron Berline‑ "Dad's Favorites." Rounder 0117, "Blaine
Sprouse". Rounder 0361, Bruce Molsky – “Lost Boy” (1996). Rounder 1003, Fiddlin’ John Carson. Rounder 1133/1134, Ed
Haley. Sonyatone 201, Eck Robertson (Texas) and Henry Gilliland (Ok.) ‑
"Master Fiddler." Supertone 9172 (78 RPM), Doc Roberts. Tennvale 003,
Pete Parish‑ "Clawhammer Banjo." Victor 18956 (78 RPM), Eck
Robertson (Texas) {1922}. Victor 21635 (78 RPM), Jilson Setters (AKA Blind Bill
Day, from Rowan Cty. Ky.), 1928. Voyager 301, Byron Berline‑ "Fiddle
Jam Session." Voyager 304, Bill Long and Bill Mitchell‑ "More
Fiddle Jam Sessions." West Virginia University Press Sound Archives 001,
Edden Hammonds, vol. 1 (1999) . Recorded by Franklin County, Va. fiddler J.W. "Peg"
Thatcher in 1939 for Library of Congress, and by Clayton McMichen (Ga.) and Dan
Hornsby in 1928. In repertoire of Uncle Jimmy Thompson (Texas/Tenn.) {1848‑1931},
Uncle Bunt Stevens (Tenn.), Fiddlin’ Cowan Powers (Russell County, S.W. Va.)
{1877‑1952?}.
X:1
T:Arkansas Traveler, The
M:4/4
L:1/8
S:Capt. F. O'Neill
Z:Paul Kinder
R:Reel
K:G
d2|GBAG E2 GE|D2 DD E2 G2|ABAG "tr"B2 BG|ABAG "tr"E2 D2|
GBAG E2 GE|D2 DD G2 Bd|gfgd (3efg dc|BGAF G2||
Bc|dcBd cBAc|BAGB AFDF|GEGB AFAc|BAGB A2 Bc|
dcBd cBAc|BAGB AFDF|gfgd (3efg dc|BGAF G2||
X:2
T:Arkanses Traveller [sic]
M:2/4
L:1/8
S:William Sydney Mount manuscripts
N:Mount annotates his manuscript page with “Stony Brook (Long Island, New York)
N:August 22nd, (18)52” and “As played by P(?).J. Cook.” At the end of the first part is the
N:note “octave 2nd time,” meaning presumably that probably the first eight bars are to be
N:played an octave higher as a variation when the whole tune is repeated, probably with
N:the two bar ending that Mount entered at the top of the page. Interestingly, Mount’s
N:manuscript predates the first known publication of the melody, in Buffalo, N.Y., by
N:Blodgett & Bradford in 1858, although the tune and the story of the traveler and the
N:country fiddler were known to be in circulation some two decades beforehand,
N:stemming probably from plantation sources and then to the minstrel stage.
Z:Transcribed and annotated by Andrew Kuntz
K:D
(D/E/)F/D/ B,B,/D/ | A,A,/B,/ DD | EE FF | D/E/F/D/ B,D |
(D/E/)F/D/ B,(B,/D/) | A,A,/B,/ DA | (d/c/)(d/A/) (B/d/)(A/G/) | (F/D/)(E/F/) D2 :|
|:(a/g/)f/a/ (g/f/)e/g/ | (f/e/)d/f/ (e/c/)A2 | d/d/d e/e/e | (f/e/)d/f/ e2 |
(a/g/)f/a/ (g/f/)e/g/ | (f/e/)d/f/ (e/c/)A | (d/c/)d/A/ (B/d/)A/G/ | (F/D/)E/F/ D2 :|
“variation”
d/c/d/A/ B/c/d/e/ | f/a/e/f/ d2 :|
ARKANSAS TURNBACK. Old-Time, Breakdown. USA, Missouri. D Major. Standard tuning. AABB.
Galbraith’s source, Willy Bilyeu, indicated the title was his, although he
thought the tune was some “old hornpipe” (Beisswenger & McCann, 2008).
Source for notated version: Art Galbraith (1909-1993, near Springfield,
Missouri), learned around 1955 from Willy Bilyeu (Ozark, Missouri) [Phillips].
Beisswenger & McCann (Ozarks Fiddle Music), 2008; pg. 36. Phillips (Traditional American Fiddle Tunes), vol.
1, 1994; pg. 18. Rounder Records 0133, Art Galbraith –
“Dixie Blossoms” (1981).
ARKANSAS TWO-STEP.
Old-Time, Two-Step. USA, Missouri. C Major. Standard tuning. AA’BB.
Fiddler Bob Holt told Mark Wilson that this was a part of the common fiddling
repertory when he was young, played by most and often as the first tune for a
dance. Source for notated version: Bob Holt (1930-2004, Ava, Missouri)
[Beisswenger & McCann]. Beisswenger & McCann (Ozarks Fiddle Music),
2008; pg. 60. Rounder CD-0432, Bob Holt – “Got a
Little Home to Go To” (1998).
ARKIES DELIGHT. New England, Reel. C Major. Standard tuning. AABB.
ARKLOW LASSES. Irish, Slip Jig (9/8 time). D Major. Standard tuning. AABB. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes),
1999; pg. 3, No. 2.
l’ARLICHINA MILANESE. French, Country Dance (2/4 time). A Major. Standard tuning. AABB. From the contradance book (tunes with dance instructions) of Robert Daubat (who styled himself Robert d’Aubat de Saint-Flour), born in Saint-Flour, Cantal, France, in 1714, dying in Gent, Belgium, in 1782. According to Belgian fiddler Luc De Cat, at the time of the publication of his collection (1757) Daubat was a dancing master in Gent and taught at several schools and theaters. He also was the leader of a choir and was a violin player in a theater. Mr. De Cat identifies a list of subscribers of the original publication, numbering 132 individuals, of the higher level of society and the nobility, but also including musicians and dance-masters (including the ballet-master from the Italian opera in London). Many of the tunes are written with parts for various instruments, and include a numbered bass. Daubat (Cent Contredanses en Rond), 1757; No. 62.
X:1
T:l’Arlichina Milanese
M:2/4
L:1/8
S:Daubat – Cent Contredanses en Rond (1757), No. 62
Z:AK/Fiddler’s Companion
e>ae>d | c2B2 | A>GA>B | c>B A2 | B>cd>c | B>cd>c | B>AG>F | {F}E2E2 :|
|: E>e E>F | E>e E>F | G>A B>c | d2c2 |
f>eg>a | f>eg>a | c2”tr”B2 | A2A2 :|
ARLINGTON. Canadian, Hornpipe. Canada, Cape Breton. G Major. Standard tuning. AB.
Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976).
Editor John Donald Cameron notes the tune may be played as a clog. Cameron (Trip to Windsor), 1994; pg. 73.
ARMAGH POLKA. AKA and see “Egan’s Polka [2].” Irish, Polka. D Major. Standard tuning. AABB.
X: 1
T: Armagh Polka
T: Egan's
M: 2/4
L: 1/16
R: Polka
K: D
d2 d2 BcdB|A2F2 A2F2|d2 d2 BcdB|A2F2 E2D2|
d2 d2 BcdB|A2F2 A2de|f2d2 e2c2|d4 d4 :|
f2d2 d2ef|g2f2 e2de|f2d2 A2d2|f2df a3g|
f2d2
d2ef|g2f2 e2de|f2d2 e2c2|d4 d4 :|
ARMY AND NAVY. American, Reel. B Flat Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 39. Ryan’s Mammoth Collection, 1883; pg. 66.
ARMSTRONG'S FAREWELL. AKA and see "The Wild Geese [1].”
ARNAUDVILLE TWO-STEP. AKA and see "Two-Step
d'Arnaudville." See also related tune "Lake Arthur Stomp [1]."
ARNDILLY'S REEL. AKA and see "Canty Brody/Body." Scottish,
Reel. John Glen finds the piece first published in Angus Cumming's 1780 collection (pg. 8).
ARNE'S REEL. Scottish, Reel. John Glen finds the piece first published in Neil Stewart's 1761 collection (pg. 60).
ARNISTON HOUSE. Scottish, Air (6/8 time). C Minor. Standard tuning. AAB. Arniston
House, Gorebridge, Midlothian, Scotland, is a Georgian mansion designed by
architect William Adam, and built between 1726 and 1750. Adam was commissioned
by the third Lord Arniston, Robert Dundas. Arniston House remains a residence
of the Dundas family. Carlin (The Gow
Collection), 1986; No. 320. Gow (Fourth Collection of Niel Gow’s Reels),
2nd ed., originally 1800; pgs. 6-7.
X:1
T:Arniston House
M:6/8
L:1/8
R:Air
N:”Slow”
B:Gow – Fourth Collection of Niel
Gow’s Reels (1800)
Z:AK/Fiddler’s Companion
K:Cmin
Ccc “tr”c2G|~B2G FDB,|Ccc
~c2G|(cd).e (ed).c|Ccc “tr”c2=A|B2G FDB,|”tr”E3 {G}FEF|GEC C2:||
a|g2c “tr”c>de|{e}dcB fdB|(gf)g
c>de/f/|(ga).f gec|{a}gfg cde|{e}dcB fed|~e>fg {g}fed|gec c2a|
g2c cde|{e}dcB fdB|(gf).g
c>de/f/|(ga).f gec|(gc’).g (eg).e|(fb).f def|”tr”E>FG “tr”D>EF|GEC
C2||
ARNOLD KENNEDY’S JIG.
Canadian, Jig. G Major. Standard tuning. AA’BB’.
X:1
T:Arnold Kennedy’s Jig
M:6/8
L:1/8
R:Jig
K:G
Bc^c|:d^cd b2f|agf gdB|DGB edB|c3
cBc|D2F A2d|1
fag f2e|d^cd ed=c|B3 Bc^c:|2 fag f2d|cAF
DEF|G[GB][GB] [G2B2]z||
|:G,B,D G2B|d3 d^cd|DGB edB|c3
cBc|D2F A2d|1fag f2e|
d^cd ed=c|BBB BzG,:|2 fag f2d|cAF
DEF|G2z Bc^c||
ARNOLD VAN PELT’S TUNE. Old-Time, Breakdown. Copper Creek CCCD-0196, Tom, Brad & Alice – “We’ll Die in
the Pig Pen Fighting.”
ARNOLD’S DUCK. Irish, Jig. D Major (‘A’ part) & B Minor (‘B’ part). Standard
tuning. AABB. Composed by Falmouth, Massachusetts, musician and writer Bill
Black. Black (Music’s the Very Best Thing),
1996; No. 52, pg. 27.
X:1
T: Arnold's Duck
C: © B.Black
Q: 300
R: jig
M: 6/8
L: 1/8
K: D
A | d2 F AFE | DFB AFE | dcd FAd | BAF E2 A |
d2 F AFE | DEF ABA | dfa gfe | dBB B2 :|
A | BFF cAA | dcd efe | fBB gBB | afe cBA |
BFF
cAA | dcd efg | faf ece | dBB B2 :|
ARON'S MAGGOT. English, Country Dance Tune (cut
time). England, Northumberland. G Major. Standard tuning. AABBCC. A maggot was
a longways country dance from late 16th century England, often dedicated to a
personage whose name appears in the title. The term comes from the Italian magioletta and means a plaything, or a
slight thing of little consequence. Another meaning for maggot was as another
name for a dram, a small unit of liquid measure. Seattle (William Vickers), 1987; No. 241.
AROUND KILLAVILLE. Irish, Double Jig. E Minor. Standard tuning. AABB. An unsual spelling
for the Sligo town of Killavil. Source for notated version: Brendan Mulvihill
(Baltimore, Md.) [Mulvihill]. Mulvihill (1st
Collection), 1986; No. 89, pg. 83.
AROUND
THE HOUSE AND MIND THE DRESSER. Irish, Slide (12/8 time). D Major. Standard tuning. AABB. Ciaran
Carson references the title in his book Last
Night’s Fun (1996), in regards to his observations on the spatial changes a
room undergoes during a ceili:
***
When a ceili is made the dimensions of the room change
subtly as the
talk includes some news of the outside world. Music starts up, and the
dimensions alter once again as dancers take the floor and those not
dancing make space and squeeze up against each other, backs to the
wall. ‘Around the House and Mind the Dresser’. The room seems to
expand or contract in Tardis-like defiance of the laws of time and
space. (pg. 114)
***
House dances, popular in the years
before the move to dance-halls in Ireland, were held in the central room of a
cottage—the kitchen. Table, chairs, benches and other pieces of furniture were
moved to the walls, leaving room for a set in the middle. Donal Hickey, in his
book Stone Mad for Music (1999),
recalls a time that Sliabh Luachra musicians Pádraig O’Keeffe and Paddy Cronin
played a house dance in Cordal. The
hostess, noting her rather cramped quarters and seeking to conserve space for
dancing, asked the pair to mount chairs set on the top of a table and play
there. “Christ, Paddy,” said O’Keeffe, “we’ll g’up in the gallery”—and there
they played.
***
Shanachie 79026, Chieftains - “Bonaparte’s Retreat.” Shanachie SHA79027, the Chieftains - “Live.”
X:1
T:Around the House and Mind the
Dresser
M:12/8
L:1/8
C:D Major
S:Trad.
R:slide
D:Chieftains "Live”
Z:Gary Chapin
K:D
g|f2d A2=c B2A G2g|f2d ABc d3
d2g|f2d A2=c B2A G3|fag fBc d3 d2:!:a|
f2g agf e2f
gfe|f2g agf e3 g3|f2g agf e2f g2{a}g|gfe ABc d3 d2:||
AROUND THE HOUSES. English, Jig. D Major. Standard tuning.
AABB. A modern composition by Tony Doyle, a member of the Plain Brown Wrapper
Band. Plain Brown Tune Book, 1997; pg. 4.
AROUND THE
AROUND THE WORLD [1]. AKA and see “The
Highland Man That Kissed his Grannie [1],” “Jolly Seven,” “Miss Kelly's.” American, Reel. C
Major ('A' part) & A Minor ('B' part). Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 29. Ryan’s Mammoth Collection, 1883; pg. 54.
X:1
T:Around the World [1]
M:C|
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:C
c2 ec gcec | c2 ec dBGB | c2 ec gcec | afge dBGB :|
|: ceAe ceAe | ceAe dBGB | ceAe ceAe | afge dBGB :|
AROUND THE WORLD [2]. AKA and see “All Around the World,” “Cooley’s (Reel) [2],” “The Connemara Rake,” “Doherty’s (Reel) [2],” “Grehan’s,” “John Doherty’s Reel [1],” “Johnny Doherty’s Reel [1],” “Jolly Beggar [2],” “Matt Molloy’s [1],” “The Mistress,” “Mot Malloy,” “Tinker Doherty’s,” “The Wise Maid [1]."
(A)ROUND THE WORLD FOR SPORT [1] (Mor-timcioll an Doman l'e h-Aeract). AKA - “Round the World [1].” AKA
and see "Diversion Everywhere,"
"Fairies are Dancing."
Irish, Reel. G Major ('A' part) & E Minor ('B' part). Standard tuning. AB
(O'Neill/1850 & 1001): AA'B (O'Neill/Krassen): AABB (Kerr, Levey): AABBCCDD
(Kennedy). Kennedy (Traditional Dance
Music of Britain and Ireland: Rants & Reels), 1997; No. 1, pg. 3. Kerr
(Merry Melodies), Vol. 1; No. 19, pg.
35. Levey (Dance Music of Ireland, 2nd
Collection), 1873; No. 54, pg. 23. O'Neill (Krassen), 1976; pg. 139.
O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1442, pg. 267. O'Neill (Dance
Music of Ireland: 1001 Gems), 1907/1986; No. 679, pg. 120. Hemisphere 7243 8 31216 25, The Bothy Band - “Celtic Graces”
(1994). Mulligan, The Bothy Band - “Out of the Wind into the Sun” (1977).
X:1
M:C|
L:1/8
R:Reel
S:O’Neill – 1001 Gems (1907), No. 679
Z:AK/Fiddler’s Companion
K:G
(3Bcd Ac BEEF | G2 {A}GF GAB^c| dBAG
FD D || f | gfef g2 ef|geag fddf |
gfef gfed | BdAG FDDf | gfef g2 bg |
fgag fddf | gbaf gfed | (3B^cd AG FDEF ||
(A)ROUND THE WORLD FOR SPORT [2]. AKA and see “Conlon’s Dream,” “Little Pig Lamenting
the Empty Trough,” “Sword in (the)
Hand.” Irish, Reel. G Major (‘A’ part) & D Major (‘B’ part). Standard
tuning. AA’BB. Vallely (Armagh Pipers
Club Play 50 Reels), 1982; No. 17, pg. 10.
See also listing at:
Alan
Ng’s Irishtune.info |
(A)ROUND
THE WORLD FOR SPORT [3]. Irish, March (6/8 time) or Single Jig. G Major/E Minor. Standard
tuning. AB (Stanford/Petrie): AABB (Joyce, O’Neill). A 6/8 rendering of version
#1. O’Neill’s version is nearly identical to that printed earlier by Howe and
Joyce. Source for notated versions: “Taken down in 1850 from Ned Goggin of
Glenosheen, in the
X:1
T:Around the World for Sport [3]
M:6/8
L:1/8
R:March or Single Jig
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 679
Z:AK/Fiddler’s Companion
K:G
G3G3|ABA A2G|B3 BAG|B2E E2F|G3 G3|ABA ABc|d2A BAG|F2D D2z:|
|:g3
e2f|g3 e2f|g2e a2g|f2d d2f|g2d d2f|g2e a2f|g2e edc|BcB BAG|F2D D2z:|
(A)ROUND THE WORLD FOR SPORT [4]. Irish, Jig. G Major. Standard tuning. AB. O’Farrell (National Irish Music for the Union Pipes), 1804; pg. 28.
X:1
T:Round the World for Sport [4]
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:G
AROUND THE WORLD ON A DIME. Old-Time, Blues. USA, Missouri. C
Major. Standard tuning. AA’B. A unique tune in the repertoire of southern
Missouri fiddler Ray Curbow, who said he learned it in the 1970’s from Ozark,
Missouri, fiddler Johnny Boyd. Curbow told Mark Wilson the story that Boyd and
his brother were sitting on their home porch playing, when a black man walked
by with a fiddle in his sack. Hearing the brothers, he approached and asked if
he could sit in, eventually playing this tune for them. Source for notated
version: Ray Curbow (b. 1936, southern Missouri) [Beisswenger & McCann].
Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 178. Rounder 0436, Ray Curbow – “Traditional Fiddle Music of the
Ozarks, vol. 2: On the Springfield Plain” (2000).
ARQUENNIERE, L'. French, Polka. France, Central France. C Major. Standard tuning. AABB.
Stevens (Massif Central), 1987; No.
112.
ARRA KITTY BE EASY. See the "An
Bothar o thuaidh go dti Arainn" (
ARRAGH MOUNTAINS. AKA - “Arra Mountains.” Irish, Slip Jig. A Dorian. Standard tuning.
AABB’. Composed by Paddy O’Brien (1922-1981) of Newtown, Co. Tipperary),
recorded on his E.P. “The Banks of the Shannon” (1973, with Seamus Connolly and
Charlie Lennon). The Arra Mountains are in County Tipperary, on the eastern
shore of Lough Derg. Drumlin Records BMNCD2, Brian
McNamara – “Fort of the Jewels” (2004). Klang Welten Records, Gráinne Hambly –
“Golden Lights and Green Shadows” (2003). Philo FI 20188, "Jean Carignan
Plays the Music of Coleman, Morrison & Skinner."
ARRAH MY DEAR EVELEEN (Ara Mo Eiblin Dileas). AKA and see "Silent O Moyle!" "Song of Finnula." Irish, Air (4/4
time). A Minor. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 376, pg. 65.
X:1
T:Arrah My Dear Eveleen!
M:C
L:1/8
N:”Tenderly”
S:O’Neill – Music of Ireland (1903), No. 376
Z:AK/Fiddler’s Companion
K:Amin
c2 c>c cBBB|AcBA ^G E2 z|A2
A>A ^G<E zE|A2 B>B c2 zB|
c2 ec cBcB|AcBA ^G E2 z|A2 A>A
cBA^G|A2 B>B c2 z2||
ABcd e2 ze|f2 ed eA z2|A3A
f3e|d2c2B2 z2|
e3A A2 zc|BcBA ^G E2 z|A3 A cBA^G|A2
B>B c2 z2||
ARRAN AIR (Fonn n-Arainn). Irish, Air (2/4 time). D Major. Standard
tuning. AB. A tune by this generic title appears in Hoffman’s 1877 arrangement
of melodies from the George Petrie collection--it is in actuallity “Cill Chais.” O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 541, pg. 94.
X:1
T:Arran Air
M:2/4
L:1/8
R:Air
N:”
S:O’Neill – Music of Ireland (1903), No. 541
Z:AK/Fiddler’s Companion
K:D
A/F/ | DF/G/ AB/c/ | d/e/f/d/ ed/B/
| AA/B/ A/F/ d/e/ | fe e2 A/F/ | DF/G/ AB/c/ |
d/e/f/d/ ed/B/ | AA/B/ A/F/D/F/ | ED
D2 || A/F/ | A/B/d/e/ fe/f/ | g/e/f/d/ ed/e/ |
fe d/B/A/F/ | FE EA/F/ | DF/G/ AB/c/
| d/e/f/d/ ed/B/ | AA/B/ A/F/D/F/ | ED D2 ||
ARRAN BOAT, THE. AKA and see "The Highland Boat Song." Scottish,
Slow Air (6/8 time). E Dorian. Standard tuning. AAB. The Island of Arran lies
off the southwest coast of Scotland in the Firth of Clyde, and should not to be
confused with the Aran Islands off the west coast of Ireland. Kerr (Merry
Melodies), vol. 1; No. 2, pg. 47. Martin (Ceol na Fidhle), vol. 1, 1991; pg. 11.
Shanachie Records 79017, John & Phil Cunningham ‑ "Against the
Storm" (1980).
X:1
T:Arran Boat, The
M:6/8
L:1/8
B:Kerr – Merry Melodies, vol. 1, pg. 47
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:Emin
E>FE B>^cd|A<FD
A<FD|E>FE B>^cd|F<EF E2:||
e>fe {f}g>fe|d>BG
A>FD|e>fe {f}g>fe |^dB>d e2B|
e>fe {f}g>fe|d>BG
A>FD|E>FE B>^cd|F>EF E2||
ARRAN LILT, AN. Scottish, Air (2/4 time). G Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 1; No. 8, pg. 47.
X:1
T:Arran Lilt, An
M:2/4
L:1/8
B:Kerr – Merry Melodies, vol. 1, pg. 47
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
(3A/B/c/|d>B G>A|A(3c/B/A/
Bd|e(3f/e/d/ gB|A/G/A/B/ A(3A/B/c/|d>B G>A|
B(3c/B/A/ Bd|e(3f/e/d/ gB|A/G/A/B/
G::d|gg/e/ ff/d/|ee/d/ Bd|gg/e/ ff/d/|
ee/d/ Bd|gg/e/ ff/d/|ee/d/ Bd|e(3f/e/d/
gB|A/G/A/B/ A2:|
ARRANE GHELBY. Scottish, Slow Air or Waltz. Scotland, Isle of Man. B Minor. Standard
tuning. AAB. Source for notated version: Scottish style fiddler Elke Baker
(Washington, D.C.) [Matthiesen]. Mattheisen (Waltz Book II), 1995; pg. 35.
ARRANMORE FERRY, THE. AKA and see “Staten Island (Hornpipe).” Irish,
Hornpipe.
ARRANMORE TUNE, AN. See “Lament for Eoghan Rua.”
ARRAVALE ROVERS, THE. Irish, Quadrille. G Major & D Major.
Standard tuning. Five parts plus trios. Roche
Collection, 1982; vol. III, pg. 75‑76.
ARROCHAR BRIDGE. Canadian, Reel. Canada; Cape Breton, Prince Edward Island. A Major. AEae
tuning. AAB. Dunlay & Greenberg state the reel is often associated with “The Bridge of Bamore.” Sources for
notated versions: Carl MacKenzie (Cape Breton) [Dunlay & Greenberg]; Allan
MacDonald (b. c. 1950, Bangor, North-East Kings County, Prince Edward Island)
[Perlamn]. Dunlay & Greenberg (Traditional
Celtic Violin Music of Cape Breton), 1996; pg. 136. Dunlay & Reich (Traditional Celtic Fiddle Music of Cape
Breton), 1986; No. 13, pg. 36 (appears as “A High Bass Reel”). Perlman (The Fiddle Music of Prince Edward Island),
1996; pg. 99. Sea-Cape Music ACR4-12940, Buddy
MacMaster - “Judique on the Floor” (1989. Appears as “Traditional Reel”).
NQD-5447, Doug MacPhee - “Cape Breton Master of the Keyboard” (appears as
“Traditional High Bass Reel”). WRC1-1548, Carl MacKenzie - “And His Sound is
Cape Breton” (1981. Appears as “Traditional Reel”). WRC1-6100, Atlantica 04
50222, Kyle and Lucy MacNeill - “Atlantic Fiddles” (Appears as “Traditional
Reel”).
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index |
ART McBRIDE. See “Arthur McBride [2]."
ART OG UA DÁLAIG. AKA and see "Young Arthur
Daly."
ART O’KEEFFE’S POLKA
[1]. AKA and see “Carroll’s (Polka).” Irish, Polka. A
Mixolydian. Standard tuning. AABB. A pentatonic melody. See also the related “Dan Sweeney’s.” Breathnach (CRÉ II), 1976; No. 125 (appears as
untitled polka). Cranitch (Irish Fiddle
Book), 1996; pg. 68.
ART O’KEEFFE’S POLKA
[2]. AKA and see “The Newmarket (Polka) [3]," “The Sliabh Luachra [2].” Irish,
Polka. A Major. Standard tuning. AABB. Taylor (Traditional Irish Music:
Karen Tweed’s Irish Choice), 1994; pg. 37.
ART O'KEEFFE'S [1]. AKA and see “The Hare in the
Corn [5]." Irish, Slide (12/8 time) or Double Jig. A Dorian. Standard
tuning. AABB. Art O’Keeffe was a fiddler and tin whistle player from
Gneeveguilla (pronounced “Guinea-gulla”), west Kerry, near Killarney. Source
for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of
the Cork-Kerry border) [Moylan]. Moylan (Johnny
O’Leary), 1994; No. 268, pgs. 152-153. Front Hall
018, How to Change a Flat Tire ‑ "Traditional Music of Ireland and
Shetland" (learned from Kerry fiddler Julia Clifford). Gael-Linn CEF092,
Julia and Billy Clifford - “Ceol as Sliabh Luachra.” Ossian OSS CD 130, Sliabh
Notes – “Along Blackwater’s Banks” (2002). Topic 12T311, John & Julia
Clifford - “Humours of Lisheen.”
ART O’KEEFFE’S [2]. AKA and see “Biddy Crowley’s
Ball,” “Johnny Mick Dinny’s,”
“My Love in the Morning.” Irish,
Slide. (May be same tune as “Art O’Keeffe’s” [1]).
X:1
T:Art O'Keeffe's [3]
T:Echoes of Killarney
D:Denis Murphy, Music from Sliabh
Luachra (RTE)
R:slide
M:12/8
Z:Transcribed by Paul de Grae
L:1/8
K:G
B2 A|:GEG G2 A B2 d ege|d2 B BAB g2
B BAB|
GEG G2 A B2 d ege|1 d2 B ABA G3 B2
A:|
2 d2 B ABA G3 G3||
|:gfg edd e2 f g2 e|d2 B BAB g2 B
BAB|
gfg edd e2 f g3|BcB ABA G3 G3:|
"variation, bars 2 and 6"|d2 B BAB d2 B BAB|
ART WOOTEN'S HORNPIPE. Old‑Time, Breakdown. USA,
Nebraska. G Major. Standard tuning. AA'BBCCDD (Phillips): AABBCCDD
(Christeson). Source for notated version: Bob Walters (Burt County, Nebraska)
[Christeson, Phillips]. R.P. Christeson (Old
Time Fiddler’s Repertory, vol. 1), 1973; pg. 96. Phillips (Traditional American Fiddle Tunes), Vol.
2, 1995; pg. 181. Bee
Balm 302, “The Corndrinkers.”
ART WOOTEN'S QUADRILLE. Old‑Time, Quadrille. USA,
Nebraska. B Flat Major. Standard. AB. “Art Wooten’s Quadrille” is one of the
‘100 essential Missouri fiddle tunes’ according to Missouri fiddler Charlie
Walden. Source for notated version: Bob Walters (Burt County, Nebraska)
[Christeson]. R.P. Christeson (Old Time
Fiddlers Repertory, vol. 1), 1973; pg. 117.
ARTHUR BERRY. AKA – “Arthur Barry,” “Arthur Barrie.” AKA and see "Yellow Barber" {
ARTHUR BIGNALD OF
LOCHROSQUE. Scottish, March (2/4 time). A
Mixolydian. AABBCCDD’. Composed by John MacColl. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 30. Beltona
78 RPM 2439, Jimmy Shand.
ARTHUR DARLEY’S. AKA and see “The Bruckless Shore,”
“The Swedish Jig.” Irish, Slow Air.
Ireland, County Donegal. Gael-Linn CEF060, “Paddy
Glackin.”
ARTHUR McBRIDE [1]. AKA and see "The Castle Street Jig," "The Blackthorn Stick [5],"
"The Maid at the Well,"
"The Black Stripper," "Kilkenny Jig," "The Milkmaid [2]," "The Maids of Glenroe."
ART McBRIDE [2]. AKA - "Arthur McBride."
Irish, Air or Jig. Ireland; Counties Limerick, Donegal. G Major. Standard
tuning. AB. P.W. Joyce’s air “Arthur McBride,” printed in his Old Irish Folk Music and Songs, is
almost identical to Petrie’s. Joyce collected his version in Limerick in the
1840's, while Petrie's air comes from County Donegal. John Loesberg (1980)
states that several versions of the song have been found variously in Scotland,
Suffolk and Devon, though the tunes in most cases differ slightly. John Moulden
notes that the first Scottish sets appear to be in Greig Duncan. Those looking for Paul Brady's famous tune
will not find it in older Irish collections, for it was taken from a book of
folk songs collected in the state of Maine.
***
I had a first cousin called Arthur McBride, he and I took a stroll down
by the seaside,
A-seeking good fortune and what might betide, 'twas just as the day was
a dawning.
Then after resting we both took a tramp, we met Sergeant Harper and
corporal Cramp,
Besides the wee drummer who beat up for camp, with his rowdy-dow-dow in
the morning.
***
Stanford/Petrie (Complete Collection), 1905; No. 846, pg.
211.
X:1
T:Art McBride
M:6/8
L:1/8
N:”A county of Donegal air.”
R:Air
S:Stanford/Petrie (1905), No. 846
Z:AK/Fiddler’s Companion
K:G
D | GAG GDE | GAG GAB | cec BdB |
ABG E2D | GDE GDE | GAG Bcd |
edc B{c/B/}AG | “tr”A3 {G/A/}G2 ||
A/B/ | c2c cde | edd d2B | cdc BdB |
ABG E D>D | GDD EDD | GAG Bcd |
edc B{c/B/}AG | “tr”A3 G2 ||
ARTHUR FINLEY. Canadian, Reel. Flying Fish FF70572, Frank
Ferrel – “Yankee Dreams: Wicked Good Fiddling from New England” (1991. Learned
from repertoire of Boston/Nova Scotia fiddler Tom Doucet).
ARTHUR MUISE [1]. Canadian, Reel. Canada, Cape Breton. G Dorian. Standard tuning. AABB.
Composed by the late fiddler Jerry Holland (1955-2009, Inverness, Cape Breton) in
honor of Cheticamp, Cape Breton, fiddler Arthur Muise. Cranford (Jerry Holland’s), 1995; No. 188, pg. 53.
Fiddlesticks cass., Jerry Holland - “A Session with
Jerry Holland” (1990). Green Linnett, Jerry Holland - “The Fiddlesticks
Collection” (1995). Odyssey ORCS 1051, Jerry Holland – “Fiddler’s Choice”
(1999). Rounder
Records 7057, Jerry Holland – “Parlor Music” (2005).
ARTHUR MUISE [2]. Canadian, Reel. Canada, Cape Breton. A Mixolydian (‘A’ part) & A Dorian/Mixolydian
(‘B’ part). Standard tuning. AABB. A modern composition by fiddler Brenda
Stubbert (b. 1959, Point Aconi, Cape Breton) in honor of fiddler Arthur Muise
(Cheticamp, Cape Breton). Cranford (Brenda
Stubbert’s), 1994; No. 5, pg. 2. Brenda Stubbert -
“Tamerack ‘er Down” (1985). Rounder
RO7023, Natalie MacMaster - “No Boundaries” (1996. Learned from Arthur Muise).
ARTHUR MUISE [3]. Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AABB’.
Composed by the late fiddler Jerry Holland (1955-2009, Inverness, Cape Breton)
for fiddler Arthur Muise (Cheticamp, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 220, pg. 64.
ARTHUR MUISE’S [4]. Canadian, Strathspey. CAT-WMR004, Wendy
MacIssac - “The ‘Reel’ Thing” (1994).
ARTHUR MURRAY’S REEL. AKA and see “Antony Murray(‘s Reel),” “Christie’s Sister,” “Hills of Cape Mabou,” “Lord Murray’s Strathspey.”
ARTHUR STEVENS THE
BLACKSMITH. American, Hornpipe. G Major.
Standard tuning. AA'BB. Source for notated version: Kerry Blech (Seattle,
Washington) [Phillips]. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 180.
ARTHUR('S) SEAT [1]. Scottish, Hornpipe. B‑Flat
Major. Standard tuning. AABB (Hardie): AA'BB (Brody). Composed by the famous
Scots composer and fiddler J. Scott Skinner,
appearing first in his Cairngorm Series
(Pt. 6), titled after a prominent
***
***
Source for notated version: Jean Carignan
(Montreal, Canada) [Brody]. Brody (Fiddler’s
Fakebook), 1983; pg. 26. Hardie (Caledonian
Companion), 1986; pg. 39. Flying Fish FF 70572,
Frank Ferrel – “Yankee Dreams: Wicked Good Fiddling from New England” (1991).
Folkways FG3531, Jean Carignan‑ "Old Time Fiddle Tunes" (first
tune of 'Bank'). Great Meadow Music GMM 2002, Rodney Miller & David Surette
– “New Leaf” (2000). Philo 2001, "Jean Carignan" (first tune of
'Banks Medley'). Topic 12T280, J. Scott Skinner‑ "The Strathspey
King."
ARTHUR'S SEAT [2]. Scottish, Reel. E Major. Standard tuning. AABBCCDD. Composed by William Marshall (1748-1833), first published in his
1781 Collection. Susan Cowie, in her book The
Life and Times of William Marshall (1999), writes that Marshall, in his
position of House Steward for Gordon Castle, accompanied the Duke of Gordon and
his family on their frequent trips to Edinburgh. It was the Duke’s custom to
climb Arthur’s Seat on the first of May with his old friend, Professor Andrew
Duncan, a habit they continued into Duncan’s eightieth year. Marshall, Fiddlecase Edition, 1978; pg. 2 of 1781
Collection and pg. 38 of 1822 Collection.
X:1
T:Arthur’s Seat [2]
M:C|
L:1/8
S:Marshall – 1822 Collection
Z:AK/Fiddler’s Companion
K:E
EGBe gfeg|fgag f/f/f f2|EGBe
gfed|ecBG E/E/E E2:|
|:cBeB cBAG|AcBG F/F/F F2|cBeB
cBAG|AcBG E/E/E E:|
|:egBg faBa|g>abg f/f/f f2|egBg
faBa|g>abg e/e/e e2:|
|:edcB cBAG|AcBG F/F/F F2|edcB
cBAG|A>c B<G E/E/E E2:|
ARTHUR'S SEAT [3]. Scottish, Reel. B Minor. Standard tuning. AB. Stewart-Robertson
(The Athole Collection), 1884; pg.
133.
X:1
T:Arthur’s Seat [3]
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Bmin
c|BF F/F/F d2de|cAeA fedc|BF F/F/F d2de|fedc dBBc|BF F/F/F d2de|
cBAa fedc|BF F/F/F d2de|fedc dBB||c|Bbba gfed|caed cAAc|Bbba gfed|
caec
dBBc|Bbba gfed|caed cAAc|BFBc dcde|fedc dBB||
ARTHUR'S SEAT [4]. Scottish, Country Dance Tune (4/4 time). A tune by this name (version
#3???) appears in the Bodleian Manuscript,
inscribed "A Collection of the Newest Country Dances Performed in Scotland
written at Edinburgh by D.A. Young, W.M. 1740" which is located in the
Bodleian Library, Oxford.
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[COMMENT1]This was
Font/Pitch 1,10 - Off.
[COMMENT2]This was Font/Pitch 1,10 - On.
[COMMENT3]This was Font/Pitch 1,10 - Off.
[COMMENT4]Note: The change to pitch (12) and font (1) must be converted manually.