The Fiddler’s Companion

© 1996-2009 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]

 

 

 

FOUL WEATHER CALL. English, Hornpipe. D Major. Standard tuning. AABB. Barry Callaghan (2007) remarks that it was “popularised as a lumpy step-hop” by modern bands. The melody comes from the music manuscripts of the Welch family (Bosham, Susses), from the 19th century. Callaghan (Hardcore English), 2007; pg. 36. EFDSS 6, Flowers & Frolics – “Sold Out” (1984). EFDSS CD04, Bismarcks – “Upstream” (1999). EFDSS CD13, The Bismarcks – “Hardcore English” (2007. Various artists).

X:1

T:Foul Weather Call

M:2/4

L:1/16

R:Hornpipe

K:D

gfed e2a2 | gfed dcBA | d2A2 BcdB | g2f2e4 | gfed e2a2 | gfed dcBA |

d3B BcdG | F2E2D4 :: GFED A2A2 | Bcde dcBA | d2A2 BcdB |

g2f2e4 | gfed e2a2 | gfed dcBA | d3A BcdG | F2E2D4 :|

                       

FOULA REEL. AKA and see "Da Auld Foula Reel," "Da Shaalds O Foula," "The Aald Reel." Shetland, Jig. E Minor (sometimes G Major). Standard tuning. AABB. Hunter (1979) states the tune popularly used for country dances is known today as "Da Shaalds O Foula" or "Da Foula Shalds," but "The Foula Reel" is another tune altogether whose dance has been lost. Anderson & Georgeson (1970), however, assert there are many variations of both melody and dance (though most versions are in jig time, with only a few in reel time) that go by all four titles mentioned above. John Purser says the Foula Reel is still danced as a country dance in jig time. He thinks the tune had its origins on the Scottish mainland. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 15. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 45. Hunter (Fiddle Music of Scotland), 1988; No. 288. Redwing Music RWMCD 5410, Abby Newton – “Castles, Kirks and Caves” (2001).

X:1

T:Foula Reel

T:Da Shaalds O Foula

M:6/8

L:1/8

R:Jig

K:E Minor

D|:E2G G2e|edB BAB|G2B A2B|G2A GED|E2G G2e|edB BAB|

G2B A2B|d3 D3::edB ABd|edB BAG|g2B A2B|

G2A GED|edB ABd|edB BAG|g2B A2B|d3 D3:|

           

FOULA SHAALDS, THE. AKA and see "Da Shaalds O Foula."

           

FOULLER'S RANT. AKA ‑ "Fowler's Rant"?  AKA and see "Seme rune Rallanach,." “Tibby Fowler o’ the Glen [2].” Scottish, Strathspey. E Minor. Standard tuning. AABBCCDD. John Glen (1891) finds the earliest appearance of this tune in print in Alexander McGlashan's 1780 collection. A Cape Breton variant is probably the strathspey “Alec Dan MacIssac’s.” McGlashan (Collection of Strathspey Reels), c. 1781; pg. 3.

X:1

T:Fouller’s Rant

M:C|

L:1/8

R:Strathspey

S:McGlashan – Strathspey Reels  (c. 1781)

Z:AK/Fiddler’s Companion

K:E Minor

G|A/A/A A2 G3B|A/A/A A>B G<E E>G|A/A/A A>B G>AB>d|e<A A>B G>E E:|

|:a|g>e e<g g<dd<B|g>e e<a g<b e>B|d>eg>d e>d B<b|A/A/A A>B G>E E:|

|:g|a/a/a a2 g3b|a/a/a a>b g<e e>g|a/a/a a2 g3b|baab g>e e:|

|:a|g>e e<g d>edB|g>e e<a g<b e>B|d>eg>b e>gd>g|A/A/A A>B G<E E:|

           

FOUNDERING OF THE BOAT, THE. Irish, Air (3/4 time). B Flat Major. Standard tuning. AB. “In Lough Derag, Sunday the 12th of July 1795.” Stanford/Petrie (Complete Collection), 1905; No. 571, pg. 144.

X:1

T:Foundering of the boat, in Lough Dearg, Sunday the 12th of July 1795, The

M:3/4
L:1/8

R:Air

S:Stanford/Petrie (1905), No. 571

Z:AK/Fiddler’s Companion

K:B_

de | c2B2A2 | F2F2A2 | B2B2c | d4 cd | e2c2B2 | A2B2c2 | d2 c3 B | B4 ||

F2 | F2F2 AB | c2d2c2 | B2A2F2 | F4 FE | F2B2A2 | B2c2d2 | c2A2F2 |

F4 ed | c2B2A2 | F2F2A2 | B2B2c2 | d4 cd | e2c2B2 | A2B2c2 | de c3B | B4 ||

           

FOUNDRY SQUARE HORNPIPE. English, Hornpipe. B Flat Major. Standard tuning. AABB. Source for notated version: the c. 1847 music manuscript of Ellis Knowles, a musician from Radcliffe, Lancashire, England [Plain Brown]. Plain Brown Tune Book, 1997; pg. 26.

                       

FOUR AND TWENTY. American, Quadrille (4/4 time). USA, Arizona. C Major. Standard tuning. AABB. Ruth (Pioneer Western Folk Tunes), 1948; No. 82, pg. 29. Shaw (Cowboy Dances), 1943; pg. 383.

X:1

T:Four and Twenty

M:4/4

L:1/8

S:Shaw – Cowboy Dances  (1943)

Z:AK/Fiddler’s Companion

K:C

c2c2 cGEG|A2A2 AFDF|B2B2 BGAB|c2e2 G4|c2c2 cGEG|

A2A2 AFDF|B2B2 BGAB|c4 c2 z2:|

|:e3d c3B|A2F2F4|d3c B3A|G2E2 E4|c3G E3G|A2F2 F4|

B2G2 GABG|c2C2 C2z2:|

X:2

T:Four and Twenty

M:2/4

L:1/8

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

Z:AK/Fiddler’s Companion

K:C

cc c/G/E/G/|AA A2|BB B/G/A/B/|c>e G2|

cc c/G/E/G/|AA A2|BB B/G/A/B/|c/B/c/d/ c2:|

|:e2 c>G|AF F2|d2 B>G|AE E2|A2 G>E|FA d2|BGAB|c/B/c/d/ c2:|

           

FOUR AND TWENTY BLACKBIRDS DANCING ON A FAWN SKIN. Old-Time, Breakdown. A Mixolydian. Standard tuning. AABB. Source ‘Pappy’ Taylor is said to have learned this piece from one Joe Dixon, a fiddler for a circus. Source for notated version: Harvey ‘Pappy’ Taylor (Effingham, IL) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 92. Rounder CD 0139, Indian Creek Delta Boys - “Young Fogies, vol. 1.”

           

FOUR AND TWENTY HIGHLANDMEN. Scottish, Reel. The melody appears in the Drummond Castle Manuscript, 1734, inscribed "A Collection of the best Highland Reels written by David Young, W.M. & Accomptant." The MS, in the possession of the Earl of Ancaster at Drummond Castle, is sometimes called the "Duke of Perth MS."

           


FOUR BARE LEGS TOGETHER. English, Scottish; Slip Jig and Air. England, Northumberland. F Major. Standard tuning. AAB. The melody appears in William Vickers’ Northumbrian manuscript, c. 1770, and in Johnson’s Scots Musical Museum. The suggestive title, finds Pete Coe, is a line from a song called “Maggie’s Tocher” printed by Herd in his Ancient Scots Songs (c. 1769). Knowles (A Northern Lass), 1995; pg. 24. Beautiful Jo BEJOCD-36, Dave Shepherd & Becky Price – “Ashburnham.” Front Hall FHR‑08, Alistair Anderson ‑ "Traditional Tunes" (1976).

           

FOUR CENT COTTON. Old‑Time, Song and Breakdown. USA; Georgia, Alabama. C Major. Standard tuning. ABB (Brody): AABB (Phillips). Norm Cohen believes the tune reminiscent of "Sally Goodin'" and suggests the title may have to do with some kind of unspecified alcoholic beverage. The tune was one of those cited in the Fayette Northwest Alabamian of August 29th, 1929, as likely to be played at an upcoming fiddlers' convention. The tune was recorded by the north Georgia Band the Skillet Lickers, which included fiddler Lowe Stokes, and was also re-recorded in 1930 by Stokes with his band The Swamp Rooters (which also included Bert Layne on fiddle and Arthur Tanner on banjo among others). Sources for notated versions: The Skillet Lickers (north Ga.) [Brody, Kaufman]; Lowe Stokes (Ga.) [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 112. Kaufman (Beginning Old Time Fiddle), 1977; pg. 67. Phillips (Traditional American Fiddle Tunes), 1994; pg. 92. County 506, The Skillet Lickers‑ "Old Time Tunes." County 514, Lowe Stokes' Georgia Potlickers‑ "Hell Broke Loose in Georgia" (orig. rec. 1930). Document 8045, “Lowe Stokes, vol. 1: 1927-1930” (1999 reissue).

           

FOUR CORNERS OF ST. MALO, THE. AKA and see “The Four Poster Bed.”

           

FOUR CORNERS REEL. AKA and see “The Four Poster Bed.”

           

FOUR COURTS [1], THE (Na Ceitre Cuirt). Irish, Reel. G Major. Standard tuning. ABC. The Four Courts is a building in Dublin situated on the banks of the River Liffey, and located on the site of a medieval abbey.  It was designed by architect James Gandon, started in 1786 and, when it was completed in 1802, it became the seat of the Irish justice system. The four courts themselves are the Chancery, Exchequer, Common Pleas and the King’s Bench. The building features a six-columned Corinthian portico and a lantern dome. The building was occupied, then destroyed, in 1922 during the Irish revolution but was rebuilt over 10 years to the original design. O'Neill's Music of Ireland (1903) gives the tune in two sharps, which was corrected in his later work Dance Music of Ireland (1001). O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1396, pg. 260. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 640, pg. 115. Great Meadow Music GMM 2003, “Rodney Miller’s Airdance” (2000).

X:1

T:Four Courts, The [1]

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907),  No. 640

Z:AK/Fiddler’s Companion

K:G

dB|ADFD ADGB|ADFD G2 GB|ADFD ADGF|(3EFE cA G2 FG|

ADFD ADGB|ADFD G2 FG|AGAc BABc|dBcA G2||AG|F2 AF cFAG|

F2 cA G2 AG|F2 AF cFAC|dBcA G2 AG|F2 AF cFAG|F2 cA G2 (3ABc|

dfec dc (3ABc|dBcA G2||dB|A2 Ac B2 Bd|ABAF G2 dB|A2 Ac B2 Bc|

dBcA G2 dB|AFAc BGBd|ABAF G2 (3ABc|dfec dc (3ABc|dBcA G2||

 

FOUR COURTS [2], THE (Na Ceitre Cuirt). AKA and see “Pinch of Snuff.” Irish, Reel. A Major. Standard. AABBC (O'Neill/1850): ABCD (O'Neill/1001). O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1397, pg. 260. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 641, pg. 115.

X:1

T:Four Courts, The [2]

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 640

Z:AK/Fiddler’s Companion

K:A

c2 Ac B2 Ad | c2 Ac BcdB | c2 Ac B2 Ac | d2 fd BcdB | c2 Ac B2 Ad |

c2 Ac BcdB | c2 Ac B2 Ac | d2 fd BcdB || ceeg f2 df | e2 cA BcdB |

ceeg (3fga ec | d2 fd BcdB | ceeg f2 df | e2 dA BcdB | ceeg (3fga ec |

d2 fd BcdB || a2 eg a2 eg | a2 ec BcdB | a2 eg a2 ec | d2 fd BcdB |

agbg agbg | agec BcdB | agbg agec | d2 fd BcdB || eAcA eAcA | eAcA BcdB |

eAcA eAcA | d2 fd BcdB | eAcA eAcA | e AcA BcdB | eAcA eAcA | d2 fd BcdB ||

                          

FOUR COURTS [3], THE. Irish, Reel. Ireland, northern Ireland. G Major. Standard tuning. ABC. A version of “The Four Courts” [1], although with a different second part and a distanced third part from O’Neill. Source for notated version: fiddler John McKeown [Feldman & O’Doherty]. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 237.

 

FOUR COURTS [4], THE. AKA and see “Paddy in London.” Irish, Jig.

           

FOUR COURTS OF DUBLIN, THE. AKA and see "The Barrow Castle," "Belles of Tipperary [2]," "The Blea‑berry Blossom," "Connacht Lasses," "The Connacht Star," "The Dandy Girl/Lass/Lasses," "Green Fields to America," "The Kerry Star," "Lamont's Reel,” "Jackson's Welcome to Cork [1]," "Johnny Shooting in the Glen," “Mel Roddy’s Tune” (northeast Kings County, PEI), “Miss Mona(g)han(‘s Reel),” “New Policeman [1],” "O'Connell in Clare," “Shannon’s Shores,” "Stormy Weather," "The White‑haired Piper.”

           

FOUR CROSS ROADS, THE. Irish, Polka. Green Linnet GLCD 1184, Patrick Street – “Made in Cork” (1997).

           

FOUR DRUNKEN MAIDENS, THE. English, Reel. England, Northumberland. G Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 3; No. 527.

           


FOUR-HAND REEL, THE ("Seisd Na Ceitre-Lam" or "Cor Ceatrair"). AKA and see "Ballyvaughan," "Corporal Casey [2],” “Corporal Casey’s Fancy,” "Five Mile Chase [1],” “Lady Gardner’s,” “Langford’s Reel,” "Miss Gardner," "Parnell's Reel," “Wild Fire Chase,” "Yellow-Haired Laddie [1].” Irish, Reel. G Major. Standard tuning. AB. Under the title “Langford’s Reel” the melody appears in the mid-19th century music manuscripts of Church of Ireland cleric and uilleann piper James Goodman. O’Neill (1922) remarks: “’The Four Hand Reel’ as far as the writer is aware was first brought to Chicago in 1886 by Barney Delaney, an excellent Irish piper. So versatile was he, like most great Irish musicians, in the manipulation of his instrument, that he varied his tunes according to fancy without detriment to tone or rhythm, but rather to the advantage of the general effect. Although not included in any collection of Irish music published beyond the Atlantic, the strain must have been quite popular in the Eastern States, for we find the tune in a Boston publication no less than four times, and named respectively: ‘Corporal Casey's Favorite’, ‘Lady Gardner's Reel’, ‘Parnell's Reel’, and ‘Yellow-Haired Laddie’; all consisting of but two parts each. The setting here presented was memorized from Delaney's playing, but no bare scoring of measured bars could do justice to his inimitable execution. Since the foregoing was written I find that ‘The Five Mile Chase’ in R.M. Levey's Second Collection of the Dance Music of Ireland, London, 1873; consisting of but two parts, is also a variant of ‘The Four Hand Reel’”. Despite O’Neill’s assertion that the melody was ‘first brought to Chicago in 1886’, this Irish reel had been in general circulation in the United States for some years prior to that year. It was printed by Howe c. 1867 under the “Four Hand Reel” title and was included in a section of tunes from the playing of Jimmy Norton, “the Boss Jig Player,” presumably a band-leader or principal instrumentalist from the Boston, Massachusetts, area in the mid-19th century. Howe records:

***

The Scotch are indefatigable when dancing this Reel; they seem almost

intoxicated with it—they snap their fingers—throw their arms and feet in

the air—screech out—and make such quick, and difficult steps, that the

eyes have trouble following them.  The figure is danced by two ladies and

two gentlemen forming a line of four, the ladies in the center. They begin

with a chain in passing in and out of each other, until the two gentlemen

return to their places, the ladies finish facing the gentlemen; then they

set (or balance) as long as they can—in fact, they never seem tired, and

seem to acquire fresh strength each time they come to the balance.

***

See also the Québec variant “Jack Delad.” Source for notated version: “From my mother” [Mulvihill]. Howe (1000 Jigs and Reels), c. 1867; pg. 32. Levey (Dance Music of Ireland, 2nd Collection), 1873; No.35, pg 15 (appears as untitled reel). Mulvihill (1st Collection), 1986; No. 9, pg. 3. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1554, pg. 287. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 767. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 207.

X:1

T:Four-Hand Reel, The

M:4/4

L:1/8

S:Capt. F. O'Neill

Z:Paul Kinder

R:Reel

K:G

(3DEF|"tr"G2 BG dGBG|FADA FADA|G2 BG dGBd|egfa gedB|

G2 BG dGBG|FADA FADA|G2 BG dcBd|egfa g2||

(3def|gdBd edBd|gdBd "tr"e2 ef|gdBd edBd|egfa g3 d|

gabg efge|dedc BGBd|"tr"edef edBd|egfa gedB||

G2 BG dcBG|(3FED AD BDAD|G2 BG dcBd|egfa gedB|

G2 BG dcBG|(3FED AD BDAD|G2 BG dcBd|egfa g2||

(3def|"tr"g2 gf gdBd|faag fdef|"tr"g2 gf gdBd|(3efg af g3 d|

gabg efge|dedc BGBd|"tr"edef edBd|(3efg af gedB||

X:2
T:Four Hand Reel, The
M:2/4
L:1/8
R:Reel
S:Levey - Dance Music of Ireland, 2nd Collection (1873)

N:Appears as untitled reel.
Z:AK/Fiddler's Companion
K:G
D | G(3B/A/G/ d/G/B/G/ | F/G/A/G/ (F/D/) D | G(3B/A/G/ d/G/B/d/ |
(3e/f/g/ f/a/ (g/e/) d/B/ | G(3B/A/G/ d/G/B/G/ | F/G/A/G/ (F/D/) D |
G(3B/A/G/ d/G/B/d/ | e/g/f/a/ g z || g/d/B/d/ e/d/B/d/ | g/f/g/a/ b>a |
g/d/B/d/ e/d/B/d/ | g/a/b/a/ g2 | gb/g/ e/g/e/g/ | d/e/d/e/ B/d/B/d/ |
e/g/e/g/ B/d/B/d/ | e/g/f/a/ g/e/d/B/ ||

 

FOUR-HAND REEL [2].  English, Reel. An irregular country dance tune—the ‘A’ part has an odd number of bars. Source for this version was Blakeney fiddler and blacksmith Herbert Smith (1892-1961), who played it for BBC collector Peter Kennedy in 1952. Smith described the dance thus: “The Four Hand Reel consisted of four of them and they would compete against each other, make from corner to corner; and they would reverse over from one corner to the other…they’d go round and make a reel of it, you see…They would go round; after the corners they would go round and get into the corners again. Why they call it the reel; well, they reel off, d’you see” (quoted from Chris Holderness, “Herbert Smith: Fiddling blacksmith of Blakeney”, Musical Traditions MTI 79).

           

FOUR HANDED REEL. British Isles, Reel. G Major. Standard tuning. AABB. Not the "Four Hand Reel" in O'Neill. There are various forms of the four-handed reel dance, at times popular in Scotland, Ireland and parts of North America (e.g. Cape Breton). Harding’s All Round Collection, 1905; No. 5, pg. 2.

X:1

T:Four Handed

R:Reel

M:2/4

L:1/8

N:”Lively”

S:Harding’s All-Round Collection (1905), No. 5

Z:AK/Fiddler’s Companion

K:G

gf/e/ d/B/A/G/ | E/GE/ G/E/G/E/ | F/AF/ A/F/A/F/ | G/F/E/F/ G/B/e/f/ |

gf/e/ d/B/A/G/ | E/GE/ G/E/G/E/ | F/BF/ B/F/B/z/ | z/A/F/G/ Ez :|

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

D/F/A/d/ c/d/A/d/ | B/d/G/d/ B/b/a/g/ | f/a/e/g/ d/a/f/d/ | gbgz :|

           

FOUR HUNDERD YEARS OLD. American, Jig. USA, southwestern Pa. G Major. Standard tuning. AB. Bayard (1981) asserts that the tune is similar to both "Kenmuir's Up and Awa" and "Up and Waur Them A', Willie," Scottish tunes popular in the 18th and early 19th centuries. Source for notated version: Henry Yeager (fiddler from Centre County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 494, pg. 456.

           

FOUR JACKS, THE. Canadian, March (?). D Major ('A', 'B' parts) & G Major ('C' part). Standard tuning. AABC. A version of this tune was in the repertoire of Cape Breton fiddler Lee Cremo. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 184, pg. 126‑127.

           

FOUR KISSES, THE. Irish, Reel. Shanachie SH-78010, Solas - “Sunny Spells and Scattered Showers” (1997).

           

FOUR KNOCKS, THE. See “Dowser’s Favourite.” Jack Wade collected this tune from the “Late T(om) Matthews, Co. Meath.” Matthews was a musician from Greenanstown, County Meath, who played the uilleann pipes, among other instruments, whom Wade knew in the latter’s youth.

           

FOUR LEAVED SHAMROCK [1], THE (Seamrog Na Ceitre Duille). Irish, Air (4/4 time). G Major. Standard tuning. One part (O'Neill/1915): ABC (O'Neill/1850). O'Neill (O’Neill’s Irish Music), 1915/1987; No. 56, pg. 36. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 135, pg. 24.

X:1

T:Four-Leaved Shamrock, The

M:C

L:1/8

R:Air

N:”Spirited”

S:O’Neill – Music of Ireland (1903), No. 135

Z:AK/Fiddler’s Companion

K:G

d | dBce dgzg | g>fge d2 zd | dcAF GBdg | gecA G2 {F/A/G/}F>d |

dBce dgfg | agfe d3d | dc{c}BA Ggfe | dBB>A G3 || g | aefd gBcd |

eABc F3d | dBce dgfg | gfef g2e || dBA>G G2 [B2b2] | [Bb][Aa][Bb][Aa][G2g2] ||

 

FOUR LEAVED SHAMROCK [2], THE. Irish, Reel. D Major. Standard tuning. AA’BB’.

X:1
T:Four Leaved Shamrock, The [2]
M:4/4
L:1/8
C:Paddy O'Brien
S:Dan Cummins and Bev Buchannan
R:reel
K:D
fd~d2 edBc|dfec dBAF|DEFB ABdf|~e2df efBd|
fd~d2 edBc|dfec dBAF|DEFB ABdf|1edef d3e:|2edef d3B||
Addc defa|bfaf efdB|BAFB ABdf|eB~B2 egfe|
dBAB defa|bfaf edBA|DEFB ABdf|1edef d3B:|2edef d3e:||

           

FOUR MARY'S WALTZ. Scottish, Air and Waltz. G Major. Standard tuning. AA (Kerr): AB (Perlman). The melody is an adaptation of a famous Scottish song that usually goes by the title of “Mary Hamilton” or “The Queen’s Maries,” whose chorus goes:
***

Last night there were four Maries, tonight there’ll be but three,

There was Mary Beaton and Mary Seaton, Mary Carmichael and me.

***

The ballad, a lament before the fourth Mary’s execution, is based on a germ of truth.  Four female children were selected to accompany the six year old Scottish Princess Mary when she was sent to France and by the time they returned in 1561 the Maries had become her ladies in waiting. However, Evelyn Wells in her book The Ballad Tree, finds that the ballad maker(s) either confused or purposefully wove a tale involving Queen Mary, the real Maries who were part of her entourage, various other famous Scots ladies to whom the taint of scandal was attached (who may or may not have been named Mary) and an actual recorded tragedy.  It is fact that one of the Queen’s French waiting-woman was hanged for murdering her illegitimate infant, sired by the Queen’s apothecary, and this event was the germ of the ballad, perhaps “enhanced” for effect.  Source for notated version: Sidney Baglole (b. 1912, Southwest Lot 16, East Prince County, Prince Edward Island; now resident of Freetown) [Perlman]. Kerr (Merry Melodies), vol. 3; No. 428, pg. 48. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 168.

X:1

T:Four Marys, The

M:3/4

L:1/8

R:Waltz

S:Kerr – Merry Melodies, vol. 3, No. 428  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

G2|(B4A2)|G2B2d2|e6|d4G2|B4B2|d2c2B2|(A6|A2)z2d2|

g4 g2|f2d2B2|e4e2|d2G2A2|B2d2B2|A2G2A2|(G6|G2)z2:|

           

FOUR MILE STONE, THE (Cloch na Ceithre Mhile). Irish, Reel. E Minor. Standard tuning. AB. The tune was composed by classically-trained Irish musician Arthur Darley (originally from Dun Laoghaire, County Dublin), who had an appreciation for traditional music and who performed (on the violin) and collected it (see Darley & McCall's collection) in the early 20th century. Darley was employed as a Church of Ireland organist for parishes in soutwest Donegal and was based in the small village of Bruckless. He befriended the famous fiddling Doherty family, whom he thought were excellent fiddlers. The ‘four mile stone’ was a milestone road marker aiding the carriage trade located near where Darley lived on the main Donegal Town to Killybegs road. The tune was recorded by the band Altan, though the second part differs somewhat from Darley’s original (Caoimhin Mac Aoidh). Roche Collection, 1982, vol. 1; No. 189, pg. 72.

X:1

T:Cloch na Ceithre Mhile (The Four Mile Stone)

M:C|

L:1/8

C:Arthur Darley

S:Mairead Mhaonaigh etc. (Ceol Aduaidh)

R:Reel

K:C

~A,2 EA,~A,2 EA,|~A,2GE DB,A,B,|

G,2(3B,A,G, DG,B,A,|G,B, (3BBB, G,B,DB,|!

~A,2 EA, ~A,2 AB|(3BBA BG AGAB|

(3BBA BG AGEA|GEDB, G,A,A,G,:|!

(3A,EA BA eABA|A,E (3EEE D2 B,G,|

(3B,A,G, DG, EG,D2|(3ded (3BdB (3GAG DA,|!

(3B,DE AA AB (3cde|AGED E2 AB|

(3BBA BG AGEA|GEDB, G,A,A,G,:|

           


FOUR MILES TO CUMBERLAND. Old‑Time, Breakdown. USA, North Carolina. June Appal 007, Tommy Hunter ‑ "Deep in Tradition" (1976. Learned from his grandfather, James W. Hunter, Madison County, N.C.).

           

FOUR O'CLOCK IN THE MORNING. AKA and see "Irish Quadrille." American, Schottishe (?). USA, southwestern Pa. G Major. Standard tuning. AB. Bayard is curiously silent about this tune, which sounds like a late 19th century composition. Sources for notated versions: James Taylor (fifer and fiddler from Wetzel County, W.Va. and Greene County, Pa., 1930's) and John Taylor (fiddler from Greene County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 188A‑B, pg. 144.

           

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

           

FOUR POSTER BED, THE. AKA and see “Four Corners of St. Malo,” “Four Corners Reel,” "Four Posts of the Bed," “Les Quatre Coins du Lit,” “Les Quat' Coins de St Malo.” English, Scottish, Irish, Shetlands; Polka, Reel or ‘Programme Piece’. Ireland, Donegal. D Major. Standard tuning. ABB (Martin, Phillips): AABB (Martin). This tune's 'B' part dramatizes the four poster bed by giving four taps with the frog‑end of the bow on the each of the four quarters of the belly of the fiddle, interspersed by a right‑hand pizzicato. The melody is popular in the Shetlands, though probably not of Shetland origin admits Cooke. On an early recording made for Comhaltas, Donegal fiddler John Doherty relates the story of "The Fours Posts of the Bed" and then plays the tune. His story tells of an itinerant fiddle player who finds refuge for the night in a cottage which lacks a bed for him. Not wanting to be inhospitable, the man of the house fashions a bed, and in return the fiddler composes a tune to thank him. Under the title “The Four Corners of St. Malo” the melody was recorded for Philo by French-Canadian fiddler Henri Landry. As has been noted by any fiddler who attempts to play this tune in the traditional manner, tapping the metal end of the frog on the belly of the violin often produces nicks and dings in the wood. To prevent this damage fiddlers in Donegal shout in Gaelic “Aon, do, tri, ceathair” (one, two, three, four) as the tap the four corners of the violin with their bow in the vertical but with the fleshy part of their middle finger covering the end of the frog. Source for notated version: Dave Swarbrick (England). Jordan (Whistle and Sing!), vol. 1. Martin (Ceol na Fidhle), vol. 1, 1991; pg. 42. Martin (Traditional Scottish Fiddling), 2002; pg. 35. Phillips (Fiddlecase Tunebook), 1989; pg. 21. Polydor Special 236‑514, Dave Swarbrick.

X:1

T:Four Posts of the Bed, The

M:C|

L:1/8

Q:220

S:John Doherty

R:polka

Z:Philippe Varlet

K:D

e2 ef e2 ef | edcB A2 E2 | A2 e2 f2 fe | g2 fe f2 a2 |

e2 ef e2 ef | edcB A2 g2 | f2 g2 e2 c2 |1 d4  g3  f :|2 d4   d2 Ad ||:

f2 gf e2 fg | abag fAde | f2 gf e2 fg | a2 ^gb a2 Ad |

f2 gf e2 fg | abag fAde | f2 gf e2 a2 |1 d4   d2 Ad :|2 d4   g3  f ||:

e2 ef e2 ef | edcB A2 E2 | A2 e2 z2 e2 | z2 e2 z2 e2 |

z2 e2 e3  f | edcB e2 eg | f2 g2 e2 c2 | d4   g3  f :||

           

FOUR POSTS OF THE BED [1], THE. See "Four Poster Bed." Reel or Polka.

 

FOUR POSTS OF THE BED [2], THE. Irish, Double Jig. Shanachie SH-78010, Solas - “Sunny Spells and Scattered Showers” (1997).

           

FOUR PROVINCES (FLING) No. 1. AKA and see “The First of May [1].” Irish, Fling. A Dorian. Standard tuning. AABB.

X:1
T:Four Provinces Flings #1
T:First of May, The
S:Moloney/O'Donnell/Egan
Z:Nigel Gatherer
M:4/4
L:1/8
K:Ador
z | E>AA>B c3 B | Adde f2 ef | gfec dfec | dcAF  G3 F |
E>AA>B c3 B | Adde f2 ef | gfec dedc | A2 AG A2  :|
(3efg | a2 af g2 ge | f2 fd e3 f | gfec dfec | dcAF  G3 F |
E>AA>B c3 B | Adde f2 ef | gfec dedc | A2 AG A2  :|

 

FOUR PROVINCES (FLING) No. 2. AKA and see “Duncan Davi(d)son.” Irish, Fling. D Major. Standard tuning. AA’B.

X:1
T:Four Provinces Flings #2
T:Duncan Davidson (Kerr's MM Bk1p17)
S:Moloney/O'Donnell/Egan
Z:Nigel Gatherer
M:4/4
L:1/8
K:D
z | D>FA>B A<F d2 | D>FA>B A<F E2  |\
D>FA>B A<Fd>e |1 f>de>g f>dA>D :|
2 f>de>g f>dd   || e | f2 f2 g>f>e>d | c>AA>B c>de>g |\
f2 f2 g>f>e>d | c>ea>g f>dd>e | f2 f2 g>f>e>d | c>AA>B c>de>g |
(3fed (3edc d>BA>F | G>BA>F G>FE>F |]

 

FOUR PROVINCES (FLING) No. 3. AKA and see “Lady Mary Ramsey [2],” “The Queen’s Shilling.” Irish, Fling. G Major. Standard tuning. AAB.

X:1
T:Four Provinces Flings #3
T:Lady Mary Ramsay (Kerr's MM Bk1p10)
T:The Queen's Shilling (DMI752)
S:Moloney/O'Donnell/Egan
Z:Nigel Gatherer
M:4/4
L:1/8
K:G
z2 | G3 B d<BB>c | d<Bg>B d>BA>B | G3 B d<BB>d | (3efg (3dcB A2 :|
g>a | b<gg>b a<ff>a | g2 gd e>fg>a | b<gg>b a<f f2 | (3gfe (3dcB A2 g>a |
| b<gg>b a<ff>a | g2 gd e>fg>a | b>ga>f g>fe>d | (3efg (3dcB A2 |]

                       

FOUR SEASONS [1], THE. Irish, Air or Reel (4/4 time). G Major. Standard tuning. AB. Stanford/Petrie (Complete Collection), 1905; No. 416, pg. 105.

X:1

T:Bessy of Dromore

M:C

L:1/8

R:Air

S:Stanford/Petrie (1905), No. 416

Z:AK/Fiddler’s Companion

K:G

D | G2 GG GBdB | c2 BA Bdge | d2 de dBGA| Bd cB A2 dB | G2 GG GBdB |

c2 BA Bdge | d2 de dBGB | A>GAB G3 || B/>c/ | d2 dd dggf | edef g3 f/e/ |

d2 de dBGA | BdcB A3 d/B/ | G2 GG GBdB | c2 BA Bdge | d2 d{f}e dBG>B | A>GAB G2 ||

 

FOUR SEASONS [2], THE. English, Jig. D Major. Standard tuning. AABBCC. The jig appears in print in Straight and Skillern’s Two Hundred & Four Favourite Country Dances, vol. 1 (London, 1775), Charles and Samuel Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 4 (London, 1780). It also appears in the music manuscript collections of Joshua Jackson (Harrogate, north Yorkshire, 1798), George Malecot (Whitehaven, Cumbria, 1779), and Thomas Watts (Peak Forest, Derbyshire, late 18th c.), and an untitled collection in the Vaughn Williams Memorial Library (EFDSS). In America it appears in the copybooks of Micah Hawkins (New York, 1794) and P. Van Schaack (Kinderhook, N.Y., 1820), and the commonplace books of Abel Shattuck (Colrain, Mass., c. 1801-182?) and George White (Cherry Valley, N.Y. c. 1790-1830).Callaghan (Hardcore English), 2007; pg. 72. Knowles (A Northern Lass), 1995; pg. 6. Plain Brown Tune Book, 1997; pg. 32.

X:1

T:Four Seasons, The [2]

M:6/8

L:1/8

R:Jig

K:D

aba f2f | agf e2A | d2A e2A | agf e2e | a2a fdf | agf efe |

d2A e2A | fge d3 :: FGF EFG G2E F2D | FGF EFG | GFE F2 D |

F2F EFG | FFDE FED | FGF FEF | GFE D2 :: B | ABA d3 | ABA F3 |

ABA GAG | EFG F2D | ABA d2d | ABA F2F | ABA GAG | EFG F2D :|

X:2

T:Four Seasons, The [2]

M:6/8

L:1/8

R:Jig

K:G

d3 BGB|dcB A2D|G2D A2D|dcB A3|d3 BGB|dcB A2D|

G2D A2D|BcA G2::FGF EFG|GFE F2D|FGF EFG|

GFE F2A|FGF EFG|GFE F2D|FGF EFG|GFE D3:|

|:ABA d3|ABA F3|ABA GAG|EFG F2D|

ABA d3|ABA F3|ABA GAG|EFE D3:|

 

FOUR SEASONS [3], THE.  AKA – “Four Seasons of the Year.” English, Jig. D Major. Standard tuning. This melody was printed in Thompson’s Compleat Tutor for the Hautboy (London, 1790), Skillern’s Compleat Collection of Two Hundred & Four Reels….Country Dances (London, 1780), and, in America, Joshua Cushing’s Fifer’s Companion, No. 1 (Salem, Mass., 1805), The melody appears in the manuscript flute books of Geoge Willis (1795), Ralph Pomeroy (1790), and the commonplace books of Cushing Eells (Norwich, Ct., 1789) and Henry Beck (1786), and the copybook of Silas Dickinson (Amherst, Ma., c. 1800).

X:1

T:Four Seasons, The [3]

M:6/8

L:1/8

R:Jig

K:D

 

           

FOUR SHOVES [1], THE (An Ceithre Thurraing). Irish, Polka. D Major. Standard tuning. AAB. Source for notated version: fiddler Seamus Creagh & accordion player Jackie Daly (County Cork, Ireland) [Breathnach]. Breathnach (CRE III), 1985; No. 66, pg. 34. Mallinson (101 Polkas), 1997; No. 9, pg. 4 (appears as “Four Shoves No. 2”). Gael‑Linn Records CEF 057, "Jackie Daly & Seamus Creagh" (1977).

 

FOUR SHOVES [2], THE (An Ceithre Thurraing). Irish, Polka. E Minor ('A' part) & D Major ('B' part). Standard tuning. AABB'. Source for notated version: accordion player Jackie Daly (County Cork, Ireland) [Breathnach]. Breathnach (CRE III), 1985; No. 70, pg. 35. Mallinson (101 Polkas), 1997; No. 8, pg. 4 (appears as “Four Shoves No. 1”). Gael‑Linn CEF 057, "Jackie Daly & Seamus Creagh" (1977).

           

FOUR SISTERS, THE. Canadian, Reel. Canada, Cape Breton. D Major. Standard tuning. AABB’. Composed by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia). Cranford (Brenda Stubbert’s), 1994; No. 44, pg. 16. Brenda Stubbert - “Tamerack ‘er Down” (1985).

           

FOUR STATES' WALTZ. Old‑Time, Waltz. USA, Missouri. F Major. Standard tuning. One part. “The Four States’ Waltz” is one of the ‘100 essential Missouri fiddle tunes’ according to Missouri fiddler Charlie Walden. Source for notated version: Virgil Smith (Montgomery City, Missouri) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 2), 1984; pg. 155.

           


FOUR STRING POLKA. Canadian, Polka. Condor 977‑1489, "Graham & Eleanor Townsend Live at Barre, Vermont."

           

FOUR THUMBS AND TWO LEFT FEET. Old‑Time, Fiddle Tune. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

           

FOUR WHITE HORSES. American, Country Dance Tune (2/4 time). D Major (‘A’ part) & A Major (‘B’ part). Standard tuning. AABB. Shaw (Cowboy Dances), 1943; pg. 391.

X:1

T:Four White Horses

L:1/8

M:2/4

S:Shaw – Cowboy Dances  (1943)

Z:AK/Fiddler’s Companion

K:D

Dd Af|Dd Af|fd/e/ fa|g/f/e/d/ e/c/A|Dd Af|Dd Af|fd/e/ fa|g/e/d/^c/ dz:|

K:A

|:ea ec|e/d/c/B/ cE|d/c/B/^A/ BE|e/c/A/B/ c>d|ea ec|e/d/c/B/ cE| F/D/F G/E/G|Ac A2:|

           

FOUR WINDS.  English, Country Dance Tune (3/2 & 6/8 time). E Minor. Standard tuning. AABBCCDD. Composed by English collector, choreographer, musician and teacher Pat Shaw. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 46.

 

FOURPENCE HA'PENNY FARTHING. AKA and see "The Jockey [2]," AKA and see "Cailleach an Tuirne," "Cailin A' Tuirna," "Garrett Barry{'s Jig}," "Gearoid de Barra," "Is Maith Le Nora Ciste" (Nora Likes Cake), "Kiss Me, darling," “Kissed Behind the Garden,” "The Ladies' Fancy [3]," "The Maid at the Spinning Wheel," "Maire an Phortair," “Noran Kista,” “Nora’s Purse,” "Norickystie," "Port an Achreidh,” "The Road to Lurgan," “Sergeant Early's Jig," “The Spinning Wheel [4],”"Tune the Fiddle,” "Wreathe the Bowl.”  "The Wild Irishman [4].”  English, Country Dance Tune (6/8 time). G Minor. Standard tuning. ABB (Sharp): AABB (Barnes). The tune dates to 1688 and was first published by Playford, although derivatives of the tune in musicians’ manuscripts show that it was altered in usage over time. It can be found under the “Fourpence Ha’Penny Farthing” title in the music manuscript of Joshua Jackson (near Harrogate, North Yorkshire, 1798). James Aird published it in vol. 1 of his Selection of Scotch, English, Irish and Foreign Airs (Glasgow, 1782) under the title “Norickystie or The Wild Irishman,” a title by which the tune also appears in the music manuscript collection of the Rev. Robert Harrison (Brampton, Cumbria, 1820). Northumbrian musician William Vickers had it as “Kissed Behind the Garden” in his 1770 music manuscript collection. Irish versions are numerous with a variety of titles (see alternate titles, above). Barnes (English Country Dance Tunes), 1986. Callaghan (Hardcore English), 2007; pg. 59. Sharp (Country Dance Tunes), 1909/1994; pg. 70. EFDSS CD13, The Committee Band – “Hardcore English” (2007. Various artists).

X:1

T:Four Pence Half-Penny Farthing

M:6/8

L:1/8

S:Playford

K:Gm

B2 d dBd|A2 c cAc| B2 d dBd| f3 b3|B2 d dBd|A2 c cAF|

G/2A/2BG|A/2B/2cA|G 3 B3::f2 g fdB|b2 g fdB|e2 g fdB|

A3 c3|D2 F FDF|B2 d cAF|G/2A/2BG A/2B/2cA|G3 B3:|

X:2

T:Jockey, The, or Four pence half-penny farthing

M:6/4

L:1/8

R:Jig

S:Playford – The English Dancing Master (7th edition, 1688)

K:Bb

B4 d2 (d2B2) d2|A4 c2 (c2A2)c2|B4 d2 (d2B2)d2|f6 b6|

B4 d2 (d2B2)d2|A4 c2 (c2A2)F2|(GA)B2 G2 (AB)c2A2|G6 B6:|

|:f4 g2 (f2d2)B2|b4 g2 (f2d2)B2|e4 g2 (f2d2)B2|A6 c6|

D4 F2 (F2D2)F2|B4d2 (c2A2)F2|(GA)B2 G2 (AB)c2A2|G6B6:|

           

FOURPENNY BIT, THE (An Tuisduin/Tuistiun). AKA and see “Lománach Cross.” Irish, Reel. G Major. Standard tuning. AB (O'Neill/1850 & 1001): AABB' (O'Neill/Krassen). Breathnach (CRÉ II), 1976; No. 148. O'Neill (Krassen), 1976; pg. 159. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1541, pg. 284. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 757, pg. 132.

X:1

T:Fourpenny Bit, The

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 757

Z:AK/Fiddler’s Companion

K:G

DGGB cABG | GBdB cAFA | DBBG AGAB | cBAG FGAF |

DGGB cABG |GBdB c2 Bc | (3dcB cA BGAG | (3EFG Ac BG G2 ||

d>g (3gfg b>g (3gfg |defg agfg | dgfg dgfg | dBcA BG G2 |

d>g (3gfg b>g (3gfg |  defg ag (3gfg |dgfg dgfg | abag fdcA ||

                       

FOURPENNY GIRL, THE. AKA and see "Langstrom's Pony," "Lastrum Pony," "Lostrum Ponia," "Lanstrum Poney," “(A) Draught of Ale,” "Farrell's Pipes," “Grania’s Welcome Home [2],” “Highway to Dublin,” “The Priest’s Leap [3],” “Right Way to Dublin,” “Saddle the Pony [3],” “Sweet Tibby Dunbar.”

                       

FOURSOME REEL. Scottish. A Scottish dance which combines reel and strathspey tempos and which, along with the "Reel of Tulloch" and the "Eightsome Reel," held a dominant place on the programs of Scottish balls of the 18th and 19th centuries. Flett & Flett (1964) call it a 'true Reel', also called the Scotch or Highland Reel, which the setting steps are performed with the dancers in line, and the traveling steps consist of a figure eight with an additional loop added. The Foursome Reel is popular with country dancers in modern times, but is not frequently danced at ceilidhs (Martin, 2002).

                       

FOURTEEN DAYS IN GEORGIA. Old‑Time, Breakdown. USA. C Major. Standard tuning. ABB' (Phillips): AABB (Brody). Related to "Sixteen Days in Georgia [1]." Sources for notated verisons: Loyd Wanzer [Brody], Tommy Jackson [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 113. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 53. County 762, Lyman Enloe‑ "Fiddle Tunes I Recall." MCA 162, Tommy Jackson‑ "Square Dances Without Calls." American Heritage 19A, Loyd Wanzer‑ "Plain and Fancy Fiddlin.'"

                       

FOURTEENTH OF OCTOBER, THE. English, Country Dance Tune (4/4 time). G Major. Standard tuning. AABB. Aird (Selections), vol. II, 1785; No. 152, pg. 56.

X:1

T:14th of October, The

M:C

L:1/8

S:Aird, vol. II (1785)

Z:AK/Fiddler’s Companion

K:G

G>A | B3g (dB)(AG) | B2 de d2 AB | c3e (dB)(AG) | B2 A>B A2 GA |

(Bd)(eg) (dB)(AG) | B2 ga g2 Bc | d>edB (cB)”tr”(AG) | E2 G>A G2 :|

|: de | g>aba gedB | d2 g>a g2 AB | c>deg (dB)(AG) | B2 AB A2 GA |

BABG EGAB | cBcd edef | gfga | babd | e2 g>a g2 :|

                       

FOURTH DRAGOON'S REGIMENTAL MARCH. English, March (cut time). England, Shropshire. G Major. Standard tuning. AABBCCDD. Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 16, pg. 3.

                       


FOURTH OF JULY. AKA and see "Chinky Pin," "Love Somebody [2]," "My Love is/She's But a Lassie Yet [1]," "Too Young to Marry [1]," "Midnight Serenade [1]," "Yellow Eyed Cat," "Buffalo Nickel [1]," "Ten Nights in a Bar Room," "Hair in the Butter," "Richmond Blues," "Farmer Had a Dog," "Lead Out," "Sweet Sixteen," "Darling Child," "I’m My Momma's Darling (Child)."  Old‑Time, Fiddle Tune. The tune was recorded under this title for the Library of Congress by musicologist/folklorist Vance Randolph in the early 1940's from Ozark Mountain fiddlers. It may or may not be the Georgia Yellow Hammers 1927 song "Fourth of July at a Country Fair."

                       

FOURTH OF JULY WALTZ. Old-Time, Waltz. See also note for “Tommy Don’t Go.” Bee Balm 302, “The Corndrinkers.”

                       

FOWLER ON THE MOOR, THE. Irish, Slide or Single Jig (12/8 time). G Major. Standard tuning. AA’BB’. Sources for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; fiddler Kathleen Nesbitt [Treoir]. Mitchell (Dance Music of Willie Clancy), 1993; No. 74, pg. 72. Treoir, vol. 37, No. 2, 2005; pg. 30. Claddagh 4CC 39, “The Pipering of Willie Clancy Vol. 2” (1983).

X:1

T:Fowler on the Moor, The

M:12/8

L:1/8

R:Slide

S:Treoir, vol. 37, No. 2  (2005)

Z:AK/Fiddler’s Companion

K:G

A | G2E (EDE) c2A B2G | AcA G2E A2c B2A |1 G2E (EDE) c2A B2G | AcA (G2E) D3 D2E :|2

G2A B2c d3 B2G | AGE G2E D3 (D2E) ||: G2A B2c d3 B2G | ABA G2E A2c B2A |

G2A B2c d3 B2G |1 AGE G2E D3 (D2E) :|2 AGE (G2E) D3 D2 ||

                       

FOWLEY’S FAVOURITE.  Irish, Mazurka. The tune was named by Cloonlarin, Doocastle, Mayo, fiddler Verona Ryan after her source for it, Vincent Fowley. Gregory Daly (liner notes to CHC 009) says the tune was also played by Joe Dowd. Coleman Music Center CHC 009, fiddler Verona Ryan – “The Coleman Archive, vol. 2: The Home Place” (2005. Various artists).

 

FOWLING PIECE, THE. AKA and see “Templehouse (Reel).” Irish, Reel. Rounder CD 1087, Ballinakill Ceilidhe Band – “From Galway to Dublin” (1992. Reissue of 1931 original).

 

FOWNEY. Irish, Air. A related tune is an untitled polka in Breathnach’s Ceol Rince na hÉireann IV, No. 79, from the David Collins manuscript. Gael-Linn CEFC 123, Breandán Ó Beaglaoich (Brendan Begley) – “Seana Choirce.”

                       

FOX, THE. AKA and see "Brandlings."

                       

FOX AND HIS WIFE, THE (An Bannac Agus a Ceile). Irish, Air (6/8 time, "with spirit"). G Major. Standard tuning. One part. Source for notated version: M. O’Brien [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 271, pg. 47.

X:1

T:Fox and His Wife, The

M:6/8

L:1/8

R:Air

N:”With spirit”

S:O’Neill – Music of Ireland (1903), No. 271

Z:AK/Fiddler’s Companion

K:G

d/c/ | BAB AzB | GFA Gzd | gfg edc | B2c dzd | gfg e3 | d^ce d2 B/A/ |

GFA GAB | g3 eze | d^ce d=cA | G3 Gz ||

 

FOX AND HOUNDS [1], THE. Old‑Time, Breakdown. USA; Arkansas, Missouri. G Major. Standard tuning. ABCDD. Christeson (1973) says the tune is quite rare. The tune was recorded for the Library of Congress by musicologist/folklorist Vance Randolph in the early 1940's from Ozark Mountain fiddlers. Source for notated version: 'Stick' Osborn (St. Joseph, Missouri) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; pg. 107.

 

FOX AND HOUNDS [2]. Old-Time, Breakdown. USA, Ohio. AEac# tuning. GFS‑901 (issued by the Gambier Folklore Society, Kenyon College), Arnold Sharp (Jackson County, Ohio) - "Seems Like Romance To Me, Traditional Fiddle Music From Ohio" (1985).

 

FOX AND GRAPES, THE. AKA and see "The Blue‑Tailed Fly." English, Scottish; Reel or Country Dance Tune (2/4 time). England, Northumberland. D Major. Standard tuning. ABB (Kerr): AABB (Hall & Stafford, Raven). The title is presumably from the Aesop's fable of the envious fox. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 20. Kerr (Merry Melodies), vol. 3; No. 383, pg. 42. Raven (English Country Dance Tunes), 1984; pg. 142.

X:1

T:Fox and the Grapes, The

M:2/4

L:1/8

R:Country Dance

S:Kerr – Merry Melodies, vol. 3, No. 383  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

aa/g/ ff/e/ | dd/e/ f2 | ge/g/ fd/f/ | e/d/e/f/ e/f/g/e/ | aa/g/ ff/e/ | dd/e/ f2 |

ge/g/ fd/f/ | e/d/e/f/ da ||: efga | efga | efgb | a^ga z :|

 


FOX CHASE [1]. Old‑Time, Bluegrass; Breakdown. USA; Georgia, Tennessee, Kentucky. Imitative tune in the repertoire of fiddler Gid Tanner (north Ga.), of Skillet Lickers fame. A tune by this name was also played by Muhlenburg County, western Ky., fiddler Ted Gosset (b. 1904), who learned it from a neighborhood fiddler (the first whom he considered a superior musician) named Charlie Jones. Gosset became famous for the tune, and it provided the name for Gosset's band when they played over WFIW, "The Fox Chasers." Two fiddling brothers vied in the 1880's for the office of governor, Alf and Bob Taylor, and each took his fiddle with him during the campaign and played for the crowds--Alf helped popularize “Fox Chase” (Wolfe, 1997). Not only a fiddle tune, “Fox Chase” is also known as a banjo song for which a special tuning is employed. Iowa fiddler Dwight Lamb told Mark Wilson: “Quite a few Missouri fiddlers used to play it without putting in the high part and called it ‘The Redbird’. Cyril [Stinnet, a Missouri fiddler] had an extra part to that version that I don’t play” (Rounder 0529). “Fox Chase” is printed in Christeson’s Old Time Fiddler’s Repertory, vol.2, as an unnamed tune. Gennett 3022 and Svt 4010‑B (78 RPM's), Jess Young (Tenn.) {appears as "The Fox Chase Reel"}. Morning Star 45004, Ted Gosset's String Band (western Ky.) - "Wish I Had My Time Again" (Originally recorded Sept. 1930 and issued on 78’s as: Gnt 7308, Vrs 5090, and Ch 16116 under the group name Ted Gossett's Band; Spr 2655 as by Buddy Young’s Kentuckians; Spt 9738 as by Marvin's String Band). Rounder 0529, Dwight Lamb – “Hell Agin the Barn Door” (2005. Learned from Nebraska fiddler Bob Walters). Rural Records RRCF 251, Curly Fox {Ga.} (1970).

 

FOX CHASE [2], THE. AKA and see “Hare in/among the Corn [1].” Irish, March (6/8 time). G Major. Standard tuning. AABB. Roche Collection, 1982, vol. 2; No. 354, pg. 63.

X:1

T:Fox Chase [2]

M:6/8

L:1/8

R:G Major

S:Roche, vol. 2, No. 354

Z:AK/Fiddler’s Companion

K:G

d/c/ | BGB def | gfe dcB | def gdB | eAA A2 d/c/ | BGB def | gdc BAB | GBd gdc | BGG G2 :|

|: e | dBd GGG | dBd GGG | ede AAA | ede AAA | e2A e2B | d2A e2B | def gdc | BGG G2 :|

 

FOX CHASE [3], THE (Seilg An Madradin Ruad). AKA and see "Fox Hunt," “Irish Fox Hunt,” "Modhereen Rua." Irish, March (4/4 time). G Major. Standard tuning. AABCDEFGHIJJKKLMNNOOPPQQ. A programatic piece replete with 'horns' and the 'cry of the hounds', ‘death of the fox’, and winds up with “The Foxhunter’s Jig.” Some sections are variously in 3/4, 6/8 and 9/8 time. This "Fox Chase" was composed around 1800 by celebrated blind Co. Tipperary piper Edward Keating Hyland (1780-1845) in 1799, who once received a set of expensive pipes from King George IV of England (who heard the piper while visiting Dublin in 1821) as a mark of recognition for his performance, according to Gratten Flood. It is the model for the Scottish "Hunting of the Fox," but Hyland based his piece on an older (though short, eight-bar) song called “An Maidrin Ruadh” (Modhereeen Rua), which is based on a dialogue between a farmer and a fox which he had detected “with the goods” on him in the form of “a fine fat goose.” Hyland's version, the first full version, appears in O’Farrell’s Pocket Companion of the Irish or Union Pipes (vol. 1, book 2, c. 1806) {appears under the title “The Irish Fox Hunt”}. O’Neill (1913) also prints two MS versions of the tune, one from H. Hudson, c. 1841, and the other from Prof. P.H. Griffith of Dublin--the latter being a Tipperary version. Knowles (1995) finds parts of “The Fox Chase” in an anonymous 18th century English manuscript, in which it is entitled “The Foxhunter Hornpipe,” and calls it “certainly the oldest known version” of the tune.

***

 “The Fox Chase” is the tune by which every piper seems to have been judged, at least in the 19th century, when it was ubiquitous among pipers. O’Neill mentions piper after piper in his Irish Minstrels and Musicians who considered the tune the heart of their repertoire. He also relates the tale of Kerry uilleann piper Dick Stephenson (c. 1840's-1897), who for many years was paired with a banjo player named John Dunne and a fiddler by then name of Thompson. It seems the trio played a date in Ballyhaunis, County Mayo, and Stephenson got a bonus for playing “The Fox Chase” while his partners sat out, not being able to follow Stephenson’s variations. “Dunne remarked he wouldn’t hunt a fox that cold night for any consideration. A rejoinder from Stephenson to the effect that ‘maybe he couldn’t’ was the spark that fired the flames of jealousy, and a round of fisticuffs put an end to years of friendship and companionship, although the Dunnes and Stephensons and Thompsons were all intermarried.” Another 19th century champion piper, Robert Thompson of Cork, distinguished himself particularly in O’Neill’s eyes as having an aversion to the humming of the drones and to playing “The Fox Chase.”  O’Neill obtained Stephenson’s variations from piper Pat Touhey (“which fills fifteen staffs”), and he thought them to be so excellent the none equalled them (Irish Folk Music, pg. 38).

***
“The Fox Hunt” was famously played by the incomparable uilleann piper from County Kerry, James Gandsey (1769-1857), who concertized well into his seventies (Breathnach, 1997). Donal Hickey (Stone Mad for Music, 1999), also says the “The Fox Chase” was associated with James Gandsey, ‘the Killarney Minstrel’, who died in 1857 at the age of 90. Gandsey survives in folk memory in the Sliabh Luachra region and some facts are clearly remembered.  The son of a soldier in Ross Castle and a native Killarney mother, Gandsey was almost completely blinded in infancy by smallpox. He became known as Lord Headley’s Piper and contributed several tunes to the regional repertoire, including as well “Jackson’s Morning Brush” and “Madame Bonaparte.” He is buried in Muckross Abbey, Killarney, where a plaque has been erected in his memory.  Source for notated version: originally from Mrs. Kenny of Dublin, via John L. Wayland of the Cork Pipers’ Club via Chicago piper ‘Patsy’ Tuohey [O’Neill]. O'Neill (1915 ed.), 1987; No. 125, pgs. 70‑72. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1850, pg. 349. O’Neill (1913), pg. 128. Island ILPS 9501, "The Chieftains Live" (1977).

X:1

T:Fox Chase [3]

M:C

L:1/8

S:O’Neill – Music of Ireland (1903), No. 1850

Z:AK/Fiddler’s Companion

K:G

DE | G2 GB d2d2 | dedB d3z | G2 GB edBG | A4 G2 (3def |

g2 fe f2 ed | edBG A2 GE | GABG A^GAB | G4 G2 :|

|| DE | G2 GA B2B2 | c2c2B2B2 | c2c2B2 BG | A4 G2 (def |

g3a gfed | edBG A2 GE | GABG A^GAB | G4 G2 z2 ||

G2 GB d2g2 | e2g2d2g2 | G2 GB dedB | A4 G2 (3def | gfga gfed |

E2 dB A2 GE | GABG A^GAB | G4 G2 z2 || DEGA BGGG |
AGGG BGGG | AGBG cGBG | A4 G2 (3def | g2 ba gfed | edBG A2 GE |

GABG A^GAB | G4 G2 z2 || A3 ^G/A/ A3 G/A/ | A3 G/A/ A3 A/G/ |

d3 ^c/d/ d3 c/d/ | d3 ^c/d/ d3c/d/ | F/E/ F3 F/E/F3 | F/E/F3 F/E/F3 |

F/D/E/D/ F/D/E/D/ F/D/D/D/ F/D/E/D/ | F/D/d/D/ F/D/E/D/ F/D/E/D/ F/D/G/D/ |

f/d/e/d/ f/d/e/d f/d/e/d/ f/d/e/d/ | f/d/g/d/ f/d/e/d/ f/d/g/d/ f/d/e/d/ |

g/d/g/d/ f/d/f/d/ g/d/g/d/ f/d/f/d/ | .g.g.gz .f.f.fz | .e.e.ez .f.f.fz | A3 ^G/A/ A3 G/A/ |

A3 ^G/A/ A3G/A/ | d3^c/d/ d3c/d/ | d3 ^c/d/ d3 (A/B/c/ ||

M:3/4

L:1/8

d2F2A2 | d4 fe | d2F2A2 | {d}=c4 BA | B2F2A2 | G2 dc BA | B2F2A2 |

B4A2 | F2d2d2 | F2 dc BA | BdcBAG | F4 FE | D2F2A2 | B4 ed | c2A2c2 | d4 ||

fe | f2f2 af | f2e2d2 | f2dB2 | B4A2 | f2f2af | f2e2d2 | dc de fd | e4A2 | A2F2F2 |

F2 dc BA | BdcBAG | F4 FE | D2F2A2 | B4 ed | c2A2c2 | d4 ||

M:C

L:1/8

D2 | GABc d2d2 | dedB d2 BA | GABc dedB A2 G2 || (3def | g2g2 f2 ed |

G2B2 A2 GE | GABG A^GAB | G4 G2 z2 ||

M:6/8

L:1/8

|: DEF DEF | DEF DEF | DEF DEF DEF DEF :|

M:C

L:1/8

|: DEFE DEFE | DEFE DEFE | DEFE DEFE | DEFE DEFE :|

GABc d2d2 | dedB d2 BA | GABc dedB | A4 G2 || (3def |

g2g2f2ed | g2B2A2 GE | GABG A^GAB | G4 G2 z2 ||

M:9/8

L:1/8

|: FGF F2D G2E | FGF F2D E2D | FGF F2D G2B | AFD D2F E2D :|

|: BcB BAG FGA | B2E E2F G2B | ABc dcB ABc | d2D D2F E2D :|

|: fgf f2d g2e | fgf f2d e2d | fgf f2d g2b | afd d2f e2d :|

|: gfe dcB AGF | B2E E2F G2B | ABc dcB ABc | d2D D2F E2D :|

 

FOX CHASE [4]. Scottish, Reel. A Major. Standard tuning. AA’BB’. Stewart-Robertson (Athole Collection), 1884; pg. 39.

X:1

T:Fox Chase

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:A

e | cAce aece | dcBA GBBe|1 cAce aece | dcBe cAA :|2 cAce abae |

dcBe cAA || B | cAEA CEA,c | dcBA GB B>d |1 cAEA CDA,c |

dcBe cAA :|2 cAce abae | dcBe cAA ||

 

FOX CHASED [5], THE. Irish, Reel. A Major. Standard tuning. One part (Kerr): AB (Surenne). No relation to the Scottish “Fox Chase” also in ‘A’ Major. Kerr (Merry Melodies), vol. 4; No. 180, pg. 21 (appear as “The Fox Chased”). Surenne (Dance Music of Scotland), 1852; pg. 89 (appears as “Fox Chase”).

X:1

T:Fox Chase, The [5]

M:C

L:1/8

R:Reel

S:Surenne – Dance Music of Scotland, pg. 89  (1852)

Z:AK/Fiddler’s Companion

K:A

e | a2 ec fdec | bBBc d2 cB | A2 GA FAEA | BcdB edcB | A2 EC FDEC | B,BBc d2cB |

AcBd cedf | ecdB cAA || E | A2 GA FAEA | A2 Af edcB | A2 GA FAEA | BcdB edcB |

A2 GA FAEA | A2 Af edcB | Aaga face | (f/4/g2<a) gc ({c}B2) A ||

                       

FOX HUNT. AKA and see "Fox Chase" (Irish), "Modheren Rua."

 

FOX HUNT [2], THE. American, Jig. G Major. Standard tuning. AABBCC. The melody was published in George P. Knauff’s Virginia Reels, vol. III (Baltimore, 1839).

X:1

T:Fox Hunt, The [2]

M:6/8

L:1/8

R:Hornpipe

B:George P. Knauff – Virginia Reels, vol. III (Baltimore, 1839).

Z:AK/Fiddler’s Companion

K:G

(d/c/)|(Bdg) g2 (f/g/)|(afd) d2c|(Bdg) (dBG)|FAA A2 (d/c/)|(Bdg) (gfg)|

(afd) d2c|(BdG) (AcF)|GGG G2::D|GGG G2A|BBB B2c|(ded) (dcB)|

AAA A2D|GGG G2A|BBB B2c|(dBG) (cAF)|G2B G2::d|Bdd Bdd|

(Bdg) (gec)|Acc Acc|(Aca) (afc)|Bdd Bdd|(Bdg) (gec)|(BdG) (AcF)|GGG G2:||

                       

FOX HUNTERS JIGG. See "Foxhunter's Jig."

                       

FOX IN THE DUMPS, THE. AKA and see “Cooper’s Hornpipe,” "The Exciseman's Hornpipe," “Swan’s Hornpipe.” English, Reel or Hornpipe. F Major. Standard tuning. AABB. The melody appears in the 1770 music manuscript collection of Northumbrian musician William Vickers, about whom unfortunately little is known. Vickers gives the alternate title “The Exciseman’s Hornpipe.” “Fox in the Dumps”, like numerous other tunes from the Thompson’s 1773 collection, was entered into the 1788 music copybook of fiddlers Johan and William Pitt Turner (Norwich, Conn.). Seattle (William Vickers), 1987, Part 3; No. 549. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 143.

X:1

T:Fox in the Dumps, The

M:C

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)

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

Z:abc’s:AK/Fiddler’s Companion

K:F

cB|Ac f4 ed|ef g4 fe|fg a2 bgaf|eg c4 cB|Ac f4 ed|ef g4 b2|afge fd cd/e/|f2 (F2F2):|

|:c2|fcAc FAcf|gfed cegb|afcA FAfa|gfed c2 “tr”c2|dB “tr”B2 bg “tr”g2|afed c2 “tr”c2|dBcA BGAB|A2 (F2 F4):||

                       

FOX LAMENTATION [1], THE. Scottish, Lament or Slow Air (6/4 time). A Major. AEae tuning. AABBCCDDEEFF. Source for notated version: Brown MS., 1714 [Johnson]. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 47, pgs. 112‑113.

 

FOX LAMENTATION [2], THE. Scottish, Jig. D Major. Standard tuning. Sharpe MS., c. 1790, pg. 222 (appears as "The Highland Hunt").

 

FOX LAMENTATION [3], THE. Scottish, Jig. B Flat Major. Standard tuning. Sharpe MS., c. 1790, pg. 222 (appears as "The Highland Hunt").

                       

FOX MAY STEAL YOUR HENS, SIR, A. AKA and see "A Soldier and a Sailor." The air under this title appears in Gay's Beggar's Opera, 1729.

                       

FOX ON THE PROWL, THE.  AKA and see “Josie McDermott’s [2].” Irish, Reel. D Major. Standard tuning. AA’BB. Composed by flute player Vincent Broderick, originally from Bullaun, near Loughrea, County Galway, hard by the Turoe Stone, a famous Iron Age monument. Broderick (The Turoe Stone). Broderick explains (in Vallely & Piggott’s Blooming Meadows, 1998) that the tune’s title came from an incident Broderick happened on while employed building houses outside Ballinasloe. It seems a neighboring farmer had a lovely daughter whose virtue he guarded well. The girls mother was more sympathetic to the fact that the lass had a secret boyfriend, whose signal for an tryst was to rattle the family’s hen-house door to start the chickens cackling. The mother, on hearing the noise and knowing its meaning, would conspicuously tell young Mary to go out and check the poultry, for the fox was on the prowl again tonight. “The Fox on the Prowl” is one of Broderick’s better tunes. Turlach Boylan – “The Tidy Cottage” (appears as “Mary Finn’s Reel.” Chris Droney.

X:1

T:Fox on the Prowl

T:Josie McDermott’s

R:Reel

M:4/4

L:1/8

K:D

(3dcd fd eAA2 | ABBc dBAF | ABde fa (3aaa | abaf feef |\

dgfd eAAd | ABBc dBAF | ABde faaf |1 egfe dABc :|2 egfe dcde ||\

faaf dcde | faaf eAAd | ABBc defa | bfaf feeg |\

effa bfaf | dgfd eAAd | ABBc dfaf | egfe d4 :||

                       

FOX ON THE TOWN. AKA and see “Finbar Dwyer’s {Reel} [4]," “Richard Dwyer’s [2].” Irish, Reel. G Major. Standard tuning. AABB. Composed by Richard Dwyer. Vallely (Armagh Pipers Club Play 50 Reels), 1982; No. 24, pg. 13. Green Linnet SIF 1077, Capercaillie ‑ "Crosswinds" (1987).

X:1

T:Fox on the Town, The

T:Richard Dwyer's

T:Finbar Dwyers

D:Liz Carroll and Tommy Maguire, Kiss Me Kate

N:played in E on that album;

N:their source was "a tin whistle player an old tape"

M:C|

L:1/8

R:Reel

K:G

gf | gedB eBdB | G2 BG dGBd | gedB ~e3 f | g2 ag efga |\

beeg edBA | G2 BG dGBd | efgb afdf | gbaf g2 :: ga |\

beed e2 ge | edBe dega | beed e2 ge | dgfa g2 ba |\

gage dedB | G2 BG dGBd | efgb afdf | gbaf g2 :|*

                       

FOX RIVER. French‑Canadian, Reel (irregular rhythm). D Major. Standard tuning. AA'BB'. Carlin (Master Collection), 1984; No. 62, pg. 45.

                       

FOX WENT OUT OF A MOONLIGHT NIGHT [1]. Irish, Air (6/8 time). D Major: B Flat Major. Standard tuning. AB. “Set in the Cladagh.” Stanford/Petrie (Complete Collection), 1905; No. 645, pg. 162.

X:1

T:Fox went out of a moonlight night, The [1]
M:6/8
L:1/8

R:Air

S:Stanford/Petrie (1905), No. 645

Z:AK/Fiddler’s Companion

K:D

A | f2f g2 f/e/ | a2a a2g | f2d c2A | G>F G A3 | f2f efg | a2a a2g |

{g}fed cAB/c/ | d3 d2 || z | A2F B2G | F2G A2g | f2d efg | a2f e2d |

A2A B2G | F2G A2g | (fe)d cAB/c/ | d3 d2 ||

 

FOX WENT OUT OF A MOONLIGHT NIGHT [2]. Irish, Air (6/8 time). B Flat Major. Standard tuning. AB. Stanford/Petrie (Complete Collection), 1905; No. 646.

X:1

T:Fox went out of a moonlight night [2]
M:6/8
L:1/8

S:Stanford/Petrie (1905), No. 646

Z:AK/Fiddler’s Companion

K:B_

F/B/ | d2d e2 d/c/ | f2f f2e | d2BA2F | E>DE F3 | d2d cde |

f2f f2 e | dcB AFA | (B3B2) || z | F2F G2E | D2E F2e | d2B cde |

f2d c2B | F2D G2E | D2E F2e | dcB AFA | (B3 B2) ||

                       

FOXFORD LASSES.  Irish, Jig. D Major. Standard tuning. AABB. Foxford is in County Mayo. Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 45, pg. 12.

                       


FOXHUNTER'S (REEL) [1], THE (Fiagaí an Mhada Rua). AKA and see "The Fiddler is Drunk," “Patrick Kelly’s Reel.” Irish, Reel. G Major (Harker/Rafferty, Mallinson, Sullivan, Taylor): A Major (Alewine, Breathnach, Moylan). Standard, GDgd or AEae tunings. AABBCCDD (Alewine): ABCDE (Breathnach): ABCCDD’E (Moylan): ABB’CCDDE (Harker/Rafferty): ABBCCDDEE (Mallinson, Sullivan, Taylor). One of the "big" reels at sessions in modern times. It is generally easier for fiddlers to play it in the key of 'A' Major, although session playing demands ‘G’ to accommodate other instruments. The GDgd or AEae tuning for the tune was traditional in County Kerry, and was brought to southern County Clare by the late fiddler Patrick Kelly of Cree (Fiddler Magazine, Spring 1994), with whom the tune was strongly associated. “Greig’s Pipes” is a related tune that, says Breathnach, “left its mark on ‘The Foxhunters’, as did ‘Miss McLeod’s’.” Goodman prints the tune under the title “Greig’s Pipes.”

***

Paraphrasing King Alfred the Great, William Shenstone (1714-1763) wrote, "There are people who read, people who write, people who think, and there are foxhunters.”

***

Sources for notated versions: Chieftain's fiddler Seán Keane (Dublin, Ireland) [Breathnach]; accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border), recorded at Na Píobairí Uilleann, October, 1984 [Moylan]; sessions at the Regent Hotel, Leeds, England [Bulmer & Sharpley]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Alewine (Maid that Cut Off the Chicken’s Lips), 1987; pg. 18. Breathnach (CRÉ  II), 1976; No. 205, pg. 106. Breathnach (Folk Music and Dance of Ireland), 1971; 5. Bulmer & Sharpley (Music from Ireland), 1974, vol. 1, No. 51. Harker (300 Tunes from Mike Rafferty), 2005; No. 19, pg. 6. Mallinson (Essential), 1995; No. 29, pg. 13. Moylan (Johnny O’Leary), 1994; No. 157, pgs. 90-91. Sullivan (Session Tunes), vol. 2; No. 1, pg. 1. Taylor (Through the Half‑door), 1992; No. 16, pg. 13. Vallely (Play Tin Whistle with the Armagh Pipers Club), vol. 2; 25. Comhaltas Ceoltoiri Eireann, Patrick Kelly - “The Fiddle Music of Clare.” Green Linnett GLCD 1155, Martin Hayes - “Under the Moon” (1995). Green Linnet SIF 3018, “Molloy/Peoples/Brady” (1978). Green Linnet SIF 3064, Dick Gaughen – “Coppers and Brass.” Rounder 0215, James Bryan ‑ "The First of May" (198‑). Shanachie 34014, James Kelly, Paddy O’Brien & Daithi Sproule – “Traditional Music of Ireland” (1995). Shaskeen ‑ "The Joys of Life." Patrick Kelly – “Ceol an Clair.”

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

Alan Ng’s Irishtune.info

X: 1
T: Foxhunter's
M: C|
L: 1/8
R: reel
K: G
d2BG dGBG|d2BG AGEG|d2BG dGBG|GABG AGEG :|
D3B BAGE|D2BG AGEG|D3B BABG|(3ABc BG AGEG :|
gedB G2Bd|gdBd eAA2|gedB GBdB|ABcd eAA2 :|
dggf g3e|dgg/f/g ef/g/dB|dggf g3d|egdB AGAB :|
G2BG dGBA|GBB/A/B AGAB|G2BG dGBd|egdB AGAB :|

 

FOXHUNTER’S (REEL) [2], THE. AKA and see “Mary McMahon,” “Micho Russell’s (Reel) [4],” “Noel Hill’s,” “The Sister’s Reel.” Irish, Reel. D Major/Mixolydian. Standard tuning. AB. No relation to “Foxhunters (Reel) [1].” Source for notated version: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 211, pg. 57.

X:1

T:Foxhunter’s Reel [2]

M:C|

L:1/8

K:D

ag|:fAeA d2 AG|FGAB =cAGB|A~d3 e~d3|AB{c/}BA g2 {b/}ag|fAeA d2 AG|

FGAB =cAGB|A~d3 e~d3|Ad{e/}dc d2||e|{g/}fefg a2 ag|abag fdde|{g}fefg a2 ag|

bgaf g2 ag|{g}fefg a3a|abag fd d2|bgaf gbag|fdef gbag||

                       

FOXHUNTER HORNPIPE, THE. English, ‘Old’ Hornpipe (3/2 time). D Major. Standard tuning. AABBCCDD. Knowles identifies this tune as coming from an anonymous 18th century English manuscript. It is a version of parts of the Irish melody called “The Fox Chase” and “The Foxhunter’s Jig.” Knowles (A Northern Lass), 1995; pg. 20.

                                   

FOXHUNTER'S JIG [1], THE (Port Fiaguide an Sionaig). AKA – “Nead na Lachan sa mBúta.” AKA and see "The Jolly Foxhunters." Irish, Slip Jig. Ireland, County Donegal. G Major (Barnes, Kennedy, Roche): D Major (Howe, Huntington, O'Neill, Tubridy). Standard tuning. AABB (most versions): AABBCCDD (Martin & Hughes, O'Neill/1001, Tubridy). This melody appears at the end of “The Fox Chase” AKA “The Irish Fox Hunt” as printed by O’Farrell in his Pocket Companion for the Irish or Union Pipes (c. 1806). The tune is a popular slip jig in County Donegal. It was played by the incomparable uilleann piper from County Kerry, James Gandsey (1769-1857), as recorded by Crofton Croker, who witnessed it being rendered “with all its wild witchery” (Breathnach, The Man and His Music, 1997, pg. 36). The title appears in a list of tunes in his repertoire brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997). It appears under the title “Dublin Gigg a Jigg” in the Ellis Knowles manuscript, a Lancashire (England) musician’s chapbook from the year 1847. Famed County Sligo fiddler Michael Coleman (1891-1945) recorded a two-part version in New York in 1925, the first tune in a medley paired with “Comb Your Hair and Curl It.” See also the related “Humours of Derrycrossane.” An English 9/8 jig called “The Long Room of Scarborough” has a few bars of melodic material in the second part that is similar to “Foxhunter’s Jig,” however, whether it is ancestral is conjectural. See also Québec fiddler Louis Boudrealt’s “Le casse-reel d’Idas Boudrealt” which may be a version of “The Foxhunter’s.” Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 46. Cotter (Traditional Irish Tin Whistle Tutor), 1989; 15. Cranitch (Irish Fiddle Book), 1996; No. 34, pg. 138. Cranitch (Irish Session Tunes: Red Book), 2000; 34. Howe (Musician’s Omnibus), No. 2, pg. 105. Howe (1000 Jigs and Reels), c. 1867; pg. 27. Huntington (William Litten’s), 1977; pg. 31. Jordan (Whistle and Sing), 1975; 30. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 22, pg. 6. Levey (The Dance Music of Ireland), No. 64. Martin & Hughes (Ho-ro-ghedllaedh), 1990; pg. 46. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 46. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 422, pg. 83. Robbins Collection, pg. 4. Roche Collection, 1982, vol. 2; No. 265, pg. 27. Ryan’s Mammoth Collection, 1883; pg. 86. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 37. Folk Legacy FSI-74, Howard Bursen - "Cider in the Kitchen" (1980. Learned from the High Level Ranters and Louis Killen).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Foxhunter’s Jig [1]

R:Slip Jig

M:9/8

L:1/8

K:D

FAF FDF G2E | FDF FDF E2D | F3 FEF G2B | AFD DEF E2D :|

|: B2B BAG FGA | B2E E2F G2B | ABc dcB ABc | d2 D DEF E2D :|

|: f3 fdf g2e | f3 fdf e2d | f3 fdf g2b | afd def e2d :|

|: gfe dcB AGF | B2E E2F G2B | ABc dcB ABc | d2D DEF E2D :|

 

FOXHUNTER'S JIG [2], THE. AKA and see "Buckle My Shoe," "Don't Be Lazy."

                       

FOXHUNTER’S RANT.  English, Reel. D Major. Standard tuning. AABB. The melody appears in the 1842 music manuscript collection of Cumbrian musician John Rook.

X:1

T:Fox Hunter’s Rant

M:C

L:1/8

S:Music manuscript collection of John Rook (Cumbria, 1842)

K:D

d3d fe d2|c3c edc2|B3B Bc d2|cB c2A2A2|

d/e/f d2B2B2|c/d/e c2A2A2|B/c/d B2 c/d/e c2|dA F2 D4:|

|:c3g f/g/a g2|f/g/a g2 fe d2|c3g e/f/g f2|e/f/g f2 ec e2|

d3g (f/g/a) g2|f/g/a g2 fe d2|B/c/d B2 c/d/ec2|dAF2 D4:|

 

FOXHUNTER'S REEL, THE. See "The Foxhunter's."

           

FOXIE MARY. AKA and see “Roaring Mary.”

           

FOX'S SLEEP, THE (Codlad An Sionnaig). AKA and see "When He Who Adores Thee." Irish, Slow Air (4/4 time). D Major. Standard. One part (Ó Canainn): AB (O’Neill). Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 80, pg. 70. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 335, pg. 589.

X:1

T:Fox’s Sleep, The

M:C

L:1/8

R:Air

N:”Slow”

S:O’Neill – Music of Ireland (1903), No. 335

Z:AK/Fiddler’s Companion

K:D

B|d2 d>c cB AF|A2 Bc d2 d>c|cB AF {A}GF E>D|D4 z2A2|d2 d>c cB A>F|

A2 B>c {c}d2 d>c|{B}A2 F>D GF EE|D2 z2z2||A2|d2 c>d c<B zc/d/|

e>d e>f A2 zA|{e}d>c de f>e {e}dc|{e}d2 z2z2 A2|d2 c cB z A|

AF AB/c/ {B}d2 d>c|BAF>D GFEA|D4 z2||

                       

FOXY MARY [1]. Irish, Jig. D Mixolydian. Standard tuning. AAB. Learned by Joyce in his boyhood in Limerick, mid‑1800's. Breathnach (1976) finds the first part similar to the first part of “Bímid ag Ól.” A related jig is Breathnach’s “Toormore Jig.” Joyce (Old Irish Folk Music and Song), 1909; No. 114, pg. 58. Front Hall 018, How To Change a Flat Tire‑ "Traditional Music of Ireland and Shetland."

X:1

T:Foxy Mary [1]

M:6/8

L:1/8

R:Jig

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

Z:AK/Fiddler’s Companion

K:D Mix

DED D2A|AGE c3|DED D2A|AGE E2D|DED D2A|AGE c3|BdB c2A|AGE E2D:|

c3 edc|BAB/c/ dBG|c3 ecA|AGE E2D|c3 edc|BAG BdB|AGE c2A|AGE E2D|

c3 edc|BAB/c/ dBG|c3 edc|e2d efg|c3 edc|BAG BdB|AGE c2A|AGE E2D||

 

FOXY MARY [2].  Irish, Jig. G Major. Standard tuning. AABB’. A variant, albeit a distanced one, of the melody printed by Joyce. The earliest appearance of this version of the tune in print is in Church of Ireland cleric James Goodman’s mid-19th century 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. 143, pg. 60.

X:1

T:Foxy Mary [2]

M:6/8

L:1/8

R:Jig

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

B:Hugh Shields – Tunes of the Munster Pipers (1998)

K:G

DGG EGD|DGG E2D|DGG EGD|DDD BAG|

DGG EGD|DGG E2c|BAB GED|EAA A3:|

|:c2d e/f/g z|ded BAG|c2d e/f/g z|ded g2e|1

c2d e/f/g z|dec BAG|BAB GED|EAA A3:|2

c2d e/f/ge|fed BAG|BAB GED|EAA A3||

                       

FOYNES JIG, THE. AKA and see “Dawn’s Jig,” “Paddy Taylor’s [2].” Irish, Jig. D Mixolydian. Standard tuning. ABB (Harker/Rafferty): AABB (Breathnach, Bulemr & Sharpley). Composed by fiddler Martin Mulvihill, who was born in Ballygoughlin, not far from the busy port of Foynes on the Shannon estuary. Mulvihill emigrated to the Bronx, New York, and became a substantial player and teacher. The alternate title “Dawn’s Jig” is named for Mulvihill’s daughter. Source for notated version: ]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ II), 1976; No. 1, pg. 3 & No. 56 (appear as untitled tunes). Bulmer & Sharpley (Music from Ireland), vol. 3; No. 51. Harker (300 Tunes from Mike Rafferty), 2005; No. 182, pg. 57. Spin CD1001, Eoghan O’Sullivan, Gerry Harrington, Paul De Grae - “The Smoky Chimney” (1996. Appears as one of “Paddy Taylor’s Jigs”).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Foynes Jig, the

T:Dawn's Jig

C:Martin Mulvihill

S:Mike Rafferty

H:Dawn is the daughter of Martin Mulvihill.

Z:Lesl

M:6/8

L:1/8

K:Dmix

D2E |: F2F EFE | DFA d2A |ded cAG | FAF GFE| F2F EFE|DFA d2f|edc AB^c|dfe d2e :|

|: f2a g2e | fdB ABc | B2B EFG | AAD FED|f2a gge| fdB ABc|Bcd e^cA|dfe d2e :||

 

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 [COMMENT1]This was Font/Pitch 1,10 - Off.

 [COMMENT2]This was Font/Pitch 1,10 - On.

 [COMMENT3]This was Font/Pitch 1,10 - Off.

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