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 Ireland (1903), No. 565

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’ (Taylor). The tune is sometimes paired with double jigs, with which it fits. The tune can be traced to Edward Fraher (b. 1804), an Emly, Tipperary piper whose hey-day was the first half of the 19th century. Fraher’s neighbor and pupil, James Bourke of Kilfrush, Knocklong, County Limerick, learned the tune and in turn passed it along before he died in the 1920’s. Brother Gildas (1883-1960, AKA Patrick O’Shea, a piper and De La Salle brother) learned the tune from Bourke and Willie Clancy (who popularized it) had the melody from Gildas. Sources for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; set dance music recorded live at Na Píobairí Uilleann, mid-1980’s [Taylor]. Breathnach (Folk Music and Dance of Ireland), 1971; 30. Bulmer & Sharpley (Music from Ireland), 1974; Vol. 3, No. 59. Mitchell (Dance Music of Willie Clancy), 1993; No. 86, pg. 78. Taylor (Music for the Sets: Yellow Book), 1995; pg. 25. Claddagh CC17, Seán Keane ‑ "Gusty's Frolics" (1975). Claddagh 4CC 39, “The Pipering of Willie Clancy vol. 2” (1983). Cló Iar Chonnachta CICD 165, John Wynne & John McEvoy – “Pride of the West” (2007). Paddy Glackin & Paddy Keenan – “Doublin’” (1978). Piping Pig Records PPPCD 001, Jimmy O’Brien- Moran – “Seán Reid’s Favourite” (1996).

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 | ABA GEA | ~D3 DFG |

A3 GEA | DED GEG | (3ABc A GEA | ~D3 D3 |

A3 GEA | DED GEG | ABA GEA | ~D3 DFG |

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. Ireland, Donegal. Nimbus NI 5320, Ciaran Tourish, Dermot McLaughlin, Seamus Glackin, Kevin Glackin - “Fiddle Sticks: Irish Traditional Music from Donegal” (1991).

                       

FRAISES ET LES FRAMBOISES, LES (Raspberries, Strawberries). Canadian, New England; Air and Two-Step (2/4 time). G Major. Standard. tuning There is a singing call to the dance tune (Page). ABB' (Miskoe & Paul): AABB (Page): AABB' (Miller & Perron): AA'BB' (Sweet). The chorus of the song goes:

***

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} (Concord, New Hampshire), who "learned (the tune) in the crib" [Miskoe & Paul]. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 157. Miskoe & Paul (Omer Marcoux), 1994; pg. 36. Page (Ralph Page Book of Contras), d1969; pg. 9. Sweet (Fifer’s Delight), 1965/1981; pg. 59.

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 - “Atlantic Fiddles” (1994).

                       


FRAMLINGTON FAIR. English. England, Northumberland. Title appears in Henry Robson's list of popular Northumbrian song and dance tunes which he published c. 1800.

                       

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 County Clare, and a bandmate of fellow fiddler P.J. Hayes in the Tulla Céilí Band. Source for notated version: fiddler Tommy Mulvihill (New York) [Breathnach]. Breathnach (CRÉ V), 1999; No. 118, pg. 61. CKMC 01, Conor Keane – “Cooley’s House.”

 

FRANCIE MOONEY’S. Irish, Barndance. Ireland, County Donegal. A popular barndance in County Donegal.

                       

FRANCIE MOONEY’S MAZURKAS. AKA and see “The Old Donegal Mazurkas,” “Proinsias O' Maonaigh (No. 1 & No. 2),” “Vincent Campbell’s Mazurkas.” Irish, Mazurkas. Ireland, County Donegal.

                       

FRANCIE WALSH’S MAZURKA. Irish, Mazurka (3/4 time). Ireland, County Donegal. A Major. Standard tuning. ABCDD'. Source for notated version: fiddler John Doherty (1895-1980, County Donegal) [Feldman & O’Doherty]. Feldman & O’Doherty (The Nothern Fiddler), 1979; pg. 94.

                       

FRANCIE WELSH’S BARNDANCE. Irish, Barndance. Ireland, County Donegal. D Major. Standard tuning. AA’B. Source for notated version: fiddler John Doherty (1895-1980, County Donegal) [Feldman & O’Doherty]. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 92.

           

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. Canada, Cape Breton. Composed by fiddler Donald Angus Beaton (1912-1982) of Mabou Coal Mines, Cape Breton, Nova Scotia. Rounder 7011, "The Beatons of Mabou: Scottish Violin Music from Cape Breton" (1978). Smithsonian Folkways Records, SFW CD 40507, The Beaton Family of Mabou – “Cape Breton Fiddle and Piano Music” (2004). 

                       

FRANCIS BERT MACDONALD. Canadian, Jig. Canada, Cape Breton. F Major. Standard tuning. AABB. Composed by Cape Breton fiddler Elmer Briand (1922-1992). Cranford (Jerry Holland’s), 1995; No. 252, pg. 73.

                                   

FRANCIS GRANT'S REEL. New England?, Reel. D Major. Standard tuning. AA'BB'. Source for notated version: Larry Meyerhoff [Spandaro]. Spandaro (10 Cents a Dance), 1980; pg. 13.

                       

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, Stockton’s Wing – “Light in the Western Sky.”

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. Canada, Cape Breton. A Major. Standard tuning. AAB. Composed by Cape Breton fiddler Dougie MacDonald. Miller (Fiddler’s Throne), 2004; No. 158, pg. 101. RC2000, George Wilson – “Royal Circus” (2000).

See also listing at:

Alan Snyder’s Cape Breton Fiddle Recording Index

           

FRANCIS XAVIER KENNEDY MACDONALD. Canadian, Jig. Canada, Cape Breton. F Mixolydian. Standard tuning. AABB. A modern composition by baroque violinist and Cape Breton-style fiddler David Greenberg. Cranford (Jerry Holland: The Second Collection), 2000; No. 285, pg. 102. Celestial Entertainment CECS001, Brenda Stubbert (Cape Breton, N.S.) - “In Jig Time” (1995). Marquis Records, David Greenberg & Doug MacPhee – “Tunes Until Dawn” (2000). Rounder Records 7052, Buddy MacMaster – “The Cape Breton Tradition” (2003). 

See also listing at:

Alan Snyder’s Cape Breton Fiddle Recording Index

                       

FRANCONIA WALTZ. American, Waltz. USA, New England. D Major. Standard tuning. AA'BB'. Composed by Andy Davis (Brattleboro, Vt.), 1991, for his wife Robin in honor of the place they became engaged (Franconia, New Hampshire). Matthiesen (The Waltz Book), 1992; pg. 24.

                       

FRANCOUNETTE, LA. French, Valse (3/4 time). C Major. Standard tuning. AA'BB'. Traditional tune from Central France. Stevens (Massif Central), 1987, vol. 2; No. 58.

                       

FRANK CASSIDY’S.  Irish, Highland. Compass Records 7 4446 2,Oisíin McAuley – “From the Hills of Donegal” (2007).

           


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). Henderson (Flowers of Scottish Melody), 1935. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 32.

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 (Cranford, Hunter): AABB (Honeyman). The companion tune to version #2, also composed by Peter Milne (1824-1908). Hunter (1979) reports that Frank Gilruth (1853‑1915) was a teacher of commerce at Dumfries Academy from 1882 until his death; he was born at Sanquhar, Gartly, Aberdeenshire. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 145, pg. 58. Henderson (Flowers of Scottish Melody), 1935. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 32. Hunter (Fiddle Music of Scotland), 1988; No. 258.

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. USA, New Hampshire. A Major. Standard tuning. AABB. The melody is included in the typewritten manuscript of New Hampshire fiddler John Taggart (1854-1943), called “Recollection of a Busy Life” (1938, New Hampshire Historical Society, Concord, N.H.), an un-named tune with the note “As played by Frank Harris.” Taggart wrote in his ms. that the tunes “were all taught me during my boyhood days in Sharon (N.H.), by the various fiddlers in that vicinity” [Miller]. Miller points out that Sharon is in “the heart of the Monadnock Region of southwestern New Hampshire, where fiddlers and contra dances abound to this day” (pref. iv). Randy Miller (2004) notes that Harris was a fiddler in Sharon, New Hampshire, Taggart’s boyhood home. Miller (Fiddler’s Throne), 2004; No. 159, pg. 102.  Miller & Peery, N.H. Fiddler’s Union – “The Music of John Taggart” (1989).

 

FRANK KEENEY [1]. AKA ‑ "Keeny." AKA and see "Viva la Compagnie." American, March (6/8 time). USA, southwestern Pa. D Major. Standard tuning. AB. Frank Keeney was a Washington County, Pa., fifer, but the tune is "Viva la Compagnie," which Bayard (1981) says was a once‑popular college song. The second strain is also the second of "Landlord Fill the Flowing Bowl," which Bayard maintains is of "international currency." Source for notated version: Grimm (Pa., 1961) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 626A‑B, pgs. 550‑551.

 

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, County Antrim. Mulvihill (1st Collection), 1986; No. 91, pg. 84. Ossian OSS CD 130, Sliabh Notes – “Along Blackwater’s Banks” (2002).

 

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. New England, Jig. D Major. Standard tuning. AABB. Welling (Welling’s Hartford Tune Book), 1976; pg. 9.

                       

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. Canada, Cape Breton. A Major (‘A’ part) & E Major (‘B’ part). Standard tuning. AABB. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 66, pg. 30.

                       

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, County Sligo, a contemporary and neighbour of famed fiddler Paddy Sweeney. According to Gregory Daly (liner notes to CHC 009), Walsh spent tine in New York in the 1930’s, where he played regularly with Michael Coleman and Paddy Killoran. Coleman Music Center CHC 009, tin whistle player Peter Walsh (d. 2000, of Powellsboro, near Tubbercurry, son of Frank Walsh) – “The Coleman Archive, vol. 2: The Home Place” (2005. Various artists).

 

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. USA, north-eastern Ky. A Major ('A' part) & D Major ('B' part). Standard tuning. AA'B. The tune was in the repertoire of Buddy Thomas’s grandfather, Jimmy Richmond, although Thomas learned it from the whistling of his mother. Mark Wilson (1976) notes that the tune is related to Pete Riley’s tune “Rattlesnake” and to a tune called “Boatin’ Up Sandy” played by a Portsmouth, Ohio, fiddler. Source for notated version: Buddy Thomas (Emerson, Lewis County, Ky., 1973) [Phillips, Titon]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 92. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 46, pg. 78. Rounder 0032, Buddy Thomas (northeast Ky.) ‑ "Kitty Puss: Old‑Time Fiddle Music From Kentucky" (1976). Rounder SS‑0145, Buddy Thomas (northeast Ky.) ‑ "Traditional Music on Rounder: A Sampler" (1981. A different recording than on Rounder 0032).

                       


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 Mt. Airy, North Carolina, fiddler Tommy Jarrell. Jarrell’s is a version of the song known as “Frankie and Albert” or “Frankie and Johnny” (see note for “Frankie and Johnny”). The title “Frankie Baker” for the song was retained in tradition in parts of North Carolina.

***

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 Ozark Mountain fiddle tunes compiled by Vance Randolph, published in 1954.

                       

FRANKLIN COUNTY BLUES. Old‑Time, Breakdown. Franklin County, Virginia?  County 548, The Dixie Ramblers - "Ridin' in an Old Model 'T'". Marimac 9110, The Dixie Ramblers ‑ "It'll Never Happen Again: Old TIme String Bands, vol. 1" (orig. rec. 1937).

                       

FRANKLIN IS FLED AWAY. AKA and see "O hone, O hone." English, Air (3/4 time). G Major. Standard tuning. AB. Chappell (1859) notes this is one of the tunes from which "God Save the King" or, in America, "My Country 'Tis of Thee" is said to have been derived. It appears in Apollo's Banquet for the Treble Violin (1669), Loyal Songs (1685 & 1694), and Pills to Purge Melacholy (1707). As with many such ballad tunes, it was adapted to several lyrics and appears in numerous collections including "A Mournful Caral" (Pepys, Roxburghe, Douce, and Bagford Collections), and "The Two Faithful Lovers" (Bagford Collection), as well as the ballad opera "The Jovial Crew" (1731) where it appears as "You gallant ladies all." The tune is sometimes known by its burden "O hone, O hone" leading Chappell to speculate that it is derived from an Irish Gaelic lamentation. He quotes Gayton's Festivous Notes upon Don Quixote (1654): "Who this night is to be rail'd upon by the black‑skins, in as lamentable noyse as the wild Irish make their O hones." Though the tune is sometimes claimed as Scottish, Chappell states it is of English composition. A similar melody was printed in Wales in 1781 (with claims of Welsh provenance) called “Margaret that Lost her Garter” (Kidson, Groves). Chappell (Popular Music of the Olden Times), vol. 2, 1859; pg. 20.

                       

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 Highlands of Scotland and the Isles), 1874; No. 124, pg. 49. Stewart-Robertson (The Athole Collection), 1884; pg. 290.

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. Canada, Cape Breton. D Major. Standard tuning. AABB. Composed by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia). Cranford (Brenda Stubbert’s), 1959; No. 104, pg. 37.

           

FRASER’S JIG [1].  Canadian, Jig. Canada, Cape Breton. Composed by Cape Breton fiddler and composer Dan Hughie MacEachern. Smithsonian Folkways Records, SFW CD 40507, The Beaton Family of Mabou – “Cape Breton Fiddle and Piano Music” (2004). 

           

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

T:Frazer’s

M:6/8

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)E E2 (d/B/) | AFD DFD |

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 (County Fermanagh) via the mid-20th century Liam Donnelly (County Tyrone & Belfast) collection [Breathnach]. Breathnach (CRÉ IV), 1996; No. 203, pg. 93. 

                       

FRAULEIN. Tune in the repertory of Buffalo Valley, Pa., dance fiddler Ralph Sauers, showing the German influence in his region.

                       

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. Ireland, County Sligo. D Major. Standard. AABB (Miller, Mulvihill, Taylor): AABB' (Breathnach): AA'BB' (Flaherty). Fred Finn (1919-1986) was a renowned fiddler from the Killavil, County Sligo, region, called Coleman Country because it was also the birthplace of famous fiddler Michael Coleman. Finn was a member of  the Glenview Céilí Band with fiddlers Peter Horan, Willie Coleman, Dick Brennan, among others. Both Brendan Breathnach and Bernard Flaherty (Trip to Sligo) maintain in their respective publications that the original name for this tune was "Berkshire Heights." Sean Ryan recorded a version of the tune in 1969. Sources for notated versions: fiddler Fred Finn {1919-1986} (Kiltycreen, Kilavil, Co. Sligo) [Flaherty]; fiddler and flute player Peter Horan & fiddler Freddy Finn (Ireland) [Breathnach]; Brendan Mulvihill (Baltimore, Md.) [Mulvihill]; set dance music recorded at Na Píobairí Uilleann in the 1980’s [Taylor]. Breathnach (CRÉ III), 1985; No. 199, pg. 88. Bulmer & Sharpley (Music from Ireland), 1974, vol. 3, No. 30. Flaherty (Trip to Sligo), 1990; pg. 77. Miller (Fiddler’s Throne), 2004; No. 160, pg. 102. Mulvihill (1st Collection), 1986; No. 84, pg. 22. Taylor (Crossroads), 1992; No. 14, pg. 12. Taylor (Music for the Sets: Yellow Book), 1995; pg. 10. Treoir, iv, 6. Cló Iar-Chonnachta CICD 167, Peter Horan & Gerry Harrington – “The Merry Love to Play” (2007). Coleman Center CD CC004, Jimmy Murphy, James Murray & Kevin Brehony – “The Mountain Road” (1999. Various artists. “A Compilation of tunes popular in South Sligo”). Mulligan Records, Freddy Finn & Peter Horan. Shaskeen ‑ "The Mouse Behind the Dresser." “Music at Matt Molloy’s.” Chieftains – “Water from the Well.”

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:Berkshire Heights, The

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 (Baltimore, Md.) [Mulvihill]. Miller (Fiddler’s Throne), 2004; No. 161, pg. 103. Mulvihill (1st Collection), 1986; No. 69, pg. 18. Green Linnet GLCD 1016, The Irish Tradition – “The Corner House” (1978).

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 village of Stockland, near Honiton, East Devon. He was from a family of bakers, following his father and grandfather. Pidgeon had played for dances in his youth, along with two cousins (one of whom, Joe Pimm, was his brother-in-law). “We all played all three violins. But the oldest of em, he’d play a lot of seconds and make we youngsters work. And we used to enjoy it. He could never speak to me when he was playing. I’d talk to him and he’d give a nod—he’d never answer. We used to have fine fun.” He was recorded by Peter Kennedy in 1951 and 1954, and was still playing out in his 70’s; as Kennedy remarks, “although tired from a long night of fiddling for local dances, Fred used to go straight from the hall to his bake-house to prepare the villager’s daily loaves of bread.” The ‘A’ part of the melody shows up in the first part of an Irish barndance set known as “Pearl O’Shaughnessy’s Barndances.” Raven (English Country Dance Tunes), 1984; pg. 153. Folktrax FTX 087, Fred Pidgeon – “Ladies Breast Knot.” Wildgoose Records, Rattle on the Stovepipe – “8 More Miles” (2005).

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 Ontario fiddler Jim Magill. Jarman (Jim Magill's Square Dance Tunes); No. or pg. 1.

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, Cape Breton; Clog or Hornpipe. USA; Maine, southwestern Pa. F Major (Coles, Sweet, Tolman): D Major (Bayard, Begin). Standard tuning. AABB. One of a very large hornpipe family that includes the tunes listed above, undoubtedly plus some others. “The Cliff Hornpipe” is perhaps the closest variant, while  “Harvest Home” and its close variants are related to “Fred Wilson’s” in the ‘B’, or second, part, with the first parts being distinct. Bayard states that this well‑known tune was a favorite of Pennsylvania fiddlers and fifers, and guesses it dates to the early 19th century. It was one of the tunes listed in the repertoire of Maine musician Mellie Dunham, who was Henry Ford's champion fiddler in the late 1920's.

***

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 New York, and about December 1, that year, made

his first appearance in Boston with the Morris Bros., Pell and Trowbridge’s Minstrels,

where he made a lengthy stay.  April 29, 1861, he opened with Lloyd’s Minstrels in New

York, closing May 25, following. Later he went to China in a government capacity, but

not liking the cooking in the Celestial Empire, returned to the United States, arriving

January 25, 1864. (Charley) Morris and Wilson’s Minstrels opened their permanent

Home in St. Louis, April 10, 1865; the partnership dissolved in February, 1867. Fred

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 Cal. Wagner’s

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.,

November 9, 1827. 

***

Frank Dumont in an article in the New York Clipper (March 27, 1915—“The Younger Generation in Minstrelsy and Reminiscences of the Past”), credits Wilson with introducing the clog dance on the minstrel stage several years before the Civil War, when he was with Morris Brothers’ Minstrels. “Fred Wilson’s” was one of many tunes learned from Ryan/Cole’s by Cape Breton fiddlers, and, according to Richard Nevins (Shanachie 14001), was popular  around Margaree, Cape Breton (fiddler Angus Chisholm was born in Margaree Forks). Sources for notated versions: 8 southwestern Pa. fidders [Bayard]; fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]. Bayard (Dance to the Fiddle), 1981; No. 410A‑H, pgs. 389‑392. Begin (Fiddle Music from the Ottawa Valley: Dawson Girdwood), 1985; No. 42, pg. 52 (appears as “Fed Wilson’s Hornpipe”). Cazden, 1955; pg. 37. Cole (1000 Fiddle Tunes), 1940; pg. 100 (appears as "Fred Wilson's Hornpipe"). Ford (Traditional Music in America), 1940; pg. 100. O'Malley, 1919; pg. 34. Ryan’s Mammoth Collection, 1883; pg. 135. Sweet (Fifer's Delight); No. or pg. 47 (appears as "Zig‑Zag"). Tolman, 1969; pg. 16 (appears as "Fred Wilson's"). White's Excelsior Collection, 1907; pg. 43. White's Unique Collection, 1896; No. 113. Shanachie 14001, "The Early Recordings of Angus Chisholm" (1978). Fretless 101, "The Campbell Family: Champion Fiddlers" (as "Billy Wilson's Clog"). Fretless 103, "Clem Myers: Northeast Regional Old Time Fiddle Champion 1967 & 1970 (as "Billy Wilson's Clog"). Front Hall 01, Bill Spence & Fennigs All Stars‑‑"The Hammered Dulcimer."

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. USA; Eastern Tenn. Old Homestead OHCS 191, "Dykes Magic City Trio" (Eastern Tenn.) {originally recorded for a Brunswick 78 in 1927}. Columbia 15498 (78 RPM), Roane County Ramblers (1929). County 403, Roane County Ramblers (Eastern Tenn.) {1929}. Marimac 9008, The Lazy Aces ‑ "Sill Lazy After All These Years" (1986. Version originally from Clarence Ashley & Fred Price).

                       

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 United States and Britain) for a saloon or speakeasy. Partridge’s Dictionary of Slang and Unconventional English (7th Edition, 1970) says that a ‘free-and-easy’ was “a social gathering (gen. at a public-house) where smoking, drinking and singing are allowed…from 1796…a ribald club or society, fl. 1810-11, was known as the Free-and-Easy Johns.” There was a New York City concert saloon called McHugh’s Free and Easy at 65 West Houston Street in the mid-19th century. Such establishments could be fined if they provided entertainment (which encouraged drinkers to linger and thus increased trade) without a license from the city, and McHugh apparently ran afoul of the law. According to a note in the files of the watchdog Society for the Prevention of Juvenile Delinquency, one of their investigators sampled the establishment and witnessed entertainment—“As disponent is informed and believes all of said minstrels are professionals and as such are employed by and receive compensation from said defendant McHugh.” (McNamara, The New York Concert Saloon: The Devil’s Own Nights, 2002, pg. 49).

***

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. Ireland, County Kerry. D Major. Standard tuning. AB. The “Tinker’s Reel” and “Lisburn Lasses” are related tunes. Source for notated version: the Rice-Walsh Manuscript (from the playing of North Kerry fiddle master Jeremiah Breen, as noted by his pupil Thomas Rice and later copied by Sgt. James P. Walsh of the Chicago police in the early 20th century) [O’Neill]. Breathnach (CRÉ II), 1976; No. 187 (appears as “Gan ainm”/Untitled). O’Neill (Waifs and Strays of Gaelic Melody), No. 263. Green Linnet SIF 1122, Kevin Burke - “Open House” (appears as untitled 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. Canada, Cape Breton. F Major. Standard tuning. AB. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 35.

           

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 Cape Breton fiddlers. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 77, pg. 27.

                       

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 England was frankly humanitarian and convivial, with business being swiftly concluded the assembly thereafter smoking churchwarden pipes, emptying bowls of bishop, singing songs and glees, and speechifying. Although the English Masons traced their roots rather benignly to the medieval building guilds, on the Continent the order took on a much more mystical and sinister aspect, with claims attempting to tie it to ancient and obscure Egyptian mysteries. Trim (Thomas Hardy), 1990; No. 34.

                       

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 (London, 1730), and Walsh’s third book of the Compleat Country Dancing Master (1735). From the music manuscript copybook of Henry Livingston, Jr.  Livingston purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 he was a Major in the 3rd New York Regiment, which participated in Montgomery’s invasion of Canada in a failed attempt to wrest Montreal from British control. An important land-owner in the Hudson Valley, and a member of the powerful Livingston family, Henry was also a surveyor and real estate speculator, an illustrator and map-maker, and a Justice of the Peace for Dutchess County. He was also a poet and musician, and presumably a dancer, as he was elected a Manager for the New York Assembly’s dancing season of 1774-1775, along with his 3rd cousin, John Jay, later U.S. Chief Justice of Governor of New York. Words to the song (also republished under the title “The Entered Apprentice’s Song”) begin:

***

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 STATE HORNPIPE. AKA - "Hornpipe in A." Old-Time, Hornpipe. A Major. Standard tuning. AABB. Source for notated version: Tommy Jackson and John Ashby [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 202 (appears as "Hornpipe in A").

                       

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, Yorkshire) [Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 122, pg. 65.

           

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 (London, 1718) and two editions of his Third Book of the Compleat Country Dancing Master (1735 and 1749). The title may refer to Camille, Marquis de le Baume-d’Hostun, Baron d’Arlanc, Comte de Tallard (1652-1728), or Count Tallard. Tallard was a general turned diplomat who served as Louis 14th’s extraordinary to England from 1700-1702, when he was expelled by King William III after King Louis recognized the son of King James II as the successor to the throne of England. Tallard’s military reputation peaked during the War of the Spanish Succession, and he was created Marshal of France after several victories. He commanded the French and Bavarian forces at Blenheim in 1704, where he was defeated by John Churchill, 1st Duke of Marlborough and Eugene of Savoy, and was taken prisoner. Tallard has his another melody in the Dancng Master, County Tallard. Barlow (Compleat Country Dance Tunes from Playford’s Dancing Master), 1985; No. 438, pg. 101. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 47.

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

G/G/ | GE/E/ Ec/B/ | c/B/c/d/ cG/G/ | GE/E/ Ed/^c/ | d/^c/d/e/ dG/G/ | GE/E/ Ec/B/ |

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" (Pa.), "Baltimore [1]," "Cassino," "Cacina," "Cacinameronian's Rant," "Cottillion Oats Peas Beans." Murphy Manuscript, pg. 29.

                       

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.

X:1

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.