The Fiddler’s Companion

© 1996-2008 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’NeillDance 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’NeillDance 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. 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’NeillMusic 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 Ramsay [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