The Fiddler’s Companion

© 1996-2009 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

FACE - FAO

[COMMENT3] 

 

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]

 

 

[COMMENT4] 

F D MAINLAND, M.A. ABERDEEN.  Scottish, Quickstep. Composed by Aberdeen fiddler and composer J. Murdoch Henderson (1902-1972), dedicated to a Shetland musician. Henderson (Flowers of Scottish Melody), 1935.

 

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 (Concord, N.H.) from a record he purchased in Montreal. Miskoe & Paul (Omer Marcoux), 1994; pg. 2.

                       

FACTORY LASS, THE. Irish, Reel. D Major. Standard tuning. AABB’. The quote below appears in George Roberts Sims's book Living London: Its Work and Play, Its Humor and Its Pathos, Its Sights and Its Scenes (1903), containing illustrated essays about various aspects of life in London at the turn of the century. One chapter, “Scenes from Factory London” by C. Duncan Lucas, gives this improbably whitewashed view of factory labor.

***

She is a fine-looking girl. Quietly dressed and with an air of responsibility

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 Gaelic Park, Chicago, on July 4th, '22. It was cleverly rendered in concert by Mr. Mullaney, Miss Geary, and Mr. McGrath, on the Irish or Union Pipes, Violin, and Flute, respectively. The similarity of strain, especially in the the first part, to that of the ‘Home Made Reel’ which follows may be noticed.” Source for notated version: Miss Theresa Geary (Chicago) [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 232.

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, Souris, North-East Kings County, Prince Edward Island) [Perlman]. Gatherer (Musical Museum), 1987; pg. 43. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 54. Kohler, Kohler's Violin Repository (1881‑1885). . McGuire & Keegan (Irish Tunes by the 100, Vol. 1), 1975; No. 88, pg. 24. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 65 (appears as “Factory Smoke Clog”).

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 Mull). Scottish, Slow Air (3/4 time). A Major. Standard. AA. Composed by pianist and accordion player Hamish Johnson (b. 1922, Glasgow), who retired to live on the Isle of Mull where his mother's people came from. Neil (The Scots Fiddle), 1991; No. 146, pg. 187.

                       

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 Pennsylvania collected version generically entitled "Old March." Source for notated version: the 1861 manuscript collection of James Goodman, an Anglican cleric who collected in County Cork [Shields]. Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 97, pg. 168. Joyce (Ancient Irish Music), 1873; No. 13. Petrie Stanford (Complete Collection), 1903‑06; Nos. 387, 1130, 1319. O'Neill (Music of Ireland: 1850 Melodies ), 1903; No. 177, pg. 31. O'Neill's Irish Minstrels and Musicians, 1913; pg. 132. Shields (Tunes of the Munster Pipers), 1998; No. 15, pg. 10.

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 Ireland (1903), No. 177

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 Brest.” He remained at this

theatre several seasons. In 1865 he played his first minstrel engagement with the Morris

Brothers in Boston. In 1870 Mr. Fagan went to St. Johns, N.B., and appeared with Pete Lee’s

Minstrels. In 1873 he joined Buckley’s Serenaders in Boston, and took Joe Parks as a

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 Albany, N.Y., July 25, 1887; this was the largest minstrel company that

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 Cleveland’s Minstrels; with the latter organization

Sitting on the opposite end to Luke Schoolcraft. Outside of minstrelsy Mr. Fagan has appeared

Successfully in white-face in such plays as “Paradise Alley,” and his own company, “A High

Roller,” the latter in 1890. Some notable marches were the “West Point Cadets; the “Phantom

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 Land of Fancy,” “The Game of Love” and several others. Mr.

Fagan has been playing with Herietta Byron, of the Byron Sistes, since 1895. Barney Fagan was born

In Boston, Massachusetts, Janurary 12, 1850.

***

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 Lake, brode a pedal and suddenly became conscious of a persistent rhythm as the dangling piece clicked against the wheel. The words ‘My gal is a high born lady’ fitted into the rhythm and suggested a rag-time melody. He stopped long enough to write down the main theme, then hurried home to complete the song, taking it immediately to a publisher and collecting $100.00 in cash, which he promptly spent on a birthday dress and a big party…(More important is the fact that the piano arrangement of My Gal Is a High Born Lady was made by a youngster named Gustav Luders, of later operatic fame.)”  (pgs. 287-288). Dancers sometimes credit him with being the “Father of Tap”(Dancing), although that title has also been applied to others. Frank Dumont in an article in the New York Clipper (March 27, 1915—“The Younger Generation in Minstrelsy and Reminiscences of the Past”) remembers Fagan as “the greatest dancer and producer of dancing tableaux and novel groupings…He was a genuine ‘find’ to minstrelsy and his methods are copied to this day in all dancing numbers. He was especially attentive to the young element and made great dancers of them.”

***

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 (New York variety theatre impresario) Tony Pastor’s orchestra, while his uncle David Braham was (musical theatre playwright) Ned Harrigan’s father-in-law, musical director and songwriting collaborator.”

***

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 HOLIDAY. American?, Irish?; Slide. The title may refer to Bernard J. “Barney” Fagan, of minstrel fame (see note for “Fagan and Fenton’s”). Ryan’s Mammoth Collection, 1883; pg. 109.

                       

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, County Galway. Green Linnett GLCD 1087, Seamus Connolly - "Notes From My Mind" (1988).

                       

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 (Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 24, pg. 12. Green Linnet Records SIF 1012, "Martin Mulvihill" (1978).

 

FAHY'S JIG [2]. Irish, Double Jig. Ireland, County Sligo. G Major. Standard. AABB (Flaherty): AA’BB (Mulvihill). No real resemblance to version #1. Mulvihill’s version shifts tonality between the major and dorian mode. Sources for notated versions: flute player Pat Meehan (b. 1960, Co. Sligo) [Flaherty]: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Flaherty (Trip to Sligo), 1990; pg. 108. Mulvihill (1st Collection), 1986; No. 17, pg. 68. 

 

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 (Baltimore, Md.) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 16, pg. 67.

 

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 (Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 122, pg. 59. Shanachie Records 29002, "Kathleen Collins" (1976).

 

FAHY’S [2]. Irish, Reel. C Major. Standard. AB Source for notated version: Brendan Mulvihill (Baltimore, Md) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 190, pg. 51 (appears as “Fahy’s No. 2").

 

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 Long Island, N.Y., Irish musician Larry Redican, begins on a C Major chord (the subdominant of the key). Taylor (Half‑door), 1992; No. 31, pg. 23. Shanachie 34012, Liz Carroll - “Kiss Me Kate.” Shaskeen ‑ "Atlantic Breeze."

 

FAHY'S REEL [4]. AKA and see “The Banks of the Ilen.” Irish, Reel. Ireland, County Sligo. D Major. Standard. ABB. Source for notated version: flute player Colm O'Donnell (b. 1962, Aclare, County Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 15.

 

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 (Baltimore, Md.) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 185, pg. 50.

 

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,E GEBG | AGEF GABc | (3ded cB AcBG |

AGED B,CDB, | E2 B,E GEBG | AGEF GABA | GEDB, A2 (3EFG ||

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 (Highland Airs and Quicksteps, vol. 2), c. 1882; No. 1, pg. 1.

X:1

T:Faillirinn ‘illirinn

M:C

L:1/8

R:Slow Air

S:Morison – Highland Airs and Quicksteps, vol. 2, No. 1 (c. 1882)

Z:AK/Fiddler’s Companion

K:Fmin

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 Cork."

                       

FÁILTE SHINÉAD RIOMH CHATHAL. AKA and see "Jenny's Welcome to Charlie."

                       


FÁILTE SINEID ROIM CATAL. AKA and see "Jenny's Welcome to Charlie."

                       

FÁILTE SHIR SHENMAIS (Sir James’s Welcome). Scottish, Pipe Tune. A tune played by Colin M’Nab, piper to M’Nab of M’Nab, at the annual piping competition (originally the Falkirk Tryst) held at the Assembly hall, Edinburgh in October 1784 (as reported in the period journal Scots Magazine).

                       

FAIN I WOULD. AKA and see "Parthenia [1]," "The King's Complaint." English, Country Dance Tune (6/4 time). D Minor (Chappel, Raven): G Minor (Barnes, Sharp). Standard tuning. AB (Chappell, Raven): AABB (Barnes, Sharp). The air appears in Playford's English Dancing Master of 1650 and Elizabeth Rogers' Virginal Boo (where it is called "The King's Complaint"). The tune dates to at least the mid‑17th century, and, according to Chappell (1859), it was probably originally a dance tune adapted to a ballad whose words were lost. In later editions of the Dancing Master the tune is also called "Parthenia," though the ballad that that title came from has also been lost. Barnes (English Country Dance Tunes), 1986. Chappell (Popular Music of the Olden Time), Vol. 1, 1859; pg. 293. Raven (English Country Dance Tunes), 1984; pg. 41 (a facsimile copy of Playford’s printing). Sharp (Country Dance Tunes), 1909/1994; pg. 29.

X:1

T:Fain I Would

M:6/8

L:1/8

S:Sharp – Country Dance Tunes (1909)

Z:AK/Fiddler’s Companion

K:Gmin

|: g3^f3 | g3 b3 | a2g g>ag | (f3 f2) d/e/ | f>gf e d2 | c3d3 | c2B B>cA | (B3 B2) :|

|: F| F2G A2B | (c3 c2) A| d2c B>cd/e/ | (f3 f>)gf | e d2 c2B | A3b3 | a2d g>a^f | (g3 g2):|

                       

FAIN TO FOLLOW ME.  See “I’ll Mak(e) You/Ye Fain to Follow Me.”

                       

FAIN WOULD I FIND SOME PRETTY THING. AKA and see "Lusty Gallant." The title comes from a later ballad, to the tune of "Lusty Gallant," which attained some popularity so that the tune is sometimes known by this title.

                       

FÁINLEOG BEAG, AN. Irish, Air (3/4). G Major. Standard tuning. AABB'C. Roche Collection, 1927/1982; vol. III, pg. 15.

X:1

T:Fainleog Beag, An

M:3/4

L:1/8

RAir

N:”Andante con espress”

S:Roche, vol. 3, No. 55  (1927)

Z:AK/Fiddler’s Companion

K:G

(3d/e/f/ (.g.G)|(G>FE).D .G.G|B(B/c/ d)(3d/e/f/ gd|(e{f/e/}c) (AF/A/) .G.G|G3:|

|:(G/A/ .B.d)|g2 ~f(a/g/ f/e/g/e/)|(d>B) G(G/A/ B).d|g2 f/(a/g/f/) ee|(e2 e/).d/.e/.f/ gG|

(G>FE).D.G.G|(B>c d/)(d/e/f/ g>)d|1 (ec) (AF/A/) .G.G|G3:|2 (e/d/c/A/) (5d/c/A/F/A/ GG|G3||

“Cronán”

“tr”(g2 {f/g/}a/g/e/d/) {e/f/}(ed/B/)|({B}d2) (e/d/B/A/) {B/d/}(BA/G/)|({G}A2) (G/E/D/E/ G)G|(G2 G)||

                       

FÁINNE GEAL AN LAE. AKA and see "The Dawning of the Day," “The Bright Dawn of Day.” Irish, March or Air (4/4 time). G Major. Standard tuning. One part. A literal translation of the Irish title is ‘the bright ring of day.’ Roche Collection, 1927/1982, vol. 3; No. 38, pg. 11.

X:1

T:Fainne Geal an Lae

M:C

L:1/8

RAir

S:Roche, vol. 3, No. 38  (1927)

Z:AK/Fiddler’s Companion

K:G

(DG)|B2B2B2(AB)|d2d2e2(dB)|G2A2G2F2|G4z2d2|(e3d) (e2g2)|

B3A G2B2|d2B2g2B2|A4 z2(Bd)|(e3d) (e2g2)|(B3A) (G2B2)|d2B2g2B2|

A4 z2(GA)|B2B2B2(AB)|d2d2e2(dB)|G2A2G2F2|G6||

                       

FÁINNE ÓIR ORT (A gold ring on you). AKA and see "The Gold Ring."

                       

FAINT AN WEARILY. English, Country Dance Tune (2/4 time). D Major. Standard tuning. AABA. Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 31a, pg. 9.

                       

FAINT-HEARTED, THE.  English, Waltz. G Major. Standard tuning. AABBCC’. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 119, pg. 29.

 

FAIR [1], THE. English, Jig. D Major. Standard tuning. AABB. Raven (English Country Dance Tunes), 1984; pg. 120.

X:1

T:Fair, The [1]

M:6/8

L:1/8

K:D

f/g/ | a2f b2g | afd dcd | ecA ABc | def fg^g | a2f b2g | afd dcd | ecA ABc | ddd d2 :|

|: e/d/ | cea a^ga | cea a^ga | ^gab bag | bae e3 | cea a^ga | cea a^ga | ^gab bag | baa a2 :|

 

FAIR [2], THE. American, Jig. USA, southwestern Pa. G Major. Standard tuning. AB. Source  for notated version: fifer Hiram Horner (Westmoreland and Fayette Counties, Pa., 1960) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 518, pg. 466‑467.

 

FAIR [3], THE. English, Jig (9/8 time). D Major. Standard tuning. AABB. Source for notated version: the c. 1845-47 music manuscript collection of Ellis Knowles, a musician from Radcliffe, Lancashire, England [Plain Brown]. Plain Brown Tune Book, 1997; pg. 21.

                       

FAIR AND AISY (I'LL BE RID OF HER). AKA and see "Fair and Aisy I'll Get Out of It," "Kick the Pope." American, March (6/8) or Jig. D Major. Standard tuning. AB. The original Irish title was "Kick the Pope," while the title above and the 1st alternate were the inspiration of old Scottish fifer Dick Gibson in an effort to gentrify the Orange sensibilities of the Pope title. Bayard (1981) belives it belongs to the same tune group as "Bung Your Eye", and to the larger "Welcome Home [3]" tune family. Source for notated version: Hiram Horner (fifer from Westmoreland and Fayette Counties, Pa., 1960) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 605A‑B, pgs. 534‑535.


                       

FAIR AND AISY I'LL GET OUT OF IT. AKA and see "Fair and Aisy I'll Be Rid of Her."

                       

FAIR AND FORTY ("Deatamuil's Daficad" or "Daichead is Dathuil"). AKA and see “Cale Smith’s Pastime,” “Seven Up.” Irish; Reel and Hornpipe. G Major. Standard tuning. AB (O'Neill/1850): AA'B (O'Neill/Krassen): AABB (Breathnach, O'Neill/1001). The tune is rendered as a hornpipe as well as a reel. Source for notated version: accordionist Partick O'Brien, 1970 (Dublin, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 302, pg. 154 (hornpipe setting). O'Neill (Krassen), 1976; pg. 147. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1482, pg. 274. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 840, pg. 145 (hornpipe setting). Sean Ryan - “Back Home...” (appears as “Charlie Mulvihill’s”).

X:1

T:Fair and Forty

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 840

Z:AK/Fiddler’s Companion

K:G

D2 | (3GGG BG d2 Bd | efgf edBd | ceAc BdGB | ABcA GFED |

(3GGG BG d2 Bd | efgf edBd | ceAc BdGB | cAFA G2 :|

|: d2 | gfga bgeg | edef gdBd | gfga bgdg | edcB A2 Bd |

gfga bgeg | edef gdBG | DGBd gdBd | cAFA G2 :|

                       

FAIR AND SOFTLY. English, Country Dance Tune (3/4 time). D Minor. Standard tuning. ABB. The tune dates from c. 1728. Barnes (English Country Dance Tunes), 1986.

                       

FAIR AT DUNGARVAN, THE (Aonac Dungarbain). AKA and see "Alas, My Bright Lady," “Dungarvan,” "Lament for Kilcash," "Nelly, My Love, and Me," "Rose Connolly," "There is a Beech‑Tree Grove," "Were You Ever in Sweet Tipperary?" Irish, Air (3/4 time). G Major. Standard tuning. One part. See note for “Lament for Kilcash.” O'Neill (O’Neill’s Irish Music), 1915/1987; No. 28, pg. 22. O'Neill (Music of Ireland: 1850 Melodies), 1903; No. 99, pg. 18.

X:1

T:Fair at Dungarvan, The

M:3/4

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 99

Z:AK/Fiddler’s Companion

K:G

GA |B4B2 | d4e2 | B4A2 | G4A2 | B4B2 | d4A2 | (B6 | B4) GA |

B4B2 | e4d2 | B4A2 | G4F2 | E2F2E2 | B4A2 | (G6 | G4) || GF |

E4E2 | E2F2G2 | F4E2 | D4F2 | E4E2 | E2F2E2 | B6 | A4F2 |

E4E2 | E2F2G2 | F4E2 | D4c2 | B4G2 | A4F2 | (G6 | G4) ||

                       

FAIR BRANCH, THE (An Craobin Aoibin). Irish, Air (4/4 time). G Major. Standard tuning. AB. Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 536, pg. 93.

X:1

T:Fair Branch, The

M:4/4

L:1/8

R:Air

N:”Distinctly”

S:O’Neill – Music of Ireland (1903), No. 536

Z:AK/Fiddler’s Companion

K:G

dc | B2 B>G A2 {B}A>F | G2G2 A>G F>G | B2 A>G A2 (3GFE | D2^C2D2 d>c |

B2 B>G A2 {B}A>F | G2G2 A>G F>G | B2 A>G A2 (3Adc | A2 G2 G2 || D^C |

D2 D=c B2c2 | d2 dc B A2 zc/ | B>A B>c d2 c>A | G2F> D>^C D2 d>c |

B2 B>G A2 {B}A>F | G2G2 A>G F>G | B2 A>G A2 (3Adc | A2G2G2 ||

                       

FAIR DANCER REEL. Bluegrass, Reel. E Minor. Standard. One part. Composed by master fiddler Mark O'Connor (Nashville, Tenn.) [Fiddler Magazine]. Fiddler Magazine, Vol. 3, No. 1, Spring 1996; pg. 24.

                       

FAIR DARLING OF MY HEART (Múirnín Geal Mo Chroidhe). Irish, Air (4/4 time). F Major. Standard. AB. Source for notated version: Ballinamore, Co. Leitrim, professional fiddler Hugh O'Beirne, 1846, via Forde (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 573, pg. 302.

X:1

T:Fair Darling of My Heart

M:C

L:1/8

R:Air

S:Joyce – Old Irish Folk Music and Songs (1909)

Z:AK/Fiddler’s Companion

K:F

fd | c2A2 AGFD | F3G A2c2 | f2 ec d2 cA | G3 A F2 || A2 | c2A2c2de | f4e2c2 | d2 cA GFGA | c6 FG |

A2c2d2e2 | f3d edce | d2 cA GFGA | c6 CD | F2 FG Ac c2 | d3c fdcA | G2 FG F2F2 | F6 ||

                       

FAIR ELLEN (Eiglin Ban). Irish, Air (2/4 time). C Major. Standard. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 608, pg. 107.

X:1

T:Fair Ellen

M:2/4

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 608

Z:AK/Fiddler’s Companion

K:C

e>d|{d}c>B cA|G2 EF|G>A G/F/E/F/|D2 Bc|d2 e/^f/g/e/|(d2 d/)e/c/A/|G2 B>A|

G3G|F2 d>c|BA GF|E2 c>B|AG FE|D2 B>A|GF DE|C2C2|C2||zG|G2 {G}FE|

F3 ^c|dA fe|e2 d>G|EG ce|g3g|ag fe|d3e|ff ag/f/|ee gf/e/|dd ec|A3c|GE Gc/d/| ec f>e|dA B>c|c2||

                       


FAIR FA' THE MINSTREL (Mart dhe crodh a' Mheineirich). Scottish, Reel. B Flat Major. Standard tuning. AB (Surenne): AABCCD (Fraser, Stewart-Robertson). "The ancient family of Menzies, Bart., have immemorially inherited the beautiful banks of Tay, which, before assuming their present perfect cultivation, must have grazed some of the finest cattle of any part in the central Highlands. These were, of course, subject to the spoliations of their mire predatory neighbors; hence, when music was well performed, the prize allotted the minstrel was one of Menzies' cows, in other words, 'Fair fa' the minstrel, he is worthy of one of Menzies' cows.' The expression is so common that a better definition of it may be given than this one, compressed within a note, merely to shew the allusion" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 106, pg. 40‑41. Stewart-Robertson (The Athole Collection), 1884; pg. 280. Surenne (Dance Music of Scotland), 1852; pg. 33.

X:1

T:Fair Fa’ the Minstrel

M:C|

L:1/8

R:Reel

B:Stewart-Robertson – The Athole Collection (1884)

Z:AK/Fiddler’s Companion

K:Bb

e|dB B/B/B FBDe|dB B/B/B dBfe|dB B/B/B FBDB|GEFD CDE:|

G|DB,FB, GB,FB,|DB,FB, GB,FD|GEFD CDEG|DB,FB, GB,FB,|

DB,FB, DEFe|dBcA ~BGFD|GEFD CDE||:e|eB B/B/B FBDe|dB B/B/B fBfe|

dB B/B/B FBDB|GEFD CDE:|e|dBfB gBfe|dBfB defb|dBfB gBfd|

gefd cdeg|dBfB gBfe|dBfB defb|dbfd bdfb|gefd cdeg||

           

FAIR FANNY.  English, Country Dance Tune (cut time). D Minor. Standard tuning. AABB. The melody is unique to London publishers Charles and Samuel Thompson’s 1757 country dance collection. Another tune by the same name appears in Walsh’s New Country Dancing Master (1728). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 35.

X:1

T:Fair Fanny

M:C|

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:Dmin

A2|d2e2f2 ed|e2A2 B4|A2 GF E2A2|F2D2  A4|d2e2f2 ed|e2A2 f4|e2A2 c=B A^G|A6:|

|:e2|gfed ^c2d2|{B}A4 =B4|^c2d2e2f2|”tr”(g2f2) “tr”(f2e2)|  gfed ^c2d2|{B}A4d4|A2d2 fed^c|d6:||

           

FAIR FIELD HOUSE. AKA and see "The/Da Scallowa(y) Lasses" (Shetland). Scottish, Reel. A Minor. Standard tuning. AABB. According to John Glen (1891), the melody was first published in John Riddell's Collection (1st Ed., c. 1766). Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex. 18(a), pg. 68. Glen (The Glen Collection of Scottish Dance Music), vol. 1, 1891; pg. 24.

X:1

T:Fair Field House

L:1/8

M:C

S:Glen Collection, vol. 1  (1891)

Z:AK/Fiddler’s Companion

R:Reel

K:Amin

g|eaag fedc|cdef gecg|eaag fedc|dcde A/A/A A:|

|:d|cAGA cdec|dcde defd|eagf ecde|cABG A/A/A A:|

                       

FAIR GIRL, THE. Irish, Air (3/4 time). D Major. Standard tuning. AB. Stanford/Petrie (Complete Collection), 1905; No. 538, pg. 136.

X:1

T:Fair girl, The
M:3/4
L:1/8

S:Stanford/Petrie (1905), No. 538

Z:AK/Fiddler’s Companion

K:D

Add | d>e fe dA | AF G2 F>G | A/d/A/G/ FD E>D | DD DA dd |

d>e fe/d/ dc/B/ | AF G2 FG | A/d/A/G/ F>D E/D/E/D/ | DD D ||

DD/E/F/G/ | AB/c/ de fg/f/ | ec d>e fd | cA B3A | AA A Add |

de fe/d/ dc/B/ | AF G2 F>G | A/d/A/G/ F>D E/D/E/D/ | DD D ||

                       

FAIR GIRL MAKING HAY, THE. Irish, Song tune and Single Jig. G Major. Standard tuning. One part. Source for notated version: learned by Joyce from the singing of his aunt, Mrs. Mary MacSweeny of Cork, and of Glenosheen, Co. Limerick, 1844-1855 [Joyce]. Joyce (Old Irish Folk Music and Songs), 1909; No. 171, pg. 86.

X:1

T:Fair girl making hay, The

L:1/8

M:6/8

S:Joyce – Old Irish Folk Music and Songs  (1909)

Z:AK/Fiddler’s Companion

K:G

dc|B2d G2A|B2g f2d|cBA G2G|(G3 G2)A|B2d efd|g2b a2f|gfe dcB|(A3 A2)c|

B2d efd|g3 b2g|fge dcB|(c3 c2)A|B2d G2A|B3 g2d|cBA G2G|(G3 G2)||

 

FAIR GROUNDS, THE. Irish, Hornpipe. A Major. Standard tuning.  AABB. Composed by County Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988) in memory of the many local fairs he attended as a boy in Ireland. Reavy (The Collected Compositions of Ed Reavy), No. 114, pg. 127.

 

FAIR HAIRED LASS. See “Jig Away the Donkey.”

 

FAIR HAIRED LASSIE. Scottish, Strathspey. A Major. Standard tuning. AA’BB’. Kerr (Merry Melodies), vol. 4; No. 15, pg. 4.

X:1

T:Fair Haired Lassie

M:C

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 4, No. 15 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

(E2 E)C (E<A) A2|E>FE>C (E<A) A2|f>de>c d>Bc>A|1 B>cB>A (3GBA (3GAF:|2

(3GAB (3EFG A2 (A<c)||: (e2 e)d (c<e) a2|e>fe>d (c<e) a2|

f>=gf>e d>ed>c|1 B>cB>A (3GBA (3GFE:|2 (3Bcd (3EFG A2 (A<c)||

 

FAIR HAIRED MOLLY. Irish, Reel. Green Linnett GLCD 1155, Martin Hayes - “Under the Moon” (1995).

 

FAIR HARVARD. AKA and see "My Lodging is on the Cold Ground."

FAIR HEADED LAD, THE. AKA and see "Giolla Na Gruaige Baine," "The Fairhaired Boy [1].”

 

FAIR HILLS OF IRELAND, THE. AKA and see "White Hills of Dear Ireland."

 

FAIR HILLS OF EIRE O! (Ban-Cnuic Eirinn O!). See "The White Hills of Dear Ireland."

 

FAIR HOME ON A HILL. Old-Time. USA, North Carolina. A Carolina flatlands tune. Marimac 9064D, Lauchlin Stamper & A.C. Overton - “Sally with the Run Down Shoes” (1996).

 

FAIR HORNPIPE, THE.  English, Hornpipe. England, Northumbria. G Major. Standard. ABB. . Composed by Robert Whinham (1814-1893), a musician, teacher, composer, dancing master and fiddler, originally from Morpeth. Source for notated version: an unattributed 19th century manuscript in the Beamish Museum [Dixon]. Dixon (Remember Me), 1995; pg. 31.

           


FAIR JENNY('S JIG). American, Jig. USA, New England. D Major (‘A’ part) & D Major/Mixolydian (‘B’ part). Standard. AABB. Composed by New England country dance pianist Peter Barnes (of the band Yankee Ingenuity) in 1976, inspired by the folktale (or Child Ballad) of Fair Jenny, who clung to a faerie queen as she shifted shapes until finally she won her husband’s freedom. Source for notated version: Peter Barnes (Mass.) [Hinds]; Pete Sutherland (Vt.) [Phillips]. Hinds/Hebert (Grumbling Old Woman), 1981; pg. 20. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 364. Songer (Portland Collection), 1997; pg. 74. Rounder 0193, Rodney Miller ‑ "Airplang" (1985). Varrick VR‑038, Yankee Ingenuity ‑ "Heatin' Up the Hall" (1989).

                       

FAIR KING’S COURTSHIP, THE.  Irish, Air (3/4 time). E Flat Major. Standard tuning. One part. Howe (1000 Jigs and Reels), c. 1867; pg. 27.

X:1

T:Fair King’s Courtship

M:3/4 time

L:1/8

R:Air

S:Howe – 1000 Jigs and Reels (c. 1867)

Z:AK/Fiddler’s Companion

K:E_

E2 | E2E2 EF | A4 BA | F2E2E2 | E4 GA | B2B2c2 | _d2B2A2 | B2e2e2 |

e4 (=de) | f2e2d2 | e4 dc | B2G2E2 | F4 _AB | cd e2 dB | A2F2F2 | E4 E2 | E4 ||

                       

FAIR LOVE OF MY HEART (“Gradh Geal Mochroidhe” or “Grá Geal Mo Chroí”). AKA and see “Bright Love of My Heart [1].” Irish, Air (4/4 time). C Major. Standard tuning. AB. "Stanford‑Petrie has three air of this name, and all different from the one given here" (Joyce). Phonetically the title reads: 'Gra gal machree'. The title appears in a list of tunes in his repertoire brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997). Joyce (Old Irish Folk Music and Song), 1909; No. 481, pgs. 266‑267.

X:1

T:Fair Love of My Heart

M:C

L:1/8

R:Air

S:Joyce – Old Irish Folk Music and Songs (1909)

Z:AK/Fiddler’s Companion

K:C

G/A/B | ccde c2 cB | AAcB {A}G2 G/A/B | cced c2 c/B/G/F/ | E2 C>E C2 ||

CD | EEFG FEFG | AAcB AG G/A/B | ccde c2 c/B/G/F/ | E2 C>D C2 ||

                       

FAIR MAID OF CAVAN (An Aindear Deas Ua Cabain). Irish, Slow Air (2/4 time). D Major. Standard tuning. AAB. Source for notated version: “Big” John Ryan, originally from Tramore, County Waterford, once champion “stone-thrower” and an amateur on several musical instruments [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903; No. 578, pg. 101.

X:1

T:Fair Maid of Cavan

M:2/4

L:1/8

R:Air

N:”Slow”

S:O’Neill – Music of Ireland (1903), No. 578

Z:AK/Fiddler’s Companion

K:D

AF|DE FG|AB cA|d3c|A2 AG|F3 G|A2 AG|F2D2|D2:|

de|f2d2|f2e2|d3 c/B/|A2 FE|DE FG|AB cA|(d4| d2) de|

f2e2|d3 c/B/|A2 FE|DE FG|AB cA|(d4|d2)||

                       

FAIR MAID OF KINSALE, THE (An Cailin Ban Ua Ceann-Saile). Irish, Slow Air (3/4 time). G Major. Standard. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903; No. 610, pg. 108.

X:1

T:Fair Maid of Kinsale, The

M:3/4

L:1/8

R:Air

N:”Slow”

S:O’Neill – Music of Ireland (1903), No. 611

Z:AK/Fiddler’s Companion

K:G

DE/F/ GG|B2 AGFG|A2 Bcdc|BABcdc|A2 AG/F/ GG|B2 AGFG|

A2 defd|d>c A/G/F/A/ GG|G2||Bcdd|f2 de/f/ gg|f2 dcBB|B{c/B/}A Bcdc|

A2 AG/F/ GG|B2 AGFG|A2 defd|d>c A/G/F/A/ GG|G2||

                       

FAIR MAID OF THE INN, THE. AKA and see "The Pleasures of the Town [2]." English, Country Dance. B Flat Major. Standard tuning. ABB. Fair Maid of the Inn was the title of a stage comedy sometimes attributed to Jacobean playwright John Fletcher (1579-1625), written in the year of his death from the plague. Raven (English Country Dance Tunes), 1984; pg. 31.

X:1

T:Fair Maid of the Inn, The

M:C|

L:1/8

K:Bb

B2d2f2d2|B4B4|c2d2B2c2|A4F4|G2B2A2c2|B2d2c2e2|

d2f2e2d2|d4c4|B2d2f2d2|B4B4|c2de2B2c2|A4 G2F2|

G2B2A2c2|B2d2d2c2|d4c4|B8||:D2E2F2B2|G4G4|

F2G2A2B2|c4 c4|B2c2d2e2|f2b2a2g2|f2e2d2c2|B4B4:|

                       

FAIR MAID OF WHICKHAM, THE. English, Jig. England, Northumberland. G Major. Standard tuning. AABB. Seattle (1987) says: "c.f. Bruce & Stokoe, Northumbrian Minstrelsy, 1882; pg. 10 and Northumbrian Pipers' Tune Book, 1970; pg. 32, identical to, and probably deriving from Vickers at first and second remove." Raven (English Country Dance Tunes), 1984; pg. 114. Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 154. Seattle (William Vickers), 1987, Part 3; No. 576.

X:1

T:Fair Maid of Whickham

M:6/8

L:1/8

R:Jig

S: Bruce & Stokoe – Northumbrian Minstrelsy  (1882)

Z:AK/Fiddler’s Companion

K:G

g|G2G GAB|cdc B3|cBc Adc|BGG G2g|G2g GAB|cdc B3|cBc Adc|BGG G2:|

|:B|cec BdB|A2A F2F|G2G GAB|cdc B3|cec BdB|AcA F2f|gfg ABc|BGG G2:|

                       

FAIR MAID WITH HER MILKING PAIL, THE. Scottish, Air (6/8 time). D Major. Standard tuning. AABA. Howe included the melody in his section of “Scotch Airs.” Howe (1000 Jigs and Reels), c. 1867), pg. 155.

X:1

T:Fair Maid with Her Milking Pail, The

M:6/8

L:1/8

R:Air

S:Howe – 1000 Jigs and Reels (c. 1867)

Z:AK/Fiddler’s Companion

K:D

A | DFA A2A | BA^G A2A | Bcd fed | c3d2 :| A | def def | cde A2A | def def | cde A ||

                       

FAIR MAIDENS, THE ("Na Aindear Maisaig" or "Na Maigdine Alainn"). Irish, Hornpipe. G Major. Standard. AABB. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 319, pg. 157. O'Neill (Krassen), 1976; pg. 179. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1626, pg. 302. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 857, pg. 148.

X:1

T:Fair Maidens, The

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 857

Z:AK/Fiddler’s Companion

K:G

D2|GDGA BGBd|gfed cBAG|ABcd ecAG|FGAF D2 EF|

GDGA BGBd|gfed cBAG|ABcd ecAF|G2 GF G2:|

|:FG|ADFD ADFD|cABG A2 GA|BDGD BDGD|dBcA B2A2|

GDGA BGBd|gfed cBAG|ABcd ecAF|G2 GF G2:|

                       

FAIR MAIDENS' BEAUTY WILL SOON FADE AWAY. Irish, Air (4/4 time). D Dorian. Standard tuning. One part. "I learned both the air and the words of this song from my father4. It was very well known in my early days among the people of the south; and there are more verses in the song; but those I give are all that I can remember. One day, about seventy years ago, a number of persons‑‑old and young‑‑were merrily engaged saving hay. A good way off, at the other side of the little river, were some reapers working away, among them Tom Long, a splendid singer with a powerful voice. As a sort of variety, to break in on the hard work, they asked him to sing; and he, nothing loth, sat down and gave them this very song in glorious style. Instantly both mihuls threw down their sickles, rakes, and forks, and sat down in mute attention and rapt delight, till Tom had finished; when they at once started up and resumed their work" (Joyce). Appears in Joyce's Ancient Irish Music as well. Howe (1000 Jigs and Reels), c. 1867; pg. 23. Joyce (Old Irish Folk Music and Songs), 1909; No. 400, pgs. 209‑210.

X:1

T:Fair Maiden’s Beauty Will Soon Pass Away

M:C

L:1/8

R:Air

N:”Andante”

S:Joyce – Old Irish Folk Music and  Songs (1909)

Z:AK/Fiddler’s Companion

K:Emin

(B>A) | G2 EG (F>E) DE | F2 E>E E3^G | A2 B^c d2 B>e | e2 f^d e3^G |

A2 B^c d2 B>e | e2 f^d e{f}=d BA | G2 E>G (FE)DE | F2 E>E E2 ||

                       


FAIR MAIDS OF POYNTON. English, Dance Tune (4/4 time). G Major. Standard tuning. ABC. Modern composition by Stan Gee. Knowles (Northern Frisk), 1988; No. 152.

                       

FAIR MARGARET AND SWEET WILLIAM. AKA and see "Fair Margaret's Misfortune." English, Air (3/4 time). D Minor. Standard tuning. One part. The air appears in Watts' Musical Miscellany (ii. 84, 1729) and The Village Opera (1729). In the Douce Collection the ballad is entitled "Fair Margaret's Misfortune; or, Sweet William's frightful dreams on his wedding night: with the sudden death and durial of those noble lovers. To an excellent new tune."

***

As it fell out on a long summer’s day,

Two lovers they sat on a hill;

They sat together that long summer’s day,

And could not talk their fill.

***

The ballad relates that Sweet William marries another, Margaret dies broken-hearted, and her ghost visits the newlyweds on their wedding night. Chappell (Popular Music of the Olden Time), vol. 2, 1859; pgs. 131‑132.

X:1

T:Fair Margaret and Sweet William

L:1/8

M:3/4

S:Chappell – Popular Music of the Olden Time  (1859)

Z:AK/Fiddler’s Companion

K:Dmin

d>e f2e2|d2A2B2|A2D2E2|F4d2|c2d2B2|G2 BA GF|E4 A2|

B2A2E2|F2d2c2|B2A2G2|(G3A) B2|A2d2F2|E2 GF ED|D6||

                       

FAIR MARY MULHOLLAND (Maire Ban Ni Maoilcallann). Irish, Air (3/4 time). D Mixolydian. Standard tuning. One part. O’Neill identifies the tune as the air of a County Down folk song, learned by O’Neill’s assistant, Sergeant James O’Neill (no relation), from his mother. The original title was unknown so the compilers named it for James’s mother. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 29, pg. 6.

X:1

T:Fair Mary Mulholland

M:3/4

L:1/8

R:Air

N:”With feeling”

S:O’Neill – Music of Ireland (1903), No. 29

Z:AK/Fiddler’s Companion

K:D

D2 | D4G2 | G2A2B2 | =c4B2 | A2G2F2| G4F2 | D2 z2 D2 | (D6 | D2) z2 =c2 |

d4 e2 | B4A2 | B2c2d2 | A2G2F2 | (G6 | G4) =c2 | A2B2^c2 | d4e2 | B4A2 |

B2c2ed2 | A4F2 | (G6 | G2) F2G2 | A2B2c2 | d4e2 | =c4B2 | A2G2F2 | G4F2 | D4 D2 | (D6 | D4) ||

                       

FAIR MOLLY (Mailí Bhán). AKA and see "Molly Bawn."

                       

FAIR MORNING HORNPIPE. Old-Time, Breakdown. USA, West Virginia. Paul Mitchell finds that Cape Breton fiddler Joe MacLean recorded an almost completely identical tune, which he called “Nancy.” Cassette C-7625, Wilson Douglas - "Back Porch Symphony."

                       

FAIR OF BALLINASLOE, THE. AKA ‑ "Ballinasloe Fair"??? Irish, Reel. Green Linnet SIF‑1110, "My Love is in America: The Boston College Irish Fiddle Festival" (1991).

           

FAIR OF DRUMLISH, THE. AKA and see “Rakes of Kildare.” Irish, Jig.

           

FAIR OF DUNMORE, THE. AKA and see "Juice of the Barley." Irish, Air (6/8 time). D Major. Standard tuning. One part. "Taken down from Mr. Patrick Hynes, a native of Mayo (Dunmore is in Galway)" {Joyce}. Joyce (Old Irish Folk Music and Songs), 1909; No. 220, pg. 107.

X:1

T:Fair of Dunmore

T:Juice of the Barley

L:1/8

M:6/8

N:”Lively”

S:Joyce – Old Irish Folk Music and Songs   (1909)

Z:AK/Fiddler’s Companion

K:D

A/G/|FGA d>ed|cAB A2 f/g/|afa gfg|f3 e2 f/g/|afa gfg|ecA A2g|

fed cde|d3 A2G|FGA d2 e/d/|cAB A2 a/g/|fdf ece|d3 d2||

                       

FAIR OF WINDGAP. AKA and see "Billy O'Rourke is the Boy,” “Billy O’Rourke’s the Buachaill [1]."

                       

FAIR ONE LET ME IN, THE. English, Air (4/4 time). C Minor. Standard tuning. One part. Chappell (1859) notes that the tune, while "undoubtedly" of English origin, has been claimed as Scotch. The words were written by Thomas D'Urfey and appear in his New Collection of 1683, in which the setting is attributed to Mr. Tho. Farmer. The tune soon became quite popular and it appears in several collections with a variety of titles taken from songs written to it, including "The Generous Lover," "Kind Landy, or the Loves of Stella and Adonis," "The Good Fellow's Frolic, or Kent Street Club," "The Love‑sick Maid of Wapping," "The Life of Love," "The Deptford Frolick" and others. The air also appears in Choice Ayres (1683), all editions of Pills to Purge Melancholy, and many ballad operas of the early 18th century. Chappell (Popular Music of the Olden Times), vol. 2, 1859; pgs. 34‑35.

                       

FAIR PLAY. AKA and see “Tit for Tat [2].”

                       

FAIR PULSE OF MY HEART. AKA and see "Thou Fair Pulse of My Heart."

                       


FAIR QUAKER OF DEAL. English, Country Dance Tune (6/8 time). D Major. Standard tuning. AABB. The tune dates to 1728. Barnes (English Country Dance Tunes), 1986.

                       

FAIR ROSALIND. AKA and see "The Jilt." English, Air (4/4 time). D Major. Standard tuning. AAB. The tune appears in Mercurius Musicus (1735), Watts' Musical Miscellany (1729), and The Convivial Songster (1780).

***

Fair Rosalind in woeful wise

Six hearts has bound in thrall;

As yet she undetermined lies,

Which she her spouse shall call,

Which she her spouse shall call.

***

Chappell (Popular Music of the Olden Time), vol. 2, 1859; pg. 131.

X:1

T:Fair Rosalind

L:1/8

M:C

S:Chappell – Popular Music of the Olden Time  (1859)

Z:AK/Fiddler’s Companion

K:D

d2 d>d c2c2|B2B2A2d2|A2G2F2E2|D8:|

||F2 F>G A2A2|B2B2A2d2|c2d2e2c2|dcde d2d2|A2d2e2c2|d8||

                       

FAIR SCOTS TUNE, A. AKA and see “My Nanny-O.”

                       

FAIR WIND, THE (Cóir Ghaoithe). Irish, Reel. A Dorian/E Minor. Standard tuning. AABB (Breathnach, CRÉ III): AABBCC (Breathnach, CRÉ V). Jackie Small, editor of CRÉ V, says the three part tune in that volume is the one usual among present-day Irish musicians. An untitled three-part reel on page 173 of Bernard Flaherty’s Trip to Sligo (1990) is a related tune. Mick McLaughlin writes to say that it was recorded as a three-part tune on Dervish’s “Midsummernight” CD as part of the set entitled “Out on the Road.” Liner notes to the album identify it as a popular session tune that was recorded by piping master Séamus Ennis. McLaughlin says it is a variation of “Rip the Calico” and “Tear the Calico [2].” Source for notated version: piper Séamus Ennis (Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 81, pg. 41. Breathnach (CRÉ V), 1999; No. 109, pg. 57. Tara Records 1009, Seamus Ennis ‑ "The Fox Chase" (1977). TARACD 1002/9, Séamus Ennis – “The Best of Irish Piping” (a reissue of the Fox Chase cut).

                       

FAIR WIND TO GREENLAND, A. Scottish, Reel. A Major. Standard tuning. AAB. Breathnach finds an untitled reel in his Ceol Rince na hEireann IV (No. 101) related to this melody. Kerr (Merry Melodies), vol. IV, No. 24, pg. 5.

X:1

T:Fair Wind to Greenland, A

M:C|

L:1/8

R:Reel

S:Kerr – Merry Melodies, vol. 4, No. 24  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

e | agae cAAc | dcBA GBEg | agae cAAa | fdBG (A3A) :|

|| B | cBAc (dB)”tr”B2 | cBAc Beed | cBAc dfBd | cABG A2 (AB) |

cBAc dfBd | cBAc Beed | cAec fdba | gbeg (a2a) ||

                       

FAIR YOUNG MARY. AKA and see "A Mhairi Bhan Og."

                       

FAIRBAIRN'S. Scottish, English; Slow Strathspey. A Major. Standard tuning. AB (Honeyman): AABC (Kerr): AABCCD (Hardie). J. Scott Skinner (1904) and Bill Hardie (1986) identify the melody as English in origin. A Skinner's 1904 collection, Harp and Claymore, reads: "the last strain is often used by street players as a part of "Earl Grey"--a practice to be deprecated." The melody is played as a jig on Cape Breton, Nova Scotia. Hardie (Caledonian Companion), 1986; pg. 30. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 37. Kerr (Merry Melodies), vol. 1; Set 14, No. 1, pg. 15. Skinner (Harp and Claymore), 1904; pgs. 20-21.

X:1

T:Fairbairn’s

M:C

L:1/8

S:Honeyman – Strathspey, Reel and Hornpipe Tutor  (1898)

R:Slow Strathspey

Z:AK/Fiddler’s Companion

K:A

 c/B/|A>E (3CEA (3DFA (3CEA|(3DFA (3CEA B,<B Bc/B/|A>E (3CEA (3DFA (3CEA|(3DFA (3B,EG A2 A:|

e|a>Ag>A f>Ae>c|d>B d/c/B/A/ G<B B>G|(3ABc (3Bcd (3cde (3def|(3efg a<A A>e|

a>Ag>A f>Ae>c|d>B d/c/B/A/ G<B B>e|e’>Ac’>A a>Ae>c|(3def (3efg a<A A>e|

e’>Ac’>A a>Ae>A|(3cea (3ecA G<B B>d|(3cec’ (3ebd’ (3c’e’c’ (3aec| (3def e>c A2 A||

                       

FAIRE! FAIRE! AR AGHAIDH! AR AGHAIDH! (Watch! Watch! Forward! Forward!). AKA - "The Pharroh or War March." Irish, Air (6/8 time). F Major. Standard tuning. AABBCCD. A variant of the tune is in Breathnach's Ceol Rince na hEireann (No. 12) as "Port Liadroma." Bunting also called the tune "Yellow Wattle, 2nd set" in his MS. Source for notated version: the Irish collector Edward Bunting obtianed the melody from another collector, George Petrie, in 1835. O'Sullivan/Bunting, 1983; No. 143, pg. 200.

                       

FAIRE l'AMOUR DANS LES RANGS d'COTON (Making Love in the Cotton Rows). Cajun, Waltz. USA, Louisiana. D Major. Standard tuning. One part. Source for notated version: Dunice P. Theriot (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 130-131. Swallow Records SW-10220, Dunice Theriot.

                       

FAIRE l'AMOUR DANS l'POULAILLER (Making Love in the Chicken Coop/Hen House). Cajun, Two-Step. USA, Louisiana. A Major. Standard tuning. One part. Source for notated version: Raymond Tauzin [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 127-129. Swallow Records SW-21016, Raymond Tauzin.

                       

FAIREY REEL, THE. Irish, Reel. G Major. Standard tuning. AB. A distanced version of “The Fairy Reel [1]." Source for notated version: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 82, pg. 22.


           

FAIREST JENNY.  AKA and see “Fife and a’ the lands about it.” Scottish, Air. The melody was first printed in the Gentleman’s Journal of Jan. 1691-92 under the title “Jockey and Jenny, a Scotch song set by Mr. Akeroyde,” although Stenhouse believes Akeroyde only put a bass on a older melody. Stenhouse (Illustrations, 1853) believed the melody to be a Scottish composition because “This tune appears on the old Virginal Book already mentioned in the editor’s possession, under the title of ‘Let Jamie’s Lad allane,’ which was probably the original title.” John Glen (Early Scottish Melodies, 1900), says that it was not in fact Scottish, but and English composition attributed to the Scots. He points out it lacks any Scottish character to it at all, and, even though it appeared in the Scottish collections of Oswald (1740) and William MacGibbon (Second Collection, 1746) it was probably only because it had gained a measure of popularity by that time. “We frankly hand over both words and tune to the keeping of Akeroyde’s countrymen” (i.e. the English), finishes Glen. Chappell (Popular Music of the Olden Time), 1859; pg. 617.

           

FAIREST NYMPH THE VALLEYS, THE. AKA and see "Gravesande." English, G Dorian. Standard tuning. AAB. The air appears in "Friesche Lust‑Hof" (1634), Sir John Hawkins' transcripts, and "Urania" (Amsterdam, 1663). Chappell (Popular Music of the Olden Times), vol. 1, 1859; pgs. 170‑171.

                       

FAIREST PUT ON AWHILE. AKA and see "Riding A Mile [1]," "Is Cuma Liom," "Cummilum," "I Don't Care," "Virgin Queen."

                       

FAIRFIELD HOUSE. See "Fair Field House."

                       

FAIR-HAIRED ANNA (Anna Bhan). Irish, Slow Air (3/4 time). D Minor. Standard tuning. One part. Source for notated version: Mr. Flattely of Mayo, via Forde. Joyce (Old Irish Folk Music and Songs), 1909; No. 495, pg. 272.

                       

FAIR-HAIRED BEAUTY, THE. AKA and see “An Chuilfhionn,” “The Coolun,” “The Fair-Haired One.”

                       

FAIRHAIRED BOY [1], THE ("Bouchaleen Bawn" or "An Buac{h}aillín Bán"). AKA and see "The Boys from Carrickroe," “Buachaillin Ban [1],” "Fair Headed Lad, The," "The Freheen Jig,” "Giolla na Gruaige Baine," "The Last of the Lot," "Miss Casey [1]." Irish, Double Jig. A Mixolydian (O'Neill/Krassen): A Dorian (Breathnach, Roche, Taylor): A Major (O'Neill/1850): A Minor (Connolly & Martin, O'Neill/1915, Roche/vol.1). Standard tuning. AAB (Breathnach): AABB (Harker/Rafferty, Roche/vol.1): AABB' (O'Neill, Taylor): AA’BB’ (Connolly & Martin). "An Buachall Bán" (The Fair Lad) is an allegorical name for the Young Pretender, Bonnie Prince Charlie Stuart. The tune appears in the O'Rourke manuscripts as "The Kerryman's Rambles” and as an untitled jig in A major in Kerr’s Merry Melodies (c. 1886), Book 4, pg. 25. Sources for notated versions: piper Pat Broohy/Padhraic Ó Broithe (Ireland) [Breathnach]; Sources for notated versions: Abram Sweetman Beamish, a native of the adjoining parish to that of Caheragh, County Cork, where Francis O’Neill was born—although O’Neill got seven tunes from Beamish, only the “Fairhaired Boy” and “Tie the Bonnet” were previously known to him despite their common place of origin [O’Neill]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ I), 1963; No. 20, pg. 9. Connolly & Martin (Forget Me Not), 2002; pgs. 28-29. Harker (300 Tunes from Mike Rafferty), 2005; No. 237, pg. 73. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 140, pg. 81. O'Neill (Krassen), 1976; pg. 42. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 158, pg. 41. Roche Collection, vol. 1, No. 120, pg. 50. Roche Collection, 1982, vol. 3; No. 110, pg. 34 (appears as "Giolla na Gruaige Baine"). Taylor, 1989; pg. 21. Gael-Linn CEF 176, Jackie Daly - “Many’s a Wild Night” (learned from the playing of Kiskeam fiddle player Maurice O'Keeffe).

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

Alan Ng’s Irishtune.info

X:1

T:An Buachaillín Bán (The Fair‑haired Boy)  [1]

D:Jackie Daly, "Many's a Wild Night"

M:6/8

L:1/8

R:jig

Z:Paul de Grae

K:Ador

EAA AGE | GAB c2 d | e/f/ge ded | BAB GED |

EAA AGE | GAB c2 d | e/f/ge ded | BAG A3 :||

||: eaa aga | bab ged | eag e2 A | BAB GED |

EAA AGE | GAB c2 d | e/f/ge ded | BAG A3 :||

 


FAIRHAIRED BOY [2], THE (An Bucahaillín Fionn). AKA and see  "Flower of the Flock [2]." Irish, Reel. D Mixolydian. Standard. AA'BB'. See also the related “Last Night’s Joy.” Source for notated version: flute and whistle player Micko Russell, 1966 (Doolin, Co. Clare, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 255, pg.

X:1

T:Fairhaired Boy, The [2]

R:Reel

Z:Adrian Scahill

M:4/4

L:1/8

K:G

A3G (3EFG AB|ceAc BGG2|ABAG FAeg|1 fde^c Add=c:|2fde^c Adde||\

K:D\

f2df (3efe de|(3fgf df e=cAe|f2df efde|fdec Adde|\

f2df efde|f2df ecA2|ABcd efge|ageg fddc||\

                       

FAIR-HAIRED CHILD [1], THE. AKA and see “(An) Paistin Fionn [3].”

 

FAIRHAIRED CHILD [2], THE. Irish, Reel. D Major. Standard tuning. AB. Source for notated version: Martin Connolly and Maureen Glynn (Ennis, County Clare) [Black]. Black (Music’s the Very Best Thing), 1996; No. 363, pg. 193.

X:1

T: Fairhaired Child

S: Maureen Glynn Connolly

Q: 350

R: reel

M: 4/4

L: 1/8

K: D

A3 G FGAB | =c2 dc BGGB | ABAG FAdg | fdec Addc |

A3 D (3EFG AB | (3=cdc dc BGGB | ABAG FAde | fdec Adde ||

f2 df (3efe de | f2 df ec A2 | f2 df (3efe de | fdec Adde |

f2 df (3efe de | f2 df ecA^G | A2 (3Bcd ef (3gfe | afge d4 ||

                       

FAIR-HAIRED DENIS (Donocha Ban). Irish, Slow Air (3/4 time). F Major. Standard tuning. One part. "A young woman's lamentation for the death of her brother Dennis" (Joyce). Source for notated version: Ballinamore, Co. Leitrim, professional fiddler Hugh O'Beirne, 1846, via Forde (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 646, pgs. 326‑327.

                       

FAIRHAIRED GIRL, THE (Cailin Ban). Irish, Slow Air (3/4 time). G Major. Standard tuning. AB. Source for notated version: Chicago Police Sergeant and fiddler James O’Neill, originally from County Down [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 62, pg. 11.

X:1

T:Fairhaired Girl, The

M:3/4

L:1/8

R:Air

N:”Very slow”

S:O’Neill – Music of Ireland (1903), No. 62

Z:AK/Fiddler’s Companion

K:G

(d .g.g) | (g/>a/b/)(a/4g/4) (g>f/e/) dB | c2 (.B(B/c/) .d(c/B/) | (BG) “tr”(A>G) (.G.G) | G3 (d .g.g) |

(g/>a/b/)(a/4g/4) g>f/e/ dB | c2 .B(B.c.) (d.g)(d.c.) | (B>G) “tr”(A>G) (.G.G) | G3 || G (G/A/B/c/) |

.d/(e/4f/4).g/.a/ b(a/g/) af | (g>a) b)(a/g/) fd | e>d e{f/g/}(d/e/) (.d.d) | d3 (de>f) |

(g/>a/b/)(a/4g/4) (gf/>e/) dB | (c2 B/)c/(B/c/ d/g/)(d/c/) | (BG) “tr”(A>G) (.G.G) | G3 ||

                                   

FAIRHAIRED MARY (Maire Na/an Cuilfion/Cuilfhin). AKA and see “Molly Bawn [3].” Irish, Reel. G Dorian (O’Neill): E Minor (Miller). Standard tuning. AB (O'Neill/1850 & 1001): AA'B (O'Neill/Krassen): AABB (Miller). A composition of the Irish harper Turlough O'Carolan (1670-1738), written for Mary MacDermot, for whom he also composed the famous "Princess Royal." Clare fiddler Paddy Canny recorded the tune under the title “Molly Bawn.” Breathnach (CRÉ III), 1985; No. 123 (appears as “Gan ainm/No title”). Miller (Fiddler’s Throne), 2004; No. 154, pg. 99. O'Neill (Krassen), 1976; pg. 146. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1474, pg. 273. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 703, pg. 124. Green Linnet SIF 3005, The Bothy Band - “Old Hag You Have Killed Me” (1981. A reissue of the 1976 Mulligan LP).

X:1

T:Fair-Haired Mary

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 703

Z:AK/Fiddler’s Companion

K:Gmin

Addc d2 cB|AFcF dFcF|Gddc d2 d=e|fdcA dcBA|Gddc d2 cB|AFcF dFcF|

Gddc d2 d=e|fdcA AG G2||g2 dg g2 ag|fdd=e f2 fe|g2 gf g2 ag|

fdcA dBcA|Gddf g2 ag|fdd=e f2 fg|abag fgag|fdcA AG G2||

                       

FAIR-HAIRED ONE, THE. AKA and see “The Coolun.”

                       

FAIR-HAIRED WEAVER, THE. Irish, Slow Air (4/4 time). D Minor. Standard tuning. AB. Source for notated version: Mr. Flattely of Mayo, via Forde. Joyce (Old Irish Folk Music and Song), 1909; No. 491, pgs. 270‑271.

X:1

T:Fair-Haired Weaver, The

M:C

L:1/8

R:Air

S:Joyce – Old Irish Folk Music and Song (1909), No. 491

Z:AK/Fiddler’s Companion

N:Slow

K:Dmin

fd|d2 CA G2 AF|D6 FG|A2 cd f2 e>d|d6 (3A=Bc|

d2 cA G2 AF|D6 FG|A2 c>A G3F|F6||de|

f2 ec d2 ef|g2 ec d2 ec|A2 G2A2 =Bc|d6 de|

f2 ed decA|GAFD D2 fd|d2 cA GAFD|D6 (3DFG|

A2 cd f2 ed|decA G2 AF|D2 FG AcG>A|F6||

                       

FAIR-HAIRED WHITE-SKINNED CALF, THE (An Gamhuin Geal Bán). AKA and see "Slainte Righ Philip," "The Priest and the Rake." Irish, Slow Air (3/4 time). E Minor. Standard tuning. AB. "A term of endearment for a girl" (Joyce). "Taken down more than fifty years ago from James Buckley, a Limerick piper. It is a version of Sldinte Righ Philip, an air which has been already printed more than one: but this setting is so good and so characteristic that it deserves to be preserved. I have an Irish song to this air all about the Gamhuin Geal ban" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 18, pg. 12.

X:1

T:Fair-Haired White-Skinned Calf, The

T:An Gamhuin Geal Bán

M:3/4

L:1/8

R:Air

S:Joyce – Old Irish Folk Music and Song (1909), No. 18

Z:AK/Fiddler’s Companion

N:”Slow and with feeling”

K:Emin

B>A|F2 E2 E>G|F2D2 EF|D2D2 EF|G2A2B2|A3G F2|G4B>A|F2E2 E>G|

F2 D2 EF|D2D2E2|F2A2F2|F2E2E2|E4||B|e2e2e2|f2d2 ef|d d3 ed|B2B2A2|

B3 AGF|G4 B>A|F2E2 E>G|F2D2 EF|D2D2E2|F2A2F2|F2E2E2|E4||

                       

FAIRIE DANCE. See "Fairy Dance."

                       

FAIRIES ARE DANCING. AKA and see "(A)round the World for Sport [1]."


                       

FAIRIES AT MONTICELLO, THE. Canadian, Reel. Canada, Prince Edward Island. G Major. Standard tuning. AABB. Composed by Bill MacDonald (b. 1925, originally from North Lake, Kings County, now from E. Roylaty, Queens County, Prince Edward Island). The Monticello of the title is a village in North- East Kings County, PEI. Source for notated version: Bill MacDonald [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 56.

                       

FAIRIES' DANCE POLKA. Scottish, Polka. G Major ('A' & 'B' parts) & C Major ('C' part). Standard tuning. AABBCC. Kerr (Merry Melodies), vol. 3; No. 442, pg. 51.

X:1

T:Fairies’ Dance Polka

M:2/4

L:1/8
R:Polka

S:Kerr – Merry Melodies, vol. 3, No. 442

Z:AK/Fiddler’s Companion

K:G

D/E/F/G/ A/B/c/d/ | e/d/g/B/ d(B/d/) | f/f/f/f/ f/e/c/A/ | e/e/e/e/ e/d/B/G/ |

D/E/F/G/ A/B/c/d/ | e/d/g/B/ d(B/d/) | f>e d/c/B/A/ | G/g/d/B/ Gz :|

|: E/F/E/F/ G/F/G/A/ | BcBz | ^d/d/d/d/ e/e/e/e/ | f/f/f/f/ gz | g/g/g/f/ eA |

a/a/a/g/ f(e/d/) | ^c/d/e/f/ g/A/B/c/ | d(f/e/) d=c/B/c/ | d/d/g B/B/d |

c/c/c/c/ ed | c/c/e F/F/A | G/A/B/c/ ed | d/d/g B/B/d | c/c/c/c/ ed |

f>e d/c/B/A/ | G/g/d/B/ Gz :|

K:C

G/G/G/G/ e/d/c/A/ | G/G/G/G/ e/d/c/A/|G/A/G/A/ B/A/B/c/ |d/d/^c/c/ d/d/g/z/|

G/G/G/G/ e/d/c/A/ | G/G/G/G/ e/d/c/A/|G/G/G/G/ A/G/A/B/ | c/c/G/E/ Cz :|

                       

FAIRIES' HORNPIPE, THE (Crannciuil Na Siabraead/Sideog). Irish, Hornpipe. G Major. Standard tuning. AABB (Harker/Rafferty, O’Neill): AA’BB’ (Cranford). Piper Seamus Ennis introduced  the tune with a tale of supernatural origins. It seems that a young man lost his way when returning home from a dance, and it being late and himself tired from dancing, he bedded down in the middle of a field for a nap to await daylight. He woke, however, when it was still dark to the sound of music and the sight of fairies dancing. He committed the tune to memory, but when he eventually found his way home and told the village of his adventure he was not believed, and was thought to have more likely passed out in a drunken stupor.  The young man produced an instrument and proceeded to play the tune the fairy piper had been playing, and since even the oldest member of the community could not remember it having heard it before, the young man was perforce believed. The tune was thereafter known as “The Fairies Hornpipe.”

***

Unfortunately the tune is derived not from the shee, but rather from a duple-time air collected in the mid-19th century by Cork musicologist P.W. Joyce called “Mor Mhluana” (More of Cloyne). There is a connection with fairies, however, for Mor was goddess of the fey-folk around Cloyne, County Cork. Joyce has this to say:

***

We read in Irish history of several remarkable women named

Mor. The most celebrated of all was Mór Mumhan, the daughter

of Aedh Bennain (Hugh Bannan, king of west Munster--died

A.D. 614), about whom there is a curious story in the book of

Leinster; in which it is related that she was carried off by the fairies

in her youth; and that ultimately she became the wife of Cathal Mac

Finguine, king of Cashel. Afterwards her sister was similarly

abducted; and was discovered by Mór--who knew her by her

singing--somewhere in the district where Cloyne is situated.

Mór Mumhan (or Mór of Munster) is celebrated in legend

among the peasantry to this day, for her beauty and her

adventures; and perhaps it may not be rash to conjecture

that she was the same as Mór of Cloyne, who gave name

to this air. (Joyce, 1873)

***

Sources for notated versions: fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia) [Cranford]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Cranford (Brenda Stubbert’s), 1994; No. 79, pg. 29 (appears as “The Fairy’s Hornpipe”). Cotter (Traditional Irish Tin Whistle Tutor), 1989; 82. Harker (300 Tunes from Mike Rafferty), 2005; No. 260, pg. 80. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 357, pg. 173. O'Neill (Krassen), 1976; pg. 202. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1718, pg. 319. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 906, pg. 155. Vallely (Play Tin Whistle with the Armagh Pipers Club), vol. 2; 18. CCE Néillidh Mulligan - "The Leitrim Thrush.” EMI Records ISRM 006, Tulla Ceili Band – “Dance Tunes” (1990).  Brenda Stubbert - “House Session” (1992). “Chieftains 8.”

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:Fairies’ Hornpipe, The

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 906

Z:AK/Fiddler’s Companion

K:G

D2|GFGA BdcB|AGAB G2 Bc|dgfg edcB|cedB A2 Bc|

dgfa g2 fe|dedc B2 AG|ABcA dcAF|G2GG G2:|

|:Bc|eggf g2 fe|dedc B2 AG|ABcA edcB|A2dd d2 Bc|

dggf g2 fe|dedc B2 AG|ABcA dcAF|G2 GG G2:|

                                               

FAIRIES' LAMANTATION, THE. AKA ‑ "The Fairies' Lullaby." Irish, Air (4/4 time). G Mixolydian. Standard tuning. AB. Source for notated version: "(given to Forde by) Patrick MacDowell, R.A., the distinguished sculptor: born in Belfast 1799: died 1870. He gave a great number of airs to Dr. Petrie also, who has published many of them in his 'Ancient Music of Ireland': and many are included in the Stanford‑Petrie collection. He was an ardent collector of Irish music, and drew his stores from every part of the country" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 555, pgs. 294‑295.

                       

FAIRIES' LULLABY, THE. AKA and see "Fairies' Lamentation."

                       

FAIRIES' REVELS. English, Jig. C Major. Standard tuning. AABB. The melody appears in the music manuscript collection of H.S.J. Jackson (1823, Wyresdale, Lancashire). Harding’s All Round Collection, 1905; No. 37, pg. 11. Beautiful Jo BEJOCD-36, Dave Shepherd & Becky Price – “Ashburnham” (from the J.S.J. Jackson manuscript). 

X:1

T:Fairies’ Revels

M:6/8

L:1/8

R:Jig

S:Harding’s All Round Collection (1905)

Z:AK/Fiddler’s Companion

K:C

G|c2c cBc|ABc def|e2c cBc|B2GT GAB|c2c cBc|

ABc def|Adc BAB|c2z c2::c|g2g gfe|fga a2a|

gec cBc|d2G GAB|cGc cBc|Acf fga|g2c dcd|e2c c2:|

                       

FAIRIES SLIP JIG. AKA and see “Port na Shigh.”

                       

FAIRIES' WELL, THE (Tobair Na Sige). Irish, Air (3/4 time). G Major. Standard tuning. AB. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 57, pg. 37. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 478, pg. 84.

X:1

T:Fairies’ Well, The

M:3/4

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 478

Z:AK/Fiddler’s Companion

K:G

G/A/B/c/|d2^c2=c2|B4 AG|A2G2E2|G4 GA|B2d2B2|A2G2A2|{B/c/}B2A2 z2|

Z2z2d2|d2^c2=c2|B4 AG|A2G2E2|G4 GA|B2d2B2|A2G2A2|{c}B2G2 z2||

G/A/B|c2d2e2|e2d2B2|A2G2A2|G4B2|c2d2e2|e2d2B2|A4 cB|A4d2|

c2^c2=c2|B4 AG|A2G2E2|G4 GA|B2d2B2|A2G2A2|{c}B2G2z2|z2z2||

                       

FAIRLIE CASTLE. Scottish, Strathspey. B Flat Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 177, pg. 21.

X:1

T:Fairlie Castle

M:C

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 3, No. 177

Z:AK/Fiddler’s Companion

K:B_

d | B<B G>B F<D D>F | B<B G>B (c2 c>)d | B<B G>B F<D D>F | (3GAB (3ABc (B2B) :|

|: F | B<B d>B f<B B>b | B<B d>B (c2 c>)d | B<B d>B f<B d<b | (3gfe (3dec B3 :|

                       


FAIRLY SHOT ON/OF HER [1]. AKA and see "'Weels Me I Gotten Shott On Her," "Freely Shot Ower"(? Shetland). Scottish, English; Jig (12/8 time). England, Northumberland. G Major. Standard tuning. ABB (Stokoe): AABBCCDD (O’Farrell, Vickers). Seattle (1987) says: "This is a good fiddle setting of a tune more widely known in pipe versions...An unusual version appears in Atkinson as ''Weels Me I Gotten Shott On Her.'" ‘Shot’ has numerous slang or colloquial connotations, however, the meaning of shot as “exhausted” or “depleted” seems to fit. Bewick's and Bruce & Stokoe's versions are not particularly similar. The title appears in Henry Robson's list of popular Northumbrian song and dance tunes which he published c. 1800. The tune appears in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by David Young, 1734."

***

O’Neill (1922) remarks: “Altho McGoun's tune (see version #2) was at hand for years, and was not known to our traditional musicians, I hesitated to claim it as Irish, until O'Farrell specifically notes it as being Irish in his Collection for the  Irish or Union Pipes. Few variants, while preserving a distinct strain, differ so widely in their development. O'Farrell was a renowned Irish piper who took part in operatic performances on the London stage late in the 18th Century.”

***

Bewick's Pipe Tunes, 1986; No. 14. Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 187. O’Farrell (Pocket Companion, vol. 1), c. 1805; pg. 49. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 158. Seattle (William Vickers), 1987, Part 2; No. 261.

X:1

T:Fairly Shot of Her [1]

L:1/8

M:6/8

S:Bruce & Stokoe – Northumbrian Minstrelsy (1882)

Z:AK/Fiddler’s Companion

K:G

B||c2Ac2A|c2e ecA|c2A c2A|GBd dBG|c2A c2A|c2e ece|fdf ece|

dBg dBG|c2A c2A|c2e ecA|c2A c2A|GBd dBG|c2A c2A|c2e ece|

ceg dBG|A2B dBG||

|:G2g gfg|c2e ece|G2g g/f/e/f/g/e/|GBd dBG|G2g gfg|gfg d2B|

cde dBG|A2B dBG:|

X:2

T:Fairly Shut of Her [1]

M:6/8

L:1/8

S:O'Farrell's Pocket Companion (1804-10)

Z:Paul Kinder

K:G

D/2E/2|G2 E G2 E|G2 B BGE|G2 E G2 E|FGA AFD|

G2 E G2 E|GAG Bcd|ege dBG|FGA AFD:|

|:d3 BAB|G2 d dBG|d3 BAB|EFE AFD|

d3 BAB|GAG Bcd|ege dBG|FGA AFD:|

|:gfe gab|GAG BAG|g2 g gfg|efg afd|

gag gfe|dcB c2 d|ege dBG|FGA AFD:|

|:G3 dGG|BGG dGG|BGG dGG|BGG AFD|

GAG dGG|BGG dBd|ege dBG|FGA AFD:||

 

FAIRLY SHOT OF HER [2]. Irish (?), Jig. G Major. Standard tuning. AABB. The Gows remark “Old” alongside the melody in their Second Collection (1788). Source for notated version: copied from McGoun’s Repository (1803) [O’Neill]. Gow (Second Collection of Niel Gow’s Reels),1788; pg.24 (3rd ed.). O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 159.

X:1

T:Fairly Shot of Her [2]

M:6/8

L:1/8

R:Jig

S:McGoun's Repository (1803)

Z:Paul Kinder

K:G

D|:E/2F/2GE E/2F/2GE|E2 B BGE|E/2F/2GE E/2F/2GE|D2 A AFD|

E/2F/2GE E/2F/2GE|E2 B BGB|cBA dcB|D2 A AFD:|

|:B/2c/2dE B2 E|B/2c/2dE BGE|B/2c/2dE B2 E|B/2c/2dB AFD|

B/2c/2dE B2 E|B/2c/2dc BGB|cBA dcB|D2 A AFD:||

X:2

T:Fairly Shot of Her, a Jig

M:6/8

L:1/8

R:Jig

N:”Old”

N:”Slowish”

B:Gow – 2nd Collection of Niel Gow’s Reels, 3rd ed., pg. 24  (orig. 1788)

Z:AK/Fiddler’s Companion

K:G

B,||:(E/F/G).E (E/F/G).E|”tr”E2 (B B)GE|(E/F/G).E (E/F/G).E|D2(A A)FD|(E/F/G).E (E/F/G).E|

“tr”E2(B B)GB|cBA dcB|D2(A A)FD::(B^/c/d).E “tr”B2E|(B/^/c/d).E BGE|

(B/^c/d).E “tr”B2E|(B/^c/d).E “tr”B2E|(B/^c/d).E “tr”B2E|(B/^c/d).=c BGB|cBA dcB|D2(A A)FD:|

 

FAIRY, THE. See “Fairy (Jig) [2].”

 

FAIRY BOY, THE (An Buacaill Side). Irish, Air (3/4 time). A Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 243, pg. 42.

X:1

T:Fairy Boy, The

M:3/4

L:1/8
R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 243

Z:AK/Fiddler’s Companion

K:A

E2 | (Ac) E2 FG | Ac f2e2 | fe c3A | (BA F2)G2 | (Ac) E2 (FG) | (Acf2)e2 |

(fe)c3A | (c>B)A2 || e2 | (ec) (f3e) | (cA) (B3A) | cA f3e | cA B3 (c/B/) |

(Ac) (E2 FG) | (Acf2)e2 | fe (c3A) | c>B A2 ||  

 

FAIRY COBBLER, THE (An Greasaide Side). Irish, Air (6/8 time, "with spirit"). G Minor. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 252, pg. 44.

X:1

T:Fairy Cobbler, The

M:6/8

L:1/8
R:Air

N:”With spirit”

S:O’Neill – Music of Ireland (1903), No. 252

Z:AK/Fiddler’s Companion

K:Gmin

(d/c/) | B2G A2F | G2F D2E | F2 E F2G | F3 e2c | BAG AG^F |

G2=F DEC | D=E^F G2G | (G3G2) || D | G2G B2c | d2c f2d | c2A F2A |

(c3 c2)A | G2G B2c | d2g g2g | {^e}f2d B2c | (d3d2) c |

B2G AG^F | G2=F DEC | D=E^F G2G | (G3G3) ||

 

FAIRY DANCE (Rinnce Na Sideoga/Sideog). AKA and see "Fisher Laddie," "The Haymaker," "La Ronde des Vieux," "Largo's Fairy Dance," "The Merry Dance" (New England), "Old Molly Hare" (Old‑Time). Irish, English, Scottish, Shetlands, American, Canadian; Reel. D Major (most versions): G Major (Merryweather): A Major (O'Neill/1001). Standard tuning. AB (Honeyman, Raven): AAB (O'Neill/1001): AABB (Ashman, Brody, Ford, Martin, Sweet, Taylor, Trim): AABB' (Kerr): AA'BB' (Athole, Merryweather): AABCCD (Roche): AABBCCDDEEF (Cranford/Fitzgerald): AABBCC’DD’EEFF’GGH (Martin & Hughes). Often this tune is a "beginning tune" for fiddlers, and though simple, it seems to have retained its popularity through the years. It was one of 197 compositions claimed and published (in Fifth Collection,"1809) by Nathaniel Gow under the title "Largo’s Fairy Dance," which dates it to the latter eighteenth or early nineteenth century. An early printing also appears in W.M. Cahusac’s Annual Collection of 24 Country Dances for 1809, which appears below. Breandan Breathnach states that it was composed by Niel Gow for the Fife Hunt Ball held in 1802, but this is only partly true, according to Nigel Gatherer, for it was actually a pair of tunes Gow wrote, the second being “The Fairies Advance.” Both tunes together make up “Largo’s Fairy Dance.”  Emmerson identifies this tune in a class of tunes defined by the rhythm 'quarter note‑two eighths‑quarter note‑two eigths,' which includes "De'il Among the Tailors," "Rachel Rae," and "The Wind that Shakes the Barley" (which Emmerson {1971} says is substantially a set of "Fairy Dance").

***

In Ireland, it was learned by Joyce in his boyhood in County Limerick, c. 1840. He (1909) says a Donegal setting of this will be found in the Journal of the Irish Folk Song Society. O’Neill (1913) records that a special dance was performed to the tune in that country.  Under the title "The Fairy Reel" the tune features in stories of enchantment by the wee folk. A tale is told by Padraig Mac Aodh-O'Neillin in his 1904 book Songs of Uladh (Songs of Ulster) of the origins of the tune which stem from a fiddler of the Mac Fhionnlachs from Flacarragh:

***

There was a gathering of Bel-Taine on St. John's Day (23rd of June), around

the bonfire in Caislean-na-dThuath in northern Dun-na-nGall about 150-160

years ago (~1850).

***

"...the fire was wearing low, the dancing nearly over, and the sturdiest

steppers getting tired, a stranger came among the people, announcing himself

in the words: "Sonas, sonas--luck on all here!  The music called me, and I

going to bed." He said no more.

***

He was attired only in his night-garments.  Much consternation was

caused by his curious appearance and behaviour, the more so as he was quite

unknown to the festive-maker.  He went around asking the young girls to

dance with him; but out of fifty or more assembled there, he found but one

(and she, happily, was not a native of the district) who expressed herself

willing to accept his invitation.  There were three or four fidilers there

and one piper, and he called on them to turn on the "Fairy Reel."  But not

one of them knew it; every man of them declared that the air and the name

was new to him.  Whereupon the mysterious stranger snatched the fidil out of

the hands of mac Fhionnlaoich, the Falcarrach man, who was nearest him, and

flourishing his bow with the grace of a master, turned on the tune himself,

the people standing around with their mouths wide open in wonderment.

***

"Now," he said to mac Fhionnlaoich, when he had finished the wonderful

tune, "there's your fidil for you.  Turn on the 'Reel.'  Play it after me;

for you're the only man in the Five Kingdoms can do that same!"

***

So mac Fhionnlaoich complied--somewhat reluctantly, it must be said—and played the 'Fairy Reel: through from beginning to end without a break, while the weird stranger and his fair partner danced, all the people looking on. When he had finished dancing with the girl he slipped a gold peiece into her hand, and turning solemnly towards the people, said: "Remove the fire seven paces to the North, and enjoy yourselves till daybreak.  A Sonas, sonas--luck with all here!"

***

And so saying, he strode off into the darkness, disappearing as

mysteriously as he had come.

***

I give this story pretty much as I got it from my friend Padraig mac

Aodh o Neill, who got it from Proinseas mac Suibhne, the schoolmaster of

Losaid, in Gartan

***

Another fairy tale collected (by Seamus Ennis) on Tory Island mentions the tune, is again related by Mac Aoidh, and has parallels in other cultures.  It seems that an islander, while going to collect his sheep at Port Glas, overheard wonderful music emanating nearby and investigated.  The fairy folk were playing the "Fairy Reel" and the man, being an avid and accomplished dancer, felt compelled to join in. The music and dancing lasted and lasted, and he danced and danced, unable to stop until by chance another islander came upon him.  This second man heard no music, and saw nothing of  the fairy celebration, and asked the first what he was doing. He got the reply that the dancer was enchanted and would not be able to stop until a mortal laid hand on him.  This was done, and the dancer saved from his fate. Mac Aoidh translates: "The soles of his shoes and his socks were worn through and his feet were sore to the bone from the roughness of the place he was dancing on."   A similar tale is told by Canadian storyteller Alan Mills (to the accompanying fiddling of Montreal musician Jean Carignan) collected from French-Canadian tradition, which he calls "Ti-Jean and the Devil" (with the Devil substituting for Fairies).

***

A Pennsylvania collected version appears in Bayard (1981) as "Rustic Dance" (No. 52, pg. 38), and, as "La Ronde des Vieux" it was recorded in the latter 1920's by French-Canadian fiddler Willie Ringuette.

***

The tune is associated with a traditional dance in the village of Askham Richard, which lies a few miles from York, England. The famous Dorset novelist Thomas Hardy, himself an accordion player and fiddler, mentioned the tune in The Fiddler of the Reels:

***

Then another dancer fell out ‑ one of the men ‑ and went into

the passage in a frantic search for liquor. To turn the figure into

a three‑handed reel was the work of a second, Mop modulating

at the same time into 'The Fairy Dance,' as best suited to the

contracted movement, and no less one of those foods of

love which, as manufactured by his bow, had always intoxicated her.

***

Sources for notated versions: Dave Swarbrick (England) [Brody]; a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]; Winston Fitzgerald (1914-1987, Cape Breton), who adapted J. Scott Skinner’s variations [Cranford]; :  the music manuscript of Joseph Kershaw, a musician from Slackcote, Saddleworth, North West England who began his entries around the year 1820 [Kershaw]. Ashman (The Ironbridge Hornpipe), 1991; No. 30b, pg. 9. Bain (50 Fiddle Solos), 1989; pg. 7. Brody (Fiddler’s Fakebook), 1983; pg. 100. Cahusac (Annual Collection of Twenty Four Country Dances for the Year 1809), 1809; No. 4. Cranford (Winston Fitzgerald), 1997; No. 129, pg. 53. Ford (Traditional Music in America), 1940; pg. 71. Honeyman (Secrets of the Gaelic Harp), 1898; pg. 8. Jarman (Old Time Fiddlin Tunes); No. or pg. 24. Joyce (Old Irish Folk Music and Song), 1909; No. 129, pgs. 65‑66. Joseph Kershaw Manuscript, 1993; No. 77. Kerr (Merry Melodies), vol. 1; Set 14, No. 2, pg. 10. Martin (Taigh na Teud), 1990; pg. 19. Martin & Hughes (Ho-re-gheallaidh), 1990; pg. 10. Merryweather (Merryweather’s Tunes for the English Bagpipe), 1989; pg. 53. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 986, pg. 170. Raven (English Country Dance Tunes), 1984; pg. 162. Roche Collection, 1982, vol. 3; No. 138, pg. 43 (listed as a Long Dance). Skinner, Harp and Claymore, 1903. Stewart-Robertson (The Athole Collection), 1884; pg. 113. Sweet (Fifer’s Delight), 1964/1981; pg. 61. Taylor (Where’s the Crack), 1989; pg. 13 (appears as "Fairy Reel"). Trim (Thomas Hardy), 1990; No. 24. BEJOCD-28, The Mellstock Band – “The Dance at the Phoenix: Village Band Music from Hardy’s Wessex and Beyond.” CAT-WMR004, Wendy MacIssac - “The ‘Reel’ Thing” (1994). Edison 50653 (78 RPM), Joseph Samuels (appears as 4th tune of "Devil's Dream Medley"). Glencoe 001, Cape Breton Symphony‑ "Fiddle." Transatlantic 341, Dave Swarbrick‑ "Swarbrick 2." Fife Strathspey and Reel Society – “The Fiddle Sounds of Fife” (1980). “Bob Smith’s Ideal Band, Ideal Music” (1977). “Fiddlers Three Plus Two.” Ron Gonella- “A Tribute to Niel Gow.”

X:1

T:Fairy Dance

M:2/4

L:1/8

S:W.M. Cahusac’s Annual Collection of 24 Country Dances for 1809, No 4 (London, 1809)

N:”With proper Directions to each Dance as they are performed at

N:Court, Bath, and all Public Assemblys.”

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

Z:AK/Fiddler’s Companion

K:G

B2 BG|B2 BG|B2 BG|FDAF|B2 BG|cBAG|FDEF|G4:|

|:d2 dB|e2 ed|c2 cA|d2 dc|B2 BG|E2 cA|FDEF|G2 G2:|

X:2

T:Fairy Dance

M:C|

L:1/8

R:Reel

B:Stewart-Robertson – The Athole Collection  (1884)

Z:AK/Fiddler’s Companion

K:D

f2fd f2fd|f2fd cAeA|f2fd gfed|1 cABc d2de:|2 cABc defg||

|:a2af b2ba|gfge a2ag|1 fefd B2 e>d|cABc defg:|2 fefd Bged|

cABc d2D2||

X:3

T:Fairy Dance, The

L:1/8

M:C

S:Joyce – Old Irish Folk Music and Songs (1909)

Z:AK/Fiddler’s Companion

K:D

f2fd f2fd|gfed cdeg|f2fd gfed|cABc d2d2|f2fd f2fd|gfed cdeg|fafd gfed|cABc defg||

a2af b2bf|g2ge a2 ag|f2fd gfed|cABc defg|a2af b2bf|g2ge a2 ag|fagf gfed|cABc d2d2||

X:4

T:Fairy Reel, The (Irish version)

R:reel

Z:Transcribed by Philippe Varlet

M:C

L:1/8

K:G

~B3 A GBdB|{d}cBAG FGAc| BG~G2 cBAg|fdaf {a}gedc|

~B3 A GBdB|{d}cBAG FGAc| BG~G2 cBAG|1 FDEF G3 A :|2 FDEF GABc||

~d3 g e3 d|cA A/A/A d3 c|BG~G2 cBAg|fdaf {a}gfge|

~d3 g e3 d|cA A/A/A d3 c|BG~G2 cBAG|1 FDEF GABc :|2 FDEF G4||

 

FAIRY FIRE.  American, March (cut time). D Major. Standard tuning. AABB. Composed by Alstead, New Hampshire, fiddler Randy Miller. Miller (Fiddler’s Throne), 2004; No. 336, pg. 198.

 

FAIRY HAUNTS. AKA and see "Jackson's Morning Brush."

 

FAIRY HURLERS. AKA and see "Walsh's Favourite.” Irish, Reel. A Minor. Standard tuning. ABCCDDEEFF. Caoimhin Mac Aoidh (1994) explains that O’Neill’s source was a fiddler named Joe Timoney, known in Donegal as Joe Phaedar Sheain O Tiomanai, who was born and raised at Min a tSamhaidh, Fintown, Donegal, and who was the great-great-great-great-great grandson of the renowned poet Tadhg An Fhile O’Tionamai An Aighe. Timoney emigrated to the United States at the beginning of the 20th century and arrived in San Francisco just after the great earthquake of 1906. Breathnach (1963) finds the ‘A’ part is shared with “Lord Wellington [1].” O’Neill (1922) remarks: “According to legendary lore the fairies or good people enjoy the same activities and pastimes, especially hurling and dancing, as they did before being called to another life. Many a tale is told of their kidnapping a competent piper when necessary to entertain them at their festivities in the subterranean they are said to occupy within the ancient raths or forts so numerous all over Ireland. The Fairy Faith survives.” O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 228.

X:1

T:Fairy Hurlers, The

T:Walsh's Favorite

M:4/4

L:1/8

S:Joseph P. Tamony & John Kelly, San Fran.

Z:Paul Kinder

R:Reel

K:C

AB|c2 gc acgc|~c2 ge dBGB|(5c/2d/2c/2B/2c/2 gc acgc|fage dBGB|

c2 gc acgc|sBcs ge dcBd|c2 gc acgc|seas ge sdBs GB||

A2 (3cBA .e.A.c.A|(3AAA ge dBGB|A2 (3cBA eAcA|sgfgsd BGGB|

A2 (3cBA eAcA|~A2 sges dBGB|A2 (3cBA .e.A.c.A|(5g/2a/2g/2f/2g/2 gd BGGB|

|:scdefs sgfges|scdecs sdBGBs|scdefs sgfges|afge dBGB:|

|:(3cBA eA fAeA|(3cBA eA dBGB|(3cBA eA fAeA|(5g/2a/2g/2f/2g/2 gd BGGB:|

|:Aceg ^fdec|Acec dBGB|sAcegs s^fdefs|gfge dBGB:|

|:(3cBA eA (3cBA eA|(3cBA eA .d.B.G.B|(3cBA eA (3cBA ef|gfge dBGB:||

                       

FAIRY JIG [1], THE (Port an Puca). Irish, Double Jig. G Major. Standard tuning. AABB. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 319, pg. 67.

X:1

T:Fairy Jig, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland (1907), No. 319

Z:AK/Fiddler’s Companion

K:G

g/e/|dBA BGA|BGd g2a|bge dBG|FAA A2 b/e/|dBA BGA|GBd gab|age dBA|BGG G2:|

|:d|edd deg|baa aga|bge dBG|FAA A2d|edd deg|baa aga|bge dBA|BGG G2:|

 

FAIRY (JIG) [2].  English, Jig. England, Northumberland. D Major. Standard tuning. AABB. Composed by Robert Whinham (1814-1893), a musician, teacher, composer, dancing master and fiddler, originally from Morpeth. Source for notated version: an unattributed 19th century manuscript at the Beamish Museum [Dixon]. Dixon (Remember Me), 1995; pg. 27.

                       

FAIRY LAKE WALTZ. Canadian, Waltz. A Major. Standard tuning. AABB. Composed by Ontario fiddler Ward Allen, who won contest after contest in the 1950’s and who carved out a career for himself as a radio fiddler. GRT Records 9230-1031, “The Best of Ward Allen” (1973). Sparton Records SP 213, “Ward Allen Presents Maple Leaf Hoedown, Vol. 3.”

X:1

T:Fairy Lake Waltz

C:Ward Allen

R:Waltz

M:3/4

L:1/8

Z:Transcribed by Bruce Osborne

K:A

(3efg|a2 cB cd|ef ec EA|c2 c2 E2|A4 A2| f4 fe|e4 af|g3 e fe|e4 (3efg|

a2 cB cd|ef ec EA|c2 c2 E2|A4 A2| f4 fe|e4 a2|gf ed cB|A4:|

|:EA|c4 E2|c4 Bc|d2 c3 B|c4 Ac| e4 e2|f4 ed|c2 B3 c|d3 f ed|

c4 EA|c4 Bc|d2 c3 B|c4 Ac|e4 ag|f4 ed|c2 G2 B2|A4:|

                       

FAIRY LULLABY, THE (An Coineachan). Scottish, Slow Air (6/8 time). A Major. Standard tuning. One part. Martin (Ceol na Fidhle), vol. 2, 1988; pg. 29.

                       

FAIRY POLKA. American, Polka. D Major. Standard tuning. ABBCDD. Ford (Traditional Music in America), 1940; pg. 170.


           

FAIRY PRINCE, THE. English, Country Dance Tune (9/8 time). B Flat Major. Standard tuning. AABBCC. The tune first appeared in Charles and Samuel Thompson’s third country dance collection (London, 1773). It was probably associated with the masque The Fairy Prince, in three acts, performed at Covent Garden beginning November, 1771, through the season. Music for the work was composed by Thomas Arne with libretto by George Colman (the Elder), but was heavily borrowed from Ben Jonson’s masque Oberon.  The words were all sung, and thus approaches comic opera form. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 41 (appears as “Fairy Prince”).  Cahusac (Annual Collection of Twenty Four Favorite Country Dances for 1809), 1809; No. 23. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 10.

X:1

T:Fairy Prince, The

M:9/8

L:1/8

B:WM Cahusac – Annual Collection of Twenty Four Favorite Country Dances for 1809, No. 23 (London)

N:”With proper Directions to each Dance as they are performed at

N:Court, Bath, and all Public Assemblies.”

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:Bb

B3 dcB fed|cde GcB AGF|B3 dcB fed|ced cBA B2z:|

|:f2 (=e/f/) f2 (=e/f/) dcB|f2 (=e/f/) fef dcB|f2 (=e/f/) f2 (=e/f/) cBA|GBA GF=E F2z:|

|:b2B b2B b2B|gfe dcB AGF|bbb bbb ba|fed cBA B2z:||

X:2

T:Fairy Prince, The

M:9/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:Bb

B3 dcB fed|cde GAB AGF|B3 dcB fed|cde cBA B3::f3 f3 cBA|f3 f3 cBA|

f3 f3 cBA|GBA GF=E F3::b2B b2B b2B|gfe dcB AGF|bbb bbb bag|fed cBA B3:||

 

FAIRY PRINCESS, THE.  See “Fairy Prince.”

           

FAIRY QUEEN [1], THE ("An Beanriog Sige" or "Banrion na Siog"). AKA and see "Before the Battle," "Ciste No Stor,” “My Love and Treasure." Irish, Air (3/4 or 6/4 time). G Major. Standard tuning. AB (Barnes): ABC (Complete Collection): ABCD (O'Neill {both versions}). Both words and air are one of the early compositions of the Irish harper Turlough O'Carolan (1670-1738), dating from the time he lived with one of his first patrons, George Reynolds Esq., whose seat was Letterfyan, County Leitrim. The year was 1693 and O'Carolan was then age 23. The lyrics were founded on a supposed battle between the fairies at Sidhe Beag and Sidhe Mor; the words are poor, critiques Kohl, but the tune is exquisite. The tune takes its name from the first line of the accompanying verse (an alternate title “Save/Hide Me from Death” is taken from a translation of the last line of the first verse).

***

The Irish collector Edward Bunting (1840) believes the air "Ciste No Stor" (Coffers nor Stores) is the original of "Fairy Queen," "the only difference being that Carolan added two parts to it, in which it was generally played the the harpers." Indeed, it is in John and William Neal’s Collection of the Most Celebrated Irish Tunes (1724) that the O’Carolan tune appears earliest in print, where it is given as “Fairy Queen by sigr Carrollini,” in ¾ time. “Fairy Queen” was recorded by the Belfast Northern Star of July 15th, 1792, as having been played in competition by one of ten Irish harp masters at the last great convocation of ancient Irish harpers, the Belfast Harp Festival, held that week. The harper who played it was Arthur O’Neill (1734-1818) of County Tyrone, as indicated in Bunting’s notes from the festival (1796), blinded at age two but known as a good harper who became a close friend of Bunting’s. Previously O’Neill had played the air (along with “The Green Woods of Truagh”) at the second Granard Harp Competition in 1782, a performance which earned him the second prize of six guineas.

***

That the melody continued to be played on the harp after that time is attested to by a German traveller named Kohl, who published a work on Ireland in 1844. While visiting a residence in Drogheda an unknown harper was brought in to entertain the assembled guests. O’Neill (1913) quotes:

***

The march of ‘Brian Boru’ was followed by an air called ‘The Fairy

Queen,’ which I was told was a very old melody. Old or not I can

Testify that it is a charming piece of music, so tender, so fairy like

and at the same time so wild and sweetly playful that it can represent

nothing but the dancing and singing of the elves and fairies by moonlight.

I afterwards heard the piece on the pianoforte, but it did not sound

half so soft and sweet as from the instrument of the blind young harper (pg. 99).

***

The tune is discussed in DOSC, volume II, pgs. 116-117 and in Willis' edition of Neales Celebrated Irish Tunes, No. 17. Source for notated version: Bunting (1840) notes that he “obtained this charming melody from the late Doctor Matthew Young, afterwards Bishop of Clonfert.” Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 41. Bunting (Ancient Music of Ireland), 1840 (appears as “My Love and Treasure”). Complete Collection of Carolan's Irish Tunes, 1984; No. 195, pg. 133. Heymann (Legacy of the 1792 Belfast Harp Festival), 1992; pgs. 12-16. O'Neill (Krassen), 1976; pg. 229. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 637, pg. 114. O’Neill (1913), pg. 72.

X:1

T:Fairy Queen [1]

M:3/4

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 637

Z:AK/Fiddler’s Companion

K:G

G4 D2|F4 D2|G4 D2|{A}G>F G>A B>A|G3F ED|{C}B,4 A,/B,/D|E4 F2|G4 {c}B>A|

G4 G/4B/4<D|F4 F/4A/4<d|E3F ED|{C}B,4 D2|{F}E>D EF GE|DB A3 G/A/|(G6|G4)||

BABcBc|BABcBG|A4 A2|A2B2d2|G3 G BG|F3 F dF|EDEFED|{C}B,4 D/E/F|

GFEDB,A,|G,4 FG|A3 G FE|D4 GA|B4 E2|A4 D2|G6 {F/G/}|G4z2||

G2G2F2|E2D2C2|B,DGB,A,G|G,4 z2|G2G2D2|E2F2G2|A>BAGFE|DG,B,DGA|

[G4B4] zB|[F4A4]zA|G2G2 ED|{C}B,4 GF|E>DEFED|{C}B,A,G,A,B,D|{D}E6|

z2z2 d/e/f||g2g2f2|e2d2c2|BdgBAg|G4 FE/F/|G/F/E/D/E/F/|G/F/E/F/G/A/|[G6B6]|

z2 zBcd|edefef|{a}gfgagf|edefed|B4 gf|edef g>d|e<B A4|G2 (G4|G6)||

X:2

T:Fairy Queen [1]

M:3/4

L:1/8

R:Air

S:Tommy Peoples – Catskill Irish Arts Week 7/19/01

Z:AK/Fiddler’s Companion

K:G

~G4 D2 | ~F4 D2 | {F}G4 GF | GA BA GF | {F}G3F {E/F/}ED |

{A,}B,4 (3A,B,D | [C4E4] F2 | G4 {c}BA | G4 G/B/d | F4 F/A/d |

E3 F {E/F/}ED | {A,}B,4 D2 | ~E3 F ED | B A3 GA | (G6 | {A}G6) ||

~B3 c BA | ~B3 c BG | [F4A4] [F2A2] | [F4A4] B<d | G4 dG |

F4 dF | ~E3F {E/F/}ED | B,4 (3DEF | GF {E/F/}ED B,A, | G,6 FG |

A3G FE | D4 GA | {A}B4E2 | A4D2 | (G6 | {A}G6) || G2 G3F |

{D}E3 E DC | B,D GB, A,B, | G,6 | {A/B/}G4 D2 | {E/F/}E3 F GA |

AB AG F/G/E | DB, DF GA | [G6B6] | [F3A3] B {c}BA | G3 A {E/F/}ED |

B,4 GF | ~E3 F ED | B,A, G,A, B,D | [C4E4] ef | {f}g4 {b}gf | e4 dc |

Bd gB Ag | G4 {F/G/}F2 | GF {E/F/}ED EF | GF EF GA | [G6B6] |

z3 B cd | ed ef ef | ~g3 a gf | ed ef ed | B4 gf | ed ef gd | eB  A4 | G2 (G4 | G4) z2 ||

 

FAIRY QUEEN [2], THE (Banríon na Sióg). Irish, Hornpipe. D Major. Standard tuning. AABB. Sources for notated versions: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]; Paddy Taylor [Breathnach]. Breathnach (CRÉ III), 1985; No. 230, pg. 104. Cranitch (Irish Fiddle Book), 1996; pg. 110. Mulvihill (1st Collection), 1986; No. 40, pg. 101.

X:1

T:Fairy Queen, The [2]

M:C

L:1/8

Z:Ethan Hack

K:D

A2|d2ec d2AG|FDFA dAFA|G2BG E2ef|gece dcBA|d2ec d2AG|FDFA dAFA|

G2BG E2ef|gece d2:||:A2|df(3fgf gece|da^ga ba^ga|fdAF G2ef|

ge(3efe ge(3efe|df(3fgf gfga|ba^ga ba^ga|fdAF G2ef|gece d2:||

X:2

T:Fairy Queen, The [2]

M:C|
L:1/8
S:Chris McGrath
R:Hornpipe
A:Providence, RI
Z:B. Maloney
K:D
(3ABc || d2{e}d2 {c}d2AG | FDFA dAFD | G2FG E2ef | gecA dcBA |!
c-~d3 d2AG | FDFA dAFD | G2FG E2ef | gecA d3z ||!
d~f3 g2fe | da^ga baga | fdAF G2 ef |1 gecA gecA :|2 gecA d3z ||

 

FAIRY RATH, THE (An Rat Side). Irish, Air (6/8 time, "playfull"). G Major. Standard tuning. AB. A ‘rath’ is a fort. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 408, pg. 71.

X:1

T:Fairy Rath, The

M:6/8

L:1/8

R:Air

N:”Playful”

S:O’Neill – Music of Ireland (1903), No. 408

Z:AK/Fiddler’s Companion

K:G

B/A/|GA/G/E/D/ Ddc B>AG/E/|GA/G/E/D/ DEG A>cB/A/|G/B/A/G/E/D/ Ddc B>AG/E/|

GA/G/E/D/ EGG G2||B/c/|de/d/B/A/ GBd e>gf/e/|de/d/B/A/ GdB A>cB/A/|

GA/G/E/D/ Ddc B>AG/E/|GA/G/E/D/ EGG G2||

 

FAIRY REEL [1], THE. AKA and see “Daunse ny farishyn,” “Fairey Reel,” "Fairy Dance," “Fisher Laddie,” “Haymakers,” "Largo's Fairy Dance," "The Jolly Banger [1]," "Old Molly Hare,” “Quick Scotch."  Irish, Reel. D Major (Taylor, Tubridy): G Major (Taylor/Tweed). Standard tuning. AB (Taylor, Tubridy): AABB (Taylor, Tweed). See note for “Largo’s Fairy Dance.” “The Fairy Reel” is the name by which the tune is commonly known in Ireland. Treoir (II, 5 p. 11 and VII, 4). The title appears in a list of tunes in his repertoire brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997). See also the related “Spinner’s Delight.” The melody is associated with a specific dance in northeast County Donegal, a six-hand reel with four women and two men. Sources for notated versions: set dance music recorded at Na Píobairí Uilleann, late 1980’s [Taylor]; Kevin Burke & Jacky Daly’s recording “Eavesdropper” [Taylor/Tweed]. Breathnach (CRÉ III), 1986; No. 156. Cotter (Traditional Irish Tin Whistle Tutor), 1989; 74. Ryan’s Mammoth Collection, 1883; pg. 27. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 26. Taylor (Music for the Sets: Blue Book), 1995; pg. 28. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 22. Cló Iar Chonnachta CICD 165, John Wynne & John McEvoy – “Pride of the West” (2007). Flying Fish FF70610, Robin Huw Bowen – “Telyn Berseiniol fy Ngwlad/Welsh Music on the Welsh Triple Harp” (1996. “From the playing of Nansi Richards ‘Telynores Maldwyn’, the person primarily responsible for the survival of the Triple Harp tradition to the present day”). Green Linnet GLCD 3002, Kevin Burke & Jackie Daly – “Eavesdropper” (1979).

X:1

T:Fairy Reel [1]

M:C|

L:1/8

R:Reel

K:D

f2fd f2 fd| f2 fd cdeg| f2 fd gfed | cABc d3e | f2 fd f2fd | f2 fd cdeg | f2 fd gfed | cABc defg ||

a2af b2 ba| g2 ge a2ag| f2fa gfed | cABc defg | a2af b2ba | g2ge a2ag | f2fa gfed | cABc d3 ||

X:2

T:Fairy Reel [1]

M:4/4

L:1/8

R:Reel

S:Karen Tweed’s Irish Choice (1994)

K:G

A | B3A GBdB | cBAG FGAc | BG3 cBAg | fdaf gfed | B3A GBdB |

cBAG FGAc | BG (3Bcd cBAG | FGAF G3 :: B | d3g e3d | cA3 d3c |

BG3 cBAg | fdaf gfeg | dgdg e3d | cA3 d3c | BG (3Bcd cBAG | FGAF G3 :|

 


FAIRY REEL [2], THE. AKA and see "Loddie" (Shetlands), "The Bottom of the Punch Bowl [2]" (Shetlands). Shetlands, Reel. Known throughout the Shetland Islands.

 

FAIRY SPELL, THE. Irish, Waltz. D Major ('A' and 'B' parts) & G Major ('C' and 'D' parts). Standard tuning. AA'BCD. Roche Collection, 1982, vol. 3; No. 155, pg. 51.

 

FAIRY TODDLER JIG. Canadian, Jig. D Major. Standard tuning. AABB. Composed by the late Ontario fiddler Graham Townsend (d. 1998). Hinds/Hebert (Grumbling Old Woman), 1981; pg. 22. Banff SBS 5296, Graham Townsend ‑ "Country Fiddle." Fretless Records FR200, Yankee Ingenuity ‑ "Kitchen Junket" (1977).

 

FAIRY TROOP, THE. Irish, Air (4/4 time). F Major. Standard tuning. One part. Source for notated version: “From Mr. Pigot’s MSS” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 544, pg. 138.

X:1

T:Fairy Troop, The

M:C
L:1/8

R:Air

N:”Andante”

S:Stanford/Petrie (1905), No. 544

Z:AK/Fiddler’s Companion

K:F

FG | A2 AB A2 GF | c2 cd cA GA | F2 FA G2 {A/G/}FG | {F}A6 c2 |

d2 dc defd | e2c2A2 cd/e/ | f2 ec d3c | c6 (3cde | f2A2 BAGF | c2d2A2 AG |

F2 FA “tr”G2 FG | A6 c2 | d2 ef g2 ec | f2 ga f2 cB | A2 FA GFG>F | F6 ||

 

FAIRYLAND WALTZ. Scottish, Waltz. G Major ('A' and 'B' parts) & C Major ('C' part). Standard tuning. AABBCCAABB. Composition credited to C. Warren by Kerr. Kerr (Merry Melodies), vol. 1; No. 2, pg. 50.

X:1

T:Fairyland Waltz

M:3/4

L:1/8

R:Waltz

C:C. Warren

B:Kerr – Merry Melodies, vol. 1, No. 2  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

d4 B2|d4B2|d3c c2|c6|a3a a2|a2b2a2|g3g g2|g2f2e2|d4B2|d3c c2|c6|a3a a2|

a2b2a2|g3g g2|1 g4z2:|2 g4||d2|f3ed2|c3B A2|G2B2d2|(e4d2)|F2A2d2|(e4d2)|

f3ed2|c2B2A2|G2B2d2|(e4 d2)|F2A2d2|e4 f2|g3 gg2|1 g4:|2 g2 z2||

“Trio”

K:C

G3G G2|e3e e2|e4 ^c2|d4e2|f4A2|B4d2|c4 A2|G6|

G3G G2|e3e e2|e4 ^c2|d4e2|f4A2|B4d2|c3c c2|c6:|

 

FAIRY’S HORNPIPE. See “Fairies' Hornpipe.”

 

FAIS DO-DO. Cajun. See "Les Rangs de “Soybean.”" Lanor Records 502, Shirley & Alphee Bergeron.

 

FAIS TON DODO. Cajun, Waltz. D Major. Standard tuning. One part. "'Fais do do' is a popular Cajun term for a dance. It is a Cajun phrase which literally means go to sleep. The whole family was brought to the dance and the babies would go to sleep. After a time the term came to mean the name of the dance. There are still many 'Fais do do's,' or street dances, in Louisiana" (Greenblatt). Greenblatt (The Cajun Fiddle Tune Book), 1985; pg. 10.

 

FAITHFUL BROTHERS, THE. AKA and see "With My Flock as Walked I," "Northern Nancy." English, Air (6/4 time). G Dorian. Standard tuning. AB. The air appears in Elizabeth Rogers' Virginal Book and dates probably to Elizabethan times. Chappell (Popular Music of the Olden Time), vol. 1, 1859; pg. 116.

 

FAITHFUL BROWN COW [1], THE (Drium-Fionn Donn Dileas). Irish, Air (3/4 time). G Major/Mixolydian. Standard tuning. AB. Cazden (et al, 1982) finds this melody belongs to the "Drimindown" family of tunes which includes his Catskill Mountain (New York) collected "The Maid on the Shore," "Drimindown" from both Nova Scotia and Prince Edward Island, Petrie's #81 and O'Neill's "The Sorrowful Maiden." O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 605, pg. 107.

X:1

T:Faithful Brown Cow, The [1]

M:3/4

L:1/8

N:”Moderate”

R:Air

S:O’Neill – Music of Ireland (1903), No. 605

Z:AK/Fiddler’s Companion

K:G

Bc|d2g2f2|g2a2b2|g2f2d2|d4 de|=f2e2d2|e2f2g2|d2c2B2|c4 Bc|d2g2f2|g2a2b2|

g2f2d2|c4 Bc|d2e2f2|e2d2B2|A2G2G2|G4||fe|d2c2A2|(G2G2) (AB)|c2d2 (BG)|

A4 d>c|d2g2f2|d2c2 BG|A2G2 G2|G4 (f>e)|(d2c2A2)|G2G2 (AB)|c2d2 (BG)|

A4 (dc)|d2g2 (f/g/a)|g2 (dc) (Bc)|A2G2G2|G4||

 

FAITHFUL BROWN COW [2], THE (Drium-Fionn Donn Dileas). Irish, Air (3/4 time). G Major/Mixolydian. Standard tuning. One part. A variation of version #1. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 606, pg. 107.

X:1

T:Faithful Brown Cow, The [2]

M:3/4

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 606

Z:AK/Fiddler’s Companion

K:G

Bc|d2g2f2|g2a2b2|g2f2d2|d4 de|=f2 e2d2|e2f2g2|d2c2BG|A4 =fe|

d2c2A2|G2G2 AB|c2e2 BG|A4 dc|d2g2 fg/a/|g2 dc Bc|A2G2G2|G4 =fe|

d2c2A2|G2G2 AB|c2d2 BG|A4 dc|d2g2 fg/a/|g2 dc Bc|A2 G2G2|G4||

 


FAITHFUL DARLING. AKA and see “A Mhuirnin Dilis.”

 

FAITHFUL FRIEND, THE (An Caraid Tairiseac). Irish, Hornpipe. D Mixolydian (O'Neill/Krassen): D Major (O'Neill/1850). Standard tuning. AABBCC. Source for notated version: Chicago fiddler Edward Cronin, originally from County Tipperary, also a weaver, machinist and composer [O’Neill]. O'Neill (Krassen), 1976; pg. 213. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1763, pg. 328.

X:1

T:Faithful Friend, The

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Music of Ireland (1903), No. 1763

Z:AK/Fiddler’s Companion

K:D

AG | FD (3DDD DEFG | A^GAB cBAc | dcde fged | cABc dcAG |

FDDE FEFG | A^GAB cBAc | dcde fged | cABc d2 :: de | fd (3ddd dfaf |

gfed cdeg | fedc dfaf | gece dcde | fd (3ddd dfaf | gfed cdeg | fgaf gbag |

fgec d2 :: de | fged efec | dcAB cAGA | FD (3DDD DEFG | AbcA dcde |

fdef dcAB | fdef dcAB | cBcA GFEF | Dddc defa | gece d2 :|

 

FAITHFUL SHEPHERD, THE. English (originally), American; Country Dance Tune (cut time). G Major. Standard tuning. AABBCCDD. The title was recorded as having been one of the tunes danced to at a 1752 "turtle frolic" at Goats Island, near Newport, Rhode Island (a turtle frolic was a special event when West Indies turtles, towed astern from the Caribbean, arrived in port). Phrases of the tune are identical to the melody known as "Allemande Swiss," and the whole is strongly reminiscent of “Shepherd’s Hey.” An early version appeared in a publication entitled 24 Country Dances, printed in London in 1769, although it also appears in James Aird's Selection of Scotch, English, Irish and Foreign Airs (vol. I, Glasgow, 1782), and Charles and Samuel Thompson’s Compleat Collection, vol. 3 (London, 1773). Country dance figures can be found in numerous country dance collections on both sides of the Atlantic dating from the late 18th century. Music manuscript versions are fairly common as well, and “Faithful Shepherd” appears in Ira Clark’s 1891 copybook (Simsbury, Conn.), Luther Kingsley’s 1795 commonplace book (Mansfield, Conn.), flute player Ensign Thomas Molyneaux’s 1788 copybook (Shelburne, Nova Scotia), and William Vickers’ 1770 music manuscript collection (Northumberland). Molyneaux gives the title as “Allemande Swiss” and the alternate title as “Faithful Shepherd.” John Fletcher wrote a play in 1610 called The Faithful Shepherd, although it is not known if this has any association with the title for the country dance tune. Kidson (Old English Country Dances), 1890; pg. 10. Seattle (William Vickers), 1987, Part 3; No. 535 (appears as "Cotillon"). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 157.

X:1

T:Faithful Shepherd, The

M:C

L:1/8

S:Frank Kidson – Old English Country Dances (1890)

Z:AK/Fiddler’s Companion

K:G

G2 BG A2A2|G2 BG A4|BdBG AcAF|G2 D2 B,2 G,2:|

|:B2 dB c2c2|B2 dB c4|BdBG AcAF|G2D2B,2G,2:|

|:g2 ge f2 fd|e2 e^c d4|BdBG AcAF|G2D2B,2G,2:|

|:B2B2c2c2|B2B2c4|BdBG AcAF|G2D2B,2G,2:||

X:2

T:Faithfull Shepherd, The

M:C

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:G

G2BG A2A2|G2 BG A4|BdBG AcAF|G2 [D2B2][B,2d2][G,2g2]:|
|:B2 dB c2c2|B2 dB c4|BdBG AcAF|G2 [D2B2][B,2d2][G,2g2]:||

 

FAITHLESS NANCY DAWSON. AKA and see "A‑Rovin." English, Country Dance Tune (4/4 time). D Major. Standard tuning. One part. The title may refer to the Nancy Dawson who was a famous stage dancer in London in the 1760’s. Barnes (English Country Dance Tunes), 1986. Laufman (Okay, Let's Try a Contra, Men on the Right, Ladies on the Left, Up and Down the Hall), 1973; pg. 27 (appears as "A-Roving").

 

FALAIGTE GO LEIR LE CAONAC. AKA and see "All Covered with Moss."

 

FALCARRAGH HORNPIPE, THE. Irish, Hornpipe. A modern composition by Alf Duggan, named after a 1984 visit to Falcarragh, County Donegal.

X:1

T:Falcarragh Hornpipe, The

M:4/4

L:1/16

Q:250

d3c|:B3G c3G d3G e3G|d3e f3d g4g4|g3e c3e d3e d3B|A3B ^c3A d3e d3=c

|B3G c3G d3G e3G|d3e f3d g4g4|g3e c3e d3B A3B|1G4G4G4d3c:|2G4G4G4^a4

|:b3d ^c3d a3d =c3d|g3d ^A3B G4g4|g3e c3e d3e d3B|A3B ^c3A d3e f3a

|b3d ^c3d a3d =c3d|g3d ^A3B G4g4|g3e c3e d3B A3B|1G4G4G4^a4:|2G4G4G4d3c||

 

FALCARRAGH  REEL. AKA and see "Farrel O'Gara."

 

FALCON BIGNEY.  Canadian, Jig. Canada, Cape Breton. G Major. Standard tuning. AABB’. Composed by the late Cape Breton fiddler and composer Jerry Holland (1955-2009), for a young fiddler from Utah. Cranford (Jerry Holland: The Second Collection), 2000; No. 298, pg. 106. Jerry Holland – “Crystal Clear” (2000).

 

FALCONER'S HUNTING. AKA and see "The Hunter in his Career," "Mr. Basse, His Career."

 

FALL OF CADIZ, THE. English, March. E Minor. Standard tuning. AABBCC. A modern composition by editor Michael Raven. Raven (English Country Dance Tunes), 1984; pg. 200.

 


FALL OF FOYERS [1] (Eas na Smuid). Scottish, Slow Air (4/4 time). C Major. Standard tuning. AAB. This tune "is an attempt of the editor to celebrate that grand and interesting object, belonging to his native country, called the 'Fall of Foyers,' and to testify his respectful esteem for the kind and hospitable family who have so long inherited it, and the wild and picturesque grounds adjacent" (Fraser). The Fall(s) of Foyers is a waterfall on the River Foyers, which feeds Loch Ness in central Inverness-shire, Scotland. There are two parts of the falls, an upper of 40 feet and a spectacular lower fall of 165 feet. Robert Burns visited the falls in September, 1787, and wrote:

***

Among the heathy hills and rugged woods,

The roaring Foyers pours his mossy floods,

Till full he dashes on the rocky mounds,

Where thro’ a shapeless breach his stream resounds,

As high in air the bursting torrents flow,

As deep recoiling surges foam below.

Prone down the rock the whitening sheet descends,

And viewless echo’s ear, asthonish’d, rends.

Dim-seen, thro’ rising mists and ceaseless showers,

The hoary cavern, wide surrounding, lowers;

Sill thro’ the gap the struggling river toils,

And still below the horrid caldron boils.

***

Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 193, pg. 80. Lismore LILP 5044, Ron Gonnella – “Fiddle Gems” (1976).

X:1

T:Fall of Foyers, The

T:Eas-na-Smùid

M:C

L:1/8
S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:C

C/>D/|[CE][CE] [CE]>c (A/G/)F/E/ G/(F/E/D/)|[CE][CE] c>B A2 AC/D/|

EE c>d e/>c(d/B/) c/G/E/C/|(A/G/)F/E/ c>E EDD:|a|g<e a>e gee(c’/a/)|g<e c’>b a2 ~a(b/c’/)|

g<e a>e g<e e>d|c>A (A/G/)F/E/ EDDa|g<e a>e geec’/>a/|ge c’/>b/c’/d’/ e’d’d’(c’/d’/)|

e’c’/e’/ d’b/d’/ c’g/c’/ (a/g/)f/e/|f/e/d/c/ B/A/G/F/ EDD||

 

FALL OF FYERS [2], THE.  Scottish, Strathspey. C Minor. Standard tuning. AB. The composition is attributed to G. Grant in John and Andrew Gow’s A Collection of Slow Airs, Strathspeys and Reels (London, c. 1795). Andrew (1760-1803) and younger brother John (1764-1826) established a publishing business in London in 1788 and were the English distributors for the Gow family musical publications. S. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 26.

X:1

T:Fall of Fyers, The

M:C
L:1/8

R:Strathspey

S:John & Andrew Gow – A Collection of Slow Airs, Strathspeys and Reels (c. 1795)

K:C Minor

G|E<CG>C G,CEG|F<B, G/F/E/D/ F<B,”tr”F>D|ED/C/ G>C G,>CE>G|F>A”tr”GF “tr”ECCG|

{F}ED/C/ G>C G,CEG|FBfd Bd/e/ fd|{a}gf/e/ {g}fe/d/ eGAF|Gcfd ecc||g|e<cg>c a>cgc|

dc/B/ fB FBDB,|g>e”tr”dc a>fed|G>FE>D ECCg|{f}ed/c/ gc GcEC|D<BF<B B,<BD<B,|CEDF Ggfd|e<cf<d ecc|

           

FALL OF PARIS. See note for “Seneca Square Dance.”

           

FALL ON MY KNEES. Old‑Time, Breakdown and Song. USA, a local Galax, Va./Mt. Airy, N.C. tune. D Major. ADae tuning. AA. Ray Alden (1981) states that around the Round Peak, N.C., area this is known as Fred Cockerham's tune; Tommy Jarrell said "He knew a hundred verses."  Cockerham's wife, Eva, told Alden that he would "sometimes sit in his big green armchair and play this song for hours." Mt. Airy, North Carolina, fiddler Tommy Jarrell remembered the tune "going around" the Round Peak area (where he was raised) around 1915, although, as Richard Nevins points out, it had been known in neighboring Grayson County, Va., for a generation before that, testifying perhaps to the isolation of the mountainous region at the time. Mike Yates (2002) also states it “is quite a common tune in the Hillsville, Galaz, Mt. Airy area.” His source, Calvin Cole (recorded in 1979) of Hillsville, Carroll County, Virginia, called it “Lonesome Road” from the first line of the second verse below.

***

Well I fall on my knees and I pray to the Lord,

That you will stay by me little girl,

That you will stay by me.

***

Look up, look down, that long lonesome road,

Hang down your pretty head and cry little girl,

Hang down your head and cry.

***

Well my suitcase is packed and I'm never comin' back,

Goodbye little woman I'm gone, I'm gone,

Goodbye little woman I'm gone.

***

I wish to the Lord that I'd never been born,

Or died when I was young little girl,

Or died when I was young.

***

Then I'd never have kissed your red ruby lips,

Or heard your lying tongue little girl,

Or died when I was young.

***

You told me one, you told me two,

You told me ten thousand lies little girl,

You told me ten thousand lies.

***

You've told me more lies than there's stars in the skies,

You'll never get to heaven when you die little girl,

You'll never get to heaven when you die.

***

Another verse has been collected, going:

***

Fall on my knees, and beg you, ‘Please

Little girl, can I stay with you?’  (x2)

***

Source for notated version: Tommy Jarrell (Mt. Airy, N.C.) [Kuntz]. Kuntz (Ragged but Right), 1987; pg. 239‑240. Chubby Dragon CD1008, Brad Leftwich, Bruce Molsky et al – “Mountairy.usa” (2001). County 741, Tommy Jarrell & Fred Cockerham. County CD-2719, Camp Creek Boys. Flying Fish 334, The Red Clay Ramblers‑ "It Ain't Right" (1986). Heritage XXXIII, Ace Weems and His Fat Meat Boys ‑ "Visits" (1981). Musical Traditions MTCD321-2, Calvin Cole (et al) – “Far on the Mountain, Vols. 1&2” (2002). Yodel-Ay-Hee 005, The Wildcats - "On Our Knees" (1992).

X:1

T:Fall on my Knees

M:2/4

L:1/8

B:Kuntz – Ragged but Right

K:D

[D/A/](A/B/)(B/||d>)B d/B/d/A/|B(B B/)B/d|[A>f>]e f/[A/e/]d/A/|B(B B/)B/d|

{d/}[d>f>]e [df]d|B>A B/A/B|d d2 d|B>A B>d|[d>f>]e [d/f/]e/f|A/BA/ B/A/B/(B/|

d) d2 d|d2||


           

FALL RIVER JIG. Irish, Jig. G Major. Standard tuning. AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black, named for the port city in eastern Massachusetts.

X: 1

T: Fall River Jig

C: © B.Black

M: 6/8

L: 1/8

R: jig

K: G

D | GDG EFG | AcB ABc | dAB cBA | GAG FED |

GDG EFG | AcB ABc | dgd ecA | AGF G2 :|

e | gfg edB | BAB GAB | gfg efg | ea^g a2 a |

bag agf | gfg edB | GBd cBA | AGF G2 :|

                       

FALLAING BREAC, AN. AKA and see "The Plaid Mantle."

                       

FALLAIN GUN DITH 'THAINIG E. AKA and see "Safely Landed."

                       

FALLAING UÍ MHUIMHNEACHÁIN. See “Monaghan’s cloak.”

                       

FALLAINN A FUAIR A CHIORRBHADH. AKA and see "The Cloak That Got Its Combing."

                       

FALLAINNIN MHUIMHNEACH, AN. AKA and see "The Little Munster Mantle."

                       

FALLEN CHIEF, THE. Scottish, Slow Air or Lament (6/4 time). A Major. Standard tuning. One part. Composed by J. Scott Skinner as a dirge in memorial of dancer and piper Willie MacLennan who died tragically in Canada while touring with Skinner in 1893. Hunter (Fiddle Music of Scotland), 1988; No. 30.

                       

FALLEN HERO, THE. Scottish, (“Pathetickly”) Slow Strathspey. A Major. Standard tuning. AB. Composed by Nathaniel Gow (1763-1831), fiddler, composer, music publisher and bandleader; son of the famous Scots fiddler/composer Niel Gow. The title refers to the death of the British naval hero, Lord Admiral Horatio Nelson. The tune is very similar to Alexander M’Glashan’s “Miss Wellwood’s Fancy,” printed in his 1786 collection; some even cry plagiarism by Gow. Carlin (The Gow Collection), 1986; No. 56. Gow (Complete Repository), Part 3, 1806; pg. 8.

X:1

T:Fallen Hero, The

M:C

L:1/8

R:Strathspey

S:Gow – 3rd Repository  (1806)

Z:AK/Fiddler’s Companion

K:A

{AB}c>B AF (E<C) E2|E>F Ad/c/ {c}B>A B2|{AB}c>B AF (E<C) E2|

E>F A(d/c/) (cB) A2|{AB}c>B AF (E<C) E2| E>F Ad/c/ {c}B>A B2|

{AB}c>B AF (E<C) E2|E>F A(d/c/) (cB) A2||(c<e) e>f {f}ec e2|

(c<e) e>f (f/e/)(c/A/) B2|(c<e) e>f {f} ec e2|E2 (d/c/)(B/A/) (cB) A2|

(c<e) e>f {f}ec e2|(c<e) {A}a>f (f/e/)(c/A/) B2|{AB}c>B AF (EC) E2| E>F A(d/c/) cB A2||

 

FALLON'S JIG. Irish, Jig. Ireland, County Sligo. E Minor. Standard tuning. AABB. The title is perhaps "Roland's Jig." The tune is a variant of the “Morrison’s/Whelan’s Jig” family. Source for notated version: conical (or "Clarke's") whistle player Jim Donoghue, 1910-1990 (Drimacoo, Monasteraden, Co. Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 180.

                       

FALLON’S HORNPIPE. Irish, Hornpipe. G Major. Standard tuning. AABB. Cranitch (Irish Fiddle Book), 1996; No. 84, pg. 159.

                       

FALLS OF CLYDE. Scottish, Hornpipe. A Major. Standard tuning. AA’BB’. The title probably refers to the actual Falls of Clyde on the River Clyde in Scotland, near Glasgow. The Falls of Clyde, was also a full-rigged, four-masted iron ship built in 1878 by Russel and Co., Port Glasgow, for the Falls Line, Glasgow. Her forecastle is 34 ft long and the poop 23 ft., and she is rigged royal, single topgallant and double top-sails. After a long and productive career The Falls of Clyde was purchased in 1968 and was preserved as a museum ship, presently docked at the Hawai’i Maritime Center, Honolulu.

***

The Falls of Clyde

***

Kerr (Merry Melodies), vol. 4; No. 277, pg. 29.

X:1

T:Falls of Clyde, The

L:1/8

M:C|

R:Hornpipe

K:A

eaga faga|eaga ecAc|dfdB cecA|1 dcBA GBcd:|2 GABc A2 BA||

|:Ge^de gede|Ae^de aede|1 Ge^de gede|agfe dcBA:|2 gbge faf^d|efgf e=dcd||

                       

FALLS OF CORRYMULZIE, THE. Scottish, Reel. A Major. Standard tuning. AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 22, pg. 8.

                       

FALLS OF DIVACH, THE. Scottish, Strathspey. D Major. Standard tuning. AAB. Composed by the self-styled “Strathspey King,” James Scott Skinner (1843-1927). MacDonald (The Skye Collection), 1887; pg. 24.

X:1

T:Falls of Divach, The

M:C

L:1/8

R:Strathspey

S:Skye Collection (1887)

Z:AK/Fiddler’s Companion

K:D

A>D F>D A<D D2|E>A,C>A, E<A, A,2|A>DF>D A<D D2|E<A, A,>C (D2D):|

g|f<a c>a f<a d>d|c<e A>e c<e A>g|f<a d>a f<a d>d|e<A A>c (d2 d>)g|

f<a c>a f<a d>d|c<e A>e c<e A>c|(3def (3efg (3fga (3gfe|(3dcB (3ABc d2 d||

                       

FALLS OF DOONASS, THE. AKA and see “Clancy’s Reel [2].” Irish, Reel. C Major. Standard tuning. AA’BB’. Source for notated version: James Clancy (San Francisco) [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 299.

X:1

T:Falls of Doonass, The

T:Clancy's Reel

M:4/4

L:1/8

S:James Clancy, San Francisco

Z:Paul Kinder

R:Reel

K:C

GA/2E/2|:ECCC CE G2|cGEG cGEG|FDDD DFAd|dcAd dcAG|

ECCC CEGc|cGEG cGEG|f2 fe fagf|1edcB c2 GF:|2edcB c2 d2|

|:eccc ecgc|efga gedc|BGGA BGBG|Bcde f2 f2|

eccc ecgc|efga gedc|f2 fe fagf|1edcB c/2d/2c/2B/2 cd:|2edcB cAGF||

                       

FALLS OF LORNA. Scottish, March (2/4 time). A Mixolydian. Standard tuning. AAB.

X:1
T:Falls of Lorna
D:Wallochmor Ceilidh Band
Z:Nigel Gatherer
L:1/8
M:2/4
K:Amix
B/d/ | e2 e/f/e/d/ | eA AB/c/ | d2 d/e/d/B/ | dG G B/d/ | e2 e/f/e/d/ | e>f ga | g/f/e/d/ gB | A2 A :|
e/g/ | a2 a>g | ae  e>f | g>a g/f/e/d/ | gd de/g/ | a2 a>g | ae  ea | g/f/e/d/ gB | A2 A
e/g/ | a2 a>g | ae  e>f | g>a g/f/e/d/ | gd dg | e/f/g/e/ a/g/f/e/ | ae  ea | g/f/e/d/ gB | A2 A |]

                       

FALLS OF MOIRA, THE.  Scottish, Air (3/4 time). G Minor. Standard tuning. One part. Composed by Dr. John Turner; musician, composer, performer, teacher and director of the Jink and Diddle School of Scottish Fiddling, held yearly in Valle Crucis, North Carolina. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 5. Turner (Melodies in the Scottish Style), 1984.

 


FALLS OF RICHMOND. Old‑Time, Breakdown. USA, West Virginia. A Aeolian or Dorian ('A'and 'B' parts) & A Major ('C' & 'D' parts). AEae (Brody, Phillips) or ADae tunings (Edden Hammons, Kuntz). AABCB (Brody): AABBCCDDBB (Kuntz, Phillips, Songer). “Falls of Richmond” has been a popular piece among old-time revivalists but its original associations apparently were solely with the Hammonds family of West Virginia. It is said that members of the family trace the tune back to “Old Uncle Pete” Hammons, born in 1845. Burl Hammonds called the tune “Falls of Richmond,” in the plural. The title refers to the small waterfalls, or rapids, on the James River at Richmond, rather than, as some have supposed, the 1865 capitulation (or "fall") of Richmond, the capital of the Confederacy during the American Civil War (Allan Jabbour points out Richmond ‘fell’ not only in the Civil War, but in the Revolutionary War as well). The falls of the James mark the farthest navigable point on the river, leading to the development of Richmond. Phillips (1994) and Songer (1997) note the fourth part is credited to Marty Somberg of Dexter, Michigan. Source for notated version: Ruthie Dornfeld (Seattle) [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 101. Kuntz, Private Collection. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 82. Songer (Portland Collection), 1997; pg. 75. Bay 217, Any Old Time ‑ "Ladies Choice." County 2730, Rafe Stefanini – “Glory on the Big String.” PearlMae Muisc 004-2, Jim Taylor – “The Civil War Collection” (1996).  Rounder 0035, Fuzzy Mountain String Band‑ "Summer Oaks and Porch" (1973. Learned from Burl Hammons, Marlinton, W.Va.). Rounder 0128, The Backwoods Band ‑ "Jes' Fine" (1980. Version learned from Marty Somberg). Rounder 0132, Bob Carlin ‑ "Fiddle Tunes for Clawhammer Banjo" (1980. Learned from the Fuzzy Mountain String Band's 1973 recording). Edden Hammons Collection I. Reed Island Rounders – “Goin’ Home” (2002).

X:1

T:Falls of Richmond

M:2/4

L:1/8

N:Parts are ABCDB

K:Ador

D/|E/D/E/G/ A(G|G)A/B/ c/B/c/D/|E/D/E/G/ Ac/A/|B/A/G A2|

E/G/A/B/ A2|GA/B/ c/B/c/d/|e>c Ac/A/|B/A/G A2:|

|:e>c Ac/A/|B/A/G/A/ c/B/c/d/|B/c/e/g/ e/c/A/c/|B<G A2|

A/c/e/c/ A/c/e/c/|B/A/G/A/ c/B/c/d/|B/c/e/g/ e/c/A/c/|B<G A2:|

K:Amix

|:e/ a e ac’/a/|b/a/c’/a/ b/a/c’/a/|e/ a e/ ac’/a/|b/a/b/b/ a2:|

|:a/|d’/a/c’/a/ b/a/b/a/|d’/a/c’/a/ b>a|d’/a/c’/a/ b/a/b/e/|f2 e:|

                       

FALLS ROAD, THE. Irish, Jig. Copley Records EP9-20 (45 RPM), Paddy O’Brien (195?).

                       

FALLUINN AIR FHALLUINN. AKA and see "Mantle on Mantle."

                       

FALSE ISABEL. See “Isabel Falsey.”

                       

FALSE LOVE. English, Air or Waltz. D Major. Standard tuning. One part. A modern composition by editor Michael Raven. Raven (English Country Dance Tunes), 1984; pg. 191.

                       

FAMILY ESTATE, THE. AKA and see "The Village Reel," "The Swallow's Tail Reel," "The Steeple Chase [1]," "Take your Hand Away," "The Pigeon on the Gate [1]," "The Pride of the Ball," "McKenna's Reel," "The Queen's Wedding," "Mollie's Bonnet," "Molloy's Night Cap," "Joshua Gray," "Miss Wright's Reel," "The Girl with the Handsome Face."

                       

FAMILY WALTZ. AKA and see "Valse de Famille."               

                       

FAMOUS BALLYMOTE, THE. Irish, Reel. D Mixolydian. Standard tuning. AABB. Taylor (Where’s the Crack?), 1989; pg. 15. Compass Records 7 4407 2, Ciaran Tourish – “Down the Line” (2005). Green Linnet SIF 3011, “Bothy Band, 1975” (1983. Reissue of the original 1975 album on Mulligan Records).

                       

FAMOUS FIERY CLOCK FACE, THE. English. The title references a civic clock on a building in Gateshead that was at one time illuminated by gas lighting, new at the time.

                       

FAN GO FÓILLEACH. AKA and see “Stay and have another,” "Stay for Another While."

                       

FAN GO SOCAIR A ROGUIRE! AKA and see "Be Easy, You Rogue."

 

FAN MAR A BH-FUIL TÚ, A CHLADHAIRE (Stay as you are, you rogue).  See “Fan Mar Táir, a Chlaidhre!”

 

FAN MAR TÁIR, A CHLAIDHRE! (Stay as you are, you rogue!). AKA and see "Stay Where You Are." Irish, Jig. D Major. Standard tuning. ABC. Collector George Petrie noted this was “a Munster jigg”. Stanford Petrie (Complete Collection), 1905; No. 1212, pg. 305. Shields (Tunes of the Munster Pipers), 1998; No. 48, pg. 23.

X:1

T:Fan Mar Táin, a Chlaidhre!

T:Stay as you are, you rogue!

M:6/8

L:1/8

N:”A Munster Jigg”

B:Stanford/Petrie – Complete Collection, No. 1212  (1905)

Z:AK/Fiddler’s Companion

K:D

A/B/c/|d<dd ABc|d2A AGE|ddd ABc|def gfe|

ddd ABc|d2A AGE|GAG EDE|c3 ABc||d2e fed ecA AcA|

d2e fed|f<af gfe|d2e fed|ecA AGF|GFG EDE|c3 ABc||

d2A c2A|d2A ABc|d2A c2A|def gfe|d2B =c2A|B2G A2F|GAG EDE|c3 A2||

X:2

T:Fan mar a Bh-fuil Tú, a Chladhaire

T:Stay as you are, you rogue

M:6/8

L:1/8

S:James Goodman manuscripts (c. 1860’s)

B:Hugh Shields – Tunes of the Munster Pipers, No. 48  (1998)

K:D

A/B/c/||:d2c ABA|d2A AGE|d2A ABA|d2e fed|d2A ABA|

D2A AGE|G2E EFE|c3 cAc|d2c ABA|d2A AGE|d2A ABA|

d2e fed|d2B c2A|B2G AGF|G2E EFE|c3 cAc||

d2e f2e|d2A AGF|d2e fdg|faf fed|d2e fed|

d2A AGF|G2E EFE|c3 cAc|d2e f2e|d2A AGF|d2e fdg|

faf fed|a2f g2e|f2d dcB|G2E EFE|c3 cAc||

 

FAN ME WHILE I DREAM. Old-Time, Waltz. G Major. Standard tuning. One part. Source Lacey Hartje said he learned the tune when in his late adolescence from a fiddler in Joplin, Mo., by the name of Fred “Doogie” Gentner Dalton, a classically influenced player who was in his sixties at the time. Dalton himself had learned it at age 19 from a similarly elderly man named Fat Eddings, who had composed it. Beisswenger & McCann (2008), who related the story, put the year at approximately 1905. They point out the waltz uses a chord progression typical of some popular waltzes of the time. Source for notated version: Lacey Hartje (b. 1926, Joplin Mo.) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 50.

 

FÁNAÍ, AN. AKA and see "The Rambler [2]," "Father Hanley's Jig."

 

FÁNAÍ THIR CHONAILL. AKA and see “The Donegal Rambler.”

 

FANAID GROVE. Irish, Air (4/4 time). D Major. Standard tuning. One part. Roche Collection, 1982, vol. 3; No. 47, pg. 13.

 

FANCY CREEK. Old-Time, Breakdown. The tune is from Fred Campeau, and can be found on a recording by the Volo Bogtrotters.

 

FANCY FAIR, THE (An Aonac Rogaide/Rogain). AKA and see “Dance at the Fair.” Irish, Hornpipe. G Major. Standard tuning. AABB. The tune was recorded on 78 RPM  in Dublin in 1931 by the Fingal Trio (James Ennis – uilleann pipes, John Cawley – flute, Frank O’Higgins – fiddle). It was called “Dance at the Fair” on that Columbia release. Source for notated version: Chicago piper John Ennis, originally from County Kildare [O’Neill]. McGuire & Keegan (Irish Tunes by the 100), 1975; No. 75, pg. 20. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 344, pg. 169. O'Neill (Krassen), 1976; pg. 209. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1749, pg. 235. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 922, pg. 158. Rounder 1087, The Fingal Trio - "From Galway to Dublin: Early Irish Traditional Music" (1992. A reissue of the 1931 original).

X:1

T:Fancy Fair, The

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 922

Z:AK/Fiddler’s Companion

K:G

d>c|(3Bcd c>A B>GA>F|G>BA>F G2 (3def|g>ba>f g>ed>B|c>BA>B c>ed>c|

B>dc>A B>GA>F|G2 f>b f>b a>g|(3fag (3fed (3egf (3edc|d>fe^c d2:|

|:d>c|(3Bcd g>a b>gd>B|A2 f<a f<a d>c|(3Bcd g>a b>gd>B|G2 e<g e<g (3def|

(3gag (3fed (3gag (3fed|(3gag (3fed d>cB>A|(3Bcd (3gfe d>cB>A|G>BA>F G2:|

 

FANCY HORNPIPE. Cape Breton, Hornpipe. The “Fancy Hornpipe” is the tune for the dance Mic Mac Rotery. The rotary was a traffic circle near a Mic Mac Indian village. Rounder 7004, Joe Cormier ‑ "The Dances Down Home" (1977).

 


FANDANGO [1], THE. English, Country Dance Tune (6/8 time). D Major. Standard tuning. AABB. Published before 1730 according to Raven, though Barnes and Johnson date it to 1774. Barnes (English Country Dance Tunes), 1986. Johnson (Twenty‑Eight Country Dances as Done at the New Boston Fair), Vol. 8, 1988; pg. 3. Raven (English Country Dance Tunes), 1984; pg. 28. Flying Fish FF90564, Bare Necessities ‑ "Take a Dance" (1991).

 

FANDANGO [2]. English, Country Dance Tune (cut time). A Major. Standard tuning. AABB. Peter Kennedy notes a variation of the tune survived in children’s play dances into the mid-20th century. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 45, pg. 12.

 

FANG THE FIDDLERS.  Scottish, Reel. A Dorian. Standard tuning. AABBCCDDEE'. The word ‘fang’ means to catch or lay hold of. Stewart-Robertson (The Athole Collection), 1884; pg. 50.

X:1

T:Fang the Fiddlers

M:C|

L:1/8

R:Reel

B:Stewart-Robertson - The Athole Collection (1884)

Z:AK/Fiddler’s Companion

K:Aminor

A/A/A e2 A/A/A a2|A/A/A e<g BGGB|A/A/A e>A c>de>c|B<g d>c B<GG2:|

|:B|A<a a/a/a a>ge>a|g>ed>c B<GG<B|A<a a/a/a agea|g>ed>B c<A A:|

|:B|c>A A/A/A A,<A A/A/A|cA A/A/A G,<G dB|c>A A/A/A A,<A A<c|B<gd>c B<G G:|

|:c|A/A/A e>A a>A e<A|A/A/A eg B<G G>B|G/G/G B>G d<GB<G|G/G/G d>c B<G G:|

|:B,|CA,EA, AA,EA,|CA,EA, B,G,G,B,|CEA,B, C<EA^F|G>E D<C D<G,G:|

|:B|e<Ae<A a<Ae<A|c<Ae<A B<G G>B|c<eA<B c<e a>^f|1 aed<c B<G G:|2 a>edB c<A A|]

                       

FANITULLEN. Norwegian. One of the most popular of the newer concert-slatts, according to Pandora Hopkins (1986).

                       

FANLIGHT FANNY. English.

X:1

T:Fanlight Fanny

M:2/2

L:1/8

C:George Formby, Fred E Cliffe, Harry Gifford & Clinton Ford

K:F

z8|"Dm"d2 dc- "Am"c A3|"Dm"d2 dc- "Am"c A3|"Dm"A2 A2 F2 G2| A8|

"C7"c2 c2 "F#dim"c2 c2 | "C7"c4 "C7+"^G4| F8:|| z4 z2 F2|"F7" F2 G2 G2 ^G2|

A2 d2  d2 A2|"Bb6"G8-|G4 z2 G2| "G7" G2 A2 A2 B2| =B2 e2 e2 G2|"C7" c8-|c4 z2 "A7" A2||:

"Dm"D2 F2 A3 A| d2 c2 A3 A|D2 F2 AA^GA| d c2 A-A4|"C7"c2 c2 c c2 c| d2c2 _A2 G2|"F"F8| "Bb7 A7" z8  :||

z4 z A A2|"Dm" AAA"E"^G-G3 G|"Dm" AAA"E"^G-G3 A|"Dm"d2 A2 F2 D2 |

"A"E8| "C7"G4"Ab7" _A4|"Dm7"=A4 "G7"=B4| "C7"cdec _e2 dc-|c4"Bb7"z2 "A7"A2|

"Dm"D2 F2 A3 A| d2 c2 A3 A|D2 F2 AA^GA| d c2 A-A4|"C7"c2 c2 c c2 c| d2c2 _A2 G2|"F"F8| "Bb7 A7" z8||

                       

FANNIE HILL. See "Fanny Hill."

                       

FANNING’S (Port an Fhionnánaigh). Irish, Jig. E Minor. Standard tuning. AABB. According to Máire O’Keefe, this tune was a great favorite of Kerry fiddler Denis Murphy's and was recorded from him by Séamus Ennis on January 29th, 1949, and subsequently included in the RTÉ publication "Denis Murphy, Music from Sliabh Luachra.” Editor Jackie Small (CRE V) says the tune is related to “Clancy’s Jig [2],” recorded in 1928 by accordion player P.J. Conlon in New York. Source for notated version: from a manuscript written by the renowned Sliabh Luachra fiddler Pádriag O’Keeffe, given to Breathnach by Jack Connell, nicknamed ‘Jack the Lighthouse’ [Breathnach]. Breathnach (CRÉ V), 1999; No. 37, pg. 20. Gael-Linn CEF176, Jackie Daly - “Many’s a Wild Night” (learned from manuscripts of tunes written down by Pádraig O'Keeffe for his pupil, Paddy O'Connell of Cordal, Castleisland). RTÉ CD 183, Denis Murphy – “Denis Murphy—Music from Sliabh Luachra.”

X:1

T:Fanning's

D:Jackie Daly, "Many's a Wild Night", track 9(b)

M:6/8

L:1/8

R:jig

Z:transcribed by Paul de Grae

K:Em

"G" G2 B dBG | "D" FEF AFD | "Em" EDE GFG | BAB "C" edB |

"G" G2 B dBG | "D" FEF AFD | "C" gfe "Bm" dBA | 1 "Em" BGE E2 F :||

2 "Em" BGE E2 f ||: "Em" geb geb | geb "A" bag | "D" fda fda | fda "Bm" agf |

"Em" eBe geg | "Bm" baf "Em"gef | "C" gfe "Bm" dBA | 1 "Em" BGE E2 f :||2 "Em" BGE E3 ||

 

FANNITULLIN. Norwegian. AEac# tuning. In Scandinavian tradition Aeac# tuning is known as the ‘devil’s tuning’.

                       

FANNUIDH POWER. AKA and see "Fanny Power."

 

FANNY DILLON. Irish, Planxty (3/4 time). G Dorian. Standard tuning. AB. Composed by blind Irish harper Turlough O'Carolan (1670-1738), who composed several tunes for the family (e.g. see “Lady Dillon”). Complete Collection of Carolan's Irish Tunes, 1985; No. 37, pg. 44.

 

FANNY FARQUHARSON. Scottish, Strathspey. D Major. Standard tuning. AAB. MacDonald (The Skye Collection), 1887; pg. 77.

X:1

T:Fanny Farquharson

M:C

L:1/8

R:Strathspey

S:MacDonald – The Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:D

A,|D<D F>D E>DF>D|A,<A A,>B, E2 EF|D<D F>D E>DF>D|A,<A, A,>B, D2D:|

f|d<d f>d e>df>d|B>A B<d e3f|d<d f>d e>df>d|A>B A<F D2 Df|

d<d f>d e>df>d|B>A B<d e3f|a>ged B<d A>F|G>B A<F D2D||

                       

FANNY/FANNIE HILL. Old‑Time, Breakdown. USA; southwestern Va., south-western Ky. G Major. Standard tuning. ABB (Titon): AABB (Phillips). ‘Revival’ sources are from Galax fiddler John Patterson. Jeff Titon says the Phelps/Butler version is closely related to “Cumberland Gap.” Sources for notated versions: John Patterson [Phillips]; Jake Phelps {1885-1977} and Street Butler {1904-1977} (Pea Ridge, Todd County, south-western Ky. 1965) [Titon]. Phillips (Traditional American Fiddle Tunes), 1994; pg. 82. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 37, pg. 70. Heritage Records V, John Rector (et al) – “Old Time Music from Coal Creek.” Rounder 0058, John Rector ‑ "Old Originals, Vol. 2" (1978).

                       


FANNY POWER ("Fanny Poer" or "Fannuidh Power"). AKA and see "Fanny Poer," "Madame Trench," "Mrs. Trench (of Garbally),” "Planxty Fanny Powers." Irish, Air or Planxty (6/8 or 3/4 time). G Major (Complete Collection, O Canainn, O'Neill, Sullivan, Vallely): A Major (O'Sullivan/Bunting). Standard tuning. AB (Vallely): AABB (most versions). Composed before 1728 by blind Irish harper Turlough O'Carolan (1670‑1738) in praise of Frances, the daughter and heiress of patrons David and Elizabeth Power of Coorheen, Loughrea, Co. Galway. O'Carolan called her "the Swan of the Shore" from the fact that her father's residence was situated on the edge of Lough Riadh (Rea). When Fanny married in March, 1732, one Richard Trench of Garbally she became the "Mrs. Trench (of Garbally)" or "Madame Trench" by which title the air sometimes appears (although the song was probably composed prior to the union, as in the second verse Carolan says he hopes that he’ll live to dance at her wedding). She was long‑lived and provident, surviving to 1793, the mother of a future Lady (Clancarty), and Baron, Viscount and Earl (William Power Keating Trench, born in 1741 and created Baron Kilconnel in 1797) {Flood, 1906; O'Sullivan, 1983}. John McCutcheon (1981) states the tune was very popular in its day, and was written in the Italian Baroque style.

***

Harper Rose Mooney (1740-1798) played it at the Belfast Harp Festival in 1792. Mooney, originally from County Meath and one of the few female harpers of her day, was, like many other musicians, blind, and was lead by a female servant whose name was Mary. The pair fatefully happened to be in Killala, County Mayo, in 1798, just at the time the French were landing at the spot in support of the Rising. The British troops took flight and this was the cause for furious celebrating among the townspeople, which Mooney was caught up in. Unfortunately, as the story goes, she became overly celebratory and literally drank herself to death on the occasion (Heymann, 1992).

***

It has been reported that Seamus Begley has been playing “Fanny Power” in a set with Marty Robbins’ “El Paso” for waltzes! Source for notated version: Edward Bunting collected the tune either from Charles Byrne or Arthur O'Neill (in 1800), both harpers of the late 18th century and whom he credits singly and respectively in his MS and the index to his 1840 collection Ancient Irish Music. Complete Collection of Carolan's Irish Tunes, 1984; No. 155, pg. 106. Heymann (Legacy of the 1792 Belfast Harp Festival), 1992; pgs. 26-27. Ó Canainn (Traditional Slow Airs), 1995; No. 63, pg. 56. O'Neill (Krassen), 1976; pg. 238. O'Sullivan/Bunting, 1983; No. 67, pgs. 104-105. Sullivan (Session Tunes), Vol. 2; No. 48, pg. 20. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 42. Vallely (Learn to Play the Fiddle with Armagh Pipers Club), 197?; pg. 21. Front Hall FHR‑021, John McCutcheon ‑ "Barefoot Boy wiith Boots On" (1981). RCA 5798-2-RC, "James Galway and the Chieftains in Ireland" (1986). Shanachie 79013, Derek Bell - "Carolan's Receipt" (1987).

X:1

T:Fanny Power

T:Planxty Fanny Powers

C:Turlough O'Carolan

S:The Carolan Albums, Maire Ni Chathasaigh

Z:Nigel Gatherer

M:6/8

L:1/8

K:G

z|G2 D G>AB|c2 B A2 G|G>FE D>ED|F2 G A>Bc|B>AG B>cd|

e2 A A2 G|G>FE DGF|G2 G G2::B|dB/c/d dB/c/d|GBG GBG|

ec/d/e ec/d/e|AcA AcA|B>cd e>fg|fga dec|B>AG A/B/cF|G2 G G2:|]

                       

FANNY THE FAIR.  English, Jig. A Major. Standard tuning. AABB. The melody is unique to London publisher Charles and Samuel Thompson’s 1765 country dance collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 122.

X:122

T:Fanny the Fair

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:A

a3 ecA|f3 e2a|efe edc|BcA GFE|a3 ecA|f3 e2a|gfe gbf|eee e3:|

|:e3 ecA|def ecA|G2A B2c|BcA BGE|e3 ecA|def egb|ecA dBG|AAA A2:||

 

FANNY’S FAVOURITE [1].  English, Reel. A Mixolydian. Standard tuning. AABB. Both Kennedy’s tunes are rant-like. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 46a, pg. 13.

 

FANNY’S FAVOURITE [2].  English, Reel. A Minxolydian. Standard tuning. AAB. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 46b, pg. 13.

 

FANORE SLIDE. Irish, Slide (12/8 time). Ireland, County Clare. D Major. Standard tuning. AABB. Bill Black (1996) identifies Fanore Strand as “a lovely stretch of white sandy beach in West Clare, north of the Cliffs of Moher.” Source for notated version: the late tin whistle player Micho Russell (Doolin, County Clare) [Black]. Black (Music’s the Very Best Thing), 1996; No. 299, pg. 160.

X:1

T: Fanore Slide

S: Micho Russell

Q: 350

R: slide

Z:Transcribed by Bill Black

M: 12/8

L: 1/8

K: D

F | ABA ABA ABA F2 E | DFA B2 A BcA F2 E |

dcd a2 g fgf B2 A | ABA BAB d3-d2 :|

A | dcd a2 g f2 d B2 A | BcA BcA BcA F2 E |

dcd a2 g fgf B2 A | ABA BAB d3-d2 :|

                       

FANTASTIC HORNPIPE.  Irish, Hornpipe. B Flat Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 106. Ryan’s Mammoth Collection, 1883; pg. 141.

X:1

T:Fantastic Hornpipe

M:C|

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:Bb

(Bc) | d>^cd>c d>=cB>A | G>^FG>A B>AB>c | d>AB>d g>fd>B | (3cdc (3BAG F2 (Bc) |

d>^cd>c d>=cB>A | G>^FG>A B>ba>g | f>de>c d>Bc>A | B2d2B2 :: (AB) |

c>=Bc>d e>de>f | d>_Bd>f b2f2 | g>fg>a b>ab>c’ | d’>c’b>a g>f=e>_e |

d>^cd>c d>=cB>A | G>^F>G>A B>ba>g | f>de>c d>Bc>A | B2d2B2 :|

 

FANTASTIC REEL, THE. AKA and see “Glencolmcille,” “John Doherty’s.” Irish, Reel. D Major. Standard tuning. AAB. Source for notated version: John Doherty (County Donegal) [Phillips]. Breathnach (CRÉ III), 1985; No. 86 (appears as “Gan ainm/No title”). Phillips (Fiddlecase Tunebook), 1989; pg. 19. Comhaltas Ceoltoiri 10, John Doherty. Nimbus NI 5320, Ciaran Tourish, Dermot McLaughlin, Tommy Peoples, Seamus Gibson, Seamus Glackin, Kevin Glackin - “Fiddle Sticks: Irish Traditional Music from Donegal” (1991).

           

FANTELADDA. Norwegian. Shanachie 97011, Duck Baker - "Irish Reels, Jigs, Airs and Hornpipes" (1990. Learned from a Topic Records anthology of Norwegian folk music).

 

FANTOCINI, THE.  English, Jig. F Major. Standard tuning. AABB. The melody was first published by Charles and Samuel Thompson in their Compleat Collection, vol. 3 (London, 1773). Country dance instructions for “The Fantocini” were printed in John Griffith’s Collection of the Newest and Most Fashionable Country Dances and Cotillions (Providence, R.I., 1788). Fantocini was the plural of the Italian fantoccio, and refers to puppets moving on wires, or a puppet show with such objects. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 193.

X:1

T:Fantocini, The

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:F

fcc “tr”c3|dAA “tr”A3|GBA GAF|EFG C3|fcc “tr”c3|dAA A2”tr”f|edc GA=B|c3 c3:|

|:gcc “tr”c3|acc “tr”c3|dcB AGF|EFG C3|fcc “tr”c3|dAA A3|GBA GFE|[A,3F3][A,3F3]:||

           

FAOI TOIN MEISE. AKA and see "On the Sly."

           

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 [COMMENT1]This was Font/Pitch 1,10 - Off.

 [COMMENT2]This was Font/Pitch 1,10 - On.

 [COMMENT3]This was Font/Pitch 1,10 - Off.

 [COMMENT4]Note:  The change to pitch (12) and font (1) must be converted manually.