The Fiddler’s Companion
© 1996-2010 Andrew Kuntz
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Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s Companion
work fine in most abc conversion programs. For example, I use abc2win and
abcNavigator 2 with no problems whatsoever with direct cut-and-pasting.
However, due to an anomaly of the html, pasting the abc’s into the
concertina.net converter results in double-spacing. For concertina.net’s
conversion program to work you must remove the spaces between all the lines
of abc notation after pasting, so that they are single-spaced, with no
intervening blank lines. This being done, the F/C abc’s will convert to
standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth
it. [AK] |
FRAGRANT BLOSSOMS (Blata Deagbolaig). Irish, Air (6/8 time, "with spirit."
C Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 565, pg. 99.
X:1
T:Fragrant Blossoms
M:6/8
L:1/8
R:Air
N:”With spirit”
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:C
G|c2e efg|d2d def|e2c A2d|B G2
z2G|c2e efg|d2d afd|e2c d2g|e c2 z2||e|
d2g edc|Bcd G2 d/c/|d2g e2c|B d2
z2G|c2g edc|Ade f2f|e2c d2g|e c2 z2||
FRAHER’S JIG. Irish, Single Jig (12/8 or 6/8 time). D Mixolydian. Standard tuning. AB
(Mitchell): AA’BB’ (
See also listings at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Fraher’s Jig
M:6/8
L:1/8
R:Jig
K:G
A3 GEA | DED GEG |
A3 GEA | DED GEG | (3ABc A GEA | ~D3
D3 |
A3 GEA | DED GEG |
A3 GEA | DED GEG | (3ABc A GEA | ~D3
D3 |
(3ABcA d2A | d2A AGE | GAB c2c | BGE
EDD |
Add def | dcA AGE | (3ABc A GEA |
D2~D D3 |
(3ABcA d2A | d2A AGE | GAB c2c | BGE
EDD |
Add def | dcA AGE | (3ABc A GEA |
D2~D D3 |
FRAILACH. AKA – “Itchikil.” Klezmer Tune. The spelling is supposed to be
‘freilach’, which is a type of klezmer dance tune. In the case of the melody on
the Kevin Burke record, the tune is called “Itchikil.” Green
Linnet SIF1122, Kevin Burke - "Open House" (1992).
X:1
T:Itchikil
T:Appears as ‘Freilach’ on Kevin
Burke record
S:Kevin Burke Open House CD
D:Kevin Burke - Open House
M:4/4
L:1/8
Q:75
K:F
G,2|:A,DFD DFAF|G2 GF GA F2|FAcA
FAcA|G2 GF GA F2|
FGGF FEED|D8|FGGF FEED|1D6 G,2:|2D4
DEFA||
|:d6 cB|A8|dAde d2 cB|A8|d6 c2|e6
d2|dAde d2 cB|A8|FGAB ABAB|ABAB A2 G2|
GDDG GDDG|GDGA G2 F2|FGGF
FEED|D8|1FGGF FEED|D4 DEFA:|2
FGGF FEED|D8|FGGF FEED|D8||
FRAINC A’PHOILL. Irish, Jig.
FRAISES ET LES
FRAMBOISES, LES (Raspberries,
Strawberries).
Canadian,
***
Ah, les fraises et les framboises
du bon vin j'en ai bu.
Croy-ez-moi, jolies bourgeoises,
J'me suis jamais tant plu.
***
Source for notated version:
transplanted French-Canadian fiddler Omer Marcoux {1898-1982} (
X:1
T:Les Fraises et les Framboises
M:2/4
L:1/8
K:G
B|BG GD|D3 B/B/|BG FG|A2 Dc|cA AF|F2 Dd|dc
BA|G2 Bd:|
|:G>G GG|G3B|AG FG|A2Ac|FF/F/
FF|F3d|dc BA|1 B2Bd:|2 G3:|
FRAM APON HIM. Shetland, Jig. D Major. Standard tuning. AABB. Source for notated
version: J.J. Stickle (Shetland) [Anderson & Georgeson]. Anderson &
Georgeson (Da Mirrie Dancers), 1970;
pg. 17. Bain (50 Fiddle Solos), 1989;
pg. 20. Atlantica Music 02 77657 50222 26, Richard
Wood - “
FRAMLINGTON FAIR. English.
FRANCES ANN’S DELIGHT. English, Jig. G Major. Standard
tuning. AABB. “Frances Ann’s Delight” is the name of both a tune and a country
dance by George Middleon, composed in 1974. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 46.
FRANCES GRANT’S REEL. Old-Time, Breakdown. D Major.
Standard tuning. AA’BB’. Source for notated version: Howie Meltzer
[Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg.
48.
FRANCIE DONNELLAN’S
REEL (Ríl Phroinsias Uí
Dhomhnalláin).
AKA and see “McGreevy’s Favorite.”
Irish, Reel. D Dorian. Standard tuning. AB. Francie Donnellan is a fiddler from
east
FRANCIE MOONEY’S. Irish, Barndance.
FRANCIE MOONEY’S
MAZURKAS. AKA and see “The Old Donegal Mazurkas,” “Proinsias O' Maonaigh (No. 1 &
No. 2),” “Vincent Campbell’s
Mazurkas.” Irish, Mazurkas.
FRANCIE WALSH’S
MAZURKA. Irish, Mazurka (3/4 time).
FRANCIE WELSH’S
BARNDANCE. Irish, Barndance.
FRANCIS AUCOIN.
Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AABBAA.
Composed by fiddler Howie MacDonald. The melody has been picked up by Irish
musicians in some circles. Cranford (Jerry Holland: The Second Collection),
2000; No. 265, pg. 95. Jerry Holland – “Crystal Clear”
(2000). CDGMK 001, Gay McKeon – “Irish Piping
Tradition.”
FRANCIS BEATON REEL. Canadian, Reel.
FRANCIS BERT MACDONALD. Canadian, Jig.
FRANCIS GRANT'S REEL.
FRANCIS JOHN McGOVERN. Irish, Reel. G Major. Standard tuning. AAB. The title honors the late
musician Francis John McGovern whose main instrument was the fiddle, but who
also played the whistle, flute and uilleann pipes. McGovern hailed from north
Leitrim, and lived and played in the area around Bundoran. Flute player Brian
McGovern is Francis John’s nephew, and plays his uncle’s instrument. The tune
is a north Leitrim version of “The Worn,
Torn Petticoat” and “Old Torn Petticoat.” Comhaltas
Records, Charlie Lennon – “Lucky in Love.” Tara 3009,
X:1
T:Francis John McGovern
R:Reel
M:4/4
L:1/8
Z:Transcribed by Tim Shirley
K:G
|BcBA GEDE|~G2 BG cGBG|B3 ~G
AGDG|EAAG (3ABA GA:|
(3Bcd ed gded|gded B ~G3|(3Bcd ed
~g2 ed|eaag ~a2 ge|
(3Bcd ed gded|gded BG ~G2|BcBA
GEDG|EAAG ~A2 GA|
X:2
T:Francis
John McGovern’s
M:4/4
L:1/8
R:reel
Z:Transcribed
by Brendan Taafe
K:A dor
|:BcBA GEDE|G2BG cGBG|BcBA GEDG| EAAG A2 GA:|
Bded gded|gded BAGA|Bded gedg|eaag aged|Bded gded|
gded
BAGA|BcBA GEDG|EAAG A4|
FRANCIS SITWELL. AKA and see “Master Francis Sitwell.”
FRANCIS T. ROBERTSON. Scottish, Reel. A Major. Standard tuning. AABB.
X:1
T:Francis T Robertson
S:Learned from Judith Tait, Edinburgh, c.1995
Z:Nigel Gatherer <gatherer@argonet.co.uk>
M:4/4
L:1/8
K:A
e|A2 AB cAce|a2 ae fece|A2 AB cAce|dBcA BEGB|
A2 AB (3cBA ce|a2 ae fecA|d2 fd c2 ec|afec ec A:|]
e|a2 ae fecB|Acea fecA|a2 ae fecA|Bbba geeg|
a2 ae fecB|Acea fecA|d2 fd c2 ec|afec ec A:|]
FRANCIS THE MILLER. Canadian, Reel.
See also listing at: Alan Snyder’s Cape Breton Fiddle
Recording Index |
FRANCIS XAVIER KENNEDY
MACDONALD.
See also listing at: Alan Snyder’s Cape Breton Fiddle Recording
Index |
FRANK CASSIDY’S. Irish,
FRANK GILRUTH [1]. Scottish, Hornpipe. A Major. Standard tuning. AB. Composed by the great
Scottish fiddler and composer J. Scott Skinner
(1843-1927), from his Harp and Claymore
collection (1904). In the same volume is a melody composed by Gilruth, an air
called “Farewell to Gartly.”
Skinner (The Scottish Violinist), pg.
43.
FRANK GILRUTH [2]. Scottish, Strathspey. D Major. Standard tuning. AABB. Composed by Peter
Milne (1824-1908), famous self‑taught Scots fiddler of the Victorian
era; a prodigy and later an influential teacher and musical companion of J. Scot
Skinner (1843-1927).
X:1
T:Frank Gilruth [2]
M:C
L:1/8
R:Strathspey
S:Honeyman – Strathspey, Reel and Hornpipe Tutor (1898)
Z:AK/Fiddler’s Companion
K:D
B|:A<D F>A D>AF>B|A<D
F>A B<E E>d|A<D F>A D>AF>A|(3Bcd (3cde (3dfe (3dcB|
A<D F>A D>AF>B|A<D
F>A (3EFG (3ABc|d>AF>A D>AF>A|(3Bcd (3cde f<dd:|
|:g|f>ed>A
F>AD>g|f>ed>A B<e e>g|a>fd>A (3Bcd (3efg|(3fag (3fed
(3ced (3cBA|
(3Bcd (3cde (3dfe (3dcB:|
FRANK GILRUTH [3]. Scottish, Reel. D Major (most versions): E Major (Henderson). Standard
tuning. AB (
X:1
T:Frank Gilruth [3]
M:C|
L:1/8
R:Reel
S:Honeyman – Strathspey, Reel and Hornpipe Tutor (1898)
Z:AK/Fiddler’s Companion
K:D
D2 cB ADFA|BEGB ADFA|d2 cB ADFA|Gdce
dgfe|d2 cB ADFA|BEGB ADFA|
dcdB ADFA|Bdce fdd:|
|:a|gfed cdBd|AdBd feea|gfed
cdBd|AdBd feea|gfed cdBd|AdBd feeg|fafd egec|
dfdB cecA:|
X:2
T:Frank Gilruth [3]
C:Peter Milne
B:Flowers of Scottish Melody (1935)
Z:Nigel Gatherer
R:reel
M:4/4
L:1/8
K:E
e2 dc BEGB|cFAc BEGB|e2 dc BEGB|cedf
cagf|e2 dc BEGB|cFAc BEGB|
edec BEGB|cedf gee||g|agfe dece|Bede
geeb|agfe dece|
Bedf geeg|agfe dece|Bede geea|gbge
fafd|egec dfdB|]
FRANK HARRIS’
BREAKDOWN.
American, Reel.
FRANK KEENEY [1]. AKA ‑ "Keeny." AKA and see "Viva la Compagnie." American, March
(6/8 time).
FRANK KEENEY [2]. AKA and see "The Stick Beat."
FRANK McCOLLAM’S [1]. Irish, Double Jig. D Major. Standard tuning. AABB. Composed by the late
Frank McCollam, Ballycastle,
FRANK McCOLLUM’S [2]. AKA and see “Daniel
O’Connell, the Home Ruler,” "The
Hangman's Noose,” “The Home Ruler,”
"McCollum's Hornpipe," “Pat Galvin’s Hornpipe,” "Sean Ryan's (Hornpipe) [1]."
Irish, Hornpipe. D Major. Standard tuning. AABB. Usually known as “The Home
Ruler.” Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice),
1994; pg. 38.
FRANK O. MOON'S JIG.
FRANK PALMER. Irish, Planxty (6/8 time). C Major. Standard tuning. AB. Composed by
blind Irish harper Turlough O'Carolan (1670-1738). Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 47. Complete Collection of Carolan's Irish Tunes,
1985; No. 146, pg. 101.
FRANK ROCHE’S FAVORITE. AKA and see “Blue Bonnets [2],”
“Here Awa’,” “John Roche’s Favorite,” “Lady Ann Hope [1],” “The Woodford Fling [1].” Irish, Fling. G
Major. Standard tuning. AB. An Irish fling setting of the Scottish strathspey “Lady Ann Hope [1].” See also reel
setting as “Miss Thornton” and hornpipe settings under the titles “Tiger Hornpipe,” and Goodman’s “Signora
Ferze’s Hornpipe.” Matt Molloy recorded it as “Frank Roche’s Favorite,”
however, it is in the Roche collection as “John Roche’s Favorite.” Claddagh CCF 18CD, Matt Molloy – “Stony Steps.” Green Linnet
SIF 3041, Matt Molloy – “Stony Steps.”
X:1
T:Frank Roche’s Favorite
T:John Roche’s Favorite
R:Fling
M:4/4
L:1/8
K:G
G2GB AGEG|cBce dBg2|BGBd cA
(3BAG|EAFA GB (3AFD|\
G2GB AGEG|cBce dBg2|(3BAG Bd cA
(3BAG|(3EGA FA G4||\
dgBg dgBd|gb (3agf e3f|(3gbb (3agf
(3efg (3dcB|(3cee (3dBd (3gdB (3cBA|\
dgBg dgBd|gb (3agf e3f|(3gbb (3agf
(3efg (3dcB|(3cef (3dBd (3gdB (3cBA||
X: 2
T: Frank Roche's Favourite
Z: transcribed by B.Black
M: 4/4
L: 1/8
R: hornpipe %with considerable strathspey
feeling
S: Matt Molloy
K: G
G2 GB AG E2|cBce dBd<g|B2 Bd (3cBA (3BAG|(3EFG
(3FGA (3GBG (3AFD |
G2 GB AG E2|cBce dBd<g|B2 Bd (3cBA
(3BAG|(3EFG (3FGA G4 ||
dgBg dgBg|(3gab (3agf e2 e2|(3gab (3agf (3gfe
(3dcB|(3cde (3def (3gdc (3BAG|
dgBg
dgBg|(3gab (3agf e2 e2|(3gab (3agf (3gfe (3dcB|(3cde (3def (3gdc (3BcA ||
FRANK RYAN’S HORNPIPE. Canadian, Hornpipe. B Flat Major. Standard
tuning. AABB. Composed by one-time Canadian Champion fiddler Ward Allen. GRT Records SP 203, “Ward
Allen Presents Maple Leaf Hoedown, vol. 1” (reissue).
X:1
T:Frank
Ryan's Hornpipe
C:Ward Allen
R:Hornpipe
M:2/4
L:1/16
Z:Transcribed
by Bruce Osborne
K:Bb
FE|DFBd
cBAc|Bdgf dBBd|AFcF ecAc|gf=eg f2FE|
DFBd
cBAc|Bdgf dBBd|AFcF ecAc|Bdfd B2:|
|:f2|dBBB
ecAc|BABG FAcB|AFcF ecAc|gf=eg fgf_e|
dBBA ecAc|BABG FAcB|AFcF ecAc|Bdfd
B2:|
FRANK SUTHERLAND. Canadian, Reel.
FRANK T. ROBERTSON. Scottish, Reel. D Major. Standard tuning. AABB. Composed in 1981 by Arthur Scott Robertson, of Lerwick, Shetland, a "national champion exponent of fiddle playing in the traditional Scottish style" according to his book. It is dedicated to Frank Robertson, “Lerwick Fiddler.” Robertson (Musical Reflections, Book III), 1983.
X:1
T:
Frank T. Robertson
M: 2/4
L: 1/8
K: D
(FE)|"D"D2 FA d2 cd|fedc dAFA|"Em"B2 ef
(gf)ed|"A7"(c2A2) (AG)FE|!
"D"D2 FA d2 cd|fedc "G"Bd"D"Ad|"Em"B2
ed "A"cAce|"D"f2d2 d2:|]!
g|f2 (cd) ABcd|(fa)ag (fe)dc|"Em"B2 ef (gf)ed|(c2A2) )A2g2)|!
"D"f2 cd A2 Bc|"Am"(dc)dc (BA)GF|"G"G2 Bd
"A7"(cd)eg|"D"f2d2 d2:||
FRANK THORNTON. Irish, Highland. A 1979 composition by Terry “Cuz” Teahan. Teahan (The Road to Glountane).
FRANK WALSH’S. Irish, Reel. Named after flute
player Frank Walsh,
FRANKENSTEIN’S COUNTRY
JAMBOREE.
American, Jig. A Minor (‘A’ part) & F Major (‘B’ part). Standard
tuning. AB. Composed by Henry Jankiewicz. The tonality is as tortured as the
title would indicate. Randy Miller (2004) says that, according to Jankeiwicz,
there is a store in Milbridge, Maine, named Frankenstein’s Country Store, which
used to sponsor a local radio talent show. Miller (Fiddler’s Throne), 2004; No. 46, pg. 38.
FRANKIE. Old‑Time, Breakdown.
FRANKIE AND JOHNNY. Old‑Time, Country Blues. The tune was recorded for the Library of Congress by musicologist/folklorist Vance Randolph from Ozark Mountain fiddlers in the early 1940's. Researcher John Garst has dug into the origins of many old blues pieces to discover the historical facts underpinning the lyrics. The original title of this piece was “Frankie and Albert” and refers to an actual event between a Frankie Baker and the victim, Allen Britt (corrupted to ‘Albert’ {Al Britt}). The title, and some of the events of the ballad, was changed in 1912 by the Leighton Brothers and Ren Shields, who published it as "Frankie and Johnny" or "You'll Miss Me in the Days to Come" (Charlie Poole took up this refrain for his song “Leaving Home”). The chorus goes:
***
Oh I'm goin' away,
And I'm goin' to stay,
I'm never comin' home.
You're gonna miss me
hon'
In the days to come,
When the winter winds
begin to blow
The ground is covered
up with snow.
You'll think of me,
And you'll wish to be,
Back with your lovin'
man.
You're gonna miss me
hon
In the days, days, days to come.
***
The song often starts with a line similar to the one below (c.f. Tommy Jarrell’s “Frankie Baker”).
***
Frankie was a good
girl,
As everybody knows,
She spent five hundred
dollars
For Albert a suit of
clothes,
He was her man,
Her gamblin' man.
***
The version below appears in Robert Winslow Gordon’s papers, in his “North Carolina Collection (pg. 186), collected from Mrs. H.A. Barrier, State Hospital, Morgantown, N.C, in December 1925:
***
Frankie Baker was a
good girl
As everybody knows;
She paid a hundred
dollar bill
For a suit of little
Albert's clothes.
'Twas all because
She loved him so.
***
Garst says that the two titles, “Frankie and Albert” and
“Frankie and Johnnie” coexisted for some time after 1912, but that the “Frankie
and Johnnie” title eventually superceded the earlier one in popular mind.
FRANKIE BAKER. Old-Time, Song & Breakdown. ADae tuning. In the repertoire of
***
Frankie Baker was a
good girl
As everybody knows
She paid a hundred
dollars
For a suit of Al Britt's clothes
FRANKIE GAVIN'S. Irish, Reel. G Major. Standard tuning. AA'BB'. Frankie Gavin was the
fiddle player for many years for the band De Danann. Taylor (Where’s the Crack), 1989; pg. 12.
FRANKIE KENNEDY’S. AKA and see “Jackie Daly’s,” “Jenny
Nettle’s Fancy,” “Paul
Montegue’s Reel,” “Tommy
Peoples’ (Reel) [1].”
FRANKIE'S RAG. Old‑Time, Fiddle Tune. The title appears in a list of traditional
FRANK’S REEL. Irish, Scottish; Reel. A Major. Standard tuning. AAB. Composed by
Scottish fiddler John McCusker. Culburnie Records CUL
121D, Alasdair Fraser & Natalie Haas – “Fire and Grace” (2004). Natalie
MacMaster – “In My Hands.” Shanachie SH-78010, Solas - “Sunny Spells and
Scattered Showers” (1997).
X:1
T:Frank’s Reel
C:John McCusker
S:session at Fahy's, Monday, WCSS 2000
N:#11 yellow
R:reel
Z:Transcription Johannes Schiefner (jschiefner@web.de)
Z:id:js_1038
M:C|
K:A
cB|AcBA ~F2 AF|EFAB cABc|dcdf ecAe|f/g/a ec BdcB|
AcBA ~F2 AF|EFAB cABc|df ~f2 ecAc|BAGB A2:||
fg|aAAg AAfA|effe cABc|df ~f2 ecAc|f/g/a ec Befg|
aAAg AAfA|effe cABc|df ~f2 ecAc|BAGB A2 fg|
aAAg AAfA|effe cABc|df ~f2 ecAc|f/g/a ec BdcB|
AcBA ~F2 AF|EFAB cABc|df ~f2 ecAc|BAGB A2|]
FRAOCH A'S AITENN. AKA and see "Heath and Furze."
FRASER ARMS, THE (Ceann an fheidh). Scottish, Reel. B Flat Major.
Standard tuning. AAB (Athole): AABB (Fraser). "This air celebrates the
Frasers' arms and crest, distinguished from the Cabar Feidh of the MacKenzies
which consists of a front view of the head and horns, whilst the Frasers have a
side view of the neck, head, and horns of that portly animal the deer" (Fraser).
***
Fraser (The Airs and Melodies Peculiar to the
X:1
T:Fraser Arms, The
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:B_
B,|D2 DB FDEC|D3 B FDdB|cABG FDEC|D2 Dd cA G:|
fddb fdec|fddf gabg|fddb fdec|DFBd cA G2|fddb fdec|fddf gabg|
fdcA
BGFE|DCB,d cA G||
FRASER BOYS, THE. Canadian, Jig.
FRASER’S JIG [1]. Canadian, Jig.
FRAZER’S (JIG) [2]. AKA and see “Drum,” “Jackson’s Drum,” “Miss Frazer’s Delight,” “Paddy from Portlaw.” Irish, Jig. D
Major. Standard tuning. AABB. See note for “Paddy from Portlaw.” The tune
appears under this title in Ryan’s
Mammoth Collection (1883, pg. 74). Cole’s (1000 Fiddle Tunes), 1940; pg. 74. Ryan’s Mammoth Collection, 1883; pg. 106. White’s Unique Collection, 1896; No. 15, pg. 3.
X:1
L:1/8
R:Jig
S:White’s Unique Collection (1883), No. 15
Z:AK/Fiddler’s Companion
K:D
(d/B/) | AFD DFD | (AF)D D2 (d/B/) |
AFD DFD | (GE)
AFA (d2e) | fed BdB | (AF)D D2 ::
(f/g/) | afd dfd | (af)d d2 (f/g/) | afd dfd |
(ge)e e2 (f/g/) | afd dfd | afd efg
| fed BdB | (AF)D D2 :|
FRAZER’S REEL (Ríl Uí Fhriseal). Irish, Reel. G Major. Standard. AB. Source for
notated version: from fiddler William Jones (
FRAULEIN. Tune in the repertory of
FRAWLEY’S JIG. See “Anthony Frawley’s Jig.”
FRED/FREDDY FINN'S [1] (Ríl Fhrederic Uí Fhinn). AKA and see "Berkshire Heights,” “Molly What Ails You?” “You’re Right My Love." Irish,
Reel.
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Fred Finn's [1]
T:
R:reel
D:Music at Matt Molloy's
D:Paul Brady & Andy Irvine
Z:id:hn-reel-469
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:D
~A3F ABde|fdec d2cA|BE~E2 ~G3B|AF~F2 EFDF| ~A3F ABde|fdec
d2cA|BGGB ABde|1 f2eg fddB:|2 f2eg fdde|| |:fdad bdaf|dfaf fede|fbba b2ba|fbaf
feeg| fdad bdaf|dfaf fedB|~A3F ABde|1 f2eg fdde:|2 f2eg fddB||
"variations" |:A2FA ABde|fdec dBcA|BE~E2 BEGB|AF~F2 DEFG| A2FA
ABde|fdec dBcA|BEGB ABde|1 faeg fddB:|2 f2eg fdde|| |:fdad bdaf|dfaf fede|fbba
b2ba|fbba fe~e2| fdad bdaf|dfaf fedB|AF~F2 ABde|1 faeg fdde:|2 faeg fddB||
FRED
FINN’S [2]. AKA and see “Pride of Cloontia,” “Pride of Cluinte.”
FRED FINN’S NO. 2. AKA and see “Mike Preston’s Reel.” Irish, Reel.
G Major. Standard tuning. AB. Source for notated version: Brendan Mulvihill (
See also listing at: Alan Ng’s Irishtune.info |
X:1
T:Fred Finn’s No. 2
M:C|
L:1/8
R:Reel
S:Mulvihill – 1st Collection (1986)
K:G
F|GB {c}(3BAB G3A|FAAG FADF|GBBA
GBdg|fgaf gedB|
GB {c}(3BAB G3A|FAAG FADF|GB{c}BA
GBdg|fgaf g2||
f|gb (3bbb fa{b}ag|agef gede|gb
(3bbb faag|agef g3f|
gb (3bbb faag|agef gede|g2 bg
faag|agef gedB||
FRED PIGEON’S NO. 1. AKA –
“Fred’s Scotch Polka.” English, Polka. G Major. Standard tuning. AA’BB’. See
note for “Fred Pigeon’s Polka.” Folktracks FTX 45-087,
Fred Pidgeon – “The Ladies Breast Knot.”
X:1
T:Fred Pigeon’s No. 1
M:4/4
L:1/8
R:Polka
K:G
D2|:G2G2 FGAF|G2G2 FGAF|G2B2
cBAG|F2A2D2D2|G2G2 FGAF|
G2G2 FGAF|G2B2 cBAG|1 D2G2G2D2:|2
D2G2G2Bc||:d4 d4|dcBA G2G2|
A3B cBcd|e2A2A2 Bc|d4d4|dcBA
G2G2|A2A2 D2EF|1 G4 G2Bc:|2 G4 G2D2||
FRED PIGEON'S NO. 2. See “Fred Pigeon’s Polka,”
below.
FRED PIGEON’S NO. 3.
English, Polka. G Major. Standard tuning. AABB. From fiddler Fred Pigeon
(see “Fred Pigeon’s Polka” for more). Callaghan (Hardcore English), 2007; pg. 36.
FRED PIGEON'S POLKA. AKA – “Fred Pidgeon’s No. 2.” AKA and see “Pearl O’Shaughnessy’s
Barndances.” English, Polka. G Major. Standard tuning. AABB. Fred Pidgeon
(1880-1970)—note correct spelling of the name—was a fiddler, farmer and master
baker from the
X:1
T:Fred Pidgeon’s No. 2
M:4/4
L:1/8
R:Polka
K:G
Bc|d2G2G2 AB|c2E2E2G2|FGAB
cBAc|e2d2d2 Bc|d2G2G2 AB|
c2E2E2G2|FGAB c2F2|A2G2G2::ef|g2g2g2
ag|f2e2e3B|c2c2 cBAc|
e2d2d2 ef|g2g2g2 ag|f2e2e3G|FGAB
c2F2|A2G2G2:|
FRED RODEN'S REEL. Canadian, Reel. D Major. Standard tuning. AABB. Composed by
X:1
T:Fred
Roden's Reel
C:Jim Magill
R:Reel
M:4/4
L:1/8
Z:Transcribed
by Bruce Osborne
K:D
(3ABc|d2dc
dAFA|d2fg a2f2|gfeg fedf|edcB A2(3ABc| d2dc dAFA|
d2fg
a2f2|bgec Aceg|f2d2 d2:||:z2|A,DFA d2d2|DFAd f4|A,DFA d2d2|
afdf
[A2e2][A2e2]|=A,DFA d2d2|DFAd f4|bgec Aceg|f2d2 d2:|
FRED WILSON'S CLOG. AKA and see “Brown’s Hornpipe,”
"California Schottische,"
"Cincinnati Hornpipe [1],"
"Cliff Hornpipe," "Cork Hornpipe [1]," "Dundee Hornpipe," "Fred
Wilson's Hornpipe," "Harvest Home
[1]," “Higgins’ Hornpipe,”
"Kephart's Clog" (Pa.),
"Kildare Fancy," "Ruby Lip," "Standard Hornpipe," "Fisherman's Favorite,"
"Billy Wilson's Clog," "Zig‑Zag
(Clog)," "Snyder's Jig"
(Pa.), “Wilson’s Clog [1],”
"Granny Will Your Dog Bite" (Pa.).
American,
***
Edward Le Roy Rice, in his book Monarchs of Minstrelsy (New York, 1911),
gives this bio of Fred Wilson:
***
FRED WILSON. The distinction of being the oldest living minstrel undoubtedly
belongs
to the subject of this sketch, who made his first appearance about 1843,
and for four
or five years allied himself with many of the various minstrel companies
that sprang up
after the success of the parent organization. In 1848 he joined ‘Bije’
Thayer’s Minstrels,
a prominent Boston Company. While Mr. Wilson was not the first to do
clog dancing in
this country, he was undoubtedly the first to do so in a minstrel
company. In the Fall of
1858 he joined Bryant’s Minstrels in
his first appearance in
where he made a lengthy stay.
York, closing May 25, following. Later he went to
not liking the cooking in the
Home in
Wilson’s Minstrels toured for two or three years, and then Mr. Wilson
made another
foreign trip; but returned in the Summer of 1871. In 1872 he was with
Minstrels, and in 1875 made another foreign invasion, remaining abroad
five years,
returning in 1880 and joining Haverly’s Minstrels. Subsequently Mr.
Wilson, whose
specialty for many years had been clog dancing, except in 1852 when he
was a clown
in a circus, took up executive duties with many minstrel and other
organizations. He
also promoted several attractions of his own. Fred Wilson was born in
Boston, Mass.,
***
Frank Dumont in an article in the New York Clipper (March 27, 1915—“The
Younger Generation in Minstrelsy and Reminiscences of the Past”), credits
See also listings at: Alan Ng’s Irishtune.info |
X:1
T:Fred Wilson’s
M:C|
L:1/8
R:Hornpipe or Clog
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:F
(c>A) | F>Ac>A G>Bd>B
| A>cf>g a>fc>A | B>dg>b A>cf>a | (3gag (3fed (3cdc
(3BAG |
F>Ac>A G>Bd>B |
A>cf>g a>fc>A | B>dg>f e>cd>e | f2a2f2 :: (ef) |
g>c(3ccc a>c(3ccc |
b>ca>c g>c(3ccc |
b>ca>c g>fe>f | (3gag (3fed (3cdc (3BAG | F>Ac>A G>Bd>B
|
A>cf>g a>fc>A |
B>dg>f e>cd>e | f2a2f2 :|
FRED WILSON'S HORNPIPE. AKA and see "Fred Wilson's Clog."
FREDA. Old-Time, Breakdown. D Major. From fiddler Carthy Cisco.
FREDDIE'S TUNE. Shetland, Air (3/4 time). Shetland, Unst. B Flat Major. Standard
tuning. AABB. A slow air by the great Isle of Unst fiddler Fredamann Stickle
(b. in last half of 18th century), which had no title; older fiddlers called it
"Freddie's Tune". Carlin (Master
Collection), 1984; No. 135, pg. 83. Topic 12TS379 ‑
Aly Bain & Tom Anderson ‑ "Shetland Folk Fiddling, vol. 2"
(1978).
FREDDY FINN'S REEL. AKA and see "Fred Finn's Reel."
FREDDY KIMMEL’S. AKA and see “Julia Clifford’s Hornpipe.”
FREE A LITTLE BIRD. Old‑Time, Song and Breakdown.
FREE AND ACCEPTED
MASON, THE. Scottish. The title is obviously
taken from the Masonic organization, and may be "Free Masons." The
melody appears in the Gillespie Manuscript
of Perth, 1768.
FREE AND EASY [1]. Irish, Jig. A Dorian. Standard tuning. ABC. The title may be a phrase
meaning ‘leisure’, but was also an old slang term (in the
***
McHugh gave what seems to be a rather unconvincing deposition,
claiming that, in fact, all of the entertainers were amateurs. He said
that the Society’s investigator had met some patrons whom he knew
in the saloon, and that these patrons were induced to sing, reluctantly
and “without the hope or expectation of compensation.” What is more,
“that such singing was not accompanied by any recitations or dialogue
or any gestures, movement or action, representing any character or
expressing any emotion or passion.” And further that McHugh’s Free
and Easy was not fitted up for any kind of theatrical performance. (pg. 50)
***
Kerr (Merry Melodies), vol. 1; No. 32, pg. 38.
X:1
T:Free and Easy [1]
M:6/8
L:1/8
R:Jig
B:Kerr – Merry Melodies, vol.
1, pg. 38 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:Amin
ABA edc|BGB dcB|ABA edB|A3 e3|ABA
edc|BGB dcB|
e^fg edB|A3 e3||e2^f g2a|g2 e
dBG|e2^f g2a|bge bge|
e2^f g2a|g^fe dBd|e^fg edB|A3
e3||A2e A2e|A2e ede|
A2e A2e|A2e dcB|A2e A2e|A2e ede|g^fe
dBG|A3 e3||
FREE
AND EASY [2]. AKA and see “The Kerry Lasses [4],” “Mulqueen’s,” “Spinkle Shanks [1],” “The Tinker’s Reel [1].” Irish, Reel.
X:1
T:Free and Easy
M:4/4
L:1/8
S:Rice-Walsh manuscript
Z:Paul Kinder
R:Reel
K:D
A2 EG FDDE|FADG FAdA|F2 EG FDDE|FABc dABG|
A2 EG FDDE|FADG FAdA|A2 EG FDDE|FABc dAFA||
Beee (3efg ed|Bdef gfge|Beee (3efg ed|BABc dAFA|
Beee (3efg ed|Bdef g2 gg|agfg afge|d2 dc dABG||
FREE AS THE WIND. Canadian, Reel.
FREE BRITTONS.
English, Country Dance Tune (cut time). G Major. Standard tuning. AABB.
The melody is unique to London publisher Charles and Samuel Thompson’s 1765
country dance collection. Thompson (Compleat Collection of 200
Favourite Country Dances, vol. 2), 1765; No. 119.
X:1
T:Free Brittons
M:C|
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:G
GBGB AcAc|GBGB A(D D2)|GBGB cAcA|dBcA G[G,G]-[G,2G2]:|
|:BdBd
cece|BdBd c(A A2)|BdBd ecge|dBcA G[G,G]-[G,2G2]:||
FREE GARDENER, THE. Scottish, March (4/4 time). D Major. Standard
tuning. AA'BB'. Composed by Alexander Walker. According to Paul Stewart
Cranford (1991) the tune still has currency among
FREE MASON, THE. English, Country Dance Tune (cut time). B Flat
Major. Standard tuning. AABB. The tune dates to 1778. Barnes (English Country Dance Tunes), 1986.
FREE MASONS [1]. AKA and see "The Irish
Washerwoman," "The Washerwoman," "The Wash Woman,"
"Corporal Casey [1],"
"Jackson's Delight [1],"
"Country Courtship,"
"The Scheme," "Star at Liwis," "Haste to the Wedding [2],"
"The Big Jig."
FREE MASONS [2]. English, Jig. G Major. Standard tuning. AA'BB. The second strain bears
some resemblance at the end to "The Irish Washerwoman." A tune by this
title appears listed in William Vickers' 1770 Northumbrian dance manuscript,
but is one of the "missing tunes." According to Henry Evans (“Masonry
and Magic in the 18th Century”), Freemansonry in 18th
century
FREE MASON’S HEALTH. English,
Jig. C Major. Standard tuning. AABB. The title is a poem by Mason Matthew
Birkhead written in 1722. The melody was an addition to the 1726 edition of
Playford’s Dancing Master, one of the
last editions of the series (noted in 6/4 time). It also appears in John Watts’
Musical Miscellany, vol. 3 (
***
Come let us prepare, we brothers that are,
Joined on this merry occasion;
Let’s drink, laugh, and sing;
Our wine has a Spring;
Here’s health to an Accepted Mason.
***
X:1
T:Free Mason’s Health
M:6/8
L:1/8
S:Henry Livingston’s manuscript
copybook, late 18th century
Z:AK/Fiddler’s Companion
K:C
G | cde edc | Bcd dcB | cde edc |
eg2 g2 :: e/d/ | fga agf | edc g2 f/e/ | fef def | e(c2 c2) :|
FREE ON THE MOUNTAINS. AKA and see "Fire
on the Mountain."
FREE TRADE, THE. English, Hornpipe. England, Northumberland. Composed by Tyneside
fiddler and composer James Hill. The melody may have been named for a pub (as
were a few of Hill’s other compositions). Another theory is that it was named
for a topical economic issue.
FREEBOOTER, THE. AKA and see "Macpherson's Lament/Rant/Farewell."
FREEDOM FOR IRELAND (Saorsacd Na N-Eirinn). AKA and see “Banks of Inverness.” Irish, March
(2/4 time). A Major. Standard tuning. AAB. An Irish setting of the Scots tune
“Banks of Inverness.” Source for notated version: Chicago Police Sergeant James
O’Neill, a fiddler originally from County Down and Francis O’Neill’s
collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1815, pg. 341.
X:1
T:Freedom for Ireland
M:2/4
L:1/8
R:March
S:O’Neill – Music of Ireland (1903), No. 1815
Z:AK/Fiddler’s Companion
K:A
E>F EC | E>F AB | ce Bc/B/ |
AF F/A/G/F/ | E>F EC | E>F AB | ce Bc/B/ | A>B Az :|
|| ce e>c | df fz | ce Bc/B/ | AF
FE | ce e>c | df f>g | af ge | f2 ff/g/ |
af ge | f/g/f/e/ cB | ce Bc/B/ |AF
F/A/G/F/ | E>F EC | E>F AB | ce Bc/B/ | A>B Az ||
FREELY SHOT OWER. AKA and see "Fairly
Shot of Her" (Scottish). Shetland, Shetland Reel. Shetland, Whalsay.
FREEMASONS. See "Free Masons."
FREEMASON'S MARCH. AKA and see "Ranahan's
March [1]," "Bonaparte Crossing the
Rhine [1]."
FREER’S QUICKSTEP. English, Quickstep March (2/4
time). G Major. Standard. AABB. Originally set in the key of ‘C’ in Gibbon’s
ms. Source for notated version: the
1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of
Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Sumner (Lincolnshire Collections, vol. 1: The Joshua
Gibbons Manuscript), 1997; pg. 7.
FREETOWN REEL. Canadian, Reel. Canada, Prince Edward Island. G Major. Standard.
AA’BB’. Probably locally composed in Prince County, PEI, according to Ken
Perlman (1996). Source for notated version: Sidney Baglole (b. 1912, Freetown, West
Prince County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 67.
FRÉGATE, LA. The name of a dance with its own tune in Québec, perhaps dating to the
1700’s and which may have French origins, according to Marius Barbeau (Anne
Lederman, “Fiddling”, Encyclopedia of
Music in Canada, 1992).
FREHEEN JIG. See also "The Boys from
Carrickroe," "The
Fairhaired Boy [1]," "An
Buachaillin Ban [1]," "The
Last of the Lot."
FREIDRICH’S POLKA. American (?), Polka. USA, Texas. G
Major (‘A’ part) & E Minor (‘B’ part). From the playing of Texas fiddler
Norman Solomon, who supposedly
fashioned the tune out of melodic material from a tune he heard Peter
Ostrouscho play, according to Gary Lee Moore. Solomon called it “a little
mandolin tune,” but Moore was later told it was called “Freidrich’s Polka..”
FREIGHT TRAIN BOGGIE. Old-Time. From the Delmore Brothers. Rounder
CD 0371, Mac Bendord and the Woodshed All-Stars - “Willow” (1996).
FREIGHT TRAIN MOAN. Old‑Time, Breakdown. USA, Tennessee. Composed by Tennessee
fiddler Arthur Smith and originally recorded by him in 1937. County 547, "Fiddlin' Arthur Smith & His
Dixieliners, Vol. 2" (1978). County 773, John Ashby (1915-1979, north Va.)
and the Free State Ramblers - “Fiddling by the Hearth.”
FRENCH ACADIAN REEL, THE.
Canadian, Reel. Canada, Cape Breton, Nova Scotia. C Major. Standard tuning.
AA'BB. Composed by Cheticamp, Cape Breton, fiddler Donny LeBlanc. Cook (The Night in the Kitchen Collection), 1996; pg. 33.
FRENCH ALLEMANDE. English, Country Dance Tune (4/4 time). England, Yorkshire. G Major.
Standard tuning. AABB.
***
The Allemande. A cartoon by
George Cruickshank (1797).
***
Source for notated version: an MS collection
by fiddler Lawrence Leadley, 1827-1897 (Helperby,
FRENCH AMBASSADOR, THE. AKA –
“French Embassader.” English, Country Dance Tune (cut time). G Major (Barnes):
B Flat Major (Barlow). Standard tuning. AABB. The melody (as “French
Embassader”) appears in Henry Playford’s Dancing
Master, 11th edition (1709) and in all subsequent editions until
the end of the series in 1728. It also appears in John Walsh’s Compleat Country Dancing Master (
X:1
T:French Ambassador, The
M:C|
L:1/8
S:Playford – Dancing Master, 11th edition (1709)
K:B Flat Major
f2|d2B2F2A2|B6 f2|g2f2 ga b2|a6
g2|f2d2e2f2|g2e2c2g2|
_a2 gf =efge|f6::f2|g3f
g2a2|b2d2d2d2|g3a b2 ag|^f6 g2|
g2d2d2 cd|e2c2c2cd|edcB A3G|G6
B2|A3B ABAB|c2F2F2F2|
B3c d2 cB|f6 ga|b2d2g2c2|f2B2A2f2|d2
cB F2A2|B6:|
FRENCH ASSEMBLY. English, Waltz (3/8 time). G
Major. Standard tuning. ABB. The title refers to a dance assembly. The waltz was printed by in Charles and
Samuel Thompson’s Compleat Collection of
200 Country Dances, vol. 4 (London, 1780). A manuscript version can be
found in the 19th century Welch family manuscripts (Bosham, Sussex).
Callaghan (Hardcore English), 2007;
pg. 84.
FRENCH BLUES. See "Blues Francais."
FRENCH
FOUR [1]. English, Jig (9/8 time). England,
North‑West. D Major. Standard tuning. AABB. A dance called the
"French Four" was performed in August, 1914, at the 150th anniversary
celebration of the town of Lancaster, New Hampshire, according to a period
playbill. Knowles (Northern Frisk),
1988; No. 93.
FRENCH FOUR [2]. AKA and see “Soldier’s Joy [1].”
Cajun, Two-Step. USA, Louisiana. A version of “Soldier’s Joy” recorced by
Leizime Brusoe. Rounder 18964-1518-2, Various Artists
– “American Fiddle Tunes” (a reissue of the 1971 Library of Congress LP of field
recordings).
FRENCH FOUR [3]. American, Reel. G Major. Standard tuning. AABB. The tune is not the
same as that given by Bayard or Linscott, though there is some faint
resemblance between them, perhaps engendered by being paired with a specific dance.
Sweet (Fifer’s Delight), 1964/1981;
pg. 72.
X:1
T:French Four [3]
M:2/4
L:1/8
Z:AK/Fiddler’s Companion
K:G
GG/D/ GG/D/ | G/A/B/c/ d2 | ef/e/
dB/d/ | ef/e/ d/c/B/A/ | GG/D/ GG/D/ | G/A/B/c/ d2 | e/f/g/e/ d/e/d/c/ |
BA G2 :: g2 gg/a/ | ba g2 | e2 ee/f/
| gf/e/ dB | c/e/d/c/ Bd | e/f/g/e/ d/e/d/c/ | BA G2 :|
FRENCH
FOUR [4]. New England, Reel. C Major.
Standard tuning. One part (Linscott): AB (Howe). The tune was printed by Howe
and Linscott along with the dance of the same name, an extremely popular
country dance from the mid-19th century on, mentioned numerous times
in period accounts of dances, balls and cotillions. The dance may have derived
from old English country dances called "Trenchmore Galliard" or
"Westcountry Jigg”, according to Linscott (1939). The year that Elias
Howe’s publication 1000 Jigs and Reels
appeared, 1867, the title “French Four” appeared on a dance card for a
fashionable New Year’s Eve Ball at Chagrin Falls, Ohio (music provided by
“Miller’s Band,” calling by a man named Farr). Several tunes were used as a
vehicle for the French Four, including “Soldier’s Joy” and other familiar
tunes. The origins of the melody for “French Four [4]” are unknown, although
structurally it is similar to mid-19th century forms. Source for
notated version: Willie Woodward (Bristol, N.H.) [Linscott]. Howe (1000 Jigs and Reels), c. 1867; pg. 81.
Linscott (Folk Songs of Old New England),
1939; pg. 78.
X:1
T:French
Four [4]
M:2/4
L:1/8
R:Reel
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:C
c/B/c/d/ ee/f/ | g/a/g/f/ e/f/e/d/ | cec || e/f/ | g/a/g/^f/ gg/=f/ | e/f/e/d/ cd/e/ | f/g/f/e/ ff/e/ |
d/e/d/^c/
de/f/ | g/a/g/^f/ gg/=f/ | e/f/e/d/ cd/e/ | f/g/f/e/ d/c/B/d/ | cec ||
FRENCH FOURS [5]. American, Reel. USA, southwestern Pa. G Major ('A' part) & G
Major/Mixolydian ('B' part). Standard tuning. AB. Source for notated version:
Samuel Losch (Juniata and Centre Counties, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 33, pg.
31.
FRENCH IN CONFUSION, THE. English, Reel. G Major. Standard tuning. AABB.
An English toast during the 18th century wars with France went "Confusion
to the French." Trim (Thomas Hardy),
1990; No. 36.
FRENCH JIG. Cajun, Two-Step. C Major. Standard tuning. AA'BB'. Greenblatt (The Cajun Fiddle Tune Book), 1985; pg.
20.
FRENCH KING'S MINUET. American? English?; Minuet. The tune was mechanically preserved in a chime
clock manufactured by Daniel Burnap of East Windor, Connecticut, in the late
18th century. It also appears in Timothy Swan's Suffield, Connecticut, MS of
1777, held by the American Antiquarian Society.
FRENCH LEVALTO, THE. AKA and see "The Revolto," "La Volta." English, Country Dance Tune (3/4 time). G
Major. Standard tuning. AAB. Chappell (Popular
Music of the Olden Times), vol. 1, 1859; pg. 233.
FRENCH MARCH [1]. French, March. A military tune played by old armies, often to identify
forces on the battlefield (Winstock, 1970).
FRENCH MARCH [2]. AKA and see "Hickity
Crackity" (
FRENCH MAZURKA, THE. English, Mazurka (3/4 time). G Major. Standard
tuning. AAB. Source for notated version: "John Rose, fiddler"
(Raven). Raven (English Country Dance
Tunes), 1984; pg. 213.
FRENCH QUICKSTEP, A. AKA and see "Hickity
Crackity."
FRENCH REPORT, THE. Dorian 90238, The
Baltimore Consort – “A Trip to Killburn.”
FRENCH TAPTOO. French, March (2/4 time). G Major. Standard tuning. AABB. ‘Tattoo’ = tattoo, a martial tune. Aird (Selections of Scotch, English, Irish and Foreign Airs), vol. II, 1785; No. 28, pg. 10.
X:1
T:French Taptoo (sic)
M:2/4
L:1/8
S:Aird, vol. II (1785)
Z:AK/Fiddler’s Companion
K:G
D | GBAG | d2 Bd | edcB | (A/G/)(A/B/) AD | GBAG | d2 Bd | edcB | A3 :|
|: d | ec AB/c/ | d>BG>d | cBAG | (A/G/)(F/E/) D(B/c/) | .d(B/c/) .d(B/B/) |
.c(A/B/)
.c(d/c/) | B/A/G/A/ BA | G3 :|
FRENCH WALTZ NO. 1. French‑Canadian, Waltz. A Minor/C Major. Standard tuning. One
part. Welling (Hartford Tunebook),
1976; pg. 14.
FRENCH WALTZ NO. 2. French‑Canadian, Waltz. A Minor/C Major. Standard tuning. One
part. Welling (Hartford Tunebook),
1976; pg. 14.
FRENCH WALTZ [3], THE. Old‑Time. USA, Cumberland Plateau region
of Ky./ Tenn. border. Banjo tune, but not a waltz. County
786, Clyde Troxell ‑ "Gettin' Upstairs: Traditional Music From the
Cumberland Plateau, Vol. 1."
FRENCH WARE. English. England, Northumberland. One of the "missing tunes"
from William Vickers' 1770 Northumbrian dance tune manuscript.
FRENCHIE'S REEL. Canadian, Reel. B Flat Major. Standard tuning. AABB (Hinds): AA’BB’
(Songer). Composed by Canadian fiddlers Ward Allen and Mel Levine. Source for
notated version: Todd Silverstein [Songer]. Hinds/Hébert (Grumbling Old Woman), 1981; pg. 15. Songer (Portland Collection), 1997; pg. 81. Banff
SBS 5296 (reissued on Canadian Cavalcade CCLP 2010), "Graham Townsend and
His Country Fiddle." Folkways 8826, Per's Four‑‑"Jigs and
Reels." Rounder 0216, John McCutcheon ‑ "Step by Step"
(1986). Front Hall FHR029, The Fourgone Conclusions - “Contra Dance Music of
Western Massachusetts.”
FRENCHMAN'S HORNPIPE. 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.
FRENET HA’. English, Air (3/4 time). D
Major. Standard tuning. AAB. The air appears in the 1840 music manuscript
collection of John Rook, of the Wigton, Cubria, area. The title is probably
Scots dialect for ‘Frennett Hall’, the name of an unrelated song in the Scots
Musical Museum (vol. 3, No., 286, 1790). Words to the song, in dialect,
have been attributed to Bauldie Scrimezour c. 1795, and begin:
***
Quhair
wile I lay my hede,
Quhair lay my bodie doune,
Qhairfor na am I died,
Sen' wandrin' I bene bown;
O! Marie ze war fairer
than ony goud or gear;
O! bot my hert is sairer
than't has bene mony zeir.
***
The ballad (reproduced in Herd’s
collection of Ancient and Modern Scottish Songs, 1870) tells of a rather
gruesome incident in 1630 in which Lady Frendraught (Frennet in popular use)
put to death some young noble guests, lodging them in a tower, then locking the
doors and windows and setting the place on fire. Aird (Selection of Scotch,
English, Irish and Foreign Airs), vol. 5, 1797; pg. 24. Johnson (A
Further Collection of Dances, Marches, Minuetts and Duetts of the Latter 18th
Century), 1998; pg. 8.
X:1
T:Frenet Ha’
M:3/4
L:1/8
R:Air
S:John Rook manuscript (1840,
Cumbria)
K:Amix
EG|A2A2 Bd|e2e2 ef/g/|edcB
A>d|{c}B4 A^G|A2A2 Bd|e2e2 ef/g/|edcB A^G|A6:||
eg|a2a2 ba|{a}g2e2 ef/g/|edcB
A>d|{c}B4 e>g|a2 a(b/c’/) ba|g2e2 e(f/g/)|edcB A^G|
{^G}A4 e>g|a2a2 ba|g2e2
ef/g/|edcB Ad|{c}B4 A^G|A2 ABcd|e2 efge|edcB A^G|{^A}A4||
X:2
T:Frenet Ha’
M:3/4
L:1/8
S:James Aird – Selection of
Scotch, English, Irish and Foreign Airs, vol. 5 (Glasgow, 1797)
Z:AK/Fiddler’s Companion
K:Amix
EG|A2A2 B>d|e2e2 ef/g/|edcB
A>d|B4 A^G|A2A2 Bd|
e2e2 ef/g/|ed cB A^G|A4 eg|a2a2
ba|g2e2 e/f/g/|ed cB A>d|
B4 e>g|a2 ab/c’/ ba|g2e2
ef/g/|edcB A^G|A4 eg|a2a2 ba|
g2e2 ef/g/|edcB Ad|B4 A^G|A2 ABcd|e2
efge|ed cB A^G|A4||
FRENEY'S LAMENT. Irish. The tune was composed in 1760 inspired by a highwayman, and was
well‑known in the counties of Waterford, Kilkenny, and Wexford. The
lament was premature, however, for Freney was pardoned for his crimes,
appointed to a minor post in the Customs at New Ross and died an old man in
1790.
FRENNET HALL. Scottish, Air (3/4 time). G Minor. Standard tuning. AB. The air goes to a once-popular ballad that is based on a 17th century incident in Forgue, Scotland, at the castle of Frendraught (i.e. Frennet Hall), now a ruin. The castle was the ancient seat of the Crichton family, who, in the early 1600’s became engaged in a feud with the Gordons of Rothiemay. It was in the tower of the castle, in 1630, that Viscount Aboyne, laird of Rothiemay, and two or three followers were abed after being given the hospitality of the castle. A great fire of unknown origin, but sudden and intense, destroyed the upper stories of the tower and killed all who were in them. The popular view was that they had been deliberately murdered, and it was commonly held that Lady Frendraught was responsible for the treachery. The fire was determined to be arson and a scapegoat was tried and executed, although the feud between the factions simmered on for years. A later ballad (which contains garbled and inaccurate information about the incident) begins:
***
When Frennett castle's ivied wa's
Thro' yallow leaves were seen;
When birds forsook the sapless boughs,
And bees the faded green;
Then Lady Frennet, vengeful dame,
Did wander frae the ha',
To the wild forest's dewie gloom,
Among the leaves that fa'.
Her page, the swiftest
of her train,
Had clumb a lofty tree,
Whase branches to the lofty blast,
Were soughing mournfullie:
He turn'd his een towards the path
That near the castle lay,
Where good lord John and Rothemay
Were rideing down the brae.
***
Howe (1000 Jigs and
Reels), c. 1867; pg. 127.
T:Frennet Hall
M:3/4
L:1/8
R:Jig
S:Howe – 1000 Jigs and Reels (c.
1867)
Z:AK/Fiddler’s Companion
K:Gmin
D>^F | G2G2 A>c | d>d d2 d>e/2f/4 | dc BA GA/c/ | {B}A4 G>^F | G>G G>A B>c |
d>d d2 | d>=e/2f/4 | dc BA G^F | {^F}G4 || d>e | g>g g2 a>g | {=e}f>d d2 d>e/2f/4 |
dc
BA G>c | A4 G>^F | G2 G>A B>c | d>d d2 d>=e/2f/4 | dc BA G^F
| G4 ||
FRESH JUG, THE.
English (?), Country Dance Tune (9/8 time). G Major. Standard tuning.
AABB. Kennedy (Fiddler’s Tune-Book: Slip
Jigs and Waltzes), 1999; No. 23, pg. 7.
FRESH SQUEEZED POLKA. American, Polka. G Major.
Standard tuning. AABB. Composed by Vermont fiddler Pete Sutherland. Sutherland
(Bareface), 1984; pg. 10.
FREUMH A'S CRAOBH
TAIGH CHALLADAIR. See "The Hawthorne Tree of Cawdor."
AKA‑ "Cawdor Fair."
FREYA ROBERTSON. Scottish, Reel. A Major.
Standard tuning. AABB. Composed by Scottish national champion fiddler Arthur Scott
Robertson. Miller (Fiddler’s Throne),
2004; No. 162, pg. 103. Robertson (Musical
Reflections 3).
FRIAR AND THE NUN [1], THE. AKA ‑ "Wiltshire Wedding," "London 'prentice," "All in/on a Misty Morning,"
"A Beggar Got a Beadle."
English, Country Dance Tune (2/4 time). D Major (Chappell): D Major/Mixolydian
(Raven, Sharp). Standard tuning. One part. The tune appears in Playford's English Dancing Master (1650), Musick's Delight on the Cithren (1666), Pills to Purge Melancholy and many
ballad operas, including John Gay's Beggar's
Opera (1728) {where it appears under the title "All in a Misty
Morning," which is the first line of a song called "The Wiltshire
Wedding"}. The ballad "The Friar and the Nun" dates back at
least to 1542, where it is alluded to in Archbishop Udal's translation of the Apophthegmes of Erasmus. Versions of the
melody were also quite popular in Ireland, especially with the old harpers and
their audiences. Variations were set by the famous harper Lyons in 1698, according
to the collector Edward Bunting, who himself had the tune from one of the last
of the ancient harpers, a man named Hempson, in 1796 (see note for "A Lovely Lass/Nun to a
Friar Came [2]." Chappell (Popular
Music of the Olden Time) vol. 1, 1859; pg. 286. Raven (English Country Dance Tunes), 1984; pgs. 45, 57 and 9 (includes a
facsimile copy of Playford’s Dancing
Master original). Sharp (Country
Dance Tunes), 1909/1994; pg. 37.
X:1
T:Friar and the Nun, The [1]
M:2/2
L:1/8
S:Sharp – Country Dance Tunes (1909)
Z:AK/Fiddler’s Companion
K:D
d2d2d2d2 | d6 d2 | .e2 .e2 .c2 .d2 |
e6 g2 | f2 d2 d2 d2 |
d2 d4 d2 | c2A2A2B2 | =c6 c2 |
B2G2G2A2 | B3c d2d2 |
A2A2F2G2 | A6 =c2 | B2G2G2A2 | B3c
d2d2 | c2d2 e3d | d6 z2 ||
FRIAR AND THE NUN [2], THE. AKA and see "A Lovely Nun to a Friar Came,"
"A Lovely Lass to a
Friar Came [1]" (Cailin Deas Chum Brathar Tainic), “Charming Nun to a Fryar Came.”
FRIAR IN THE WELL, THE. AKA and see "The Maid Peeped Out at the Window."
English, Country Dance Tune (6/4 or 6/8 time). G Mixolydian (Raven): G Dorian
(Chappell). Standard tuning. AABB. The tune appears in Playford's Dancing Master of 1650. The song that
goes with the tune tells the tale of a lascivious friar who is outwitted by a
woman; Chappell (1859) says this is based on a very common story which appears
in "most old French and Italian collections of facetious tales."
Raven (English Country Dance Tunes),
1984; pg. 27.
FRIAR'S BREECHES. See "Frieze Breeches."
FRIAR'S FAREWELL TO
THE REEK, THE. Irish, Slow Air (4/4 time). D
Dorian. Standard tuning. AB. "This friar was one of those belonging to
Murrisk Abbey, which stands (now in ruins) on the seashore at the base of 'The
Reek,' i.e. Croagh Patrick Mt. in Mayo. The setting from which I copied was
very incorrect, obviously played or taken down wrong: and the version given
here is my attempt at restoration" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 704, pg. 352.
FRIAR'S HILL (Ard na M-Bratar). Irish, Air (3/4 time). G Major. Standard
tuning. AB. Francis O’Neill remembered the tune from his Bantry, west Cork,
boyhood being sung by his parents. O'Neill (O’Neill’s
Irish Music), 1915/1987; No. 20, pg. 19. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 10, pg. 2.
X:1
T:Friar’s Hill, The
M:3/4
L:1/8
R:Air
N:”Moderate”
S:O’Neill – Music of Ireland (1903), No. 12
Z:AK/Fiddler’s Companion
K:G
D2|D2G2G2|B2A2G2|G2F2G2|A2F2D2|D2G2G2|{c}B2G2B2|{d}c4A2|F4A2|
D2G2G2|B2A2G2|{G}F2G2A2|A2B2c2|d2c2A2|{B}A2G2F2|G6|G2z2||Bc|
D2e2d2|B2A2B2|c2B2c2|A2B2c2|d2e2d2|{c}B2G2B2|A4F2|D4
Bc|d2e2d2|
B2A2B2|{d}c2B2c2|A2B2c2|{g}f2e2d2|c2A2F2|G6|G2z2||
FRIAR’S JIG. AKA and see “Reverend Brother’s Jig,” “The Monk,” “The Monk’s Jig,”
“Port an Bráthair,” “Port Padraig na Carra,” See also
note for “Gander in the Pratie
Hole.”
FRIBBLE HALL. English, Country Dance Tune
(cut time). A Major. Standard tuning. AABB. The melody first appears in print
(as do many in London publishers Charles and Samuel Thompson’s 1757 country
dance collection) in John Johnson’s Choice Collection of 200 Favourite
Country Dances, vol. 6 (London, 1751). Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 22.
X:1
T:Fribble Hall
M:C|
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:A
e2|agfe fedc|d2 (c2 c2) e2|fedc dcBA| G2 (E2 E2)e2|agfe fbg^d|
eg (B2 B2) a2|gbge B2 ^d2|e6::e2|edcB A=GFE|FA (d2 d2)f2|
fedc
BA^GF|GB (e2 e2)d2|c2 ec B2 dB|c2 ec B2dB|cABc E2G2|A6:||
FRIDAY NIGHT WALTZ [1]. Old-Time, Waltz. C Major. Standard tuning. AA'BB'. The Ray Brothers
were fiddler Will Ray with his brother Vardman on guitar. Source for notated
version: W.E. Ray with the Ray Brothers (Mississippi) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol.
2, 1995; pg. 257. Document 8028, The Ray Brothers –
“Mississippi String Bands, Vol. 2” (reissue).
FRIDAY NIGHT WALTZ [2]. American, Waltz. G Major. Standard tuning. AB. A variant of
"Friday Night Waltz [1]." Source for notated version: Kenny Baker [Phillips].
Phillips (Traditional American Fiddle
Tunes), vol. 2, 1995; pg. 260.
FRIDAY NIGHT WALTZ [3]. American, Waltz. A Major. Standard
tuning. AA'BB'. Composed in 1979 in "mid‑west style...tinged with
bluegrass" by David Reiner, on his honeymoon. Reiner & Anick (Old Time Fiddling Across America), 1989;
pg. 132.
FRIEDA. Old-Time, Breakdown. D Major.
Standard tuning. ABB. Source for notated version: Carthy Sisco [Silberberg].
Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 48.
FRIEL’S JIG. AKA – “Tom Friel’s.” Cotter (Traditional
Irish Tin Whistle Tutor), 1989; pg. 46.
FRIEL'S KITCHEN. Irish. Columbia Legacy CK 48693, "The
Best of the Chieftains" (1992).
FRIEND IN NEED, A. English (?), Jig. D Major. Standard tuning. AABB. Aird (Selection of Scotch, English, Irish and Foreign Airs), vol. II, 1785; No. 193, pg. 72.
X:1
T:Friend in Need, A
M:6/8
L:1/8
R:Jig
S:Aird, vol. II (1785)
Z:AK/Fiddler’s Companion
K:D
A | d2f afd | e2f g2b | a2g fed | def A2A | d2f e2g | f2d g2b | agf edc | d3 d2 :|
|:
f | afd afd | A2d f2a | g2f e2d | cec A2A | dfa afd | ege g2b | agf edc | d3 d2
:|
FRIEND OF MY HEART (A Cara Mo Croide). Irish, Double Jig. G Dorian. Standard tuning.
AABB. O'Neill (Dance Music of Ireland:
1001 Gems), 1986; No. 335, pg. 70.
X:1
T:Friend of My Heart
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of Ireland (1907), No. 355
Z:AK/Fiddler’s Companion
K:G Minor
c|BAG FDC|DE^F G2c|dfd cdc|BAG
FGA|BAG FDC|FDE FGA|c/d/fd cAF|AGG G2:|
|:D|GBd g^fg|dec BAG|Fac f=ef|cdB
AGF|GBd g2a|bag fga|d=ef gd[Ac]|BGG G2:|
FRIENDLY JACK (Sean Muintireac). AKA and see "Donnybrook Boy" “Jackson’s Frolic,” “Kitty of Oulart,” “The Mulberry Bush.” Irish, Jig. D Major.
Standard tuning. AABB. See note for “Jackson’s Frolic.” Source for notated version:
Chicago cleric and musician Father Fielding [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 742, pg. 138.
X:1
T:Friendly Jack
M:6/8
L:1/8
R:Jig
S:O’Neill – Music of Ireland (1903), No. 742
Z:AK/Fiddler’s Companion
K:D
A2D FED | A2D FED | A2D FED | G2E E3
|
A2D FED | A2D FED | G2A B2G | F2D D3
:|
|: d2e f2d | g2e f2d | d2e f2d | e2d
B2c | d2e f2d |
g2e f2d | d2B A2G | F2 D D3 :|
FRIENDLY NEIGHBOR, THE. AKA and see “Baxter’s
Big,” "The Fisherman's Widow,”
“The Rambling Pitchfork,” “St. Patricks Day in the Evening.”
FRIENDLY VISIT, THE (An Tiomcuairt). AKA and see “Callanan’s Retreat,” “Cooney’s Hornpipe,” “The Smith’s Hornpipe [1],” “Tamony’s Hornpipe.” Irish, English;
Hornpipe. G Major (Harker/Rafferty, Mitchell, O’Neill, Raven): A Major
(Mulvihill). Standard tuning. AABB. The tune is played in A Major in County
Donegal where it is very popular, although the key of ‘G’ is more common in
sessions to accommodate instruments other than the fiddle. Reg Hall (1998) says
the tune has had enough currency in Northumberland to be considered local. Source
for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west
Clare) [Mitchell]; New Jersey flute player Mike Rafferty, born in Ballinakill,
Co. Galway, in 1926 [Harker]. Harker (300
Tunes from Mike Rafferty), 2005; No. 258, pg. 79. Mitchell (Dance Music of Willie Clancy), 1993; No.
114, pg. 96. Mulvihill (1st
Collection), 1986; No. 16, pg. 92. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 352, pg. 172. O'Neill
(Krassen), 1976; pg. 196. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 1696, pg. 315. O'Neill (Dance Music of Ireland: 1001 Gems),
1907/1986; No. 894, pg. 154. Raven (English
Country Dance Tunes), 1984; pg. 171. Piping Pig
Productions PPPCD001, Jimmy O’Brien-Moran – “Seán Reid’s Favourite” (1996.
Learned from a casual recording of pipe and fiddle duet Bill Kelly and Bill
{Willie} Clancy). Topic TSCD 669, Will Atkinson (et al) – “Ranting and Reeling:
Dance Music of the north of England” (1998. Atkinson {b. 1908} of Crookham,
Northumberland, was an accordion player).
See also listings at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Friendly Visit, The
S:Paul O'Shaughnessy
Z:Juergen.Gier@post.rwth-aachen.de
M:C|
L:1/8
R:Hornpipe
K:A
cB|(3AcA EG Acec|dfBa (3gfe
(3bag|aeca fdBA|GEBE dBGB|(3AcA EG Acec|\
dfBa (3gfe (3bag|aecA GBed|1(3cec AG
Ad:|2(3cec AG ABcd|]
|:(3efe ce Aaga|(3faf df Bdfg|agbg
aecA|GEBE dBGB|(3AcA EG Acec|\
dfBa (3gfe (3bag|aecA GBed|1(3cec AG
A2 (3Bcd:|2(3cec AG Ad|]
FRIENDSHIP WALTZ [1]. Old‑Time, Waltz. USA, Nebraska. F Major. Standard tuning. AABB.
Source for notated version: Bob Walters (Burt County, Nebraska) [Christeson]. R.P.
Christeson (Old Time Fiddlers Repertory,
vol. 1), 1973; No. 228, pg. 185.
FRIENDSHIP WALTZ [2]. AKA and see "La Valse de
l'Amitie."
FRIEZE
BREECHES/BRITCHES [1] ("An Briste Breidin" or "An Brístín Mire").
AKA and see "(An) Bristin Mire," "Cunla,"
"Friar's Breeches," "Friar's
Britches," "Gallagher's [1],"
"Gallagher's Frolic [3],"
"Gallagher's Lament," "I Buried My Wife (and
Danced on Her Grave)," "O'Gallagher's
Frolics," "On
St. Patrick's Day I was Gay," "The
Trumlo." Irish, Double Jig or Single Jig (Breathnach). D Mixolydian
(Breathnach): D Major/Mixolydian (most versions). Standard tuning. AB
(Breathnach): AABB (Russell): AA'BB' (Mitchell): AABBCCDDEE (Brody, Mitchell):
AABBCCDDEE' (Harker/Rafferty, Mallinson): AABB'CCDDEE' (O'Neill/Krassen):
AABCCDDEEF (O'Neill/1850 & 1001). Frieze (pronounced ‘frys’) is a coarse
woolen cloth with a shaggy nap (usually on one side of the material). The title
refers to clothing made from the material, once common in Ireland. The
following passage, from a pamphlet by fiddler William Simpson, from Elgin,
Scotland, entitled A Spring on the Fiddle (1915), describes frieze
clothing:
***
In 1863 I went to Ireland, Co. Galloway, and on
to Tipperary, where I
stayed for about six years, getting out of touch with all players of my
former acquaintance, meeting occasionally some very fine jig players
and dancers who could give a very interesting exhibition. The dress of
these men were kneebreeches, frieze coats of the dresscoat style,
green stockings, red vest, a soft felt hat, and a short stick a
"shillelagh."
***
The title is often, however, rendered as
"The Friar's Britches" due to the similarity of "Frieze"
(pronounced frys) and "Friars" when spoken (Finbar Boyle, tongue in
cheek, mentions that "Friar's Britches" is also known as "The
Vicar's Knickers!"). The melody was known in the Sliabh Luachra region of
the Cork-Kerry border as "Gallagher's" (see below) and accordion
player Johnny O'Leary identified the title "Frieze Breeches" as
coming from "the Galway crowd." North Clare tin whistle player Micho
Russell remembered that "long ago" the tune was only in two parts and
was known as "La San Sean, ba chraite an mhaidin i'," and that it was
later used for the song "Cunla" (popularized in the 1970's by the
band Planxty):
***
Who
comes there tickling the toes of me?
There
is nobody here but Cunla.
***
Breathnach (1963) prints these words:
"Cé
hé sin thiós ag briseadh na gclaiocha?" (x3)
"Mise
féin" a deir Connla.
"Chonnla
chroí ná teara níos goire dhom" (x3)
"Mhaisce,
tiocfad", a deir Connla.
Translated
by Paul de Grae:
"Who
is that down there breaking the fences?
"Myself
says Connla.'
"Connla
dear don't come any nearer to me"
"Wisha,
I will," says Connla.
***
O'Neill (Irish
Folk Music, pg. 97) states this jig was "in some form known all throughout
Munster. A strain remembered by from my mother's singing of it was added to
Delaney's version, making a total of six in our printed setting. A ridiculous,
although typical folk song, called 'I Buried My Wife and Danced on Top of Her'
used to be sung to this air, which bears a close resemblance to our version of
'O'Gallagher's Frolics'." Russell said "Frieze Britches" was a
very popular tune around Enlistment, County Clare, and related that his father
had been to the fair in that city and met with one Paddy Cearnuf, who lilted
the melody and, obviously enamored, called it "the first tune that was
ever played in heaven" (Russell, 1989). Breathnach (1963) maintains
Joyce's third part does not belong to this jig.
***
An interesting story, possibly even true, of how
this tune entered the Sliabh Luachra region of Ireland's tune repertoire was
told by piper Tim Britton, confirmed by Paddy O'Brien. It seems that the
renowned regional fiddler Padraig O'Keeffe played the melody that he had
learned, as he did many of his tunes, from an uncle named Cal Callaghan.
Callaghan, the story goes, lived for several decades in a Scottish settlement
in southern Ohio and learned many tunes there, some of which he taught to his
nephew Padraig on his return to Ireland. O'Keeffe called the tune
"Gallagher's" and played it in seven parts. The story is a bit of a
stretch, considering the age and popularity of "The Frieze
Breeches/Friar's Britches" in Ireland.
***
Sources for notated versions:
Chicago piper Bernard Delaney [O’Neill]; Planxty (Ireland) [Brody]; piper
Willie Clancy (1918-1973, Miltown Malbay, West Clare) [Mitchell]; piper Seán
Potts (Ireland) [Breathnach]; sessions at the Regent Hotel, Leeds, England
[Bulmer & Sharpley]; New Jersey flute player Mike Rafferty, born in
Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRE I), 1963; No. 62, pg. 27. Brody (Fiddler’s Fakebook), 1983; pg. 113. Bulmer & Sharpley (Music from Ireland), 1974, Vol. 1, No.
65. Joyce (Old Irish Folk Music and Song),
1909; No. 287. Mallinson (Enduring),
1995; No. 42, pg. 18. Mitchell (Dance
Music of Willie Clancy), 1993; Nos. 11 & 12, pgs. 34-35 (two versions)
and Nos. 101 & 102, pgs. 87-89. Moylan (Johnny
O’Leary), 1994; No. 275. O'Neill (Krassen), 1976; pg. 61. O'Neill (Music of Ireland: 1850 Melodies), 1979;
No. 1051, pg. 198. O'Neill (Dance Music
of Ireland: 1001 Gems), 1986; No. 260, pg. 58. Russell (The Piper’s Chair), 1989; pg. 11. Bay 203, Jody Stecher‑ "Snake Baked a
Hoecake." Copley DWL‑9‑617, Jack Wade‑ "Ceili Music
From Ireland." Great Meadow Music GMM 2002, Rodney Miller & David
Surette – “New Leaf” (2000. Appears as “Cunla”). Green Linnet 1009, Glinside
Ceili Band‑ "Irish Music: The Living Tradition." Green Linnet
SIF 3005, The Bothy Band - “Old Hag You Have Killed Me” (1981. A reissue of the
1976 Mulligan LP). Outlet 3002, Paddy Cronin‑ "Kerry's Own Paddy
Cronin” (1977). Polydor 2383 397, Planxty‑ "Planxty
Collection." Shanachie 79064, Matt Molloy – “Heathery Breeze” (1999).
Topic 12T309, Padraig O’Keeffe, Denis Murphy & Julia Clifford - “Kerry
Fiddles.” Topic TSCD 602, The Flanagan Brothers – “Irish Dance Music” (1995. A
reissue of the 1923 original). Transatlantic 341, Dave Swarbrick‑
"Swarbrick 2" (appears as "Friar's Breeches").
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:Frieze Breeches, The [1]
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 260
Z:AK/Fiddler’s Companion
K:D
A/G/|FEF DED|A2d cAG|ABA GAG|F2A GEC|FEF
DED|A2d cAG|FEF GEC|DED D2:|
||G|A2d d2e|fed cAG|ABA GAG|F2A
GEC|A2d d2e|fed cAG|FEF GEC|DED D2G|
A2d d2e|fed cAG|ABA B<cd|ded cAG|fef efe|ded cAG|FEF GEC|DED D2||
|:F|DED cBc|AdB cAG|ABc d2e|fed
cAF|DED cBc|AdB cAG|FEF GEC|DED D2:|
|:A|d2e f2g|a2f ged|c2d efg|fdf
ecA|d2e f2g|a2f ged|faf gec|ded d2:|
|:d|fdf ece|ded cAG|ABA A2G|F2A
GEC|fdf ece|ded cAG|FDF GEC|DED D2:|
||F/G/|A2B cBA|c2e cAG|A2d d2e|fed
cAG|A2B cBA|dcB cAG|FEF GEC|DED D2G|
A2B c2B\c2d cAG|A2d d2e|fed cAG|faf
gec|ded cAG|FEF GEC|DED D2||
X:2
T:Frieze Breeches, The
R:jig
H:There are words for the first two parts: "Cunnla".
Z:id:hn-jig-86
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:6/8
L:1/8
K:Dmix
FED EFG|AdB cAG|~A3 BAG|FAF GED|FED EFG|A2d cAG|FAF GEA|1 ~D3 D2E:|2 ~D3 D3||
|:d2e fed|efd cAG|~A3 BAG|FAF GED|d2e fed|efd cAG|FAF GEA|~D3 D3:|
|:~D3 c3|AdB cAG|AB^c ded|ded cAF|~D3 c3|AdB cAG|FAF GEA|~D3 D3:|
|:d2e fdd|Add fdd|^c2d eAA|fAA eAA|d2e fdd|Add ^cde|faf ge^c|1 ded d2A:|2 ded d2e||
|:fed ed^c|ded =cAG|~A3 BAG|FAF GED|1 fed ed^c|ded =cAG|FAF GEA| ~D3 D2e:|2
fef
gfg|afd =cAG|FAF GEA|~D3 D2E||
FRIEZE BREECHES [2]. Irish, Double Jig. G Major. Standard tuning. AABB. Related to version
#1. Roche Collection, 1982, vol. 1;
No. 100, pg. 43.
FRIEZE BREECHES [3] (An Bríste Bréidín). Irish, Slip Jig. Source for notated version:
uilleann piper Lord Rossmore, c. mid-19th century [Petrie]. Petrie. Piping Pig Records PPPCD001, Jimmy O’Brien- Moran – “Seán
Reid’s Favourite” (1996).
FRIEZE KNEEBREECHES, THE. See also "The Mountain Lark [4]," "Fuiseog an tSleibhe," "O'Connell's Reel [1]," "An Colamor Sugach," "Father Henebry's Reel,"
"The Connacht Rangers,"
"Lady O'Brien's Reel,"
"The Gauger," "The Steampacket." Irish, Reel. Frieze is a
type of cloth.
FRIEZLAND. English, Slow Air (4/4 time). F Major. Standard tuning. AA’BC. A modern
composition composed by Jamie Knowles. Knowles (A Northern Lass), 1995; pg. 38.
FRISCO HORNPIPE, THE. AKA and see “Glauntaune.”
Irish, Hornpipe. G Major. Standard tuning. AA’BB’. Source for notated version:
accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry
border) [Moylan]. Moylan (Johnny O’Leary),
1994; No. 197, pg. 114. Gael-Linn CEF-092, Julia and
Billy Clifford - “Ceol as Sliabh Luachra” (appears as “The Glauntaune”). Topic
12T311, John and Julia Clifford - “The Humours of Lisheen.”
FRISCO WALTZ. Canadian, Waltz. F Major. Standard tuning. AB. Composed in 1956 by
Ontario fiddler Ward Allen. Allen won contest after contest in the 1950’s in
Canada and had a successful career playing over the radio. Source for notated
version: Rudy Meeks (Canada) [Hinds]. Hinds/Hebert (The Grumbling Old Woman), 1981; pg. 31. Ward Allen's Fiddle Tunes,
1956. First Century S29397, Rudy Meeks ‑
"Heritage Fiddle." Great Meadow Music GMM 2002, Rodney Miller &
David Surette – “New Leaf” (2000). GRT Records 9230-1031, “The Best of Ward
Allen” (1973). Sparton Records SP 210, “Ward Allen Presents Maple Leaf Hoedown,
vol. 2.”
See also listings at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources |
X:1
T:Frisco
Waltz
C:Ward Allen
R:Waltz
M:3/4
L:1/8
Z:Transcribed
by Bruce Osborne
K:F
Ac|f3 e fg|f2
e2 d2|e4 e2|f/ e2 d2 c3/2|
B2 d4|e/ d2
c2 B3/2|A2 c3 d|c2 d2 e2|
f3 e fg|f2
e2 d2|e4 e2|e2 d2 cG|
c3 c dc|G3 G
AG|F6|F4:|
|:z2|A6|A2
B2 c2|d6 -|d3 c BA|
G4 -GA|G2 A2
B2|c6|c2 =B2 _B2|
A6 -|A2 B2
c2|d6 -|d3 c BA|
G4 ed|c3 c dc|G3 G AG|F4:|
FRISKY. English, Reel. England, Northumbrian. G Major. Standard tuning. AABB.
The title appears in Henry Robson's list of popular Northumbrian song and dance
tunes which he published c. 1800. Peacock (Peacock’s
Tunes), c. 1805/1980; No. 1, pg. 1.
FRISKY FANNY. Irish, Reel. G Major. Standard tuning. AB. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 301.
X:1
T:Frisky Fanny
M:4/4
L:1/8
S:Capt. F. O'Neill
Z:Paul Kinder
R:Reel
K:G
(3def|g2 "tr"gf g2 d2|edBc dBGB|A2 AG A2 B2|DEGA BG G2|
gfaf g2 d2|edBc dBGB|A2 AG A2 D2|(3EFG AF G2||
D2|GABc dg ~g2|edBc dg ~g2|edce dcBd|(3cBA BG AGEF|
GABc
dggd|edBc dg g2|edce dcBd|cBAB G2||
FRISKY JENNY. AKA and see "The Beggar's Wedding," "Charles of Sweden," "Come Jolly Bacchus," “Coquette [3],” "The Devil to Pay," "(Glorious) First of August," "The Gallant Weaver," “In My Cottage Near the/a Wood,”
"The Tenth of June," "Twenty-First of August,” "The Village Opera," "The Weaver's March."
FRISKY JIM. Old‑Time, Breakdown. USA; Oklahoma, Missouri, Nebraska. A Major.
Standard or AEae tuning. AABB (Christeson): AA'BB (Phillips): AA’BB’
(Beisswenger & McCann). R.P. Christeson remarks that Bob Walter's father
learned the tune around 1905—although he has heard no other fiddlers play it, save
Walters. Mark Wilson points out the tunes popularity was given a boost by
Walters, who played it on his radio broadcasts. There is a minstrel song called
“Happy Frisky Jim,” and although there is a similarity in the titles there
appears to be no melodic material shared. Drew Beisswenger (2008) finds the ‘B’
parts of this tune and “Dance Around
Molly” to be nearly the same. Sources for notated versions: Bob Walters
(Burt County, Nebraska) [Christeson]; Dean Johnston (1919-2007, Lamar, Barton
County, Mo.), learned from elderly fiddler Steve Charles (Prior, Oklahoma) in
the 1930’s [Beisswenger & McCann]. Beisswenger & McCann (Ozark
Fiddle Music), 2008; pg. 75. R.P. Christeson (Old-Time Fiddlers Repertory, I),
1973; pg. 4. Phillips (Traditional
American Fiddle Tunes), vol. 1, 1994; pg. 92. Rounder
0436, Dean Johnston – “Traditional Fiddle Music of the Ozarks, vol. 2: On the
Springfield Plain” (2000).
FRISKY MOLLY’S DELIGHT.
English, Jig. F Major. Standard tuning. AABB. The melody first appears
in print in John Johnson’s Choice Collection of 200 Favourite Country Dances,
vol. 6 (London, 1751). Thompson (Compleat Collection of 200 Favourite
Country Dances, vol. 1), 1757; No. 13.
X:1
T:Frisky Molly’s Delight
M:6/8
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:F
c/B/|AFA cAc|fcf agf|efg ag^f|g3 c2B|AFA cAc|fcf agf|efg efd|(c3 c2):|
|:c/B|AFA edc|dfe dcB|dcB FBA|B3 B,2 d/c/|=BGB fed|ege dcB
|_edc
Gc=B|c3 C2a|bg/a/b afa|ge/f/g fdf|egb abg|(f3 f2):||
FRISKY PEGGY. English, Country Dance Tune
(cut time). A Major. Standard tuning. AABB. The melody is unique to Charles and
Samuel Thompson’s third country dance collection (London, 1773). Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 37.
X:1
T:Frisky Peggy
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:A
ABcd
ecBA|Bcde fdcB|ABcd efga|gfe^d e2E2:|
|:efga bgfe|Bcde fdcB|ABcd efga|fdcB A2 [A,2A2]:||
FRITHRÁ, AN. AKA and see “The Contraditicion.”
_______________________________
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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.
[COMMENT4]Note: The change to pitch (12) and font (1) must be converted manually.