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, 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] |
F D MAINLAND, M.A.
FACE ME UP. Scottish, Hornpipe. F Major. Standard tuning. AA’BB. Kerr (Merry Melodies), vol. 4; No. 306, pg.
32.
X:1
T:Face Me Up
M:C|
L:1/8
R:Hornpipe
S:Kerr – Merry Melodies, vol. 4, No. 306
Z:AK/Fiddler’s Companion
K:F
c2f2d2f2 | (cd)cB AG F2 | ABcd efga
|1 (g^f)ga g4 :|2 (gf)ga f4 ||
|: bagb agfa | gfeg f2a2 | g^fga
g=fed | (c=B)cd (c_B)AB |
c2f2d2f2 | (cd)cB AB c2 | defd efge
| f2a2f2z2 :|
FACE OF QUÉBEC. French-Canadian, Reel. B Flat Major. Standard tuning. AA'BB'. Learned
by fiddler Omer Marcoux (
FACTORY LASS, THE. Irish, Reel. D Major. Standard tuning. AABB’.
The quote below appears in George Roberts Sims's book Living
***
about her, she is a
young mother. Her husband is employed at the soap
works hard by, and
though some one has to tend the babies during the
day she is happy —
happy because there are two incomes to maintain
the bairns in plenty.
Her daily output is 2,500,000 match stems. Watch
her. She has a cutting
machine all to herself, and as the strands of wax
flow into the frame
she presses her thumbs at a certain spot, and behold
a hundred stems are
cut. Her thumbs never weary. The stems ready, up
they go to the roof to
be dipped. A man stands at a slab on which is spread
the composition — a thick paste. He takes a
frame and presses it on to the
slab, and in ten
seconds you have 10,000 finished matches. If any one should
suffer from the deadly
"phossy jaw" this man should, for he has been dipping
matches for a quarter
of a century, but he breathes the air of Heaven — the
kindly proprietors,
who do not look upon their employees merely as so many
machines, lay stress on this — and as a
further precaution fans are kept
going throughout the day to drive away the
fumes. No one is idle here. Big
strapping girls are
making wooden boxes at the rate of 120 gross a day:
others are filling the
boxes with matches at a speed that beggars description;
while over the way men
are cutting timber for wooden "lights" with knives as
sharp as razors.
***
O’Neill
(1922) remarks: “’The Factory Lass’ was first heard by the editor at
X:1
T:Factory Lass, The
M:4/4
L:1/8
S:Miss Theresa Geary, Chicago
Z:Paul Kinder
R:Reel
K:D
de|fedB A2 FA|BAGB AFDg|fedB A2 GF|Eeed e2 ag|
fedB A2 FA|BAGB A2 FA|BcdB cdeg|fdec d2:|
|:de|fgaf g2 ag|fgaf fd A2|BABc dedc|Beed cd e2|
1fgaf g2 ag|fgag fd A2|BABc dfag|fdec d2:|
2fgaf bgaf|gefd edBc|BABc dfag|fded d2||
FACTORY SMOKE HORNPIPE. AKA and see “Tide Come In [2].”
Scottish, Hornpipe. G Minor (Gatherer, Honeyman, McGuire & Keegan): G
Dorian (Perlman). Standard. AABB. Martin Hayes recorded the tune as “The Brown Coffin” and Donegal fiddler Danny
O’Donnell called it “The Tide Came In.” Source for notated version: Gus
Longaphie (b. 1914,
X:1
T:The Brown Coffin
T:The Factory Smoke
M:4/4
L:1/8
K:Gm
G>A|B>AG>^F G>AB>c|d2G2G2a>g|f>ed>c B>cd>B|(3cdc (3BAG F2d>c|!
B>AG>^F G>AB>c|d>g (3fga g3d|e>dc>B c>ed>c|B2G2G2:|!
g>a|b>gd>B g>dB>G|D>GB>d d>gb>g|a>fc>A f>cA>F|C>FA>c f>cA>c|!
B>AG>^F G>AB>c|d>g (3fga g3d|e>dc>B
c>ed>c|B2G2G2:|
FAD UA BAILE. AKA and see "Far From Home."
FADA AN LA GAN CLANN
UISNEACH [1] (Long is the day
without the Sons of Uisneach). AKA - "The
Lamentation of Deirdre for/over Sons of Usneach," "Song of Clan
Uisneach in the Poem of Deirdre." Irish, Slow Air (3/4 time). G Major.
Standard. AB. A tune from the Irish collector Edward Bunting's MSS., in the
hexatonic mode. The song is printed in the Journal
of the Irish Folk Song Society (volume VIII) under the title "A Song
of the Antrim Glens and Scottish Isles." Source for notated version:
according to O’Sullivan, Bunting obtained two versions of this tune in the
early 19th century, one in Murloch, Co. Antrim, and the other from "the
old Marchioness of Londonderry" who learned it from a 'Blind Highland
Woman.'" O'Sullivan/Bunting, 1983; No. 152, pgs. 209-210.
FADA AN LA GAN CLANN
UISNEACH [2]. AKA and see “Lamentation
of Deirdre for the Sons of Usneach.”
FADED LOVE. American, Song Tune. D Major. Standard. AB. Composed by John Wills and
Bob Wills, copyright 1950. Source for notated version: Bob Wills, Johnny Gimble
and Vassar Clements [Phillips]. Phillips (Traditional
American Fiddle Tunes), Vol. 2, 1995; pg. 48.
FA(R)DER BEN DA
WELCOMER, DA.
Shetland, Listening Tune (2/4 time). Shetland, Walls. D Major. Standard. AABB
(Cooke {version B}): AABBC (Anderson & Georgeson, Cooke {version A}):
AA'BBC (Carlin). The tune was played in Walls as a welcome on the return from
the kirk of the bridal party to the Bride's home (in Unst "Da Bride is a Boannie Ting"
was played instead). It was also occasionally played as a listening tune at the
wedding dance, state Anderson & Georgeson (1970). The tune was listed in
Hoseason's 1863 MS. "Neither Stickle nor Fraser gave any hint that it may
have been danced, but the title appears in a list of 'Names of Reels or Dance
Music collected in the Island of Unst' in the Notes section of the Old Lore Miscellany (vol. 4, 1913). Its
asymmetrical phrasing and internal repetitions lead one to think it is not of
Scottish origin" (Cooke, 1986). Francis Collinson also suggests the tune
may be of Norwegian origin. Sources for notated versions: John Stickle (Unst,
Shetland) [Cooke, version B], Peter Fraser (Shetland) [Cooke {version A},
Anderson & Georgeson]. Anderson & Georgeson (Da Mirrie Dancers), 1970; ppg. 10. Carlin (English Concertina), 1977; pgs. 48‑49. Cooke (The Fiddle Tradition of the Shetland Isles),
1986; Ex. 30a and 30b, pgs. 82‑83. Shetland Folklore Society ‑
"Shetland Folk Book."
FADING, THE. AKA and see "With a Fading." Irish, English;
Country Dance Tune (6/8 time). F Major. Standard. One part. The title of this Irish dance tune is a
corruption of the Gaelic title "Rinnce Fada" (or Long Dance, which
was danced before King James II, when he landed at Kinsale in 1689), a dance
that survived into the 20th century in Cornwall, England, where it was known as
"The Faddy." Chappell (1859) identifies the title as taken from the
burden, or ending "tag," of a "popular Irish song...(which) gave
the name to a dance." The air appears in Pills to Purge Melancholy (1707). Chappell (Popular Music of the Olden Time), Vol. 2, 1859; pgs. 104‑105.
X:1
T:Fading, The
L:1/8
M:6/8
S:Chappell – Popular Music of the Olden Time
Z:AK/Fiddler’s Companion
K:F
C|F2C F2F|A>BA G2E|F2F
c2c|d>ef e2e|fed cBA|GAB A2A|(A3 A)GF|
G3 C2C|FGA AGF|Acz z2||
FAERIE KING, THE. Irish (?), Air (3/4 time). D Minor. Standard.
AA’B.
X:1
T:The Faerie King
S:Kevin O'Connor
Z:fiddler@jgfiddler.de
M:3/4
L:1/8
R:Air
K:DMin
A,2|D3EDE|F3ED2|A2GFED|E4A,2|\
DA,DF (3EFG|F2GFED|^C3EDF|1E4:|2E3EDE|\
F3FEF|G3GFG|AGA2B2|A3AG2|\
FEFGF2|GDGAG2|AGABAB|BcBAG2|\
FEFGF2|GDGAG2|AGA2d2|^c4A2|\
d2A2F2|B2cBAG|F3FE2|D4|]
FAERY REEL. Shetland, Reel. D Major. Standard. AABB. Traditional. Some few
similarities to "The Fairy Dance." Bain (50 Fiddle Solos), 1989; pg. 26.
FAG AN SLIGE UAIM. AKA and see "Leave My Way."
FAGAIL BRAIGH BHALLA. Scottish, Slow Air (3/4 time). G Major. Standard. One part. Martin (Ceol na Fidhle), Vol. 4, 1991; pg. 23.
FAGAIL GHLEANN ALADAIL (Leaving Glen Aladale). Scottish, March (4/4 time). D
Major. Standard. AB. Composed by Charles MacFarlane. Neil (The Scots Fiddle), 1991; No. 120, pg. 159.
FAGAIL MHIULE (Leaving
FAGAMAOID SÚD MAR ATÁ
SÉ (Let Us Leave That As
It Is). AKA and
see "Let Us Leave That As
It Is," "Darby O'Leary,"
"Galbally (Cranbally) Farmer,"
"'Twas On the
First of May Brave Boys," "The
First of May [1]," "The
(Old) Barndoor Jig", "Rakes
of Kildare," "Get Up Early."
Irish, Scottish; Jig. A Dorian/Minor (Shields): A Major (O’Neill). Standard. AB
(Shields): AAB (O’Neill). The tune is an early set of the double hornpipe
"The First of May." See also Bayard's (1981) No. 603, a
X:1
T:Let Us Leave That As It Is
M:6/8
L:1/8
R:Air
N:”Gaily”
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:A
(A/G/) | (EA).A “tr”(AG).A | (cde)
f2a | {a}g>ec ded | {d}cAF (G2 {A/G/}E/D/) |
EAA “tr”(AGA) | (cde) f2a | g>ec
(d<c)A | A3 A2 :|
d | efg aba | “tr”(gfg) (efg) | aba
gec | dcA G2 ({A/G/}E/D/) | EAA “tr”AGA |
(cde) f2a | g>ec (d<c)A | A3
A2 ||
FAGAN. Irish, Jig. G Major. Standard. AABB. Kerr (Merry Melodies), vol. 1; No. 31, pg. 38.
FAGAN AND FENTON’S. American, Clog. D Major.
Standard. AABB. Edward Le Roy Rice, in his book Monarchs of Minstrelsy (New York, 1911), gives:
***
(Barney
Fagan) is justly recognized as the world’s
greatest dancer; as a producer, he ranks second
to none. Mr. Fagan made his first professional appearance in his native
city at the famous
Howard Athenaeum in 1860, as the Cabin Boy in the “Pilot of
theatre several seasons. In 1865 he played his first minstrel engagement
with the Morris
Brothers in
Minstrels. In 1873 he joined Buckley’s Serenaders in
partner; the next three years, Fagan and Parks, known as the American
Lads, played
variety engagements. In 1876 he did the famous Heifer dance with Richard
Golden in
“Evangeline.” Mr. Fagan next joined John Fenton in a dancing specialty,
and continued
with him until 1878, when he formed a partnership with Lizzie Mulvey,
which lasted one
season. Mr. Fagan in 1879 allied himself with Barlow, Wilson, Primrose
and West’s Min-
strels, and continued with them until the company’s dissolution in June,
1882; with this
organization he was general producer and soloist. Probably Mr. Fagan’s
greatest achievement
was in organizing and producing Seatnam, Billy Rice and Fagan’s
Minstrels, which gave their
first performance at
had ever travelled; 105 persons on parade; 88 in the regular company;
incidentally that show
was just twenty-three years ahead of its time; in other words, Sweatnam,
Rice and Fagan’s
minstrels are about due again.
Subsequently Mr. Fagan was with Thatcher, Primrose and
West; Barlow, Wilson and Rankin’s; and
Sitting on the opposite end to Luke Schoolcraft. Outside of minstrelsy
Mr. Fagan has appeared
Successfully in white-face in such plays as “
Roller,” the latter in 1890. Some notable marches were the “
Guards” and “The Dance of the Popinjays”; the latter being one of the cleverest
conceits
ever seen in minstrelsy. Mr. Fagan was general producer for Corinne for
several seasons, also
with other notable companies.
***
As a song writer her is no less prominent; “Everybody Takes Their Hat
Off to Me,” and “A
High Born Lady,” each enjoyed great popularity. Likewise did ths
versatile genius write some
Very clever plays, notably—“The
Fagan has been playing with Herietta Byron, of the Byron Sistes, since
1895. Barney Fagan was born
In
***
Barney Fagan (1850-1937) is credited
with being a progenitor of both music and dance genres. His compositions were
important in the development of ragtime, in the opinion of Sigmund Spaeth (A History of Popular Music in America,
1948). “…Fagan’s lively ‘coon song’, My
Gal Is a High Born Lady, [1886, was] definitely above the average in both
words and music. Fagan was an Irishman, but familiar with minstrel technique
and one of the great buck-and-wing dancers of his day. He was famous also as a
stage director, creating many elaborate acts for Primrose and West, with a
feeling for color and lighting far in advance of his time. There is a story
(probably started by Fagan himself) that he wrote his great hit in Chicago one
morning, when he found himself down to his last twenty-five cents, and on his
wife’s birthday at that. He took a bicycle ride along the
***
The melody is credited to J. Braham
in Ryan’s Mammoth Collection. New
York researcher, musician and writer Don Meade believes this refers to John
Braham, an English-born violinist who led the orchestra at the Howard Athenaeum
in Boston, and who composed numerous popular songs and dance tune in the 1870’s
and 1880’s. Braham came from a musical family, notes Don, “His father Joseph
led (
***
Cole (1000 Fiddle Tunes), 1940; pg. 121. Ryan’s Mammoth Collection, 1883; pg. 160.
The tune is credited to J. Braham,
“an English-born violinist and composer of numerous popular songs and dance
tunes in the 1870’s and 1880’s,” says Don Meade.
X:1
T:Fagan and Fenton’s
M:C|
L:1/8
R:Clog
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:D
(3FG^G | (A>.a)(f>.d)
A>fd>A | F>dA>F C>AF>D | C2 (3ggg g>ec>A | F2 (3fff
(3fed (3dcB |
A>af>d A>fd>A |
F>dA>F D>AF>D C2 (3ggg g>ec>A | d2f2d2 :: (B>.c) |
(^d>.B)(d>.f) b>a^g>f |
^g>af>^g e2 c>d |
e>Ac>e a>=gf>e | f>ge>f d2 (3dfa | d’2c2c2 (3dfa | d’2c2
d>cd>e |
=f>d’b>^g =f>dB>d |
=c>c’^g>=f d>B (3AB^c | d>a^f>d A>fd>A | F>dA>F
D>AF>D |
C2 (3ggg g>ec>A | F2 (3fff
(3fed (3dcB | A>af>e ^d>bb>f | ^a<gf<g B>gf>e | (3def
g>a b>ag>e | d2f2d :|
FAGHAIM
ARIS A’ CRUISCIN AS BIODH SE LAN. AKA and see “We’ll take
again a cruiskeen, a cruiskeen laun.”
FAGIN’S
FAHY’S…. See
also listings under “Paddy Fahey’s…”
FAHY FROM KILLYBEG
HOUSE. Irish, Reel. The title is from
Seamus Connolly in honor of the composer, fiddler Paddy Fahy of Killybeg House,
near Aughrim,
FAHY'S JIG [1] (Port an Fhathaigh). AKA and see "Come Along with Me [2],” “The Green Forest." Irish, Double Jig. G
Major. Standard. AA'BB (Breathnach). Source for notated version: accordion
player Finbarr Dwyer (
FAHY'S JIG [2]. Irish, Double Jig.
FAHY’S JIG [3]. Irish, Double Jig. G Major. Standard. AA’BB’. No relation to “Fahy’s
Jig” [1] or [2]. Source for notated version: Brendan Mulvihill (
FAHY'S REEL [1] (Ríl an Fhathaigh). Irish, Reel. D Minor. Standard. AA'BB.
Probably the best-known composition of Paddy Fahy, who does not appear to have
named his pieces. Source for notated version: fiddler Kathleen Collins, who
learned it directly from Paddy Fahy (
FAHY’S [2]. Irish, Reel. C Major. Standard. AB Source for notated version: Brendan
Mulvihill (
FAHY'S [3]. AKA and see "The Galway Reel
[2]," “McGlinchy’s [1],” “Redican’s (Reel).” Irish, Reel. G
Major. Standard. AABB. The tune, actually a composition of
FAHY'S REEL [4]. AKA and see “The Banks of the
Ilen.” Irish, Reel.
FAHY’S REEL [5]. AKA and see “Beare Island Reel,”
“Ríl Bheara.” Irish, Reel. E Minor.
Standard. AABB. The first measure only features a G sharp note. Source for
notated version: Brendan Mulvihill (
FAHY’S
REEL [6]. Irish, Reel. A Major. Standard. AB. Source for
notated version: a recording by Joe Burke [O’Malley]. O’Malley Collection,
1976; No. 53, pg. 27.
X: 1
T: Fahy's [6]
M: 4/4
L: 1/8
Q: 350
S: Luke O'Malley vol 1
Z: Transcribed by Bill Black
R: reel
K: A
AGED B,CDB, | E2 B,
AGED B,CDB, | E2 B,
A2 CE DCBG | AGED B,CDB, | EA~A2 EAce | dcBG
EAA2 |
EAce
(3ded BG | AGEF GFGA | (3Bcd ed Bcdf | edBG A4 ||
FAIGH AN GLEAS (Find the Key). AKA and see "Feagh an Geleash" (Try if it is in
tune).
FAILL NA mBAN. AKA and see “The
Cat the Kittled in Jamie’s Wig,” "File na Mon,” “Miss Lyall [2],” “Panmure House.” Irish, Hornpipe. A Dorian.
Standard. AA'BB'. A hornpipe setting of the Scottish strathspey known as
“Miss Lyall’s” or “Panmure House.” Roche Collection, 1982, vol. 2; No.
234, pg. 18.
FAILLIRINN ‘ILLIRINN. Scottish, Slow Air (4/4 time). F
Minor. Standard. AB. Morison (
X:1
T:Faillirinn ‘illirinn
M:C
L:1/8
R:Slow Air
S:Morison –
Z:AK/Fiddler’s Companion
K:F Minor
F2 FG F2 GB | c2 Bc F2G2 | B2 GF E2FG | B2GF E3e | f2 ec B2BB | c2 ee
f2e2 |
cB AG F2GB | c2 BG F4 || F2 F>G F2
GB | c2 B>c F2G2 | B2 GF E2FG |
B2GF E3e | f2 ec B2BB | c2 ef f2e2 |
cB AG F2 GB | c2BG F4 ||
FÁILTE A BAILE
SEAGANIN. AKA and see "Johnny's Welcome Home."
FÁILTE A GCOMNUIGE. AKA and see "Always Welcome."
FÁILTE ‘A PHRIONSAI (The
Prince’s Welcome).
Scottish. A favorite tune in the late 18th century. Emmerson
(1972) reports that in 1785, at the Exhibition of Martial Music held in Dunn’s
Assembly Rooms, that twenty-four pipers played the tune (along with “Glass Mheur” and “Grim Donald’s Sweetheart;”
all long-standing favorites).
FÁILTE AN PÍOBAIRE. AKA and see "The Piper's
Welcome." The melody is
found in Irish Tunes for the Scottish and
Irish War Pipes by Walsh and Glen (p 46), and belongs to the “Drunken Gaugher [1]” and “Munster Rake” family of tunes.
FÁILTE DON EILEAN
SGITHEANACH (Welcome to Skye). Scottish, Air (3/4 time). D Major.
Standard. One part. Composed by Neil Macleod. Martin (Ceol na Fidhle, Vol. 3), 1988; pg. 33.
FÁILTE DON PHIOBAIRE. AKA and see "Welcome the
Piper."
FÁILTE GO h-ÉIRINN. AKA and see “Clareman’s
Hornpipe,” “O’Mahoney’s Hornpipe.”
Irish, Hornpipe. D Major. Standard. AABB. Roche
Collection, 1982, Vol. 3; No. 178, pg. 62.
FÁILTE NA BAN MHARC. AKA and see "The
Marchioness's Salute."
FÁILTE NA MIOSG. AKA and see "The Musket Salute."
Published by Oswald in a 1742 collection called Curious Scots Tunes.
FÁILTE PHRIONNSAH (The Prince’s Salute). AKA and see “The Prince’s Salute.”
FÁILTE
ROIMH Ó CONAILL GO BAILE ATHA CLIATH. AKA and see "O'Connell's Welcome to Dublin."
FÁILTE ROMAD A BAILE. AKA and see "Welcome Home."
FÁILTE ROMAD GO
CORCAIGE. AKA and see "Welcome to
FÁILTE SHINÉAD RIOMH
CHATHAL. AKA and see "Jenny's Welcome to Charlie."