The Fiddler’s Companion

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FORK - FOT

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

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

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

[COMMENT4]

FORKED BUCK. See "Forked Deer."

FORKED DEER, (THE). AKA ‑ "Forked Buck," "Forky Deer," "Forked‑Horn Deer," "Forked Deer Hornpipe," “Hounds in the Horn,” "Long-Horned Deer." AKA and see "Deer Walk [1]," "Bragg's Retreat," "Van Buren." Old‑Time, Breakdown. USA, Widely known. D Major. Standard or ADae (Edden Hammons/Bruce Molsky) tunings. AB (Silberberg): AABB (most versions): AA'BB (Phillips). Many older versions have several more parts than the two that are commonly played in modern times, and Jeff Titon (2001) suggests that the influence of the recording industry had much to do with shortening and standardizing the parts of the melody. Clay County, W.Va., fiddler Wilson Douglas, heir to an older tradition, plays the tune in three parts, as did his mentor French Carpenter. Roscoe Parish of Coal Creek, Va., also had a third part. Blind northeastern Kentucky fiddler Ed Haley (1883-1951) played a five-part version, as did Charlie Bowman and Kentuckian J.W. Day. Kerry Blech says that Bowman’s version includes the familiar ‘A’ and ‘B’ parts, a high ‘C’ part that is also shared with some other sources, and two last parts that seem to be Bowman originals. John Johnson, an itinerant man originally from West Virginia who had artistic talent in several areas, had a version that had six parts, played ABACCDEFDEF (son of a jailer, he was said to have “fiddled his way in and out of most jails from West Virginia to Abiline”). Johnson (1916-1996) visited Kanawha County, West Virginia, fiddler Clark Kessinger (1896-1975) just a week before he died, an encounter from which he remembered:

***

I went and played the fiddle for him, played The Forked Deer.

Clark said, “That’s not The Forked Deer.” “Well,” I said, “I

don’t know whether it’s The Forked Deer or not, but I learned

it from a record Arthur Smith made when I was a kid, and I

know the tune’s way older than I am.” And Clark said, “That

ain’t The Forked Deer.” But you see, I play six parts of The

Forked Deer and he just played two. So I suppose that’s the

reason why he said that wasn’t The Forked Deer. I learned that

whole tune just like Arthur Smith played it. I’ve heard lots of

other fiddlers put just two parts to it. (Michael Kline, Mountains of Music, John Lilly ed. 1999).

***

R.P. Christeson (1973) notes that the tune bears considerable resemblance to a Scottish tune named "Rachel Rae," which can be found in some of the older Scottish tune collections (and which in America was printed in such collections as White's Solo Banjoist, Boston, 1896). He notes that some fiddlers play the first part of this tune differently than the Missouri version he gives, and use a portion of "The Forked Deer" as published by George Willig's in George P. Knauff's Virginia Reels (vol. 1, No. 4, Baltimore, c. 1839)--which appears to be the first time the "Forked Deer" tune appears in print. It has been suggested (by William Byrne) that the title “Forked Deer” (the first word is pronounced as if hyphenated, ‘FORK-ed’) is a corruption of ‘Fauquier Deer’, referring to the name of a county in northern Virginia. Others believe it may have derived from association with the Forked Deer River in Tennessee. Apparently, it was asserted in a fictionalized traveller’s account (published in the late 1880’s by Dr. H.W. Taylor) entitled "The Cadence and Decadence of the Hoosier Fiddler" that the title referred to a Deer river and its tributaries (i.e. ‘the forks of the Deer’). John Hartford and Pat Sky have speculated the original title may have been “Forked Air,” meaning a crooked melody. Indeed, Paul Tyler reports the "Forked Air" title was used in a 1950 notebook in which A. Hamblen noted down tunes played by his grandfather and brought to Brown County, Indiana, from Virginia in 1857. The tune, as "Forkadair,” appears in W. Morris’s Oldtime Viloin Melodies: Book No. 1, and the “Forkedair Jig” is a title Gerry Milnes (1999) says was used in a minstrel-era version.

***

Miles Krassen (1973) remarks the tune is very popular through most of the southern Appalachians, though it was not played for the most part by Galax, Va., style bands. Tommy Jarrell, quintessential Round Peak (near Mt.Airy, N.C./Galax, Va.) fiddler learned the tune in Carroll County, southwestern Virginia, where he listened to his father‑in‑law, Charlie Barnett Lowe play it on the banjo with local fiddlers Fred Hawkes and John Rector. It is one of the tunes mentioned in the humorous dialect story "The Knob Dance,” published in 1845, set in eastern Tenn. (C. Wolfe), and was also known before the Civil War in Alabama, having been recalled by Alfred Benners in Slavery and Its Results as played by slave fiddler Jim Pritchett of Marengo County. The tune was mentioned by William Byrne who described a chance encounter with West Virginia fiddler ‘Old Sol’ Nelson during a fishing trip on the Elk River. The year was around 1880, and Sol, whom Byrne said was famous for his playing “throughout the Elk Valley from Clay Courthouse to Sutton as…the Fiddler of the Wilderness,” had brought out his fiddle after supper to entertain (Milnes, 1999). Charles Wolfe (1982) remarks it was popular with Kentucky fiddlers, especially in eastern Kentucky (a remark probably based on recordings of regional fiddlers Ed Haley and J.W. Day). Jeff Titon (2001) finds the title in the 1915 Berea, Kentucky, tune lists, and notes that it was played at the 1919 and 1920 Berea fiddle contests. It was one of the few sides cut in the first recorded session of American fiddle music in June, 1922, for Victor--a duet between Texas fiddler Eck Robertson and Henry Gilliland (though unissued). The tune was recorded for the Library of Congress by musicologist/folklorist Vance Randolph in the early 1940's from the playing of Ozark Mountain fiddlers. It is on Missouri fiddler Charlie Walden’s list of ‘100 essential Missouri fiddle tunes’. Alternate titles "Forked‑Horn Deer" and "Forked Deer Hornpipe" appear in a list he compiled of traditional Ozark Mountain fiddle tunes. Joel Shimberg finds that volume two of G. Legman's edition of Vance Randolph's "unprintable" Folksongs and Folklore: Blow the Candle Out (pg. 759), says: "The dance tune known as Forked Deer is regarded as vulgar in the Ozarks, because the title has a double meaning. Forked might refer to the

deer's antlers, but it is also the common Ozark term for ‘horny’, which means sexually excited. The word is always pronounced ’fork-ed’ , in two syllables. I

have seen nice young girls leave a dance when the fiddler began to play Forked Deer. Lon Jordan, veteran fiddler of Farmington, Ark., always called it Forked-Horn Deer when ladies were present. Buster Fellows once played it on a radio program, but the announcer was careful to call it Frisky Deer! (Station KWTO, Springfield, Mo., May 3, 1947.)"

***

Ira Ford's (1940) rather preposterous story of the origins of the title is as follows: "The old dance tune, 'Forked Deer', is easily traceable to the days of powder horns, bullet molds and coonskin caps. Like many other very old tunes of American fiddle lore, it had its origin on the isolated frontier and this one has been traced to the first settlers along the Big Sandy River, the border line of Virginia and Kentucky. In the family which preserved this tune, the story, handed down through several generations, credits the authorship to a relative, a noted fiddler of pioneer days. This kinsman was also a famous hunter. There was a spirit of friendly rivalry in the hunt, much the same as there were championships in other lines of activities, and he had established a reputation as a champion deer hunter by always bringing in a forked deer. The forked deer, or two‑point buck, was considered prime venison. As a token of admiration for the hunter as well as the fiddler, his friends set the following words to this popular dance tune which comes down to us as 'Forked Deer'.

***

There's the doe tracks and fawn tracks up and down the creek

The signs all tell us that the roamers are near,

With the old flint‑lock rifle Pappy's gone to watch the lick,

With powder in the pan for to shoot the forked deer.

***

Sources for notated versions: J.P. Fraley (Rush, Ky.) and The Highwoods String Band (Ithaca, N.Y.) [Brody]: Will Hinds (Haskell County, Oklahoma) [Thede]: George Helton (Dixon, Missouri) [Christeson]; Frank George and John Rector (W.Va., Va.) [Krassen]; Charlie Bowman (Ga.?) [Phillips/1989]; a 1941 home recording of Salyersville, Magoffin County, Ky., fiddler John M. Salyer (1882-1952) [Titon]. Bay (Mel Bay’s Complete Fiddling Book), 1990; pg. 145. Brody (Fiddler’s Fakebook), 1983; pg. 110. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; pg. 64. Ford (Traditional Music in America), 1940; pg. 45 (the first part is similar to some versions of "Grey Eagle"). Frets Magazine, vol. 3, No. 7, July 1981. Johnson (The Kitchen Musician: Occasional Collection of Old‑Timey Fiddle Tunes for Hammer Dulcimer, Fiddle, etc.), No. 2, 1982 (revised 1988, 2003); pg. 5. Krassen (Appalachian Fiddle), 1973; pg. 43 (includes one 'B' part variation). Phillips (Fiddlecase Tunebook: Old Time), 1989; pg. 20. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 91. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 46. Thede (The Fiddle Book), 1967; pg. 135. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 45, pg. 76. Songer (Portland Collection), 1997; pg. 80. Berea College Appalachian Center AC003, “John M. Salyer: Home Recordings 1941-1942” (1993). Cartunes 105, Bruce Molsky & Bob Carlin – “Take Me As I Am” (2004. Sourced to Jilson Setters). Cassette C-7625, Wilson Douglas - "Back Porch Symphony." Columbia 15387 (78 RPM), Charlie Bowman (1929). Condor 977‑1489, "Graham & Eleanor Townsend Live At Barre, Vermont." County 202, "Eck Robertson: Famous Cowboy Fiddler." County 527, Charlie Bowman (East Tennessee) and His Brothers‑ "Old‑Time Fiddle Classics, Vol. 2" (originally recorded 1929). County 707, Major Franklin‑ "Texas Fiddle Favorites." County 756, Tommy Jarrell‑ "Sail Away Ladies" (1976. Learned from Fred Hawks, though Tommy’s father Ben Jarrell also played it). Flying Fish FF‑009, Red Clay Ramblers ‑ "Stolen Love" (1975). Flying Fish FF‑055, Red Clay Ramblers ‑ "Merchant's Lunch" (1977). Front Hall FHR‑021, John McCutcheon ‑ "Barefoot Boy with Boots On" (1981. "Inspired by" J.P. Fraley and Tommy Hunter). June Appal 007, Tommy Hunter‑ "Deep in Tradition" (1976. Learned from his grandfather, James W. Hunter of Madison County, N.C.). Kanawha 301, French Carpenter – “Elzic’s Farewell: Old Time Songs and Tunes from Clay County, West Virginia” (1976). Library of Congress (2742-A-3), 1939, by H.L. Maxey (Franklin County, Va.) {as "Forky Deer"}. Marimac 9000, Dan Gellert & Shoofly ‑ "Forked Deer" (1986. Ed Haley's version, "without the 5th part"). Marimac 9060, Jim Bowles – “Railroading Through the Rocky Mountains” (1994). Missouri State Old Time Fiddlers' Association, Cyrill Stinnett (1912-1986) - "Plain Old Time Fiddling." Morning Star 45003, Taylor's Kentucky Boys ‑ "Wink the Other Eye: Old Time Fiddle Band Music from Kentucky, Vol. 1" (1980. Originally recorded in 1927 for Gennett). Ok 45496 (78 RPM), The Fox Chasers. Rounder 0037, J.P. and Annadeene Fraley‑ "Wild Rose of the Mountain” (1974). Rounder 0045, Highwoods String Band‑ "Dance All Night." Rounder 1010, Ed Haley‑ "Parkersburg Landing" (1976). Rounder 0047, Wilson Douglas‑ "The Right Hand Fork of Rush's Creek" (1975. Learned from French Carpenter, the tune appears as "Forked Buck"). Rounder 0058, John Rector (western Va.) ‑ "Old Originals, vol. II" (1978). Rounder 0194, John W. Summers ‑ "Indiana Fiddler” (1984). Vetco 506, Fiddlin' Van Kidwell‑ "Midnight Ride." Rounder 1131, Ed Haley – “Forked Deer” (1997). Vetco 102 (reissue), James W. Day “Jilson Setters” (under the name Blind Bill Day) – “The Wonderful World of Old Time Fiddlers, vol. 1.” Victor 21407 (78 RPM), Jilson Setters (Blind Bill Day, b. 1860 Rowan Cty., Ky.), 1928. Voyager 340, Jim Herd - "Old Time Ozark Fiddling." Also recorded by Frank George and John Summers, French Carpenter and Uncle Am Stuart (b. 1856, Morristown, Tenn.){for Vocalion in 1924 under the title "Forki Deer"}. Edden Hammons Collection I.

Charlie Bowman & His Brothers (1929) ((♫))

X:1

T:Forked Deer

L:1/8

M:C|

K:D

defg a2fa | g2gb agfe | dAFD GBAG | FDEF D3 :|

A2A2c4 | ABAF E2FE | D2ED FDGD | FDEF D3:||

X:2

T:Forked Deer

M:2/4

L:1/8

R:Reel

B:George P. Knauff – Virginia Reels

N:Published in Baltimore by Geo. Willig n.d. (1839?)

Z:AK/Fiddler’s Companion

K:D

A/c/A/c/ EC/C/|DE FG|F/E/D/C/ Dz::d/e/f/g/ a/b/a/f/|g/a/g/e/ f/g/f/e/|

d/e/f/g/ a/f/b/a/|g/f/e/d/ c/d/e|d/e/f/g/ a/b/a/f/|g/a/g/e/ fz|dF G/B/A/G/|F/E/D/C/ Dz:||

FORKS AND KNIVES. English, A version of “Three Case Knives,” “Jacks Gone a Shearing” and one of the “Rusty Gulley” tunes.

FORKS OF SANDY [1]. AKA and see "Three Forks of Sandy," "Three Forks of Big Sandy," "Roll 'em Up Sandy." Old‑Time, Breakdown. USA; western North Carolina, Virginia, West Virginia, Kentucky. G Major. Standard tuning. AB (Silberberg): AABB (Brody, Phillips). The title refers to the Big Sandy River on the West Virginia/Kentucky border, the (3) forks being the Big Sandy River, Levisa Fork and Tug Fork. Oscar Wright maintained the song was popularized in his area of West Virginia (Mercer County) by North Carolina banjo player and band leader Charlie Poole and his fiddler Posey Rorer when they played the area in 1916, 17 or 18. He claimed to have learned it directly from Rorer. West Virginia fiddler Clark Kessinger (1896-1975), who probably learned the tune as a boy in the Kanawha Valley, recorded the melody in 1930 for Brunswick Records (as “Three Forks of Sandy”) {Wolfe, Mountains of Music, John Lilly ed. 1999}. Sources for notated versions: Charlie Poole (N.C.) [Brody]; Clark Kessinger (W.Va.) [Phillips]; Barry Shultz [Silberberg]. Brody (Fiddler’s Fakebook), 1983; pg. 111. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 241. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 47. Columbia 15106‑D (78 RPM), 1926, Charlie Poole and the North Carolina Ramblers. County 747, Clark Kessinger‑ "Sweet Bunch of Daisies" (appears as "Three Forks of Sandy"). Flying Cloud FC-023, Kirk Sutphin - "Fiddlin' Around." Historical HLP‑8005, Charlie Poole and the North Carolina Ramblers ‑ "1926‑1930: A Young Boy Left His Home One Day" (1975). June Appal 007, Thomas Hunter‑ "Deep in Traditon" (1976. Appears as "Three Forks of Big Sandy." Learned from Manco Sneed of Cherokee, N.C.). Rounder 0089, Oscar and Eugene Wright‑ "Old‑Time Fiddle & Guitar Music From West Virginia." Rounder 0392, John Hartford - “Wild Hog in the Red Brush (and a Bunch of Others You Might Not Have Heard” (1996).

See also listing at:

Alan Snyder’s Cape Breton Fiddle Recording Index

FORTH BRIG [2], THE. Scottish, Hornpipe. G Major. Standard tuning. AABB’ (Skinner): AA’BB’ (O’Malley). Composed by J. Scott Skinner (1843-1927) in commemoration of the opening of the railway bridge over the Forth of Firth in 1890. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 148, pg. 74. Skinner (The Scottish Violinist); pg. 46. Skinner (Harp and Claymore), 1904; pg. 129.

X:1

T:Forth Brig, The [2]

M:2/4

L:1/8

R:Hornpipe

S:Skinner – The Scottish Violinist

Z:AK/Fiddler’s Companion

K:G

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

(3g/).b/.a/ (3.g/.f/.e/ .d.d/.c/ | B/>c/^c/>d/ g/>f/e/>d/ | c/>d/^d/>e/ a/>g/f/>e/ |

f/>(c’/b/)>(a/ g/)>(f/e/)>(f/ | (3/g)d/b/ (3g/d/B/ [B,G] :: (B | b/>)(g/f/>)(e/ ^d/)>(f/B/>)(c’/ |

b/)>(ag/>)(f/ e/>)(f/g/>)(^g/ | a/>)(f/e/>)(d/ ^c/>)(e/A/>)(g/ |f/>)(e/d/>)(^c/ d/>)(^d/>e/)(f/ | g/>)(d/B/>)(G/ F/)(G/=F/)(G/ |

E/>)(G/c/>)(e/ g/>)(e/d/>)(c/ | B/>)(c/^c/>.d/) D/>(_E/=E/>.F/) |1 (3G/D/B/ (3G/D/B,/ G, :|2 G[DB][B,G] ||

FORTINGALL FAIRS. Scottish, Strathspey. E Minor. Standard tuning. AAB. The tune appears in Malcolm McDonald's 1788 collection, a volume dedicated to Mrs. Baird of Newbyth. Fortingall is in Perthshire. The 3,000 year old Fortingall Yew is Europe’s oldest tree. Glen (The Glen Collection of Scottish Dance Music), vol. 1, 1891; pg. 47. MacDonald (A Collection of Strathspey Reels, vol.1), c. 1788; pg. 22.

X:1

T:Fortingall Fairs

M:C

L:1/8

R:Strathspey
S:MacDonald – Collection of Strathspey Reels, vol. 1 (1788)

Z:AK/Fiddler’s Companion

K:Emin

eB B/B/B gfef |defg agfe | (e/f/g) (ed) BdAF | GBAF BE E ||

FORTUNE [1]. AKA‑ "Once I Had a Fortune." Old‑Time, Song and Breakdown. USA, "most popular around Galax, Va." (Krassen, 1973). D Major. Standard or ADae tunings. AB (Silberberg): AABB (Brody, Krassen, Kuntz, Phillips). Called a "Blue‑Ridge Mountain standard," it is found in western North Carolina and southwest Virginia, but has become particularly identified with Galax/Hillsville, southwestern Virginia area, style bands. It was, for example, one of the few tunes recorded by legendary Galax, Va., fiddler Emmett Lundy. Mt. Airy, North Carolina, fiddler Tommy Jarrell (1901‑1986) said of the melody: "I can recollect hearing my daddy play it as far back as I can recollect. I don't know where that started from...it was more just an old, well, a flat foot dance tune I'd say."

***

Once I had a fortune, I put it in my trunk,

I lost it all a‑gambling one night when I was drunk.

***

Wish I had a pretty little hog/horse, corn to feed him on,

And a pretty little wife around the farm to feed him when I'm gone. (Jarrell)

***

Oh once I had a fortune, I put it in my trunk,

I lost it all a‑gamblin' one night when I was drunk.

***

Chorus

Fortune I had it, fortune I lost it,

Fortune I lost it one night when I was drunk.

***

Once I had a fortune but now I've lost it all,

Drinkin' and a gambling and playin' at the ball.

***

I'm packin' up my suitcase and now I say goodbye,

I'm gonna live a gamblin' man until the day I die. (The Backwoods Band)

***

Sources for notated versions: The Bogtrotters (Galax, Va) [Brody]; Charlie Higgins (Galax, Va.) [Krassen]; The Backwoods Band (Kuntz); Tommy Jarrell (Mt. Airy, N.C.) [Kuntz]; Ottis Burris [Phillips]; Vivian Williams (Seattle) [Silberberg]. Brody (Fiddler’s Fakebook), 1983; pg. 112. Krassen (Appalachian Fiddle), 1973; pg. 46. Kuntz (Ragged but Right), 1987; pgs. 309‑311 (two versions). Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 91. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 47. Biograph 6003, The Bogtrotters (Galax, Va.) ‑ "The Original Bogtrotters" (Wade, Crockett, and Fields Ward). County 705, Otis Burris‑ "Virginia Breakdown." County 778, Tommy Jarrell‑ "Pickin' On Tommy's Porch" (1984). County CD 2719, The Camp Creek Boys. Folkways FTS 31038, Roger Sprung‑ "Bluegrass Blast." Heritage XXIV, Smokey Valley Boys ‑ "Music of North Carolina" (Brandywine, 1978). Marimac 9009, Andy Cahan ‑ "Old Time Friends" (1987). Rounder 0361, Bruce Molsky – “Lost Boy” (1996). Musical Traditions MTCD321-2, Rob Tate – “Far in the Mountains, vols. 1 & 2” (2002). Tennvale 003, Pete Parish‑ "Clawhammer Banjo." Rounder CD 0028, Fred Cockerham – “High Atmosphere.” Rounder 0128, The Backwoods Band‑ "Jes' Fine" (1980. Influenced by the fiddling of Otis Burris and the singing of Scotty East). Tennvale 002, Barry Poss‑ "Galax '73."

X:1

T:Fortune

M:C|

L:1/8

S:Tommy Jarrell

B:Kuntz – Ragged but Right

K:D

aa a2 gf e2|d3e d2:|

[df][df][df][df] [d2f2][d2f2]|[d2g2] [dg][dg] [d2g2] [dg][dg]|edcB A2c2|

[d3f3] [de] [d2f2]:|

X:2

T:Fortune

M:C|

L:1/8

S:Backwoods Band/Otis Burris

B:Kuntz – Ragged but Right

K:D

[D2D2] [DD][DD] [DE][DD] [B,2D2]|[D3D3] [DE] [D2D2] (D2|D2) [DD][DD] [DD][CD] [B,2D2]|

[A,3D3] [B,D] [A,2D2] A,2|DCDE FDEF|GFGA BGAB|

ABcd ecBA|d3e d3 (D||

D2) [DD][DD] [DE][DD] [B,2D2]|D3 [DE] [D2D2] (D2|

D2) [DD][DD] [DD][CD] [B,2D2]|[A,3D3] [B,D] [A,2D2] A,2|

DCDE FDEF|GFGA BGAB|ABcd ecBA|d3e d2||

T:Fortune

M:4/4
L:1/8

S:Bruce Molsky

N:ABC’s from a transcription by John Lamancusa, by permission. See http://www.mne.psu.edu/lamancusa/tunes.htm

Z:AK/Fiddler’s Companion

K:D

“D”a)b)ag (fe)d2|”G”g3(a b2)(ag|”A7”a2)gf ec3|1 “D”d3(e d2)(a2:||”D”d3(e d4)||

“D”fg)fe (ec)B2|”G”g3(a ga)ge|”A7”(ce2)(A B)AcA|”D”d3(e d3)e:|

“Variation – A part”

z2 fg||aaAa fAAf | eAee ddfg | aa2a fed2 | A3B A3(B |

d2) de fe d2| (BB2)A B2d2 | ce2A B2c2| d8||

FORTUNE [2]. AKA and see "Fortune My Foe."

FORTUNE MY FOE [1]. AKA ‑ "The Hanging Tune." Irish, English; Slow Air (3/4 time). E Minor (Williamson): F Major (Flood). Standard tuning. AABB. This 16th century Irish tune was used, according to Flood (1906), in 1576 for a ballad on the death of a great patron of music, Walter Devereux, Earl of Essex, in Dublin, entitled "Welladay, or Essex's Last Goodnight." The tune appears in several early collections, including William Ballet's Lute Book (1593), Fitzwilliam Virginal Book (where the setting is by the famous English composer William Byrde {1528‑1625}), and William Foster's Virginal Book (1624). It was licensed as a ballad in 1565‑6 and is mentioned in Shakespeare's The Merry Wives of Windsor (Act II, Scene 3, where Falstaff says, "I see what thou wert, if Fortune thy foe were not, Nature thy friend."). In fact, various songs and ballads came to be sung to the tune, including an early ballad "Titus Andronicus Complaint," on which Shakespeare founded his play, and most of these songs seem to have been about themes of gloom, misery, and death; Chappell (1859) says "Indeed, its mournful character was so thoroughly established that none but the most lugubrious matter seems ever to have been sung to it." The tune appears as "Farewell, Fair Armelia" which appears in Luke Wadding's (the Bishop of Ferns) A Pious Garland of Godly Songs for the Solace of his Friends and Neighbors in their Afflictions, 1680. Early references, according to Flood, also date from 1649‑50 from a "contemporary chronicle" which described Irish pipers attached to Lord Inchiquin's army which drew off from Naas to the march of "Fortune My Foe." In 1676 the tune (as it appears in Playford's Choice Airs and Songs) was used by Irishman Thomas Duffet for (one) setting of his lyric "Since Coelia's My Foe" (another setting is set to "Limerick's Lamentation"). "'Fortune My Foe' was sung and played so frequently at public executions that it became known as 'The Hanging Tune'...'Fortune My Foe' originated in Ireland. The setting written here is believed to be the earliest version" (Williamson, 1976). Source for notated version: Playford [Flood]. Flood (A History of Irish Music), 1906; pgs. 218‑219. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 39.

FORTUNE MY FOE [2]. AKA and see "Aim Not Too High," "Dr. Faustus." English, Slow Air (4/4 time). G Minor (Merryweather): G Dorian (Chappell): E Minor (Kines). Standard. One part (Kines): AAB (Merryweather): ABCD (Chappell). See notes for version #1. A different tune than version #1, it appears in the Fitzwilliam Virginal Book (in a setting by Byrd), W. Corkine's Instruction Book for the Lute (1610), Dorothy Welde's Lute Book, William Ballet's Lute Book, Dallis' Pupil's Lute Book, University Library of Cambridge Lute MSS, Secret des Muses" (1615), Bellerophon (1622), Nederlandtsche Gedenck‑clanck (1626), "Stichtelycke Rymen" (1652) and other texts. The tune was well-regarded and quite popular for many, many years; as such, it was the vehicle to numerous sets of lyrics. In the “Fortune My Foe” lyric the singer laments sad fortune that has stolen his love away, and prays for heart’s-ease.

***

Fortune my foe why doest thou frown on me,

And will thy favour never better be?

Wilt thou, I say, for ever bred my pain,

And wilt thou not restore my joys again.

***

The tune was alluded to by Shakespeare, maintains Chappell, in The Merry Wives of Windsor (act ii, sc. 3), and by Ben Jonson in The Case is Altered and in his masque The Gipsies of Metamorphosed. Chappell, in fact, gives numerous literary references to “Fortune My Foe” from throughout the latter 16^th and the entire 17^th centuries. Grattan-Flood, in his History of Irish Music, says: “In February, 1649-50, we read in a contemporary chronicle that the Irish pipers attached to Lord Inchiquin's army drew off from Naas to the march of ‘Fortune my Foe’.” Chappell (Popular Music of the Olden Times), Vol. 1, 1859; pgs. 76‑77 (appears as “Fortune”). Kines (Songs From Shakespeare's Plays and Popular Songs of Shakespeare's Time), 1964; pg. 22. Merryweather (Merryweather's Tunes for English Bagpipes), 1989; pg. 33. Thomas & Leeder (The Singin' Gatherin'), 1939; pg. 64. Dorian DOR-93182, Les Witches – “Fortune My Foe: Music of Shaekespeare’s Time.” Harmonia Mundi 907101, The King's Noyse - "The King's Delight: 17c. Ballads for Voice and Violin" (1992).

X:1

T:Fortune

T:Fortune My Foe

T:Aim Not Too High

M:C

L:1/8

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

Z:AK/Fiddler’s Companion

K:G Dorian

G4 G2A2|B6 A2|G2d2c2B2|A8||G4 G2A2|B6A2|G2d2c2B2|A8||

d4 d2d2|d6 c2|d2g2e2d2|c8||c4 f2e2|d6 cB|A2G2G2^F2|G8||

FORTY DROPS [1]. Old-Time, Country Rag. F Major. Standard tuning. ABAB' (Phillips): AABBAABC (Beisswenger & McCann). The Stripling Brothers version of the same tune Andrew Baxter played, albeit a very different setting of the tune. Sources for notated versions: Stripling Brothers, via Jere Canote [Phillips]; Howe Teague (1913-2005, Dent County, Missouri) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 148. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 52. Gold Standard, Howe Teague – “Ozark Memories” (c. 1986).

FORTY DROPS [2]. Old-Time, Country Rag. F Major. Standard tuning. AA'AA'BB'BB'. The “Forty Drops of Rye” recorded in the 78 RPM era by fiddler Andrew Baxter of the Georgia duo The Baxters (not brothers: Andrew’s father James played the guitar). Source for notated version: Kerry Blech (Seattle, Washington) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 53.

FORTY-EIGHT DOGS IN THE MEATHOUSE. AKA and see “Lone Star Rag [1],” “Stone’s Rag,” “Whiskers.” AKA – “Forty-Eight Dogs at the Meathouse Door.” Old‑Time, Country Rag. Very similar to "Stones Rag."

FORTY GUN FRIGATE. AKA and see “King’s Hornpipe [2].” English, Reel. D Major. Standard tuning. AABB. Source for notated version: contained in the 19^th century Joseph Kershaw Manuscript—Kershaw was a fiddle player who lived in the remote area of Slackcote, Saddleworth, North West England, who compiled his manuscript from 1820 onwards, according to Jamie Knowles [Kershaw]. The Joseph Kershaw Manuscript, 1993; No. 66.

FORTY MILES. American, March (irregular time but generally in 6/8). D Major. Standard tuning. AB. Bayard (1981) considers it a version of the Scottish "Muirland Willie". Source for notated version: Irvin Yaugher Jr., Mt. Independence, Pennsylvania, October 19, 1943 (learned from hearing 'martial bands' {fife and drum corps} play it) [Bayard]. Bayard (Hill Country Tunes), 1944; No. 92.

FORTY-NINE CATS IN THE RAIN BARREL. American, Breakdown. USA, Texas. D Major. Standard tuning. AB. From fiddler Orville Burns. Herman Johnson’s ‘B’ part differs from Orville Burns. Source for notated version: Gary Lee Moore (Seattle) [Silberberg]. (Herman Johnson Master Fiddler). Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 49.

FORTY-NINE QUADRILLE. Old‑Time, Quadrille. Originally recorded by the bothers Fred, Ivan, Logan, and Orson Lamb, known as the Happy Hayseeds. Voyager VRLP 328‑S, "Kenny Hall and the Long Haul String Band."

FORTY POUNDS OF FEATHERS IN A HORNET'S NEST. AKA and see "The Cuckoo's Nest [15]." American, Reel. USA, southwestern Pa. G Major. Standard tuning. AB. A local Pa. title for the well‑known "Cuckoo's Nest." Source for notated version: Clever (elderly fiddler from Jefferson County, Pa., 1948) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 292G, pg. 247.

FORTY-ONE. AKA and see "Hey, Then Up Go We," "The Clean Country Way," "The Good Old Cause." English, Air. The tune under this name is recorded as the vehicle for a song in A Choice Collection of 120 Loyal Songs (1684).

FORTY-SECOND HIGHLAND REGIMENT. Scottish (?), Strathspey. A Minor. Standard tuning. AAB. Cole (1000 Fiddle Tunes), 1940; pg. 123. Ryan’s Mammoth Collection, 1883; pg. 161.

X:1

T:42^nd Highland Regiment

M:C

L:1/8

R:Strathspey

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:Amin

(c’>.d’)(e’>.c’) a2 a>b | c’>d’e’>.d’ e’>d’c’>d’ | e’>d’ (d’/c’/b/a/) g2 (gc’/b/) | a>bc’>d’ e’>c’d’>e’ |

c’>ab>^g a2 a>b | (a>f)f>g (a>f)f>e’ | c’>a (a/g/f/e/) g2 (ga/b/) | (c’>a)a>b (c’>a) (ae/^g/) |

(a>e)(g>B) A2 A>B | c>de>g e>dc>d | e>d c>E G2 (Gc/B/) | A>Bc>d e>de>a | (g<e) d>c A2 A ||

FORTY-SECOND HIGHLANDER'S FAREWELL, THE. Scottish, Pipe March (2/4 time). B Minor. Standard tuning. AA'B. The 42nd Highlanders, known as the Black Watch, were one of the most famous units in the British Army, originally composed of Scots Highlanders. As with many old British regiments, the Black Watch acquired its own distinctive lore and customs over the centuries. They were, for example, given the privilege of wearing a red vulture feather on their bonnets in recognition of the regiment's gallantry at the battle of Guildermalson in 1794. Another story goes that during the Indian Mutiny its troopers found a huge gong in a bullock cart and appropriated it; ever after it was used to sound the hours wherever the regiment was stationed. Like many Scots regiments the Watch ws known for its drinking; on return from the victory of Waterloo they had to be doled out their pay in instalments, else the regiment would have disintegrated from the huge benders of its troops. The officers drank as well--an English officer gazetted to the regiment would be required to wash down a Scots thistle with a glass of whiskey, making him an honorary Scotsman. The Black Watch had their share of defeats; they were beaten back by the backwoods riflemen of Andrew Jackson and the Battle of New Orleans, and in 1884 Dervishes temporarily broke a British square of which the Black Watch formed a part during the battle of Tamai. A reference to the latter by another regiment in a pub would invariably provoke a brawl (Farwell, 1981). Kerr (Merry Melodies), vol. 3; No. 419, pg. 47. Green Linnet SIF 1047, John Cunningham - "Fair Warning" (1983).

X:1

T:42^nd Highlander’s Farewell, The

M:2/4

L:1/8

R:March

B:Kerr – Merry Melodies, vol. 3, No. 419 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:Bmin

d>efd|B2 (Bc)|d>efe|({g}f>)ede|f(e/d/) e/d/c/B/|A2 (Ac)|

B>cde|1 f>edc|a>f e(d/c/)|(B2 B):|2 fdef|d>BcA|B2 (Bc)||

(d>e)(fa)|(f>e)(de)|(f>e)(dB)|A2 Ad/c/|B>cde|f>edc|a>f e(d/c/)|(B2B)||