The Fiddler’s Companion

© 1996-2009 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

FIA - FILLY

[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 after pasting, so that they are single-spaced, with no intervening blank lines. This being done, the F/C abc’s will convert to standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth it.   [AK]

 

 

[COMMENT4] 

FI FI PONCHO. Cajun, Two-Step (in an unusual combination of 3/4 and 4/4 time). USA, Louisiana. A Major. Standard. AB. The tune, an instrumental, was first recorded by accordion player Joseph Falcon. Source for notated version: Raymond Francois (La.) [Francois]. Francois (Yé Yaille, Chčre!), 1990; pg. 134. Columbia Co-15301, Joseph Falcon.

                       

F(H)IACH AN MHADA RUA. AKA and see "The Hare in the Corn [3]," "The Absent‑minded Man," "The House in the Corner," "The Little House around the Corner," "The Royal Irish Jig," "O, as I was kissed Yestreen," "The Hare in the Corner," "The Hunt of the Hound and the Hare."

                       

FIACHA A BURC. AKA and see "Sir Festus Burke."

                       

FIACAC, AN. AKA and see "The Hunt."

           

FIACH ALBANACH, AN.  AKA and see “The Scotch Hunt [2].”

           

FIAFRAIGH DE M'ATHAIR É. AKA and see "Ask My Father."

                       

FIAGAÍ AN MHADA RUA. AKA and see "The Foxhunter's."

                       

FIAGUIDE SUGAC, AN. AKA and see "The Merry Huntsman."

                       

FIAIRÍ FEÁ, AN. AKA and see “The Merry Harriers,” "The Rover."

                       

FIALAIDH AGUS MAITH. AKA and see "Generous and Good."

                       

FIANNA, NA. Irish, March (4/4 time). D Major. Standard tuning. AABB. Composed by fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn, south County Armagh. Keegan (The Keegan Tunes), 2002; pg. 83. Miller (Fiddler’s Throne), 2004; No. 353, pg. 206. Ceol Camloch CD, Josephine Keegan – “The Keegan’s Tunes” (2002).

                       

FIANNÓGLAIGH NA nGEAILTÍ. AKA and see "The Galtee Rangers."

                       

FICKLE FORTUNE. Irish, Reel. D Major. Standard tuning. AB. The ‘A’ part is the same as “Stirling Castle,” as well as “Grey Daylight.” Source for notated version: from the playing of North Kerry fiddle master Jeremiah Breen, as noted down by his pupil Thomas Rice and later copied by Sgt. James P. Walsh of the Chicago police. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 279.

X:1

T:Fickle Fortune

M:4/4

L:1/8

S:Rice-Walsh manuscript

Z:AK/Fiddler’s Companion

R:Reel

K:D

D2 (3FED ADFD|A,2 (3CB,A, EA,CA,|D2 (3FED ADFD|Bdce dBAF|

D2 (3FED ADFD|A,2 (3CB,A, EA,CA,|D2 (3FED ADFD|(3Bcd ce fd d2||

fafd fafd|egec egec|fafd fafd|egec dcBA|

de (3fga fdBd|cd (3efg ecAc|dfec dcBA|FABc dBAF||

                       

FIDDICH BRIDGE. Scottish, Strathspey. G Major. Standard. AB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 180, pg. 62.

                       

FIDDICH-SIDE LASSES, THE. AKA ‑ "Fiddickside Lasses." Scottish, Strathspey. A Mixolydian. Standard. AAB. A double‑tonic melody composed by William Marshall (1748-1833). It was thought by Collinson (1966) to be one of Marshall's best tunes. The river Fiddich rises on the slopes of the Corriehabbie Hill some 2,500 feet above sea level, and foins the Dullan Water at Dufftown. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 15.

X:1

T:Fiddich-Side Lasses, The

L:1/8

M:C

S:Marshall1822 Collection

Z:AK/Fiddler’s Companion

K:A

c/d/|e<A e>c e(AA)c/d/|e<A e>c d(=GG)c/d/|eAec eAec|B=gdg B=GG:|

B|Aa g/a/b a<cde>c|Aa g/a/b =g>ddB|Aa g/a/b a>f=ge|f>de=c d=GGB|

Aa g/a/b a>cd>c|Aa g/a/b =g>ddB|Aa g/a/b a>f=ge|f>de=c d=GG||

                       


FIDDLE. The term is now used as a colloquialism for a violin, though in antiquity it referred to a specific instrument, the 'fithele'.  The word itself is Anglo-Saxon in origin and was the name for a pear-shaped, four-stringed instrument with two small round soundholes, depicted in old manuscripts, though perhaps it meant, as sometimes today, any four-stringed instrument. Chaucer mentions the word in the Prologue to the "Canterbury Tales." In modern times fiddle is the usual term for the folk violin, indistinguishable in construction from a classical violin, though sometimes with a flattened arc in the bridge to make the strings easier to 'drone', or play at the same time.

           

FIDDLE AND BOX.  Canadian, Reel. D Major. Standard tuning AABB’. A modern composition by fiddler, publisher, annotator and lighthouse keeper Paul Stewart Cranford (Cape Breton). The tune commemorates the June, 2007, wedding of Donegal fiddler Liz Doherty and accordion player Jim Woods. Fiddler Magazine, Winter 2008/09, vol. 15, No. 4; pg. 18.

 

FIDDLE FADDLE. AKA and see “Tail Tod(d)le.” The tune appears under this title in Walsh’s Caledonian Country Dances, book 1 (London, 1733).

           

FIDDLE FINGERS.  Canadian. Composed by Sarnia, southwestern Ontario, fiddler John(ny) Durocher (1934-1989), this tune has some modern currency at Canadian fiddle contests, according to Ron Ritchie. Durocher was born the youngest of sixteen children, to a modest family of few resources. He quit school in his young teens to help make family ends meet and remained a factory worker for most of his life, not even possessing a drivers license. John came to fiddling when he found a broken fiddle in the trash one day and asked the owner for permission to retrieve it; with some repair work he had his first instrument. A few lessons from a local teacher (which served to teach him how to read and write music), were all the formal music education John received. He was a prolific composer of fiddle tunes, however, and named them for sports and current events, family and friends and topics of his day, explains Ritchie. Durocher’s music was picked up by radio fiddler Don Messer, who included many of his tunes in his broadcasts and printed collections, helping Durocher to become quite influential in the Ontario scene for his over 400 compositions. [For more see Ron Ritchie, “John Durocher: A Gifted Composer,” Fiddler Magazine, vol. 12, No. 2, Summer 2005, pgs. 25-27].

 

FIDDLE HEAD REEL. New England, Reel. USA. D Major (Brody): G Major (Sweet). Standard tuning. AABB. Source for notated version: Fennigs All Stars (N.Y.) [Brody]. Brody (Fiddler’s Fakebook), 1983; pg. 104. Jarman (Jim Magill's Square Dance Tunes), No. or pg. 4. Sweet (Fifer’s Delight), 1964/1981; pg. 66. Front Hall 01, Fennigs All Stars‑ "The Hammered Dulcimer." Kicking Mule 209, Bob Carlin‑ "Melodic Clawhammer Banjo."

X:1

T:Fiddle Head Reel

M:2/4

L:1/8

R:Reel

Z:AK/Fiddler’s Companion

K:G

G2G2 | B/G/B/d/ g2 | gd BG | c/A/A/G/ FD | G2G2 | B/G/B/d/ g2 | DF A/B/c/A/ | BG G2 :|

|: g2 g(3d/e/f/ | gd BG | B2 BB/c/ | BA A2 | g2 g(3d/e/f/ | gd BG | DF A/B/c/A/ | BG G2 :|

                       

FIDDLE HILL JIG. American, Jig. G Major ('A' part) & D Major ('B' part). Standard tuning. AA'BB'. Composed by Ralph Page (1903-1985, New Hampshire), the “dean of the contra dance callers,” and a seminal figure in New England traditional dance and music for 40 years (see www.izaak.unh.edu/nhltmd/pagehome.htm). It first appears in Page’s monthly periodical Northern Junket, vol. 9, No. 1, 1967. Miller (Fiddler’s Throne), 2004; No. 41, pg. 35. Sweet (Fifer’s Delight), 1964/1981; pg. 35.

                       

FIDDLE ON FIRE. Canadian, Reel. Canada, Cape Breton. F Major. Standard tuning. AA. Composed by fiddler Jerry Holland (Jerry Holland’s), 1995; No. 158, pg. 45. Fiddlesticks cass., Jerry Holland - “Fathers and Sons” (1992). Green Linnett, Jerry Holland - “The Fiddlesticks Collection” (1995).

                       

FIDDLE TUNED LIKE A VIOL. French‑Canadian, Reel. A Major. AEae tuning. Philo 2001, "Jean Carignan" (learned from his father at age 7).

                       

FIDDLE UP. Old‑Time, Country Blues. Recorded by Chattanooga fiddler Jesse Young for Columbia in the late 1920's, and may have been written by him. The tune is similar to the original "Memphis Blues."

                       

FIDDLER, THE. Scottish, Green Linnet GLDC 1108, The Tannahill Weavers – “Cullen Bay.”

                       

FIDDLER A DRAM. AKA and see "Give the Fiddler a Dram."

...........                                                                       

FIDDLER BEHIND THE FAIRY TREE, THE. Irish, Set Dance. Bulmer & Sharpley (Music from Ireland), vol. 2, No. 85.

                       

FIDDLER IS DRUNK, THE. AKA and see “Craig’s Pipes,” "The Foxhunter's (Reel) [1],” "Miss McLeod's," “Patrick Kelly’s Reel,” "Greig's Pipes."

                       

FIDDLER OF FERRYHILL, THE. English, Scottish; Reel. B Flat Major. Standard tuning. AA'BB'. Composed by the English musicologist, composer and collector Patrick Shuldham Shaw (1917-1977) for Scottish fiddler Bill Hardie (who lived for most of his life in or near the Ferryhill district of Aberdeen for much of his life). Pat Shaw was a moving force behind the English Folk Song and Dance Society for several decades, and recorded a large body of Shetland folk and dance music in the late 1940's. Hardie (Caledonian Companion), 1986; pg. 41.

                       

FIDDLER ROUND THE FAIRY TREE. Irish, Slide. Source for notated version: from John Doonan [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1974, vol. 2, No. 85.

                       

FIDDLER'S BLUES [1]. Old‑Time, Breakdown. USA, Tennessee. B Flat Major. Standard tuning. AA'B. Composed by Tennesse's Fiddlin' Arthur Smith. Source for notated version: Arthur Smith (Tenn.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 49. County 546‑547, "Fiddlin' Arthur Smith and His Dixieliners."

 

FIDDLER’S BLUES [2]. Old-Time, Waltz. USA, Missouri. A Major. Standard tuning. AA’BB’. No relation to “Fiddler’s Blues [1].” Source for notated version: Lonnie Robertson (1908-1981, Springfield, Mo.) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 116. Rounder CD0375, Lonnie Robertson – “Lonnie’s Breakdown” (1996. Originally recorded 1966).


                       

FIDDLER’S BREAKFAST. Canadian, Reel. Canada, Cape Breton. A Major. Standard tuning. AB. Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 17, pg. 6.

                       

FIDDLER'S CHOICE [1]. Old‑Time, Breakdown. G Major. Standard tuning. AABB. Source for notated version: fiddler Alan Block [Phillips]. Phillips (Traditional American Fiddle Tunes, Vol. 1), 1994; pg. 84. Biograph RC‑6007, Ebenezer ‑ "Tell it to Me."

 

FIDDLER’S CHOICE [2]. English, Country Dance Tune (6/8 time). B Flat Major. Standard tuning. AABB’. Knowles (A Northern Lass), 1995; pg. 9.

                       

FIDDLER'S CONTEMPT, THE (Fuath nam Fidhleirean). Irish/Scottish, Air. One of the compositions of Ulster-born (d. 1653) Rorie Dall (O'Caithean or O’Cahan), harper to several Scottish noble families. It has also been attribued to the Scottish harper Ruaidhri (Rory) Dall Morison (c. 1656-1713 or 1714, a similarly named musician who is often confused with O’Cahan) who notoriously disliked the fiddle. It appears, with a few of his other works, in Donald Dow's (1732‑1783) Collection of Ancient Scots Music and at the end of Bruce Armstrong’s The Highland Harp. O’Neill (1913) gives the title as “The Fiddler’s Content.”

                       

FIDDLER'S CONTEST, THE ("Comortus Na Fidileiride" or "Coim-Seasam Na Beidleadoir"). Irish, Hornpipe. A Major. Standard tuning. AABB. Frank Claudy says the tune was a favorite of influential Bronx accordion player Sean McGlynn. O'Neill (Krassen), 1976; pg. 200. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1711, pg. 318. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 901, pg. 154. Green Linnet SIF 3067, Jack and Charlie Coen – “The Branch Line” (1992. Reissue of Topic 12TS337). Topic 12TS337, Jack and Charlie Coen – “The Branch Line” (1977. Learned from Paddy O’Brien). 

X:1

T:Fiddler’s Contest, The

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 901

Z:AK/Fiddler’s Companion

K:A

cd|edef ecAc|defg agaf|eagf ecAc|BABc B2 cd|

edef ecAc|defg agaf|eagf edcB|A2a3A2:|

|:cB|ABAG FGAB|cBce defg|afge fdec|dcde dcBc|

dcBd cBAc|BAGF GABc|dgfe dcBA G2G2G2:|

                       

FIDDLER’S DAUGHTER, THE. Canadian, Reel. A Major. Standard tuning. AB. Composed by Cape Breton fiddler Dan R. MacDonald (1911-1976). The ‘B’ part is played in third position. Cameron (Trip to Windsor), 1994; pg. 3.

                       

FIDDLER'S DRAM. AKA and see "Give the Fiddler a Dram." Old‑Time, Breakdown. USA; central West Virginia, northeast Alabama. G Major. Standard or DGdg (Harvey Sampson) tunings. AABB. The tune was a standard one in the square dance fiddler repertoire as listed by A.B. Moore in History of Alabama (1934) {Cauthen, 1990}. Spandaro (10 Cents a Dance), 1980; pg. 42. Augusta Heritage Recordings AHR-004C, Harvey Sampson and the Big Possum String Band – “Flat Foot in the Ashes” (1986/1994. Learned by Calhoun County, W.Va., fiddler Harvey Sampson from his father). Fantasy 24711, "The Holy Modal Rounders."

                       


FIDDLER'S DREAM [1]. AKA – “Fiddler’s Trouble.” Old‑Time, Bluegrass; Breakdown. USA; Arizona, Nebraska, Oklahoma, Tennessee. G Major ('A' part), D Major ('B' part). Standard tuning. AABB' (Brody): AA'BB (Phillips). Charles Wolfe (1978) says the tune, which was fashioned by Tennessee fiddler Arthur Smith, is "based vaguely on the changes of 'Flop Eared Mule,'" though the only similarity appears to be the I-V key change between parts. Sources for notated versions: Arthur Smith (Tennessee) [Brody]; Bob Walters (Burt County, Nebraska; Christeson); Lymon Enloe [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 105. R.P. Christeson (Old Time Fiddlers Repertory, vol.1), 1973; pg. 103. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 84. Ruth (Pioneer Western Folk Tunes), 1948; No. 66, pg. 24. American Heritage 25, "Poor Richard's Almanac." Bluebird 5843‑A (78 RPM), Arthur Smith (1935). CMH 9006, Benny Martin‑ "The Fiddle Collection." County 547, Arthur Smith‑ "Arthur Smith, vol. 2" (1978). County 762, Lymon Enloe (b. 1906)‑ "Fiddle Tunes I Recall." Marimac 9017, Vesta Johnson (Mo.) ‑ "Down Home Rag." MCA 162, Tommy Jackson‑ "Square Dances Without Calls."

X:1

T:Fiddler’s Dream [1]

L:1/8

M:2/4

K:D

D/D/|:F/AB/ AA/A/|d/e/f/g/ f/e/d/A/|c/d/e/d/ c/d/B/c/|d/c/d/A/ B/A/F/D/|

F/AB/ AA/A/|d/e/f/g/ f/e/d/A/|c/d/e/f/ a/e/c/A/|1 A/dd/ dA/A/:|2 d/e/d/A/ =c/d/c/A/|

K:G

|:B/A/G/E/ D/C/B,/A,/|G,/A,/B,/C/ D/G/E/D/|G/A/B/d/ e/f/g/a/|b/g/a/g/ e/f/g/a/|

b/g/a/g/ e/f/g/a/|g/e/d/B/ A/G/E/G/|D/B,/G,/B,/ D/G/A/c/|1 B/G/A/F/ GG/A/:|2

B/G/A/F/ G||

X:3

T:Fiddler's Dream [1]

M:2/4

L:1/16

Q:120

R:reel

Z:B. Shull, trans.; R. P. LaVaque, ABCs

K:G

A|:(BA)(GE D)CB,A,|(G,B,)D(G EF)G(A|Bd)e(f gf)g(a|bg)a(g eg)d(g|!

bg)a(g eg)d(e|ge)(dB A)(GE)(F|GE)D(C B,C)D(F|1 G)BAF G3 A :|2 G)BAF G2 G2|!

K:D

|:([FA][A2A2])[AA] [AA](BA)G|(FG)Ad (fe)dA|(cd)e(d cA)B(c|dc)d(B cB)AG|!

([FA][A2A2])[AA] [AA]BA)G|FGAd (fe)dA|(cd)e(f ge)ce|1 d2(3edc d2 d2 :|2

dedB  =cdcA)||

X:3

T:Fiddler’s Dream [1]

T:Fiddler’s Trouble

L:1/8

M:2/4

S: Viola “Mom” Ruth – Pioneer Western Folk Tunes (1948)

Z:AK/Fiddler’s Companion

K:G

(A/_B/|=B/)G/F/E/ D/C/B,/A,/|G,/A,/B,/C/ D/E/G/A/|B/d/e/f/ g/f/g/a/|

b/g/a/g/ e/d/g/a/|c’/g/a/g/ e/d/e/f/|g/e/d/B/ A/G/E/F/|G/E/D/C/ B,/D/G/A/|

B/G/A/F/ G:|

K:D

[F>A>][FA][FA][FA]|A/d/d/e/ f/e/c/A/|c/d/e/d/ c/B/(3A/B/c/|d/c/d/A/ B/A/F/G/|

[F>A>][FA][FA][FA]|A/d/d/e/ f/e/c/A/|c/d/e/f/ g/e/c/A/|[F2d2][Fd]:|

X:4

T:Fiddler's Dream

C:Ward Allen

M:4/4

L:1/8

Z:Transcribed by Bruce Osborne

K:G

A|BAGE DCB,A,|G,A,B,C DFGA|BGBd gfga|bgaf edef|

gabg afef|gage dBAF|GEDC B,DGA|BGA[G B] [G3 B3]:|

K:D

A/G/|FAAA A2 AA|A^cde fe[de][^c e]|[B2 e2] [Ae]d ^cAB^c|d2 ^cd BdA[G A]|

FAAA A2 AA|A^cde fe[de][^c e]|[B2 e2] [Ae]d ^cAB^c|d2 [Ae]^c d3:|

 

FIDDLER'S DREAM [2]. Old-Time, Breakdown. D Major. Standard tuning. AA'BB'. Sources for notated versions: Anne Ferguson [Phillips]; Stephanie Prausnitz [Silberberg]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 101. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 43.

 

FIDDLER'S DREAM [3].  Irish, Reel. Composed by County Tipperary fiddler Seán Ryan (d. 1985). Ryan (The Hidden Ireland), 35.

                       

FIDDLER'S DRUNK AND THE FUN'S ALL OVER. AKA and see "Billy/Billie in the Low Ground [1]." Old-Time, Breakdown. C Major. Standard.

                       

FIDDLER'S FANCY. English, Jig. England, North‑West. G Major. Standard tuning. AABB. Knowles (Northern Frisk), 1988; No. 129.

                       

FIDDLER'S FAREWELL [1]. Bluegrass, Breakdown.  A bluegrass version of "Callahan." Rural Rhythm RRMM 201,  Mac Martin & the Dixie Travelers.

 

FIDDLER'S FAREWELL [2], THE. Scottish. Whistlebinkies – “Anniversary.”

                       

FIDDLER'S FROLIC [1], THE  (Mireog An Fidileir). AKA and see "Lawson's Favorite," "Kennaw's Reel," "Molloy's Favourite [1]," "Farewell to Leitrim," “Maude Miller [1],” "Take Her Out and Air Her [1]," "Roll Her in the Hay Stack," "Hawthorn's Reel." Irish, Hornpipe. G Major. Standard tuning. AABB. Source for notated version: Chicago Police Sergeant James O’Neill, originally from County Down, and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1644, pg. 305.

X:1

T:Fiddlers' Frolic [1]

M:C|

L:1/8

S:O’Neill – Music of Ireland (1903), No. 1644

Z:AK/Fiddler’s Companion

R:Hornpipe

K:G

|:D>B,|G,>B,A,>C B,>DC>E|D>GF>A G>BA>c|B>AG>E D>B,G,>B,|A,>G,A,>B, A2 D>B,|

G,>BA,>E B,>DC>E|D>GF>A G>BA>c|B>AG>E D>B,G,>B,|A,>G,A,>B, G,2:|

|:d’>c’|(3bc’b (3aba g>ag>e|d>Bg>e d>BG>B|cbcb BaBa|A>GA>B A2 c’>c’|

(3bc’b (3aba g>ag>e|d>bg>e d>BG>B|(3cag (3fed c>AF>A|G2 G,2 G,2:|

 

FIDDLER'S FROLIC [2], THE. Irish, Reel. D Major. Standard tuning. AB. Source for notated version: Patrick Stack (Chicago) [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 305.

X:1

T:Fiddlers' Frolic [2]

M:4/4

L:1/8

S:Patrick Stack, Chicago

Z:Paul Kinder

R:Reel

K:D

d2 AG FDDF|E=c (3cBc Ec (3cBc|dBcsA BsGAG|FGEF Dgfe|

d2 AG FDDF|E=ccB c2 B^c|(3dcB (3cBA BGAG|FGEG FD D2||

fd (3ddd fdag|fd (3ddd cdeg|fddd f2 ed|cdag fd d2|

(3fgf df (3fgf df|edcd efge|abga fg (3efg|abag fgfe||

                       

FIDDLER’S GREEN. Irish, Hornpipe. A Major. Standard tuning. AABB. Composed by fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn, south County Armagh. Fiddler’s Green is, in legend, for fisherman akin to the Greek’s Elysian Fields. Keegan (The Keegan Tunes), 2002; pg. 67.

                       

FIDDLER'S HEAVEN [1] (Flaiteas Na Fidileiride). Irish, Double Jig. D Major. Standard tuning. AABB. See also the related “Paddy “Go Easy”.” O'Neill (O’Neill’s Irish Music), 1915/1987; No. 167, pg. 93. O'Neill (Krassen), 1976; pg. 23. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 785, pg. 146. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 62, pg. 27.

X:1

T:Fiddler’s Heaven [1]

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 62

Z:AK/Fiddler’s Companion

K:D

B/c/|dAF FEF|ded dfe|dAF FEF|AFE EFA|dAF FEF|ded def|ecA BAF|EAA A2:|

|:c/d/|ecA AcA|ecA A2c/d/|ecA BAF|AFE E2 c/d/|ecA AcA|ecA d2B|cAF EFA|BAA A2:|

 

FIDDLER’S HEAVEN [2]. Canadian, Polka. Canada, Newfoundland. D Major. Standard tuning. ABCAB. Mulvihill (1st Collection), 1986; No. 54, pg. 130.

                       

FIDDLER'S HOEDOWN. AKA and see “The Dead Slave.” Old‑Time, Breakdown. D Major (Marshall). DDae tuning. See note for “The Dead Slave.” It is on Missouri fiddler Charlie Walden’s list of ‘100 essential Missouri fiddle tunes’. Missouri State Old Time Fiddler's Association 001, Pete McMahon ‑ "Ozark Mountain Waltz." Voyager VRCD 344, Howard Marshall & John Williams – “Fiddling Missouri” (1999. From Otto Griggs of Columbia, Missouri, via Pete McMahon).

                       

FIDDLER'S HORNPIPE. Old-time, Breakdown. USA, Missouri. B Flat Major (‘A’ part) & F Major (‘B’ part). Standard tuning. The tune is listed among Missouri fiddler Charlie Walden’s ‘100 essential Missouri fiddle tunes’. Rounder CD-0388, Gene Goforth – “Emminence Breakdown” (1997. Learned from Roy Wooliver). Rounder 0442, John Hartford – “Hamilton Ironworks” (2001. Learned from Roy Wooliver and Gene Goforth).

                       

FIDDLER'S JIG. Scottish, Green Linnet GLDC 1108, The Tannahill Weavers – “Cullen Bay.”

                       

FIDDLER'S JOY, THE. Scottish, Strathspey. D Major. Standard tuning. AABCCD. Gatherer (Gatherer’s Musical Museum), 1987; pg. 32. Martin (Ceol na Fidhle), Vol. 2, 1988; pg. 11. McLennan, Dunoon Highland Gathering Collection of Bagpipe Music Book 2 (c. 1912).

                       

FIDDLER’S KEY, THE. Irish. G Minor. Composed by Chicago fiddler Liz Carroll. The liner notes for the album Trian II reveal that Carroll "listened to a tune on fiddler Martin Hayes' first album, went about doing some chores around the house, started thinking about how wonderful the key G minor is," and was inspired to write “The Fiddler’s Key.” Green Linnet SIF 1159, Liz Carroll, Billy McComisky, Dáithi Sproule – “Trian II.”

                       

FIDDLER'S MORRIS. AKA and see "Highland Laddie [3]," "The Ranting Highlander/Highlandman," "The White Cockade [1]," "The Duke of Buccleugh's Tune,” “There was a lad (born in Kyle)."

                       

FIDDLERS MOUNTAIN. Irish, Reel. C Major. Standard tuning. ABB’. Composed by County Cavan/Philadelphia fiddler and compser Ed Reavy (1898-1988). Reavy (The Collected Compositions of Ed Reavy), No. 73, pg. 80.

X:1

T:Fiddlers Mountain

R:reel

C:Ed Reavy

M:2/2

L:1/8

Z:Joe Reavy

N:Fiddlers need to be heard, so why not a place apart, a mountain

N:just for them. And where is this spot to be where the great tunes

N:of Ireland are commemorated? If it is only in the mind of man,

N:it is place enough for those of us who seek it.

K:C

AB |cGAG EGGB | cGAB cded | cGAG EGGB | cedB (3AGA AB |

cGAG EGGB | CGAB cded | cGAG EGAB | cedB (3ABA AB | cde^f gfge |

dBGB dedB | cde^f gfge | a2 (3ba^g a=ged | ^cde^f gfge | dBGB dedB |

^cde^f gfge |1(3a^ga (3bag a=ged :| 2a2 (3ba^g a2 ||

                       


FIDDLER'S REEL. Old‑Time, Fiddle Tune. USA; North Carolina. Known as a Surry County, North Carolina, regional tune (it was in the repertoire of Benton Flippen, for example), the title also appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Alcazar Dance Series ALC 202, Sandy Bradley ‑ "Potluck and Dance Tonite!" (1979). Global Village C 302, Plywood St. Band ‑ "New York City's 1st Annual String Band Contest ‑ 1984." Yodel-ay-hee Records 014, The New Dixie Entertainers - "Maybelle Rag" (tune credited to Arthur Smith via Bruce Molsky).

                       

FIDDLER’S THRONE, THE.  American, Reel. G Major. Standard tuning. AAB. Composed by Alstead, New Hampshire, fiddler Randy Miller. “In smaller taverns, barrooms and parlors would be cleared of furniture to make room for 20 or 30 couples. (Dances offered the only occasions other than official business on which women who were not travelling could legitimately come to a tavern.) One striking feature found in a number of New England taverns was a ‘fiddler’s throne’—a built-in raised platform that allowed a musician—or other performer—to be more easily seen and heard by the audience” (Jack Larkin, “New England Taverns: The Past and Future,” Old Sturbridge Visitor, Winter, 1998, pg. 10). Miller (Fiddler’s Throne), 2004; No. 155, pg. 100. RM-1C, Randy Miller – “Lore of the Fingerboard” (1990).

 

FIDDLER’S TROUBLE. AKA and see “Fiddler’s Dream [1]."

                       

FIDDLER'S WALTZ. Bluegrass, Waltz. Composed by bluegrass fiddle great Benny Martin, although the tune is associated with Howard “Big Howdy” Forrester, fiddler for many years with Roy Acuff’s Smoky Mountain Boys. Missouri State Old Time Fiddlers' Association, Pete McMahon - "Kansas City Rag."

                       

FIDDLER’S WIFE, THE. Irish, Highland (cut time). D Major. Standard tuning. AB. Composed by County Cavan/Philadelphia fiddler Ed Reavy (1898-1988). Reavy (The Collected Compositions of Ed Reavy), No. 120, pg. 134.

X: 1

T:The Fiddler's Wife

R:Highland

C:Ed Reavy

M:4/4

L:1/8

Z:Joe Reavy

N:She deserves to be recognized-if only for

N:the many long patient hours she waited

N:when tea was held for "just one more tune."

K:D

A | FABc (3dcd AF | GEFD EA,CE | DFAc dfed | cAGE D2 DA |

FABc (3dcd AF | GEFD EA,CE | DFAc dfed | (3cBA (3GFE D2 Dg |

fece dAFA | f2 gf edce | fdec dfed | cAGE D2 Dg | fece dAFA |

f2 gf edce | fdec dfed | (3cBA (3GFE D3 ||

                                               

FIDDLING AFTER ONE-HUNDRED. Canadian, Strathspey. Canada, Cape Breton. A Mixolydian. Standard. AA’BB. A traditional pipe tune, learned by Robert Stubbert from the elderly “down North” musician John Rory Fraser, and passed on to his daughter, Brenda Stubbert, who chorded for them on piano when she was age seven (Cranford). Source for notated version: fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia) [Cranford]. Cranford (Brenda Stubbert’s), 1994; No. 20, pg, 8. Brenda Stubbert - “House Sessions” (1992. Appears as “Traditional Strathspey”).

                       

FIDDLING AROUND. American, Reel or Breakdown. USA; Vermont, New York. C Major. Standard tuning. AABB' (Brody): AA'BB' (Bohrer/Kilbler). Adirondack mountains fiddler Vic Kibler thought that Vermont fiddler Clem Myers might have written this tune, however, Frank Maloy, writing in The Devil’s Box, says it was composed by his friend, southeastern fiddler Ruel Parker. Source for notated version: Clem Myers (Vermont) [Bohrer/Kibler]. Brody (Fiddler’s Fakebook), 1983; pg. 105‑106. Bohrer (Vic Kibler), 1992; No. 9, pg. 9. The Devil’s Box, vol. 21, No. 3, Fall 1987, pg. 24. Fretless 122, Clem Myers‑ "Old Time Fiddling 1976." American Heritage 1, Herman Johnson‑ "Champion Fiddlin.'"

X:1

T:Fiddlin’ Around

L:1/8

M:2/4

K:C

A/_B/ | =B/g/^f/g/ a/g/f/g/ | =f/d/B/G/ D/B,/G, | E/E/c/E/ E/d/E/E/ | _d/E/E/c/ E/E/A/_B/ |

=B/g/^f/g/ a/g/f/g/|=f/d/B/G/ D/B,/G,|E/E/c/E/ E/d/E/E/|c/E/E/d/ E/E/c/e/|

f/e/f/g/ a/g/f/e/|c/_bg/ a/g/e/f/|g/e/f/g/ e/c/d/B/|c3:|

|:(B|B/)B/g/B/ B/a/B/B/|_a/B/B/=a/ B/B/g/B/|c/c/g/c/ c/a/c/c/|_b/c/c/a/ c/c/g/c/|

B/B/g/B/ B/a/B/B/|_a/B/B/=a/ B/B/g/B/|c/c/g/c/ c/a/c/c/|_b/c/c/a/ c/c/g/e/|

f/e/f/g/ a/g/f/e/|c/_bg/ a/g/e/f/|g/e/f/g/ e/c/d/B/|c3:|

                       

FIDDLING DAVID REEL. American, Reel. E Minor (‘A’ part) & E Major (‘B’ part). Composed by Eric Scott.

                       


FIDDLING PHIL. AKA and see “Dubuque,” "Duck River," "Five Miles from Town [2]," "General Lee," "Mabel,” "Old Dubuque," “Phiddlin’ Phil,” "Sally in the Green Corn." Canadian, American; Reel or Breakdown. Canada, Prince Edward Island. D Major. Standard tuning. AABB. Ken Perlman (1996) identifies Fiddling Phil as a well-known radio fiddler and suggests that Maritime Canadian radio fiddling great Don Messer coined the title. Whether Messer had anything to do with the title is not known, however, the tune under the title “Phiddlin’ Phil” can be found in E.F. Adam’s collection of 1938 called “Old Time Fiddlers’ Favorite Barn Dance Tunes,” printed in St. Louis. Perlman states it is a widely played Kings County, PEI, dance tune. Source for notated version: George MacPhee (b. 1941, Monticello, Kings County, PEI) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 70.

                       

FIDLERS (sic) FANCY. AKA and see "Fiddler's Fancy."

                       

FIDO’S FAVORITE. Irish, Reel. D Major. Standard tuning. AA’BB. The tune may be called “Nuala’s Bonnet.” Source for notated version: from Joanie Madden, who didn’t have a name for it. Bill Black “took the liberty of naming it after a local celebrity of Geneva, New York” [Black]. Black (Music’s the Very Best Thing), 1996; No. 28, pg. 14.

X:1

T: Fido's Favorite

C: J.Madden

Z: transcribed by B.Black

N: also known as “Nuala’s Bonnet”

Q: 350

R: reel

M: 4/4

L: 1/8

K: D

AF F2 DF F2 | GE E2 A2 GE | FD D2 DFAF | GBAG FD D2 |

AF F2 DF F2 | GE E2 A2 GE | FD D2 DFAF |1 GBAG FD D2 :|2 GFEG FD D2 ||

AF (3FEF ABde | ed=cA BG G2 | AF (3FEF ABde | g2 af gfge |

AF (3FEF ABde | ed=cA BG G2 | AF F2 D2 AF | GFEG FD D2 :|

                       

FIELD MARSHALL, THE (An Toiseac-Sluaig). Irish, Hornpipe. D Major. Standard tuning. AABB. Source for notated version: Chicago fiddler Edward Cronin, originally from County Tipperary. Cronin was a weaver, machinest, and composer and the source for many of O’Neill’s tunes. O’Neill thought much of his musicianship and his store of tunes, and said “it was his open boast that he never forgave nor forgot an injury” [O’Neill]. O'Neill (Krassen), 1976; pg. 190. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1671, pg. 311.

X:1

T:Field Marshall, The

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Music of Ireland (1903), No. 1671

Z:AK/Fiddler’s Companion

K:D

A2 | d2 fd edfd | defd BAFA | BAGB AFDF | Eeed egfe |

d2 fd edfd | defd BAFA | BAGB AFDF | Agfe d :|

|: AG | F2 FD EFED | FGFE FAAB | defd edfd | gefd edBA |

FGFD EFED | FGFE FAAB | defd BAFA | agef d :|

                       

FIELD OF BANNOCKBURN, THE. Scottish, Pipe March (2/4 time). A Mixolydian. Standard tuning. AB (Neil): AABB (Skinner). Composed by the famous Scots fiddler, J. Scott Skinner, who published it in his Harp and Claymore collection in the early years of the 20th century. The title refers to the famous victory of Robert the Bruce, King of the Scots (1274‑1329), at the end of his seven year struggle with the forces of England under Edward II. Robert was by far the more skilful commander, while Edward was weak and foolish, and though the Plantagenet had twice the number of men (along with, it is rumoured, the bones of his father, Edward I, the 'Hammer of the Scots', in the forefront of his army) he fell prey to superior general ship, luck, and a final ruse by the wiley Scot. Neil (The Scots Fiddle), 1991; No. 58, pg. 81. Skinner (The Scottish Violinist, with variations), pg. 30. Skinner (Harp and Claymore), 1904; pg. 38.

X:1

T:Field of Bannockburn, The

M:2/4

L:1/8

R:Pipe March

B:Skinner – The Scottish Violinist

Z:AK/Fiddler’s Companion

K:A Mixolydian

.e/.d/ | ~ce.A.e | A/<A/e {A/}~fe/d/ | ~ce A/<A/g | d/B/G/B/ de/d/ | ce Ae |

A/<A/e {A}~f (3e/f/g/ | a/f/g/e/ d/B/g/B/ | {G}e(AA) :: {g}f | eac{g}a |

A/<A/a/c/ e{g}f | eaA{c}g | B/<B/g/B/ d{g}f | e{b}aca | {g/a/}f(e/f/g/ |

a/f/g/e/ d/B/g/B/ |  {B}eAA :|

“variations”

e/d/ | .c/.e/.A/.e/ (3A/A/A/ e/c/ | (3A/A/A/ e/A/ f/a/e/a/ | c/e/A/e/ (3A/A/A/ e/c/ |

d/B/G/B/ ~de/d/ | c/e/A/e/ (3A/A/A/ e/c/ | (3A/A/A/ e/A/ f/a/(3e/f/g/ |

(3a/g/f/ g/e/ d/G/g/B/ | {B}eAA :: {g}f | e/a/A/a/ (3A/A/A/ (a/c/) |

(3A/A/A/ (a/A/) e/A/f/A/ | e/a/A/a/ (3A/A/A/ (g/e/) | d/B/G/B/ (3d/d/d/ {g}f |
e/A/c/a/ (3A/A/A/ (a/A/) | (3A/A/A/ a/e/ {g}f(3e/f/g/ | (3a/g/f/ g/e/ d/G/g/B/ | {B}eAA :|

                       

FIELD OF DAISIES. AKA and see "The Daisy Field(s)," "Wild Irishman [3]".

           

FIELD OF DREAMS.  English, Country Dance Tune (4/4 time). G Minor. Standard tuning. AB. Barnes (English Country Dance Tunes, vol. 5), 2005; pg. 50 (appears as “Gleaners”, the name of a dance by Ron Coxall set to the tune).

           

FIELD OF FLOWERS, THE (Pairc Na Blata/mBlat). AKA and see "Girl I Love [2],” "I'll Leave the Country." Irish, Double Jig. G Major (O'Neill/Krassen): F Major (O'Neill/1850). Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 64. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1065, pg. 201. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 269, pg. 59.

X:1

T:Field of Flowers, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 269

Z:AK/Fiddler’s Companion

K:F

g|fed cAF|BAA A2g|fed cAF|AGG G2g|fed cAG|Ade fag|fed cAG|AFF F2:|

|:c|f/g/ag fcB|Acc c2d|f/g/ag fed/c/|dgf g2c|f/g/af gcB|Ade fag|fed cAG|AFF F2:|

                       

FIELD OF HAY, THE. Irish, Jig. E Flat Major. Standard tuning. AB. Resembles both "The Campbells Are Coming [1]" and "The White Cockade"‑‑Bayard (1981) wonders if they all are indeed related and from some common ancestor. Source for notated version: noted from the whistling of Philip Gleeson, Coofree, county Limerick [Joyce]. Howe (1000 Jigs and Reels), c. 1867; pg. 21. Joyce (Ancient Irish Music), 1873/1890; No. 89, pg. 82.

X:1

T:Field of Hay

M:6/8

L:1/8

R:Jig

S:Joyce – Ancient Irish Music (1873)

Z:AK/Fiddler’s Companion

K:E_

G/F/ | E>FG/A/ BGc | BGG G2F | E>FG/A/ BGc | BGF F2G | E>FG/A/ BGF |

GBc e2f | gfd edc | BGG G2 || A | BGG edc | BGG G2A | BGG edc | BGF F2G |

E>FG/A/ BGF | GBc e2f | gfd edc | BGG G2 ||

                       

FIELD OF OATS, THE (Pairc an Coirce). Irish, Reel. E Minor. Standard tuning. AA'B (O'Neill/1850 & 1001): AA'BB' (O'Neill/Krassen). O'Neill (Krassen), 1976; pg. 156. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1523, pg. 281. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 742, pg. 130.

X:1

T:Field of Oats, The

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 742

Z:AK/Fiddler’s Companion

K:E Minor

BA|:GEEF G2 EF|G2 FG AcBA|1 GEEF G2 ef|gfed B2 BA:|2 GFEF GABa|gefd e2 ef||

g2 bg f2 af|e2 fe Bdef|gabg fgaf|gfed e2 ef|g2 bg f2 af|e2 fe Bdef|gabg f2 af|gfed edBA||


                       

FIELD WHITE WITH DAISIES, THE. Irish, Air (3/4 time). G Dorian. Standard tuning. AB. Source for notated version: James Buckley, a Limerick piper, about 1852 (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 144, pg. 73.

X:1

T:Field White with Daisies, The

M:3/4

L:1/8

R:Air

N:”With expression”

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

Z:AK/Fiddler’s Companion

K:G Dorian

GF|D2G2 GA|B4AB|c>Ad>c AF|G4 Bc|de f2e2|d>cAGFG|A2G2G2|G4||de|

fedcde|f4 f2|e>cd>Ac>A|G4 Bc|def>dec|d>c AGFG|A2G2G2|G4||

                       

FIELDS AND DAISIES (Machairidhe's Nóinínidhe). Irish, March or Reel. D Major. Standard tuning. AB. Not O’Neill’s “Daisy Fields.” "From Bill Sheedy, fife‑player: Fannigstown Co. Limerick: 1844" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 30, pgs. 17‑18.

X:1

T:Fields and Daisies

T:Machairidhe's Nóinínidhe

M:C

L:1/8

R:Reel

N:”Moderately”

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

Z:AK/Fiddler’s Companion

K:D

D/F/|A2 BA GF ED|FA d>d d3c|GdcB AG FE|D>EFG A2 FA|

B2 AF D>EFA|d>edc B2 dB|A>BAF dBAF|E4D2||DF|

A2 dB AFEF|D2d2 d2 cB|ABAF ABde|f2e2 e2 d>e|fedf edBe|

dedB A2 d>B|A>BAF dBAF|E4D2||

                       

FIELDS OF FOULA. AKA and see "Flowers of May" (Shetland). Shetland, Jig. D Major. Standard tuning. AABB.

X:1

T:Fields O' Foula, Da

D:The Boys of the Lough, Da Day Dawn

N:A 6/8 tune from Foula, used for the

N:dance 'The Foula Reel'

Z:Nigel Gatherer

M:6/8

L:1/8

K:D

g|f2 g afd|g2 f e2 g|f2 g afd|fga f2 d|f2 g afd|

g2 f e2 A|ABA def|d3 d2::B|ABA F2 A|d2 f|ecA|def ecA|

dAF DEF|EEE F2 A|d2 f ecA|def ecA|d3 d2:|]

X:2

T:Fields o’ Foula, Da

L:1/8

M:6/8

S:Tom Anderson

Z:Transcribed by Mike McGeary

K:D

g|f2-g afd|g2-f e2 g|f2 g afd|f2-a f2 d|!

f2-g afd|g2 (f e2 A)|A2 A def|d2 d d2:|]!

(B|A2) A F2 A|d2 f ecA|def ecA|BAF D2 F/F/|!

E2 E F2 A|d2 f ecA|def ecA|1 d3 d2 g:|2 d3 d3||

                       

FIELDS OF OLD ERIN, THE. Irish, Double Jig. G Major. Standard tuning. AA’BBCC’. Kerr (Merry Melodies), vol. 4; No. 212, pg. 24.

X:1

T:Fields of Old Erin, The

M:6/8

L:1/8

R:Jig

S:Kerr – Merry Melodies, vol. 4, No. 212  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

GAG BAG|BcB BAG|c2e d>cB|1 cBc A2d:|2 cAF G2d||

|:b2g gfg|def gfg|a2g fef|def g3:: {D/E/F/}GBd edB|def gdB|1

cBA BAG|ABG FED:|2c3B3|AEF G3||

                       

FIELDTOWN PROCESSIONAL. English, Morris Dance Tune (March Time, 4/4). G Major (Mallinson): A Major (Bacon). Standard tuning. AAB (Mallinson): AABA (Bacon). Collected from the Fieldtown (now Leafield), Oxon, England, area. There are other processionals, unrelated, from the Tideswell and Gisburn (see "Tideswell Processional" and "Gisburn Processional"). Bacon (The Morris Ring), 1974; pg. 150. Mallinson (Mally’s Cotswold Morris Book), 1988; No. 11, pg. 12. EMI/Harvest 7243 8 29861 2 6, Ashley Hutchings et al - "Son of Morris On" (1976/1994). Topic TSCD458, John Kirkpatrick - “Plain Capers” (1976/1992).

                       

FIERY CLOCKFACE, THE. AKA and see “The Pin Reel.” English, Jig. England, Northumberland. D Major. Standard tuning. AABB. Composed by Robert “Bobby” Nunn (1808-1853), according to Peter Kennedy. Nunn was a tradesman—a roofer who worked on slate roofs—who lost his sight following a fall from a roof he was working on. Like many a blind individual, he turned to music to eke out a living, and played fiddle and sang. He composed a number of songs and was a regular at pubs and other venues around the Tyneside area.  His songs could be rather risqué, full of (pre-)music-hall innuendo, and include “The Pitman and the Blackin’,” “The Newcastle Lad,” “”Druncken Bella Roy O!;” quite popular even with mixed audiences of his era. His best known song is “The Fiery Clock Feyce”, about the drink-caused illusion of a man passing by St. Nicholas Cathedral, looking at the moon’s reflection in a river. It was originally set in the key of  ‘G’ major, although ‘D’ is a more popular key nowadays, to accommodate melodeon players. A quite nice sketch of Nunn appears in Thomas and George Allen’s Illustrated Edition of Tyneside Songs and Readings (1891):

***

Besides the attractions of his fiddle he was a good singer, and composed a great number of

local songs, which he sang with great success. Many of his songs, written upon passing

events, and sometimes rather coarse in consequence of the mixed companies he amused,

are now forgotten, but several which appear in this volume have taken their places as standards

amongst Tyneside songs, and are highly popular. He died at Queen Street, Castle Garth,

Newcastle, on the 2nd of May, aged forty-five years…(He) was eminently a Newcastle man

and had the ‘burr’ in all its delightful purity. He could not be considered a man of any intellectual

culture and it is therefore the more creditable that he has produced so many songs. Some of

them will not bear a close inspection, on account  of their approaching the questionable. There

were circumstances to account for that; he had some talent as a performer on the fiddle, and

being in the habit of attending women’s boxes or benefit clubs on the occasion of their holding

their head-meeting days, when the old ladies had plied themselves with a plentiful supply of

stimulants they would disport themselves on the ‘lightly-gay fantastic toe’ to the pleasant

scrapings of ‘Bobby’s’ fiddle. To diversify their delight he would entertain them with a song,

and a professor of moral ethics would have got a lesson had he have seen how the more than

innuendos were received.  No doubt this would urge him on more in that direction. That was no

reason, however, they should ever have appeared in print.

***

‘Bobby Nunn’ as he was generally called, was a heavy looking man, a great favourite at

resorts of which we have spoken, and no party of the kind was considered complete without

‘Bobby’ and his fiddle. The bard, for Nunn is worthy of the name, did not confine his efforts

in supporting his family to his musical abilities only; no honest work came amiss to him. His

musical gifts were generally in demand at nights, and during the day Bobby, for Sopwith and

other turners and cabinet makers, turned the big wheels of their lathes. When not busy with

that he indulged his love of birds, for which, blind as he was, he had a passion in making cages

for them.   

***

Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 44, pg. 12. Topic Records 12TS282, Tom Gilfellon – “In the Middle of the Tune” (1976).

X:1

T:Fiery Clockface

M:6/8

L:1/8

K:D

A|d2dD2E|F2GA2B|=c2=cE2F|G2AB2c|d2dD2E|F2GA2A|Bcd edc|d3d2:|

|:e|f2f def|g 2fe2d|c2BA2B|c2de2e|f2f def|g2fe2d|cBAB2c|d3d2:|

                       

FIERY CROSS, THE (An Crann Tŕra). AKA and see "The Fire Cross Song," "An Crann‑tara." Scottish, Jig. G Minor. Standard tuning. AAB. This tune "is from the gentlemen mentioned in the prospectus. The Gaelic words describe the approach of the ancient was signal, or fore‑cross, or 'Crantara', with this song accompanying it, so well described by Mr. Scott, in his poem of the Lady of the Lake. The song is first indistinctly heard as wafted upon the gale, or carried off by the roar of a rapid stream; but as it approaches it becomes louder, and leaves no doubt of its being the signal of war, whereupon all becomes bustle and preparation to arm, besides rousing fresh and alert individuals to proceed instantly with the signal to the next station interested" (Fraser). There is some suggestion that the American fiddle tune title “Fire on the Mountain” was derived from the Scottish signal-cross practice. It has also been suggested that the infamous cross-burnings of the Ku Klux Klan were derived from the same tradition. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 215, pg. 88.

X:1

T:Fire-Cross Song, The

T:An Crann-tŕra

M:6/8

L:1/8

R:Jig

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:E_

B|G2G G>^FG Gcc c2d|e2e e>de|dff f2b|g2g gfe|f2f fed|c2d (c/d/e)c|

BGG G2:|

G/F/|EGE DFD|Ccc c2d|ege dbB|dff f2b|g2g gfe|f2f fed|c2d (c/d/e)c|

BGG G2 G/F/|EGE DFD|Ccc c2d|ege dbB|dff f2 E/F/|GeG FdF|

EcE Dfa|gfe dec|BGG G2||

                       

FIFE AND A’ THE LANDS ABOUT IT.  AKA and see “Fairest Jenny.”

 


FIFE HUNT, THE. AKA and see "A Moonlight Ramble [1]." Scottish, Reel. C Major. Standard tuning. AB (Surenne): AAB (Athole, Gow, Kerr): AABB (Honeyman, White). Composed by Scots fiddle great Niel Gow's eldest son, William (1751-1791), who was leader of the Edinburgh Assembly Orchestra until his death. “Fife Hunt” belongs, according to Bayard (1981), to a large and nebulous family group of tunes which includes "Whistle and I'll Come to You My Lad" (Scot), "Drunken Hiccups" (USA), "Such a Gittin' Upstairs" (USA), and others. It was used by Lady Nairne for her song "The Fife Laird." The name Fife derives from the name of an ancient ruler, Fib, who, as one of seven sons of a legendary Pictish king, inherited the region. One of the oddest appearances of the tune is on the barrel organ from the polar expedition of Admiral Parry of 1810. In place of a ship’s fiddler (a common complement to a crew in those days), Parry introduced a mechanical barrel organ on board ship to provide entertainment and a vehicle to which the men could exercise (i.e. by dancing). “Fife Hunt” was one of eight tunes on barrel no. 5. Aird (Selection of Scotch, English, Irish and Foreign Airs), vol. 3. Carlin (The Gow Collection), 1986; No. 253. Cole (1000 Fiddle Tunes), 1940; pg. 45. Gow (First Collection of Niel Gow’s Reels), 1784 (revised 1801); pg. 9. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 16. Jones [Ed.] (Complete Tutor Violin), c. 1815; pg. 7. Kerr (Merry Melodies), vol. 1; Set 23, No. 2, pg. 14. Ryan’s Mammoth Collection, 1883; pg. 74. Stewart-Robertson (The Athole Collection), 1884; pg. 72. Surenne (Dance Music of Scotland), 1852; pg. 18. White’s Unique Collection, 1896; No. 44, pg. 8. Saydisc SDL 234, Parry’s Barrel Organ (vol. 11 of the Golden Age of Mechanical Music). Smithsonian Folkways Records, SFW CD 40507, The Beaton Family of Mabou – “Cape Breton Fiddle and Piano Music” (2004). WMT002, Wendy MacIsaac – “That’s What You Get” (1998?).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

X:1

T:Fife Hunt

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:C

f | ec ~c2 GE ~E2 | Ddd^c d2df | ec~c2 GE~E2 | CccB c2c :|

f | ecgc acgc | Ddd^c d2df | ecgc acgc | GccB c2ef | ecgc acgc |

Ddd^c d2df | egce fadf | edcB c2c ||

X:2

T:Fife Hunt, The

M:C

L:1/8

S:From Ann Winnington’s music manuscript book (No. 5), from the early 19th century.

N:Winnington was an American, probably a pianist, who resided in England.

K:C

f2 | ec c2 GE E2 | D d2 ^c d2df | df c2 GE E2 | C c2 B (c2c) || f | ecge acgc |

Dd2^c d2df | ecgc acgc | Gc2B c2cf | ecgc acgc | Dd2^c d2df | egcg fadf | Gc2B c2c ||

                       

FIFE LAIRD, THE. See "Fife Hunt."

                       

FIFE REEL, THE. AKA and see "The Floggin’", "The Humours of Bantry Bay," "The Newry Lass," "The Slashing Reel," "The Flag(g)on."

                       

FIFERS, THE. American?, Jig. F Major. Standard tuning. AABB. Perhaps an old military quickmarch. Harding’s All Round Collection, 1905; No. 114, pg. 36.

X:1

T:Fifers, The

M:6/8

L:1/8

R:Jig

S:Harding’s All Round Collection, No. 114  (1905)

Z:AK/Fiddler’s Companion

K:F

F|A2F c2A|f2f fed|cdc cBA|dGG GcB|A2F c2A|

f2f fag|fag fed|ccc c2::C|G2G GAB|A2 A ABc|

cBA cBA|GGG G2c|f2a f2a|g2b g2b|agf gfe|fff f2:|

                       

FIFER'S DELIGHT, THE. American, Jig. E Minor ('A' part) & G Major ('B' part). Standard tuning. AABB. Sweet (Fifer’s Delight), 1964/1981; pg. 30.

X:1

T:Fifer’s Delight, The

M:6/8

L:1/8

Z:AK/Fiddler’s Companion

K:Emin

f | gfe edB | gfg GAB | gfe edB | dBA A2f | gfe edB | gfg a2b | gfg efg | dBG G :: Bc |

d2B d2B | gfg GAB | d2B d2g | ecA ABc | d2B d2B | gfg a2b | gfe efg | dBG G :|

           

FIFER’S LAMENT.  American, March (cut time). A Dorian. Standard tuning. AB. Randy Miller identifies this as an 18th century fife tune. Miller (Fiddler’s Throne), 2004; No. 337, pg. 198.

           

FIFER'S MARCH. AKA and see "Captain Collins" (Pa.), "Bob Ridley [2]" (Pa.), "The Bell Cow" (Pa.), "The Belling Tune" (Pa.), "Montrose's March," "Rock and the/a Wee Pickle Tow." American, March (6/8 time). USA, southwestern Pa. G Major. Standard tuning. AABB. Bayard (1981) identifies this as one of the older marches in American fifing repertory, having been published by Playford in 1663, 1669, and 1678. Source for notated version: James Taylor (fifer and fiddler from Greene County, Pa., and Wetzel County, W.Va., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 567E, pg. 505.

                       

FIFER'S REEL, THE. AKA and see “Miss Johnston(‘s) [1]. Irish, Reel. G Major. Standard tuning. AB. "From memory" (Joyce). The melody is Scottish in origin, although has a long history in Ireland. See note for “Miss Johnston(‘s) [1].” Joyce (Old Irish Folk Music and Songs), 1909; No. 84, pg. 44‑45.

X:1

T:Fifer’s Reel, The

M:C

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:G

dc|BcdB G2 GF|GBAF G2 dc|BcdB G2 AG|FGAB cAdc|BcdB G2 GF|

GBAF GABc|dBcA BGAG|FGAB cA||dc|Bcde dBGB|dg g2 bg g2|

Bcde dcBc|Aaaf gedc|Bcde dBGB|defa g2 fg|afdg ecAG|FGAB cA||

                       

FIFTY CENTS. American, Jig. A Major. Standard tuning. AABB. A double-tonic tune. The 'A' part is the same as the 'B' part of the Scottish melody "The Gray Buck." It is perhaps the “Fifty Cent Piece” that appears in The Company of Fifers and Drummers (1976, Book 1, pg. 25). Sweet (Fifer’s Delight), 1964/1981; pg. 26.

                       

FIFTY YEARS AGO WALTZ. AKA and see "Blue Valley Waltz." Old‑Time, Waltz. D Major (Phillips): D Major ('A' part) & G Major ('B' part). Standard tuning. One part (Phillips). Missouri fiddler Charlie Walden thinks the title refers to a wedding anniversary, and remarks that the waltz was shortened for contest play in the 1970’s by great competitors like Herman Johnson. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 254. Decca 5213 (78 RPM), Curly Fox (Ga.) {1936}. Missouri State Old Time Fiddlers Association 002, Taylor McBaine (b. 1911, Mo.) ‑ "Boone County Fiddler." Paramount Records (78 RPM), Y.Z. Hamilton (Ala., 1888‑1936), 1925.

                       


FIG FOR A KISS [1], A (Ni Mait Liom Pog!). AKA and see "Cailin Lasa Sal Roc," "The Dublin Boys," "Dublin Streets," "Gaire na mBan," "Gliogar an Mheadair," "The Gurgling of the Churn," "The Humours of Bottle Hill," "Milk the Churn," "The Night of the Fun [2]," "The Old Dutch Churn," "She is fit for a kiss," “Splashing of the Churn [2],” "Two in a Gig." Irish, Slip (or Hop) Jig. E Minor/Dorian. Standard tuning. AAB (Barnes, S. Johnson, Roche, O'Neill/1001, Tubridy): AABB (O'Neill/Krassen). The melody was printed in the Petrie Collection of Ancient Irish Music of Ireland (Dublin, 1855) under the title “Glugur an Mheadair,” translated as “Gurgling/Splashing of the Churn.” The “Fig for a Kiss” title was first used in print by O’Neill. Related Cape Breton versions can be found under the title “The Old Dutch Churn.” “Dublin Streets” and “Night of the Fun” are also related tunes. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 43 (appears as “Fine Lady of Homewood”, the name of a dance by Gary Roodman set to the tune). S. Johnson (The Kitchen Musician No. 6: Jigs), 1982 (revised 1989, 2001); pg. 2. O'Neill (Krassen), 1976; pg. 88. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 443, pg. 86. Roche Collection, 182; vol. II, pg. 25. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 42. Ryan’s Mammoth Collection, 1883; pg. 109. Cló Iar-Chonnachta, CICD 148, Mick Conneely – “Selkie” (2001). Colcannon 1, Colcannon - "Some Foreign Land." North Star NS0031, "Dance Across the Sea: Dances and Airs from the Celtic Highlands" (1990). Matt Molloy - “Shadows on Stone.” June Appal, Grey Larson & Malcolm Dalglish - "The First of Autumn." Seamus Ennis - "Return from Fingal."

X:1

T:Fig for a Kiss, A [1]

M:9/8

L:1/8

Q:100

R:Slip Jig

K:Edor

G2B E2B BAG|E/2F/2GA DFA AGF|G2B E2B BAG|1 (3Bcd B AGF E2F:|2

(3Bcd B AGF E3||g2e g2e edB|f2d dcd fed|1 g2e g2e edB|dBG GBd e2f:

|2 gfe fed edB|(3Bcd B AGF E2F||

 

FIG/FEG FOR A KISS [2], A. AKA and see "Two in a Gig." Scottish, English; Jig (9/8 time). E Minor. Standard tuning. AAB. A distanced variant of “Fig… [1]." John Glen (1891) states the earliest appearance of the tune in print is in Robert Bremner's 1757 collection (appears as “A Feg for a Kiss”). Bremner’s version is identical to that printed by Preston. Kennedy gives the alternate title “Two in a Gig.” Source for notated version: copied from Preston’s Selections of Reels and Country Dances (London, 1768) [O’Neill]. Bremner (Scots Reels), 1757; pg. 74. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 21, pg. 6. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 200.

X:1

T:Fig for a Kiss, A

M:9/8

L:1/8

R:Jig

S:Preston's Selections of Reels & Country Dances, London 1768

Z:Paul Kinder

K:Emin

E2 B BGE BGE | FAE AFd AFD | EFG ABc BAG | BeB AGF E3 :||

eBe geg bge | dAd fdf afd | eBe geg bge | gfe Be^d e3 |

eBe geg bge | dAd fdf afd | e/2f/2gf edc BAG | BeB AGF E3 ||

                       

FIG FOR ALL MY FOES, A. AKA and see "Farmer Hayes," "God Be With Old Ireland," "I'm Now in the Land Of Liberty," "Poor Pat Must Emigrate."

           

FIG LEAF, THE.  English, Country Dance Tune (2/4 time). B Flat Major. Standard tuning. AABB. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 132.

X:1

T:Fig Leaf, The

M:2/4

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)

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

Z:abc’s:AK/Fiddler’s Companion

K:Bb

F|B/c/d/e/ fb|”tr”g2 fc|dABF|DB,DF|B/c/d/e/ fb|g2 fb|(a/g/)(a/g/) c=e|”tr”(f2 f):|

|:F|D/E/F/G/ FB|A/B/c/d/ ce|dc/B/ cB/A/|BFDB,|D/E/F/G/ FB|A/B/c/d/ ce|dc/B/ FA|(B2 B):||

 

           

FIGHEADOIR BAN, AN. AKA and see "The Fair‑Haired Weaver."

                       

FIGHEADOIRI UA DROICEAD ATA, NA. AKA and see "The Drogheda Weavers."

                       

FIGHIM-SE LION IS OLANN (I weave lined and wool). Irish, Air (9/8 time). A Major. Standard tuning. One part. Source for notated version: the tune was noted by the Irish collector Edward Bunting from John McCracken, Belfast, in 1800, according to the index of his 1840 collection. O'Sullivan/Bunting, 1983; No. 59, pg. 92.

                       


FIGHT ABOUT THE FIRESIDE. AKA and see "Road to Arisaig,” "Strathspey in Memory of Angus Allan Gillis," "White Clover." Canadian, Strathspey; Scottish, Reel. Canada, Cape Breton. C Major. Standard tuning. AB (Surenne): AAB (Athole, Gow): AABB (Dunlay & Greenberg, Dunlay & Reich, Honeyman, Kerr). A double-tonic tune. Sources for notated versions: Joe Cormier (Cape Breton & Boston) [Dunlay and Reich], Alex Gillis and Alcide Aucoin (Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pg. 68. Dunlay & Reich (Traditional Celtic Fiddle Music of Cape Breton), 1986; pg. 66. Gow (Complete Repository), Part 1,  1799; pg. 19. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 15. Kerr (Merry Melodies), Vol. 2; No. 79, pg. 11. Ryan’s Mammoth Collection, 1883; pg. 74. Stewart-Robertson (The Athole Collection), 1884; pg. 63.  Surenne (Dance Music of Scotland), 1852; pg. 31. PLP4‑1012, Joe Cormier‑ "The Cheticamp Connection" (appears as "Strathspey in Memory of Angus Allan Gillis"). Decca 14006 (78 RPM), Alex Gillis and Alcide Aucoin/The Inverness Serenaders (appears as "White Clover"). Celtic 57 (SCX 57), The Five MacDonald Fiddlers‑ "The Fiddlers of Cape Breton" (various artists. Appears as "Road to Arisaig").  CDAB‑3 26‑1, Kinnon Beaton‑ "Cape Breton Fiddle I."

X:1

T:Fight About the Fireside

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:C

c | GcEc Addc | GeEc GcEc | FcEc DddB | cGAF ECC :|

f | ecgc eddf | ecgc acgc | fage dcde | GAcd e2df | ecgc eddf |

ecgc acgc | fage dcde | GAcd e2 dc ||

                       

FIGURE, THE. English, Hornpipe or Reel. England, Northumberland. D Major. Standard tuning. AABB. "The eight‑bar strains suggest the tune was a hornpipe" (Seattle). Seattle (William Vickers), 1987, Part 3; No. 411.

                       

FIGURE OF THREE, THE. AKA and see “Jackson’s Punch Bowl.” Irish, Jig. D Major. Standard tuning. AABBCC. Source for notated version: copied from Clinton’s Gems of Ireland (1841) [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 144.

X:1

T:Figure of Three (#144), The

M:6/8

L:1/8

S:Clinton's Gems of Ireland 1841

Z:Paul Kinder

K:D

d2 e fgf|fed g2 e|d2 B B/2c/2dB|d2 B B/2c/2dB|

d2 e fgf|fed g2 e|dBA A/2B/2cA|dBA ABA:|

|:"tr"aga bge|fed g2 e|d2 B B/2c/2dB|d2 B B/2c/2dB|

aga bge|fed g2 e|dBA A/2B/2cA|dBA Afg:|

|:afd gec|afd g2 e|d2 B B/2c/2dB|d2 B Bcd|

afd gec|afd g2 e|dBA A/2B/2cA|dBA A3:||

                       

FIGURE EIGHT. AKA and see "Sweet Ellen [1]."

                       

FIGURE OF EIGHT. AKA and see "Rhif Wyth."

 

FIGURE THREE, THE.  English, Country Dance Tune (cut time). D 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. 145.

X:1

T:Figure 3, The

M:C|

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:D

d2 D>E FDAF|E>FGA Bc d2|f2 ed B2 AG|FAdF E4|d2 D>E FDAF|E>FGA Bc d2|

f>gaf bgaf|edef d4::a2 fd a2 fd|cecA (c/d/e) cA|a2 fd a2 fd|

b2 gf e4|d2 D>E FDAF|dAdF E3F|G>ABc dBgf|edef d4:||

           

FIJIYAMA.  American, Hornpipe. B Flat Major. Standard tuning. AABB. “Can be used as a clog” (Ryan’s). Cole (1000 Fiddle Tunes), 1940; pg. 89. Ryan’s Mammoth Collection, 1883; pg. 123.

X:1

T:Fijiyama

M:C|

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:Bb

(dc) | B>FD>F B>df>d | e>cA>c B>df>d | b>ag>f e>dc>B | (3.c.d.c (3.B.A.G (3.F.G.F. (3.E.D.C |

B,>BA>B d>BA>B | C>c=B>c e>cA>c | B>ba>b g>ec>A | B2b2B2 :: (dc) | B>df>d b>fd>B |

f>ba>b f>dB>F | D>B,F>D B>Fd>B | (3.c.d.c. (3.A.B.A (3.F.G.E (3.D.E.C | B,>BA>B d>BA>B |

C>c=B>c e>cA>c | B>ba>b g>ec>A | B2b2B2 :|

                          

FILE BECK (IS AY READY), THE. Scottish, English; Reel. England, Northumberland. G Mixolydian. Standard tuning. AAB. John Glen (1891) finds the earliest appearance of the tune in print in Robert Bremner's 1757 collection. It is one of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript. Jack Campin explains that ‘file beck’ is a rendering of the Gaelic philabeg (filibeg), meaning a small kilt. He suspects the title has clan associations. Bremner (Scots Reels), 1757; pg. 77.

X:1

T:File-bek is ay ready, The

M:C

L:1/8

R:Reel

S:Bremner – Scots Reels (1757)

Z:AK/Fiddler’s Companion

K:G Mixolydian

c | (B/c/d) dc BGge | (B/c/d) dB AFcA | (B/c/d) dc BGgB | AFcA G/G/G G :|

|: b | gdgb gbgd | fcfa fafc | gdgb gbgd | fd”tr”c>A G/G/G Gb | gdgb gbgd |

fcfa fafc | gb (b/a/g/^f/) gdeB | cAfA G/G/G G :|

                       

FILE NA MON. AKA and see "Faill Na mBan."

                       

FILL EVERY GLASS (FOR WINE INSPIRES US). AKA ‑ "Three Fam'd Generals." English, Air. This popular air appears in several early 18th century ballad operas, according to Pulver (1923), including John Gay's The Beggar's Opera (1729). It previously appears in D’Urfy’s collection Pills to Purge Melancholy, vol. 1 (1719) where it is listed as "A drinking song in praise of our three fam'd generals." Frank Kidson (1922) says the song and probably the tune were originally French. Raven (English Country Dance Tunes), 1984; pg. 56.

                          

FILL THE BOWL. English?, Reel. A Minor. Standard tuning. AABB. Harding’s All Round Collection, 1905; No. 101, pg. 32.

X:1

T:Fill the Bowl

M:2/4

L:1/8

R:Reel

S:Hardings All Round Collection, No. 101  (1905)

Z:AK/Fiddler’s Companion

K:A Minor

g/ | e/d/c/B/ (e/A/)a/g/ | e/d/c/B/ (e/A/)A/g/ | e/d/c/B/ (B/G/)G/A/ | B/e/d/G/ e/A/A/ :|

|: e/ | G/G/c/G/ (d/G/)G/e/ | G/G/c/G/ (e/A/)A/e/ | G/G/c/G/ (d/G/)G/e/ | c/e/B/d/ (e/A/)A/e/ |

d/g/G/g/ (d/G/)G/e/ | d/g/G/g/ (e/A/)A/e/ | d/g/G/g/ d/g/B/d/ | c/e/B/d/ c/A/A/ :|

                       

FILL THE BUMPER FAIR (Lion Suas An Glucaid). AKA and see "Bob and Joan," "Keep Your Wife at Home,” “Love and Whiskey,” “Stoneybatter [1].” Irish, Air (3/4 time, "lively"). G Major. Standard tuning. AB. The title comes from a song by Thomas Moore. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 440, pg. 77.

X:1

T:Fill the Bumper Fair

M:3/4

L:1/8

N:”Lively”

S:O’Neill – Music of Ireland (1903), No. 440

Z:AK/Fiddler’s Companion

K:G

BB/A/ GD G2 | BB/A/ GD FA | BB/A/ GD G2 | FA AD FA || GB dc B2 |

GB dc Bd | GB dc B2 | FA AD FA | GB dc B2 | GB dc Bd | ed ef (gf/e/) | dB AG FA ||

                       

FILL THE CUP (Lion An Cupan). Irish, Air (2/4 time, "playfully"). G Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 107, pg. 20.

X:1

T:Fill the Cup

M:2/4

L:1/8

N:”Playfully”

S:O’Neill – Music of Ireland (1903), No.107

Z:AK/Fiddler’s Companion

K:G

D | .D.E.G.A | B2  AG | cAAB | cAAB | .D.E.G.A | B2 AG | BGGA |BG G ||

d | .e.d.e.g | d2 cB | .c.A.A.B | .c.A.A.d | .e.d.e.g | d2 cA | BGGA | BG G ||

                       

FILL THE GLASS (Lion An Gloine). Irish, Air (3/4 time). G Mixolydian. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 327, pg. 57.

X:1

T:Fill the Glass

L:1/8

M:3/4

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 327

Z:Ak/Fiddler’s Companion

K:G

G4F2|G2A2c2|d4c2|A4d2|c4 AG|F4D2|D4D2|D2E2F2|G4F2|G2A2c2|d4A2|

c2d2e2|=f2e2d2|c2A2F2|G6|G6||g4f2|g4a2|g4f2|d4e2|=f4e2|d2e2=f2|d4 A2|

F4D2|G4F2|G2A2c2|d4A2|c2d2e2|=f2e2d2|c2A2F2|G6|G6||

                       

FILL THE STOUP. Scottish, Reel. A Major. Standard tuning. AB (Surenne): ABB (Kerr): AABBCCDD (Athole, Gow). John Glen (1891) finds the earliest appearance of this tune in print in Robert Ross's 1780 collection (pg. 36). It was included by Kirkmichael, Perthshire, fiddler and composer Robert Petrie in his Second Collection of Strathspey Reels and Country Dances (1796). Gow (Complete Repository), Part 1, 1799; pg. 25. Kerr (Merry Melodies), Vol. 2; No. 28, pg. 6. McGlashan (A Collection of Reels), c. 1786; pgs. 14-15. Stewart-Robertson (The Athole Collection), 1884; pg. 27. Surenne (Dance Music of Scotland), 1852; pg. 50.

X:1

T:Fill the Stoup

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:A

a|e2c2 eAAa|e2c2 fBBa|e2c2 eAcA|dfce fBB:|

|:a|eAcA eAAf|eAcA fBBa|eAcA eAcA|dfce fBB:|

|:f|eaca eAAf|eace fBBa|eaca eace|dfce fBB:|

|:a|eAcA eAAa|eAcA fBBa|eAcA eAcA|dfce fBB:|

X:2

T:Fill the Stoup

S:Petrie's Second Collection of Strathspey Reels and Country Dances &c.

Z:Steve Wyrick <sjwyrick'at'astound'dot'net>, 6/11/04

N:Petrie's Second Collection, page 21

% Gore's Index gives earliest publication as James Aird's

% "Selection of Scotch, English, Irish and Foreign AirsÉ" v4 ca 1790

L:1/8

M:C

R:Reel

K:A

a|e2Tc2 eAAf|e2c2 fBBa|e2Tc2 eAcA|dfce fBB::a|

AAcA  eAAa|AAcA fBBa|AAcA  eAcA|dfce fBB::f|

eaca  eAAf|eaca fBBf|eaca  eace|dfce fBB::a|

AAcA  eAAa|AAcA fBBa|AAcA  eAcA|dfce fBB:|

           

FILL THE TANKARD.  English, Jig (9/8 time). The melody is from the Browne Family manuscripts, of Troutbeck, Cumbria, in the Lake District, various dates (but around 1800). Beautiful Jo BEJOCD-36, Dave Shepherd & Becky Price – “Ashburnham.”

           

FILL UP THE BOWL.  American, Reel. G Major. Standard tuning. AABB. Peter Kennedy suggests a relatedness with the “Flowing Bowl” printed by O’Neill. Cole (1000 Fiddle Tunes), 1940; pg. 16. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 47, pg. 13. Ryan’s Mammoth Collection, 1883; pg. 39.

X:1

T:Fill Up the Bowl

M:C|

L:1/8
R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

D | G2 BG c2 eg | dBAG FAFD | G2 BG c2 eg | dBAB G2D2 | G2 BG c2 eg |

dBAG FAFD | G2 BG c2 eg | dBAc BGG :: d | gagf e2e2 | eaag fdef | gagf e2e2 |

dgfd g2zd | gagf e2e2 | eaag fdef | gagf edef | gedB G2z :|

 

FILL YOUR GLASSES. Scottish, Strathspey. D Major. Standard tuning. AA’BB. Kerr (Merry Melodies), vol. 4; No. 76, pg. 11.

X:1

T:Fill Your Glasses

M:C

L:1/8

R:Strathspey

B:Kerr – Merry Melodies, vol. 4, No. 76  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

D>EF>G A2 B>c|d/d/d e>f d2c2|B/B/B g>B A/A/A f>A|1 G>FE>D (C<E) E2:|2

B/B/B e>c d3 A|: a>gf>e d2 e>f|g>fe>d (3cBA (3GFE|D>EF>G A2 B>c|d/d/d e>f d3A:|


                       

FILLE A JASMAN, LA. See "Le Hack a Moreau."

                       

FILLE D' LA VEUVE, LA. See "Jol(i)e Blonde."

                       

FILLE DE L'ILE, LA. French, Bourree a 2 Temps (2/4 time). E Minor. Standard tuning. AABB. Composed by J. Blanchard. Stevens (Massif Central), 1987, Vol. 2; No. 78.

                       

FILLEAD AN CLAOIDEADOIR. AKA and see "The Victor's Return."

                       

FILLEAD AN MAIRNEALAIG. AKA and see "The Sailor's Return."

                       

FILLEADH NA DEIRFÉAR.  AKA and see “Sister’s Return.”

 

FILLEOG CASMEAR, AN. AKA and see "The Cashmere Shawl."

                       

FILLES D'ARNAUDVILLE, LES. See "Les Huppes Taiauts," "Hip et Taiau(d)."

                       

FILLES DE MON PAYS, LES. French, Slow March (4/4 time). G Major. Standard tuning. AB. Composed by Morvan. Stevens (Massif Central), 1987, vol. 2; No. 110.

                       

FILLES DE ST. NICOLAS, LES. French, Bourree a 2 Temps (2/4 time). Standard tuning. AABB. Traditional tune from Central France. Stevens (Massif Central), 1987, vol. 2; No. 97.

                       

FILLMORE PROVANCE TUNE. AKA and see "Rosemont Quadrille."

                       

FILLY FAIR, THE. English, Reel. England, Northumberland. F Major. Standard tuning. AABBCC. Seattle (William Vickers), 1987, Part 3; No. 427.

 

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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.