The Fiddler’s Companion
© 1996-2010 Andrew Kuntz
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Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s
Companion work fine in most abc conversion programs. For example, I use
abc2win and abcNavigator 2 with no problems whatsoever with direct
cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s
into the concertina.net converter results in double-spacing. For concertina.net’s
conversion program to work you must remove the spaces between all the lines
of abc notation after pasting, so that they are single-spaced, with no
intervening blank lines. This being done, the F/C abc’s will convert to
standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth
it. [AK] |
FOCHABER'S RANT, THE. Scottish, Reel. G Mixolydian. Standard. AAB.
Composed by William Marshall (1748-1833), whose birthplace
was Fochabers in its original site in Banffshire. Fochabers is a small town in
the Moray parish of Bellie, six miles from the mouth of the river Spey. It was
created a burgh of Barony in 1598 and originally stood somewhat closer to the
walls of
X:1
T:Fochaber’s Rant, The
L:1/8
M:C|
S:
Z:AK/Fiddler’s Companion
K:G
G2 bg afgd|g2 bgaf g2|g2
bgafge|=fdcf AFcA:|
(Bc/d/) (BG) ecdc|(Bc/d/) (BG) gB
d2|(Bc/d/) BG ecdB|cA=FA fA c2|
(Bc/d/) (BG) ecdc|(Bc/d/) (BG) gB d2|(Bc/d/) BG ecdB|cA=FA fA c2||
FOD MONA, AN. AKA and see "The Sod of Turf."
FOE, THE. AKA and see "The
Ewe Reel," "The
Ew(i)e Wi' the Crooked Horn [1]," "Bob with the one Horn [2],"
"The Ram with the Crooked Horn," "The Lowlands of Scotland,"
"My Love is Far away",
"The Merry Lasses," "The Kerry Lasses [1]," "The Red Blanket," "The Pretty Girl in Danger,"
"Go see the Fun," "Sweet Roslea and the Sky over
it," "Miss Huntley's."
FOGGY DEW [1], THE (Drucd An Ceo). Irish, March or Air (4/4 or 2/4 time). E
Minor. Standard. ABB. Flood (1915) states the air is "certainly" as
old as the year 1595, and was used by
***
The words below are credited to
Father P. O’Neill, “as a tribute to the martyrs of 1916.”
***
´Twas down the glen one Eastern morn, to a city fair rode I
When Ireland´s lines of marching men in squadrons passed me by.
No pipes did hum, no battle drum did sound its loud tattoo.
But the Angelus bell o´er the Liffey´s swell, rang out in the foggy dew
***
Right proudly high over Dublin town, they hung out a flag of war.
‘Twas better to die ´neath an Irish sky than at Suvla or Sud El Bar;
And from the plains of Royal Meath, strong men came hurrying through,
While Brittanias´s huns, with their long range guns, sailed in from the
foggy dew.
***
O, the night fell black and the rifles crack made "Perfidious
Abion" reel
´Mid the leaden rail, seven tongues of flame did shine o´er the lines of
steel
By each shining blade a prayer was said that to
and when morning broke still the war flag shook out its fold in the
foggy dew
***
´Twas
But their lonely graves are by Suvla´s waves, on the fringe of the Grey
North sea
But had they died by Pearse´s side, or had fought with Cathal Brugha,
Their names we would keep where the fenians sleep, ´neath the shroud of
the foggy dew.
***
But the bravest fell, and the requiem bell, rang mournfully and clear,
for those who died that Eastertide in the springtime of the year.
And the world did gaze, in deep amaze, at those fearless men, but true
who bore the fight that freedom´s light might shine through the foggy
dew
***
Ah, back through the glen I rode again and my heart with grief was sore
For I parted then with valiant men whom I never shall se more
but to and fro in my dreams I go, and I´d kneel and pray for you,
for slavery fled, O glorious dead, when you fell in the foggy dew.
***
O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 185, pg. 33.
Tubridy (Irish Traditional Music,
vol. 1), 1999; pg. 3. RCA 62702, The Chieftains -
“Long Black Veil.” Veteran VT111, Francis Shergold - "Greeny Up"
(1988. Recorded from
X:1
T:The Foggy Dew [1]
C:Irish Trad.
N:March Tempo
M:Cs % 4/4 ?
K:Em
Bd || e2 dB | e2 dB | A2B2 | D2 EF
|GB AG | E2D2 |E4‑|E2 Bd|
e2 dB | e2 dB | A2 B2 |D2 EF|GB AG |
E2D2 |E4‑|E2 F2|
G2B2 | d2 cB | A2A2 |B2 GA|B2 gf |
ed Bd | e4‑|e2 Bd|
e2 dB | e2 dB | A2 B2 |D2 EF|GB AG |
E2E2 | E4||
X:2
T:The Foggy Dew [1]
C:Trad
R:Air
N:I´ve figured this out after
listening to Chieftains The Long Black
N:Veil/Sinned O´Connor. It´s made
for fingerstyle arpeggiostyle, with low
N:D droning here and there. Guitar
tuned DADGAD
Z:Tomas Embréus
tomas.embreus@swipnet.se
M:C
L:1/8
Q:40
K:Dm
Ac|:([D,d]A cA) ([D,d]A
cA)|[D,G]{GAG}F GA CE [Gc]E|
[D,D]A GF [D,A]F E/2D/2C|1 [D,D]Adc
[D,d]d Ac:|2 [D,D]A dc d2 DE||
[D,F]A AF [A,c]F BA| GF GA [D,d]d
FA|
[D,A]A fe d{ded}c AG|Bd fd ce
ge|[D,d]A cA [D,d]A cA|
[D,G]{GAG}F GA CE [Gc]E|F,F [Ac]F
[E,2E2G2^B2] [D,D]C|[D,D]A dc d2|| Ac|
FOGGY DEW [2], THE (Drucd an Ceo). AKA and see "Sloan's Lamentation," "Granuaile." Irish, Air (4/4 time). G
Major (Roche, O'Neill): A Flat Major (O'Sullivan Bunting). Standard. AB
(O'Neill/1850): AAB (Roche). The tune converts easily to the minor key (see
versions #1 & #3). Cazden (et al, 1982) mentions that the tune strain
itself came to serve as a symbol of Irish nationalism and was used for a number
of "songs of resistance." He finds the earliest printed version to be
an 1828 setting of a poem by William Kennedy called "The Irish
Emigrant," where it is called an "old Irish melody." Also
related to Bunting's melody is a
X:1
T:Foggy Dew, The [2]
M:C
L:1/8
R:Air
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:G
(EF) | G2 GA B2 gf | e2 dB A2 GA |
BABG EGFA | G2G2G2 || ef | g2 gf e2 fg |
(ag)(fe) d2 (B^d) | e2 ef gfe^d |
(e4 e2) EF | G2 GA B2 gf | e2 dB A2 GA |
(BA)(BG) (EG)(FA) | G2G2 G2 ||
FOGGY DEW [3], THE. Irish, Air (4/4 time). G Minor. Standard
tuning. AB. A minor key rendition of the famous tune. Joyce learned this air as
a child in
***
When I was a bachelor airy and young,
I followed the bachelor's trade,
And all the harm that ever I done
Was courting a pretty maid.
I courted her for the long summer season,
And part of the winter too,
Till at length we were married‑‑myself and my darling,
All over the foggy dew.
***
Joyce (Old Irish Folk Music and Song), 1909; No. 58, pgs. 31‑32.
X:1
T:The Foggy Dew [3]
R:song
H:
I learned this air when I was a child.
Compare it with "Air thaobh na
H:carraige b\'aine": Petrie,
Ancient Music of Ireland, p. 143.
H:Bunting, in his 1840 volume, gives
a different air with the same name.
B:Joyce, P. W.; "Old Irish Folk
Music and Songs"
M:C
L:1/8
W:When I was a bachelor airy and
young,
W: I followed the bachelor's trade,
W:And all the harm that ever I done
W: Was courting a pretty maid.
W:I courted her for the long summer
season,
W: And part of the winter too,
W:Till at length we were married‑‑myself
and my darling,
W: All over the foggy dew.
K:Bb
Bc|d dc B2 fd|c2 BG F2 GA|BGcB G2
G2|G6 Bc|
d2 dc B2 fd|c2 BG F2 GA|BGcB G2
G2|g6||GA|
B2 BG Bcd=e|f2 gf d2 cB|c2 Bc d=e
f2|g6 gf|
e2 e2 d2 fd|c2 BG F2 GA|BGcB G2
G2|G6||
FOGGY DEW [4], THE. English, Air (4/4 time). F Major. Standard
tuning. AABB. This air is from a MS collection of about 1825. Kidson remarks
that the air is different from Bunting’s in his 1840 book Irish Music, although Margaret Dean-Smith (in "A Guide to
English Folk Song Collections," pg. 67) maintains it “is of the same
structure as that in (English collector Cecil) Sharpe's English Folk Carols (1911) but the melody is different from that
usually associated with the English version of the song and nearer to that
noted by Bunting." The tune goes to a bawdy song. Kidson (Old English Country Dances), 1890; pg.
24.
X:1
T:Foggy Dew, The [4]
M:C
L:1/8
S:Frank Kidson – Old English Country Dances (1890)
Z:AK/Fiddler’s Companion
K:F
F|F>GA>B c2f2|({e}d2) c>B
({B}A2) zc|({B}A2) GF E>FG>A|
F6 zF|F>GA>B c2f2|({e}d2)
c>B ({B}A2) zc|({B}A2) GF E>FG>A|F6:|
|:z|c|c3 d _e3e|({_e}d2) cB ({B}A2)
zF|f2f2 g_ecB|({B}A6) zc|
F>GA>c c2f2|({e}d2) c>B
({B}A2) zc|({B}A2) GF E>FG>A|F6:|
FOGGY MORN [1], THE. Irish, Air (4/4 time). F Major. Standard
tuning. AB. O'Neill (O’Neill’s Irish
Music), 1915; No. 79, pg. 47.
X;1
T:Foggy Morn [1]
M:4/4
L:1/8
R:Air
S:O’Neill – O’Neill’s Irish Music (1915)
Z:AK/Fiddler’s Companion
K:F
F | FE FG/B/ c2 dB | AFEF D2 CD/E/ |
FE FG/B/ c2 dB | AB GF F3G | FE FG/B/ c2 dB |
AFEF D2 CD/E/ | FE FG/B/ c2 dB | AB
G>F F3 || A | cA cd/e/ f2 ef | dcde d2 cA |
dcde f2 ef/e/ | dcAc d3f | ecde f2
ed | cA GF D2 CD/E/ | FEFG A2 dB | AB GF F3 ||
FOGGY MORN [2], THE. Irish, Air (3/4 time). D Dorian. Standard
tuning. One part. "On a calm foggy morning as I wandered alone"
(Joyce). Source for notated version: "Paddy Conneely, the
FOGGY VALLEY. American, Polka. G Major ('A' and 'B' parts) & C Major ('C' part).
Standard tuning. AABCC'. Source for notated version: Mary Trotchie [Phillips].
Phillips (Traditional American Fiddle
Tunes), vol. 2, 1995; pg. 346.
FOGHLAIDHE, AN. AKA and see "The Robber."
FOINS, LES. AKA and see “Danse des Foins.” The name of a dance
with its own tune in Québec, perhaps dating to the 1700’s and which may have
French origins, according to Marius Barbeau (Anne Lederman, “Fiddling”, Encyclopaedia of Music in Canada, 1992).
FOLDING DOWN THE
SHEETS. AKA and see "Hanging Out the Sheets" (
X:1
T:Folding Down the Sheets
L:1/8
M:4/4
K:D
|:af|edcB ABc2 |dBAF D2EF|G4 F4|EDE2 A2:|
|:edef gfgf|Ace2 a4|A2a2A2g2|1edef e4:|2ede2d2|]
T:Folding Down the Sheets
L:1/8
M:4/4
S:Henry Reed, from a transcription by Alan Jabbour
K:D
(a/g/|f/)e/d/B/ e/d/c/A/ dF A/F/A/(d/|B/)G/B/(B/ A/)F/A/F/ A,2 D (a/g/|
f/)d/f/d/ e/c/e/c/ d[FA] A/F/A/d/|[D/B/]G/B/[G/B/] [D/A/]F/(A/F/) A,2 D2|
[A>e>](f g/f/)(g/f/) [A/e/]c/(e/f/4g/4) aa|c(e/c/ Bg (f/d/)(e/c/ d)d|
e(e/f/ g/f/)(g/f/) [A/e/]c/(e/f/4/g/4) aa|[c2e2] Bg f/d/e/c/ d2||
[A>e>]g|fd[Ae]c dF A/F/A/(d/|B/)G/B/(G/ D/F/)(A/F/) A,2 D2 e>(g|
f)d (e/c/)(e/c/) dF (A/F/)(A/d/)|(B/G/)(B/G/) (D/F/)(A/F/) A,2 D2|
e>(e/4f/4 g/f/)(g/f/) (e/c/)(e/f/) [A2a2]|[c2e2] [Bf]g f/d/(e/B/4c/4 d2)|
(e>f
g/f/)[B/g/]f/ [A/e/]g/(e/f/) a2|[c2e2] Bg (f/d/)(e/c/ d)||
X:1
T:Folichon, La
M:2/4
L:1/8
S:Daubat – Cent Contredanses en Rond (1757), No. 32
Z:AK/Fiddler’s Companion
K:A
Aeec | Aa a2 | AccA | B/A/G/F/ E2 | Aeec | Aa a2 | EddB | cB B2 :|
|:
Be e/(f/g) | Be e2 | Be e/(f/g) | Be e2 | ea a/(b/c’) | ea {b}a2 | fdcB | A2A2
:|
FOLIES d'ESPAGNE. AKA and see "Joy to
Great Ceasar." AKA ‑ "Farinel's Ground," "The King's Health [1]."
FOLLIES OF YOUTH,THE (bAois Na N-Oige). Irish, Double Jig (12/8 time). D
Major. Standard tuning. AABB. Roche
Collection, 1982, vol. 3; No. 96, pg. 29.
FOLLING A ROLLING. AKA ‑ "The Folling." Irish, March (3/4 and 6/8 time). D
Major ('A' and 'B' parts) & D Mixolydian ('C' and 'D' parts). Standard
tuning. AABBCCDD. Roche Collection,
1982, vol. 2; No. 316, pg. 52.
FOLLOW HER OVER THE
BORDER. English, Jig (9/8 time).
X:1
T:Follow Her Over the Border
L:1/8
M:9/8
S:Bruce & Stokoe – Northumbrian Minstrelsy (1882)
Z:AK/Fiddler’s Companion
K:G
e|d2B BGB BGB|d2B BGB d2g|d2B BGB BGB|c2A ABA c2:|
|:e|dBB
gBB dBB|dBB gBB d2e|dBB gBB dBB|c2A
X:2
T:Follow her over the border
M:9/8
L:1/8
R:Jig
B:Gow – 2nd Collection of Niel Gow’s Reels, pg. 14, 3rd ed. (orig. 1788)
Z:AK/Fiddler’s Companion
K:F
d|”tr”c2A AFA AFA|”tr”c2(A A)FA c2f|”tr”c2A AFA AFA|”tr”B2G GAG B2:|
|:d|”tr”c.A.A
f.A.A c.A.A|cAA fAA “tr”c2d|cAA fAA cAA|”tr”B2G GAG B2:|
FOLLOW ME. AKA and see "Follow Me
Down to Carlow [1]."
FOLLOW ME DOWN. See "Follow Me Down to
Carlow."
FOLLOW ME DOWN TO
CARLOW [1] (Lean Me Sios Go
Ceatair-Loc).
AKA – “Follow Me Up (to Carlow).” AKA and see "An
Ril Cam," "Bonnie Annie
[3]," “The Crooked Reel,” “Dinny Delaney’s [2],” “Flip McGilder’s Reel,” "Miss Murphy [2]." Irish,
Reel. A Dorian (O'Neill): B Minor (Taylor). Standard tuning. AB (O’Malley):
AA'B (O'Neill): AABB (Taylor). O’Malley (Luke
O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 64, pg. 32.
O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1281, pg. 241. O'Neill (Dance
Music of Ireland: 1001 Gems), 1907/1986; No. 547, pg. 102.
See also listing at: Alan Ng’s Irishtune.info |
X:1
T:Follow Me Down
M:C|
L:1/8
R:Reel
S:O’Neill –Dance Music of
Z:AK/Fiddler’s Companion
K:A Minor
AGAG E^FGB | A^GAB cded | cBcA E^FGa
|1 gedB cAdc :|2 gedB cA A2 ||
ec (3ccc ecgc | BGdG BGdG | ec (3ccc
eg^fa | gedB cA A2 |
agea gedB | cBcG E^FGB | A^GAB cea^f
| gedB cA A2 ||
X: 2
T:Follow Me Up
C:Traditional
D:Cran, The Crooked Stair
Z:Gordon Turnbull, Edinburgh
R:reel
M:C
L:1/8
Q:350
N:Posted to the woodenflute mailing list January 2002
K:ADor
ABAG EGA{B}G | A{BA}GAB d3 B | ABAG EGBd | ge{g}ed BA A2 :||
agea gedB | ABAG EG G2 | agea gedB | GBdB {c}BA A2 |
agea gedB | ABAG EG G2 | A{BA}GAB d2 de | ge{g}ed BAAG |]
FOLLOW ME DOWN TO
CARLOW [2] ("Lean Me Sios
Go Ceatair-Loc" or "Lean go Ceatharlach sios me"). AKA ‑ "Follow Me
Down," “Follow Me Up (to Carlow).” AKA and see "An Ril Cam," “The Crooked Reel,” “Dinny Delaney’s [2],” "Miss Murphy [2]," "Bonnie Annie [3]." Irish,
Single Jig, Slide, March (6/8 or 4/4 time) or Reel;
X:1
T:Follow Me Down to Carlow
M:6/8
L:1/8
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:A Dorian
ABA A2G|E2F G2B|ABA A2B|c2d e2d|c2A
B2G|E2F G2B|ABA B2G|A3A3||
e2g g3|e2a a3|BcB B2A|G2A B3|e2g
g3|e2a a3|BcB B2G|A3A3|e2g g3|e2a a3|
BcB B2A|G2A B2d|e2f g2e|a2f ged|BcB
B2G|A3A3||
X:2
T:Follow Me Down to Carlow
M:C
L:1/8
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:A Minor
(3ABA A>G E>^F G2|(3ABA A>B
c>de>d|c>bc>G E>^FG>B|(3ABc B>G A2A2:|
||e>aa>g e>^f g2|(3BcB
B>A G>A (3Bcd|e>aa>g e>^f g2|(3BcB B>B A2 A2|
e>aa>g e>^f g2|(3BcB B>A
G>A (3Bcd|e>g^f>a g>ag>e|d>BG>B g>dB>G||
FOLLOW ME DOWN TO
CARLOW [3]. AKA and see “Tom Ward’s Downfall.” Irish, Reel. G
Major. Standard tuning. AB. The title “Follow Me Down to Carlow”, usually
applied to other melodies, was the title Mike Rafferty’s father, Barrel
Rafferty, had for the tune. It is properly called “Tow Ward’s Downfall” or “The Mourne Mountains [1].” Source
for notated version:
FOLLOW ME DOWN TO
X:1
T:Follow Me Down to
D:Mike & Mary Rafferty, The Old
Fireside Music (1998)
Z:Nigel Gatherer
M:4/4
L:1/8
K:Am
A2 BG A2 Bd|e2 dg eAAD|G2 GD G2
AB|cABA GEDE|A2 BG A2 Bd|egdg eaae|
gedB c2 (3Bcd|egdB BA A2::abae
abae|gaba gede|g2 gd g2 (Bcd|
gaba ge d2|abae abae|gaba gede|gedB
c2 (3Bcd|egdB BA A2:|]
FOLLOW ME DOWN TO
FOLLOW ME, HARRY. American, Hornpipe. G Major. Standard tuning. AB. Howe (1000 Jigs and Reels), c. 1867; pg. 71.
X:1
T:Follow Me, Harry
M:4/4
L:1/8
R:Hornpipe
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:G
cBAc B2A2 | G3G ABcA | BdAF G3z || g2f2d2B2 | cBAc B2A2 |
G3G ABcA | BcdB c2A2 | g2e2d2B2 | cBAc B2A2 | G3G ABcA | BdAF G3z ||
FOLLOW ME UP. AKA and see “Follow Me Down to Carlow [1].” Irish, Reel. A Dorian. Standard tuning. AAB.
X: 1
T:Follow Me Up
C:Traditional
D:Cran, The Crooked Stair
Z:Gordon Turnbull, Edinburgh
R:reel
M:C
L:1/8
Q:350
N:Posted to the woodenflute mailing list January 2002
K:ADor
ABAG EGA{B}G | A{BA}GAB d3 B | ABAG EGBd | ge{g}ed BA A2 :||
agea gedB | ABAG EG G2 | agea gedB | GBdB {c}BA A2 |
agea gedB | ABAG EG G2 | A{BA}GAB d2 de | ge{g}ed BAAG |]
FOLLOW ME UP TO CARLOW. AKA and see "The Sweets of May."
AKA and see "Follow Me Down to
Carlow [2]."
FOLLOW YOUR LOVER. AKA – “Follow Your Lovers,” “Follow My Lover.” AKA and see "The Triumph [1]."
FOLLOW YOUR LOVERS. AKA and see “Step and Fetch
Her [3].” English, Country Dance Tune (4/4 & 6/4 time). G Major.
Standard tuning. Originally published by Playford.
X:1
T:Follow Your Lovers
M:4/4
L:1/8
K:G
G2 A B2 B2|cdcA B2 B2 cdcA B2 B2| c2 c2 B2 B2|A2 GA B2 B2 cdcA B2 B2|\
M:6/4
cdcA B2 B2 A2 FA\ M:4/4 G2 B2 G4||\
A3 A B2 B2 |A2 AA B2 B2 | A3 A B2 c| dcBA G4| A3 c B2 B2|A3 A B2 c2| dcB A G4||\
B2 d2 d2 c2|ABAB c2 B2|GABc d2 g2|f6 d2|B2 d2 d2 c2|ABAB c2 B2|GABc d2 g 2|\
f2
f2 g4||
FONAB HOUSE. Scottish, Slow Air (6/8 time).
D Major. Standard tuning. AAB. Composed by Neil Gow, Jr. (c. 1795-1823), son of
Nathaniel Gow (1763-1831) and the grandson of family scion Niel Gow
(1727-1807). Like several of the 6/8 tunes in the later Gow collections, this
tune was directed to be played “Slowly”; presumably this means at a moderate
tempo (or, not ‘brisk’), and not like a slow air. The moderate tempo is
effective on a tune such as this, which winds in and out of major and
mixolydian modes in the second part. The younger Neil briefly joined his
father’s music publishing firm, and was showing great promise as a talented
performer and composer before his untimely death. His father collected and
published his son’s compositions in a Collection
of Slow Airs, Strathspeys and Reels, being the Posthumous Compositions of the
late Neil Gow, Junior, dedicated to the Right Honourable, the Earl of
Dalhousie, by his much obliged servant, Nathaniel Gow (Edinburgh, 1849).
Neil Gow Jr.’s first name is usually spelt differently that his grandfather’s,
however, in Nathaniel’s Sixth Collection (1822) the attribution appears
as “Niel Gow Junr.”
***
Fonab House, north central
Perthshire, was a country house opposite Pitlochry (a residence) on the south
side of the river Tummel, and the residence (at the beginning of the 19th
century) of Mr. MacGregor, “a pleasant and healthy situation.” The name Fonab
is derived from Gaelic meaning Abbot’s
land, as the area came into the possession of the monks of Coupar Angus
Abbey in the 12th century. Today the manor is known as Port-na-Craig
House. Gow (Sixth Collection of Strathspey Reels), 1822; pgs. 24-25. Johnson (A Twenty
Year Anniversary Collection), 2003; pg. 9.
X:1
T:Fonab House
M:6/8
L:1/8
R:Slow Air
S:Neil Gow Jr. – Collection
of Slow Airs, Strathspeys and Reels, etc.
(1849)
K:D
A|(F/G/)AA Afe|dAB AFd|AFD DAF|GEE [C2E2]G|(F/G/)AA Afe|
dAB AFd|Aaf ged|{d}”tr”c>Bc d2:||a|fda {g}f>ed|Adc
d2=f|e=cg {=f}e>dc|
G=cB c2a|fda {g}f>ed|Adc ~d2e/f/|{f}e>dc dAB|AFd
D2a|fda f>ed|
Adc d2=f|e=cg {=f}e>dc|G=cB c2e|dDE FGA|Bcd efg|afd
ged|{d}”tr”c>Bc d2||
FONCASTELLE HOUSE. Scottish, Reel. C Major. Standard tuning. AAB. Composed by Malcolm MacDonald, appearing in his
first collection, dedicated to Mrs. Baird of Newbyth. MacDonald (A Collection of Strathspey Reels, vol. 1);
pg. 11.
X:1
T:Foncastelle House
M:C|
L:1/8
R:Reel
S:MacDonald – Collection of Strathspey Reels
Z:AK/Fiddler’s Companion
K:C
F | ECEG cGAF | FcEc dDDF | ECEG
cGAF | defd ec c :|
e/f/ | gcec Gcec | GcEc dDD(e/f/) |
gcec Gcec | defd ecce/f/ |
gcec Gcec | GcEc dDDF | ECEG cGAF |
defd ec cd ||
FONCEY’S TUNE. Canadian, Two-Step.
FOND CHLOE. Irish, Air (3/4 time). E Flat Mixolydian. Standard tuning. ABB. Petrie
opines: “A queer name for an Irish air.” Source for notated version: “From Mr.
R.A. Fitzgerald” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 720, pg. 181.
X:1
T:Fond Chloe
M:3/4
L:1/8
R:Air
S:Stanford/Petrie (1905), No. 720
Z:AK/Fiddler’s Companion
K:Eb
_d>c | B>A GE _dc | B>A GE
E>F | G2 AG F>E | E4 _d>c | B>A GE _d>c |
B>A GE E>F | G2 {B}A>G
F>E | E4 |: E>F | G>F GA B>c | _d2 B2 Bc/=d/ |
e>d eg f>e | e>d B2 _dc |
B>A GE _d>c | B>A GE E>F | G2 AG F>E | E4 :|
FOND d' CULOTTE
TWO-STEP (Seat of the Pants
Two-Step).
Cajun, Two-Step.
FOND FAREWELL, A. Scottish, Air (whole time). B
Flat Major. Standard tuning. AABB. Composed by Dr. John Turner; musician,
teacher, performer and director of the Jink and Diddle School of Scottish
Fiddling, held yearly in Valle Crucis, North Carolina. Johnson (A Twenty
Year Anniversary Collection), 2003; pg. 3. Turner (Fiddletree Collection), 1978.
FOND
OF THE LADIES. Irish, Jig. G Major. Standard
tuning. AABB. The first part is the same as “Pat Beirne’s Favourite,” “Sweet Biddy Daly,” “Irishman’s Heart to the Ladies”
family of tunes, though the second part is different (it is the first part of
the “Kesh Jig [1]”). O’Neill (1922)
remarks: “Following the example of Dr. Petrie and Dr. Joyce, whose
collections abound in variants, some of which differ but slightly from others
in their pages; the editor has continued the practice, rather than risk the
loss of a worthy strain. Of that class is ‘Fond of the Ladies’, the opening
bars of which remind us of ‘Sweet Biddy Daly’, or ‘The Irishman's Heart to the
Ladies’ previously printed.” O’Neill
(Waifs and Strays of Gaelic Melody),
1922; No. 154.
X:1
T:Fond of the Ladies
M:6/8
L:1/8
S:Capt. F. O'Neill
Z:Paul Kinder
K:G
e|dBG AGE|GED D2 E|G2 G A2 A|BAA Age|
dBG AGE|GED D2 E|G2 G A2 A|BGG G2:|
|:D|G2 G GAB|A2 A ABd|e>ee efg|dBG AGE|
GAG GAB|ABA ABd|ede gdB|AGE G2:||
FONN
FONN AIR DAIN FEINNE. AKA and see "Fingalian Air."
FONN AN ABHRANAIDH. AKA and see "The Chanter's
Tune."
FONN AN CEOLRAIDE. AKA and see "The Chanter's
Tune."
FONN CILLE CAMNIGH. AKA and see "Kilkenny Tune."
FONN GHATHAICHTE
OISEIN. AKA and see "An Ossianic Air."
FONN UISGEUL NO DAN. AKA and see "Romance or
Song Air."
FONTAINE’S FERRY. Old-Time. A
FOOL'S JIG. English, Morris Dance Tune (3/2 time). A Major. Standard. AB. The only
stick dance from the
X:1
T:The Fool's Jig
S:trad
arr Pete Stewart
M:4/4
L:1/8
K:G
GFGE DEDB | AGFE D2c2 | BcdB cGFG | AGFE DcBA |
GFGE
DFGB | AGFE D2c2 | BcdB cAGF | G2B2 G4:||
||: BcdB GBdB | cBAB c2AB | cBAG FGAB |
AGFE DcBA |
GFGE
DEDB | AGFE D2c2 | BcdB EcAF | G2B2 G4 :||
FOOSTRA, DA. Shetland, Shetland Reel. In the repertory of the Shetland Fiddle Band,
and therefore widely known.
FOOT IT FEATHY. Scottish, Reel. A Major/Mixolydian. Standard tuning. AAB. A
‘double-tonic’ melody. Source for notated version: Miss L. Duff Stuart
[MacDonald]. MacDonald (The Skye
Collection), 1884; pg. 30.
X:1
T:Foot it Feathy
M:C
L:1/8
R:Reel
S:Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:A
g|a2 AB cdef|=g2 d=c BGG>g|a2 AB
cdef|gfed cAA>e:|
cAeA aAef|=g2 d=c BGGB|cAeA
aAef|gfed cAAe|
cAeA aAef|=g2 d=c BGGB|AcBd
ceef|eagb aA A2||
FOOT LOOSE AND FANCY
FREE. Old‑Time, Fiddle Tune. The
title appears in a list of traditional
FOOT OF THE MOUNTAIN, THE (
X:1
T:Foot of the Mountain
M:6/8
L:1/8
R:Air
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:G
G/>A/ | B3 BAG | Add dcA | B3 BAG
| FAA AFD | B3 BAG | Add dcA |
DGG cAF|AGG G2 :: D | DGG FDD | DGG
FDD | DGG AGF |
cAG AFD | DGG FDD | DGG FDD | DGG
cAF | AGG G2 :|
FOOT THAT FALTERED
WALTZ, THE. Old‑Time, Waltz.
FOOTHILLS BREAKDOWN. Canadian. Point Records P‑229, Red
Crawford ‑ "Canadian Jigs and Reels."
FOOTING THE TURF. Irish, Jig. A Major. Standard tuning. AABB.
Composed by fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn,
south
FOOTPRINTS. AKA and see "Put Your Little Foot
Right Here." Old‑Time, Waltz. D Major. Standard tuning. One
part. The tune has been called a waltz version of "Haste to the Wedding."
It does not appear to resemble the usual tune of the alternate title. Thomas
and Leeder (The Singin’ Gatherin’),
1939; p. 63.
FOOTPRINTS IN THE SNOW.
X:1
T:Footprints in the Snow
M:4/4
L:1/16
S:Arr. Joey McKenzie (as played at
the 1997 "national" fiddle contest in
Weiser,
Z:Trans. Tony Ludiker
Z:The B part (begins on line 5) is
bowed du u du u du u du u.
Z:The last note of line 5 should
slur into the first note of line 6.
Z:Each (e_e=e) is fingered with the
fourth finger, followed by an open
"E" note.
K:E
([G2B2]|[EB])B,EF G([Be][c2e2])
([ce][e3e3]) ([fe][g2e2]e)|=gfef gfe(=dc^B)cf ecAc|
BFBc dfgd fB(=d^d) B2bg|f(B=d^d)
B([GB][FB][GB]) ([E4B4][EB])([EB][=GB][^GB])|
[EB]B,EF G([Be][c2e2]) ([ce][e3e3])
([fe][g2e2]e)|=gfef gfe(=d c^B)cf ecAc|
BFBc dfgd fB(=d^d) B2bg|f(B=d^d)
B([GB][FB][GB])([E4B4][EB])([FB][E2B2])||
[GB][GB] z[GB] [GB][GB] z[GB]
[Ac][Ac] z[Ac] [GB][GB]
z[GB]|(3([GB][AB][GB][F2B2]
[F2B2])([FB][GB] [F6B6])=d2|
dfzd fz a‑g fB=d^d BBcB|eB=dc
B([GB][FB][GB]) [EB]z(3[B,E][B,E][B,E][C2E2]^D2|
([=DA][E3B3])([FB][G3B3])([ce][e3e3])([fe][g2e2]e)|=gfef
gfe(=d c^B)cfecAc|
BFBc dfgd fB(=d^d) B2bg|f(B=d^d)
B([GB][FB][GB]) [E6B6]e‑f||
gbge fecd edf(e g2)ec|=defa gfe(d
|c^B)cf ecAc|
BFBc dfgd fB(=d^d) B2bg|f(B=d^d)
B([GB][FB][GB]) ([E4B4][EB])(e_e=e)|
e(e_e=e) e(e_e=e) edf(e g2)ec|=defa
gfe(d c^B)cf ecAc|
BFBc dfgd fB(=d^d) B2bg|f(B=d^d)
B([GB][FB][GB])([E4B4][EB])([FB][E2B2])||
[GB][GB] z[GB] [GB][GB] z[GB]
[Ac][Ac] z[Ac] [GB][GB]
z[GB]|(3([GB][AB][GB][F2B2]
[F2B2])([FB][GB] [F6B6])fg|
agag ffgf af=d^d BBcB|eB=dc
B([GB][FB][GB]) [EB]z(3[B,E][B,E][B,E][C2E2]^D2|
([=DA][E3B3])([FB][G3B3])([ce][e3e3])([fe][g2e2]e)|=gfef
gfe(=d c^B)cfecAc|
BFBc dfgd fB(=d^d) B2bg|f(B=d^d)
B([GB][FB][GB]) [E6B6]|
FOOTY. AKA and see “Footy Agyen the Wa’,”
"Peacock's Fancy [1]."
FOOTY AGYEN THE WA’. AKA and see “Peacock’s Fancy
[1].” English, Country Dance Tune (6/8 time). E Minor. Standard tuning. AB.
Originally published by Playford. Sharp (Country
Dance Tunes), 1909/1994; pg. 61.
X:1
T:Footy Agyen The Wa'
L:1/8
M:6/8
K:G
(f|g2 e f2 d|e2 d B2) (f|g2e f2 d|B3) B2 (f|g2 e f2 d|e2 f g2) (e|dBG A2 B|E3) E 2:|
(F
| G2A B2d | c2A B2) (A | G2A B2d | e3) e2f | (g2e f2d | e2f g2) (e | dBG A2B |
E3) E2 ||
FOR A' THAT AND A'
THAT. AKA and see “Black but Comely,” “Black laddie my darling,” “An Gille Dubh Mo Laochan,” "Lady Mackintosh('s Reel)
[1]," “Mo Laochan,” “Strawberry
Blossom [2],” "There's
Nae Luck Aboot the Hoose (There’s Nae Luck Ava) [1]." Scottish,
English; Reel.
X:1
T:For a’ that and a’ that
M:C
L:1/8
R:Strathspey
S:Kerr – Merry Melodies, vol. 2, No. 145
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
A|d>ed>A
(B<d)(e>f)|d>ef>d B2 (B>A)|d>ed>A
(B<d)(e>g)|f>ed>B A2A:|
|:g|f>ga>f
g<ee>g|f>ga>A B2 (G>g)|1 f>ga>f g>fe>g|f>ed>B
A2A:|2 f>ga>f b/a/g/f/ e<g|f>ed>B A2A||
X:2
T:For aw that and aw that
M:C
L:1/8
S:William Vickers’ music
manuscripts, pg. 147 (1770)
Z:AK/Fiddler’s Companion
K:G
f|d/d/d dA Bdeg|fdad ~B3d|d/d/d
dABdeg|fedB A2:|
|:f|gbag geeg|fdad ~B2 B[df]|abaf geeg|fedB
A2:|
FOR BETTER OR FOR
WORSE. Irish, Reel. D Major. Standard
tuning. AABB. Composed by Falmouth, Massachusetts, musician and writer Bill
Black. Black (Music’s the Very Best Thing),
1996; No. 138, pg. 72.
X:1
T: For Better or For Worse
C: © B. Black
Q: 350
R: reel
M: 4/4
L: 1/8
K: D
D | FAdA B2 Bc | dBAF GFED | FAdA B2 Bc | dfaf gBdB |
FAdA Bcde | faba geeg | fd (3ded cAAc | dBAF ED D :|
A | (3cBA eA (3cBA eA | fddc dAFA | (3cBA eA (3cBA eA |faaf a3 e|
cAeA
cAeA | fddc dAFD | GB (3BAB Acec | dBAF ED D :|
FOR BOOTS. Old-Time, Waltz. G Major. Standard. AB. Composed by Gene Silberberg in
honor of his friend Richard C. “Boots” Houlahan. Houlahan was a jazz trumpet
player who came by his name because a neighborhood dog had died just before he
was born. His older sister thought he was the dog’s reincarnation, and applied
the same name. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg.
46.
FOR FREEDOM AND FOR
ERIN (Le Saoirse's Le
Eirinn). Irish,
Air (6/8 time, "boldly"). G Minor. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 168, pg. 29.
X:1
T:For Freedom and For
M:6/8
L:1/8
R:Air
N:”Boldly”
S:O’Neill – Music of Ireland (1903), No. 168
Z:AK/Fiddler’s Companion
K:Gmin
D | G2B A2G | F2=E D2E | F2F F2A | c3
A2A | G2B A2G |
F2=E D2d | d2c B2A | G3 G2 || A |
B2B B2G | c2c c2A |
B2B B2G | c3 A2A | B2B B2G | c2c c2
=B/c/ \ d2 c _B2A | G3 d2 ||
FOR I’D RATHER GO. Irish, Air (3/4 time). Ireland, County Wexford. E Flat Major. Standard
tuning. AB. Source for notated version: “From Mr. R.A. Fitzgerald”
[Stanford/Petrie]. Stanford/Petrie (Complete
Collection), 1905; No. 781, pg. 195.
X:1
T:For I’d rather go
M:3/4
L:1/8
R:Air
N:”County of Wexford”
N:”Andante”
S:Stanford/Petrie (1905), No. 781
Z:AK/Fiddler’s Companion
K:Eb
Bed |
(e2f)e de/c/ | B>GE F G/A/B | c>A FD EE | E3 Bed | (e2f)e de/c/ |
B>GE F
G/A/B | c>A FD EE | E3 || F/G/ AG | F>GA B c/d/e | f>d BB c/d/e |
(f2g) e dc
| B3 c/d/ ed | e2f e de/c/ | B>G EF G/A/B | c>A FD EE | E3 ||
FOR IRELAND I WON'T SAY HER NAME [1] (“Ar
Eirinn ní Neosfainn Ce Hi” or “Air Éire ní Neó’sainn Cia h-Í). AKA ‑ "For Ireland I'd
Not Tell/Say Her Name." AKA and see "'Ar Eirinn ni 'Neosfainn Ce
Hi." "I Am a Disconsolate Rake," “Nancy Pride of the West,”
"The River Lee," "Storeen Machree,” “Tweedside." Irish, Slow Air (6/8 or 3/4
time). D Major (Boys of the Lough, Miller & Perron): G Major (Mac Amhlaoibh
& Durham, Ó Canainn, O’Neill). Standard tuning. One part (Boys/Lough, Mac
Amhlaoibh & Durham, Ó Canainn): AB (Miller & Perron, O’Neill). The song
attached to this slow air, according the Boys of the Lough, relates the tale of
a beautiful maiden who appeared for a short time to a Gaelic poet, resisted his
advances and then disappeared forever, leaving him heartbroken. Another version
has it that the protagonist falls secretly in love with a maid, although he is
too poor to support her and too shy to propose. He goes abroad to seek his
fortune, and once made and emboldened he returns home to claim his beloved,
only to discover she has married his brother. Brokenheared, he composes this
song, though for obvious reasons he refuses to reveal the name of his beloved.
The Boys of the Lough note some similarity between this tune and the English/Scottish
border tune known as 'Tweedside.' "...It is often called 'Binn lisin
aerach a Bhrogha’ (The melodious little lis of Bruff, Co. Limerick) from a song
about that place" (Joyce). The melody was published by both Petrie and
Joyce (pg. 221, appears as "Nancy the Pride of the West") as the
vehicle for songs, and the music appears in Poets
and Poetry of Munster (1849). Joyce also later included it in his Irish Music and Song.” Words to the song
begin:
***
Aréir is mé téarnamh um’ neoin,
Ar an dtaobh thall den teóra ‘na mbím,
Do théarnaig an spéir-bhean im’ chómhair
D’fhág taomanach breóite lag sinn.
Do ghéilleas dá méin is dá cló,
Dá béal tanaí beó mhilis binn,
Do léimeas fé dhéin dul ‘na cómhair,
Is ar Éirinn ní n-eósainn cé h-í.
***
Last night as I strolled abroad
On the far side of my farm
I was approached by a comely maiden
Who left me distraught and weak.
I was captivated by her demeanour and shapeliness
By her sensitive and delicate mouth,
I hastened to approach her
But for Ireland I’d not tell her name. (Mary
O’Hara, A Song for Ireland).
***
Boys of the Lough, 1977; pg. 24. Mac Amhlaoibh & Durham (An Pota Stóir: Ceol Seite Corca Duibne/The Set Dance Music of West
Kerry), No. 89, pg. 51. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg.
137. Ó Canainn (Traditional Slow Airs of
Ireland), 1995; No. 57, pg. 51 (appears as “Ar Eirinn”). O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 87, pg. 15. North Star NS0031,
"Dance Across the Sea: Dances and Airs from the Celtic Highlands"
(1990). Transatlantic TRA 296, Boys of the Lough, "Recorded Live."
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:For Ireland I Won’t Say Her Name
L:1/8
M:3/4
K:G Major
GA | B2 D2 D2 | E2 c2 BA | B4 GA |
B2 D2 D2 | E2 G2 B2 | B4 GA |
B2 D2 D2 | E2 c2 BA | B4 A2 | G2 E2
D2 | E2 G3 A | G4 || Bc |
d2 B2 A2 | G2 B2 d2 | e4 ge | d2 B2
A2 | G2 A2 B2 | A4 GA |
B2 D2 D2 | E2 c2 BA | B4 A2 | G2 E2
D2 | E2 G3 A | G4 |]
FOR IRELAND I WON'T SAY HER NAME [2] (Air
Éire ní Neó’sainn Cia h-Í). Irish, Air (3/4 time, “With feeling”). E
Minor. Standard tuning. AB. Source for notated version: a manuscript collection dated 1861 of Rev.
James Goodman, an Anglican cleric who collected primarily in County Cork
[Shields]. Shields (Tunes of the Munster Pipers), 1998; No. 11, pg. 8.
FOR (ALL) IRELAND I WOULD NOT TELL WHO SHE IS. See “For Ireland, I Won’t Tell Her Name.”
FOR LAKE/LACK OF GOLD
SHE'S LEFT ME. Scottish, Air or Jig. The melody
appears twice (in air and jig form) in the Gillespie
Manuscript of Perth, 1768.
FOR LLANOVER REEL. AKA and see "Mae Nhw'n
D'wedyd."
FOR
MY BREAKFAST YOU MUST GET A BIRD WITHOUT A BONE [1]. Irish, Air (2/4 time). Ireland, County
Wexford. F Major. Standard tuning. One part. Source for notated version: “Mr.
R.A.E.” [Stanford/Petrie]. Stanford/Petrie (Complete
Collection), 1905; No. 777, pg. 194.
X:1
T:For my breakfast you must get a bird without
a bone [1]
M:2/4
L:1/8
N:”Andante”
N:”Wexford”
S:Stanford/Petrie (1905), No. 777
Z:AK/Fiddler’s Companion
K:F
c | A>B cc | d>c AG | FF GG | A3 c | cf
ed | dc cc | cf ed | c3 d/e/ | fA Bc |
d>c AG | FF GG | A3c | d>c Ac | d>e fB
| AA G>F | F3 ||
FOR MY BREAKFAST YOU MUST GET A BIRD WITHOUT A BONE [2]. Irish, Air (2/4 time). E Flat Major. Standard tuning. One part. Source
for notated version: “From Mr. Fitzgerald” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 778, pg.
194.
X:1
T:For my breakfast you must get a bird
without a bone [2]
M:2/4
L:1/8
N:”Andante”
S:Stanford/Petrie (1905), No. 778
Z:AK/Fiddler’s Companion
K:Eb
G/A/ | B>A GB | e/>f/g/>e/
fB/>G/ | AG F>F | E3B | eB ef/g/ |
a/f/ g/e/ cB/G/ | AB cf | B3B | eB
ef/g/ | a/f/ g/e/ cB/G/ | AB cf |
B3 G/A/ | B>A GB | e/>f/ g/e/
fB/G/ | AG F>F | E3 ||
FOR MY MOTHER DEAR. Canadian, Waltz. Canada, Cape Breton. D Major. Standard tuning. AA’BB.
Composed by the late Inverness, Cape Breton, fiddler and composer Jerry Holland
(1955-2009), in memory of his mother. Cranford (Jerry Holland: The Second
Collection), 2000; No. 322, pg. 116. Odyssey ORCS
1051, Jerry Holland – “Fiddler’s Choice” (1999).
FOR OLD LANG GINE MY
JOE. Scottish. The tune appears in Henry
Playford's 1700 collection of Scottish dance tunes. The title is probably a
mis-hearing; 'gine' should be 'syne.'
FOR THE LACK OF GOLD (She Left Me). Scotch, Air (4/4 time). D Major. Standard tuning. AABB. O’Farrell lists the tune as Scotch. McGibbon (Scots Tunes, book III), 1762; pgs. 90-91. O’Farrell (Pocket Companion, vol. 1); c. 1805; pg. 75.
X:1
T:For the Lack of Gold
M:C
L:1/8
R:Air
S:O’Farrell – Pocket Companion, vol. 1 (c. 1805)
Z:AK/Fiddler’s Companion
K:D
D3F A>BdA | B2 d>ed2 :: de | fdeB dABF | E2 e>f e2 fa | bafb adbd | f2 a?b a2d2 |
g>abg fgaf | gfed “tr”e2 de/f/ | D2 DF ABdA | B2 d>e d2 :|
X:2
T:For the lack of Gold she left me
M:C
L:1/8
R:Air
N:”Lively”
S:McGibbon – Scots Tunes, book III, pgs. 90-91 (1762)
Z:AK/Fiddler’s Companion
K:D
(F>E) | D3F A>BdA | B2 (e>f) “tr”e2 (d>B) | d2a2 (fa)(bd) | f2 (a>b) “tr”a2d2 |
(g>ab)g (f>ga)f | (gf)”tr”(ed) e2 (d/e/f) | D3F (A>BdA | B2 (d>e) d2 :|
|: d>e | fdeB dABF | E2 (e>f) e2 (fa) | bafb adbd | f2 (a>b) a2d2 | g>abg f>gaf |
(gf)(ed) “tr”e2 (d/e/f) | D3F ABdA | B2 (d>e)d2 :: “tr”(F>E) | D3F (AB/c d/c/d/A/) |
B2 (e>f) e2 (dB) | (d/e/f/g/ a)d (f/d/c/d/) (b/d/c/d/) | f2 (a>b) a3f | (g/f/g/a/ b)g “tr”(f/e/f/g/ a)f |
(gf)(ed) “tr”e2 (d/e/f) | D3F (AB/c/ d/c/d/A/) | B2 (d>e) d2 :: d>e | (f/e/d) (e/d/B) (d/B/A) (B/c/d/F/) |
E2 (e>f) e2 (fa) | ba (f/b/a/b/) (a/d/c/d/) (b/d/c/d/) | f2 (a>b) a3f | (g/f/g/a/) (g/b/a/g/) “tr”(f/e/f/g/) (f/a/g/f/) |
(g/a/f/g/) (e/f/d/f/) e2 (d/e/f) | D3F (AB/c/) dA | B2 (d>e) d2 :: F>E |
FOR THE LAST TIME. AKA and see "Pour la
Derniere Fois."
FOR
THE SAKE OF OLD DECENCY (De Ghrá na
Sean-Mheasúlachta). AKA and see "Farewell
to Old Decency." Irish, Reel. G Major. Standard tuning. AB. The first
part is the same as "The Maid of Feakle,”
though the ‘B’ parts differ. “Old decency” is a phrase used in Ireland to mean
times past when manners and respected prevailed, as in “the man was a throwback
to old decency.” The Irish collector P.W. Joyce, discussing the phrase ‘Relics of old decency,’ says that “when a man
goes down in the world he often preserves some memorials of his former rank - a
ring, silver buckles in his shoes, &c. - ' the relics of old decency.’” A similarly titled tune is “Moving in Decency,” and although
it is musically quite different, the names do sometimes get garbled together.
Source for notated version: flute, whistle and concertina player Michael
Tubridy of the Chieftains (Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 192, pg. 86. Claddagh CC27, Michael Tubridy ‑ "The Eagle's
Whistle" (1978). Island ILPS 9501, "The Chieftains Live" (1977).
FOR TONIGHT WE'LL
MERRY MERRY BE. AKA and see "Landlord Fill the Flowing Bowl."
Scottish, Country Dance Tune (2/4 time). D Major. Standard tuning. ABB. Kerr (Merry Melodies), vol. 3; No. 386, pg.
42.
X:1
T:For Tonight We’ll Merry Merry Be
M:2/4
L:1/8
S:Kerr – Merry Melodies, vol. 3, No. 386
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
f|dAFA|d>ddd|e>eee|(f2
d)f|dAFA|d/d/d/d/ dd|e/e/e/e/ ee|(f2 d)||
|:A|f>ffa|(a/g/)g/g/
g2|e>eeg|(g/f/)f/f/ f2|d>ddf|f/e/e/e/ ge|dcBc|(e2 d):|
FORADALE HORNPIPE, THE. Shetland, Hornpipe. Fairly recently composed
by Ronald Jamieson.
FORAER A NEAINTÍN. Irish, Polka. G Major. Standard tuning. AABB. Tubridy (Irish Traditional Music, Book Two),
1999; pg. 8.
FORBES LEITH. Scottish, Reel. B Flat Major. Standard tuning. AABB. One of the six
hundred or so compositions by J. Scott Skinner.
Bain (50 Fiddle Solos), 1989; pg. 44.
FORBES LODGE. Scottish, Slow Air or Strathspey (cut time). D Major. Standard tuning.
AAB. Composed by Alexander Walker.
FORBES MILL. Canadian, Jig.
FORBES MORRISON. Scottish, Strathspey. A Major. Standard tuning. AB (Hardie, Hunter):
AAB (Martin, Skinner). Composed by J. Scott Skinner,
it appears in his Logie Collection.
It was included as one of the tunes Skinner used in 1921 concert tours in the
romantically entitled set "Spey's Fury's." Forbes Morrison (1833‑1906),
according to Hunter (1979), was a fiddler and dancing master in Tarves,
Aberdeenshire, expert in the use of the Scottish fiddle ornaments of short snap
bow and syncopated triplets. Purser (1992) states the tune “gives a good idea
of the rhythmic vigour characteristic of the Scotch fiddle style (Skinner) so
loved, and which was carried on by fiddlers such as James Dickie and John
Murdoch Henderson…” Source for notated version: Hector MacAndrew
[Martin]. Hardie (Caledonian Companion),
1992; pg. 55. Hunter (Fiddle Music of
X:1
T:Forbes Morrison
M:C
L:1/8
R:Strathspey
Z:AK/Fiddler’s Companion
K:A
d | c<A ({F}E>)D C>EA,>C
| ({C}[D2)D2] (B>A) (3Gfe (3dcB |
c<A ({F}E>)D C>EA,>C |
(3DFB (3GEG ({G}[A2)A2] [EA] :|
|| g | a>fg>e f<d e>c |
d>Bc>A (3Bcde (3efg | a>fg.e f<d e>A |
(3Gfe (3dcB ({G}[A2)A2] [EA>]g |
a>fg>e f>de>c | d>Bc>A (3Bcd (3efg |
(3.a.g.a (3.e.f.g (3.a.e.d (3c.B.A |
(3[GG][Ff][Ee] (3[Dd][Cc][B,B] {G}[A2A2][A,EA] ||
FORBES’S SNEESHIN
X:1
T:Forbes’s Sneeshin Mull
M:C
L:1/8
R:Slow Air, Strathspey or Reel
C:J. Scott Skinner (1843-1927)
S:Skinner – Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:G
(c | B<)GB<d ({f}g2) d>e |
~=f2 c>f c<=FF>c | B<GB<d ({f}g2) d>f | ({f}g2) d>c
B<GG>c |
B<GB<d ({f}g2) d>e |
(g/=f/e/}f2) c>B A<=F~F>A | .B.G.B.d .e.c.f.d | ({f}g2 d>c B<G G
||
^d | {d}[ee] B>f ({f}g2) e>^c
| ({c}d2) A>d F<DD>^d | [e2e2] B>e g2 e>c | B>G F<B G<E
~E>^d |
{^d}[e2e2] B>f ({f}g2) e>^c |
d>f A>d F<DD>F | (3GAB (3ABc (3Bcd (3cde | (3ABc (3FGA B<G G ||
FORD ONE STEP. Old‑Time, Dance Tune. USA, Missouri. C Major. Missouri State Old Time Fiddlers Association 001, Pete
McMahan ‑ "Ozark Mountain Waltz." “Now That’s a Good Tune:
Masters of Traditional Missouri Fiddling.”
FORDELL HOUSE. Scottish, Reel. G Major. Standard tuning. AAB. John Glen (1891) finds
the earliest appearence of this tune in print in Robert Ross's 1780 collection (pg. 22).
Glen (The Glen Collection of Scottish
Dance Music), vol. 1, 1891; pg. 7.
X:1
T:Fordell House
M:C|
L:1/8
S:Glen Collection, Vol. 1 (1891)
Z:AK/Fiddler’s Companion
K:G
c|BGBd g2 (g/a/b)|BGBd cAAc|BGBd g2
(g/a/b)|AFDF (G2 G):|
c|Bgdg Bgbg|dgBg aAAc|Bgdg Bgbg|AFDF
(G2 G)c|Bgdg Bgbg|
dgBg aAAc|bgaf gdec|AFDF (G2 G)||
FORECASTLE. Scottish, Hornpipe. D Major.
Standard tuning. AABB'. Kerr (Merry
Melodies), vol. 3; No. 334, pg. 36. Kerr (Merry Melodies), vol. 2; pg. 39 (appears as untitled hornpipe).
X:1
T:Forecastle
M:C
L:1/8
R:Hornpipe
S:Kerr – Merry Melodies, vol. 3, No. 334 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
A2 | f2 (ed) dcdeB | AFDF AFBA |
GFEF GABc | defd A2A2 | f2 (fe) dcdB |
AFDF AFBA | GFEF GABc | d2d2d2 ::
(cd) | e^dec A2 (=de) | fefd A2f2 |
gfeg fedf | edcB A2 (cd) | e^dec A2
(=de) | fefd A2a2 | ^gfef edcB |1 A2A2A2:|2 A2 (^GA) Bcde ||
FOREE, THE. AKA and see “Haymaker’s
(Jig) [2].” English, Jig. G Major. Standard tuning. AABBCC. The melody
appears in the 1840 music manuscript collection of Cumbrian musician John Rook.
X:1
T:Foree, The
M:6/8
L:1/8
S:John Rook manuscript (Cumbria,
1840)
K:G
G2B A2c|B2G AFD|G2B A2c|BGG G2:|
|:B2d g2d|gfe dcB|B2d g2d|gfe d2:|
|:c2e d2B|A2c B2G|c2e A2c|BGG G2:|
FOREFIT O' DA SHIP, DA. Shetland, Reel. D Major. Standard tuning. AB (Boys/Lough): AABB
(Anderson & Georgeson, Cooke, Hunter, Martin, Martin & Hughes,
Phillips). In the repertory of the Shetland Fiddle Band, and therefore widely
known in the islands. Tom Anderson (1970, 1978) states the tune is supposed to
be one of the tunes composed by an unknown fiddler‑whaler, inspired by
the sound of the sea breaking on the bows of a sailing ship. Robin Morton
(1976) believes there is Scandinavian influence apparent in the melody. Sources
for notated versions: Tom Anderson (Shetland) [Phillips]; J.C. Smith (Shetland)
[Anderson & Georgeson]. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 24. Boys of the Lough, 1977; pg. 20. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex. 46, pg. 104.
Hunter (Fiddle Music of Scotland),
1988; No. 212. Martin (Traditional Scottish
Fiddling), 2002; pg. 94. Martin & Hughes (Ho-ro-gheallaidh), 1990; pg. 32. Phillips (Fiddlecase Tunebook), 1989; pg. 20. Philo
1042, Boys of the Lough ‑ "The Piper's Broken Finger" (1976).
Thule Records 214, Tom Anderson. Topic 12TS379, Aly Bain & Tom Anderson ‑
"Shetland Folk Fiddling, vol. 2" (1978). Transatlantic TRA 311, Boys
of the Lough, "The Piper's Broken Finger."
X:1
T:Forfeit o’ da Ship, Da
M:C
L:1/8
R:Reel
K:D
AB|d2 dB dA F2|ABAF EDEF|(3AAA AF
ABde|f2 ed B2:|
|:AB|d2 fd adfd|d2 fd eAAf|(a2 a)e
fdef|dBAF E2:|
FOREHEID OF THE
SIXEREEN, DA. AKA and see "Andrew's Spring." Shetland, Shetland
Reel (asymmetrical reel). Shetland, Whalsay (?). C Major. Standard tuning. AA'BB'.
The title refers to the bow of a boat. Source for notated version: Andrew
Poleson (Shetland) [Cooke]. Cooke (The
Fiddle Tradition of the Shetland Isles), 1986; Ex. 9, pg. 60.
FOREST, THE.
Scottish, Jig. D Major. Standard tuning. AA’BB’. Gow labels the tune as
“Irish.” Gow (Second Collection of Niel
Gow’s Reels), 1788, 3rd edition; pg. 6.
X:1
T:Forrest [sic], The
M:6/8
L:1/8
R:Jig
N:”Irish”
B:Gow – 2nd Collection of Niel Gow’s Reels, 3rd ed.,
pg. 6 (1788)
Z:AK/Fiddler’s Companion
K:D
(DED) “tr”(FEF)|d2d def|(DED)
“tr”F2G|AFD “tr”E2D|DED “tr”FEF|
d2d d2e|fdc “tr”B>cd|1 AFD E2D:|2
AGF EFA||:B>cB “tr”BAF|
A>BA AFA|B>cB “tr”BAF|{B}AGF
EFG|B>cB “tr”BAF|
AFG ABc|1 dfe dcB|{B}AGF EFA:|2 def
efd|ABG FGE||
FOREST AND GLEN. See "Highlander's Jig."
AKA‑ "Cold Winds
from Ben Wyviss."
FOREST DE BONDI. See "Forest of Bondi."
FOREST FLOOR, THE. American, Reel. E Dorian. Standard tuning.
AABB. Composed by Vermont fiddler Pete Sutherland. Sutherland (Bareface), 1984; pg. 11.
FOREST FLOWER. American, Strathspey. Ryan’s
Mammoth Collection, 1883; pg. 169.
FOREST FLOWER WALTZ. AKA and see "Metsakukkia."
FOREST LODGE. Scottish, Reel. Composed by John Crerar (1750‑1840), and included
in McGlashan's second collection
in 1786. The title has Atholl connections; he was gameskeeper at the estate,
and may have taken lessons from Niel Gow, who also worked there for a time.
FOREST OF BONDI. See "Forest de Bondi." English?, Country Dance (2/4 time). D Major. Standard tuning. AABB. The tune, titled after a forest near Paris, France, has a long history in New England. It appears in a musician’s manuscript copy-book called the Read Manuscript, from New Haven, Connecticut, dated 1798. As "Forest de Bondi‑Square Dance," the tune appears in the repertoire list of Maine fiddler Mellie Dunham (Bronner, 1987). The elderly Dunham was Henry Ford's champion fiddler in the late 1920's. Howe (c. 1867) prints instructions for a contra-dance to the tune.
***
I believe the title refers to a once well-known tale of canine attachment that is said to have occurred during the reign of Charles V:
***
A gentleman named Macaire, an officer of the king's body-guard, entertained, for some reason, a bitter hatred against another gentleman, named Aubry de Montdidier, his comrade in service. These two having met in the Forest of Bondi, near Paris, Macaire took an opportunity of treacherously murdering his brother officer, and buried him in a ditch. Montdidier was unaccompanied at the moment, excepting by a dog with which he had gone out, perhaps to hunt. It is not known whether the dog was muzzled, or from what other cause it permitted the deed to be accomplished without its interference. Be this as it might, the hound lay down on the grave of its master, and there remained till hunger compelled it to rise. It then went to the kitchen of one of Aubry de Montdidier's dearest friends, where it was welcomed warmly, and fed. As soon as its hunger was appeased, the dog disappeared. For several days this coming and going was repeated, till at last the curiosity of those who saw its movements was excited, and it was resolved to follow the animal, and see if anything could be learned in explanation of Montdidier's sudden disappearance. The dog was accordingly followed, and was seen to come to a pause on some newly-turned-up earth, where it set up the most mournful wailings and howlings. These cries were so touching, that passengers were attracted; and finally digging into the ground at the spot, they found there the body of Aubry de Montdidier. It was raised and conveyed to Paris, where it was soon after- wards interred in one of the city's cemeteries.
***
Hardings All Round Collection, 1905; No. 132, pg. 41 (appears as “Forest of Bondy”). Howe (1000 Jigs and Reels), c. 1867; pg. 81 (appears as “Forest of Bondi”).
X:1
T:
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/ | AA AA | A/B/A/G/ FA | B/G/B/d/ c/A/B/c/ | dd d/e/f/d/ | AA AA |
A/B/A/G/ FA | B/G/B/d/ c/A/B/c/ | d2 z :: f/g/ | a2 ab | ba fa | ba fd |
e/d/e/f/ e/f/g/e/ | a2 ab | ba f2 | af e/d/e/f/ | d2 z :|
FOREST OF GA-ICK/GAICK, THE. Scottish, Strathspey. D Minor. Standard
tuning. AB. Composed by William Marshall (1748-1833).
The Forest of Ga-ick was a deer forest near Glen Feshie, owned by the Duke of
Gordon for his hunting pleasure. The Duke, for whom Marshall worked as Steward
of the Household, was an excellent shot, as was Marshall himself (Moyra Cowie, The Life and Times of William Marshall,
1999). The deer were protected and well-fed on the lush vegetation of the tract
and reportedly grew to enormous size. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 52.
Stewart-Robertson (The Athole Collection),
1884; pg. 240.
X:1
T:Forest of Gaick, The
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Dmin
E|D<(d d)>^c d2 d>e|c>d e<d c<C C>E|D<(d d)>^c d2 d>e|c<A c>E D2 D>E|
D<(d d)>^c d2 d>e|c>de>f
g>ec>e|f>ag>e f>de>c|d<A c>
e|f<d d>e c>d e<a|f<d d>e f<df<a|f<d d>e c>d e<g|a<f g>e d2 d>e|
f<d d>e c>d e<a|f<d d>e f<d
e>=B|c>dc>G E>CE>G|A>FG>
FOREST OF GARTH, THE. Scottish, Strathspey. D Minor. Standard
tuning. AAB (Welling): AABB' (Kerr). Composed by Neil Gow, according to David
Green & Phil Hresko. Kerr (Merry
Melodies), vol. 3; No. 167, pg. 20. Welling (Welling’s Hartford Tunebook), 1976; pg. 21 (includes one
variation). Philo 2001, "Jean Carignan."
Point Records P‑229, Bill Lamey ‑ "Canadian Jigs and
Reels."
X:1
T:Forest of Garth, The
M:C
L:1/8
R:Strathspey
S:Kerr – Merry Melodies, vol. 3, No. 167
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:Dmin
F | D<(d d>)^c d2 (d>e) |
c>de>d c<CC>E | D<(d d>)^c d2 d>e | c>Ac>E ({F/E/}D2)D
:|
|: e | f<dd>e c>de<a |
f<dd>e f>df<a |1 f<dd>e c>de<a | (3fed (3ed^c (d2d) :|2
c>dc>G E<C E<G | (3AGF
(3GFE (D2D) ||
FOREST OF MAR, THE. Scottish, Reel. D Minor. Standard tuning. AAB.
Composed by Alexander Walker. Walker (A
Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 101, pg. 35.
FOREST ROAD, THE.
American, Jig. G Major. Standard tuning. AABB. Composed in the Irish
style by Alstead, New Hampshire, fiddler and publisher Randy Miller. Miller (Fiddler’s Throne), 2004; No. 45, pg. 37.
FOREST WHERE THE DEER
RESORT, THE (Sud an gleann
'sam be na feidh). Scottish, Strathspey. D Minor. Standard tuning. AA'BB'. "Sung with
inimitable humour by the late Alexander Fraser, Esq. of Culduthel, and the
editor's grandfather" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the
Isles), 1874; No. 25, pg. 9.
X:1
T:Forest where the Deer resort, The
T:Sud an gleann ‘sam be na feidh
M:C
L:1/8
R:Strathspey
S:Fraser Collection (1874)
Z:AK/Fiddler’s Companion
K:Dmin
c|:A<d d>f c>fA>a|f>c A<F G/G/G A2|1 A<d d>f c>fA>d|
B>G G/G/G F>D D2:|2 a>gf>d c>BA>d|B>G G/G/G FD D2||
|:D>GG>B c>B A<c|B<GG>B c>A F<A|1 D<G G>B c>B A<d|
B>G
G/G/G F>D D2:|2 A<d d/d/d c>A A/A/A|B>G G/G/G F>D D2||
FORESTER, THE. English, Hornpipe and Morris Dance Tune (4/4
time). D Major. Standard tuning. ABB. A patently hybrid tune which has the
first strain of "Turkey in the Straw"
as its first half while the second strain is the second of "College Hornpipe." Morris versions
from the villages of Bampton and Field Town (Leafield), Oxfordshire, England.
Bacon (The Morris Ring), 1974; pg.
151. Journal of the English Folk Song and
Dance Socity, VIII, 1956, pg. 6.
FORESTERS (HORNPIPE), THE. AKA – “Greenfields.” American, Canadian;
Hornpipe. D Major. Standard tuning. AABB. Long a popular dance tune in the
Canadian Maritimes and New England. It seems earliest published in a volume called M. Higgens’ Original
Dances, Walzes & Hornpipes for the Violin (1829), where it appears
under the name of "Greenfields." In Canada it was popularised through the
playing of radio and TV fiddler Don Messer, and The Cape Breton Symphony
(Winston Fitzgerald et al). Source for notated version: Rodney Miller (N.H.)
[Phillips]. Cole (1000 Fiddle Tunes),
1940; pg. 89. Cranford (Jerry Holland: The Second Collection), 2000; No.
98, pg. 39. Messer (Way Down East),
1948; No. 63. Messer (Anthology of
Favorite Fiddle Tunes), 1980; No. 109, pg. 70. Miller & Perron (New England Fiddlers Repertoire), 1983;
No. 116. Phillips (Traditional American
Fiddle Tunes), vol. 2, 1995; pg. 194. Ryan’s
Mammoth Collection, 1883; pg. 123. Songer (Portland Collection, vol. 2).
Tolman (Nelson Music Collection),
1980; pg. 17. Alcazar Dance Series FR 204, "New
England Chestnets 2" (1981). Green Linnet GLCD 1184, Patrick Street –
“Made in Cork” (1997. Learned from Dermot McLaughlin). CAT-WMR004, Wendy
MacIssac - “The ‘Reel’ Thing” (1994. Appears as “Foresters Clog”). Jerry
Holland – “Master Cape Breton Fiddler” (1982. Learned from Winston Fitzgerald).
See also listings at: Alan Ng’s Irishtune.info Alan Snyder’s Cape Breton Fiddle
Recording Index Jane Keefer’s Folk
Music Index: An Index to Recorded Sources |
X:1
T:Forester’s Hornpipe
M:C|
L:1/8
K:D
|:fg|a^g af df bg|a^g af d2cd|eA fA eA fA|ed cB A2 fg|
a^g af df bg|a^g af d2cd|BG FG Ad ce|f2d2d2:|
|:cd|ed cB AG EG|FA df a2 fa|ge Bg fd Af|ed cB A2cd|
ed
cB AG EG|FA df af ba|gf ed cA Bc|d2f2d2:|
FOREVER YOUNG. American, Waltz. Composed by
fiddler George Wilson (
FORFAR HUNT, THE. Scottish, Reel. B Minor. Standard tuning. AAB
(Lerwick, Shears): AABB' (Athole). Composition credited to A. Allan by
MacDonald in the Skye Collection.
Forfar, in Angus, is the supposed site of the last great battle between the
Picts and the Scots in 845, before Kenneth MacAlpin united the kingdoms. The
‘hunt’ of the title refers to a genteel hunting and social club. Lerwick (Kilted Fiddler), 1985; pg. 22‑23.
MacDonald (The Skye Collection),
1887; pg. 66. Shears (Gathering of
the Clans Collection, vol. 1), 1986; pg. 58 (pipe setting). Stewart-Robertson (The Athole Collection), 1884; pg. 133.
X:1
T:Forfar Hunt
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Bmin
BFBc d2df|ceAa fedc|BFBc d2df|cAec dBB:|
|:BbBc defd|cAec acec|1 BbBc defd|cAec dBB2:|2
BFBc
dcde|fdec dBB2||
FORFEIT OF THE SHIP, THE. See "Forefit
O' Da Ship."
FORGE, THE. Scottish, Strathspey. E Minor. Standard
tuning. AABB. Kerr (Merry Melodies),
vol. 4; No. 102, pg. 13.
X:1
T:Forge, The
M:C
L:1/8
R:Strathspey
S:Kerr – Merry Melodies, vol. 4, No. 102
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:Emin
B<B B>A
G>FE>G|F>DA>D F>DA>d|B<B B>A G>FE>G|B>e
g/f/e/^d/ (e2 e)g:|
|:g<g b>g a>fd>f|e<e
g>e f>^dB>f|g<g b>g a>fd>f|B>e g/f/e/^d/ (e2 e)g:|
FORGERON, LE (The Blacksmith). AKA and see “Blacksmith’s Reel [2].”
French-Canadian, Reel. A Major. AEae tuning. AA’BB’. A ‘crooked’ tune. Source for
notated version: Acadien fiddler Pius Boudreault via Jean Carignan (Montreal);
also André Alain (St-Basile de Portneuf) [Remon & Bouchard]. Remon &
Bouchard (25 Crooked Tunes, vol. 1:
Québec Fiddle Tunes), 1996; No. 20. Yvon Mimeault
– “Y etait temps!/It’s About Time” (adapted from Jean Carrignan’s version).
FORGET ME NOT [1]. AKA and see “Gerry Cronin’s
Reel,” “Larry Redican’s [3],” “Martin Rocheford’s [1],” “Miss
Ramsey’s.” Irish, Reel. C Major. Standard tuning. AABB: AA’BB’ (Connolly
& Martin). Composed by New York City fiddler and composer Larry Redican,
born in County Roscommon. Redican came to New York via Dublin and Toronto, and
became an icon of the New York Irish music scene in the mid-20th
century. Redican died on stage at Mineola, Long Island, playing for a céilí.
Connolly & Martin (Forget Me Not),
2002; pgs. 34-35.
X:1
T:Forget Me Not
C:Larry Redican
R:reel
M:4/4
L:1/8
Z:Philippe Varlet
K:C
c2ec AGED|CA,~A,2 G,A,CD|EGcd
ecdc|Addc dged|
c2ec AGED|CA,~A,2 G,A,CD|EGce
dBcA|GEDF ECCG:||
c2gc acgc|fcec dcAc|Gc~c2 Gcea|gece
d2eg|
agea gede|cd (3edc dcAG|EGce
dBcA|GEDF ECCG:||
FORGET ME NOT [2]. Irish, Polka. D Major ('A' part), A Major ('B' part) & G Major
(Trio). Standard tuning. AABB, Trio.
Roche Collection, 1982, vol. 3; No. 154, pg. 51.
FORGET ME NOT [3]. AKA and see “Boy in the Gap,”
“Kilkenny Boys,” “Lady Mary Ramsey [2],” “Miss Ramsay [2],” “The Queen’s Shilling.” American?, Reel. G
Major. Standard tuning. AABB. Cole (1000
Fiddle Tunes), pg. 49. Ryan’s Mammoth
Collection, 1883; pg. 77.
X:1
T:Forget Me Not [3]
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G
G | G>e d/B/B/e/ | d/B/B/e/
d/B/d/g/ | G>.e d/B/B/d/ | e/g/d/B/ A/G/E/D/ |
G>e d/B/B/e/ | d/B/B/e/ d/B/d/g/
| G>e d/B/B/d/ | e/g/d/B/ A :: g/a/ |
b/g/g/b/ a/f/f/a/ | g/e/e/g/ d/B/B/g/
| b/g/g/b/ a/f/f/a/ | g/e/d/B/ .Ag/a/ |
b/g/g/b/ a/f/f/a/ | g/e/e/g/
d/B/B/g/ | b/g/a/f/ g/e/f/d/ | (3e/f/g/.d/.B/ A :|
FORGET NOT THE ANGELS (Na Dearmad Na Aingealaide). Irish, Slow Air (3/4 time). E
Minor. Standard tuning. One part. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 332, pg. 57.
X:1
T:Forget not the Angels
M:3/4
L:1/8
R:Slow Air
N:”Slow and tenderly”
S:O’Neill – Music of Ireland (1903), No. 332
Z:AK/Fiddler’s Companion
K:Emin
GA|B2B2 AG|df e>d BA|G2 EG F>E|E4
B^d|e2 egfe|e2d2 ef|g2 fedB|^d2e2 Bd|
E2 egfe|e2 dz ef|g2 fedc|^d2 e2
GA|(B2 B>)A GE|D>de>dBA|G2 EG F>E|(E2 E)z||
FORGET YOUR TROUBLES. AKA and see "Denis O'Keeffe's (Favourite)." Irish, Slide (12/8 time). A Dorian. Standard tuning. AABB. In liner notes to Jackie Daly's "Many's a Wild Night," Máire O'Keefe says this tune is a great favourite of Maurice O'Keeffe who says he learned it from the playing of Do/nal O'Connor, the great Brosna fiddle player now living in Limerick. Gael Linn CEF176, Jackie Daly - "Many's a Wild Night."
X:1
T:Forget Your Troubles
D:Jackie Daly, "Many's a Wild Night", track 6(a)
M:12/8
L:1/8
R:slide
Z:Paul de Grae
K:Ador
"Am" E2 A ABA "G" G2 A B2 d | "Am" e2 B dBA "G" G3 "Em" GED |
"Am" E2 A ABA "G" G2 A B2 d | 1 "Em" e2 d BdB "Am" A3 "Em" e3 :||
2 "Em" e2 d BdB "D" A3 A3 ||
||: "Am" e2 e efe "D" d2 d dBd | "Am" e2 B dBA"G" G3 "Em" GED |
"Am" E2 A ABA "G" G2 A B2 d | "Em" e2 d BdB "D" A3 A3 :||
***
Am / G / | Am / G Em | Am / G / | 1 Em / Am Em :|| 2 Em / D / ||
||:
Am / D / | Am / G Em | Am / G / | Em / D / :||
FORGIVE THE MUSE THAT
SLUMBERED. AKA and see “Bhíosa lá I bport láirge,” "The Dainty Besom Maker," "The Gimlet," “I’d mourn the hopes that leave me,” “Johnny’s Grey Breeks [2],”
"The Old Lea Rigg,"
"Little Mary Cullinan,"
"Little Sheila Connellan,”
“Maureen from Giberland,” “Port Láirge,” “The Rose Tree [1],” “The Rose Tree in
Full Bearing."
FORGLEN HOUSE. Scottish, Strathspey. C Minor. Standard tuning. AB. Composed by William Marshall (1748-1833). A note in Marshall’s
collection reads: "Although this strathspey was composed by Mr. Marshall,
it appears in Mr. C. Duff's Collection under another name.” Duff was a dancing
master and music publisher in Dundee. Many of Marshall's tunes entered general
circulation before he himself published them, and many were published by
others, before Marshall’s publications and sometimes with other names. Forglen
House in on the banks of the River Deveron, near Turriff, Aberdeenshire, home
of a branch of the Abercromby of Birkenbog family. The name Forglen or Foreglen
distinguishes it from the neighboring parish of Alvah or Back Glen. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 28.
X:1
T:Forglen House
M:C
L:1/8
R:Strathspey
S:Marshall – 1822 Collection
Z:AK/Fiddler’s Companion
K:Cmin
G|cccG [A,3A3]F|GG GE/G/ F/E/D/C/
B,D|E/D/E/F/ G/F/G/=A/ B/A/B/c/ BG|
G/F/E/D/ BD C2 CG|cccG [A,3A3] F|GG
GE/G/ F/E/D/C/ B,D|
E/D/E/F/ G/F/G/=A/ B/A/B/c/
Bf|e/d/c/B/ fd ~c2 c/d/e/f/||g<c g>f gccd/e/|
~f>gfd ~B>cdf|g<c g>f
gcce|e/d/c/B/ g/f/e/d/ c2 c/d/e/f/|gcg>f gc cd/e/|
f/g/a/b/ f/e/d/c/ ~B>cdf|gbfg df
cd|BF/B/ G/F/E/D/ C2C||
FORGOTTEN WALTZ. American, Waltz. G Major. Standard tuning. AAB. Source for notated
versions: Lyman Enloe (1906-1997, Missouri), learned at the age of 17 when
confined to a sickbed with the measles, from the playing of his father Lige and
his father’s friend Lee Carpenter (Eldon, Missouri), who had come to visit
[Beisswenger & McCann, Phillips]. Beisswenger & McCann (Ozarks
Fiddle Tunes), 2008; pg. 29. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 255. Grey
Eagle Records, Lyman Enloe – “Now That’s a Good Tune” (1991).
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[COMMENT1]This was Font/Pitch
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[COMMENT2]This was Font/Pitch 1,10 - On.
[COMMENT3]This was Font/Pitch 1,10 - Off.
[COMMENT4]Note: The change to pitch (12) and font (1) must be converted manually.