The Fiddler’s Companion

© 1996-2009 Andrew Kuntz

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FISH - FIVE

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Notation Note: The tunes below are recorded in what is called “abc notation.” They can easily be converted to standard musical notation via highlighting with your cursor starting at “X:1” through to the end of the abc’s, then “cutting-and-pasting” the highlighted notation into one of the many abc conversion programs available, or at concertina.net’s incredibly handy “ABC Convert-A-Matic” at

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

 

**Please note that the abc’s in the Fiddler’s Companion work fine in most abc conversion programs. For example, I use abc2win and abcNavigator 2 with no problems whatsoever with direct cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s into the concertina.net converter results in double-spacing. For concertina.net’s conversion program to work you must remove the spaces between all the lines of abc notation, so that they are single-spaced, with no intervening blank lines. This being done, the F/C abc’s will convert to standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth it.   [AK]

 

 

 

FISH IN THE MILLPOND. Old‑Time, Breakdown. USA, North Carolina. D Major. Rounder 0128, The Backwoods Band ‑ "Jes' Fine" (1980. Learned from Gaither Carlton {N.C.}).

                       

FISH MONGERS SHOP. English. England, Northumberland. One of the "missing tunes" of William Vickers' 1770 Northumbrian dance tune manuscript.

                       

FISH ON A HOOK. AKA and see “Hook and Line.”

                       

FISHAMBLE JIG, THE. Irish, Jig. G Major (‘A’ part) & G Minor (‘B’ part). Standard. AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black, named for a small street near Dublin Castle famous for being the site of the first performance of Handel’s Messiah. Black (Music’s the Very Best Thing), 1996; No. 72, pg. 37.

X:1

T: Fishamble

C: © B. Black

Q: 300

R: jig

M: 6/8

L: 1/8

K: G

B | dBG ecA | fdc BAG | DGB EGc | FAd G2 e |

b2 g a2 e | fga gdc | BGB AEE | dAF G2 :|

K: Gm

d | ede c2 e | dcd B2 f | GAB cdc | dgg agg |

b2 g a2 f | gdc BGG | ABc d^cd | BGF G2 :|

                       

FISHER LAD, THE. English. England, Northumberland. Title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he published c. 1800.

 

FISHER LADDIE. AKA and see "The Fairy Dance." English, Country Dance Tune (2/2 time). England, northern England. A version of the Scottish reel “Fairy Dance” or “Fairy Reel [1].” Sharp (The Sword Dances of Northern England), iii, 11.

X:1

T:Fisher Laddie

T:Fairy Dance

B:Sharp – Sword Dances of Northern England

N:Transposed

M:2/2

L:1/8

K:D

F2fd f2fd|f2fe dcde|f2fd gfed|cdec d2d2|:

|:a2af b2b2|gefg a2a2|f2fd gfed|cdec d2d2:|

 

FISHERMAN, THE. AKA and see “Bit of Ginger,” “Fisherman’s Lilt [2],” “Joe Derrane’s Jig,” “The Lilting Fisherman,” “Lissalumna Fiddler,” “Paddy’s Resource [2].”

 

FISHERMAN'S BALL, THE. English, Jig. G Major. Standard. AABB. Raven (English Country Dance Tunes), 1984; pg. 126.

 

FISHERMAN'S FAVORITE. AKA and see "California Schottische," "Fred Wilson's Clog," "Fred Wilson's Hornpipe." Related to "Cincinatti Hornpipe [1]" and "Harvest Home [1]." New England, Reel. USA. D Major. Standard. AABB. Brody (Fiddler’s Fakebook), 1983; pg. 107. Front Hall 01, Fennigs All Stars‑ "The Hammered Dulcimer."

 

FISHERMANS' FROLIC (Lancashire) CLOG.  American, Clog. F Major. Standard. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 122. Ryan’s Mammoth Collection, 1883; pg. 160.

X:1

T:Fisherman’s Frolic

M:C

L:1/8

R:(Lancashire) Clog

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:F

(A>.B) | (c>.A)(F>.A) B>df>d | c>AF>A c>fa>f | {a}g>^fg>a b>cd>e | (3fag (3fed c2 A>B |

c>AF>A B>df>d | c>AF>A c>fa>f | {a}g>^fg>a b>Ad>e | f2a2f2 :|

|: (e>.f) | g>^fg>a b>cd>e | f>ef>g a>c=B>c | d>.gb>a g>fe>g | (3fag (3fed (3cdc (3BAG |

F>Ac>A B>df>d | c>Ac>f a>fc>f | g>ab>g e>cd>e | f2a2f2 :|

 

FISHERMAN'S FROLIC, THE (Mireog An T-Iasgaire). Irish, Jig. D Major. Standard. AABB. O'Neill (Krassen), 1976; pg. 61. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1047, pg. 196.

X:1

T:Fisherman’s Frolic, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Music of Ireland (1903), No. 1047

Z:AK/Fiddler’s Companion

K:D

A | Add d>cd | f>ee e2g | fed dfd | e>cA A2A | Add d>cd |

f>ee e2g | fed (f<a)A | ABc d2 :: a | afd dfa | agf g2a | afd dfd |

ecA A2 (B/c/) | dcd e^de | f^ef g2 (a/g/) | f>ed (f<a)A | ABc d2 :|

 

FISHERMAN'S HARVEST, THE. AKA – “Ed Reavy’s.” AKA and see “Fisherman’s Island.” Irish, Reel. D Major. Standard. AABB. The tune’s name is actually “Fisherman’s Island,” composed by Philadelphia fiddler Ed Reavy, mistakenly given in Flaherty’s Trip to Sligo under the “Harvest” title. Source for notated version: fiddler Philip Duffy (b. 1966, London, now residing in Dublin) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 28.  Green Linnet SIF 1126, “Deanta” (appears as first tune in “Flight of the Termites” set).

X:1

T:Fisherman's Harvest

T:Ed. Reavy's

T:Fisherman’s Island

D:Deanta No 1

Z:Transcribed by Dan Gjøske Petersen

R:Reel

M:C|

K:D

D2FA d3A|BAGB AF~F2|GEED EFGA|(3Bcd ed cAAg|

fd~d2 edce|d2cd BAGF|EFGA Bded|cAGE EDDE:|

fd~d2 AF~F2|DFAd f2ef|ge~e2 gfec|dfed cAGE|

DF~F2 Adcd|Bg~g2 edcB|Adfa gfed|cAGE EDD2:|

 


FISHERMAN’S HORNPIPE. AKA and see “Fisher’s Hornpipe.”

 

FISHERMAN'S ISLAND. AKA and see “Reavy’s.” Irish, Reel. D Major. Standard. AA’BB’. Composed by the late County Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988). The tune appears in Bernard Flaherty’s “Trip to Sligo” (1990) again under the title “Fisherman’s Harvest.” It is often called, as are many of his compositions, simply as "Reavy's." Source for notated version: fiddler Philip Duffy (b. 1966) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 35 (appears as “Unknown”). Reavy (The Collected Compositions of Ed Reavy), No. 38, pg. 40. Green Linnet SIF‑1110, Seamus Connolly ‑ "My Love is in America: The Boston College Irish Fiddle Festival" (1991). Green Linnet SIF 1126, “Déanta.” Shanachie 79044, Tommy Peoples – “The Iron Man” (appears as “Reavy’s”). “Sain SCD 1019, Déanta.” Tara 2006, “Noel Hill & Tony Linnane” (appears as “Reavy’s”).

X:1

T:Fisherman's Island

T:Fisherman’s Harvest

T:Ed Reavy’s

T:Reavy’s

R:reel

L:1/8

M:C|

K:D

“D”DEFA d2dA|”E7”BAGB “D”AFDF|GEED EFGA|”Em”(3Bcd ed “A”cAAg|

“D”fd~d2 “A”ecAc|”D”~d3A BAGF|”A”EFGA (3Bcd ed|1 cAGE EDCE:|2

cAGE “D”EDD2||

|:”D”fd~d2 AF~F2|DFAd f2ef|”G”gece “A”bece|”D”dfed “A”cAGE|

“D”DF~F2 Adfd|”G”Bg~g2 “A”edcB|”D”Adfa “Em”gbed|1 “A”cAGE “D”EDD2:|2 “A”cAGE EDCE||

X:2

T:The Fisherman's Island

R:Reel

C:Ed Reavy

M:2/2

L:1/8

Z:Joe Reavy

N:Ed believes that fishermen long to have their own island so

N:they can live surrounded by the sea they love.

N:This reel celebrates their quest for that elusive island home. It is

N:one of Ed's most popular compositions.

K:D

B, |: A,DFA d2 cd | BA^GB AFDF | (3GFD (3FED CDEF | GBed cBAg |

fd (3dcd edAc | dcdB AGFD | EFGA cded |1 cAGE FDEC :|2 cAGE FD E2 ||

|: fd (3ddd AF (3FEF | DFAd fdAf | gece bece | dfed cAGE | DF (3FEF Adfd |

Bg (3gfg edcB | Adfa gbed |1 cAGE FD D2 :|2 cAGE FDEC ||

                       

FISHERMAN'S JIG. AKA and see "The Barony Jig [1]," "The Green Gates [2]," "Redican's Mother," "Trealock Lauder." Irish, Slip Jig. B Minor. Standard tuning. AABB. Shanachie 79064, Matt Molloy - "The Heathery Breeze."

X:1

T:Fisherman's

M:9/8

L:1/8

R:Slip Jig

S:Matt Molloy - Heathery Breeze

K:Bm

FAA FAd AFD|FAA FAd B2A|FAA FAd AFD|EDB DFA B2A:|!

f3 faf edB|Aff fef gfe|f3 faf edB|AFE DFA B2A:|!

 

FISHERMAN'S LILT [1] (Streancán an Iascaire). AKA and see “Banks of the Inverness,” "Cunningham's Fancy," "Funny Eye(s)," “Halligan’s Fancy,” “Kerryman’s Daughter [1],” “Michael Coleman’s Dream,” "Molly what ails you?" "The Pretty Girls of the Village," "The Siege of Ennis [1]," "You're right my love." Irish, Reel. E Minor. Standard tuning. AB. Breathnach finds the ‘B’ part of “Fisherman’s Lilt” to be the same as that of  Old John’s Jig” (Port Shean tSeáin), and thinks the reel was derived from the jig.  The ‘A’ part of  “Fisherman’s Lilt” is similar to the ‘B’ part of “Lady Mary Lindsay” printed by Glen, who reprinted it from John Riddell’s collection of 1766. See also the related “Siege of Ennis.” “Funny Eye” is the title for the melody from a music broadsheet published by Hime in Dublin about 1810, while the “The Pretty Girls of the Village” title comes from Boston button-accordion player Jerry O’Brien’s Irish Folk Dance Music (178). O’Neill printed the tune as “Molly what ails you,” among other titles. County Sligo fiddle great Michael Coleman recorded the melody on a 78 RPM in New York (as “The Kerryman’s Daughter”), as did Sligo fiddler James Morrison in 1928 (as “Fisherman’s Lilt”). See also the related “Berkshire Heights.” Sources for notated versions: fiddler George Rowley/Seoirse Ó Roghallaigh (Ireland) [Breathnach]; piper Willie Clancy (1918-1973, Miltown Malbay, West Clare) [Mitchell].. Breathnach (CRÉ I), 1963; No. 126, pg. 51. Giblin (Collection of Traditional Irish Dance Music), 1928; 5. Lyth (Bowing Styles in Irish Fiddle Playing), 1981; 25 & 77. Mitchell (Dance Music of Willie Clancy), 1993; No. 10, pg. 34. Green Linnet GLCD 3013, Both Band – “Out of the Wind into the Sun” (1985). Shanachie 29012, Andy McGann, Joe Burke & Felix Dolan – “The Funny Reel” (1979). Shanachie 33004, James Morrison – “The Pure Genius of James Morrison” (1978). Shanachie 97011, Dan Ar Bras - "Irish Reels, Jigs, Airs and Hornpipes" (1990). Tara CD4011, Frankie Gavin – “Fierce Traditional” (2001).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Fisherman's Lilt  [1]

T:Molly, What Ails You?

R:reel

H:Also in C, #154. The second name is from O'Neill's

H:Also played as "The Kerryman's Fling", fling#4.

D:Bothy Band: Out of the Wind, Into the Sun

Z:id:hn-reel-206

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

M:C|

L:1/8

K:D

~A3F ABde|fedc dB~B2|AF~F2 ABde|1 fedc d2dB:|2 fedc d2de||

|:fa~a2 bafb|afef dB~B2|fa~a2 fb~b2|abc'a b2ba| fa~a2 bafb|afef dB~B2|

AF~F2 ABde|1 fedc d2de:|2 fedc d2dB||

 

FISHERMAN’S LILT [2]. AKA and see “Bit of Ginger,” “Joe Derrane’s Jig,”  Lilting Fisherman.” Irish, Jig. G Major. Standard tuning. AABB. Breathnach prints the tune in Ceol Rince na hÉirreann (vol. 3) as “Joe Derrane’s Jig,” a reference to Boston accordion player Joe Derrane who recorded the tune on a 78 RPM (with Jerry O’Brien) around 1950. McNulty (Dance Music of Ireland), 1965; pg. 18.

X:1

T:Fisherman’s Lilt [2]

M:6/8

L:1/8

R:Jig

K:G

B/c/|dBG GBd|gfg efg|dBG GFG|AFD cBA|

dBG GBd|~g3 efg|dBG FGA|BGF G2:|]

K:D

F/G/|ABA AFD|fgf f2 e|dfe dcB|AFF F2 G|

AFA AFA|BGB BAB|cde ABc|d3 d2:|]

 

FISHERMAN’S LILT [3]. AKA and see “Fisher’s Hornpipe.” American, Hornpipe. Green Linnet GLCD 3127, Sharon Shannon – “The Best of Sharon Shannon: Spellbound” (1999. Appears as first tune of “The Bungee Jumpers” medley).

 

FISHERMAN'S LILT HORNPIPE. Irish, American; Hornpipe. D Major. Standard tuning. AABB (Spandaro): AA'BB' (Alewine). Alewine (Maid that Cut Off the Chicken’s Lips), 1987; pg. 18. Spandaro (10 Cents a Dance), 1980; pg. 4. Shanachie 79009, "Planxty."

X:1

T:Fisherman’s Lilt Hornpipe

M:4/4

L:1/8

K:D

|:(3ABc|dAFA GBAG|FEFA dFGE|(3FFA dc dcBA|BGEF GABc|

dAFA GBAG|FEFA dFGE|(3FFA df gecd|(3efe de d2:|

|:g2|fddc dfaf|edcd efge|fAdc dfaf|(3gfe (3dcB ADFA|

BGGG BG (3Bcd|AF (3ABc defd|AAfd Bgec|dfed d2:|

 

FISHERMAN'S REEL. AKA and see "Reel Du Pecheur."

 

FISHERMAN'S SONG, THE (Abran Iasgadoire). Irish, Air (3/8 time, "tenderly"). D Mixolydian. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 604, pg. 106.

X:1

T:Fisherman’s Song, The

M:3/8

L:1/8

R:Air

N:”Tenderly”

S:O’Neill – Music of Ireland (1903), No. 604

Z:AK/Fiddler’s Companion

K:D

A|dd d/e/|fe d/>c/|AG A/>B/|=c3 A/^c/|dd (3e/f/g/|fe d/c/|AG/E/ D/>E/|D2||

F/G/|AB =c/B/|A/F/ D F/>G/|A/B/ =cB|A2 (3A/B/c/|dd (3e/f/g/|fe d/c/| AG/E/ D/>E/|D2||

 

FISHERMAN'S SONG FOR ATTRACTING THE SEALS, THE. Scottish, Air (6/8 time). Scotland, north Highlands. G Major. Standard tuning. AAB. Johnson (The Kitchen Musician's No. 10: Airs & Melodies of Scotland's Past), vol. 10, 1992 (revised 2001); pg. 5. Rev. P. McDonald (A Collection of Highland Vocal Airs), 1784; No. 46. Iona IR002, Ossian ‑ "Seal Song" (1981).

 


FISHERMAN'S WIDOW, THE (Baintreabac An Iasgaire). AKA and see “Baxter’s Big,” “The Friendly Neighbor,” “The Rambling Pitchfork,” “St. Patricks Day in the Evening.” Irish, Double Jig. D Major. Standard tuning. AABB (Mulvihill, O'Neill/Krassen & 1915): AABB' (O'Neill/1850 & 1001, Plain Brown). The tune usually goes by the title “Rambling Pitchfork” today. Sources for notated versions: Francis O'Neill learned the tune from an accomplished West Clare flute player (and Chicago police patrolman) named Patrick "Big Pat" O'Mahony, a man of prodigious physique of whom he said: "the 'swing' of his execution was perfect, but instead of 'beating time' with his foot on the floor like most musicians he was never so much at ease as when seated in a chair tilted back against a wall, while both feet swung rhythmically like a double pendulum" [O'Neill, Irish Folk Music]; a tape of the Birmingham grandfather of editor Tony Doyle, c. late 1960’s, playing the melodeon [Plain Brown]. Mulvihill (1st Collection), 1986; No. 7, pg. 66. O'Neill (O’Neill’s Irish Music), 1915; No. 179, pg. 98. O'Neill (Krassen), 1976; pg. 43. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 931, pg. 173. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 163, pg. 41. Plain Brown Tune Book, 1997; pg. 25.

X:1

T:Fisherman’s Widow, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 163

Z:AK/Fiddler’s Companion

K:D

F2G AFA|dcA AGF|G3 ABc|ded cAG|F2G AFA|dcA AGF|

GFG ABG|AFD D3:||:d2e f2d|dcA ABc|d2e f2g|afd dcA|1 d2e f2d|

ecA AGF|GFG ABG|AFD D3:|2 afa geg|fed cAF|G2A BAG|AFD D3||

                                   

FISHER’S FANCY. Irish, Reel. A reel named by O’Neill (1913) in a tale of piper John Hicks, a Kildare piper who emigrated to America around 1850. Hicks made his living playing in cities around the country and one season, while playing in Chicago, he was invited to a pub by a fiddler named Patsy Kilroy. The piper played so well that Kilroy became jealous and regretted his sponsorship of the piper. They were playing “Fisher’s Fancy” together “when in comes Bill Thompson, the local blacksmith and farrier. Bill, who was as fine a specimen of the Irish peasant as I ever laid eyes on, listened patiently while the musicians played a few rounds of the tune. Placing his brawny hand on Kilroy’s shoulder, he softly said, ‘Put up that washstaff avic and let the man play the pipes.”

                                   

FISHER'S FOY, DA. Shetland. Composed by fiddler/composer Gideon Stove. Great Meadow Music GMM 2003, “Rodney Miller’s Airdance” (2000).

                                   

FISHER'S FROLIC. English, Reel. D Major. Standard tuning. AAB. Raven (English Country Dance Tunes), 1984; pg. 161.

                                   


FISHER'S HORNPIPE (Crannciuil {Ui} Fishuir). AKA "The Fisher's," “Fisherman’s Hornpipe.” AKA and see "The Blacksmith's Hornpipe [1]" (Ireland {Joyce}), “Blanchard’s Hornpipe [2],” "China Orange Hornpipe," "Egg Hornpipe," “Fisherman’s Lilt [3],” "The First of May [2]," “Kelly’s Hornpipe [3],” "Lord Howe's Hornpipe," "O'Dwyer's Hornpipe [2],” "Peckhover Walk Hornpipe," "Sailor's Hornpipe [2],” "Wigs on the Green" (Ireland {Roche}), “Y Dynwr.” English, Irish, Scottish, Shetlands, Canadian, Old‑Time, Texas Style, Bluegrass; Hornpipe, Reel, Breakdown. USA & Canada, widely known. D Major {most modern versions}: C Major (Howe): G Major {often in the Galax, Va. area, also Bayard's version collected in Prince Edward Island}: A Major (Mississippi fiddler Charles Long, Plain Brown): F Major {Burchenal, Cranford, Hart & Sandell, Honeyman, Linscott, Miller & Perron, Miskoe & Paul, Perlman, Raven, Phillips/1995, Welling}. Standard or ADad tunings. AB (Howe): AABB (most versions): AA’BB (Perlman): AA'BB' (Hart & Sandell, Miskoe & Paul). On the subject of the title, several writers have posited various speculations on who the 'Fisher' might have been. Charles Wolfe, among others, believes it was originally a classical composition by German composer Johann Christian Fischer (1733‑1800), a friend of Mozart's, which thought Samuel Bayard (1981) concurs, noting the tune goes back to latter 18th century England where it was composed by "J. Fishar" (presumably the same as Wolfe’s Johann Christian Fischer) and "published in 1780" (Most of the alternate titles he gives {and which appear above} are "floaters"). Scholars Van Cleef and Keller (1980) identify the composer as one James A. Fishar, a dancer, musical director and ballet master at Covent Garden during the 1770's, and note it is included as "Hornpipe #1" in J. Fishar's (presumably James A. Fishar's) Sixteen Cotillons Sixteen Minuets Twelve Allemands and Twelve Hornpipes (John Rutherford, London, 1778). It has also been attributed to “18th century English fiddle player J.W. Fisher” [Callaghan, 2007]. A few years later the melody appeared in England under the title "Lord Howe's Hornpipe" in Longman and Broderip's 5th Selection of the Most Admired Dances, Reels, Minuets and Cotillions (London, c. 1784). McGlashan printed it about the same time in his Collection of Scots Measures (c. 1780, pg. 34) under the title “Danc’d by Aldridge,” a reference to the famous stage dancer and pantomimist Robert Aldridge, a popular performer in the 1760’s and 1770’s. Although it is known in Europe as a hornpipe, it has also been played as a reel for dancing the Shetland Reel in Scotland's Shetland Islands. Linscott (1939) thinks the melody resembles an "ancient" Irish folk tune known as "Roger MacMum," implying it might have been derived from that source. There are stylistic similarities, to be sure, although “Roger” is a distinct melody from “Fisher’s.”

***

Many older versions are in the key of ‘F’ major, although Joseph Kershaw’s in his fiddler’s manuscript (from North West England) noted it in ‘D’. “Fisher’s” appears in numerous musician’s manuscript books from the late 18th century on (see Ann Winnington’s music book—Winnington was born in America, but was a resident of England). In Lincolnshire musician Joshua Gibbons 1823-26 manuscript the tune is entered under the title “The Egg Hornpipe,” perhaps after the practice of some stage hornpipe dancers to strew the stage with eggs and to dance among them without breaking any, to demonstrate skill and control. It was one of the most frequently noted tunes in English musicians’ manuscripts, appearing in the Watson, Burnett, Green, Ellis Knowles, Harrison, Mittel, Clare, Lambert, Miller, Owen, Spencer, Tildesley, Clarke, Leadley, Lister and J. Moore, as well as the aforementioned Winnington, Kershaw and Gibbons [Callaghan, 2007].

***

The tune became widely popular in a short span of time. It was already known as "Fisher's Hornpipe" in both England and the newly independent United States when it was written out by the American John Greenwood in his copybook for the German flute of c. 1783. Another 18th century American publication, a 1796 collection entitled An Evening Amusement for German Flute and Violin, was printed in Philadelphia by Benjamin and Joseph Carr and contains the hornpipe set in 'D' Major. An American country dance was composed to the tune and first appeared in this country in John Griffith's Collection, a Rhode Island publication of 1788. Both dance and tune became American classics and entered traditional repertory throughout the county. A fiddler with the Moses Cleaveland surveying party (the city of Cleveland, Ohio, is named after him) is recorded as having played "Fisher's" during an impromptu dance on the first evening the party camped on the banks of the Cuyahoga river, as recorded in the diary of a surveyor with the party. It was one of the most widely known fiddle tunes and, along with "Rickett's Hornpipe," the most popular hornpipe played in the Southern Appalachians (although as time went on hornpipes were not generally dropped from the repertoire, certainly as an accompaniment for dancing, but "Fishers" remained in the repertoire as a fiddler's tune which was frequently played when a few musicians would get together for their own enjoyment). The tune retained its popularity, and Jim Kimball states that both "Fishers" and "Ricketts" (along with "Devil's Dream" and "Soldier's Joy") were favorite tunes for the last figure of square dances in western New York state into the early 20th century.

***

Around the Galax, Va., region quite a few fiddlers, like Charlie Higgins, Emmett Lundy and John Rector, played 'Fisher's' in the key of 'G' Major. Harvey Sampson played “Fisher’s” in ‘G’, but also in GDgd tuning! Tommy Jarrell, of nearby Mt. Airy, N.C., plays the tune in 'D' Major, as did his father, Ben Jarrell, though the tune usually appears in 'F' Major in early collections (the earliest American appearance, John Greenwood's flute MS of 1783, has the tune in 'G,' however). 'F' major renditions are still common (along with 'D' Major versions) among fiddlers in central and north Missouri-- though relatively rare in the Ozarks region of the state--perhaps because of the because of the influence of the old town orchestras or brass bands (with flat-keyed wind instruments), radio broadcasts from Canadian fiddlers, and local classically trained music professors. Despite the seeming prevalence of the hornpipe set in 'F' major in early publications, Jim Kimball finds that the John Carroll manuscript collection, copied before 1804, gives "Fisher's" in the key of D Major, as does the John Studderd manuscript, c. 1808-1815, and the John Seely manuscript, c. 1819-1830 (Carroll was an Irish-American military musician stationed at Fort Niagara at the time he wrote his manuscript who apparently played both fife and fiddle; Studderd was a native of England prior to emigrating to western New York state in the 1820's; Seely, according to family history, was a fiddler who lived in western New York state for whom "Fishers" was a favorite tune). “Fisher’s Hornpipe” was one of the tunes recorded for the Library of Congress on 78 RPM from the playing of fiddler Patrick Bonner of Beaver Island, Michigan. Bonner was the youngest son of immigrants from Arranmore Island, County Donegal (the island was destination for a number of  Arranmore families), and the Donegal fiddle tradition can be heard in his playing.

***

The title "Fisher's Hornpipe" has been mentioned frequently in periodicals and other printed sources in America over the years. For example, it was recorded as having been one of the category tunes at the 1899 Gallatin, Tenn., fiddlers contest; each fiddler would play his version of the tune, with the best rendition winning a prize (C. Wolfe, The Devil's Box, vol. 14, No. 4, 12/1/80). Similarly, it was listed in the Fayette Northwest Alabamian of 8/29/1929 as one of the tunes likely to be played by local fiddlers at an upcoming convention (Cauthen, 1990). The old Raleigh (N.C.) News and Observer recorded the tune as being in the repertoire list of fiddler S.S. Ransdell (Louisburg, Granville County, N.C.), who competed in the 1906 fiddler’s contest held in Raleigh. Moving north, another citation stated it had commonly been played for country dances in Orange County, New York, in the 1930's (Lettie Osborn, New York Folklore Quarterly), while Burchenal (1918) printed a dance from New England of the same name to the tune. A Report of the Celebration Held in August 1914 for the 150th Anniversary of the Town of Lancaster (N.H.) gives the title as one of the tunes and dances performed at a cotillion that month. The title appears in a list of Maine fiddler Mellie Dunham's repertoire (Dunham was Henry Ford's champion fiddler in the late 1920's), and was played by Uncle Jimmy Thompson (1848‑1931) {Texas, Tenn.}, and Buffalo Valley, Pa. dance fiddler Harry Daddario. It was also in the repertoire of West Virginia fiddler Edden Hammons. In the South and Midwest the tune was recorded for the Library of Congress from the playing of Ozark Mountain fiddlers in the early 1940's by musicologist/folklorist Vance Randolph, and (by Herbert Halpert) from the playing of Mississippi fiddlers Charles Long and Stephen B. Tucker in 1939. Arizona fiddler Kenner C. Kartchner related that it, in modern times, it was "played often at (the) Weiser (Idaho) annual (fiddle) contest" (Shumway), to which Louie Attebery (1979) concurs, calling it part of the "standard fare" of many fiddlers at that festival and contest. The great Georgia old-time fiddler Clayton McMichen recorded the tune on a 78 RPM, writes Joel Shimberg, played through once in each of three or four keys (including F, D, and G). Seattle fiddler and musicologist Vivian Williams writes: "’Fisher’s Hornpipe’ was played by fiddler Jake Lake (originally from Cook County, Illinois) at the wedding of Henry Van Asselt and Catherine Jane Maple in a cabin on the Duwamish River, near Seattle, on Christmas Day, 1862, according to an account written by the bride's brother, John Wesley Maple.  Other tunes played at that wedding:  ‘’The Unfortunate Dog’, ‘Devil’s Dream, ‘The King's Head’, ‘Gal on a Log’, ‘Arkansas Traveller’.”

***

British Columbia collector Gibbons (1982) notes it has been "a traditional dance melody familiar to fiddlers throughout Canada,” while Ken Perlman (1996) notes it has status as one of the “good old tunes” played by Prince Edward Island fiddlers. A version was in the repertoire of fiddler André Alain (1931-2000) of St-Basile-de-Portneuf, near Québec City (whose ‘A’ part was nine measures long), and it has been recorded by Louis Boudreault and the group La Bottine Souriante. Anne Lederman, in her article on “Fiddling” in the Encyclopedia of Music in Canada (1992), remarks that “Fisher’s Hornpipe” was the vehicle for the dance La Double gigue, popular in the Canadian fur-trade of the 18th and 19th centuries.

***

See also "Miss Thompson's Reel," which particularly resembles the "Fisher's" in it's second section.

***

Sources for notated versions: Edson Cole (Freedom, N.H.) [Linscott]: Frank George (W.Va.) [Krassen]; Frank Lowery (Prince George, British Columbia) [Gibbons]; Lorin Simmonds (Prince Edward Island, 1944) [Bayard, 1981]; Carr, Evening Amusement (Phila., 1796) [Mattson & Walz]; transplanted French-Canadian fiddler Omer Marcoux {1898-1982} (Concord, N.H.), who learned the tune when young in Quebec [Miskoe & Paul]; Andre Alain (Portneuf, Québec) [Hart & Sandell]; 6 southwestern Pa. fiddlers and fifers [Bayard, 1981]; Ruthie Dornfeld and Major Franklin (Texas) [Phillips/1995 {two different versions}]; accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border), recorded in recital at Na Piobairi Uilleann, February, 1981 [Moylan]; Dennis Pitre (b. 1941, St. Felix, West Prince County, Prince Edward Island) [Perlman]; Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]; set dance music recorded at Na Píobairí Uilleann, in the 1980’s [Taylor]; appears as an untitled hornpipe in a c. 1847 music manuscript by Ellis Knowles, a musician from Radcliffe, Lancashire, England [Plain Brown Tune Book]; Source for notated version:  the music manuscript of Joseph Kershaw, a musician from Slackcote, Saddleworth, North West England who began his entries around the year 1820 [Kershaw]. Allan's (Allan's Irish Fiddler), No. 105, pg. 27. Bayard (Dance to the Fiddle), 1981; No. 345, pgs. 332‑334 and Appendix No. 3, pg. 573. Brody (Fiddler’s Fakebook), 1983; pg. 107. Burchenal (American Country Dances, vol. 1), 1918; pg. 47. R.P. Callaghan (Hardcore English), 2007; pg. 17. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; pg. 57. Cole (1000 Fiddle Tunes), 1940; pg. 95. Craig (The Empire Collection of Hornpipes), c. 1890’s; pg. 3. Cranford (Fitzgerald), 1997; No. 45, pg. 17. Ford (Traditional American Fiddle Tunes), 1940; pg. 39. Gibbons (As It Comes: Folk Fiddling From Prince George, British Columbia), 1982; No. 6, pgs. 18‑19. Hart & Sandell (Dance ce Soir), 2001; No. 1, pg. 39. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 40 (two versions, one in Newcastle and Sand Dance style, on in Sailor's style). Howe (Complete Preceptor for the Accordeon), 1843; pg. 10. Jarman, Old Time Fiddlin' Tunes; No. 20, pg. 67. Johnson (A Further Collection of Dances, Marches, Minuetts and Duetts of the Latter 18th Century), 1998; pg. 14. Johnson  & Luken (Twenty‑Eight Country Dances as Done at the New Boston Fair), vol. 8, 1988; pg. 4. Joyce (Old Irish Folk Music and Song), 1909; No. 103. Joseph Kershaw Manuscript, 1993; No. 70. Krassen (Appalachian Fiddle), 1973; pg. 79. Kerr (Merry Melodies), vol. 1; No. 3, pg. 42. Linscott (Folk Music of Old New England), 1939; pg. 77. Martin (Traditional Scottish Fiddling), 2002; pg. 56. Martin & Hughes (Ho-ro-ghedllaedh), 1990; pg. 44. Mattson & Walz (Old Fort Snelling/Fife), 1974; pg. 60. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 117. Miskoe & Paul (Omer Marcoux), 1994; pg. 31. Mitchell (Dance Music of Willie Clancy), 1983; pg. 98 (appears as untitled hornpipe). Moylan (Johnny O’Leary), 1994; No. 63, pg. 36. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 351, pg. 171. O'Neill (Krassen), 1976; pg. 168. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; Nos. 1575 & 1576, pg. 292. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 825, pg. 143. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 117. Phillips, 1989 (Fiddlecase Tunebook: Old‑Time); pg. 19. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pgs. 1992-193. Plain Brown Tune Book, 1997; pg. 41. Raven (English Country Dance Tunes), 1984; pg. 163. Reiner (Anthology of Fiddle Styles), 1977; pg. 26. Roche Collection, vol. 3, No. 181. Ruth (Pioneer Western Folk Tunes), 1948; No. 23, pg. 10. Ryan’s Mammoth Collection, 1883; pg. 130. Spandaro (10 Cents a Dance), 1980; pg. 10. Stewart-Robertson (The Athole Collection), 1884; pg. 297. Sweet (Fifer’s Delight), 1964/1981; pg. 42. Taylor (Music for the Sets: Yellow Book), 1995; pg. 14. Welling (Welling’s Hartford Tunebook), 1976; pg. 20. White’s Unique Collection, 1986; No. 94, pg. 17. Wilson (Companion to the Ballroom), 1816. Alcazar Dance Series FR 204, "New England Chestnuts" (1981). Breton Books and Records BOC 1HO, Winston “Scotty” Fitzgerald - “Classic Cuts” (reissue of Celtic Records CX 17). Caney Mountain CEP 212 (privately issued extended play album), Lonnie Robertson (Mo.), 1965‑66. Claddagh CC5, Denis Murphy & Julia Clifford - “The Star Above the Garter” (appears as “Fisherman’s Hornpipe”). County 405, "The Hill‑Billies." County 707, Major Franklin‑ "Texas Fiddle Favorites." County 756, Tommy Jarrell‑ "Sail Away Ladies" (1986. The only time Tommy's famous fiddling father, Ben Jarrell {who took no active part in his musical education and rarely commented on his son's efforts}, praised his playing in front of him was after hearing the younger fiddler play the tune, remarking "By gawd, that's the best I've ever heard "Fisher's Hornpipe" played"). Document 8039, “The Hill Billies/Al Hopkins and His Buckle Busters: Compoete Recorded Works in Chronological Order, Vol. 1” (reissue). Elektra EKS 7285, The Dillards with Byron Berline‑ "Pickin' and Fiddlin.'" F&W Records 4, "The Canterbury Country Orchestra Meets the F&W String Band." Folkways FA 2381, "The Hammered Dulcimer as played by Chet Parker" (1966). Folkways FG 3531, Jean Carignan‑ "Old Time Fiddle Tunes" (1968). Fretless 101, "The Campbell Family: Champion Fiddlers." Gourd Music 110, Barry Phillips – “The World Turned Upside Down” (1992). North Star NS0038, "The Village Green: Dance Music of Old Sturbridge Village." Rounder 0035, Fuzzy Mountain String Band‑ "Summer Oaks and Porch" (1973). Rounder 0436, Art Galbraith – “Traditional Fiddle Music of the Ozarks, vol. 2: On the Springfield Plain.” Rounder 7004, Joe Cormier‑ "The Dances Down Home" (1977). Rounder CD1518, Various Performers – “American Fiddle Tunes” (1971. Played by Patrick Bonner). Smithsonian Folkways SFW CD 40126, Northern Spy – “Choose Your Partners!: Contra Dance & Square Dance Music of New Hampshire” (1999). Topic 12T309, Padraig O’Keeffe, Denis Murphy & Julia Clifford - “Kerry Fiddles” (appears as “Fisherman’s Hornpipe”). Edden Hammons Collection, Disc 2. Louis Boudreault – “Portrait du vieux Kébec, vol. 12.” La Bottine Souriante – “Tout comme au jour de l’an.” Manigance – “Album souvenier, vol. 1.” André Alain: Violoneux de St-Basile-de-Portneuf.”

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Fisher’s Hornpipe

L:1/8

M:C|

K:F

|:c2|fc Ac Bd cB|Ac Ac Bd cB|Ac Fc Bd Gd|Ac FA G2 (3cde|

fc Ac Bd cB|Ac Fc Bd cB|AB cd ef ge|f2a2f2:|

|:ef|ge ce ge bg|af cf af ba|ge ce ga ba|gf ed c2 Bc|

dB FB dB fd|cA FA cA fc|df ed cB AG|F2A2F2:|

X:2

T:Fishers

M:C|

L:1/8

R:Hornpipe

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

Z:AK/Fiddler’s Companion

K:D

dc|dAFA GBAG|FAFA GBAG|FDFD GEGE|FDFD E2 dc|dAFA GBAG|

FAFA GBAG|FAdf gedc|d2 d2 d2:||:cd|ecAc ecge|fdAd fdaf|ecAc ecgf|

edcB A3A|BGDG BGdB|AFDF AFdA|BdcB AGFE|D2 D2 D2:|

 

FISHER'S RANT [1], THE. AKA and see “Drumnagarry.” Scottish, Strathspey. G Major. Standard tuning. AB (Kerr): AA'B (Athole, Skinner). J. Scott Skinner (1904) attributes the melody to J. Hardy. He notes: “The late John Strachan…”Drumnagarrow,” is said to have had a hand in this tune.” Kerr (Merry Melodies), vol. 2; No. 124, pg. 15. Skinner (Harp and Claymore), 1904; pg. 56. Stewart-Robertson (The Athole Collection), 1884; pg. 169.

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

Alan Ng’s Irishtune.info

X:1

T:Fisher’s Rant, The

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:G

F|:G>D C/B,/A,/G,/ B,<D D>G|E>A,F>A, G>A,F>A,|

G>D C/B,/A,/G,/ B,<D D>G|1 (3EFG (3ABc (3BAG (3FED:|2

E>A G/F/E/D/ G2G||

B|d>BA>G g>dB>G|(3cec (3BdB A>Bc>e|d>BA>G g>dB>G|

(3ced (3cBA (3GDC (3 B,A,G,|d>BA>G g>d B<G|(3cec (3BdB A>Bc>e|

(3dcB (3ABF (3GFE (3DCB,|(3CDE (3DEF (3GDC (3B,A,G,||

 

FISHER'S RANT [2], THE. AKA and see “The Lasses of Ancrum.” Scottish, The tune appears in the Calvert Collection (1799), a collection of Scottish tunes by Thomas Calvert, a musician who lived in Kelso. A note with the collection states that Calvert supplied “a variety of music and instruments, instruments lent out, tun’d and repaired.”

X: 1

T:The Fishers Rant or the Lasses of Ancrum

M:4/4

L:1/8

Q:90

B:Calvert Collection Page 22

Z:P Whittaker 2001

K:D Minor

c | A<dd>c Ac/2d/2 d<e | c>def g/2f/2e/2d/2 ce

| A<dd>c Ad2 c/2A/2 | {A} B>GA>F D/2D/2 DD ||

c | f>g a/2g/2f/2e/2 fdec | A>B AGF>G Ac

| f>g a/2g/2f/2e/2 fd e c/2A/2 | {A}B>GA>F D/2D/2 DDc

| f>g a/2g/2f/2e/2 fdec | A>B AGF>G Ag

| a>fg>e f>de>c | {A} B>GA>F D/2D/2 DD ||

 

FISHERS' REEL O' BUCKIE, THE. Scottish, Reel. A Major. Standard tuning. AAB. Composed by blind musician Hing Inner of Sutherlandshire. A note in Walker says "this reel inserted by request as it was the subject of some discussion in the Banffshire Journal in 1864 and was never before published." Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 26, pg. 10.

 

FISHER’S WEDDING. Scottish (originally), Canadian; Reel. Canada; Cape Breton, Prince Edward Island. F Major. Standard tuning. AB (Surenne): AABB (Kerr, Perlman, Stewart-Robertson): AABB’ (Cranford/Fitzgerald). Sources for notated versions: Kenny Chaisson (b.c. 1947, Bear River, North-East Kings County, Prince Edward Island; now resident of Rollo Bay) [Perlman]: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 156, pg. 62. Kerr (Merry Melodies), vol. 3; No. 162, pg. 19. Lowe (A Collection of Reels and Strathspeys), 1844. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 117. Stewart-Robertson (The Athole Collection), 1884; pg. 216. Surenne (Dance Music of Scotland), 1852; pg. 112. Culburnie COL 102, Alasdair Fraser & Jody Stecher – “The Driven Bow” (1988).

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources  (Keyword Search for “Fisher’s Wedding”)

X:1

T:Fisher’s Wedding, The

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:F

A|~F2 Ac dcAc|dFcF AGGA|~F2 Ac dcde|fgag ~f2f:|

|:e|fc ~c2 dBAB|cfba gfed|cfag ~fdcA|BgcA F/F/F ~F:|

 

FISHING CREEK BLUES. Old-time. Composed by fiddler Tracey Schwartz. E Major.

 

FISHING FOR EELS (Ag Iasgaireacd Aor Easgaide). AKA and see "Bobbing for Eels," "Jug of Punch [5]," "The Bottle of Punch [5]," “The Dairymaid [6],” "Jackson's Bottle of Brandy," "The Butchers of Bristol [1]", "The Old Man's Jig," "Pay the Reckoning," "Ioc an Reicneail." Irish, Jig. G Major. Standard. AABB. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 1006, pg. 187.

X:1

T:Pay the Reckoning

T:Jackson's Bottle of Brandy

T:Fishing for Eels

B:Breathnach's "Ceol Rince na hÉireann" I:19

S:Seán Potts, pipes

Z:transcribed by Paul de Grae

M:6/8

L:1/8

K:G

G2e dBG|{c}BAB dBG|G2e dBG|{B}AGA BGD|

G2e dBG|{c}BAB deg|age dBG|{B}AGA BGD:|

|:gag f2 f|ede def|{a}gfg efg|aga bge|

gbg a2 g|edB deg|age dBG|AGA BGD:|

                                                                                   

FISHING OFF EILEAN NA H’AIRDE. Scottish, Strathspey. Composed by American Scottish-style fiddler Bonnie Rideout after catching dinner off the southern coast of the Isle of Skye with Dr. John Purser (Scotland’s Music, 1992) and his wife.  Maggie’s Music MMCD222, Bonnie Rideout – “Scottish Fire” (2000).

                                                                                   

FISHING ROD REEL.  Canadian, Reel. G Minor. Standard. AABB. Composed by Ontario fiddler Ward Allen, who won contest after contest in the 1950’s and who carved out a career for himself as a radio fiddler. Sparton Records SP 213, “Ward Allen Presents Maple Leaf Hoedown, Vol. 3.”

X:1

T:Fishing Rod Reel

C:Ward Allen

R:reel

M:2/4

L:1/16

Z:Transcribed by Bruce Osborne

K:Gm

DF|G2DG BAGB|AFcF AcFA|G2DG BAGB|AdcA G2BA|

G2DG BAGB|AFcF AcFA|G2DG BAGB|AdcA G2:|

|:=ef|g2df bgd=e|ffcf afdf|g2dg bgd=e|^f=e^fa g2d=e|

g2ga bag2|f=efg afdf|g^fga g=edc|BGA^F G2:|

                                                                                   

FISHIN' TIME. Old-Time, Breakdown. G Major. Standard tuning. AAB. Source for notated version: National Barn Dance Orchestra [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 87.

 

FISHING WITH VIC. Canadian, March (cut time). Canada, Cape Breton. D Major. Standard tuning. AABBCC. Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 94, pg. 28.

 

FIT AS A FIDDLE. Irish, Jig. Composed by the late Irish fiddler Seán Ryan. Ryan (Seán Ryan’s Dream), No. 27.

 

FIT IS COME OWER ME NOW, THE. AKA and see "The Fit's Upon Me Now"???  Scottish. The air appears in the Panmure MS #9454 Seventy Seven Dances, Songs and Scots Airs for Violin, c. 1675. In his notes for the air Williamson calls it "a quirky piece of unusual structure." Flying Fish, Robin Williamson ‑ "Legacy of the Scottish Harpers, vol. 2."

 

FIT THE GUTTERS [1]. AKA and see "Appin House [1]." Shetland, Whalsay. Cooke (1986) gives three texts for this tune:

***

Wis du at me bridal, fit the gutters, fit the gutters

Wis du at me bridal, fit the gutters brawly

Dat I wis and 'Be me deid', Dat I wis and 'Be me deid'

Dat I wis and 'Be me deid', Me and pirrie Mallie.

***

Wis du at me wedding, Jaanie Nittle, Jaanie Nittle...

Dat I wis and 'Be me deid' and got a chunk o lairvin.

***

...Dat I wis an 'Be me soul'...

 

FIT THE GUTTERS [2]. AKA and see "Appin House [2]." The Shetland Fiddle Band version.

 

FITS COME ON ME NOW, THE. AKA and see "Fits Upon Me Now."

 

FITS UPON ME NOW, THE. AKA and see "The Bishop of Chester's Jig," "The Fit is Come Ower Me Now." English, Country Dance Tune (9/8 time). D Major (Chappell): F Major (Barnes, Sharp). Standard tuning. AB (Chappell, Sharp): AABB (Barnes). The air dates to 1686 and appears in the 7th edition of Playford's Dancing Master; it was later called "The Bishop of Chester's Jig." Barnes (English Country Dance Tunes), 1986. Chappell (Popular Music of the Olden Times), vol. 2, 1859; pgs. 27‑28. Sharp (Country Dance Tunes), 1909/1994; pg. 51.

X:1

T:Fit’s Come On Me Now, The

M:9/8

L:1/8

S:Sharp – Country Dance Tunes (1909)

Z:AK/Fiddler’s Companion

K:F

(F2c AFc d2)(c | F2c AFc f2)(c | F2c AFc d2) (e | fcd cAF G2)(F |
F2c AFc d2)(c | F2c AFc f2)(c | F2c AFc d2)(e | fcd cAF G2F) ||

(f2c fcf g2)(a | f2c fag g2)(c | f2c fcf g2) (a | fcd cAF G2)(F |

f2c fcf g2) (a | f2c fag g2)(c | f2c fcf g2) (a | fcd cAF G2F) ||

 

FITZGERALD'S HORNPIPE [1] (Cornphiopa Mhic Ghearailt). Irish, Hornpipe. G Major. Standard tuning. AABB. James Goodman collected a version of the melody—see “Fitzgerald’s Hornpipe [2],” below. See also the related “Humours of Tuamgraney.” Source for notated version: fiddler Mrs. Murphy, 1967 (Co. Cork, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 305, pg. 156. Copely Records 9-113 (78 RPM), Paddy Cronin (195?).

X:1

T:Fitzgerald’s Hornpipe  [1]

M:4/4

L:1/8

R:Hornpipe

S:Breathnach – CRÉ II, No. 305  (1976)

K:G

DE/G/|A2 AB AGED|GABd edBd|efge dBGB|(3cBA (3BAG AGEG|

A2 AB AGED|GABd edBd|efge dBGB|1 AcBA G2:|2 AcBA (G2 G2)||

|:g2 a/g/f/g/ a2 b/a/g/a/|b2 ba ge d2|efge dBGB|(3cBA (3BAG AGEG|

A2 AB AGED|GABd edBd|efge dBGB|AcBA G2G2:|

 

FITZGERALD’S HORNPIPE [2].  AKA and see “Corney Drew’s Hornpipe.” Irish, Hornpipe. G Major. Standard. AABB. A version of Breathnach’s “Fitzgerald’s Hornpipe [1],” above. The title “Fitzgerald’s Hornpipe,” by which title the melody appears in the music manuscripts of Church of Ireland cleric James Goodman (1828-1894), may refer (remarks Paul de Grae) to William Fitzgerald of Conrea, Ballydesmond. Fitzgerald was a travelling fiddle master and a contemporary of Corney Drew, who wrote a music manuscript dating from 1866, after which he emigrated to America and was lost to history.  His manuscript survived in Ireland, however (Dan Herlihy has a copy, Paul says). The melody appears as “Corney Drew’s Hornpipe” in several of Captain O’Neill’s publications. Shields/Goodman (Tunes of the Munster Pipers), 1998; No. 123, pg. 50.

X:1

T:Fitzgerald’s Hornpipe [2]

M:C|

L:1/8

R:Hornpipe

S:James Goodman manuscripts  (mid-19th century)

K:G

DE|G2 GA GABd|e2 de gedB|e2 de gedB|A2 Ac BAGE|

F2 FA FABd|e2 de gedB|egde BdAB|A2 Ac BAGE|

g2 gg a2 ga|bage gedB|egde BdAB|G2 GG G2:|

 


FITZGERALD'S REEL. AKA and see "Baintreach na Radaireacht," "Banrion Bhealtaine," "The Blossom of the New Tree," "Captain Murray's Reel," "Cock your pistol, Charlie [2]," “Granshaw Glens,” “The Hard Road to Travel [2],” "Hopetoun House," “In the Tap Room,” "The Lady's Top Dress," "Lord Edward," "Miss Fargherson's New Reel," "The Mountain Lark [7]," "Polly's Reel," “The Ranting Widow,” “The Rakes of Abbey,” "Roll out the Barrel," "Scotch Maggie," "The Scotch Bonnet," "A Short Way to Heaven," "Sweet Molly [4],” "The Tap House," "The Tap Room,” “The Youngest Daughter [1].” Irish, Reel. D Mixolydian. Standard tuning. AB. Source for notated version: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 232, pg. 63.

 

FITZMAURICE'S POLKA. Irish, Polka. G Major (‘A’ and ‘D’ parts) & D Major (‘B’ and ‘C’ parts). Standard tuning. AA’BBCC’D. Composed by accordion player John “Dutch” Kimmel. Edison 52488 (78 RPM), John H. Kimmel (accordion player from N.Y.C.), 1928.

X:1
T:Fitzmaurice's Polka
C:John Kimmel
S:Buttons & Bows
Z:Nigel Gatherer <gatherer@argonet.co.uk>
M:2/4
L:1/16
R:Polka
K:G
D|:G2G2 FGAF|Gg efge|dedB GABG|ABAF DE (3FED|
G2GG FGAF|Gg efge|dedB GABG|1 AFDF GDDD:|2 AFDF G3G|]
K:D
A2FG ABcd|D2c2 c2 z2|GGGG BBBB|F2FF F3A|
A2FG ABcd|B2GA ABcd|B2GA BGBd|gfge cABc|dBAF D3A:|
f4 fedB|A2A2 A3A|B2B2 BcdB|A2d2 f2d2|c6 Bc|d6 c2|B4- BcdB|
e2c2 B2A2|f2f2 fedB|A2A2 A3A|B2B2 Bcde|f4 f2f2|
g2g2 g2fe|a2a2 a2fd|B2 z2 c2 z2|1 d2A2 B2A2:|2 d2DD E2D2|]
K:G
G2G2 FGAF|Gg efge|dedB GABG|ABAF DE (3FED|
G2GG FGAF|Gg efge|dedB GABG|AFDF G3 z|]

 

FITZPATRICK’S JIG. AKA and see “Jackson’s Night Cap,” “The Night Dance,” “The Piper’s Welcome,” “Strike the Gay Harp,” “Strike the Young Harp.” Irish, Double Jig. D Major. Standard tuning. AABBCC. Usually known as “Strike the Gay Harp,” this tune may have been titled after Tim Fitzpatrick, a New York accordion player and contemporary of the great Sligo fiddler Michael Coleman, who often accompanied New York fiddler Lad O'Beirne. Source for notated version: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 51, pg. 76.

 

FIVE CROSS ROADS, THE. AKA and see “Braes of Dumblane,” “Kiss Your Partner.” Irish, Reel. Ireland, Co. Sligo. G Major. Standard tuning. AB. Source for notated version: fiddler Johnny Henry (b. 1922, Cloonlairn, Doocastle, Co. Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 142.

                                                                                   

FIVE DOLLAR JOB SCHOTTISCHE. American, Schottische. F Major. Standard tuning. AABCDD. Howe credits “J. Norton” with the composition, referring probably to Jimmy Norton, “The Boss Jig Player,” who is credited as the source for several Howe tunes. Norton was probably a band-leader or principal instrumentalist in the eastern Massachusetts area in the mid-19th century. Five dollars was quite a sum of money in those days. Howe (1000 Jigs and Reels), c. 1867; pg. 52.

X:1

T:Five Dollar Job Schottische

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:F

(fg) | (^ga) c4 (fe) | (ed) G4 (ba) | (ag) B4 (ag) | (gf) A4 (fg) | (^ga) c4 (fe) |

(ed) G4 (ba) | (ag) B2 =Bc(ag) | f2f2f2 :|

K:C

ef | ge (c’2 c’)eag | fA (d2 d2) dc | B>cd>e f>ga>g | e’d’ (c’2 c’2) ef | ge (c’2 c’)eag ||

K:F

fA (d2 d2) dc | B>cd>e f>ga>b | .c.c.c.c .c.cd_e |

K:B_

fd (b2 b)dgf | eB (c2c2) e’>d’ | d”>c’b>a g>f=e>f | d’c’ (b2 b2) d_e | fd (b2 b)dgf |

eB (c2 c2) cB | ABcd efga | b2b2b2 z2 :: g>^fg>a b>g d’2 | a^f d’2 bg d’2 |

f>=ef>g a>f c’2 | g>=ec’>e ff(ef) | (ag^f=f =e_eGA) | Bd (f2 f)=e f2 |

_b=a(AA) f2 (ga) | (ab) (B2 B)f(=ef) | (ag^f=f =e_eGA) | Bd (f2 f)=e f2 |

_a=a (A2 A)f_eA | B2B2B2 :|

                                                                                   

FIVE FIDDLERS, THE. Canadian, Reel. Canada, Cape Breton. F Major. Standard tuning. AB. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). There was a Cape Breton group called ‘The Five MacDonald Fiddlers’ who recorded in the mid-20th century. Cameron (Trip to Windsor), 1994; pg. 35.

                                                                                   

FIVE FINGERED JOE. American, Reel. D Major. Standard. AABB. The term ‘five-fingers’ has meant different things in the history of slang. Several hundred years ago it referred to the five of trumps in the game of don or five-card, and more lately, in underworld usage, to a five year prison sentence. The most modern meaning refers to a thief, one who obtains a ‘five-fingered discount’ by shoplifting. Howe (1000 Jigs and Reels), c. 1867; pg. 81.

X:1

T:Five Fingered Joe

M:2/4

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:D

F/G/ | A2 (B/A/)F/G/ | Af d2 | ef/e/ Bc | d/c/d/e/ f F/G/ | A2 (B/A/)F/G/ | Af d2 |

ef/e/ Bc/d/ | dfd :: aA/A/ Aa | fd/d/ df | {^g}aA/A/ Aa | (f2 df) | {^g}aA/A/ Aa |

fd/d/ df | {^g}aA/A/ Aa | d2 z :|

                                                                                   

FIVE HUNDRED A YEAR. AKA and see “The Cordal Jig,” "If I Had in the Clear," “Jackson’s Bouner Bougher,” "Land of Potatoes,” “Morgan Rattler.”

 

FIVE LEAF CLOVER [1]. Old‑Time. Rounder 0194, John W. Summers ‑ "Indiana Fiddler" (1984).

 

FIVE LEAVED/LEAF CLOVER [2], THE (Seamrog Na Cuig Duille). AKA and see “Bridie Morley’s,” "The Old Bush [2]," “The Hawthorne [1],” “The Haymaker,” “Heel of the Hunt,” “The Hunter’s Purse,” “Paddy Kelly’s (Reel) [3],” "An Sceach,” “Star of Munster." Irish, Reel. A Minor (O'Neill/1915): A Dorian (O/Neill/1001): A Minor/Mixolydian (Phillips): A Major (O'Neill/1850). Standard tuning. AB (O'Neill): AABB (Phillips). The tonality is blurred to a great extent between minor and major versions, as the 'C' note can be either sharped or natural. See also the variants “Bridie Morley’s” (recorded by flute player John McKenna), "The Hunter's Purse" (recorded by the great Sligo fiddler Paddy Killoran), "The Haymaker," "The Heel of the Hunt," "An Sceach," “Star of Munster.” Source for notated version: Matt Glaser [Phillips]. Breathnach (CRÉ I), 1963; No. 119. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 248, pg. 130. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1247, pg. 235. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 519, pg. 97. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 87.

X:1

T:Five-Leaved Clover, The

L:1/8

M:C|

R:Reel

S:O’Neill – 1001 Gems (1907), No. 519

Z:AK/Fiddler’s Companion

K:A Dorian

ed|cAAB AGEF|GEAE GEDF|EAAB cBcd|eage dfed|

cAAB AGEF|GEAF GFED|EAAB cBcd|eage d2||

cd|eaab agef|geae gede|c2 ce d2 df|eage d2 cd|

eaag agef|geae gede|dBcd efgb|afge dfed||

 

FIVE MEN WENT OUT TOGETHER. Irish, Air (3/4 time). E Flat Major. Standard. AB.

***

Five men went together (x2)

Four men, three men, two men, one man

And the mower went to mow the meadow.

***

Mother ru a ru a ru a

Mother ru a ready

With a stick upon her back

And another in her hand

Saying Good morrow to you kindly madam.

***

Stanford/Petrie (Complete Collection), 1905; No. 869, pg. 217.

 

FIVE MILE CHASE [1], THE. AKA and see "Ballyvaughan," “Corporal Casey’s Fancy,” "The Four‑Hand Reel," “Lady Gardner’s,” “Miss Gardner,” “Parnell’s Reel,” “The Wild Fire Chase,” “Yellow Haired Laddie [1]." Irish, Reel. G Major. Standard tuning. AB (Black, Harker/Rafferty, Kennedy): AAB (O’Neill, Skinner): AABB (Levey): AABB’ (Perlman). Sources for notated versions: Johnny Foe & Foncey Chaisson (b. 1918 & 1929, North-East Kings County, Prince Edward Island) [Perlman]; Pat Henry (County Sligo/New York) & Mick Tubridy (Dublin) [Black]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Black (Music’s the Very Best Thing), 1996; No. 345, pg. 184. Harker (300 Tunes from Mike Rafferty), 2005; No. 26, pg. 9. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 48, pg. 13. Levey (Dance Music of Ireland, 2nd Collection), 1873; No. 22, pg. 9. O'Neill (Krassen), 1976; pg. 162. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 63. Skinner (Harp and Claymore), 1904; pg. 144. Coleman Center CD CC004, Seamus Quinn & James McDonagh – “The Mountain Road” (1999. Various artists. “A Compilation of tunes popular in South Sligo”). Lochshore CDLDL 1214, Croab Rua - “The More That’s Said the Less the Better” (1992).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T: Five Mile Chase  [1]

S: M. Tubridy

Q: 350

R: reel

M: 4/4

L: 1/8

K: G

G2 BG dGBG | FADA FADA | G2 BG dGBG | egfa gedB |

G2 BG dGBG | FADA FADA | G2 BG dGBG | egfa g4 ||

gdBd edBd | gabg agef | gdBd edBd | egaf g3 f |

gabg efge | dedc BGBd | e2 eg edBd | egfa gedB ||

X:2

T:Five Mile Chase [1]

M:C|

L:1/8

R:reel

Z:id:hn-reel-114

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

K:G

G2BG dGBG|FADA FADA|G2BG dG (3Bcd|1 egfa gedB:|2 egfa ~g3f||

gd (3Bcd ed (3Bcd|g2bg agef|gd (3Bcd ed (3Bcd|egfa ~g3f|

gabg efge|dedc Bcd2|~e3f edBd|egfa gedB||

 

FIVE MILE CHASE [2], THE. Irish, Reel. A Mixolydian (‘A’ part) & D Major (‘B’ part). Standard tuning. AABB. The tune is a version of “The New-mown Meadows,” sometimes called “The Old Silver Spear” or “The Threepenny Bit” according to Paul de Grae. Source for notated version: fiddler John Doherty (1895-1980, County Donegal) [Feldman & O’Doherty]. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 68.

 

FIVE MILE CHASE [3]. American, Reel. USA, Woodland Valley, Catskill Mtns., New York. G Major. Standard tuning. AABB. Cazden (Dances from Woodland), 1945; pg. 26.

X:1

T:Five Mile Chase [3]

M:2/4

L:1/8

R:Reel

K:G

B/c/|d/B/d/B/ d/g/f/e/|d/B/d/B/ d/g/f/e/|d/B/d/B/ e/d/c/B/|e(A A)B/c/|d/B/d/B/ d/g/f/e/|

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

|:B/c/|d/c/B/c/ de/d/|c/B/A/G/ AG/A/|B/G/B/G/ c/B/A/G/|F(A A)B/c/|d/c/B/c/ de/d/|

c/B/A/G/ de/d/|d/B/A/G/  AB/c/|d/g/f/e/ d/c/A/F/|D(G G):|

 

FIVE MILE HEAT. Irish, Reel. G Major. Standard tuning. AAB. Carlin (Master Collection), 1984; No. 207, pg. 122.

 


FIVE MILES AWAY (Cuig Mile As So/Seo). AKA - “Five Miles Off.” Irish, Reel. D Major. Standard tuning. AB (Kennedy, O'Neill/1850): AABB (Levey): AA'BB' (O'Neill/Krassen). Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 49, pg. 14 (appears as “Five Miles Off”). Levey (Dance Music of Ireland, 2nd Collection), 1873; No. 56, pg. 24 (appears as “Five Miles Off”). O'Neill (Krassen), 1976; pg. 137. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1434, pg. 266. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 671, pg. 119.

X:1

T:Five Miles Away

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 671

Z:AK/Fiddler’s Companion

K:D

d2 {e}dB ABAF|d2 AF Agfe|dedF ABAF|GFEF GABc|d2 {e}dB ABAF|

d2 AF Agfe|dedF ABAF|GBAG FDD||g|fdAd fdad|fdAd ceeg|fdAd fdad|

bage fddg|fdAd fdad|fdAd ceeg|(3fga ge fdec|dABG FDDz||

X:2

T:Five Miles Off

M:C

L:1/8

R:Reel

S:Levey – Dance Music of Ireland, 2nd Collection (1873)

Z:AK/Fiddler’s Companion

K:D

(3A/B/c/ | d3F ABAF | d3F egfe | d3F ABAF | GBAG (FD)D :: g | fdad bdad |

fdad geeg | fdad bdad | gfeg fddg | fdadbdad | fdad geeg | af ge fd ec | dA BG FD D :|


 

FIVE MILES FROM TOWN [1]. Old‑Time, Breakdown. USA, Oklahoma. A Major (Thede): G Major. EEae, AEae or GDgd tunings. AABB. This version has “migrated” to the key of G Major, standard tuning, according to Kerry Blech, having progressed from AEae tuning to GDgd tuning and thence to G standard. A comparison of the transcriptions in Thede and Silverberg shows how distanced versions have become. Source for notated version: J.W. Johnson (Custer County, Oklahoma) [Thede]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 44. Thede (The Fiddle Book), 1967; pg. 20‑21.

 

FIVE MILES FROM TOWN [2]. Old-Time, Breakdown. USA, south-central Kentucky (Cumberland Plateau). D Major. Standard tuning or ADae (Rayna Gellert). AAB. A different tune than “Five Miles from Town” [1]. Bayard (1981) believes this tune (and tune family) is derived from an Irish tune called "May Day [2]" (Bealtaine) or, as it is better-known today, "The Mullingar Races [2]." Other American members of this family include “Dubuque,” “Old Dubuque,” “Nancy Dawson” and “Duck River.” Bobby Fulcher (1986) states that the tune was relatively unfamiliar outside Wayne County, Ky., in the Cumberland Plateau region, although the name has some wider currency. Titon (2001) similarly says that Clyde Davenport is the sole source musician for this tune, and further, Titon clears up the dizzying confusion among the many similar “Five Mile to/from/out of Town” titles. Bayard (1981), however, collected a version similar in many respects from a fiddler from Centre County, Pennsylvania, in the 1930's. [note: this is not the “Five Miles from Town” sourced to John Sharp]. Sources for notated versions: D. George Reed (elderly fiddler from Centre County, Pa., 1930's) [Bayard]; Clyde Davenport (Monticello, Wayne County, Ky., 1990), who learned the tune from his father, Will Davenport [Phillips, Titon]. Bayard (Dance to the Fiddle), 1981; No. 204, pg. 157. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 42, pg. 74. Copper Creek CCCD-0196, Tom, Brad & Alice – “We’ll Die in the Pig Pen Fighting.” County 788, Clyde Davenport ‑ "Clydeoscope: Rare and Beautiful Tunes from the Cumberland Plateau" (1986). Rounder 0213, The Chicken Chokers ‑ "Chokers and Flies" (1985. Titled "Five Miles to Town"). Rounder 0421, Bruce Molsky - “Big Hoedown” (1997). Rayna Gellert – “Starch and Iron.”

                                                                                   

FIVE MILES OF ELLUM WOOD. Old-Time, Breakdown. A Mixolydian. Standard. AB. Source for notated version: Bruce Reid [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 44.

 

FIVE MILES OFF. AKA and see “Five Miles Away.”

                                                                                   

FIVE MILES (OUT OF TOWN) [1]. Old‑Time, Breakdown. USA; Iowa, Missouri. D Major. Standard tuning. AABB. Not to be confused with what us usually called "Five Miles from Town" in Thede which is a different tune. It is on Missouri fiddler Charlie Walden’s list of ‘100 essential Missouri fiddle tunes’ and has been recorded by such Missouri fiddlers as Cyril Stinnett and Dwight Lamb. Hans Nathan (Dan Emmett and Negro Minstrelsy, Univ. of Oklahoma Press, 1962, pg. 93) mentions that ‘Five Miles Out of Town’ was the name of an old blackface minstrel dance or series of steps. Source for notated version: Frame Davis (Des Moines, Iowa) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; No. 81, pg. 60.

 

FIVE MILES OUT OF TOWN [2]. Old-Time, Breakdown. The tune that appears in Phillips Collection of American Fiddle Tunes, vol. 1 (1994, pg. 87) under the title “Five Miles Out of Town,” attributed to Clyde Davenport is mislabelled. Jeff Titon (2001) corrects that it is Davenport’s “Johnny Come Along.”

 

FIVE MILES TO TOWN. Old-Time, Breakdown. USA, Cumberland Plateau region of Ky./Tenn. D Major. Standard or ADae (if played in the key of D) tunings. A different tune than either the Missouri “Five Miles Out of Town,” Thede’s “Five Miles from Town,” or Clyde Davenport’s “Five Miles from Town.” County 787, John Sharp Band (the Kentucky Wildcats) ‑ "Five Miles Out of Town: Traditional Music from the Cumberland Plateau, vol. 2" (originally a home recording of 1949).

                                                                                               

FIVE POUND JIG, THE.  AKA – “Dia Luain ‘s Dia Máirt (Monday and Tuesday).” Irish, Jig. G Major. Standard tuning. AABB. Perhaps a member of the large “Gold Ring [1]” family of tunes. The earliest appearance of the tune in print is in Church of Ireland cleric James Goodman’s mid-19th century music manuscripts. Goodman (1828-1896) was an uilleann piper, and an Irish speaker who collected locally in County Cork and elsewhere in Munster. He also obtained tunes from manuscripts and printed collections. Shields/Goodman (Tunes of the Munster Pipers), 1998; No. 79, pg. 35.

X:1

T:Five Pound Jig, The

T:Dia Luain ‘s Dia Máirt (Monday and Tuesday)

M:6/8

L:1/8

R:Jig

S:James Goodman manuscripts (mid-19th century)

B:Hugh Shields – Tunes of the Munster Pipers, No. 79  (1998)

K:G

d|cAG GAG|cAG G2d|cAG GAG|cAG F2d|cAG GAG|

cAF G2d|d2e f2d|cAG F2::A|B2G B2G|cAG G2A|B2G B2G|

cAG FGA|B2G B2G|cAG G2A|d2e f2d|cAG F2:|

 

FIVE POUND NOTE, THE.  AKA and see “The Brighton Hornpipe,” “Duke of Leinster [3],” “Hennessy’s,” “The Kildare Hornpipe,” “O’Neill’s Hornpipe,” “Peggy Morrissey,” “Pretty Maggie Morrissey,” “The Strip of Turf (Ciumhais na Móna),” “The Wexford Hornpipe.” Irish, Hornpipe.

                                                                                               

FIVE SERVANTS, THE. AKA and see “The Ballybunnion Polka.” Irish, Polka. D Major. Standard tuning. AABB. The title comes from Sliabh Luachra musicians Billy and Julia Clifford. Claddagh CC29, The Chieftains - “Chieftains 8". Shanachie 79050, The Chieftans - “The Chieftains in China.”

X:1

T:The Five Servants

T:The Ballybunnion Polka

M:2/4

L:1/16

Q:142

R:polka

Z:Philippe Varlet

K:D

F3E F2A2|G3F G2B2|A2B2 c2d2|efge d2A2|

B3c d2B2|ABAG F2A2|G2E2 F2E2|1 D4 D2E2:|2 D4 D3z||

f2d2 f2d2|f2d2 fgaf|e3f e2d2|efed B2d2|

A3G F2G2|ABAG F2A2|G2E2 F2E2|1 D4 D3z:|2 D4 D4||

                                                                                   

FIVE STEP WALTZ. American, Waltz (5/4 time). F Major ('A' part) & C Major ('B' part). Standard tuning. AB. Ford (Traditional Music of America), 1940; pg. 146.

 

FIVE STRING FIDDLE, THE. Scottish. A modern composition by traditional musician, collector, teacher and compiler Nigel Gatherer, of Crieff, Scotland. The tune honors septuagenarian fiddler Dick Rutter of Edinburgh, originally from England. Rutter had come north to work but was laid off before his retirement, and had some difficulty collecting his pension. To survive he began busking in the streets and making fiddles by hand. Gatherer says: “He once found a lovely piece of laburnum and made it into a fiddle, but said it was very, very hard to work with. He has made a couple of five-stringed fiddles (one of them, when sold, paid for a top-range hearing aid which enhanced his busking abilities outside). Funnily enough, his favourite fiddle is still his first.”

X:1

T:Five Stringed Fiddle, The

C:Nigel Gatherer

N:In honour of Dick Rutter, violin

N:maker, Edinburgh

M:3/4

K:D

L:1/8

A,2|D4 FG|A4 D2|B2 c2 d2|F A3 D2|G3 ABG|F4 D2|B, E3 D2|C2 A2 A,2|

D4 FG|A4 D2|B2 c2 d2|F A3 D2|G3 ABG|F3 EDF|E3 DCE|D4:|]

AB/c/|d2 f3 d|c2 e3 c|B3 cdB|A F3 D2|G3 ABG|F4 D2|B,2 E3 d|C2 A3 G|

F2 d3 F|G2 e3 G|A3 ceg|f3 dAF|G3 Beg|f3 edc|e2 d3 d|d4:|]

 

FIVE TINKERS. Old‑Time. USA, Tennessee. McDowell (Folk Dances of Tennessee), 1938; pg. 8.

 

FIVE UP. Old-Time. Morning Star 45005, H.L. Bandy (southern Ky.) - "Way Down South in Dixie."

 

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