The Fiddler’s Companion

© 1996-2009 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

FIN - FIR

 

 

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 concertina.net’s incredibly handy “ABC Convert-A-Matic” at

http://www.convert.net/tunes_convert.html

 

 

FIN DE SIECLE , LA. AKA and see "Findy Sickle Two‑Step."

 

FINALE IN THE BATTLE OF PRAGUE. English, March (2/4 time). G Major. Standard tuning. AABBC. One of the most widely published piano pieces in Britain and America at the turn of the century and into the nineteenth was The Battle of Prague  (c. 1788) by the Czech-English composer Franz Kotzwara, who died in England in 1791. A descriptive, episodic work for piano, it features trumpet calls, patriotic airs, low bass rumbles in imitation of cannon fire, spirited passages for marching and attacking armies; each section bears a title or a description of what aspect of the battle is depicted in those measures. Indeed, many of the melodies from the piece were employed in popular music, including several marches. O’Farrell (Pocket Companion, vol. IV), c. 1810; pg. 126.

X:1

T:Finale in the Battle of Prague

M:2/4

L:1/8

R:March

S:O’Farrell – Pocket Companion, vol. IV (c. 1810)

Z:AK/Fiddler’s Companion

K:G

d | gd d2 | ge “tr”e2 | d>B c/B/A/G/ | F/G/A/F/ D2 | gd d2 | ge “tr”e2 |

dB d/c/B/A/ | G2G2 :: FF FE/F/ | GG GA/B/ | cc d/c/B/A/ | Bd BG |

FF FE/F/ | GG GA/B/ | cA GF | G2G2 :| fdef | (g/f/)g/a/ gb/g/ | fd ef |

g3 b/g/ | fdef | (g/f/)g/a/ gb/g/ | fdef | g2 g>d | cABG | A/G/A/B/ Ad |

cABG | A/G/F/E/ D2 | c/A/B/G/ | A/G/A/B/ Ad | cABG | A3 z ||

                                   

FINBAR DWYER’S FAVORITE.  Irish, Jig. Green Linnet GLCD  1211, Kevin Crawford – “In Good Company” (2001. Learned from fiddler Conor Tully).

           

FINBAR DWYER’S (JIG). Irish, Jig.

X:1

T:Finbar Dwyer's

M:6/8

L:1/8

S:Siobháne Peoples

R:jig

Z:Barney

K:D

~d3 faf|gec Ace|dcd AFA|=cB=c EFG|

ded ~f3|gec ABc|dcd AFA|GEA D3:||

~d3 ada|gfg ~a3|dcd ada|gef gec|

def ecA|GAB AFG|Adf ecA|1 GEA D3:|2 GEA D2 D||

(4DEFG A2B|=cAG A3|dcd efd|ABG FED|

~d3 afd|Bef gag|~f3 ecA|1 GEA D2 A:|2 GEA D3||

                       


FINBAR DWYER'S (REEL) [1]. AKA and see “Dwyer’s Reel [1],” "The Holly Bush [2].”

 

FINBAR DWYER'S (REEL) [2]. AKA and see “Molly Bawn [3].” Irish, Reel. D Mixolydian/Major. AB. Finbar Dwyer is one of the musically talented Dwyer brothers of West Cork. Brendan Mulvihill calls it “Finbar Dwyer’s.” It was recorded by Mary Bergin as an untitled reel on her album “Feadóga Stáin,” and by Paddy Canny as “Molly Bawn” on “Paddy Canny: Traditional Music from the Legendary East Clare Fiddler.” Sources for notated versions: whistle player Mary Bergin [Breathnach]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ III), 1985; No. 123 (appears as “Gan Anim”). Harker (300 Tunes from Mike Rafferty), 2005; No. 90, pg. 29. Shanachie SHA 79006, Mary Bergin “Feadóga Stáin” (appears as “Gan Ainm”)

X:1

T:Finbar Dwyer’s [2]

M:C

L:1/8

S:from Mike Rafferty

R:Reel

Z:Tom Madden

K:D

|:A2 EA ceed|BGG2 eBdB|eAce a2ed|cedB BAA2:||

|:a2 ea agba|ge~e2 g3z|a2 ea agba|gedB BAA2|

a2 ea agba|ge~e2 g3a|bzba gaba|gedB eBdB:|"Fine"A4z4||

 

FINBAR DWYER’S (REEL) [3]. Irish, Reel. A Dorian. Standard. AABB. Source for notated version: fiddler Willie Kelly (New Jersey) [Black]. Black (Music’s the Very Best Thing), 1996; No. 158, pg. 83.

X:1

T: Finbar Dwyer's

S: Willie Kelly

Q: 350

R: reel

Z:Transcribed by Bill Black

M: 4/4

L: 1/8

K: Ador

D | EA,CA, EA,CA, | G,3 A, B,A,B,D | EA,CE ABAG | EB,DB, A,2 AG |

EAAG EDGE | DB,ED B,A,B,D | EA,CE A3 G | EB,DB, A,3 :|

D | EA (3AAA EAAF | G2 dG eGdG | EA (3AAA EAef | ecBA GAEA |

EA (3AAA fAeA | EAec d2 ed | c3 A (3Bcd BA | GEDB, A,3 :|

 

FINBAR DWYER’S (REEL) [4]. AKA and see “Fox on the Town,” “Richard Dwyer’s [2].” Irish, Reel. G Major. Standard. AABB’. Carol 1108, Matt Molloy – “Shadows on Stone.”

X:1

T:Finbar Dwyer's

T:Fox on the Town, The

T:Richard Dwyer's

R:reel

C:Finbar Dwyer

H:See also #619 (different version)

Z:id:hn-reel-301

Z:transcribed by henrik.norbeck@mailbox.swipnet.se

M:C|

K:G

gdBd edBA | G2Bd edBd | gdBd edef | gefd efga | bggd edBA | G2Bd edBd |

efgb agef |1 gbaf 2gf :|2 gbaf g2ga || be~e2 edBd | e2Be dega | be~e2 edBd | efgb a2ef |

~g3d edBA | G2Bd edBd | efgb agef |1 gbaf g2ga :|2 gbaf g2gf ||

                                   

FINCH IN THE THISTLES.  American, Reel. D Major. Standard. AABB’. Composed by New Hampshire flute player Rick Gagne, honouring “ecstatic” goldfinch he observed on Naushon Island, Massachusetts, in the act of furiously trying to tear open seed heads in a stand of thistles (Miller). Miller (Fiddler’s Throne), 2004; No. 156, pg. 100.

 

FIND THE KEY (Faigh an Gleas). AKA and see "Feagh an Geleash" (Try if it is in tune).

                                               

FINDLATER’S HIGHLAND FLING. Scottish, Fling. B Flat Major. Standard.

X:1

T:Findlater's Highland Fling

C:J R Findlater

S:MS Collection, Athole Collection, Perth Library

Z:Nigel Gatherer

M:4/4

L:1/8

K:Bb

f|d<B B/B/B F<BD<B|d<BB<c (3dgf (3edc|e<c c/c/c G<cE<c|\

e<cc<d (3egf (3edc|

b<BF<B D<BB,<B|d<BB<c (3dgf (3edc|e<ge<c d<fd<B|G<ccd (3egf (3edc|]

d/c/B f>B b>Bd>B|d/c/B F>B (3dgf (3edc|e/d/c g>c b>ce>c|\

e/d/c G>c (3egf (3edc|

d/c/B F>B D>B B,>B|d/c/B f>B (3dgf (3edc|e<ge<c d<fd<B|\

G<c F>A B2 B|]

                       

FINDLAY. Scottish. Bayard (1981) sees this tune as one of the "special developments" of the tune best known as "Boyne Water," which first began as "Playing Amang the Rashes," to be found in William Graham's Lute Book of 1694.

                       

FINDY SICKLE TWO-STEP. Old‑Time, Two‑Step. USA, Nebraska. C Major ('A' and 'B' parts), F Major ('C' part). Standard tuning. ABC. Christeson says a piece of music titled "La Fin de Siecle" was published around the turn of the century. Source for notated version: Bob Walters (Burt County, Nebraska) [Christeson]. R.P. Christeson (Old Time Fiddler’s Repertory, vol. 2), 1984; pg. 126‑127.

                       

FINE COMPANION, THE. AKA ‑ "Fine Companions." English, Country Dance Tune (6/8 or 6/4 time). D Minor. Standard tuning. AABB. The melody appears in Playford's first edition of his English Dancing Master (1651). It is perhaps associated with the play by Shackerley Marmion (1603-1639), his second, a comedy that was also entitled A Fine Companion, staged by Prince Charles’s Men at Salisbury Court and published in 1633. Barnes (English Country Dance Tunes), 1986. Johnson (The Kitchen Musician No. 14: Songs, Airs and Dances of the 18th Century), 1997; pg. 8. Raven (English Country Dance Tunes), 1984; pg. 40 & pg. 24 (appears as "Fine Companions"). Sharp (Country Dance Tunes), 1909/1994; pg. 15. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 34.

X:1

T:Fine Companion

L:1/8

M:6/8

K:F

d2 f dda|cde fed|a2 g aag|a e2 e2 d|eee e2 d|cde A2 e|f2 d cde| d3 f3 ::\

d| cAA e2 d|cAB A2 e|fde fde | f3 g3 aaa cde ffe fda| ccd ecA d3 f3:|

                       

FINE FUN AT OUR HOUSE. AKA and see "Fine Times At Our House."

                       

FINE KNACKS FOR LADIES. English, Air. D Major. Standard tuning. One part. A peddler’s song by one of the greatest composers and musicians of his time, John Dowland. Kines (1964) believes the lyrics to be an expression of his feelings for his homeland during his voluntary exile in Denmark. It appears in his "2nd Book of Airs" (1600). Kines (Songs From Shakespeare's Plays and Popular Songs of Shakespeare's Time), 1964; pgs. 58‑59.

                       

FINE TIMES AT OUR HOUSE [1]. AKA ‑ "Fine Fun at Our House" (Pa.). AKA and see "Kitty's Got a Baby‑O." Old‑Time, Breakdown. USA; central W.Va., Virginia, Indiana, southwestern Pa. D Major/Mixolydian (Krassen {Hammons}, Bayard {Yeager & Yaugher}): A Mixolydian (Bayard {Smalley & Ireland}). AEae, ADae (Hammons) or standard tunings. ABB (Bayard, 1981): AABB (Krassen). Bayard (1981) points out that the tune "shades" between major and mixolydian in many versions, which is "a genuine, and once common, feature of our fiddling tradition" (pg. 255). He sees some vague resemblance between this tune and the Scottish "Crieff Fair," but was unable to trace the tune further in British Isles collections. Bayard's (1944) source 'Bub' Yaugher knew the following rhyme associated with this tune:

***

Possum up a gum stump, Coonie in the holler,

Devil's on the other side‑‑Don't you hear him holler?

***

While another from Fayette County, Pa., (Bayard, 1981) gave the following:

***

Fine times at our house, Sally's got a little one:

A great beg yellow devil just like the other one.

***

Gerry Milnes collected this verse in West Virginia:

***

Fine times at our house, Kate’s got a little one;

Bless its little soul, it’s another little pretty one.

***

(Bayard, 1944). See "Possum Up a Gum Stump." Sources for notated versions: Burl Hammons (Marlinton, Pochahontas County, W.Va.), who says he learned it from his Uncle Neal (rather than Edden Hammons, who played a similar, but somewhat different version) [Krassen]: John Summers (Marion, Indiana) [Krassen, Phillips]: Irvin Yaugher Jr. (Mt. Independence, Pennsylvania, 10/19/1943, learned from his great‑uncle) [Bayard, 1944]: James Smalley (Westmoreland County, Pa., 1944), Walter Ireland (Greene County, Pa., 1944), Edden Hammons, via Jody Stecher [Fiddler Magazine, 2008]: Henry Yeager (Centre County, Pa., 1930's) [Bayard, 1981].  Bayard (Hill Country Tunes), 1944; No. 76. Bayard (Dance to the Fiddle), 1981; No. 301A‑C, pgs. 254‑255. Fiddler Magazine, Fall 2008, vol. 15, No. 3; pg. 36. Krassen (Masters of Old Time Fiddling), 1983; pg. 80 and pgs. 137‑139. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 84. Wilkinson, Southern Folklore Quarterly, VI, I, March, 1942; pg. 10. Flying Fish Records FF089, The Red Clay Ramblers ‑ "Chuckin' the Frizz" (1979. Learned from Indiana fiddler John Summers, whose version was in ‘A’, standard tuning). Greenhays GR 710, John McCutcheon ‑ "Fine Times at Our House" (1982. Learned largely from W.Va. fiddler Burl Hammons). Library of Congress AFS L65‑66, Burl Hammons‑ "The Hammons Family." Rounder Records CD1504/05, Burl Hammons – “The Hammons Family.” WVU Press SA-1, “Edden Hammons Collection I” (1999).

X:1

T:Fine Times at Our House

L:1/8

M:2/2

S:James H. “Uncle Jim” Chisholm, Greenwood, Albermarle County, Va.

K:A Mixolyian

E2 E>D CD E2|EAA>A A>BcA|E2 E>D CDE>F|G>EAG F D3|

E2 E>D C>D E2|EA A2 ABcd|efgf e2d2|cABd c A3||

A,4 CD E2|EA A2 ABcA|EDCD E2F2|GEAG F D3|EDCD E2A2|

A2A2 ABcd|edcB Aagf|edcB c A3||

K:A Dorian

ed c2 (d//c)Bcd|efga gagf|ed c2 (d//cBcd|ea2b a2 gf|edcB ABcd|1

efga g2d2|efgf e2d2|^cABc c A3:|2 egfa g2d2|ed^cB Aagf|ed^cA c A3||

X:2

T:Fine Times at Our House

M:4/4

L:1/8

R:Breakdown

S:Edden Hammons (W.Va.), transcribed by Alan Jabbour

K:D

[EA]{F}[E/A/][D/A/] C/[A,/D/]E/(G/ [D/A/]F/)[A,/G/]A/ A/(B/[c/e/][A/e/]) | [EA]{F}[E/A/]D/ C/[A,/D/][E/A/][E/A] |

(3[F/A/]E/D/ [C/D/][A,/D/][DD][DD] | [EA]{F}[E/A/]D/ C/D/[E/A/](G/ [D/A/]F/)[A,/G/]A/ [A/e/][B/e/][c/e/][d/e/] |

M:5/4

L:1/8

[e/e/][e/e/][e/e/](e/f/ (3[A/g/]f/e/[de] (3[c/e/]B/A/ [G/A/][D/A/] [E/A/](A[A/B/]) AA :|

M:4/4

L:1/8

[A/d/][d/e/][c/e/]d/ [A/e/][d/e/][c/e/][d/e/] [A/e/]d/[A/e/][A/f/] [A/g/][A/a/][A/g/]d/ |

[A/e/][d/e/]c/[d/e/] [A/e/]d/[c/e/][d/e/] | [A/e/][Aa][A/b/] [A/a/][A/b/][A/a/][A/g/] |

[A/e/]d/[c/e/][d/e/] [A/e/][d/e/][c/e/][d/e/] [A/e/][d/e/][A/e/][A/f/] [Ag]d |

e/[Aa][A/b/] [A/a/]g/(e/d/) c/(A/[B/e/]G/) [A,A][A,A] :|

 

FINE TIMES AT OUR HOUSE [2]. Old-Time, Breakdown. D Mixolydian/Major. Standard tuning. AABB. This is West Virginia fiddler Melvin Wine's version? (high part is similar to "Devil in the Woodpile"). Source for notated version: Gerry Milnes (W.Va.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 85.

                       

FINE TIMES AT OUR HOUSE, KITTY'S GOT A BABY-O. Old-Time, Breakdown. USA, Ohio. This version is distantly related to "Fine Times at Our House" [1] and is from Arnold Sharp, a retired coal miner late of Oak Hill, Jackson County, (south-central) Ohio. GFS-901 (Gambier Folklore Society, Kenyon College), Arnold Sharp - "Seems Like Romance To Me, Traditional Fiddle Music From Ohio" (1985).

                       

FINE TOAST TO HEWLETT. AKA and see “Hewlett.”

                       

FINERTY'S FROLIC (Cleasa Uí Finnactaig). AKA and see "Bliven's Favorite," "By your leave, Larry Grogan," "Coppers and Brass [2]", “The County Limerick Buckhunt," “Green Sleeves [3]," "Hartigan's Fancy," “The Humours of Ennistymon [1]," "The Humours of Miltown [2]," "Larry Grogan(‘s) [1]", "The Lasses of Melrose," “Lasses of Melross,” "Little Fanny's Fancy," "Lynn's Favourite," "Pingneacha Rua agus Pras," “Queen of the Rushes,” "The Waves of Tramore," “Willie Clancy’s.” Irish, Double Jig. G Major/Mixolydian. Standard tuning. AABB. Nearly identical to “Bliven’s Favorite.” Miller (Fiddler’s Throne), 2004; No. 42, pg. 36. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1016, pg. 189. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 231, pg. 52.

See also listing at:

Alan Ng’s Irishtune.info

X:1

T:Finerty’s Frolic

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 231

Z:AK/Fiddler’s Companion

K:G

G/F/|DGG GAB|cAG FGA|BAB cAF|AGG G2F|

DGG GAB|cAG FGA|d/e/fd cAF|AGG G2:|

|:d|def g2g|fed cAF|Ggf gag|fdd d2e|f/g/ag fed|cAG FGA|d/e/fd cAF|AGG G2:|

                       

FINGAL('S) MARCH. Irish, March. E Dorian. Standard tuning. AB. Roche Collection, 1982, vol. 3; No. 216, pg. 82. Maggie’s Music MM107, "Music in the Great Hall" (1992).


                       

FINGALIAN AIR, A (Fonn air Dàin Féinne). Scottish, Slow Air (3/4 time). C Major. Standard tuning. AABB. "This Fingalian air was acquired through the predecessor of Mr. Fraser of Leadclune, referred to in note No. 28 ('An Air to Which Ossian in recited')" {Fraser}. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 129, pg. 51.

X:1

T:Fingalian Air, A

T:Fonn air Dàin Féinne

M:3/4

L:1/8

R:Air

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:C
G2|c4G2|c4 c/d/c/B/|A2d2B2|c4 d>e|a4g2|g>a g2f2|e4 d>e|a4 c>d|e4d3|c4:|

|:e>d|c4B>A|G4c>B|A2d2B2|c4d>e|a4g2|g>a g2f2|e4 d>e|a4 e>d|c4B2|A4:|

                       

FINGALIANS’ DANCE, THE. Irish, March? G Major. Standard tuning. AB. O’Neill says an identical setting with variations was printed in Burk Thumoth’s Twelve English and Twelve Irish Airs (London, 1743). Source for notated version: copied from the Hibernian Muse (1787) [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 92.

X:1

T:Fingalians' Dance, The

M:4/4

L:1/8

S:The Hibernian Muse 1787

Z:Paul Kinder

K:G

B2 G2 G2 Bc|d2 G2 d2 G2|B2 G2 G2 Bc|d4 {c}B4|

c2 A2 A2 cd|e2 A2 e2 A2|c2 A2 A2 cd|e4 {d}c4||

G2 g2 g2 fg|agfe dcBA|A2 a2 "tr"a2 ga|bagf dcBA|

G2 g2 "tr"g2 fg|f2 ga D2 g2|f2 ga D2 g2|f4 {e}d4||

                       

FINGAL'S CAVE [1]. AKA and see “Miss Guthrie’s.” Scottish, Strathspey. E Major. Standard tuning. AABBCCD. The tune was composed by John Gow (1764-1826), one of the sons of the famous fiddler Niel Gow. John removed from Scotland to London, and with his brother Andrew established a publishing firm, becoming the English distributor of the Gow family publications. Fingal's Cave is a 230 ft. deep cave on the island of Staffa on west coast of Scotland near the islands of Mull and Iona. It is a sea cave carved from Tertiary basalt lava flows that have cooled to form hexagonal columns similar to those of the Giants Causeway in Northern Ireland. A path on one side of the cave travels from column to column back into the cave that stretches 250 feet into the rock, with a height of 70 feet above sea level. It is fabled in art; the great watercolor painter John Turner painted Fingal’s Cave in 1832. Composer Felix Mendelsohn wrote an overture called The Hebrides (Fingal’s Cave), having been inspired by the sight of the caves while on a trip to Scotland and Itlay, sent by his father at age 20. Curiously, the cave has no real associations with Fingal. John Purser explains that the original name of the main cave is, in Scots Gaelic, Uamh Bhin, meaning a musical or sweet-sounding cave, and that it is misinterpretations of the Gaelic name that led to its being called Fingal’s Cave.

***

Photo: Paul McNeil  http://www.webcraft.co.uk/westbound/index.htm

***

Carlin (The Gow Collection), 1986; No. 58. Gow (Complete Repository), Part 2, 1802; pg. 6. Redwing Music RWMCD 5410, Abby Newton – “Castles, Kirks and Caves” (2001).

X:1

T:Fingal’s Cave [1]

M:C

L:1/8

R:Strathspey

S:Gow – 2nd Repository  (1802)

Z:AK/Fiddler’s Companion

K:E

B,|E>FGG (F/A)G/F/ E>B,|E>FGB (c/B/)(A/G/) (F/A/)(G/F/)|E>F GG (F/A/)G/F/ E>B,|C>B,C>B, CEE:|

|:B|(e2 e/)B/c/d/ (e2 d/)g/b/g/|(e2 g/)e/ b/g/ c’f (f/a/)g/f/|(e2 e/)B/c/d/ (e2 e/)f/g/e/|{c}a>g {g}f/e/f/d/ {d}e2 E:|

|:G/F/|(E/F/)G/F/ (E/G/)B/e/ c/B/A/G/ (A/G/)F/E/|(E/e/)(B/c/) (G/B/)(B,/A/) GF F2|

E/(e/d/)c/ (B/A/)(G/F/) G/c/(B/A/ G/F/E/D/)|(C/E/)(B,/E/) (C/E/)(B,/E/) CEE:|

B|(e/d/)(e/d/) (d/B/)c/d/ (e/d/)(e/d/) (e/g/)(b/g/)|e2 (3g/f/e/ (3b/a/g/ c’f f/a/g/f/|

eg/f/ e/B/(c/d/) (e2 e/)f/g/e/|{c} a>g {g} f/e/f/d/ e2 EB|

(e/d/)(e/d/) (e/B/)(c/d/) (e/d/)(e/d/) (e/g/)(b/g/)|(e/B/)(g/e/) (b/g/)(e’/b/) c’f (f/a/)g/f/|

e/(e/d/)e/ (c/e/)(B/e/) (c/e/)(d/f/) (e/g/)(f/a/)|(g/b/)(a/c’/) (b/g/)(f/a/) gee||

 

FINGAL'S CAVE [2] (Gul Fhin). AKA and see “Cuilfhionn,” “Fingal’s Weeping.” Scottish, Air or March (2/4 time, slow). A Dorian. Standard tuning. A popular Highland march. AAB (Kerr, Lerwick, Martin): AB’B’ (Morison). Kerr (Merry Melodies), vol. 1; No. 17, pg. 48. Lerwick (The Kilted Fiddler), 1985; pg. 62. Martin (Traditional Scottish Fiddling), 2002; pg. 74. Morison (Highland Airs and Quicksteps, vol. 1), c. 1882; No. 26, pg. 13. BM-91, Buddy MacMaster – “Glencoe Hall.” Shanachie SHAN‑79017, John & Phil Cunningham ‑ "Against the Storm" (1980).

X:1
T:Cuilfhionn
T:Fingal's Weeping

T:Fingal’s Cave [2]
D:Old Blind Dogs, Fit?
Z:Nigel Gatherer
M:2/4
K:Ador
E/G/ | A2 B/A/G/A/ | BA Ae/d/ | BA/G/ ed/B/ | d>G  GE/G/ |

A2 B/A/G/A/ | BA Ae/d/ | BA/G/ ed/B/ | eA  A :|
B/d/ | ed/e/ gf/g/ | ae/a/ ge/a/ | ed/e/ ge/g/ | e/d/B/A/ GB/d/ |
ed/e/ gf/g/ | ae/a/ ge/a/ | ge/a/ g/e/d/B/ | eA  AB/d/ |
ed/e/ gf/g/ | ae/a/ ge/a/ | ed/e/ ge/g/ | e/d/B/A/ GA/B/ |
dc/d/ ed/e/ | gf/g/ ae/a/ | ge/a/ g/e/d/B/ | eA A |]

X:2

T:Fingal’s Cave [2]

M:2/4

L:1/8

R:March

S:Morison – Highland Airs and Quicksteps, vol. 1 (c. 1882)

Z:AK/Fiddler’s Companion

K:Amin

A2 B/A/ G/A/ | BA Ae/d/ | BA/G/ ed/B/ | dG G2 | A2 B/A/ G/A/ | BA Ae/d/ |

B/B/ A/G/ ed/B/ | eA A2 || ed/e/ g^f/g/ | {a}ae/a/ ge/g/ | ed/e/ g^f/g/ | e/d/ B/A/ G2 |

ed/e/ g^f/g/ | ae/a/ ge/g/ | g/e/ f/d/ g/e/ d/B/ | eA A2 || (3e/f/e/ d/e/ g^f/g/ | ae/a/ ge/g/ |

ed/e/ g^f/g/ | e/d/ B/A/ G/A/ B/G/ | cB/c/ dc/d/ | ed/e/ ga | g/e/ f/d/ g/e/ d/B/ | eA A2 ||

                       

FINGAL’S DIRK.  Scottish, Pipe Quickstep (4/4 time). A Mixolydian. Standard tuning. AABBCCDD. Composed by Scots fiddler-composer J. Scott Skinner (1843-1927). Skinner (Harp and Claymore), 1904; pg. 49.

X:1

T:Fingal’s Dirk

M:C

L:1/8

R:Pipe Quickstep

C:J. Scott Skinner (1843-1927)

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:Amix

.A/.B/ | .c.ed>B c(A A).A/.B/ | ceg>d B(GG)B | ce({c}d>)B ceAa | e>c({c}d>)B cAA :|

|: .A/.B/ | c/d/e/c/ d/f/B/d/ c/d/e/d/ c/e/A/a/ | c/d/e/A/ g/e/d/c/ .B(GG).B | c/d/e/c/ d/f/B/d/ c/d/e/d/ c/e/A/a/ |

e/d/c/e/ d/c/B/e/ ({c/d/}c)AA :: a | e>cdB cAAe | ceg>d .B(GG).f | e>cdB ce Aa | e>cdB ({B}c)AA :|

|: a | e/d/c/e/ d/c/B/d/ c/e/A/e/ c/A/a/A/ | c/d/e/A/ g/e/d/c/ BG<G Gg | e/a/c/a/ d/c/B/e/ c/d/e/d/ c/e/A/a/ | e/d/c/e/ d/c/B/e/ cAA :|

 

FINGAL'S MARCH. See "Fingal March."

                       

FINGALL'S LAMENTATION. AKA and see “Miss Guthrie’s.” Scottish, Air ("Very Slow"). F Minor. Standard tuning. AABB. "A very old Gaelic air" (Gow). Despite Gow’s assertion that the tune was very old, John Purser could find no earlier printed version than Gow’s own. Purser regards it as typical example of the ‘Celtic revival style’ of Scottish fiddle composition of Gow’s era. Poet Robert Tannahill directed his song “Wild drives the bitter northern blast” to the air of “Fingal’s Lamentation.” Carlin (The Gow Collection), 1986; No. 539. Gow (Fourth Collection of Niel Gow’s Reels), 2nd ed., originally 1800; pg. 17. Redwing Music RWMCD 5410, Abby Newton – “Castles, Kirks and Caves” (2001).

X:1

T:Fingall’s Lamentation

M:3/4

L:1/8

R:Air

N:”Very slow”

B:Gow – Fourth Collection of Niel Gow’s Reels (1800)

Z:AK/Fiddler’s Companion

K:Fmin

G|(A<F) c2 (.F.F)|~AA cBAG|(A<F) c2 (.F.F)|(=EG) ~F3G|(A<F) c2 ~(.F.F)|(AB) c2 c=e|

f>_e {d}c2 BA|”tr”G>F F3:||c|”tr”f>g (f_e) (cB)|”tr”B>c e2 (cB)|c=e “tr”f3g|{f/g/}a>g {g}f3c|

{c}a>g {g}f2 (e>d)|(d/c/)(B/A/) A2 c=e|(f>_e) c2 (.F.F)|”tr”(_EG) F3:|

                       

FINGAL’S WEEPING. AKA and see “Cuilfhionn,” “Fingal’s Cave [2]."

           

FINGER LOCK, THE. Scottish, Pibroch. A piece of piobaireachd music attributed to Ranald MacAilean Og of Cross on the Island of Eigg (c. 1662-1741), said to have been a good performer on harp and fiddle, though he was best known as a piper. The tune is sometimes associated with Calum MacRaibeart, the son of an Irish armorer who had been imported (along with his brother David, a harper) to Muckairn by the Earl of Cawdor. There are numerous stories and legends about Ranald, colorful and robust. He is said to have been a man of enormous physical strength—he stopped a mill-wheel turning at full speed, and was called upon to hold down the dying chief of Clanranald, Evil Donald (Domhnall Dona Mac ‘ic Ailean), when the Devil came to claim him in payment for a debt Donald owed. Ranald was supposed to have overcome the ghost of a headless woman which was terrorizing the district of Morar and Arisaig. He was known to have been on good terms with the local witches (though he avoided participating in their rites), and they warned him that they had forseen impending danger, saving him from drowning on the river Lochy. In his old age he became blind and bedridden, but scarcely diminished in temper, for if he thought himself neglected by his kin he would lull them into approaching by his pleasant talk and calm demeanor, then cuff them a terrible blow about the head (Sanger & Kinnaird, Tree of Strings, 1992).

                                   

FINGER RING. AKA and see "I Wish't I Had a New Five Cents," "New Five Cents [2].” Old‑Time, Breakdown/ Song. USA, Oklahoma. D Major. ADae tuning. AABB. Originally from African-American tradition. The melody is not the same as the Kentucky tune “New Five Cents,” although the lyric suggests at least a floating connection.

***

I would not have a yeller gal, I'll tell you the reason why,

She'd blow her nose on yeller corn bread and call it pumpkin pie.

***

Refrain

Wish't I had a finger ring (or, new five cents),

Wish't I had a dime;

Wish't I had a finger ring (new five cents),

To give that gal of mine.

***

I would not have a yeller gal, I'll tell you the reason why,

Her neck's so long and yeller I'm afraid she'd never die.

***

Mawsy had a yeller gal, brought her from the South,

Her mouth looked like an old fireplace with the ashes all raked out.

***

Mawsy had an old gray mare I know her mighty well,

If she ever jumps in my corn patch she'd better jump in hell.

***

Mawsy had an old blind horse, he calls him Bawly Sam,

Every tooth in his old head is sixteen inches round.

***

(See "Old Joe Clark," "Old Dan Tucker" for similar floating verses, also the song "Raise a Ruckus (Roughhouse) Tonight" and “Sook Pied”)

Source for notated version: R.E. Perkins (Sequoyah County, Oklahoma) [Thede]. Thede (The Fiddle Book), 1967; pg. 67.

                                   

FINGER THE SHIFT. AKA and see "The Calendar," "Reice an Mhi‑adha."

                       

FINGERING WITH YOUR FINGERS. Old-Time, Breakdown. B Flat Major. Standard tuning. AA'B. The 'B' part tonality approximately follows a circle of 5ths. Source for notated version: Lonnie Chatmon with the Mississippi Sheiks [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 49.

                       

FINLAY IS HIS FATHER'S DARLING (Se gaol a'bhodaich Fionnlagh). Scottish, Slow Air (4/4 time). D Major. Standard tuning. AABB. Martin (Ceol na Fidhle), vol. 1, 1991; pg. 7.

                       

FINLAY MACKENZIE. Scottish, Jig. A Major. Standard tuning. AABBCCDD. Composed by N. MacLennan. Martin (Ceol na Fidhle, vol. 3), 1988; pg. 11.

                       

FINLAYSTON HOUSE. Scottish, Slow Air. The melody was composed by amateur fiddle‑composer John Riddell of Ayr (1718‑95), son of a wig‑maker and his wife, and first appeared in his collection of Scots tunes published by Robert Bremner, c. 1766. It was the music for the Scots poet Robert Burns' ("rather indifferent lyric," according to Collinson {1966}) elegiac song "Fate gave the word—the arrow sped," and Burns thought much of the tune, writing in Cromck's Reliques: "This most beautiful tune is I think the happiest composition of that bard born genius John Riddell of the family of Glencarnock at Ayr" (in fact, there is no conclusive evidence that Riddell had any connection with the Glencarnock family). Finlayston House, on the Firth of Clyde near Glasgow, was the seat of the Earl of Glencairn, and is the seat of the Chief of the MacMillan clan.

                                      

FINLEY CREEK BLUES. Old-Time, Two-Step. USA, Missouri. D Major. Standard tuning. ABC. According to Gordon McCann (2008), Missouri fiddlers frequently attribute the tune to one Zed Tennis, who played on broadcasts for KWTO (Springfield, Mo.) in the early days of radio. Finley Creek is a tributary of the James River, flowing through Christian County, Mo., south of Nixa. Source for notated version: Glenn Rickman (1901-1982, Hurley, Missouri) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Tunes), 2008; pg. 111. Rounder 0437, Jim Beeler Kate  – “Traditional Fiddle Music of the Ozarks, vol. 3: Down in the Border Counties” (2000). Rounder 0432, Bob Holt – “Got a Little Home to Go To” (1998).

                                      

FINN JENTA WALTZ (Finnish Girl Waltz). Norwegian, Waltz. G Dorian. Standard tuning. AA'BB'. "This is a variant of a well‑known Norwegian waltz, done in the style of Hans Brimi, a famous Norwegian folk fiddler" (Reiner). Reiner (Anthology of Fiddle Styles), 1977; pg. 56. RC2000, George Wilson – “Royal Circus” (2000).

                                      

FINN POLKA (Kauhauan Polkka). Finnish, Polka. A popular folk tune with the Finnish ethnic community in northern Wisconsin (Leavy).

                       

FINNEA LASSES. AKA and see “Killarney Wonder Schottische [1].” Irish, Schottische. A Dorian. Standard tuning. AB. The melody was recorded by Donegal fiddler Hughie Gillespie in New York in the 78 RPM era (paired with “Gurren’s Castle,”—there is some confusion of tunes and titles, but “Finnea Lasses” is a version of the “Killarney Wonder”, while “Gurren’s” is a version of “Miss Sarah Drummond of Perth”). Carlin (Master Collection), 1984; No. 222, pg. 130.

 

FINNEGAN'S DREAM. AKA and see "Garryowen," "The Scotch Laddie." American, Jig or March. USA, southwestern Pa. G Major. Standard tuning. AB. An originally Irish tune usually known as "Garryowen." Source for notated version: Thomas Patterson (Elizabeth, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 632B, pgs. 554‑555.

 


FINNEGAN'S WAKE [1] (Torran UíFinnguine). AKA - "Tim Finnegan's Wake." AKA and see “(An) Bhean Spáinneach,” "Doran's Ass," "The French Musician," “Paddy Doyle,” “The Spanish Lady.”  Irish, New England; Air (cut time), Polka or March (2/4). D Major (Mallinson, Miller & Perron, Taylor): C Major (O'Neill): G Major (Tubridy). Standard tuning. AB (O'Neill): AABB (Mallinson, Miller & Perron, Taylor. Tubridy). A tune derived from a comic "stage‑Irish" song, which Bayard (1981) says was known in Pennsylvania as a folk song called "Dolan's Ass." The first part of the tune, he observes, is perhaps older than the second.  Cazden (et al, 1982) report that Edwin Ford Piper gives 1884 as the date for the first appearance of the song "Finnegan's Wake," while Charles Kennedy uses the date of about 1870 for the piece he identifies as an "Irish-American vaudeville" work. The sheet music was listed as published in New York by Wm. A. Pond Co. in 1864, while a different reference from the same year names the air to the song as "The French Musician." The Journal of the Folk Song Society, vol. IV, pg. 294, gives three sets of the air, two from the early 18th century and one from camp meeting spirituals known in Britain and the U.S. (all sets resemble the first strain of "Finnegan's Wake"). The song "Willie Taylor" is sometimes sung to this tune in Ireland. Sources for notated versions: Hiram Horner (Westmoreland and Fayette Counties, Pa., 1960), Henry Yeager (Centre County, Pa., 1930's), Fred Miller and Glen Gelnette (Jefferson County, Pa., 1949) [Bayard]; set dance music recorded at Na Píobairí Uilleann, late 1980’s [Taylor]. American Veteran Fifer, No. 62. Bayard (Dance to the Fiddle), 1981; No. 184A‑C, pgs. 140‑141. Mallinson (100 Polkas), 1997; No. 93, pg. 36. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 57. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 265, pg. 46. Ostling, pg. 23. Roche Collection, vol 2; No 298 (4th figure and 1st tune of a quadrille). Taylor (Music for the Sets: Blue Book), 1995; pg. 21. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 6.

X:1

T:Finnegan’s Wake

L:1/8

M:C|

K:D

|:F3F F2E2|F2A2B2A2|d3d d2A2|B2A2E4|F3F F2E2|F2A2B2A2|d3d d2A2|B2c2d4:|

|:d3d d2e2|d2c2B2A2|d3d d2e2|d2e2f4|d3d d2e2|d2c2B2A2|B3c B2A2|B2c2d4:|

 

FINNEGAN'S WAKE [2]. Irish. O'Neill (Waifs and Strays of Gaelic Melody), No. 56.

 

FINNIN' HADDIES. Scottish, Strathspey. E Minor. Standard tuning. AABB. Composed by to Carl Volti, born Archibald Milligan in Glasgow in 1849. Volti, a fiddler, composed many tunes found in the Kerr’s collections and also published several tutors, albums of popular songs, national overtures, etc. (Nigel Gatherer). Kerr (Merry Melodies), vol. 3; No. 73, pg. 10.

X:1

T:Finnin’ Haddies

M:C

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 3, No. 73  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:E Minor

B|e<e B>A G>FE>G|F<d A>G F<D DB|e<e B>A G>FE>G|(3FGA (3BAB G>E E:|

|:F|G<G B>G d>GB>G|F<d A>G F<D D>F|G<G B>G d>GB>e|(3gfe (3Be^d e>E E:|

 

FINNIS JIG. American, Dance Tune (2/4 time). D Major. Standard tuning. AABB. Has part of "Razors in the Air," an old minstrel tune, in it. American 2/4 tunes were sometimes called 'jigs', perhaps in a reference to 'jig tunes', a derogatory term for African-Americans. British Isles duple dance tunes also occasionally were called ‘jigs’ as well, referring to a kind of solo step dance. Ford (Traditional Music in America), 1940; pg. 69.

 

FINN’S FAVOURITE.  See “Rosie Finn’s Favourite.”

 

FINSTE, LA. AKA and see "Gorden of Lesmore."

 

FINTAN McMANUS'S. AKA and see “Guns of the Magnificent Seven.” Irish, Reel. A Dorian. Standard tuning. AABB. A modern composition by Fintan McMaus, Co. Fermanagh. Green Linnett GLCD 1137, Altan - "Island Angel" (1993).

X:1

T: The Guns of the Magnificent Seven

T:Fintan McManus’s

M: 2/2

L: 1/8

R: Reel

C: Fintan McManus

D: Altan, "Island Angel"

K: ADor

EAAG ABcA|EAFA GEDG|EAAG ABcd|egdB BAAG:|

|:ABcd eAAf|gedc BA~A2|ABcd eaaf|gedB BA~A2:|

M: 6/8

|:egdB A2|

M: 2/2

egdB GABd|eBdB Aaag|egdB BA~A2:|

           

FINTOWN REEL (Baile na Finne). See “Scotch Mary.”

                       

FIONA MACLEOD. Scottish, Pipe Reel. Composed by Donald MacLeod for his daughter. Pipe Major Donald MacLeod’s Collection. Green Linnet GLCD 1182, The Tannahill Weavers - “Choice Cuts” (1997).

 

FIONA'S REEL. Shetland, Reel. G Major. Standard tuning. AAB. "Written for a very hard working pupil of Tom (Anderson's), and one of Shetland's Young Heritage group" (Anderson). Anderson (Ringing Strings), 1983; pg. 101.

                       

FIONA’S WEDDING. AKA and see “Bluebell Polka,” “Liberton Pipe Band.”

           

FIR A BHATD. AKA and see “The Boatman [6].”

           


FIR AN GHUAIL. AKA and see “The Coalminer’s Reel.”

 

FIR TREE, THE. Scottish, Strathspey; English, Reel. England, Northumberland. D Mixolydian. Standard tuning. AB (Gow, Jones): AAB (Vickers). Attributed to Dunkeld fiddler-composer Niel Gow (1727-1807) in MacDonald’s Skye Collection (1887), apparently based on a claim by Niel’s son Nathaniel. However, there is no attribution to any composer in the Gow’s First Collection (1784). John Glen (1891) finds it first published by Robert Bremmer (1713‑89) in his Collection of Scots Reels or Country Dances (c. 1757). Bremner notes: “The Strathspey Reels are play’d much slower than the others,” and Gow directs it to be played “Slowish”. Bremner (Scots Reels), c. 1757; pg. 38. Carlin (The Gow Collection), 1986; No. 59. Gow (The First Collection of Niel Gow’s Reels), 1784 (revised 1801); pg.14. Jones [Ed.] (Complete Tutor Violin), c. 1815; pg. 12. MacDonald (The Skye Collection), 1887; pg. 49. Seattle (William Vickers), 1987, Part 3; No. 546. Rounder 82161-7032-2, Bill Lamey – “From Cape Breton to Boston and Back: Classic House Sessions of Traditional Cape Breton Music 1956-1977” (2000). Rounder RDR7021, Natalie MacMaster – “A Compilation” (1998).

See also listing at:

Alan Snyder’s Cape Breton Fiddle Recording Index

X:1

T:Fir Tree, The

M:C

L:1/8

R:Strathspey

S:MacDonald – Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:D

A|F2 DB/c/ d>A=c>G|E2 =C>E =c>GE>A|F2 DB/c/ d>AG>A|F2 DB/c/ e/d/B/A/ d>f|

F2 DB/c/ d>A=c>G|E2 =C>E =c>GE>G|D>EF>G A<d A>F|G<E A>G FDD||

f|d/d/d f>d g>ef>d|e/e/e fd>g>e=ce|d/d/d f>d g>ef>d|e/e/e ~a>g f>d d<f|

d/d/d f>d g>ef>d|e/e/e f>d g>e=ce|d>ef>g a>ba>f|g>e a/g/f/e/ fdd||

 

FIR UA MAG-EALLA, NA. AKA and see "The Men from Mallow."

           

FIRE AND FERVOUR. Scottish, Reel. Composed by Aberdeen fiddler and composer J. Murdoch Henderson (1902-1972), dedicated to John Dickie, the “penny whistle wizard” of Turriff. Henderson (Flowers of Scottish Melody), 1935.

           

FIRE AWAY. Scottish, Hornpipe. F Major. Standard tuning. AABB. Composed by the Scottish fiddler and composer J. Scott Skinner (1843-1927).  Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 44, pg. 17.

                       

FIRE AWAY, YOU DEVIL, YOU. Irish, Air and Jig. The air of this song was recorded as a jig by County Leitrim flute player John McKenna (1880-1947). Gennet Records (78 RPM), John McKenna (1925).

                       

FIRE CROSS SONG, THE. AKA and see "The Fiery Cross."

                       

FIRE DOWN BELOW. Old‑Time, Fiddle Tune. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

                       

FIRE FLY (REEL).  American, Reel. D Major. Standard tuning. AB. It is possible this tune was associated with the stage production called The Fire Fly, starring, at one time, the famous mid-19th century actress Lotta Crabtree (who performed in it in Boston in 1868). Mark Twain was residing in San Francisco at the time, writing for the Alta California. In the issue of September 6, 1868, Twain writes:

***

One of the first things that fell under our notice was one of Lotta’s posters, which bore the

information that she would begin a star engagement at Wallack’s within a few days. It is

wonderful what a firm hold that young girl has secured upon the good will of the people

and press of the metropolis—I might say, of the rest of the country also, but you know that

that follows, of course.  Critics speak guardedly of other actresses, but the praise her without

stint. The Tribune and the other great dailies are her friends. She draws surprisingly. I see

nothing and hear nothing of her enterprising father. Lotta is to appear in a new play, “The

Fire Fly,” written especially for her. After speaking of her former successes in New York,

the Tribune says:

***

She is aptly typical of the luminous and erratic insect, glancing and gleaming in the night air of

summer. The fact the new drama in which she will appear comes from the practiced pen of Mr.

Edmund Falconer, is guarantee of its theatrical merit. ‘The Fire Fly’ is the novelty of the week,

moreover, in theatrical life, and public attention naturally centres upon it. Mr. Moss, the manager,

is understood to have got up the new play with uncommon care. Should it prove a success, it

will undoubtedly run along till the close of the summer season.

***

Cole (1000 Fiddle Tunes), 1940; pg. 17. Ryan’s Mammoth Collection, 1883; pg. 41.

X:1

T:Fire-Fly

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

.D/(c/d/).f/ .e/(c/d/).B/ | .A/.F/.d/(F/ E/)(G/F/).E/ | .D/(c/d/).f/ .e/(d/B/).b/ | a/g/e/f/ {c}dd |

.D/(c/d/).f/ .e/(c/d/).B/ | .A/.F/.d/(F/ E/)(G/F/).E/ | .D/(c/d/).f/ .e/(d/B/).b/ | a/g/e/f/ d/e/f/^g/ ||

.a/(d/f/)(a/ g/)(a/f/)(b/ | a/)(f/e/)(d/ B/).A/.f/.g/ | .a/(d/f/)(a/ b/)(a/f/)(b/ | a/).f/.e/.f/ .d/.e/.f/.g/ |

.a/(d/f/)(a/ g/)(a/f/)(b/ | a/)(f/e/)(d/ B/).A/.(3B/4c/4d/4 | .A/.d/.F/.d/ (a/d/).f/.b/ | .a/.f/.e/.f/ {c}dd || 

                       

FIRE FLY WALTZ. American, Waltz. USA, Pa. E Flat Major ('A' part) & B Flat Major ('B' part). Standard tuning. AB. Source for notated version: Ralph Sauers (Buffalo Valley, Pa.) [Guntharp]. Guntharp (Learning the Fiddler’s Ways), 1980; pg. 73.

           

FIRE HIM OUT. American, Reel. A Major. Standard tuning. AABB. Josephine Keegan’s “Aughacashel” is a similar melody. Micky Soltys finds the first part of this tune similar to the second part of Bill Monroe’s “Monroe’s Hornpipe.” Ryan’s Mammoth Collection, 1883; pg 24.

X:1
T:Fire Him Out
B:Ryan's Mammoth Collection
N:slightly adapted
M:4/4
L:1/8

Z:Paul de Grae
R:reel
K:A
EFAB c4|BABc BAFA|EFAB ce f2|fecA B2 AF|
EFAB c4|BABc BAFA|agae fecA|BABc A4:||:
AGAB AECE|edBc BAFA|EAce AceA|fecA B3 E|
AGAB AECE|edBc BAFA|EAce Acef|fedB A4:||

           

FIRE IN THE VALLEY. AKA and see “Coach Road to Sligo [1],” “The Blackthorn Stick [1],” “Boys of Bockhill/Rockhill,” "Fire on the Mountain(s) [2]." This title appears in a manuscript from County Limerick.

                       


FIRE ON/IN THE MOUNTAIN [1]. AKA and see “Betty Martin,” “Pretty Betty Martin,” “Hog Eye [1],” "Sambo” “Ten Little Indians,” “Tip Toe Fine." Old‑Time, Bluegrass; Breakdown. USA, widely known. A Major ('A' part) & D Major ('B' part) {most versions}: A Major {Beisswenger & McCann/Walden}. Standard, AEae or ADae tunings. AAB (Brody, Krassen): AA’B (Beisswenger & McCann): AABB (Lowinger): AABB' (Phillips/1994). A popular American fiddle tune that has numerous  variants (some quite distanced from each other) and is widely disseminated throughout the South and Midwest. It is typically played at breakneck speed, giving rise to popular folklore for the origins of the title: i.e. the fiddler plays so fast the fiddle catches on fire and lights up the woods (Lowinger, 1974). The title may be Celtic in origin: Scottish clans often used blazing bonfires on Highland hills as gathering signals (ironically, this also may be the origin for the Ku Klux Klan’s blazing crosses).

***

Krassen (1973) notes his 'B' part has similarities with a 78 RPM recording of Pope's Arkansas Mountaineers' "Hog‑eyed Man," and Bayard (1981) also recognizes the similarity between the second parts of the same tunes, though a closer match to "Fire On the Mountain" he believes to be "Betty Martin," which is "reminiscent all through." Guthrie Meade (1980) links the Kentucky version of the tune (which also goes by the name "Big Nosed Hornpipe") to the "Sally Goodin'" family of melodies. “It has been suggested that the tune originated from eastern European migrants, some of whom made commercial recordings in New York in the early part of the 20th century,” says Mike Yates (2002). Winston Wilkinson, in the Southern Folklore Quarterly (vol. vi, I, March, 1942), gives a bar‑for‑bar comparison of the tune with a Norse 'halling' tune, set by the Norwegian composer Greig and published in Copenhagen in 1875 (Norges Melodier, 1875 & 1922, iv, pg. 72). The tunes are so close as to be almost certainly cognate. Bayard records the tune's earliest American publication date is 1814 or 1815 in Riley's Flute Melodys (where it appears as "Free on the Mountains"), and as "I Betty Martin" in A. Shattuck's Book, a fiddler’s manuscript book dating from around 1801. Mike Yates (2002) summarizes that “’Fire on the Mountain(s)’ is one of a broad family of early 18th century (or earlier) tunes that shades into one another and are as old as ‘Hey Betty Martin, Tip Toe.’”

***

The piece was recorded in the early 1940's from Ozark Mountain fiddlers by musicologist/folklorist Vance Randolph for the Library of Congress. It is on Missouri fiddler Charlie Walden’s list of ‘100 essential Missouri fiddle tunes’. Lowe Stokes (1898-1983), one of the north Georgia band 'The Skillet Lickers' fiddlers, remembered it as having been fiddled by his father. The Red Headed Fiddlers, A.L ‘Red’ Steeley and J.W. ‘Red’ Graham, recorded the tune in 1929, titled by the recording engineers as “Far in the Mountain”—evidently they were from the North and could not recognize the correct title when pronounced with Southern accents.

***

Verses are sometimes sung to the melody, especially in the variants by other names such as “Betty Martin,” “Ten Little Indians,” “Pretty Betty Martin” and “Hog-eye.” Wilkinson (1942) says that the following verse made its way into some editions of Mother Goose  [see Mother Goose’s Quarto, Boston, 1825]:

***

Fire on the mountains, run, boys, run,

Fire on the mountains, run, boys, run.

***

Other verses (some of which are floating) have been:

***

Fire on the mountain, run boy run;

Sal, let me chaw your rosin some.

***

Fire on the mountain, run, boys, run;

Fire on the mountain till the day is done.

***

Fire on the mountain, water down below;

Never get to heaven 'less you jump Jim Crow.

***

Fire on the Mountain, fire on the hillside

Fire on the  Mountain, run, boys, run.

***

Old Uncle Cyrus fished all night,

Never caught a fish on a crawfish bite.

***

Old mother Taylor she drinks whiskey,

Old mother Taylor she drinks wine.

Old mother Taylor she got drunk,

Swung across the river on a pumpkin vine.

***

Two little Indians lying in bed,

One turned over and the other one said,

Fire on the mountain coming son,

Fire on the mountain run boy run.

***

Two little Indians and their squaw

Sittin' on a mountain in Arkansas.

***

All little Indians gonna drink whisky

All little Indians gonna get drunk.

***

All my little Indians don’t drink liquor,

All my little Indians don’t get drunk.      (Sam Connor. The last two lines were also remembered by Arkansas fiddler Skeeter Walden)

***

Opie connects the lyric with the minstrel song “Jim Along Josie,” absorbed into play-party tradition. “Jim Along Josie” was remembered from Missouri play-parties in the 1880’s with the words:

***

Cat’s in the cream jar, run, girls, run,

Fire on the mountain, fun, boys, fun.

Hey, Mim along, Mim along, Josie,

Hey, Jim a long, Jim along, Jo.

***

Sources for notated versions: Highwoods String Band (N.Y.) [Brody]; Gid Tanner & the Skillet Lickers (Ga.) [Krassen]; Clayton McMichen (Ga.) [Kaufman]; James H. “Uncle Jim” Chisholm (Greewood, Albermarle County, Virginia) [Wilkinson]; Jim ‘Skeeter’ Walden (1879-1956, Busch, north Arkansas) [Beisswenger & McCann].

***

Print Sources: Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 152. Brody (Fiddler’s Fakebook), 1983; pg. 106. Kaufman (Beginning Old Time Fiddle), 1977; pgs. 76‑77. Krassen (Masters of Old Time Fiddling), 1973; pg. 72. Lowinger (Bluegrass Fiddle), 1974; pg. 17. Phillips (Fiddlecase Tunebook), 1989; pg. 18. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 85. Wilkinson, Southern Folklore Quarterly, (vol. vi, No. 1, pg. 9, March, 1942). Spandaro (10 Cents a Dance), 1980; pg. 39.

***

Recorded Sources: Briar 4202l, The Kentucky Colonels‑ "Living In the Past." Brunswick 470 (78 RPM), The Red‑Headed Fiddlers (1929). CMH 9006, Benny Martin‑ "The Fiddle Collection." Columbia 15185-D (78 RPM), Riley Puckett (fiddled by Clayton McMichen). County Records, Kyle Creed and Fred Cockerham. County CD 2719, Theron Hale. Document DOCD-8017, Fiddlin’ John Carson (originally recorded 1926). Document DOCD-8038, A.L Steeley and J.W. ‘Red’ Graham {the Red Headed Fiddlers} (originally recorded 1929). Flying Fish 065, Buddy Spicher‑ "Me and My Heroes" (appears as the third tune of 'Fiddle Tune Medley'). King Records (78 RPM), Curley Fox (Greysville, Tennessee). Library of Congress Records, The Red‑Headed Fiddlers ‑ "Dance Music, Breakdowns and Waltzes." Morning Star 45004, Ted Gossett's String Band (western Ky.) - "Wish I Had My Time Again" (originally recorded Sept., 1930, probably with fiddling by Tommy Whitmer instead of Ted Gossett, although the recording was issued under the band name Buddy Young’s Kentuckians). OKeh 45068 (78 RPM), John Carson (1926). Rounder 0023, Highwoods String Band‑ "Fire On the Mountain." Rounder 0035, Fuzzy Mountain String Band‑ "Summer Oaks and Porch" (1973. Learned from Henry Reed, Glen Lyn, Va.). Rounder 0197, Bob Carlin ‑ "Banging and Sawing" (1985. Appears as "Far in the Mountain," learned from the Red‑Headed Fiddler's record). Rounder C‑11565, Bob Potts & Walt Koken ‑ "Rounder Fiddle" (1990). Starday SLP 235, Curly Fox {Ga.} (1963). Stoneway 148, E.J. Hopkins‑ "Fiddle Hoedown." Vetco LP 104, Clayton McMichen ‑ "The Wonderful World of Old‑Time Fiddlers" (orig. rec. 1928). In the repertoire of black string band John Lusk Band (as "Sambo") from the Cumberland Plateau region of Ky./Tenn.

See also listing at:

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

X:1

T:Fire on the Mountains

L:1/8

M:2/2

S:James H. “Uncle Jim” Chisholm, Greenwood, Albermarle County, Va.

K:Amix

efed c2A2|B2G2B2d2|efed c2A2|B2G2 A4:|

|:efed c2d2|e2f2g2g2|efed c2d2|e2a2 a4:|

 

FIRE ON THE MOUNTAIN(S) [2], THE. AKA and see "Boys of Bockhill/Rockhill," "Humors of Bantry," "Billy Patterson(‘s Favorite)," "The Blackthorn Stick [1]," "The Catholic Boys [3]," "The Rose on the Mountain [1]," "The Eagle's Nest," "The Maid(en) on the Green," "The Coach Road to Sligo [1]," "The Hare on the Mountain." Irish, Double Jig. G Major. Standard tuning. AABB. This title is a "floater." Source for notated version: "Mr. Victor Power of Leap Co. Cork, a good amateur violinist, with much knowledge of Irish music, about 1875" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 200, pg. 99. Roche Collection, 1982, Vol. 3; No. 101, pg. 31.

X:1

T:Fire on the Mountains

L:1/8

M:6/8

S:Roche Collection

K:G

d|g>fg efg|dBG AFD|DGG AGA|BGB ABd|

gfg efg|dBG AFD|AGG AGA|BGG G2:|

|:d|edd gdd|edd gdB|def gdB|eAA ABd|

edd gdd|edd gdB|DGG AGA|BGG G2:|

 


FIRE ON THE MOUNTAIN [3]. American, Dance Tune (4/4 time). D Major. Standard tuning. AABB. Samuel Bayard (1943) is of the opinion that his Pennsylvania collected version bears a slight resemblance to the well‑known "Shortnin' Bread," and points out that the title has apparently been a floating one for some time, noting its inclusion in Joyce's Irish collection. "With the first part of "Fire on the Mountain," compare the melody of 'The Organ Grinder Swing'" (Bayard). Source for notated version: Irvin Yaugher Jr., Mt. Independence, Pa., October 19, 1943. Learned from his great‑uncle [Bayard]. Bayard (Hill Country Tunes), 1944; No. 10.

 

FIRE ON THE MOUNTAIN [4]. Old-Time, Breakdown. A Mixolydian. Standard tuning. AA'BB. A relative of version #1. Source for notated version: The Canebreak Rattlers [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 86.

 

FIRE ON THE MOUNTAIN [5]. AKA and see "Old Time Fire On the Mountain." Old-Time, Breakdown. D Major. Standard tuning. AABB. No relation to any other versions by this title. The 'B' part is a variant of the 'A', played an octave down. Source for notated version: Sam Connor [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 86.

                       

FIRE POLKA.  English, Polka. England, Northumberland. D Major (‘A’ part) & G Major (‘B’ and ‘C’ parts). Standard tuning. AABBC. Composed by Robert Whinham (1814-1893), a teacher, musician, 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. 28.

 

FIREFLY HORNPIPE, THE. Scottish, Hornpipe. B Flat Major. Standard tuning. AABB. Source for notated version: Winston Fitzgerald (Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 16, pg. 6. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 53. Howe (1000 Jigs and Reels), c. 1867; pg. 60. Kerr (Merry Melodies), vol. 3; No. 360, pg. 40. Martin & Hughes (Ho-ro-gheallaidh), 1990; pg. 41. Breton Books and Records BOC 1HO, Winston “Scotty” Fitzgerald - “Classic Cuts” (reissue of Celtic Records CX 40).

X:1

T:Firefly Hornpipe

M:C

L:1/8

R:Hornpipe

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

Z:AK/Fiddler’s Companion

K:B_

(3FGA|B>AB>c B>dc>B|A>BG>A F>GE>F|D>FB>F G>Ee>d|(3cdc (3BAG F2 (3FGA|

B>AB>c B>dc>B|A>BG>A F>GE>F|D>FB>d d>cB>A|c2 (B2 B2):|

|:F>E|(3DFB d2 (3Bdf b2|b3 a g>fe>d|e>de>f e>dc>B|A>cB>G F2 F>E|

(3DFB d2 (3Bdf b2|B3 a g>fe>d|e>dc>B A>fg>a|b2 (B2 B2):|

                       

FIRELICHT WALTZ. Shetland, Waltz. D Major. Standard tuning. One part. Composed by Tom Georgeson (Shetland), a contemporary of the great Shetland fiddler and composer, the late Tom Anderson. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 37.

                       

FIREMAN'S DANCE COTILLION, THE. American, Cotillion (cut time). USA, Pennsylvania. G Major. Standard tuning. AABB. Source for notated version: the late fiddler Jehile Kirkhuff (Pa.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 50.

                       

FIREMAN'S QUICKSTEP. American, Quickmarch (2/4 time). D Major. Standard tuning. AABB. The tune features a fire-alarm like motif in the 'B' part. Sweet (Fifer’s Delight), 1964/1981; pg. 52.

X:1

T:Fireman’s Quickstep

M:2/4

L:1/8

R:March

Z:AK/Fiddler’s Companion

K:D

df/d/ ce/c/ | df/d/ A2 | B/G/B/d/ c/d/e/c/ | d/e/f/g/ a/b/a/f/ | df/d/ ce/c/ | df/d/ A2 |

B/G/B/d/ c/d/e/c/ | dfd z :: a2a2 | a3 e/f/ | g/f/e/d/ c/d/e/c/ | d/e/f/d/ A2 | a2a2 |

a3 e/f/ | g/f/e/d/ c/d/e/c/ | dfdz :|

 


FIREMAN'S REEL. AKA and see "Buttermilk and Cider," “Going to California,” "Off/Going to California [1]," "Old Towser," "Whiskey, You're the Devil," "Whiskey in the Jar," "Belle of the Kitchen [2]," "The Silver Cluster," "You Bet," "Portsmouth Hornpipe," "Miss Johnson's Hornpipe," "Gypsy Hornpipe [4]," "Possum Up a Gum Stump(, Coonie in the Hollow) [1]," "Lexington." New England, Reel. A Major. Standard tuning. AABB. Many of the alternate titles are floaters. Recombined with different 'B' parts these tunes are also similar (in the 'A' part): "I'm  Waiting For You," "Five Miles Out of Town," "Silver Cluster." In New Hampshire the tune has long had a regional association with the dance Lady Walpole’s Reel. Source for notated version: Ron West (Vt.) [Phillips]. Cole (1000 Fiddle Tunes), 1940; pg. 86 (appears as "Portsmouth Hornpipe"). Miller & Perron (New England Fiddlers Repertoire), 1983; No. 81. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 85. Fretless Records 132, "Ron West: Vermont Fiddler." Smithsonian Folkways SFW CD 40126, Rodney Miller – “Choose Your Partners!: Contra Dance & Square Dance Music of New Hampshire” (1999).

X:1

T:Fireman’s Reel

L:1/8

M:C|

K:A

|:Ac Bc AF EF|Ac ea f2 fg|ag fe fe cA|Bc BA F2E2| Ac Bc AF EF|

Ac ea f2 (3efg|ag fe fe cA|B2A2A4:|

|:ea fa fe ce|ea ga f2 fg|ag fe fe cA|Bc BA F2E2|Ac Bc AF EF|

Ac ea f2 (3efg|ag fe fe cA|B2A2A2c2:|

              

FIRESIDE POLKA, THE. English, Polka. Composed by English hammered dulcimer player Sue Harris. Front Hall FHR‑024, Fennig's All‑Star String Band ‑ "Fennigmania" (1981).

              

FIRESIDE REEL. Scottish, Reel. The melody appears in both the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed " A Collection of the best Highland Reels written by David Young, W.M. & Accomptant" (1734), and the Bodleian Manuscript (in the Bodleian Library, Oxford), inscribed " A Collection of the Newest Country Dances Performed in Scotland written at Edinburgh by D.A. Young, W.M. 1740."

              

FIRM OLD TUNE, THE. AKA and see "An Sean Fonn Dur."

              

FIRST CENTURY REEL. American, Reel. A Major ('A' part) & D Major ('B' part). Standard tuning. AB. Source for notated version: Don Wheeler [Phillips]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 86.

                                      

FIRST COME IN WAS A BUMBLE BEE. See “Green Willis.”

                                      

FIRST COUSIN OF THE GALLANT TIPPERARY BOYS, THE. Irish, Slide (12/8 time). D Major. Standard tuning. ABB. The tune is named for the similarity in the opening bars with the tune “The Gallant Tipperary Boys.” Source O’Leary indicated fiddler Padraig O’Keeffe was the original source for the tune and title. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region), recorded in 1985 at Kenmare [Moylan]. Moylan (Johnny O’Leary), 1994; No. 130, pg. 76.

                       

FIRST CUP, THE. AKA and see “Dick Gossip’s.”

                       

FIRST DAY IN TOWN. Old-Time. County 2705, Kenny Baker - "Master Fiddler."

                       

FIRST DAY IN SPRING. Irish, Reel. G Dorian. Standard tuning. AA’BBCC. Composed by Donegal native, fiddler Tommy Peoples.

See also listings at:

Alan Ng’s Irishtune.info

X:1

T:The First Day In Spring

M:4/4

L:1/8

S:Siobháne Peoples

R:reel

D:Miltown Malbay Fiddle Class 1993

Z:Barney

K:Gdor

d2 cA GF DF  |(3GFG cG dG cG|Ad cA GF DF|Gg (3fga g3 a |

ba gf dc Ag|ag fd cA FA|G2 cG dG cG|1 Ad cA G4 :|

2 Ad cA G3 f||

~g3 a bg (3ggg|gb ag fd de|fa ge f2 cf|Af ag fd cA|

~g3 a bg (3 ggg|af ge fd cA|G2 cG dG cG|Ad cA G4:||

DG (3GGG Gd cA|G2 cG dG cG |DF (3FFF Fc AG|F2 cF dF cF|

DG (3GGG Gd cA|G2 cG dc c2|af ge fd cA |Fd cA G4 :||

                       


FIRST DAY OF SPRING. AKA and see "Hunter's Hornpipe [2]," "Reynard the Fox [1],” Village Green." Irish, Air (4/4 time). F Major. Standard tuning. One part. The melody has been rendered as a hornpipe (see “Hunter’s Hornpipe”). Source for notated version: “From (the Irish collector) Mr. Joyce” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 553, pg. 140.

X:1

T:First Day of Spring [1]

M:C
L:1/8

S:Stanford/Petrie (1905), No. 553

Z:AK/Fiddler’s Companion

K:F

cB | A2 FA c2 cd | _e2 dc d3c | f2 cB A2 FA | AG GA G2 GB |

cd ec fc cA | B2 GB A2 AG | FA cf dB GE | {G}F2 F>G F2 ||

 

FIRST DAY OF SPRING [2], THE.  Canadian, Hornpipe. Canada, New Brunswick. G Major. Standard tuning. AABB. Composed by Rogersville, New Brunswick, native Eddie Poirier. Cranford (Jerry Holland: The Second Collection), 2000; no. 186, pg. 70. Jerry Holland – “Crystal Clear” (2000).

                       

FIRST FAG OF THE MORNING. English, Jig. A Major. Standard tuning. AABB. A modern composition by R. Bazen. Knowles (A Northern Lass), 1995; pg. 23.

                       

FIRST FLIRTATION. American, Strathspey. Ryan’s Mammoth Collection, 1883; pg. 170.

 

FIRST GRANDCHILD, THE. Irish, Reel. D Dorian. Standard tuning. AABB. Composed by Bill Black to commemorate his friends’ new status. Black (Music’s the Very Best Thing), 1996; No. 99, pg. 51.

X:1

T: First Grandchild

C: © B. Black

Q: 350

R: reel

M: 4/4

L: 1/8

K: C

ad d2 edcA | Bege cAAG | EAcA FAdA | cBAB GEEF |

D2 FA d^cde | fdfg agfe | fdad ecgc | AcGE ED D2 :|

d2 cd AGFE | DEGA cG G2 | Ad (3dcd ad (3dcd | edAB c3 c |

d2 ^fd edfd | cdeg aecA | D2 ^FA D2 =FA | GcGE D4 :|

                       

FIRST HOUSE IN/OF CONNAUGHT, THE. Irish, Reel. Ireland, Counties Roscommon, Kilkenny. G Major. Standard tuning. AB (Flaherty): AABB (Allan's, Darley & McCall): AA’BB’ (Harker/Rafferty). See also "Downing's Reel," "Timothy Downing," "Mama's Pet [1]," "Peata Mamai [2]." The tune is favored by uilleann pipers. Sources for notated versions: a MS of Mr. James Corrigan (Clara, Co. Kilkenny, Ireland) [Darley & McCall]; piper and flute player Charlie Lavin (b. 1940, Cloonshanville, near Frenchpark, Co. Roscommon) [Flaherty]; set dance music recorded live at Na Píobairí Uilleann, mid-1980’s [Taylor]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Allan's Irish Fiddler, No. 38, pg. 9. Darley & McCall (Darley & McCall Collection of Traditional Irish Music), 1914; No. 43, pg. 18. Flaherty (Trip to Sligo), 1990; pg. 152. Harker (300 Tunes from Mike Rafferty), 2005; No. 31, pg. 10. Taylor (Music for the Sets: Yellow Book), 1995; pg. 23. Philo 1051, Boys of the Lough ‑ "Good Friends, Good Music" (1977). Wild Asparagus WA 003, Wild Asparagus - "Tone Roads" (1990). Topic TSCD 602, Moate Ceilidhe Band – “Irish Dance Music” (1995. A reissue of the 1945 original).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:First House in Connaught

L:1/8

M:C

K:G                                                                                                                                                                                               

|: DG~G2 AG~G2 | BGdG BGFG | DF~F2 AF~F2 | ABcA BGAF |

DG~G2 AG~G2 | BGdG BGFG | defg afdB | (3cBA FA G4 :|

|: g3a gede | gabg ageg | ~f2dg ~f2de | fgag bgaf |

~g3a gede | gabg ageg | defg afdB | (3cBA FA G4 :|

X:2

T:First House in Connaught, The

R:reel

S:Mike Rafferty

N:this is another good pipe tune

Z:Lesl and #54 John B. Walsh

M:C|

K:G

G2F2|:DG~G2 AG~G2|BGdG B2AF|DF~F2 AF~F2|A2cA BGAF|

DG~G2 AGG2|BGdG BGG2|defg agfd|1 cAFA G2GF:|2 cAFA G2Bd||

~g3a gfdg|g2bg ageg|~f2dg f2de|fgaf bgaf|

~g2ga gfdg|~g2bg age2|defg agfd|1 cAFA G2Bd:|2 cAFA G4||

                       

FIRST LIGHT OF DAY, THE. AKA and see “Bonaparte Crossing the Rhine [2],” “From Galway to Dublin (Town),” “Listowel Hornpipe.” Irish, Hornpipe. E Dorian. Standard. AABB. Source for notated version: from a recording by Johnny Cronin and Joe “Banjo” Burke [Black]. Black (Music’s the Very Best Thing), 1996; No. 93, pg. 48. Shanachie 29009, “Andy McGann and Paul Brady.”

X:1

T: First Light of Day

S: J. Cronin - J. Burke

Z: transcribed by B.Black

Q: 300

R: hornpipe

M: 4/4

L: 1/8

K: Edor

B,D | E3 F EDB,D | GFGB A2 GA | Bdgf edBA | GEEF D2 B,D |

E3 F EDB,D | GFGB A2 GA | Bdgf edBA | GEED E2 :|

Bd | efed BdBA | GABc d2 Bd | e3 d B3 A | GEEF D2 B,D |

E3 F EDB,D | GFGB A2 GA | Bdgf edBA | GEED E2 :|

                       

FIRST LOVE MAZURKA. American, Mazurka (3/4 time). G Major ('A', 'B', and 'C' parts) & C Major ('D' part). Standard tuning. AABBCCDD. Ford (Traditional Music in America), 1940; pg. 148.

                       

FIRST LOVE POLKA. American, Polka. B Flat Major. Standard tuning. AABB. Attributed to “Downing” by Howe, who may be referring to New York bandleader David L. Downing, a prominent Civil War era arranger of such pieces as “Dixie’s Land Medley Quick Step” (1861) and the “Kazoodie Ko Whirl Overture” (1852). Howe (1000 Jigs and Reels), c. 1867; pg. 50.

X:1

T:First Love Polka

M:2/4

L:1/8

R:Polka

C:Downing

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

Z:AK/Fiddler’s Companion

K:B_

F/G/F/z/ dd | d/e/d/z/ ff | (gA) A/G/A/z/ | (cB) d/G/F/z/ | F/G/F/z/ dd | d/e/d/z/ ff |

(gA) A/G/A/c/ | BB Bz :: (gB/)z/ (gB/)z/ | gg/a/ b/a/b/g/ | (fB/)z/ (fB/)z/ | fd/e/ f/=e/f/d/ |

(_eF/)z/ (_eF/)z/ | (dF/)z/ (dF/)z/ | cA/B/ c/=B/c/d/ | B A/B/ c/d/e/f/ | (gB/)z/ (gB/)z/ |

gg/a/ b/a/b/g/ | (fB/)z/ (fB/)z/ | fd/e/ f/=e/f/d/ | (_eF/)z/ (_eF/)z/ | (dF/)z/ (dF/)z/ |

cA/B/ c/B/c/d/ | B {c}A/B/ Bz :| 

                       

FIRST MONTH OF SPRING. Irish, American; Reel. D Major. Standard tuning. AABB. Alewine (Maid that Cut Off the Chicken’s Lips), 1987; pg. 17. Green Linnet SIF 0158, Matt Molloy & Sean Keane ‑ "Contentment is Wealth" (1985). Shanachie 78030, Danú – “Think Before You Think” (2000).

X:1

T:First Month of Spring

L:1/8

M:C|

K:D

fe|d(B {d}(3BAB) A2 FA|DAFA defe|d(B {d}(3BAB) A2 FA|

Beed egfe|d(B {d}(3BAB) A2 FA|DAFA defg|afge ~f3e|dBAB e2 fg:|

|:a(f {a}(3fef) afbf| a(f {a}(3fef) afef|a(f {a}(3fef) a2 af|egfe dBAf|

a(f {a}(3fef) afbf| a(f {a}(3fef) af e2| f(a {b}(3aga) f(b {c’}(3bab)|bafe ~f3e:|

                                      


FIRST MONTH OF SUMMER, THE (“An Cead Mi Samrad” or “An Chéad Mhi den tSamradh”). Irish, Reel. A Major (O'Neill): D Major (Flaherty): G Major (Mulvihill): A Major (Breathnach). Standard tuning. AB (Breathnach, Miller & Perron, Mulvihill, O'Neill/1850 & 1001): AAB (O'Neill/Krassen): AABB (Flaherty). A version of this tune is the old‑time "Grey Eagle." Flaherty's D Major variation could be considered a discrete version of this tune. New York fiddler Andy McGann famously recorded the tune in a set with “The Lads of Laois.” According to New York fiddler Paddy Reynolds (via Don Meade), it was fiddler (and later accordion player) John McGrath who came up with the superior setting of “First Month of Summer” recorded by McGann in 1965 on his record with Joe Burke. The setting has been a standard at sessions ever since. Sources for notated versions: fiddler Philip Duffy (b. 1966, London, now of Dublin) [Flaherty]; Liam Donnelly [Mulvihill]; fiddler and composer Brendan Tonra (originally from Doocastle, County Mayo, long resident of Boston, MA) [Breathnach]; Andy McGann (1928-2004) & Joe Burke [Miller & Perron]. Breathnach (CRÉ V), 1999; No. 148, pg. 74. Flaherty (Trip to Sligo), 1990; pg. 26. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 71. Mulvihill (1st Collection), 1986; No. 156, pg. 42. O'Neill (Krassen), 1976; pg. 98. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1214, pg. 229. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 491, pg. 94. Green Linnet SIF‑1110, Andy McGann ‑ "My Love is in America: The Boston College Irish Fiddle Festival" (1991). Shaskeen Records OS‑360, Andy McGann, Felix Dolan, Joe Burke ‑ "A Tribute to Michael Coleman" (c. 1965). Buttons and Bows – “The First Month of Summer.” “Seán McGuire – “From the Archives.”

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:First Month Of Summer

S:Limerick Junction

Z:Juergen.Gier@post.rwth‑aachen.de

L:1/8

M:4/4

K:G

BA | GEEE D2BD | D2BD GABA | GEEE DBBB | DEGA B2BA :|\

GBBB dBeB | dBBB e2eg | dBBd e2dB | BABG ABce |\

dBBB dBeB | dBBB e2ef | gfed edBd | cABG AcBA |]

X:2

T:First Month of Summer

M:C|

L:1/8

R:Reel

S:Brian Conway

Z:AK/Fiddler’s Companion

K:A

cB||A(F D)F E2 CE|A,ECE (3dcB c(B|A ~F3 E ~A,3|CEAB cdBc|

(3ABA FA E2 CE|A,ECE (3dcB cB|A ~F3 E ~A,3|CEAB (3cBA B(G||

A)c (3ccc e(cfc|e)cAc fe (3fga|ec (3ccc f(ce)(c|d2 c(d Bc)df|

e~c3 (3ABc f(c|e)(cA)c [d3f3] (g|{b}ag)fe {g}fedc|(3dcB {c}BA BdcB||

                                                              

FIRST NEW DUTCH SKIPPER, THE. English, Jig (6/4 time). D Major. Standard tuning. AABBCCDDEEFF. The melody appears in Walsh’s Third Collection (1730) of Lancashire tunes.

X:1

T:The First New Dutch Skipper

B: Walsh

M:6/4

L:1/8

K:D

D4 A2 F4 D2|D4 A2 F4 D2 | A2 B2 c2 d4 A2 | A2 B2 c2 d4 D2 | D4 A2 F4 D2 |\

D4 A2 F4 D2 | A2 B2 c2 d2 c2 B2 | E2 A2 ^G2 A6:: e4 e2 e4 c2 | d4 e2 f6 |\

e2 f2 g2 f6 | e2 f2 g2 f6 | g2 f2 e2 g2 f2 e2 | f2 e2 d2 c4 B2 | d4 A2 F4 B2 |\

A4 d2 c4 d2 | e4 e2 a2 g2 f2 | e2 f2 c2 d6 ::

M:6/8

K:F

dDE FED | dDE FED | def eag | fed e^cA | dDE FED | dDE FED | def edc | =BA^G A3::\

ABc cdc | cdA BAG| =Bcd ded | fed e^c A | afd e^cA |fed e^cA | agf efg | Ad ^c d2::\

K:D

A| dcd ABc | dAF D2 d | def eag| fed cBA | dcd ABc | dAc eAe | fed cBA | AEC A,2 ::\

e | ecA ecA | efg g2 f | efg gfe | dcB dcB | Bdf B/2c/2d/2e/2f | bfd B3 | FGA FGA |\

dAF GFE | GBe GBe | Bcd cBA | def ecA | def ecA | dcd ABC | eAF D3 :|

                                      

FIRST NIGHT. English, Country Dance Tune (6/8 time). E Minor. Standard tuning. AABB'BB'. Barnes (English Country Dance Tunes), 1986.

                                      

FIRST NIGHT IN AMERICA (An Cead Oidce Ann America). Irish, Double Jig. G Major. Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 33. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 851, pg. 158. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 112, pg. 34.

X:1

T:First Night in America, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 112

Z:AK/Fiddler’s Companion

K:G

D|GFG AFD|GFG Bcd|efg dBG|ABG AFD|GFG AFD|GFG Bcd|efg dBG|AGG G2:|

|:d|gfg efg|fag fed|gfg efg|afd d2 (3d/e/f/|g2e a2f|g2e dBG|c2A BGE|GAG G2:|

                                      

FIRST NIGHT IN LEADVILLE. AKA and see "Ross' Reel [1].” Old-Time, Breakdown. E Major. Standard tuning. AABB. The tune appears in the mid-19th century publications by Howe as “Ross’ Reel.” New York musician, writer and researcher Don Meade believes the tune was named for the Colorado mining boomtown. Similar in title is “The Last Night in Leadville.” Cole (1000 Fiddle Tunes), 1940; pg. 22. Ryan’s Mammoth Collection, 1883; pg. 47.

X:1

T:First Night in Leadville

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:E

E | .E(G/B/) .e(f/e/) | d/e/f/g/ .a(g/a/) | b/g/a/f/ g/e/f/d/ | B/a/g/f/ e/c/B/G/ | .E(G/B/) .e(g/e/) |

d/e/f/g/ .a(g/a/) | b/g/a/f/ g/e/f/d/ | B/a/g/f/ e :: .f/{c}.B/(3B/=A/B/ .g/{c}.B/(3B/=A/B/ |

e/f/g/a/ b/a/g/f/ | B/a/g/f/ e/c/B/G/ | E(G/B/) .e(f/e/) | d/e/f/g/ .a(g/a/) | b/g/a/f/ g/e/f/d/ | B/a/g/f/ e :|

                       

FIRST OF APRIL, THE. English, Country Dance Tune (6/8 time). A Major. Standard tuning. AABB. Published before 1730 according to Raven, though Barnes and Johnson date it c. 1773. Barnes (English Country Dance Tunes), 1986. S. Johnson (Twenty‑Eight Country Dances as Done at the New Boston Fair), vol. 8, 1988; pg. 4. Raven (English Country Dance Tunes), 1984; pg. 27.

                       

FIRST OF AUGUST. AKA and see "Glorious First of August," "The Weaver's March," "The Gallant Weaver," "Twenty-First of August," "Frisky Jenny," "The Tenth of June," "Come Jolly Bacchus," "Charles of Sweden," "The Liffey Banks." English. The title commemorates the accession of King George I, in 1714, according to Kidson (Groves), who believes Jones is wrong when he asserts it refers to the traditional date of the Britonnic Celtic festival of Lammas, one of the four great pagan festivals in the calendar year, or to the paying of Welsh tithes. The tune is sometimes claimed as Welsh, continued Kidson, as it was printed in that country in 1802 with the suggestion of antiquity, however, as “Frisky Jenny” the same melody appears in Playford’s Dancing Master of the mid-17th century and was long a favorite in England. The claim for Welsh provenance has no merit, according to Kidson (Groves), who believes that it is probably Swedish (see his article in The Musical Times, Sept. 1895, pg. 593). Samuel Bayard (in his article “A Miscellany of Tune Notes,” Studies in Folklore, pg. 171) finds “The First of August” in Edward Jones’s The Bardic Museum (London: 1802; the second volume of his Relicks), pg. 104 (referred to by Kidson, above), and in W. Bigley’s Sixty of the Most Admired, etc., pg. 41. He concludes it is “nothing but the once popular English ‘Come Jolly Bacchus’, or ‘Glorious First of August’”. The name “First of August” is also given to a Scots country dance.

                       

FIRST OF JUNE, THE (An Cead La Mi Meadon Samraid). Irish, Hornpipe. G Major. Standard. AABB. The date is that of an important British naval victory during the Napoleonic Wars. O'Neill (Krassen), 1976; pg. 174. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1600, pg. 297. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 844, pg. 146. Roche Collection, 1982, vol. 2; No. 23, pg. 18.

X:1

T:First of June, The

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 844

Z:AK/Fiddler’s Companion

K:G

B>c|d>dc>A (3ddd c>A|~G2 A>F G2 A>G|F>Af>e d>cE>F|G>gf>e (3ded (3cBA|

d>dc>A (3ddd c>A|G>gf>a g2g2|d>BG>E D>DE>F|G2g2g2:|

|:e>f|(3gag f>g e>Be>f|g>bf>g e2 f>g|a>ba>g f>ed>f|d>gf>e d2 e>f|

g>af>g e>fd>f|g>dB>G A>GE>F|G>BG>E D>DE>F|G2 g2 g2:|

                       

FIRST OF MARCH, THE (An Cead La {Na} Marta). Irish, Reel. G Major. Standard tuning. The first of March is St. David’s Day. David is the patron saint of Wales. AA'B (O'Neill/1850 & 1001): AABB' (O'Neill/Krassen). O'Neill (Krassen), 1976; pg. 125. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1357, pg. 253. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 611, pg. 111.

X:1

T:First of March, The

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 611

Z:AK/Fiddler’s Companion

K:G

{a}ge|d2 BG AGEF|G2 dG Bdge|d2 BG AGEA|1 Bdgd efge:|2 Bdgd e2||ef|

g2 gf gbag|fdad fdfa|g2 gf gbaf|gfed Beef|

g2 gf gbag|fdad fdfa|(3gab ag (3fga fe|BA (3Bcd efge||

                       


FIRST OF MAY [1], THE (An Cead La Bealteine). AKA and see “The Mayday Hornpipe.” Irish, English, Scottish; Hornpipe. A Dorian/Mixolydian (O’Neill/1915, Phillips, Raven, Taylor): A Mixolydian (Emmerson, Roche, Stanford/Petrie): A Major (Kerr, O'Neill/1850). Standard tuning. AB (Stanford/Petrie): AABB (Allans, Emmerson, O'Neill, Raven, Roche, Taylor): AA'BB' (Kerr, Phillips). The first of May was traditionally a day for romance and was important in ancient times as the date of the festival of La Bealtaine (the day of the mouth of the fire), one of the most important Celtic celebrations. During Bealtaine ceremonial fires would be lit on either side of a path and cattle driven up the middle to purify them for the coming year and to help protect them against disease and insure their health. Philippe Varlet says the tune was quite popular during the 78 RPM era and was recorded by Tom Ennis, Packie Dolan, and the Flanagan Brothers, among others. O'Neill (1913, pg. 132), Bayard (1981) and Emmerson (1971) all say this double hornpipe is either a derivative, a variant, or development from a common ancestor of the jig tune known as "Fagamaoid sud mar ata se" (Let Us Leave That As It Is), or "The Galbally Farmer," "Get Up Early," "The Rakes of Kildare," "The (Old) Barndoor Jig." The group Téada recorded the tune as “The Mayday Hornpipe.” Don Meade points out the melody was the air of several songs, including “The Little Skillet Pot.” See note for “Arthur’s Seat [2]" for another association to the first of May.

***

“The First of May” also shows up in Ireland as the first tune in a medley of flings called “The Four Provinces.”

***

The title is among those mentioned in Patrick J. McCall’s 1861 poem “The Dance at Marley,” the first three stanzas of which goes:

***

Murtagh Murphy’s barn was full to the door when the eve grew dull,
For Phelim Moore his beautiful new pipes had brought to charm them;
In the kitchen thronged the girls - cheeks of roses, teeth of pearls - 
Admiring bows and braids and curls, till Phelim’s notes alarm them.
Quick each maid her hat and shawl hung on dresser, bed, or wall,
Smoothed down her hair and smiled on all as she the bawnoge entered,
Where a shass of straw was laid on a ladder raised that made
A seat for them as still they stayed while dancers by them cantered.

***

Murtagh and his vanithee had their chairs brought in to see 
The heels and toes go fast and free, and fun and love and laughter;
In their sconces all alight shone the tallow candles bright - 
The flames kept jigging all the night, upleaping to each rafter!
The pipes, with noisy drumming sound, the lovers’ whispering sadly drowned,
So the couples took their ground - their hearts already dancing!
Merrily, with toe and heel, airily in jig and reel,
Fast in and out they whirl and wheel, all capering and prancing.

***

“Off She Goes,” “The Rocky Road,” “The Tipsy House,” and “Miss McLeod,”
“The Devil’s Dream,” and “Jig Polthogue,” “The Wind that Shakes the Barley,”
“The First o’May,” “The Garran Bwee,” “Tatther Jack Welsh,” “The River Lee,” - 
As lapping breakers from the sea the myriad tunes at Marley!
Reels of three and reels of four, hornpipes and jigs galore,
With singles, doubles held the floor in turn, without a bar low;
But when the fun and courting lulled, and the dancing somewhat dulled,
The door unhinged, the boys down pulled for “Follow me up to Carlow.”

***

Allan's Irish Fiddler, No. 98, pg. 25. Cole (1000 Fiddle Tunes), 1940; pg. 48 (reel setting). Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 96, pg. 168. Kerr (Merry Melodies), Vol. 4; No. 269, pg. 29. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 346, pg. 170. O'Neill (Krassen), 1976; pg. 199. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1708, pg. 318. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 899, pg. 154. O’Neill (1913), pg. 132. Phillips (Tradtional American Fiddle Tunes), Vol. 2, 1995; pg. 50. Raven (English Country Dance Tunes), 1984; pg. 159. Roche Collection, 1982, Vol. 2; No. 200, pg. 7. Ryan’s Mammoth Collection, 1883; pg. 76 (reel setting). Stanford/Petrie (Complete Collection), 1905; No. 404, pg. 102. Taylor (Where’s the Crack?), 1989; pg. 26. White’s Unique Collection, 1896; No. 49, pg. 9. Rounder 0215, James Bryan ‑ "The First of May" (198?).

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources  (Keyword Search for “First of May”)

Alan Ng’s Irishtune.info

X:1

T:First of May [1]

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 899

Z:AK/Fiddler’s Companion

K:A Dorian

AG|EAAB cBcA|dcde f2 ef|gedc dfed|cAGF G2G2|

EAAB cBcA|dcde f2 ef|gedc dfec|A2 AA A2:|

|:fg|a2 af g2 ge|fgfd e2 ed|cdef gfed|cAGF G2G2|

EAAB cBcA|dcde f2 ef|gedc dfec|A2 AA A2:|

 

FIRST OF MAY [2], THE. AKA and see "Rickett's Hornpipe."

 

FIRST OF MAY [3], THE. AKA and see “Gilderoy [2],” “The Little Beggarman,” “Red Haired Boy,” “The Red-Headed Irishman.” Irish, Reel. G Major/Mixolydian. Standard tuning. AABB. The tune is “The Red Haired Boy.” Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Mitchell (Dance Music of Willie Clancy), 1993; No. 115, pgs. 96-97.

 

FIRST OF MAY [4], THE. Irish, Polka. D Major. Standard tuning. AABB. Mallinson (100 Polkas), 1997; No. 62, pg. 23. Rose Murphy – “Milltown Lass.”

 

FIRST OF SEPTEMBER, THE. American, Reel or March. D Major. Standard tuning. AABB. In England and Scotland the first of September is celebrated as the opening day of partridge season, although this is not perhaps what is honored by the title. The “First of September” appears in Joshua Cushing’s Fifer’s Companion (pg. 69), published in Salem, Massachusetts, in 1805. Miller (Fiddler’s Throne), 2004; No. 338. Sweet (Fifer’s Delight), 1964/1981; pg. 73 (includes a harmony part).

X:1

T:First of September

M:2/4

L:1/8

R:March

S:Joshua Cushing – Fifer’s Companion (1805)

Z:AK/Fiddler’s Companion

K:D

dd dc/d/ | Ad Af | ed cB | A/G/A/B/ A2 | F/A/d/A/ F/A/d/A/ |

G/B/d/B/ G/B/d/B/ | A/B/A/G/ F/G/F/E/ | D2D2 :: a>b a/b/a/g/ | fd df |

gf ed | c/d/e/c/ A2 | a>b a/b/a/g/ | fd df | g/b/a/g/ f/e/d/c/ | d2d2 :|

 

FIRST OF SPRING, THE. Canadian, Jig. Canada, Cape Breton. G Major. Standard tuning. AABB. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 64.

 

FIRST PINT, THE.  Irish, Jig. Composed by Manchester fiddler Colin Farrell. Green Linnet GLCD  1211, Kevin Crawford – “In Good Company” (2001).

 

FIRST SLIP, THE. Irish, Slip Jig. G Major. Standard tuning. AAB (Mitchell): AABB (Sullivan). Named by Willie Clancy because it was the first slip jig he learned, taught to him by his father, flute player Gilbert Clancy. See the “Ride(ing) a Mile [2]” family of tunes. Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Mitchell (Dance Music of Willie Clancy), 1993; No. 30, pg. 45. Sullivan (Session Tunes), vol. 2; No. 41, pg. 17.

 

FIRST TIME AT THE LOOKING GLASS, THE. AKA and see "The sun has loos'd his weary teams," "The Winchester Christening," "The Hemp Dressers," "The Deil's awa wi the exciseman." The air appears under this title in Gay's Beggar's Opera, 1729.

 

FIRST TUESDAY IN AUTUMN, THE (An Chead Mhairt ‘e Fhomhar). AKA and see “Chead Mhairt Den Fhomhar.” Irish, Air. Ireland, Ulster. According to Ó Canainn (1978) this is one of the great songs of the northern tradition.

 

FIRST TWO GENTS. Cited as having commonly been played at Orange County, New York, country dances in the 1930's (Lettie Osborn, New York Folklore Quarterly).

 


FIRST WESTERN CHANGE. Canadian, Jig. G Major ('A' part) & D Major ('B' part). Standard tuning. AABB. The tune shares at least the first strain (which Bayard {1981} thinks is "rather old") with "Rustic Reel [1]," "Libby Prison Quickstep," "City Guards," "O Dear Mother, My Toes Are Sore [2]." Messer (Way Down East), 1948; No. 78. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 136, pg. 88. Apex AL 1613, "The Best of Don Messer and his Islanders, Vol. 6." F&W Records 1, "F&W String Band." Fretless Records 119, Rodney and Randy Miller‑‑ "Castles in the Air."

X: 1

T:First Western Change

R:jig

M:6/8

L:1/8

Z:Transcribed by Bruce Osborne

K:G

d|gba gfe|d2B GBd|d^cd F2d|d^cd GBd|

gba gfe|d2B GBd|d^cd DEF|G3 G2:|

K:D

A|AFA B2A|FGA f2f|g2f agf|ece a^ga|

AFA B2A|FGA f3|gfg ABc|d3 d2:|

 

FIRTH HOUSE, THE. Scottish, Hornpipe. B Flat Major. Standard tuning. AB. Anonymous. Hardie (Caledonian Companion), 1992; pg. 61. Henderson (Flowers of Scottish Melody), 1935. Kohler (Violin Repository), 1881‑1885.

 

FIRTH OF CROMORTIE, THE.  Scottish, Reel. E Minor. Standard tuning. AB. The melody appears 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. The Firth of Cromartie or Cromarty is formed from the Orron Water, a stream arising in the mountains of Ross-shire, which meets with other streams flowing from Loch Gillon and Loch Luichart, as it flows to the north-east. Dingwall lies at the head of the bay. Source for notated version: John & Andrew Gow’s Collection (c. 1792) [S. Johnson]. S. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 23.

X:1

T:Firth of Cromortie, The

M:C|

L:1/8

R:Reel

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

K:E Minor

B|G2 (BF) G(EE)G|FdAd FDAF|GBFB GEeg|afbf g(ee)B|G2 BF G(EE)G|

FdAd FDFD|EGFA GBAc|BGAF GEE||f|(a/g/f/e/ b)e Bege|defg afdf|

(a/g/f/e/ B)f gebg|B^dfa (geef)|(a/g/f/e/ b)e Bege|dadf AdFD|GBEe ^dfBa|(b/a/g) (a/g/f) gee||

 

FIRTH OF FORTH. Scottish, Highland Schottische. D Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 203, pg. 24.

X:1

T:Firth of Forth

M:C

L:1/8
R:Highland Schottische

S:Kerr – Merry Melodies, vol. 3, No. 203  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

A>Bd>e f>ed>A | (B<e) e>f g>f e2 | A>Bd>e f>ed>A | (B<d) A>G (F<D) D2 :|

|: a>fd>e f>ed>A | (B<e) e>f g>f e2 | a>fd>e f>ed>A | (A<d) A>G (F<D) D2 :|

 

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