The Fiddler’s
Companion
© 1996-2008 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] |
COM SEAN LEIS NA
CNOCAIB. AKA and see "Old as the Hills."
COMA
LEAM FEIN A' MINISTEAR. AKA and see "What Care I for the Minister?"
COMACD'S TUILE LE DO UILLEANN. AKA and see "More Power to Your Elbow."
COMB YOUR HAIR AND
CURL IT (Cior Do Gruaig Agus
Case E). AKA
and see “Coleman’s (Slip Jig)
[2],” “Mount the Hair and
Curl it.” Irish, Slip Jig. E Minor. Standard tuning. AB
(O'Neill): AAB (Tubridy): AABB (Miller & Perron, Williamson). The melody
was recorded by famed
|
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Comb Your
Hair and Curl It
M:9/8
L:1/8
R:Slip Jig
Z:AK/Fiddler’s
Companion
K:E Dorian
B2E E2F G2A|B2e eBe dBA|B2E E2F G2A|BcB
A2G FED:|
g2e efe e2f|g3 efg afd|g2e efe e2c|d2B
ABG FED|
g2e efe e2f|g3 efg afd|g3 afd g2e|d2B
ABG FED||
COMBINATION RAG. Old‑Time, Country Rag.
Fashioned by the East Texas Serenaders from bits of other rag
tunes. Recorded by Serenaders fiddler Daniel Wiliams
for
COMBINED EFFORT. Canadian, Jig.
COMBS, THE. See notes for "The Kitchen Comb," "Jacksons' Combs."
COME AGEN YE'RE
WELCOME. AKA and see "You're Welcome Charlie Stewart."
Shetland, Shetland Reel. Shetland, Unst. G Major. Standard tuning. AA'BB'.
Source for notated version: J.J. Stickle (Shetland) [Anderson & Georgeson].
Anderson & Georgeson (Da Mirrie
Dancers), 1970; pg. 23. Topic 12TS379,
"Shetland Folk Fiddling, vol. 2" (1978).
COME ALL YE FAIR
MAIDENS. Irish, Air (6/8 time). G Major.
Standard tuning. One part. O’Neill (1913) points out this is an example of the
class of tunes facetiously termed “Come, all ye...” on account of the
comparatively large number of songs which began with those words in British
Isles tradition. Source for notated version: "Ned Goggin the professional
fiddler of Glenosheen Co. Limerick (1844 to 1850)" {Joyce}.
***
Come all ye fair maidens, take warning by me,
And never look up to the top of a tree;
For the leaves they will wither and the roots they will die;
And my love has forsak'n me, and sorry am I,
My dear, and sorry am
***
Joyce (Old Irish Folk Music and Song), 1909; No. 167, pg. 84.
COME ALL YOU GOOD
FELLOWS. AKA and see "Bounce Upon Bess," “Kissing and Drinking," "Larry O Lashem," "Paddy's Trip from Dublin,"
"The Parson in/on his Boots,"
"The Priest and/in his
Boots [1],” "Sagart na mBuataisi," “There are sounds of mirth,"
"The Tivoli."
COME ALL YOU MAIDS
WHERE’ER YOU BE. Irish, Air (4/4 time). A Minor.
Standard tuning. One part. Source for notated version: “From (the Irish
collector) Mr. Joyce” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 456, pg. 115.
X:1
T:Come all you maids where’er you be
M:C
L:1/8
N:”Andante”
S:Stanford/Petrie (1905), No. 456
Z:AK/Fiddler’s Companion
K:A Minor
cB | A2E2 GE DE | G2G2G2 cd |
e2e2d2e2 | c4 E2 cd | e2e2d2e2 |
A2 AG E2 DE | G2G2G2 AB | c4 B2 cB |
A2 AG ED E^G | A4 z ||
COME
ALL Y’UNITED IRISHMEN, AND LISTEN UNTO ME [1]. Irish, Air (6/8 time). G Minor. Standard tuning. One part. The United
Irishmen led the rising of 1798. Source for notated version: “(The Irish
collector) Mr. Joyce, from Joseph Martin and Peggy Cudmore” [Stanford/Petrie].
Stanford/Petrie (Complete Collection),
1905; No. 463, pg. 117.
X:1
T:Come all y’united-Irishmen, and
listen unto me [1]
M:6/8
L:1/8
R:Air
N:”Allegretto”
S:Stanford/Petrie (1905), No. 463
Z:AK/Fiddler’s Companion
K:G Minor
d/c/ | B2G A2F | G2F D2C | D=EF G2G
| G3 G2F | G2G B2c | d2c f2d |
c2A F2A | (B3B2)A | G2G B2c | d2c
f2d | c2A FGA | (B3B2) d/c/ |
B2G A2F | G2F D2C | DEF G2G | G3 G2
||
COME ALL
UNITED IRISHMEN AND LISTEN UNTO ME [2]. Irish, Air (4/4 time). F
Mixolydian. Standard tuning. AB. Source for notated version: “Set by Mr. Joyce
from Joseph Martin” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 464, pg. 117.
X:1
T:Come all united Irishmen and
listen unto me [2]
M:C
L:1/8
R:Air
N:”Con spirito”
S:Stanford/Petrie (1905), No. 463
Z:AK/Fiddler’s Companion
K:F
c>B | A2A2 AG FA | c2c2 _e>d
c=e | f2A2 A>G FA | B4 c2 c>B | A2A2 A>G FA |
c3 d _e>d ce | d>c AF G3F |
(F4 F2) || cd | _e>d c/A/G A2 cd | _e d/c/A f2A2 |
~B4 {c/d/}c2 c>B | A2A2 A>G FA
| c3 d _ed ce | dc AF {A}G3F | F4 F2 ||
COME AGAIN YOU'RE
WELCOME. AKA and see "Come Agen Ye're Welcome."
COME ALONG AND KEEP
YOUR PROMISE (Teann a nall is cum
do ghealladh).
Scottish, Strathspey. C Minor. Standard tuning. AB. This tune "is an air
to which the editor has heard his father sing several good verses, but is
infinitely better as a dancing tune, and forms an exquisite medley with No. 145
("I'll Kiss the Bonny
Lassie, Oh!"), which follows it" (Fraser). The title perhaps
references a promise to “come out” for the 1745 rebellion. Fraser
(The Airs and Melodies Peculiar to the
X:1
T:Come Along and Keep Your Promise
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:E_
e|B<G G>F E/F/G/A/ B>G|B<G G>F G<B c2|B<G G>F E/F/G/A/ B>F|
G<c e>c d>^B c2|B<G G>F E/F/G/A/ B<G|B<G G>F G<B c2|B<G G>F E/F/G/A/ B>A|
G>FE>g f>d c||g|e>g f<d g<c B<G|e<gf<d b<d c2|e>g f<d g<c B<G|B<G G>F G>=B c2|
e>g f<d g<c B>G|e<gf<d b<d c2|g<bf<g e>cB>A|G>F E<g f>d c2||
COME ALONG JOHN. AKA
and see “Johnny
Walk Along with Your Paper Collar On,” “Walk Along John [1].” American, Breakdown.
X:1
T:Come Along John
M:2/4
L:1/8
S: Viola “Mom” Ruth – Pioneer Western Folk Tunes (1948)
Z:AK/Fiddler’s Companion
K:G
D|:G>GAd|B/d/A/d/ B/GD/|G>GAd|B/G/A/F/ G>D:|
e2{(f/)e2)|f/e/d/f/ e/d/B/A/|d<d f/ed/|B/G/A/F/ Gd|
e2{(f/)e2)|g/f/e/g/
f/e/d/B/|d<e f/ed/|B/G/A/F/ G2||
COME ALONG WITH ME [1] (Tar Liomsa). Irish, Air (2/4 time, "with force").
G Major. Standard tuning. AB. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 343, pg. 59.
X:1
T:Come Along with Me [1]
M:2/4
L:1/8
R:Air
S:”With force”
S:O’Neill –
Music of
Z:AK/Fiddler’s Companion
K:G
D|G2 A>F|G2 A>c|d2 c>A|G>F
D>F|G2 A>F|G2 (3ABc|d2 e>c|(d2d)||B/c/|
d2 f>d|G2 d>c|B2 c>A|G>F
D>F|G2 A>F|G2 (3ABc|d2 c>A|(G2 G2)||
COME ALONG WITH ME [2]. AKA and see "Fahy's Jig [1],”
“The Green Forest." Irish, Double
Jig. G Major. Standard tuning. AABB. A version was printed in Martin
Mulvihill’s collection as “The Green Forest.” Source for notated version:
accordion player Finbar Dwyer [Breathnach]. Breathnach (CRÉ III), 1985; No. 24, pg. 12. O'Neill (Dance Music of
X:1
T:Come Along with Me [2]
M:6/8
L:1/8
R:Jig
S:O’Neill –
Dance Music of
Z:AK/Fiddler’s Companion
K:G
g|dBG GFG|GBd efg|dBG GBd|ecA ABc|dBG
EFG|DGB ABc|dec BcA|BGG G2:|
|:B|gfg GBd|gbg afd|gfg GBd|ecA
A2d|gfe ded|cBc ABc|dec BcA|BGG G2:|
COME ASHORE. See "Come
Ashore, Jolly Tar, with Your Trousers/Trowsers On."
COME
ASHORE, JOLLY TAR, WITH YOUR TROUSERS/TROWSERS ON. AKA and see "The Cuckoo," "Cuckoo's Nest [14]," "Come Ashore," "The Trousers On," "Jacky Tar," "An Spealadoir," "The Reaper," "I do confess thou art sae
fair." Scottish, Reel. E Minor: D Minor (Kidson). Standard tuning. AB:
AABBCC (Kidson). A large tune family that includes versions
well-known under the “Cuckoo” or “Cuckoo’s Nest” titles. The tune was
published twice by late 18th century
***
The melody also appears in a
numerous British musicians’ music manuscript copybooks, including those of
Lawrence Leadley (Helperby, Yorkshire, c. 1840’s), George Spencer (Leeds, West Yorkshire,
1831), John Clare (Helpstone, Northants, c. 1820), William Vickers
(Northumberland, 1770), James Winder (Wyresdale, Lancashire, 1835), John Fife
(Perthshire, Scotland, c.1780), and the Rev. Robert Harrison (Brampton,
Cumbria, 1820). It does not appear to have been exported to
X:
1
T:Come Ashore Jolly Tar with your Trousers On
T:Jacky Tar
T:Cuckoo’s
Nest
M:4/4
L:1/8
C:As played by John Adams
S:18th C London Stage Hornpipe
A:England
H:18th C London Stage Hornpipe
Z:John Adams
K:G
BA | GFGE g2 fe | dBGB d2 cB | AGFE D2 d^c | d2 A2 A2 BA | GFGE g2 fe
| dBGB d2 cB | AGFE DEFA |1G2 E2 E2:|2 G2 E2 E4||: e2 ef g2 fe | d2 B2
B3 B | ABde faef | d2 A2 A2 Bd | e2 ef g2 fe | dBGB d2 cB | AGFE DEFA
|1 G 2 E2 E4 :|2 G2E2 E2 GA |: BGEG BAGF | E6 FG| AFDF AFDF | AGFE D2
EF | GF GE g2 fe | dBGB d2 cB | AGFE DEFA |1G2 E2 E2 EG :|2 G2 E2 E2 ||
X:2
T:Come Ashore, Jolly Tar, Your Trousers On
M:C
L:1/8
R:Hornpipe
S:Frank Kidson – Old English Country Dances (1890)
Z:AK/Fiddler’s Companion
K:F
AG|FEFD f2 ed|cAFA c2 BA|GFED C2 cB|c2 G4 AG|
FEFD f2 ed|cAFA c2 BA|GFED C2 EG|F2D2D2:|
|:Ac|d2e2f2
ed|c2A2 A3c|GAcd egde|c2G2G2 AG|
FEFD f2 ed|cAFD c2 BA|GFED C2 EG|F2D2D2:|
|:FG|AFDF AGFE|D4 z2 EF|GECE cEDE|GFED C2 Ac|
dcde f2 ed|cAFA c2 BA|GFED C2 EG|F2D2D2:|
COME AWA' IN. Shetland, Reel. G Major. Standard tuning. AABB. Composed by Shetland
fiddler, composer, teacher and collector Tom Anderson (1980).
COME BACK BOYS, LETS FEED THE
HORSES. Old-Time, Breadown. A Major. AEae tuning. Kerry Blech sees some
possible similarity to Edn Hammons’ “Let's
Hunt the Horses.” The tune is known as a
COME BACK TO
X:1
T:Come Back to
M:4/4
L:1/8
R:Air
N:”Slow”
S:O’Neill –
Music of
Z:AK/Fiddler’s Companion
K:C
G2 c>B c2 ^F>G|B2 A>F A2
G2|E2 F>G A3 A|A2 d>c Bc/B/ A_A|G2 c>B c2 ^F>G|
B2 A>F A2 {B/A/}G2|E2 F>G A2
B>c|d2 AB c3 z||E2 c>B A2 ^D>E|F2 E>D D2 C2|B,2 B>A G2 ^F>E|
G2 ^F>F E3 z|E2 {d}c>B A2
^D>E|F2 E>^G B2 A2|c2 A>^F d2 BG|D^DE^F G3F||
COME BY THE HILLS. AKA and see “Buachaill ó’n
Éirne.”
COME (LET US) DANCE
AND SING. AKA and see "La Belle Catharine [1]," "Inkle and Yarico [1]." English, Scottish,
***
Come let us dance and sing,
While Barbadoes [sic] bells to ring;
Quashi scrapes the fiddle-string,
And Venus plays the lute.
***
See note for
“Inkle and Yarico” for more. Source for notated version: Fennig's All Stars (
X:1
T:Come Dance and Sing
L:1/8
M:C|
K:D
|:A2|d2 cd e2 de|f2d2 de dc|B2e2 ef ed|c2A2A2(3ABc|d2 cd e2 de|
f2d2 de dc|B2e2 dc Bc|d4d2:|
|:AG|F2A2 AB AG|F2A2A3G|F2A2d2f2|ed cB A2AG|F2A2 AB AG|
F2A2A2
Bc|d2d2 fefg|a2A2A2:|
COME DOWN AND LET ME
IN. AKA and see "The Top of the Morning."
COME FOLLOW (FOLLOW
ME). AKA and see "The Spanish Gipsy." The air appears
under this title, taken from the first line of several ballads to the tune, in
the ballad opera The Fashionable Lady
(1730).
COME
FROM THE DEVIL AND SHAKE YOURSELF. AKA and see "Go to the Devil and
Shake Yourself [1]," "When sick is it tea you
want? [1]," "The Penniless Traveller,"
"The Irish Newsman."
COME FY, LET'S A' TO
THE BRIDAL. AKA and see “Blithesome Bridal,” “Come Let's A’ to
the Bridal.” “Come to the Bridal,”
“I’m the Boy for
Bewitching Them,” “Let us waa to the wedding.” “The Jolly Pedler’s [4].”
Scottish, Jig (9/8 time). A Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 232, pg.
26.
X:1
T:Come Fy, Lets a’ to the Bridal
L:1/8
M:9/8
K:A
A2A A2f ecA|B2B Bce (f2a)|A2A A2f
ecA|B2B cBc F3:|
|:a2a aba gfe|c2e efc efg|a2a aba
gfe|c2f fg^e f3:|
COME GET ME. AKA and see "Viens m' Chercher."
COME GET YOUR NUBBIN. Old‑Time, Fiddle Tune. The title appears in a list of traditional
COME HAP ME WITH THY
PETTICOAT. Scottish, English; Air or Reel.
X:1
T:Come hap me with thy Peticoat
(sic)
M:C|
L:1/8
R:Reel
B:McGlashan – Collection of Scots Measures (177?)
Z:AK/Fiddler’s Companion
K:G
g|dBAG EDEG|d>edB d3g|dBAG
G>ABd|e>ged e3g|dBAG E>DEG|
d>gdB d3g|dBA>B
G>ABd|e>ged e3||g|d>ega g/a/b ag|d>edB d3e|
d>ega g/a/b ag|e>ba>g
e3g|d>ega g/a/b ag|d/g/f/e/ d/c/B/c/ d3g|
e/d/c/B/ c/B/A/B/ G/F/G/A/
B/A/B/d/|e/d/e/f/ g/f/e/^d/ e3||
X:2
T:Come hap me with thy Petticoat
M:C|
L:1/8
N:”Brisk”
S:McGibbon – Scots Tunes, book II, pg. 42
(c. 1746)
Z:AK/Fiddler’s Companion
K:G
g3 | d3B “tr”A3G | E3DE2G2 | d4 d3B
| d6g2 | d3B”tr”A3G | “tr”E3D E2G2 |
e4”tr”e3d | e6 :: g2 | d3e g3a |
(gab2) “tr”(a3g) | d3ed2B2 | d6g2 | d2e2g2a2 |
(gab2) “tr”(a3g) | e3b “tr”a3g |
e6g2 | d3eg3a | (gab2) “tr”a3g | d3ed2B2 | d6g2 |
(ed)(cB) (cB)(AG) | “tr”E3D E2G2 |
e6”tr”e3d | e6 :: g2 | (ded)B c(BAG) | (EG)(DG) E2G2 |
(dBd)e (ded)B | d6g2 | (ed)(cB)
(cB)(AG) | EGED E2G2 | (ede)g (eg)(ed) |
e6 :: g2 | (dBd)e (deg)a | (g3a/b/)
“tr”(a3g | d(gfe) (dcB)c | d6e2 | d2(ef) (gfg)a |
(g3a/b/) “tr”a3g | e3b (aba)g |
“tr”e6g2 | (dBd)e (deg)a | g3(a/b/) “tr”a3g |
d(gfe) d(cBc) | d6g2 | (ed)(cB)
(dB)(AG) | EGDG “tr”(EDE)G | e3g (ege)d | e6 :|
COME HASTE TO THE
WEDDING. AKA and see "Haste to the Wedding."
Irish, Jig. D Major. Standard tuning. AABB. "The
tune 'Come, Haste to the Wedding', of Gaelic origin, was introduced in the
pantomime 'The Elopement' in 1767. This version is known as the Manx tune and
was printed by the Percy society in 1846. It is the basis for the Manx ballad,
'The Capture of Carrickfergusby,' written by Thurot in 1760 (Linscott)."
One of the tunes associated with the dance "Lady in the
COME HERE SON. Old‑Time, Breakdown & Song Tune.
COME IN FROM THE RAIN ("Tar Astac On Baisdead" or "Taristeac
On Baisteac"). Irish, Single Jig. E Aeolian. Standard tuning.
AABB. O'Neill (O’Neill’s Irish Music),
1915; No. 204, pg. 110. O'Neill (Krassen), 1976; pg. 71. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979;
No. 1104, pg. 208. O'Neill (Dance Music
of
X:1
T:Come in from the Rain
M:6/8
L:1/8
R:Single Jig
S:O’Neill –
Dance Music of
Z:AK/Fiddler’s Companion
K:E Minor
A|B2E EFE|d3 A2G|F2D DED|F2G A2c|B2E
EFE|d3 e2f|g2e f2d|e3 e2:|
|:f|gfe b2e|gfe b2e|f2d A2g|f2g
a2f|gfe b2e|gfe b2e|f2d Bcd|e3 e2:|
COME IN THE EVENING. AKA and see "The Kelso Races,"
"The Welcome," "A Western Lilt," "The Lark in the Morning [1],"
"Galway Tom [1]," "Galloway Tom [2]," "Gallua
Tom," "An Buachaillin Bui,"
"The Goats’ Horn(s),"
"The Spotted Cow," "The Little Yellow Boy," "The Thrush's Nest."
COME INTO THE ROOM, I
WANT YOU.
AKA and see “Johnny
When You Die [1],” “Mayo Lasses,” “Old Maid(s) of Galway.”
Irish, Reel.
COME INTO THE TOWN. Irish, Jig. D Major. Standard. AAB. Source for notated version: fiddler
Jimmy Murphy (b. 1938, Meelick, near Swinford, Co.
COME JOLLY BACCHUS. AKA and see "The Weaver's
March," "The Gallant Weaver,"
"Twenty-First of August,"
"The Tenth of June," "(Glorious) First of August," "The Constant Lover," "The
Swedes Dance at the new Playhouse," "Frisky Jenny," "Charles of Sweden." English,
Air (cut time). B Flat Major. Standard. AAB. This old melody has seen much use
as the vehicle for ballads, which Chappell (1859) outlines. "Come Jolly
Bacchus" is perhaps its best‑known title, and is the song written to
it in The Devil to Pay. In Playford’s
Dancing Master the tune was known as
"Frisky Jenny" and "The Tenth of June,” and, in the third
volume, as "The Constant Lover." Walsh, in his Lady's Banquet, gives it as "The Swedes Dance at the new
Playhouse," and in The Devil to Pay
and The Rival Milliners or The Humours of
Covent Garden it was known as "Charles of Sweden," while in The Beggar's Wedding it appears as
"Glorious First of August." Chappell also notes it was the melody to
which many topical broadsiders printed their ballads. See Bayard's (1981) note
to "Pretty Polly" (No.
294, pg. 250) for more information. Chappell (Popular Music of the Olden Times), vol. 2, 1859; pgs. 109‑110.
X:1
T:Come Jolly Bacchus
T:Charles of
M:C|
L:1/8
S:Chappell – Popular Music of the Olden Time (1859)
Z:AK/Fiddler’s Companion
K:B_
F2 FF D2 EF|G2G2F4|GA B2A Bc|d2d2
B4:|
||d2 ed c2 BA|B2c2A2F2|GA B2 A2
Bc|Bc de c4|
F2 FF D2 EF|G2G2 F4|GA B2A2
Bc|d2c2B4||
COME
KISS WITH ME (COME CLAP WITH ME). AKA and see "Newburn Lads," "Kail and Knockit Corn," "The Bob of Fettercairn."
Scottish, Reel or Air. "The Bob of Fettercairn" is the title Neil Gow
gave to the tune in his third collection, but it was known half a century
earlier than that as the song "Come Kiss With Me,
Come Clap With Me." In the Shetlands the same tune was known as "Kail
and Knockit Corn" (kail and bruised oats) which was also a song still in
oral tradition during the 1970's (Cooke, 1986)./
Bayard believes the tune to be a special development of "Boyne Water."
COME LASSES AND LADS
[1]. English, Air (6/8 time). D Major
(Raven): G Major (Kerr). Standard tuning. AB (Raven): AABB (Kerr). Kerr (Merry Melodies),
vol. 3; No. 404, pg. 44. Plain Brown Tune Book, 1997; pg. 29.
Raven (English Country Dance Tunes),
1984; pg. 121.
X:1
T:Come Lasses and Lads [1]
M:6/8
L:1/8
R:Jig
K:G
GAB g2g | agf e2g | ded d2B | (d3
d2) B | B2e e^de | B2e e2f | gfe f2^d | (e3e2) :|
|: d | ded g2f | (e3e2)e | efe a2g |
(f3 f)ga | b2g a2f | gfe d2B | cde dgf | (g3g2) :|
COME LASSES AND LADS [2]. English, Air (6/8 time). G Major. Standard tuning. AB. The earliest copy that Chappell (1859) finds of this ballad, "still popular" at the time he was writing, is in Westminster Drollery (part ii., 1672) where it is titled "The Rural Dance about the May‑pole: the tune, the first Figure‑Dance at Mr. Young's Bal, in May, '71." By the time Cecil Sharp commented on the song in English Folk Song (1907) it had ceased to be sung in folk tradition. Sharp, a critic of Chappell due to his meddling with traditional tunes through over-editing them, points out that “the modulation to the relative minor at the middle cadence is obviously the addition of a latter day musician.” Chappell's song is taken from