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] |
AU GRAND CAFE. French Canadian, Air or Polka (2/4
time). F Major. Standard tuning. One part. Learned by French-Canadian fiddler
Omer Marcoux (
AU LONG DE LA RIVIERE. Cajun, Waltz. Swallow SW-6131, The Tracy Schwarz Trio - "Mes Amis!
AU
VISIT LOU LOUP.
Breton, Bourrée. Barnes (A Little Coupledance Music). Popcorn Behavior – "Journeywork" (1997).
AUBEY FOLEY’S
JIG.
Canadian, Jig.
AUBEY FOLEY’S
REEL.
Canadian, Reel.
AUBEY
FOLEY’S STRATHSPEY.
Canadian, Strathspey.
AUCHDON HOUSE.
AKA- "Twa Craw" (song). AKA and see "Haughton House." Scottish, March. G
Major. Standard tuning. AABB. Played in the
***
There were twa craw, sitting in a tree,
Sitting in a tree, sitting in a tree;
There were twa craw, sitting in a tree,
On a cold and frosty morning.
***
It was recorded
by County Clare fiddler Joe Ryan (on "An Buchaille Dreoíte", where he
lists it as a Shetland tune)—much in the rhythm of a barndance—and as a result
has some currency in Irish sessions, however, all Irish sources seem to lead
back to Ryan, who is said to have learned the tune in Dublin from a musician
who had learned the tune in the Shetlands.
***
Carlin
(Master Collection), 1984; No. 134,
pg. 82. Cló Iar Chonnachta CICD 165, John Wynne &
John McEvoy – “Pride of the West” (2007). Greentrax C9004, Jimmy Johnson
(fiddle, with harmonium accompaniment by Pat Sutherland) – “Scottish Tradition
– Shetland Fiddle Music." Philo
1031, Boys of the Lough – “Lochaber No More” (appears as “Haughton House,”
identified as a Shetland tune).
See also listings at: Alan Snyder’s Cape Breton Fiddle Recording
Index Jane Keefer’s Folk Music
Index: An Index to Recorded Sources
Alan Ng’s Irishtune.info |
X:1
T:Auchdon House
M:2/4
L:1/8
R:March
Z:Transcribed by
Paul de Grae
K:G
GB/G/ DG/D/
|B,/C/ D/B,/ G,A/B/ | cBAG | E2 EF |
GB/G/ DG/D/ |
B,/C/D/B,/ G,A/B/ | c/B/c/e/ dF |1 G2 GD :|2 G2 Ge/f/ |:
gfed | ed B>d
| cBAG | E2 EF | GB/G/ DG/D/ |
B,/C/D/B,/ G,A/B/ | c/B/c/e/ dF |1 G2
Ge/f/ :|2 G2 G2 ||
AUCHENCRUIVE'S WELCOME. Scottish, March (4/4 time). A
Major. Standard tuning. AB. Composed by William Hardie, Jr. Bill Hardie,
William Jr.'s grandson, says "I could only have been in my early teens
when I first heard my grandfather play this march. On inquiring as to its
origins he replied: 'I composed this tune for you, Bill.' It has been in my
memory ever since..." Hardie (Caledonian
Companion), 1986; pg. 26.
AUCHTERTYRE HOUSE. Scottish, Strathspey. D Major. Standard tuning. AA'B.
Stewart-Robertson (The Athole Collection),
1884; pg. 123.
AUDENARD
***
A general thanksgiving is appointed to be on Thursday,
the 19th of August,
for our late victory over the French, near Audenard,
when her majestie, ‘tis
said, will goe to St. Pauls, and hear Dr. Fleetwood,
bishop of St. Asaph,
preach upon that occasion. An officer in our army in
‘tis in their power to invest which of the enemies
towns they please, but
have not battering guns nor mortars nearer than Sas
van
‘twill be difficult to get them, so long as the French
lye on the canal near
and that a
strong detachment was sent to inlarge the ways for our marching to
Rousselaer to straighten them. Tis said their army is
diminish’d at least 20,000
men since the battle.
***
The
melody was first published by I. Walsh and P. Randall in The New Country Dancing Master, 2nd Book (
X:1
T:Audenard
Battle, or
M:6/8
L:1/8
R:Jig
S:Walsh
– Second Book of the Compleat Country
Dancing Master, 3rd Edition (1735)
K:G
Minor
g|g2d
d2g|fdB B2e|ecA A2d|dBG G2g|g2d d2g|
fdB
Be|ecA Bd^F|(G3 G2)::A|B>cB d2B|d/e/fB A2d|
G/A/BG
A2D|G/A/Bc d2g|fdB AG^F|(G3 G2):|
AUGHACASHEL. Irish, Reel. G Major. Standard tuning. AABB’.
Composed by fiddler and piano player Josephine Keegan (b. 1935), Mullaghbawn,
south
X:1
T:Aughacashel
C:Josephine Keegan
M:4/4
L:1/8
N:The first part is rather like "Bill Harte's," also called
"Sarah Hobbs'"
K:G
DEGA BG (3GGG|AGBG AGEG|DEGA Bded|gedB ABGE|
DEGA BG (3GGG|AGBG AGEG|(3Bcd ed Bdge|dBAc BG G2 :|
gG (3GGG GABd|eBdB GABG|A2 AB AE (3EEE|cABG AGED |
g2 ga bg e2|gedB ABGE|DEGA Bdge|dBAc BG G2 :|
"variation, 2nd part"
gBB2 GABd|egdB GABG|A2 BG AGEG|cABG ABcd |
g3a bgaf|gedB ABGE|DEGA Bdge|dBAA GABd :|
AUGHAMORE.
Irish, Reel. D Major. Standard tuning. AA’BB’. Composed by County
Cavan/Philadelphia fiddle player and composer Ed Reavy (1898-1988). Reavy (The Collected Compositions of Ed Reavy),
No. 15, pg. 16.
X:1
T:Aughamore
M:2/2
L:1/8
C:Ed Reavy
S:The
Collected Compositions of Ed Reavy
R:Reel
N:Delia's town,
just a short distance from her native village of Aughtaboy.
N:Like so many
beautiful Irish places names, Aughamore could fit nicely
N:into any
charming line of verse. No wonder the
immigrant takes pride
N:in rehearsing
the sound of his own native place. He
has lost much, but
N:certainly not
all. No feeling can quite match that stirring of the heart
N:when an exile
hears his "won place home" spoken on the lips of those he loves.
Z:Joe Reavy
K:D
FG | ADFA dAFG |
ADFA fedc | BEED EFGf | gfed cAAc | dfdf cece |
BcdB AFDF | EFGA
B2 (3dcB |1 cAGE D2 :|2 cAGE FD D2 ||
fgaf gece | dfed
cAAg | fg (3agf bgec | dfeg fddf | afdf gece |
dfed cage | FGAB
(3ccd ed |1 cAGE FD D2 :|2 cAGE D2 :||
AUGHDARRA, THE.
AKA and see "The Otter’s Den,"
"The Otter’s Hole," "The Water Dog’s Hole," "The Otter’s Holt," "Ríl an Madra Uisce," "The Water Hole," "The Windy Lane." Irish, Reel. Composed
by Clare fiddler Junior Crehan. Source for notated version: Leitrim fiddler and
piano player Charlie Lennon [Bulmer & Sharpley]. Bulmer & Sharpley (Music
from Ireland), vol. 4, No. 12.
AUGHTABOY.
Irish, Jig. G Major. Standard tuning. AABB’. Composed by County
Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988). Reavy’s wife,
Delia Morley (b. 1902), came from the village of Aughtaboy, County Monaghan,
near the Cavan border. Reavy (The
Collected Compositions of Ed Reavy), No. 87, pgs. 95-96.
X: 1
T:Aughtaboy
R:jig
C:Ed Reavy
M:6/8
L:1/8
Z:Joe Reavy
N:The village
the Morleys came from Delia (Brigid),
N:Ed's wife, was
born there February 18, 1902. The old
N:house still
stands after these many years, though no
N:one now lives
there. Four of the eight children are
N:still living: Delia
and Margaret here in the States,
N:and Jim and
Eileen in England.
K:G
D | GAG BGB |
d^cd gdB | GFG BAG | FDF AGF |
GDB, G,B,D | DAF
FEF | BdB cAF | AGF G2 :||
A | Bdg fdf |
ece dBG | Bdg fdf | agf g2 A | Bdg fdf |
ece dBG |
c/2c/2AG FEF | AGF G2 A ||
Bdg fdf | ece dBG | Bdg fdf | agf g2 a |
bag faf |
gdc BAF | GBB FAA | cAF G2 ||
AUGUSTA STAFF LADIES. Canadian,
Waltz. F Major. Standard tuning. AABB’. Composed by the late Cape Breton
fiddler and composer Jerry Holland (1955-2009) in honor of the staff at the
Augusta Heritage Festival held during the summer at Elkins, W.Va. Cranford (Jerry Holland: The Second
Collection), 2000; No. 321, pg. 116.
AULD... See
also "Old ..."
AULD
BESSY. AKA and see "The
Scotch Laddie," "Finnegan's
Dream," "Garryowen."
AULD BOB MORRIS.
Scottish. The tune appears in Thomson's "Orpheus Caledonius" (1725) where
it is ascribed to David Rizzio (Queen Mary's secretary and an
accomplished lutenist and singer). The ascription was removed by Thomson from
his second edition, and the veracity of Rizzio's authorship is questionable.
AULD BRIG O' AYR, THE. AKA and see "Johnnie
Steele," "Benholm Castle,"
"The New Brig o' Dee," "Bob Steele," "The Miller o' Dervil." Scottish, Strathspey. F Major. Standard. AB. The tune
is paired on the page with “The New Brig o’Ayr.” Kerr (Merry Melodies), vol. 3; No. 155, pg. 18.
X:1
T:Auld
Brig O’ Ayr, The
M:C
L:1/8
R:Strathspey
S:Kerr
– Merry Melodies, vol. 3, No. 155 (c.
1880’s)
Z:AK/Fiddler’s Companion
K:F
(C2
C>)D F<F F>G|A>AG>F (D<F) (C<A,)|(C2 C>)D F<F
F>G|A>G (A<c) d2 (3def|
(C2
C>)D F<F F>G|A>AG>F (A<c) (c<f)|d>ef>d c<A
A>F|G>A B/A/G/F/ (D2 D)c||
A<c
c>d f>ed>c|A>AG>F (D<F) (C<A,)|A<c c>d
f>ed>c|A>G (A<c) (d2 d)c|
A<c
c>d f>ed>c|A<A G>F (A<c) (c<f)|d>ef>d c<A
A<F|G>A B/A/G/F/ (D2 D)C||
AULD BRIG O' DON, THE. Scottish, Slow Air (‘Pastoral’). E Flat Major. Standard.
AAB. Composed by J. Henry (1860-1914), who lived in Aberdeenshire and lead the
Aberdeen Strathspey and Reel Society from its inception in 1903 until his
death, according to Hunter. The author also reports that the old bridge at
Balbownie, which spans the River Don, was built in the 13th and 14th centuries,
and features a beautiful gothic arch, anchored on bedrock on either side and
spanning sixty-seven feet. Henderson (Flowers
of Scottish Melody), 1935. Hunter
(Fiddle Music of Scotland), 1988; No. 60.
AULD CHAPEL BRAE.
Scottish, Air (4/4 time). G Major. Standard. AB. Composed by Bert Murray in
memory of his grandfather, Alexander (Sandy) Murray of Banchory,
Kincardine-shire. The air takes its name from the hill called Chapel Brae,
where Murray's old cottar house was situated. Sandy was a fiddler who
played at Lowlands social gatherings, often accompanied by his brother on the
cornet and cousin on double bass. J. Murray Neil (1991) relates:
***
him regularly. On those occasions, the children would
sit
under the bed, which had been raised on blocks, while
the
two men chatted and perhaps had a 'dram'. Scott
Skinner
would often pass a small plug of tobacco through the
spars
to the boys, which they would smoke in their clay
pipes.
Sandy composed a number of fiddle tunes, which he
wrote
out on strips of paper and left on the mantle‑piece,
and which
occasionally could not be found after such a visit.
***
Neil (The Scots Fiddle), 1991; No. 95, pg.
128.
AULD CLETTEN ROE.
AKA - "Auld Clett on Roe." AKA and see "I Went to the Well." Shetland, Wedding
tune. Shetland, Mainland (district). D Major ('A' part), D Mixolydian ('B' part).
Standard. AB. Shetland fiddler Tom Anderson said: "This tune was used as a
'test' tune at weddings in the old days. If the fiddler couldn't play
it, or his playing was deteriorating, his 'supply' was cut off until he
recovered." Anderson (Ringing Strings),
1983; pg. 62.
AULD EAGE AND YOUNG NEVER GREES THE GITHER. See “Old Age and Young (Never
Agrees).”
AULD FIDDLER, THE (BERT MURRAY). Scottish, Reel. A Major. Standard. AAB.
Composed by Billy McGuire, formerly fiddler with the Scottish band the
Whistlebinkies. Willie Hunter (with Violet Tulloch) –
"Leaving Lerwick Harbour" (1995). Green Linnet SIF 3107, Aly Bain
& Phil Cunningham – "The Pearl." X:1
T:The Auld Fiddler
C:Billy McGuire
S:Aly Bain \& Phil Cunningham
D:The Pearl
Z:Juergen.Gier@post.rwth-aachen.de
L:1/8
M:C|
K:A (3efg|a2ed cdBc|ABcd eaga|be (3eee
c'e (3eee|d'ec'e be (3efg|\
a2ed cdBc|ABcd eaga|be (3eee ^de=de|cecB
A2:|Ac|\
BE (3EEE BEcE|dEeE dEcE|BE (3EEE BEBc|dBGB
A2Ac|\
BE (3EEE BEcE|dEeE dEcE|BE (3EEE
^DE=DE|CECB, A,3 c|\
BE (3EEE BEcE|dEeE dEcE|BE (3EEE
BEBc|dBGB A2Ac|\
BE (3EEE cE (3EEE|dEeE fBgB|aeee
^dede|^defg a2|]
X:2
T:The Auld Fiddler
M:C
L:1/8
C:Billy McGuire
S:Arr G Blair
R:Reel
K:A
eg | a2 ed cdBc | ABcd eaga | beee c'eee
| d'ec'e befg | a2 ed cdBc |
ABcd eaga | beee _e=ede | ceBe A2 :||: GA
| BEEE BEcE | dEeE dEcE |
BEEE BEcE | dBGB A2 GA | BEEE cEEE | dEeE
dEcE | BEEE _E=EDE |
CEB,E A,2GA | BEEE BEcE | dEeE dEcE |
BEEE BEcE | dBGB A2GA |
BEEE cEEE | dEeE fEgE |1 aeee _e=ede |
ceBe A2 :|2 aeee _e=e_e=e | _e=efg a2 ||
AULD FOULA REEL, DA. AKA and see "Foula
Reel," "Da Auld Reel," "Shaalds o' Foula." Shetland,
Reel. A Major. AEae. AAB. The melody is the traditional accompaniment for a
special dance from the Island of Foula, in the Shetlands. On the Island of
Yell, also in the Shetlands, the tune in known as "Da Auld Reel,"
according to Alastair Hardie. Flett & Flett (1964) state that The Auld Reel
was a Shetland dance for three couples (in Whalsay) traditional to the isles
which, by 1900, had almost disappeared as a separate dance and survived in
combination only with the Shetland Reel, having been supplanted by dances from
the mainland of Scotland. The traditional Shetland wedding incorporated the
Auld Reel and was performed into the last decade of the 19th century; these
first Auld Reels were known as the Bride's Reels and were performed by the
womenfolk present who danced them in turn. These were followed by the
Bridegroom's Reels, with the men taking the place of the women and danced again
in turn. "At the end of each of the Bride's Reels, the 'married woman'
collected the 'fiddler's money' from the dancers. The bride and the other
dancers in the first Reel usually gave a shilling, those in the next Reel gave
a sixpence, and so on, descending to threepence from the last dancers of
all...in the same way the 'married man' collected...from the men at the end of
each of the Bridegroom's Reels. This 'fiddler's money' was the only payment
which the fiddler received in those days, but with a big company it was a more
than sufficient reward" (Flett & Flett, 1964). The whole series of
dances could take up to two hours. In later years the Auld Reel was supplanted
by Shetland Reels for most of the ritual, though it still was featured for a
portion of the dancing. For an extensive and thorough treatise on the subject
see Flett & Flett pgs. 70-74. Source for notated version: Tom Anderson
(Shetland) [Hunter]. Hardie (Caledonian Companion), 1992; pg. 123. Great Meadow Music GMM 2002, Rodney Miller & David
Surette – "New Leaf"
(2000).
AULD
GRADEN KIRN.
Scottish, Waltz. D Major. Standard tuning. AABB. The tune was in the
repertoire of Borders fiddler Tom Hughes. A ‘kirn’ is an end-of-harvest
celebration. Liner notes to Hughes 1981 recording give: "When Tom and his
father played for dances this was the common tune for the St Bernard's Waltz. Tom had no title to the tune but the kirn at
Old Graden near Yetholm was always a great gathering.”
X:1
T:Auld Graden Kirn, The
S:Lori Watson, Fiddle 2003
Z:Nigel Gatherer
L:1/8
M:3/4
K:D
fe dB AG | FA df ed | B2 d3 B | A6 |
f3 efg | a2 f2 d2 | Bc dB cd | e6 |
fe dB AG | FA df ed | B2 d3 B | A6 |
g3 fga | a2 f2 e2 | d3 edc | d4 z2 :|
a3 eae | a2 e2 d2 | c2 B2 A2 | g6 |
g3 fgf | g2 f2 e2 | d2 c2 B2 | A6 |
a3 eae | a2 e2 d2 | c2 B2 A2 | g6 |
f2 e2 d2 | e2 B2 c2 | d3 edc | d4 z2 :|]
X:2
T:Auld Graden Kirn
S:LP, Tom Hughes and his Border Fiddle (1981)
Z:Nigel Gatherer
L:1/8
M:3/4
K:D
A2 | f>e d>B A>G | F>A d>f e>d | B2 d2 B2 |
A4
f2 | g2 f2 a2 | a2 f2 d2 | B>c d>B
c>d | e4
A2 | f>e d>B A>G | F>A d>f e>d | B2 d2
B2 | A4
f2 | g2 f2 a2 | a2 f2 e2 | d3 edc | d3 ||
ef>g | a3 faf | a2 f2 d2 |c2 B2 A2 | g6
|
g3 fgf | g2 f2 e2 | d2 c2 B2 |
A4
d>f | a3 faf | a2 f2 d2 | c2 B2 A2 |
g4
(3gag | f2 e2 d2 | e2 B2 c2 | d4 d2 | d4 |]
AULD GRAY MARE, THE. English, Slip Jig. G Major. Standard
tuning. AABB. The melody appears in the 1840 music manuscript collection of
Cumbrian musician John Rook.
X:1
T:Auld Gray
Mare, The
M:9/8
L:1/8
S:John Rook
manuscript (Cumbria, 1840)
Z:AK/Fiddler’s
Companion
K:G
e|dBG BdB A2e|dBG BdB A2e|dBG BdB
GAB|cde gdB A2:|
|:g|gf/e/f/g/ BgB G2g|gf/e/f/g/
BgB A2g|gf/e/f/g/ BgB GAB|cde gdB A2:|
AULD
HOUSE, THE. Scottish, Highland Schottische. G Major. Standard
tuning. One part (Neil): AABB (Kerrs). The tune and song in the traditional
style are by Lady Nairne, popular until before the Second World War.
***
The mavis still doth sweetly sing,
The bluebells sweetly blaw,
The bonny Earn's clear winding still,
But the Auld House is awa'.
The Auld House, the Auld House,
Deserted tho' ye be,
There ne'er can be a new house
Will seem sae fair to me?
***
Kerr (Merry Melodies), vol. 3; No. 207, pg.
24. Neil (The Scots Fiddle), 1991;
No. 109, pg. 146.
AULD
INN, THE. Scottish, Jig. A Major. Standard. AABB. Kerr (Merry Melodies), vol. 4; No. 265, pg.
28.
X:1
T:Auld
Inn, The
M:6/8
L:1/8
R:Jig
S:Kerr
– Merry Melodies, vol. 4, No.
265 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
E |
EFG AGA | F2B B3 | G2e e3 | c2A AGF | EFG AGA | F2B B2A |
GAB
AGF | (E3 E2) :: d | cBc ABc | (d3 d2)c | BAB GAB | (c3c2)B |
A2A
ABc | d2F B2A | G2e dcB | (A3 A2) :|
AULD
JEW, THE.
AKA and see "Black Headed Dearie"
(Ceann Dub Oilir), "The Irish Round,"
"Kennington Wells."
Scottish. Williamson got the tune from a 'very old' Scottish manuscript printed
by Stenhouse. It was known in the Scottish Highlands as "Cuir, a Ghaoil
Dileas, Tharrum do Lamh," which translates as 'Place, True Love, Thine Arm
About Me'. A similar tune was apparently known to Irish harpers, according to
the Scottish fiddler and composer Fraser (1816) who states that,
notwithstanding their own national prejudices, on hearing his Scottish
rendition they at once relinquished all claim to it "considering their own
an imperfect imitation of the original." Flood (1906) claims Irish
composition for the tune, dating it to the first decade of the 17th century or
earlier, but indicating it was known as "The Auld Jew" in Scotland. Flying Fish FF358, Robin Williamson ‑ "Legacy of
the Scottish Harpers, vol. 1."
AULD JOE OF HARESHAWHEAD. AKA
– “Old Joseph of Hareshawhead.” English, Strathspey. England, Northumberland. G
Major. Standard tuning. AABBCCDD. Composed by musician, teacher, composer,
dancing master and fiddler Robert Whinham (1814-1893), originally from Morpeth.
Graham Dixon (1995) discovers that Hareshawhead is a farm on the
Bellingham-to-Otterburn Road, Northumberland, and that “Auld Joe” is reputed to
have referred to Joe Armstrong, the farmer. See also note for “The Coal Fiddle.” Source for notated
version: an unattributed 19th century manuscript in the collection
of Tommy Breckon [Dixon]. Dixon (Remember
Me), 1995; pg. 44.
AULD
KIRK, THE. Scottish, Strathspey. E Major. Standard tuning.
AABB’. Kerr (Merry Melodies), vol. 4;
No. 133, pg. 16.
X:1
T:Auld
Kirk, The
M:C
L:1/8
R:Strathspey
S:Kerr
– Merry Melodies, vol. 4, No.
133 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:E
g>ed>B
(c<e) d2 | c>BA>G F<A F>D | g>fe>d (e<g) d2 | c<A
d>B G3d :|
|:
B<G G>A B<d d>B | c>BA>G F<A F>D | B<G G>A B<d
d<g |1
c<A
d>B G3d :|2 (3efg (3fga g3 z ||
AULD LANG SYNE.
Scottish, Air (2/4 time) or Strathsepy. F Major (Neil): G Major (O’Farrell,
Sumner): A Major (Stewart-Robertson). Standard tuning. AABB. Robert Burns
(1759-1796) had the air to which he wrote his famous lyrics from an old man's
singing, and immediately wrote it down upon hearing as he thought it
"exceedingly expressive" and which he later remarked "has often
thrilled through my soul." The song was sent by him to Johnson for
inclusion in the Scots Musical Museum with a note that it was an old
song with additions and alterations (Neil, 1991). Fuld (1966) states that the
extent of Burns' responsibility for the words and tune has always been
controversial, and states that it is "generally agreed that he was not the
author of the words of the first verse," which he points out is the only
one everyone knows. According to Robert Chambers [Scottish Songs Prior to
Burns, 1890], the earliest printing of a song called
"Old-Long-Syne" [sic] with the famous opening line is in James
Watson's Scots Poems, Part III, pg. 71 (Edingburgh, 1711). Chambers
wrote that he song appears "as early as the reign of Chas. I, its
associations conveyed in a song of many (10) stanzas", finally
"brought together (in Watson’s book) in a song of many stanzas." In
fact, there were ten stanzas given in Scots Poems. These early
printings, including Burns’ version, were to melodies other than the air famous
in modern times (interestingly, Burns wrote another song to the "Auld Lang
Syne" melody that is substantially the one we know today, which he called
"O Can Ye Labor Lea, Young Man," also known as "I
Fee'd a Man at Martinmas," found in the Scots Musical Museum [Edinburgh, 1792-1793]). See abc’s below.
***
Fuld
finds identifying motifs for the modern melody for "Auld Lang Syne"
in Playford's "The Duke of Buccleugh's Tune"
in Appolo's Banquet (1687), and subsequently and more elaborately as
"The Miller's Wedding"
(in Bremner's Scots Reels, c. 1765), "The Miller's Daughter [1],"
"The Lasses of the Ferry,"
"Sir Alexander Don's Strathspey,"
"Roger's Farewell," an the
"Overture" to William Shield's opera Rosina (London, 1783). A
minor-key tune called "Old Lang Syne, by Mr. Beck" is in the
Balcarres manuscript (a lute manuscript at Balcarres House in Fife), and shows
some similarities to the tune in Volume 4 of the Scots Musical Museum.
The Balcarres tune also appears in Playford’s A Collection of Original Scots
Tunes (1700) and the Sinkler Manuscript (1710). According to Fuld the words
and the present melody were first printed together in 1799 in George Thompson's
A Select Collection of Original Scottish Airs (London), but, Fuld
states, "it is not clear whether Thomson or Burns brought the words and
melody together," and it is not clear exactly which air Burns heard the
aforementioned old man singing. The late Bruce Olson, however, found another
version of the song called "Auld Lang Syne" in both editions of Orpheus
Caledonius (c. with the tune, and called “The Soldier's Welcome Home”
in Walsh's British Musical Miscellany,
III, n.d. (1735).
***
Stewart-Robertson
prints a strathspey version of the tune arranged by John MacAlpin of Killin,
for dancing. Ludwig van Beethoven arranged a setting of "Auld Lang
Syne" early in the 19th century.
***
As a
young man Mark Twain thought to learn music and tried first one instrument,
then another, before finally settling down with an accordion. After determining
its rudiments, he learned the popular air “Auld Land Syne,” and for about a
week he continued to torture his unwilling listeners with the melody, when he,
being of an ingenious turn of mind, endeavoured to improve upon the original
melody by adding some variations of his own device. Just as he finished the
tune with a suitable flourish, his landlady stepped into his room and said, “Do
you know any other tune but that, Mr. Twain?” He told her meekly he did not.
“Well then,” said she, “stick to it just as it is; don’t put any variations on
it; because it is rough enough on the boarders the way it is now.” As it
happened, half the boarders left anyway, while the other half would have had
not the landlady discharged Twain first. The aspiring musician went from house
to house, but none would undertake to keep him after one night’s music, so, at
least, in sheer desperation he went to board with an Italian lady--Mrs. Murphy,
by name. He says:
***
The first time I stuck up the variations, a haggard
care-worn,
cadaverous old man walked into my room and stood
beaming
upon me a smile of ineffable happiness. Then he placed
his hand
upon my head, and looking devoutly aloft, he said with
feeling
unction: “God bless you, young man! God bless you! for
you
have done that for me which is beyond all praise. For
year I
have suffered from an incurable disease, and knowing
my doom
was sealed, and that I must die, I have striven with
all my power
to resign myself to my fate, but in vain--the love of
life was too
strong within me. But heaven bless you, my benefactor!
For since
I heard you play that tune and those variations, I do
not want to
live any longer--I am willing to die--in fact, I am
anxious to die.”
And then the old man fell upon my neck and wept a
flood of happy
tears. I was surprised at these things, but I could
not help giving the
old gentleman a parting blast, in the way of some
peculiarly lacerating
variations, as he went out of the door. They doubled
him up like a
jackknife, and the next time he left his bed of pain
and suffering he
was all right, in a metallic coffin.
***
At
last Twain gave up the instrument, and from then on gave amateur musicians a
wide berth.
***
Burns
verses (from a letter of 1793 to publisher George Thomson) go:
***
Should auld acquaintance be forgot,
And never brought to mind?
Should auld acquaintance be forgot,
And days o' lang syne?
Chorus:
For auld lang syne, my Dear,
For auld lang syne,
We'll tak a cup o' kindness yet,
For auld lang syne -----
***
We twa hae run about the braes,
And pu't the gowans fine;
But we've wander'd mony a weary foot
Sin auld lang syne -----
***
We twa hae paidlet i' the burn,
Frae mornin' sun till dine:
But seas between us braid hae roar'd,
Sin auld lang syne.----
***
And there's a hand, my trusty feire,
And gie's a hand o' thine,
And we'll tak a right gude-willie waught,
For auld land syne ----
***
And surely ye'll be your pint-stowp,
And surely I'll be mine;
And we'll tak a cup o' kindness yet,
For auld lang syne. ---
***
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].
Ashman (The Ironbridge
Hornpipe), 1991; No. 72b, pg. 30. McGibbon (Scots Tunes, Book 1) c. 1762; pg. 14. Neil (The Scots Fiddle), 1991; No.
189, pg. 244. O’Farrell (Pocket
Companion, vol. III), c. 1808; pg. 9 (appears under the title “Why should
Old acquaintance be forgot”). Stewart-Robertson
(Athole Collection), 1884; pg. 1. Sumner (Lincolnshire Collections, vol. 1: The Joshua
Gibbons Manuscript), 1997; pg. 83 (originally set in the key of ‘C’ major).
Tannahil Weavers
IV (1981. See abc X:2).
X:1
T:Auld Lang Syne
M:C
L:1/8
N:”As arranged by John McAlpin, Killen”
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s
Companion
R:Strathspey
K:A
E|A2A>c
B>AB>c|AAA>a f2f>a|e<cc>A B>AB>c|A>FE>F A2A:|
|:a|e<cc>A
B>AB>c|e<cc>e f>ga>f|e>cc>A B>AB>c|A>FE>F
A2A:|
X:2
T:Auld Lang Syne
S:??, heard on Thistle and Shamrock and possibly misremembered
N: (AK)This is the Tannahill Weavers (IV)
version
Z:Jerome Colburn
M:2/4
L:1/8
K:D
DE | F3 G | A2 F2 | E3 D | D3 D | D2 d2 | c2 d2 | B4 |-B2 \
Bc | d3 d | c2 BA | B3 A | E4 |-E2 \
dc | B3 A | FEFA | B4 |-B2 :|**
X:3
T:Auld lang Syne
M:C
L:1/8
R:Air
N:”Slow”
S:McGibbon – Scots
Tunes, Book 1 (c. 1762)
Z:AK/Fiddler’s
Companion
K:F
cd | f3g (fg) a2 | c2A2 “tr”G2F2 | f2d2 (fg/a/)
”tr”(g>f) | d3f d2 :: fg | a2F2 (Ac)dF | A2(GA) G3A | c3d (cd)cA |
(cA)(cd) f2 (cB) | A2 (GF) A>BcA | (dc)”tr”(BA)
G(BAB) | (cA)(cd) (fc)(dA) | c3d c2 :: cd | fcfg (f>ga)A |
(cA)cd (cA)”tr”(GF) | fcfg (f/g/a) “tr”(g>f) | d3f
d2 :: fg | (a/g/f/g/ a)F Acdf | A2 (GA) G3A | (c/B/A/B/ c)d (f/d/c) (d/c/A) |
cAcd f2 (cB) | Ac (B/A/)(G/F/) (A/G/A/B/) (A/B/c/A/) |
(dc/)d (BA/)B (GB)(AB) | (c/A/G/A/) cd (f/d/c) (d/c/A) | c3d c2 :|
AULD
LUCKIE. Scottish, Strathspey. C Major. Standard tuning. AB.
Kerr (Merry Melodies), vol. 3; No.
123, pg. 15.
X:1
T:Auld
Luckie
M:C
L:1/8
R:Strathspey
S:Kerr
– Merry Melodies, vol. 3, No.
123 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:C
c<c
e>c g>ce>c | G>AG>F (E<G) G2 | c<c e>c g>ce>c | d>ed>c
(B<d) d2 |
c<c
e>c g>ce>c | G>AG>F (E<G) G>c | A>Bc>d e>fg>a
| (3gfe (3def e<c ce ||
g>g
e>g a>ge>c | G>AG>F (E<G) G2 | g>g e>g a>ge>c |
d>ed>c (B<d) d2 |
g<g
e>g a>ge>c | G>AG>F (E<G) (G<c) | (3agf (3gfe (3fed (3edc
| B<d g>f (e<c) c2 ||
AULD MAID OF FIFE. Scottish, Jig. Bayard (1981) considers this Oswald
tune a variant of "Muirland Willie."
AULD MAID WAD BE MARRIED. AKA and see “My Mither/Minnie is Aye
Glowren O’er/Ower Me.” Scottish, Air (6/8 time). G Minor. Standard tuning.
AB. Howe (1000 Jigs and Reels), c.
1867; pg. 120.
X:1
T:Auld
Maid Wad be Married
M:6/8
L:1/8
R:Air
S:Howe
– 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:Gmin
G>AG F2D | B>cB A>Bc | d>ed c2B | f3d3 |
Bcd/e/ f2d | c>AF FGA | B2G AFD | B3G3 ||
g>ag
f2d | g>ab a2g | fdb fdB | f3 gab | f<dB Bfd | cAF FGA | BAG AFD | B3G3
||
AULD MAN ILL NE’ER DIE, THE. See “The Old Man Will Never Die.”
AULD MAN IS LONG A DYING, THE. See “Old Man Will Never Die,
The.”
AULD MAN’S FROM HOME, THE. English,
Country Dance Tune (2/4 time). G 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. 46.
X:1
T:Auld Man’s
from Home, The
M:2/4
L:1/8
B:Thompson’s
Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)
Z:Transcribed
and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s
Companion
K:G
d2 BG|e2 d2|e/f/
g2 f|g2 G2|b2 ge|a2 fd|e/f/g fe|d2 D2:|
|:d2 D=F|ED E2|e2 EG|FE D2|E/F/G
F/G/A|G/A/B A/B/c|G/A/B DF|G2 G,2:||
AULD MAN'S MARE'S DEAD, THE. Scottish, English; Strathspey
("Slowish"). England, Northumberland. E Minor (Alburger, Emmerson,
Gow): A Minor (Johnson): A Dorian (Aird). Standard tuning. AB (Aird, Alburger,
Emmerson, Gow): AABB (Johnson). The composition is generally credited to one of
the first famous Scottish fiddlers, Patrick ('Patie') Birnie of Kinghorn (for
whom various dates have been given, including c. 1660-1730 and c. 1635-1721).
Ramsay introduced him as:
***
The
Famous Fiddler of Kinghorn,
Wha
alaid the stick out o’er the string,
With
sic an art,
Wha
sang sae sweetly to the Spring, [Ed.: Spring=tune, melody]
And
rais’d the heart.
***
An 18th century writer described Birnie as having a
face that mingled "cleverness, drollery, roguery and impudence,"
which has certainly been captured in the one portrait of him that still exists
(reproduced in Emmerson 1971), painted by William Aikman (1682-1731). For more
on Patie, who seems quite a character, see Alburger, pgs. 29-30. There are some
doubts, however, that the tune we now know by the “Auld Man’s Mare’s Dead”
title was Patie’s composition. The only attribution to him is from Alan Ramsay,
in his “Elegy on Patie Birnie” dated January 25th, 1721, and the
tune itself does not appear until Aird’s vol. II (1782), according to John Glen
(Early Scottish Melodies, 1900). The
song (without music) appears in The Scots
Nightingale (1779), where it is attributed to a “Mr. Watts” (by what
authority it is not known). James Dick (The
Songs of Robert Burns, 1903) concluded Birnie was not the author of the
song.
***
The title appears in Henry Robson's list of popular Northumbrian
song and dance tunes, which he wrote c. 1800, and it is song number 485 in
J. Johnson’s Scots Musical Museum,
the notes to which Stenhouse ascribes a date of 1660 to the song (although with
what evidence it is not known). Collinson (1966) says the wide intervals (10th
and 9th in the sixth and seventh bars) "points clearly to its fiddle
origin."
***
The auld man's meer's dead
The puir man's meer's dead
The puir man's meer's dead
***
She was cut luggit painch lippit
Chanler chafit, lang neckit
***
Source for notated version: Dr. John Turner, director
of the Jink and Diddle School of Scottish Fiddling, held yearly in Valle
Crucis, North Carolina [Johnson/2003]. Aird
(Selection of Scotch, English, Irish and
Foreign Airs), vol. II, 1782; No. 158, pg. 58. Alburger (Scottish Fiddlers and Their Music),
1983; Ex. 11, pg. 30. Emmerson (Rantin’
Pipe and Tremblin’ String), 1971; No. 57, pg. 148. Carlin (The Gow Collection), 1986; No. 6.
Johnson (The Kitchen Musician's No. 10:
Airs & Melodies of Scotland's Past), 1992 (revised 2001); pg. 12. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 1. Fiddletree F2580, John Turner ‑
"Fiddling Rogues and Rascals, vol. 1" (1981).
X:1
T:Auld Man’s Mare’s Dead, The
M:C
L:1/8
S:Aird, vol. II (1782)
Z:AK/Fiddler’s
Companion
K:Ador
z | EAA>B A2
g>f | d<B A>G G>AdG | cBcd e>fg>a | g<e g>B A2 A :|
g | a>bag
a>bae | g>ab>a ge d(g/a/) | b>age deg>a | g<e g>B A2 A :|
AULD
NOOST, THE. Shetland, Air. Whirlie Records
CD2, Aly Bain - "First Album" (1984).
AULD PEAT ROD, DA. Shetland, Jig. A Dorian. Standard tuning. AABB.
Composed by Tom Anderson (1974). Anderson (Ringing
Strings), 1983; pg. 25.
AULD
REEL, DA. See "Da Auld Foula
Reel."
AULD RESTIN' CHAIR, DA. Shetland, Air. B Minor. Standard tuning.
Composed by the late Shetland teacher, collector, composer and fiddler Tom
Anderson, in memory of his grandfather, who first taught him the instrument. Cottey Light Industries CLI-903, Dexter et al - "Over
the Water" (1993). GN1, Joe Thoma - "Up the Track: Traditional Music
from Kenmare." Green Linnet SIF-1051, Jackie Daly, Seamus & Manus
McGuire - "Buttons and Bows" (1984). Topic Records, Tom Anderson & Aly Bain - "The Silver Bow" (1976).
AULD ROAD TO TOWIE, THE. See
"Tigh Eachinn."
AULD ROB MORRIS.
AKA and see "Jock the
Laird’s Brother." Scottish, Slow Air (3/4 time). G Major. Standard
tuning. AABB. The tune first appears in the Leyden Manuscript (c. 1690)
and subsequently appeared in Orpheus Caledonius (1725) and other
manuscripts. It was frequently printed in 19th century Scottish
songsters. Under the title "Jock the Laird’s Brother” the
tune was printed in the Blaikie
Manuscript (1692). McGibbon (Scots
Tunes, Book 1), c. 1746; pg. 4.
X:2
T:Auld Rob Morris
M:3/4
L:1/8
R:Air
N:”Slow”
S:McGibbon – Scots
Tunes, Book 1 (c. 1746)
Z:AK/Fiddler’s
Companion
K:G
(G/A/B)
| G3ED2 | E2G2(ge) | “tr”d3B AG | A4 (G/A/B) | (G>A)(G>E) D2 | (E2G2)g2 |
(d>e)(d>B)(A>B)
| G4 :: c>B | A2A2(Bd) | e2e2g>a | (b/a/g) (a/g/e) g>B |
({B}A4)
“tr”(BA) | G>AG>E D2 | E2G2 (e/f/g) | (d>g)(B>g)(A>B) | G4 :|
AULD ROBIN GRAY [1]. Scottish, Slow Air (4/4 time). G Major
(Hunter): F Major (Neil). Standard. One part (Hunter): AB (Neil). The air which
superseded the older air was composed by Englishman Reverend William Leeves
(1748-1828), rector of Wrington in Somerset, to words composed by the Lady Anne
Barnard (nee Lindsay, 1750-1825, the eldest daughter of the 5th Earl of
Balcarres in Fife). The melody (which, while technically English in provenance,
is accepted as Scottish) was set to a song by Lady Barnard, who wrote her
lyrics to the favorite tune of one Suphy Johnson of Hilton. Suphy,
incidentally, became "one of the intelligent eccentrics of Edinburgh
society--the girl who, as an experiment, was left to educate herself, who
dressed in an oddly masculine manner, who practiced blacksmithing as a hobby,
and played the fiddle!" (Emmerson, 1971). Lady Barnard had the reputation
of being comely, quick witted, and vivacious and has been referred to as 'the
daughter of a hundred earls' (Neil, 1991). She married at the rather advanced
age of 43 to one Andrew Barnard, Bishop of Limerick, who died in 1807. Lady
Anne apparently preferred her work to remain anonymous and shunned publicity,
however, Neil (1991) tells the story that, on one occasion, she sang "Auld
Robin Gray" for Lady Jane Scott (the writer of the modern "Annie
Laurie"), who remarked "that she had sung it as if it were her own,
and if Lady Barnard would give her a copy, she would keep the secret"
(Neil, 1991). The following is the last verse of the song composed by Lady Anne
(who originally set the words to the Scottish tune "The Bridgroom Grat"):
***
I gang like a ghaist and I carena to spin,
I darena think o' Jamie, for that wad be a sin;
But I'll do my best a gude wife to be,
For auld Robin Gray is kind to me.
***
The
real Robin Grey was a shepherd on her father's estate of whom the children were
rather fond, but the tale related in the song seems to have been fashioned from
fantasy. It tells of a young woman, forced by poverty to wed an elderly man,
Auld Robin Grey, though she loves young Jamie. She is forced to endure a number
of travails, such as Jamie going off to sea, her father breaking his arm, her
mother sick, her marriage, but the final sorrow was supplied by Lady Anne's
younger sister, Elizabeth, who suggested "steal the cow, sister
Anne", and the verse was completed.
***
The
melody was a favorite piece de resistance of many Scottish fiddlers, including
J.S. Skinner in the latter 1800's, and fiddler Peter Milne (-1908), the
‘Tarland Minstrel’, who received a silver medal from Queen Victoria at Balmoral
for his rendering of “Auld Robin Gray.” A hornpipe setting was also recorded in
1910 by melodeon great Peter Wyper (paired with an untitled hornpipe now called
“Peter Wyper’s”). In America, the song was included in the music manuscript
copybook of Henry Livingston, Jr.
Livingston purchased the estate of Locust Grove, Poughkeepsie, New York,
in 1771 at the age of 23. In 1775 he was a Major in the 3rd New York
Regiment, which participated in Montgomery’s invasion of Canada in a failed
attempt to wrest Montreal from British control. An important land-owner in the
Hudson Valley, and a member of the powerful Livingston family, Henry was also a
surveyor and real estate speculator, an illustrator and map-maker, and a
Justice of the Peace for Dutchess County. He was also a poet and musician, and
presumably a dancer, as he was elected a Manager for the New York Assembly’s
dancing season of 1774-1775, along with his 3rd cousin, John Jay,
later U.S. Chief Justice of Governor of New York.
***
“Auld
Robin Gray” was the march past in slow time of the 99th Lanarkshire
Regiment. Through a series of amalgamations in the re-organizing of the British
army the Lanarkshire’s became The Duke of Edinburgh’s Regiment in 1874, the 2nd
Battalion The Wiltshire Regiment in 1881, the Duke of Edinburgh’s Royal
Regiment in 1959, and most recently the Royal Gloucester, Berkshire and
Wiltshire Regiment; through it all “Auld Robin Gray” has been retained [David
Murray, Music of the Scottish Regiments,
Edinburgh, 1994; pg. 210].
***
Davie's Caledonian Repository.
Hunter (Fiddle Music of Scotland),
1988; No. 8. Neil (The Scots Fiddle),
1991; No. 15, pg. 21.
X:1
T:Robin
Gray [1]
M:C
L:1/8
R:Air
S:Henry
Livingston’s manuscript copybook, late 18th century
Z:AK/Fiddler’s Companion
K:D
D |
F>GA>B A3A | B>G d>B BA zD | (F>G) A>B ({B}A2) G>F |
E>DG>F (F2E) D |
F>GA>B
{G}A3A | B>c d>F {A}G2 D>E | (F<A) (d>f) (g<e) (c>d) |
F>GE>F D2 z ||
AULD ROBIN GRAY [2]. Scottish, 'Guaracha' Waltz. G
Major. Standard tuning. One part. Kerr (Merry
Melodies), vol. 3; No. 315, pg. 34.
X:1
T:Auld
Robin Gray [2]
M:3/4
L:1/8
R:Waltz
S:Kerr
– Merry Melodies, vol. 3, No.
315 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
G2 |
(B4c2) | (d4e2) | e6 | d4d2 | (e4c2) | (g4e2) | (d6 | d4)G2 | (B4c2) | (d4e2) |
(e4d2)
| (c4B2) | (A4G2) | (c4B2) | B6 | A4G2 | (B4c2) | (d4e2) | e6 | d4d2 |
(e4f2)
| (g4B2) | d6 | (c4A2) | (B4d2) | (g4b2) | (c’4a2) | (f4g2) | B6 | A6 | (G6 |
G2) z2 :|
AULD SCOTCH SANGS, THE. Scottish. Beltona BL2135 (78
RPM), Edinburgh Highland Reel and Strathspey Society (1936).
AULD SNATWELL. Shetland, (Slow) Jig. G Major. Standard tuning
AABBCCDD. Perhaps a wedding tune. Anderson (Ringing
Strings), 1983; pg. 59. Great Meadow Music GMM 2002, Rodney Miller & David
Surette – “New Leaf” (2000).
AULD SPRINGS (TUNES) GEES NAE PRICE.
Scottish, Strathspey. G Major. Standard tuning. AAB. Spring is a Scots term for
tune. Carlin (The Gow Collection),
1986; No. 7. Gow (Complete Repository),
Part 2, 1802; pg. 11.
X:1
T:Auld
Springs Gees Nae Price
M:C
L:1/8
R:Strathspey
S:Gow
– 2nd Repository (1802)
Z:AK/Fiddler’s Companion
K:G
G2{G}g>e
(e/d/)c/B/ d2|GA/B/ gB A>GAB|G2 {f}g>e e/d/c/B/ d2|(g>a/2b/2) ag
e>deg:|
(gb)(eg)
de {c}B2|de/f/ gB A>GAB|gbeg de {c}B2|de/f/ gd e>deg|(gb)(eg) de/d/
(c<B)|
de/f/
gB A>GAB|G2{G}g>e (e/d/)c/B/ d2|(g>a/2b/2) ag e>deg||
AULD STEWART'S/STUART'S BACK AGAIN. AKA and see "Old Stewart's Back Again."
Scottish, Reel. D Mixolydian. Standard tuning. AB (Surenne): AAB (Gow,
Vickers): AABB' (Athole). According to John Glen the piece was first published
in Neil Stewart's 1761 collection (pg.
23), however, the tune appears to be popularly known somewhat earlier than
that, as evidenced by this excerpt from a letter written by Ralph Bigland in
1749 of an entertainment on the London stage (quoted by Emmerson, 1972):
***
I
have since I came here [London] been lately two or three times at the play
and
what invited me most was to see a new dance called the Scots Dance
consisting
of about 20 lads and lasses dress'd after the Highland fashion. The
scene
represents a very romantic, rocky, or mountainous country seemingly,
at
the most distant view you behold a glorious pair (which far surpass all the
other
actors) sitting among the rocks, while the rest are dancing below among
groves
of trees. Some are also representing with their wheels a spinning; all
the
while the music plays either Prince
Charlie's minuet or the Auld Stewarts
Back Again. At last descends from the mountains the glorious pair which to
appearance
is a prince and princess. Then all the actors retire on each side
while
the royal youth and his favourite dance so fine, in a word that the
whole
audience clap their hands for joy. Then in a moment the spinning
wheels
are thrown aside and every lad and lass join in the dance and jerk
it
away as quick as possible while the music briskly plays--Over the Water
to
Charlie, a bagpipe being in the band. In short it was so ravishing seemingly
to
the whole audience that the people to express their joy clap their hands in a
most
extraordinary manner indeed.
***
Carlin (The Gow Collection), 1986; No. 525. Gow (Complete Repository), Part 2, 1802; pg. 37. Seattle (William Vickers), 1987, Part 3; No.
516. Stewart-Robertson
(The Athole Collection), 1884; pg.
102. Surenne (Dance Music of Scotland),
1852; pg. 74.
X:1
T:Auld Stewart’s
Back Again, The
M:C|
L:1/8
R:Reel
B:Stewart-Robertson
– The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D
=c|BGAG
F>GA=c|BGAF BEE=c|BGAG F>GAg|fdec dDD:|
|:g|f>gaf gabg|f>gaf beeg|1
f>gaf gabg|fdec dDD:|2 fgaf gabg|faef dDD||
AULD STEWARTS OF FORTHERGILL. Scottish, Cape Breton; Reel. USA, New
Hampshire. C Major. Standard tuning. AAB. The melody has long been a favorite
among Cape Breton fiddlers. Source for notated version: Cape Breton style
fiddler Harvey Tolman (Nelson, New Hampshire) [Little]. Cranford (Jerry
Holland: The Second Collection), 2000; No. 71, pg. 29. Little (Scottish
and Cape Breton Fiddle Music in New Hampshire), 1984; pg. 2. Stewart-Robertson
(The Athole Collection), 1884.
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index |
X:1
T:Auld Stewarts
of Forthergill
M:C|
L:1/8
C:James
Stewart-Robertson
R:Reel
B:Stewart-Robertson
– The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:C
E|C2EG c2eg|agec
dAAc|C2EG c2eg|gede c/c/c ~c:|
g|agec dcAc|GcEc
Addg|agec dcAc|GEDE CC/C/ C3g|
agec dcAc|GcEc Adde|C2EG c2ea|gede c/c/c
~c||
AULD STOER'S BACK AGAIN, DA. Shetland, Reel. G Mixolydian.
Standard tuning. AAB. A 'stoer' was a copper coin. Anderson (Ringing Strings), 1983; pg. 53.
AULD STYLE’S AWA’, THE. Scottish, Air (4/4 time). A Major. Standard
tuning. AAB. Composed by James Scott Skinner. Skinner (Harp and Claymore Collection), 1904; pg. 13.
X:1
T:Auld
Style’s Awa’, The
M:C
L:1/8
R:Air
N:”Andante”
S:Skinner
– Harp and Claymore Collection (1904)
Z:AK/Fiddler’s Companion
K:A
A,2
(C>B,) A,/C/E/A/ c/e/a/z/ | ({G}A).E./.C/ .F.D/.B,/ E.C/.A,/ .D.B,/.G,/ | A2
(C>B,) .A,/.C/.E/.A/ .c/.e/.a/(C |1
D)CB,
(Ee)d c>(A A)z :|2 D)CB, (Ee) c>(A A)e || (eac’) (e’c’a) d’2c’2 | c’2b’2
(a>g) (f>e) | (eac’) (e’c’a) d’2c’2 |
(c’>b)
(a>g) (b2a) e | (eac’) (e’c’a) (f>d’) (e>c’) | (d>b) (c>a)
(6f/e/d/c/B/A/ (6G/F/E/D/C/B,/ |
(A,2
C>)B, (A,/C/E/A/ c/e/a/)(C/ | D)CB, Eed c>(A A2) ||
AULD
SWARRA. AKA
– "Da Auld Swarra Jupie." Shetland, Air ("Lament"). G
Major. Standard tuning. ABB’. The tune is a lament for fishermen who died in
the many disasters during the Haff Fishing in the 19th century, when men set
out in sixtereens, six-oared open fishing boats. "Superstition forbade any
man to be mentioned by name," explain Aly Bain and Tom Anderson, and
instead his clothes were lamented; as Purser (1992) says, "probably the
only thing he could have been identified by anyway." Swaara refers to the
thick woolen undergarment worn by fisherman of that time. Anderson states the
melody was played in the North Isles of Shetland for many years, but thinks it
might be a variant of a tune from outside the borders of the Islands. Anderson
prints Peter Fraser's version, which is "somewhat similar" to John
Stickle's published tune. Cooke (1986) says: "...The abrupt pitch changes
suggest Norse origins and the name 'Swarra' is Norse." Purser (1992)
states: "Its uneven phrases and rough-hewn shape are dignified at the same
time, and have echoes of the Norwegian style too." Sources for notated
versions: from the playing of "the late" Peter Fraser of Finnigarth,
Waas, Shetland [Anderson]; John Stickle (Shetland) [Purser]. Anderson, 1979 (Haand
Me Doon Da Fiddle).
Purser (Scotland’s Music), 1992; Ex.
5, pg. 231. Topic 12TS379, Aly Bain and Tom Anderson ‑
"Shetland Folk Fiddling, Vol. 2" (1978).
AULD TOUN/TOON O' AYR, THE. Scottish, Strathspey. D Major. Standard
tuning. AB (Hunter): AA'B (Kerr). Hunter (The Fiddle Music of Scotland),
1988; No. 88. Kerr (Merry Melodies),
vol. 2; No. 161, pg. 19. Stewart-Robertson
(The Athole Collection), 1884; pg.
111.
X:1
T:Auld Toun o’
Ayr, The
M:C|
L:1/8
R:Strathspey
B:Stewart-Robertson
– The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D
F|D<DF<A
d3c|B/A/B/c/ d>B A<F F>d|D<DF<A d3f|(3efg (3gfe d<B B>d|
D<DF<A
d3c|B/A/B/c/ d>B A<F F>A|B/A/B/c/ d>B A<F F>d|A<F F>D
~E2E:|
F|D>dF>d
A<F F>A|B/A/B/c/ d>B A<F F>d|D>dF>d A<F F>A|d>B
A<F ~E3F|
D>dF>d A<F F>A|B>AB>c
d3f|(3efg (3gfe d<B B>d|A<F F>D ~E2E||
AULD TOON O' EDINBURGH. AKA and see
"Lady Mary Ramsay."
AULD
WATTIE. AKA and see “Highland
Pibroch.” Scottish, Jig. A Minor. Standard. AABB. Kerr (Merry Melodies), vol. 3; No. 300, pg.
32.
X:1
T:Auld
Wattie
M:6/8
L:1/8
R:Jig
S:Kerr
– Merry Melodies, vol. 3, No. 300 (c.
1880’s)
Z:AK/Fiddler’s Companion
K:Amin
e3
ABd|e2d B2d|e2 ABd|BAG ABd|e3 ABd|e2d B2d|eeg ddg|BAG ABd:|
|:eAB
eAB|eAB e2d|eAB eAB|dBG ABd|eAB eAB|eAB e2d|egg dgg|BAG ABd:|
AULD
WHEEL, THE.
AKA and see "Mill O' Hirn,
Cathes." Scottish, Reel. D Major. Standard tuning. AB. Composed by J. Scott Skinner (1843-1927). Hunter notes it was one
of the "birling" reels which so pleased Scott Skinner. The birl is an
accent in Scottish music, much like a short drum roll. Hunter (Fiddle Music
of Scotland), 1988; No. 205. Skinner (The Scottish Violinist); pg.
7. MacDonald (The Skye Collection), 1887; pg. 67. Topic 12T280, J. Scott Skinner "The
Strathspey King.”
X:1
T:Auld
Wheel, The
M:C|
L:1/8
R:Reel
C:J.
Scott Skinner
Z:AK/Fiddler’s Companion
K:D
A|d/d/d
(AG FG).A.d|B/B/B (ed) cAAc|d/d/d (AF) GABd|cdec dDDA|d/d/d (AG FG).A.d|
B/B/B
(ed) cAAc|d/d/d (AF) GABg|fedc dDD||g|fDFA dfaf|eEGB efge|fDFA dfaf|
Efga
fddg|fDFA dfaf|eEGB efga|bagf edcB|AGFE DABc||
AULD WIFE AYOND/AHUNT THE FIRE, THE. AKA and see "Aald Wife Ahunt the Fire,"
"Old Wife Beyond the Fire,”
“Old Wife Behind the Fire,” “Set the old wife beyond the fire,” “Welcome Royal
Charlie.” Scottish, Reel, Slow Strathspey or Country Dance Tune (4/4 time);
Shetland, Reel. G Major (Barnes, Bremner,
***
The aald
wife behunt the fire,
The aald wife
behunt the fire,
The aald
wife behunt the fire,
She deed for
want of sneezing
She neether
deed for kale or salt
She deed for
a werrer fault
She
deed for want of sneezing.
***
Source for notated version: Neal’s c.
1726 collection [Barnes]. Barnes (English
Country Dance Tunes, vol. 2), 2005; pg. 97. Bremner (Scots Reels), c. 1757; pg. 90. Carlin (The Gow Collection),
1986; No. 8.
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:Auld
wife ayont the Fire, The
M:C|
L:1/8
R:Reel
S:Gow
– 1st Repository (1799)
Z:AK/Fiddler’s Companion
K:G
c|{c}B2
AG E/E/E cA|{c}B2 AG G/G/G gd|{c}B2 AG E/E/E (cA)|(B/c/d) A>B G2G:|
c|B(dd)e
c>dcB|Bddg (g/f/e/f/) g>d|B(dd>)e c>dcA|(B/c/d) (AB) G2
Gc|B(dd>)e c>dcA|
Bddg
(g/f/e/f/) g>d|B>cde c>dcA|B<d A>B {F}G3||
X:2
T:Auld
wife ayont the Fire
L:1/8
M:C
R:”Very
Slow” Strathspey
S:Gow
– 2nd Repository (1802)
Z:AK/Fiddler’s Companion
K:G
d|{c}B2
~A>G FGA{B}c|{c}B2 ~A>G Gg g>d|(cB) ~AG F>GAc|(B<d) A>B
{F}G2G:|
c|B>cde
~c>dcA|(Bc)de de/f/ gd|B>cde c>dcA|(B<d) A>B {F}G2 G>c|
B>cde
~c>dcA|B>c de/f/ (g/f/)g/a/ g>d|B>cde ~c>d cA|(B<d) A>B
G2G||
X:3
T:Old
Wife Beyond the Fire, The
M:C|
L:1/8
R:Reel
S:William
Vickers’ music manuscript collection, pg. 44 (Northumberland, 1770)
Z:AK/Fiddler’s Companion
K:G
c|B2
AG FAAc|B2 AG Bgec|B2 AG FAAc|dBcA G2c2:|
|:Bcde
fA c2|Bcde fd g2|Bcde fAcA|BgAF G2c2:|
AULD WIFE, AULD WIFE, WILL YOU GO A SHEARING? Northumbrian. Title appears in Henry
Robson's list of popular Northumbrian song and dance airs, which he wrote c.
1800.
AULD YOWE JUMPT O'ER THE TETHER. John French (1753‑1803) had a
set of this tune which so impressed the poet Robert Burns (who was always on
the lookout for good tunes to set his songs to) that he tried in 1793 (via the town
provost) to get copies of it (Alburger, 1983).
AUNT ADELE'S WALTZ. AKA and see "Valse a Tante Adele."
AUNT ALEEN'S WALTZ. AKA and see "Valse a Tante Aleen."
AUNT HAGAR’S BLUES.
Old-Time. The tune was recorded in
AUNT HILDA’S WALTZ. Canadian, Waltz.
AUNT
KATY. Old‑Time, Fiddle Tune. Appears in a list of
traditional
AUNT LUCY DEAL. Old‑Time, Fiddle Tune. Appears in a list of
traditional
AUNT MARY'S HORNPIPE.
Old‑Time, Breakdown.
AUNT MAY'S (MARY'S) CANADIAN JIG.
AUNT SUE’S SCHOTTISCHE . American, Schottische. D Major. Standard
tuning. AABB. Composed by
AUNTY/AUNTIE MARY. Irish, Jig. The Irish version of the
English "Joan's Plackett
(is Torn)" and the Scotch "Cock of the North [1]." The
tune is known as a fiddle/accordion tune in eastern
***
My Aunt Mary got a canary
Up the leg of her drawers...
AUNT ROSE’S REEL. Canadian, Reel.
AURE FRANCOISE. French, Valse (3/4 time).
AURETTI'S DUTCH SKIPPER. AKA and see "Dutch Skipper [2].” English, Jig. G Major (Johnson): B Flat
Major (Barnes, Thompson, Vickers). Standard tuning. AABB. The tune was first
published by David Rutherford in (Daniel) Wright’s Compleat Collection of celebrated country Dances, vol. 2 (
***
John
Gay used the tune as a vehicle for a song in his ballad opera Achilles.
The jig was entered into the music manuscript copybooks of London fiddlers
Walter Rainstorp (1747, Cheapside), and Thomas Hammersley (1790), as well as
Northumbrian musician William Vickers (1770). In recent times the melody can be
heard arranged by John Gale in the movie Emma
(1996). Source for notated version: William Vickers, about whom, unfortunately
nothing is known [
X:1
T:Auretti’s
Dutch Skipper
M:6/8
L:1/8
R:Jig
K:G
D|G>DG
BAG|AFD c3|BAG F/G/AF|GDB, G,2D|G>DG BAG|
AFD
ABc|BAG DGF|G3G2::D|G>Bd dBG|Ace e2D|
G>Bd
dBG|FAA A2D|G>Bd dBG|Agf g2c|B>AG DGF|GDB, G,2:|
X:2
T:Dutch
Skipper, The [2]
M:6/8
L:1/8
R:Jig
S:William
Vickers’ music manuscript collection (Northumberland, 1770)
K:Bb
F|BFB
dcB|cAF e3|dcB A/B/cA|BFD B,2D|BFB dcB|
cAF
cde|dcB FBA|(B3 B2)::F|Bdf fdB|ceg g2F|
Bdf
fdB|Acc c2F|Bdf fdB|cba b2e|dcB FBA|BFD B,2:||
X:3
T:Auretti’s
Dutch Skipper
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:Bb
F|BFB dcB|cAF e3|dcB (A/B/c)A|BFD
B,2F|BFB dcB|cAF cde|dcB FBA|(B3 B2):|
|:F|Bdf fdB|ceg g2F|Bdf fdB|Acc c2F|Bdf fdB|cba b2e|dcB FBA|BFD B,2:||
AURETTI'S MINUET. English, Minuet (3/4 time). D Major. Standard
tuning. AABB. The title commemorates Anne Auretti, one of the most
widely travelled ballerinas of the 18th century. She appeared with
her husband in Paris in the Opéra Comique in the 1750’s, with a mostly Italian
company that also performed in London and Vienna, however, she was a sensation
in England in the 1740’s after her appearance at Covent Garden in 1742. There
is an engraving of Auretti dancing in a glen, arms outstretched, c. 1745 by
Gerard Jean-Baptiste Scotin (born 1690). In London she was a member of David
Garrick’s company, and a number of melodies in period collections are
associated with her, including “Auretti’s
Dance” (Walsh’s Compleat Country
Dancing Master, Fourth Book, c. 1747, and Wright’s Compleat Collection of Celebrated Country Dances, vol. 2, c. 1742),
“Auretti’s Dutch Skipper” (Wright’s Compleat Collection of Celebrated Country
Dances, vol. 2, c. 1742; Walsh’s Compleat
Country Dancing Master, Fourth Book, c. 1747; Walsh’s Caledonian Country Dances, 4th ed., 1744); and
Thompson’s Collection of 200 Favourite Country Dances, vol. 1, c.
1780-90), and “Auretti’s Maggot”
(Walsh’s Compleat Country Dancing Master,
Fourth Book, c. 1747; Walsh’s Caledonian
Country Dances, 4th ed., 1744). Theatrical impresario Tate
Williamson, writing in his Memoirs of
1790, notes that at Drury Lane in 1747 Madam Auretti (“in serious style”) was
one of several “capital dancers” that season and was held in “great
estimation…Madame Auretti continued only the season following, when her benefit
was commanded by his Majesty George the Second.—Play, the Stratagem—Mr. Garrick acted Archer—After which she retired from the
stage…”
***
The
melody appears in a few American music manuscript books from the late 18th
century, such as those of George Bush and Henry Livingston, Jr. Livingston
purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the
age of 23. In 1775 he was a Major in the 3rd New York Regiment,
which participated in Montgomery’s invasion of Canada in a failed attempt to
wrest Montreal from British control. An important land-owner in the Hudson
Valley, and a member of the powerful Livingston family, Henry was also a
surveyor and real estate speculator, an illustrator and map-maker, and a
Justice of the Peace for Dutchess County. He was also a poet and musician, and
presumably a dancer, as he was elected a Manager for the New York Assembly’s
dancing season of 1774-1775, along with his 3rd cousin, John Jay,
later U.S. Chief Justice of Governor of New York. Source for notated version: the music manuscript of Captain George Bush
(1753?-1797), a fiddler and officer in the Continental Army during the
Revolutionary War [Keller]. Johnson (The
Kitchen Musician No. 14: Songs, Airs and Dances of the 18th Century),
1997; pg. 2. Keller (Fiddle Tunes from the American Revolution), 1992;
pg. 12.
X:1
T:Aurettie’s Minuet
M:3/4
L:1/8
R:Minuet
S:Henry
Livingston’s manuscript copybook, late 18th century
Z:AK/Fiddler’s Companion
K:D
{f/g/}a2g2f2 | e4d2 | cdefgf | e2 dcBA |
{f/g/}a2g2f2 | e4d2 | cdefgf | “tr”e6 :|
|:ceAcBd | ceAcBd | ceAcBd | c2 Bc A2 | fadfeg |
fadfeg | fadfeg |
f2ef d2 | b2 {e}^d2e2 | a2 {d}c2d2 | GBAGFE | D6 :|
AURORA WALTZ. Old‑Time,
Waltz. G Major. Standard tuning. ABB. Ford (Traditional
Music in America), 1940; pg. 145.
AUSTIN BARRET’S. AKA and see "The Blasket Sound Jig," "Dusty Windowsill," "Harding’s Jig," "Harland’s," "Johnny Harling’s," "The Howling Jig," “Tim Harding’s.” Irish, Jig. G Major.
Standard tuning. AABBCC. An alternate title for Chicago tin-whistle player
Johnny Harling’s “Dusty Windowsill.”
X:1
T:Austin Barret's
M:6/8
L:1/8
R:Jig
K:G
|:A2B cBA|eAB cBA|GFG EGG|DGG EFG| A2B
cBA|e2d efg|age dBG|ABAA3:|
|:a3age|dBdg3|gag gfe|dBA GFG| EGG
DGG|EGG ABc|Bed BAG|ABAA3:|
|:A3gAf|A3ged|G3eGd|G3edB|
A3gAf|A3efg|age dBG|ABAA3:|
AUSTIN BREAKDOWN.
AKA and see "Blue Mule."
Old-Time, Breakdown. The tune under this title is fiddler and guitarist Jess
Johnston’s name for the Ozark favourite “Blue Mule.” Johnston played with Roy
Harvey, sometimes calling themselves The West Virginia Ramblers.
AUSTIN TIERNEY'S (Ríl Aibhistin Uí Thiarnaigh). AKA and see "Farewell to Erin [1]," "The Cherry Tree [1]," "Down with the Tea Tacklings,"
"The Flags of Dublin," “The Flying Column [2].” Irish, Reel. D Major. Standard. AB. The tune
appears as "Maid in the
Cherry Tree [2]" in Bernard Flaherty’s "Trip to
AUSTIN WHITE’S.
Canadian, Jig. Canada, Cape Breton. A Major. Standard tuning. AA’BB. Composed
by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s),
1995; No. 201, pg. 58. Fiddlesticks cass., Jerry
Holland - "A Session with Jerry Holland" (1990). Fiddlesticks cass.,
Jerry Holland - “A Session with Jerry Holland” (1990).
Fiddlesticks cass., Jerry Holland - “Fathers and Sons” (1992).
AUSTRALIAN LADIES. Scottish, Pipe March (2/4 time). D
Major. Standard tuning. AABB'CCDD'. Composed by Pipe Major W. Ferguson. Martin
(Ceol na Fidhle),
vol. 1, 1991; pg. 25.
AUSTRALIAN WATERS. AKA and see “Dewdrops on the Corn,” “Vincent Campbell’s (Jig).” Irish,
Jig. D Mixolydian. The tune was originally recorded by Donegal fiddler Jimmy
Lyons on the album “The Donegal Fiddle,” and was subsequently recorded by the
group Altan and others. Larry Sanger says it is a popular jig in County
Donegal. Gael-Linn Records, Paddy Glackin &
Michael O Domnail – “Reprise.” Green Linnet Records, Matt Molloy & Sean
Keane – “Contentment is Wealth.”
AUTOCRAT HORNPIPE. Scottish, Hornpipe. Fiddler FRLP001, Tom Doucet (Nova Scotai/eastern Mass.) -
"The Down East Star" (Doucet learned the piece from a Beltone 78 RPM by a Scottish fiddler, Hiram Hosie, who
paired it with “The Recluse”).
AUTOGRAPH HORNPIPE. American, Hornpipe. B Flat Major.
Standard tuning. AABB (Cole): AABB’ (Cranford). “Can be used as a Clog” notes
Ryan’s. Perhaps the earliest recording is from 1904 by
violinist Charles D’Alamaine, born in 1871 in England, who died in 1943.
D’Alamaine immigrated to the United States in 1888, and by 1890 had established
himself as “instructor on violin” in Evanston, Illinois; by 1910 he had removed
to Yonkers, and in 1920 was a chiropractor in New York City (info. from Paul
Gifford). Source for notated
version: Winston Fitzgerald (Cape Breton) [Cranford]. Cole (1000 Fiddle
Tunes), 1940; pg. 98. Cranford (Winston Fitzgerald), 1997; pg. 4. Ryan’s Mammoth Connection, 1883; pg.
134. Rounder RO7023,
Natalie MacMaster - “No Boundaries” (1996. Learned from a recording of Winston
Fitzgerald).
X:1
T:Autograph
Hornpipe
M:C|
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:B_
F2 |
B>dc>B A>cB>A | Bd (f2 f>)FG>A | B>dc>B A>cB>A |
Bd(f2 f>)de>f |
(3g=fg
_e>g (3=f=ef d>f | (3_ede c>e (3dcd B>d | (3cBc (3dcB (3ABc (3FGA |
(3Bde
(3fga b2 :: c2 | c3A F>Ac>e | d>Bf>d (3bag (3fed | (3cdc (3ABA
F>Ac>e |
d>Bf>d
(3bag (3fed | g>ec>G (3EGB (3egb | f>dB>F (3DFA (3dfb |
g>ed>c
f>dc>A | B2[d2b2]B2 :|
AUTUMN
LEAF.
Canadian, Reel. Composed by New Brunswick fiddler Eddie Poirer. Atlantica Music 02 77657 50222 26, Eddie Poirer -
"Atlantic Fiddles" (1994). Caronda HP-004,
Eddie Poirer - “Eddie Poirer & Sons” (1990).
AUTUMN LEAVES, THE (Duilliúr an Fhómhair). AKA and see "The Merry Thatcher," "Miss Kelly’s Favourite,"
"The New Potatoes," "Old Tom," "Sally Grant," "Through the Heather." Irish,
Reel. E Dorian. Standard tuning. AB. Related to "Ginley’s Fancy," "Handsome Sally [1]," "The Man of the House," and “Paddy
Carthy’s Reel.” Breathnach (CRÉ IV),
1996; No. 132, pg. 65.
AUTUMN
SKY (Ciel d’automne). Canadian, Air. Composed by La
Bottine Souriante fiddle player André Brunet. La Bottine
Souriante – “Rock and Reel.”
AUTUMN WALTZ [1].
American, Waltz. USA, Massachusetts. A Major. Standard tuning. ABB. Composed in
1981 by Massachusetts musician Dave Kaynor for the wedding of Michael and Karen
McKernan, a year before Karen's death. Says Kaynor: "I've played this
waltz for her ever since." Matthiesen (The Waltz Book), 1992; pg. 15. Front Hall Records, "Fourgone Conclusions."
AUTUMN WALTZ [2]. American, Waltz. G Major ('A' part) & D Major
('B' part). Standard tuning. AA'AA'B. Source for notated version: Stuart
Williams and Bob Fast [Phillips]. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 239.
AUTUMN WOODS (Coillte an Fogmair). Irish, Hornpipe. G Major. Standard
tuning. AABB. O'Neill (Krassen), 1976; pg. 199. O'Neill (Music of Ireland:
1850 Melodies), 1903/1979;
No. 1709, pg. 318. O'Neill (Dance Music
of Ireland: 1001 Gems), 1986; No. 900, pg. 154.
X:1
T:Autumn
Woods
M:C|
L:1/8
R:Hornpipe
S:O’Neill
– Dance Music of Ireland: 1001 Gems
(1909), No, 900
Z:AK/Fiddler’s Companion
K:G
Bc|dedc
BcBA|GFGD EDB,D|cBce dBgB|AGAB A2 Bc|
dedc
BcBA|GFGD EDB,D|Ggfe dcBA|G2G2G2:|
|:cB|ABAG
FGAB|cBce defg|afge fdec|dcde dcBc|dcBd cBAc|
BAGF
GABc|dgfe dcBA|G2G2G2:|
AVALANCHE.
Bluegrass, Breakdown. G Major. Standard tuning. AA'BB'CC'DD'EE'. Composed by
bluegrass fiddler Vasser Clements. Related to "Paddy on the Turnpike."
Brody (Fiddler’s Fakebook), 1983; pg.
28‑29.
AVALANCHE (Lancashire) CLOG). American, Clog.
A Major. Standard tuning. AABB. Composed by F.A. Morrison. Al Smitley suggests
it is possible the tune may have been named for the clipper ship Avalanche, a name that appears in American Clipper Ships 1833-1858 by Howe
and Matthews. Cole (1000 Fiddle Tunes),
1940; pg. 119. Ryan’s Mammoth Collection,
1883; pg. 158.
X:1
T:Avalanche
M:C
L:1/8
R:Clog
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:A
(C>.A)(E>.c)
A>EC>E | D>FA>d A3E | C>AE>c A>EC>E | F>dc>B
A>GF>E |
C>AE>c
A>EC>E | D>A>F>d A3E | E>cA>c E>AC>E | E>GB>G
A2 z2 :|
|:
(B>.c)(B>.G) E>GB>e | c>ec>B A>ce>c | B>cB>G
E>FG>E | F>B^A>c B>F^DB. |
B>cB>G
E>GB>e | c>ec>B A>ce>c | B>eG>e B>^df>d | e2g2e2
z2 :|
AVALON QUICKSTEP.
AKA and see "New Charleston No. 1."
Old-Time, Breakdown. USA, Mississippi. D Major. Standard or ADae tunings. AABB
(irregular). The melody was first recorded in 1929 by W.T. (Willie) Namour and
S.W. Smith, Mississippi musicians, and named for the town of Avalon,
Mississippi (the name Avalon is the mythological isle to which King Arthur was
borne after his death). The Avalon area was home to a number of influential
musicians, including blues guitarist John Hurt and the string band the
Mississippi Possum Hunters, who all knew each other (Narmour and Smith helped
Hurt to get signed with the OKeh Records). Apparently, the town was so obscure
by the latter part of the 20th century that it could only be located
with the help of old maps. The alternate title was an attempt by them to cash
in on the Charleston dance craze of the 1920's. The 'B' part has ten measures
instead of the usual eight. Sources for notated versions: Arm and Hammer String
Band (Vermont) [Brody], W.T. Narmour (Miss.) [Phillips]. Brody (Fiddler’s
Fakebook), 1983; pg. 30. Phillips (Traditional American Fiddle Tunes),
vol. 2, 1995; pg. 16. County 528, Namour and Smith-
"Traditional Fiddle Music of
AVIMORE.
Scottish, Strathspey. A Major. Standard tuning. AAB. Composed by Joseph Lowe.
MacDonald (The Skye Collection),
1887; pg. 21.
X:1
T:Avimore
M:C
L:1/8
R:Strathspey
S:MacDonald
– Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:A
e |
c>A c/d/e f>d e<c | B>=gd>g B<G G>B | c>A c/d/e
f>de>c | e>agb aAA :|
g |
a>e c<A c<e a>f | =g>fg>d B<G G>B | e<a g/a/b a2 eg
| a>f e<d c<A A>g |
a>e
c<A c<e a>f | =g>fg>d B<G G>B | (3a=gf (3gfe (3fed (3edc |
d>c B<e cAA ||
AVON BREAKDOWN, THE. Canadian, Breakdown. G Major. Standard tuning. AABB.
Messer (Anthology of Favorite Fiddle
Tunes), 1980; No. 11, pg. 12.
AVONDALE, THE. AKA
and see "Flaherty's Hornpipe,"
"A New College Hornpipe."
AVONMORE, THE (Abainn-mor). AKA and see “Blackwater,” "Blackwater Foot," "The Banks of Avonmore." Irish,
Reel. G Major. Standard tuning. The name Avonmore means ‘great river’ (as
opposed to the nearby Avonbeg, or ‘little river’). AB (O'Neill/1850 &
1001): AABB (O'Neill/Krassen). O'Neill (Krassen), 1976; pg. 94. O'Neill
(Music of Ireland: 1850 Melodies),
1903/1979; No. 1189, pg. 224. O'Neill (Dance
Music of Ireland: 1001 Gems), 1907/1986; No. 468, pg. 90. Ryan’s Mammoth Collection, 1883; pg. 39.
X:1
T:Avonmore,
The
M:C|
L:1/8
R:Reel
S:O’Neill
– Dance Music of Ireland: 1001 Gems
(1907), No. 468
Z:AK/Fiddler’s Companion
K:G
Dc|BG
(3GGG G2G2|BGBd gdec|BG (3GGG G2 cB|AGFG ABcA|
BG
(3GGG G2G2|BGBd g2 fg|afge fdec|AGFG ABcA||Bd (3ddd d2 dc|
BGBd
gdec|Be (3ddd d2 cB|AGFG ABcA|Bd (3ddd d2 dc|BGBd g2 fg|
afge
fdec|AGFG ABcA||
AWA’ WHIGS AWA’.
Scottish, Air. The tune was played by a Highland piper in Claverhouse’s army at
the Battle of Bothwell Bridge in an attempt to rally his fellow troops. In brave Highland style he paraded along the
banks of the Clyde until he finally fell in the river mortally wounded and
drowned.
AWAY AND OVER. Irish. Ireland, County Donegal. According to Larry
Sanger, this is a version of the tune also known as “Bill Harte’s.” Duval &
Jones (A Dossan of Heather: Irish
traditional music from Packie Manus Byrne of Donegal for tin whistle, fiddle or
flute), 2000.
AWAY
BACK.
Canadian, Reel. A Major. Standard tuning. AABB. The 'A' part is shared with
"The Saratoga Hornpipe,"
"Old Time (Clog) [1],"
and "Kitty O'Neil."
Messer (Way Down East), 1948; No. 8.
Messer (Anthology of Favorite Fiddle
Tunes), 1980; No. 28, pg. 27.
X:1
T:Away Back
M:2/4
L:1/16
Z:Transcribed
by Bruce Osborne
K:A
(3efg|a2g2
a2e2|fedf ecAc|B2^A2 B2E2|EGBc Aceg|
a2g2
a2e2|fedf ecAc|B2^A2 B2E2|EGBc A2:|
|:(3dcB
|A2a2 A2a2|fedf ecAc|E2e2 E2e2|ABcd edcB|
A2a2 A2a2|fedf
ecAc|E2e2 E2e2|gefg a2:|
AWAY MY GALLANT PAGE. American, “Gallopede Waltz”
(2/4 time). C Major. Standard tuning. One part. From the music manuscripts of
Setauket, Long Island, painter and fiddler William Sidney Mount, on a page
dated 1840.
X:1
T:Away my
gallant page
M:2/4
L:1/8
R:”A Gallopade
(sic) Waltz”
S:William Sidney
Mount manuscripts; page dated 1840.
Z:AK/Fiddler’s Companion
K:C
G | Gfed | cEGc
| BdGB | c2 zG | Gfed | ceGc | Bgfd | c2 zc |
GDFB | cEGc | GDFB
| c2 zG | Gfed | cEGc | BdGB | c2 zG |
(3GGG AG | GGAG | Gc G/>c/e | d2
zG | (3GGG AG | GG cG/c/ | ec/e/ g>B | c2 z2 ||
AWAY TO THE BOGS. AKA and see “The
Boys of Thomastown,” "Buachaillí Bhaile Mhic Anndáin," "The Caffler's Courtship."
Irish, Jig. The tune appears under this title in the Collection of Traditional Irish Dance Music by P.J. Giblin (Dublin,
1928). See also the related “Angry Peeler.”
AWAY WITH MELANCHOLY. Scottish, Country Dance (2/4 time).
G Major. Standard tuning. AABB. Kerr (Merry
Melodies), vol. 3; No. 392, pg. 43.
X:1
T:Away
with Melancholy
M:2/4
L:1/8
R:Country
Dance
S:Kerr
– Merry Melodies, vol. 3, No.
392 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
(d/c)|BBBB|dc
zc/B/|AAAA|cB zB/c/|dddd|c>dec|B/B/B A/A/A|GBG:|
|:(c/B/)|AAAA|cB
zB|cccc|cB zB/c/|dddd|e>fgc|B/B/B A/A/A|GBG:|
AWAYS MY HEART THAT WE MUN SUNDER. Scottish. One of the tunes
published in Henry Playford's 1700 collection of Scottish tunes.
AXTON SHOTTISH. Old-Time. Flying Cloud
FC-023, Kirk Sutphin - "Fiddlin' Around."
AXUM REEL.
Scottish. An colloquial name on North Ronaldshay in the Orkney Islands for the Scottish
'Eightsome' Reel, which contains the most intricate traveling figure of all
Scottish Reels (Flett, 1964).
AYE, MARRY, AND THANK YE TOO. English, Air (6/8 time). E Minor.
Standard tuning. One part. This air appears in Youth's Delight on the Flagelet
(1697) and the ballad operas "Silvia" (1731), and Robin Hood
(1730). Chappell could find nothing of the original ballad (the title was the
burden), except the first line: "I live in the town of Lynn", though
a variation appeared in the 1707 edition of Pills to purge Melacholy.
Several other ballads were sung to the tune, including "'The May Morning
Ramble' or 'Robin and Kate' (Pepys Collection), "'Nells Humble
Petition' or 'The Maiden's kink and courteous Courtship to honest John the
Joyner, whose love she earnestly desired'" (Pepys Collection),
"'The London Lass's Lamentation' or "Her fear she should never be
married'" (Roxburghe Collection/
Evans Collection). Chappell (Popular
Music of the Olden Times), vol. 2, 1859; pg. 70.
X:1
T:Aye,
Marry, and Thank Ye Too
M:6/8
L:1/8
S:Chappell
– Popular Music of the Olden Times (1859)
Z:AK/Fiddler’s Companion
K:E
Minor
B,|EFG
AGF|(E3 E2)A|Bed c2A|(B3 B2)A|Bed c2B|AGF ^D3|G3 EcB|AGF E2||
AY(E) ME. AKA - "The Simphony" [sic]. English, Country
Dance Tune (cut time). C Major. Standard tuning. ABB (Sharp): AABB (Kidson,
Raven). A "longways for eight" dance tune first published in
Playford's English Dancing Master of 1651 and later editions. Apparently
not much more is known about the tune. The great 19th century English collector
Chappell is silent about it and Kidson could find no references to it, though
he supposed it to be the tune to "some plaintive ditty of the 17th
century." Kidson (Old English Country Dances), 1890; pg. 1. Raven (English
Country Dance Tunes), 1984; pg. 44. Sharp (Country Dance Tunes), 1994;
pg. 45.
X:1
T:Aye
Me
T:Symphony,
The
M:2/2
L:1/8
S:Sharp
– Country Dance Tunes (1909)
Z:AK/Fiddler’s Companion
K:C
g4
e4|d2 BA G2 AB|c2c2 d2d2|e6 ee|e2 fg a2 cc|c2 de f2 AA|BF e2 d3c|c6 z2:|
|:A2
AB c2 Bc|d2 G2 G2 ee|e2 de fged|d6 gg|a2 ee f2 ^ff|g2 dc B2 gg|a2 e2 d3 c|c6
z2:|
AYR
RACES. AKA – “Air Races.” Scottish, Jig. D Major. Standard tuning.
AABB. One of the few enduring compositions by Niel Gow's youngest son, John Gow
(1764-1826). He was named for Niel’s father, John, a plaid weaver. John went to London in 1788 and established a
publishing and music-selling firm with his brother Andrew. They were the English distributor for
Nathaniel Gow’s publications. Racing at Ayr, Ayrshire, on the Firth of Clyde,
appears to have taken place as early as the 16th century, however,
the first official meeting of the Racing Calendar took place in 1777. A special
race, the Ayr Gold Cup was instituted in the early 19th century, and
won on the first two occasions by Chancellor, in 1804 and 1805. The racecourse
is still the premier course in Scotland. The popularity of the venue drew musicians
to help entertain at pre- and post- event festivities, sometimes days in
advance, and even at the race itself. The following was noted for September,
1805, at the Ayr races:
***
The company in the race stand were entertained by the
celebrated Murphy, Lord
Elginton’s Piper with many favourite airs on the Irish
bagpipe in his best style.
***
A few
years later, in 1809, Murphy published A
Collection of Irish Airs and Jiggs with Variations by John Murphy, performer on
the Union Pipes at Eglinton Castle.
His obituary in 1818 gave: “Mr. John Murphy long celebrated as an
eminent professor of the Union pipes. A man steady in friendship and of sound
integrity. His loss will be long felt by the admirers of Scots and Irish music”
(Edinburgh Evening Courant, Thurs. 15
Oct., 1818,). [Quotations from Brian McCandless, “Historical Links among
Pastoral, Union and Uillean Bagpipes,” 2005].
***
Carlin
(The Gow Collection), 1986; No. 319.
Gow (The First Collection of Niel Gow’s
Reels), 1784 (revised 1801); pg. 33 (appears as “Air Races”).
See also listing at: Jane Keefer’s Folk Music
Index: An Index to Recorded Sources
|
X:1
T:Ayr
Races
M:6/8
L:1/8
R:Jig
S:Gow
– First Collection of Niel Gow’s Reels
(1784, revised 1801)
Z:AK/Fiddler’s Companion
K:D
(A/4B/4c/)|~d>cB
AFA|(DF).A (AF).D|EFA “tr”B2 (A/4B/4c/)|{Bc}d>cB AFA|(DF).A (AF).D|
(GB).G
(FA).F|EFA “tr”B2::(A/4B/4c/)|~d2(a a)fd|~c2(e e)cA|d2(a a)fd|
AFA
“tr”B2A|d2(a a)fd|~c2(e e)cA|{Bc}d>cB AFD|(EF).A “tr”B2:|
AYRE. English, Country Dance Tune (cut time). C
Major. Standard tuning. AABB. Composed in 1680 by Jeremiah Clarke (1674-1707). Clarke
was a younger contemporary of English composer Henry Purcell. He died at age
32, shooting himself over a hopeless love affair with a pupil of high rank.
Clarke began as a boy chorister and rose to membership in the Gentleman of the
Chapel Royal (musicians to the King), and, like Purcell, he was a cathedral
organist. Barnes (English Country Dance
Tunes, vol. 2), 2005; pg. 27.
AYRSHIRE LASSIE [1], THE. Scottish, Reel. G Major. Standard
tuning. AB. From Scots fifer David P. Henderson. Source for notated version:
Hiram Clinton Horner (
AYRSHIRE LASSES [2]. Scottish, Strathspey. C Major. Standard
tuning. AB (Surenne): AAB (most versions). Composed by Hugh Montgomerie
(1739-1819), the twelfth Earl of Eglinton. He was a Scottish peer,
politician, musician and composer, and was a member of Parliament for Ayrshire
for 16 years, after which, in 1796, he became Lord-Lieutenant for Ayrshire. Mongomerie
was one of the backers of the partially built Glasgow, Paisley and Ardrossan
Canal, which facilitated shipping to the Scottish interior. Montgomerie fought
in the American wars of the latter 18th century and was had a reputation for
being a fine cellist and fiddler, and an exponent of the national music
(Emmerson, 1971). As MP he would have wanted to promote Ayrshire, and so added yet another tune title extolling
the "beauties" of one region or another. Perhaps there was some merit
to this particular affection, however, for Robert Burns mentioned the
town of
***
(Auld Ayr, wham ne'er a town surpasses
For honest men and bonny lasses.)
***
Gow (Complete Repository), Part 4, 1817; pg.
31. Kerr (Merry Melodies), vol. 2;
No. 74, pg. 11. MacDonald (The Skye
Collection), 1887; pg. 112. Stewart-Robertson
(The Athole Collection), 1884.
Surenne (Dance Music of
X:1
T:Ayrshire
Lasses
M:C|
L:1/8
R:Strathspey
B:Stewart-Robertson
– The Athole Collection (1884)
K:C
c | G<c
E>c d>c d<e | c<c e>d c<A A>c | G>cE>c d>c d<e
| c>A G<c E<CC :|
f | g>ec>g
e<g c>g | f>ec>g d<D D>f | gece d<f e>d | c<AG>F
E<C C>f |
g>e c<g
e<g c>g | g>ec>g d<D De/f/ | g>ef>d e>cd>B | c<A
G>c E<CC ||
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