The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

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

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

 

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

 

 

 


FROG AND THE MOUSE, THE. English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABB. Kidson's tune is from Thompson's Pocket Companion for the German Flute (1797), and is the same as that used for the old song "Amo Amas I love a lass" (from the "Agreeable Surprise," 1781). He points out the nursery song "A frog he would a wooing go" is quite ancient and is mentioned in the 1549 work Complaint of Scotland under the title "The frog cam to the myl dur {mill-door}." A ballad "Of a most strange wedding of a frog and mouse" was entered at Stationer's Hall in 1584, according to Chappell. It can be found in Melismata (1611) and in Thomas D'Urfey's Pills to Purge Melancholy (1719) as a political song. American versions go under the title “Froggie went a-courtin’” while in Ireland it can be found as “Cousin frog went out to ride (fa lee linkin’ laddy oh).” Kidson (Old English Country Dances), 1890; pg. 3.

X:1

T:Frog and the Mouse, The

M:2/4

L:1/8

S:Frank Kidson – Old English Country Dances  (1890)

Z:AK/Fiddler’s Companion

K:G

D|G2G2|D2D2|EDEF|D3D|G2D2|GFGA|

B4|G3::G|B2c2|d2B2|G2D2|D2d2|dedc|B4|

d4|G2G2|D2D2|EDEF|D2D2|G2D2|GFGA|B4|G3:|

                       

FROG DANCE. AKA and see "Bonaparte's Retreat." "Frog Dance" is a Manx version of the tune.

                       

FROG GALLIARD, THE. AKA – “Now, O Now, I Needs Must Part.” English, Country Dance Tune (3/2 or 6/4 time). G Major. Standard tuning. AB. This 16th century air appears in Morley's Consort Lessons (1597), Robinson's New Cithren Lessons (1609), Nederlantsche Gedenck‑Clanck (1626), Stichtelycke Rymen (1647), and a lute MSS. in the Cambridge University library. John Dowland published it as “Now, o now I needs must part” in his First Booke of Songes or Ayres (1597). The tune was published in 1649 in the Netherlands in a volume called Der Fluyten Lust-Hof (The Flute’s Garden of Delights) by Jacob van Eyck (c. 1590-1657), a recorder player, carillonneur of the Utrecht Dom Cathedral, and director of all the bells and clock-chimes of the city. He called it “Harte Diefje, Waerom Zoo Stil” (Little Thief of My Heart; Why so Still?). Chappell (1859) says several ballads were written to the tune Chappell (Popular Music of the Olden Time), vol. 1, 1859; pgs. 274‑275.

X:1

T:Frog Galliard, The

M:6/4

L:1/8

S:Morley – Consort Lessons

B:Chappell – Popular Music of the Olden Times (1856)

Z:AK/Fiddler’s Companion

K:G

B4A2 G4F2 | E3F G2 F3G A2 | B3c d2 c4B2 | A6 A6 |

B4A2 G4F2 | E3F G2 A3B c2 | B3B AG G4 F2 | G6 G6 ||

G2c2c2c3d e2 | d4 B2G3A B2 | c3c B2 A4 ^G2 | A6 A6 |

B4A2G4F2 | E3F G2 A4 Bc | d3d cB AG A2A2 | G6 G6 ||

                       

FROG IN THE CORNER. English, Reel. D Major. Standard tuning. AA'BB'. A modern composition by Pete Coe. Knowles & McGrady (Northern Frisk), 1988; No. 142.

                       

FROG IN THE WELL [1], THE. AKA and see “Close to the Floor,” “Father Tom’s Wager,” Irish, Jig. G Major. Standard tuning. AABB’. “Close to the Floor,” the name in Ryan’s Mammoth Collection/Coles 1000, is the title that County Donegal musician Danny O’Donnell recorded the tune under in 1939. Columbia 78 RPM, Francis Cashin and Tom Cawley (1929). Ossian OSS-21, Rose Murphy – “Milltown Lass” (1977. Originally recorded for Topic Records when she was 76 years old. Murphy played old-style melodeon, and her brother was the noted box-player P. J. Conlon. She supposedly played when younger, but stopped for forty years while she raised a family, only to resume playing later).

X:1

T:Frog in the Well, The

T:Father Tom’s Wager

M:6/8

L:1/8

R:jig

D:Rose Murphy, "Milltown Lass", Ossian OSS-21, track 3(b)

K:G

B/c/|dge dBG|AEF GDB,|G,B,D GAB|cBc ABc|

dge dBG|AEF GDB,|G,B,D GAB|cAF G2:|A|

Bdg bag|fed cAF|DGG FAA|GBB ABc|

Bdg bag|1fed cAF|DGG FGA|BGG G2:|

2fed cAB|cec BdB|cAF G3||

 

FROG IN THE WELL [2], THE. AKA and see “Rakes of Kildare.”

                       

FROG IN THE MILLPOND. AKA and see "Fare You Well, My Susan."

                       

FROGGIE ON THE CARPORT. AKA and see “Doggie on the Carpet.”

                       

FROGGIE WENT A COURTIN’. See “The Frog and the Mouse.”

                       

FROGS’ FROLIC. AKA and see “Dunkeld House [1].” American (originally Scottish), Jig. E Minor. Standard tuning. AAB. Cole (1000 Fiddle Tunes), 1941; pg. 70.

X:1

T:Frogs’ Frolic

M:6/8

L:1/8

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:E Minor

{F}EDE G2E | B2G G2E | F2D DFA | ABA AFD | {F}EDE G2E | B2E G2A |

(Bc)B (AG)F | BGE E2 z :| {f}(gb)g e2f | (gb)g e2f | (faf) d2f | {f}(gb)g e2f |

(gb)g e2f | (gfe) (bge) | (ef)e e2f | {f}(gb)g e2f | (gb)g e2g | (faf) d2f |

(efg) (fga) | (gab) e2B | (Bc)B AGF | BGE E2z ||

                       

FROLIC, THE. AKA and see "Blue Bonnets Hornpipe," “Hot Punch,” "Orange and Blue [2]," "Lick the Laddle Sandy [2].” Scottish, English; Reel. England, Northumberland. C Major. Standard tuning. AABB. A 4/4 version of the tune usually known as “Orange and Blue,” a jig. John Glen (1891) finds the earliest appearance of the tune in print in Joshua Campbell's 1778 collection (pg. 14). Hunter (Fiddle Music of Scotland), 1979; No. 354. Kerr (Merry Melodies), vol. 2; No. 322 (“Orange and Blue”). MacDonald (The Skye Collection), 1887; pg. 21. Seattle (William Vickers), 1987, Part 2; No. 219.

                       

FROLIC OF THE FROGS. American, Waltz. C Major. Learned by Arizona fiddler Kenner C. Kartchner from Frank Wattron's Edison record, 1902. McDirlam Greene Productions, Bruce Greene & Hilary Dirlam - "Fiddler's Dozen" (1994. Learned from Gusty Wallace of Sulphur Well, Kentucky).

                       


FROLICKSOME DAME, THE. AKA and see “Buttermilk Mary [3],” “Coleman’s Favourite,” “Fond of the Ladies,” “Health to the Ladies,” "The Irish Miller," “Irishman’s Heart to the Ladies,” “Irishman’s Love [1],” “The Móinín Jig,” “The Mountain Road [2],” “The Mountainy Boy,” “The Night of the Wedding,” “O’Mahony’s Jig,” “Over the Callows,” “Paddy Clancy’s,” “Pat Beirne’s Favourite,” “The Queenstown Jig,” "Saddle the Pony [2]" (Roche), “Sweet Biddy Daly,” “To the Ladies.”

                       

FROM ABERDEEN. English, Country Dance Tune (4/4 or 2/2 time). G Major. Standard tuning. AA'B (Merryweather): ABB (Barnes, Sharp). The melody was one of the "Scotch" tunes published by John Playford in 1698. Barnes (English Country Dance Tunes), 1986. Merryweather (Merryweather’s Tunes for the English Bagpipe), 1989; pg. 47. Sharp (Country Dance Tunes), 1909/1994; pg. 71.

                       

FROM BILLY TO JACK. AKA and see AKA and see “Denis Doody’s [2],” “Glen cottage no. 2,” “Glen Cottage Polka [2], “The Green Cottage [2],” “Green cottage polka, no. 2,” “The Glin Cottage Polka [1],” “Quarry Cross,” “St. Patrick was a gentleman [2],” “St. Patrick was your patron saint.” Irish, Polka. Ireland, Sliabh Luachra region of the Cork-Kerry border. E Dorian. Standard tuning. AABB’. Source O’Leary said: “(West Kerry fiddlers) Billy Clifford and Jack Clifford are the only two I ever heard playing that polka. Billy’s father John Clifford, Julia’s husband, he used to play that for every set. He was well able to, it was lovely.” Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region), recorded at Na Píobairí Uilleann, October, 1984 [Moylan]. Moylan (Johnny O’Leary), 1994; No. 160, pg. 92.

                       

FROM FRISCO TO CAPE COD. Canadian (?), Waltz. G Major. Standard tuning. AABB. The melody was recorded for Victor and issued on a 78 RPM by the Minneapolis based Swedish-American group Hjalmar Peterson and his Hobo Orchestra, whose hey-day was the 1920's-1940's. Seattle fiddler Vivian Williams has found a version of the tune in Scandinavian tradition under the title “Frisco til Cap.” Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 169, pg. 113.

                       

FROM GALWAY TO DUBLIN (TOWN). AKA and see "Bonaparte Crossing the Rhine [2]," “First Light of Day,” “The Listowel Hornpipe.” Irish, Hornpipe/Barndance. E Dorian. Standard tuning. AABB. The original 78 recording New York Sligo-style fiddler Andy McGann learned the tune from featured someone calling out the railway stations on the line between Dublin and Galway while the band played the tune. Gordon Turnbull thinks this tune may bridge the gap between “The Star of the County Down” and the jig “The Orphan.” A song, "Let Mr. McGuire Sit Down,” was set to a variant of the melody, with a chorus that went:

***

Johnny get up from the fire, get up and give the man a seat
Can't you see it's Mister McGuire, and he's courtin' your sister Kate?
You know very well he owns a farm a little bit out of the town
Arrah, get up out of that, you impudent brat, and let Mister McGuire sit down.

***

Shanachie 29009, "Andy McGann & Paul Brady."

X:1
T:From Galway to Dublin Town
T:Napoleon Crossing the Rhine
R:hornpipe
S:Jonas Lindholm
Z:id:hn-hornpipe-95

Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
K:Edor
B,D|E2EG EDB,D|GFGB A2GA|Bdgf edBA|GE~E2 D2B,D|
E2EG EDB,D|GFGB A2GA|Bdgf edBA|GEED E2:|
|:(3Bcd|efed B2BA|GFGB d2 (3Bcd|efed BdBA|GE~E2 D2B,D|
E2EG EDB,D|GFGB A2GA|Bdgf edBA|GEED E2:|

                       

FROM MILTOWN TO PORTUMNA. Irish, Reel. A Dorian. Standard tuning. AABB. Composed by Irish-American musician Joannie Madden (New York), whose mother is from Miltown Malbay, County Clare, and father Joe from Portumna, County Galway. Black (Music’s the Very Best Thing), 1996; No. 55, pg. 29.

X:1

T: From Miltown to Portumna

C: Joanie Madden

Z: transcribed by B.Black

Q: 350

R: reel

M: 4/4

L: 1/8

K: Ador

EA A2 BA A2 | BABd c2 BA | G2 GF GABc | dBeB dBAG |

EA A2 BA A2 | BABd c2 BA | G2 GF GABd | (3efg dBBA A2 :|

agef g2 ed | BG (3GGG Bc d2 | agef g2 ed | eaag a3 g |

agef g2 ed | BG (3GGG Bc d2 | EA A2 GABd | egdB BA A :|

                       

FROM NIGHT TILL MORN. AKA and see “Pauve Madeleine,” “Wine Cannot Cure.” English, Air (duple time). D Major. Standard tuning. One part. A late 18th century dance tune derived from the song “Wine Cannot Cure,” a duet performed at the Theatre Royal, Covent Garden, London, where it was sung by “Mr. Johnstone and Mr. Incledon…,and by Mr. Dignum, and Mr. Sedgewick, at the Je Ne Scai Quoit Club” (sheet music at http://levysheetmusic.mse.jhu.edu/otcgi/llscgi60). The first line of the song, from which the title is taken, goes: “From night till morn (I take my glass In hopes to forget my Chloe).” Printed appearances are numerous, and include vocal, dance and martial versions. It appears in Carr’s Elegant Extracts (1796), Preston & Sons Compete Instructions for the Bassoon (London, c. 1790), Longman & Broderip’s A Set of Military Pieces {2} (London, c. 1790), George Willis’s Compleat Tutor for the German Flute (published in London about 1792 by T. Cahusac), Logier’s Introduction to the Art of Playing on the Royal Kent Bugle {i.e. the keyed bugle} (Dublin, c. 1813), and Andrews’ Complete Instructions for the Fife (London, 1808). The melody was also wedded to the ancient ballad story "The Maid and the Palmer" on a recording by the group Brass Monkey in 1983. Under the title “Wine Cannot Cure” it was included in the 1801 manuscript tune book of John Jones (Shorpshire, Eng.), and the c. 1800 music copybook of the Welch family (Sussex). Barry Callaghan (2007) laments the frequent regularizing of the 12-bar 2nd part (as in the Welch manuscript) in modern English sessions.

***

The melody was popular in America as well as in Britain. It appears in the music manuscripts of Eben Irving (1796, Middletown, New York), later added to by William Irving from 1827-1833, where it is given as “From Night till Morn, or Pauvre Maudelon.” Irving’s alternate title, “Pauvre Madeleine,” is the name of the tune in military march versions, popular in the 1800’s. It appears in William Litten’s music manuscript copybook of 1800-1802. Little is known about Litten, but apparently he was a resident of Martha’s Vineyard, and compiled his copybook at sea. “From Night till Morn” also appears in the music copybook of John Treat  (1779, Durham?, also written in several other hands), entitled “Gamut for the Fifes.” It was published in Young and Carey’s Young’s Vocal and Instrumental Musical Miscellany (Philadelphia, 1793, pg. 10), where it is labelled “A Favorite Duett.”

***

Callaghan (Hardcore English), 2007; pg. 36. Huntington (William Litten’s), 1977; pg. 44.

X:1

T:From Night Till Morn

C:Welch MS  (1800, Sussex, England)

M:4/4

L:1/8

K:G

|:dc|B2B2B2G2|AGAB G2AB|cBAG GABc|d3e/2c/2 B2dc|

B2B2B2G2|AGAB G2AB|cBAG GABG|[1A4G2:|[2A4G4

|:GABc d2d2|d2e2d4|e2d2g2B2|d3e/2c/2 B2dc|

B2B2B2G2|AGAB G2AB|cBAG GABc|d3e/2c/2 B2dc|

B2B2B2G2|AGAB G2AB|cBAG GABG|A4G4:|

X:2

T:From Night Till Morn

M:C|

L:1/8

S:William Litten’s copybook manuscript  (1800-1802)

Z:AK/Fiddler’s Companion

K:D

a>g|f2f2f3f|ed ef d2 ef|gfed defg|a2 b/g/ f2 a>g|f2f2f3f|

ed ef d2 ef|gfed defg|f2 g/f/e d2d2|defg a3a|a2 b>a a2za|

b3a d’3f|a3 b/g/ f2 a^g/=g/|.f2.f2.f2z2|ed ef d2 ef|gfed defg|

a3 b/g/ f2 a^g/=g/|.f2.f2.f2z2|ed ef d2 ef|gfed defg|f2e2d2 a^g/=g/|

zfzfza gf|zezezg fe|d/e/f/g/ a/b/c’/d’/ ze fg|f2 ed/e/ d2||

                       

FROM SHORE TO SHORE [1] (Ua Trag Go Trag). Irish, Reel. G Major. Standard tuning. AB (O'Neill/1850): AA'BB' (O'Neill/Krassen). O'Neill (Krassen), 1976; pg. 160. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1545, pg. 285.

X:1

T:From Shore to Shore

M:C|

L:1/8

R:Reel

S:O’Neill – Music of Ireland (1903), No. 1545

Z:AK/Fiddler’s Companion

K:G

Bdd^c egdg | (3efg dg fafd | Bdd^c egdg | cAFD BG G2 |

Bdd^c egdg | (3efg dg fafd | Bdd^c egdg | fdcA BG G2 ||

bgfg egdg | bgfg fa a2 | bgfg egdg | cAFD BG G2 |

bgfg egdg | bgfg fa a2 | (3bag (3agf (3gfe (3dcB | cAFD BG G2 ||

 

FROM SHORE TO SHORE [2].  Irish, Reel. A Major. Standard tuning. AABB. A different tune than the one O’Neill prints by the same name. Cole (1000 Fiddle Tunes),  1940; pg. 34. Ryan’s Mammoth Collection, 1883; pg. 59.

X:1

T:From Shore to Shore [2]

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:A

E | .A(c/e/) .a(g/f/) | e/c/d/B/ c/A/F/A/ | E(A/B/) c/A/a/f/ | e/c/A/c/ (B/A/)(F/B/) |
A(c/e/) a(c/f/) | e/c/d/B/ c/A/F/A/ | E(A/B/) c/A/a/f/ | e/c/B/c/ A :: (A/d/) |

.f(f/g/) /a(a/f/) | e/f/e/c/ (d/c/)(B/A/) | (A/c/)(e/c/) (A/d/)(f/d/) | e/f/e/c/ (d/c/)(B/A/) |

A,/C/E/A/ C/E/A/c/ | E/A/c/e/ A/c/e/a/ | g/b/a/f/ e/d/c/B/ | B/A/G/B/ A :|

                       


FROM THE COURT TO THE COTTAGE. AKA and see "Donall na Greine," "Daniel of the Sun [1]," "Girls of the West," "I gave to my Nelly," "Bucky Highlander," "The Leg of (a) Duck," "Thady/Teddy you Gander," "'Tis sweet to think," "O my Dear Judy," "O My Dear Father, Pity Your Daughter," "The Bottle of Brandy," "Bully For You," "Petticoat Loose [1]," "The Bonny Highlander," "The Western Jig."

                       

FROM THE FAIR LAVINIAN SHORE. English, Air (4/4 time). G Major. Standard tuning. One part. The song appears in Academy of Compliments (1664). Jackson thought the words to have been by Shakespeare, on manuscript evidence, while the setting was by John Wilson. Kines (1964) says, "it is an early example of many pseudo‑pedlar songs which became popular in the 17th century." Kines (Songs From Shakespeare's Plays and Popular Songs of Shakespeare's Time), 1964; pg. 62.

                       

FROM THE MAN I LOVE. AKA and see "Balance a Straw."

                       

FROM THE NEW COUNTRY. AKA and see "Swallowtail Jig [2]" (the Irish title). English, Irish; Jig. E Minor. Standard tuning. AABB. Raven (English Country Dance Tunes), 1984; pg. 122.

                       

FROM THE NEXT COUNTRY. AKA and see "Swallowtail Jig [2]." Bayard identifies this tune as another version of the "protean 'Welcome Home' family." Harding Collection, 1915, and Harding’s Original Collection, 1928; No. 175.

                       

FROM THEE ELIZA I MUST GO. Irish, Slow Air (4/4 time). D Dorian/A Minor. Standard tuning. AB. "The Munster people‑‑as I have stated elsewhere in this book‑‑sang several of Burns' songs to native Irish airs. The song 'From Thee Eliza I Must Go' I have often heard sung when a boy, always with the following Irish air. Compare with 'Una' in my Ancient Irish Music" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 106, pg. 54.

X:1

T:From thee Eliza I must go

M:C

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:D Dorian

D|D>EGE DEG>E|DEGA G3G|AAc>d dde>c|dc/A/ GA A3||c/d/|eefe d>c A>^F|

GEFE G3E|AA c>d dc/d/ e>c|dc/A/ GA A3||

                       

FROM THEE TO ME SHE TURNS HER EYES. English, Country Dance Tune (6/8 time). G Major. Standard tuning. AB. The melody was used for a song in the ballad opera Fashionable Lady, or Harlequin Opera (1730), although the title comes from an earlier song which has not been found. Kidson (1890) believes the first part of the tune to have suggested the opening strain of "The Dusky Night rides down the Sky." Kidson (Old English Country Dances), 1890; pg. 6.

X:1

T:From thee to me she turns her eyes

M:6/8

L:1/8

S:Frank Kidson – Old English Country Dances  (1890)

Z:AK/Fiddler’s Companion

K:G

d|g2d g2d|B>AB G2d|e2d c2B|(A3 A2)||d|

d2G G2e|e2A A2f|f2B B2g|g2G G2d|dcB A2G|(G3 G2)d|

dBG ecA|fdB g2d|dBG ecA|fdB g2d|dcB A2G|(G3 G2)||

                       

FROST AND SNOW (Sioc Agus Sneacd). Irish, Hornpipe. A Dorian. Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 196. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1695, pg. 315.

X:1

T:Frost and Snow

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Music of Ireland (1903), No. 1695

Z:AK/Fiddler’s Companion

K:A Minor

E>F | G>^FG>A G>ED>E | G>^FG>A G2 E>D | E>AA>B c>BA>^G |

A>Bc>d e2 E2 | A>Bc>d e2 ge | d>BG>B d2 cd | e>dc>B A>GE>D | E>AA>^G A2 :|

|: E2 | A>^GA>B c>Bc>d | e>^fg>e a2 ef | g>^fg>e d>cB>d | c>BA>c B>GE>D |

A>Bc>D e>^fg>e | d>BG>B d2 cd | e>dc>A A>GE>D | E>AA>^G A2 :|

           

FROST IS ALL GONE, THE. See "The Frost is all Over."

                       


FROST IS ALL OVER [1], THE (Taan Sioc Imtigte). AKA and see "The American Dwarf," “The Dancing of the Rabbits in Honan’s Garden,” “D’Imthig an Sioc” (The Frost is all Gone), “The Frost is All Gone,” “Lisdoonvarna,” “Loughrea Jig,” "Mist of Clonmel," "On a Monday Morning," "The Praties Are Dug, and the Frost is all Over,” “What Would You/I do if the Kettle Boiled Over,” “What Would You do if You Married a Soldier?” Irish (originally), English, American; Double Jig. D Major. Standard tuning. AB (Stanford/Petrie): AAB (O'Neill/1001): AABB (Songer): AABBCC (Moylan): AABB’ (Cranitch, Mulvihill, Taylor). Samuel Bayard identifies the tune as a version of "The Masque,” later “Hey to the Camp,” published by Playford in his Dancing Master of 1707 (13th ed., 148), and, he believes, dating probably to the 1600's. It also appears (as “Hey to the Camp”) in Walsh’s Dancing Master of 1731 (No. 221). If it was English in origin (not an established fact), the melody has survived today as a jig in both Irish and American traditions. However, tracing it has been complicated by the confounding association with sets of lyrics variously beginning “What would you do if the kettle boiled over,” “What would you do if you married a soldier,” “The praties are dug and the frost is all over,” and similar variant verses.  These lyrics have been powerfully associated not only with the “Frost is all over [1]” melody, but also with a close variant jig melody “Frost is all over [2],” and with another jig, musically unrelated but similar in character, that often is known nowadays as "Paddy's Return [1]." The lyrics below were popularized De Dannan member Johnny Moynihan (who had them from Seamus Ennis, who obtained them from Elizabeth Cronin of Macroon, County Cork, who recorded them in 1947):

***

The praties are dug and the frost is all over, Kitty lie over close to the wall.

***

What would you do if the kettle boiled over? What could I do but to fill it again.

***

What would you do if the cows eat the clover? What could I do but to set it again?

***

What would you do if you married a soldier? What could I do but to follow the gun?

***

An Australian variation begins:

***

What would you do if the billy boiled over?

***

where billy refers to a billy can, a tin can originally used for bully beef, and an improvised substituted for a kettle (Bob Bolton, 4/9/02, Mudcat Café Forum). A Pennsylvania version of the “Frost is all over [1]” jig was collected in the 1930’s as an untitled cotillion by Bayard. 19th century Irish versions appear in the collections of P.W. Joyce (an untitled air, No. 516, from the Forde Collection), George Petrie (collected in County Armagh), and, in a distanced version recognizable mostly in the second part, of cleric James Goodman (Cork & Munster). “Frost” is known as a popular jig in County Donegal (hear an influential version was recorded by Paul O’Shaughnessy on the album “The Fiddle Music of Donegal”). The third part (appearing in Moylan’s collection of Johnny O’Leary tunes, and, in recording, played by Jackie Daly and Patrick Street) is unusual and seldom played. See also the related tune “The Loughrea Jig.” Sources for notated versions: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border), recorded in recital at Na Piobairi Uilleann, November, 1990 [Moylan]; set dance music recorded at Na Píobairí Uilleann in the late 1980’s [Taylor]; Smokey McKeen (Maine) via accordion player Creighton Lindsay (Portland, Oregon) [Songer]; the Forde Collection [Joyce]. Allan's Irish Fiddler, No. 2, pg. 2. Cranitch (Irish Fiddle Book), 1996; No. 4, pg. 126. Cranitch (Irish Session Tunes: The Red Book), 2000; 6. Joyce (Old Irish Folk Music and Songs), 1909; No. 516, pg. 280 (appears as untitled air). Moylan (Johnny O’Leary), 1994; No. 180, pg. 104. Mulvihill (1st Collection), 1986; No. 13, pg. 67 (“Coleman’s version”). O’Brien (Jerry O’Brien’s Accordion Instructor), 1949. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 126, pg. 73. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 313, pg. 66. Peoples (Fifty Irish Fiddle Tunes), 1986; 24. Raven (English Country Dance Tunes), 1984; pg. 103. Roche Collection, 1982, vol. 1; No. 107, pg. 46 (appears as "The Frost is all Gone"). Ryan’s Mammoth Collection, 1883; pg. 111. Shields/Goodman (Tunes of the Munster Pipers), 1998; No. 66, pg. 30 (appears as “D’Imthig an Sioc/”The Frost is All Gone”). Songer (Portland Collection), 1997; pg. 82. Stanford/Petrie (Complete Collection), 1905; No. 850, pg. 212. Taylor (Music for the Sets: Blue Book), 1995; pg. 4. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 32. Coleman Music Center CHC 009, Alfie Joe Dinneen & Peg McGrath (1946-1995) – “The Coleman Archive, vol. 2: The Home Place” (2005). Green Linnet SIF 1000, Seamus Ennis – “40 Years of Irish Piping.” Shanachie 79011, Planxty ‑ "Cold Blow the Rainy Night." Shanachie 79012, Planxty ‑ "The Planxty Collection" (1974).

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:Frost is All Over, The [1]

L:1/8

M:6/8

K:D

A|d2f edc|dAF GFE|DFA DFA|Bcd efg|def edc|dAF GFE|

DFA DFA|BAF d2:||:e|f3 agf|g3 bag|faa agf|

gfg efg|faa agf|gbb bag|fga efg|fdc d2:|

X:2

T:Frost is All Over, The  [1]
M:6/8

L:1/8

N:”Set in the County of Armagh.”

R:Jig

S:Stanford/Petrie, No. 850  (1905)

Z:AK/Fiddler’s Companion

K:D

A | dgf edB | AdF (FE)D | FAB A2A | Bee e2A | def edB |

AdF {F}E2D | FAB A2A|Bdd d2 || d | fga agf | gab bag |

(fg).a agf | gee e2 g | fga agf | gab bag | fed efg | fdd d2 ||

X:3

T:Untitled Air

M:6/8

L:1/8

N:”With Spirit”

N:From the Forde Collection

B:P.W. Joyce – Old Irish Folk Music and Songs, No. 516, pg. 280 (1909)

Z:AK/Fiddler’s Companion

K:F

f>ga gfd|cAF {A}G2F|FAc d2c|dgg gfd|fga gfd|

cAF {A}G2F|FAc d2c|dff f3||AcA BdB|AcA G2F|

FAc d2c|dgg gfd|f>ga gfd|cAF {A}G2F|FAc d2c|dff f3||

X:4

T:D’Imthig an Sioc (The Frost is all Gone)

M:6/8

L:1/8

R:Jig

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

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

K:G Mixolydian

G/A/|BGG E2D|GAB cAc|BGG EGD|EAA A2c|

BGG E2D|GAB cAc|BGG EGD|EGG G2:|

|:c|Bcd dcB|cde edc|Bcd dcB|BAA A2c|

Bcd dcB|cde edc|BGG EGD|EGG G2:|

 

FROST IS ALL OVER [3], THE. Irish, Hornpipe. A Dorian. Standard tuning. AABB. Learned by collector P.W. Joyce as a boy in Limerick—this would have been in the 1840’s. Joyce (Old Irish Folk Music and Songs), 1909; No. 83, pg. 44.

X:1

T:Frost is all Over, The [2]

L:1/8

M:C

R:Hornpipe

S:Joyce – Old Irish Folk Music and Songs  (1909), No. 83

Z:AK/Fiddler’s Companion

K:A Dorian

ed|c2 cd cBAG | AGEF GABd | cdcA BGEG | ABcd e2 ed | cBcd cBAG | A2E2G2 cB |

ABAG EDEG | A2A2A2 :: E2 | ABcd edBd | e2f2g2 ed | eaac’ bagb |

aged e2 af | gedB cBAG | EGAB c2 dB| ABAG EDEG | A2A2A2 :|

 

FROST IS ALL OVER [3], THE.   AKA and see "Thompson's Jig [1]." Unrelated to the Irish jig of the same title.

                       

FROST'S ON THE PUMPKIN AND THE FODDER'S IN THE SHOCK, THE. AKA and see "Good Lager Beer," "Sweet Potato Pie" (Pa.). American, Schottische. USA, southwestern Pa. G Major. Standard tuning. AB. A schottische arrangement of a Scotch tune, one of whose other descendents is the Irish "Wearing of the Green." The original name for the tune, as outlined by Ms. Anne Gilchrist (Southern Folklore Quarterly, X, 119‑126), was "The Tulip," a march composed by James Oswald and published in his Airs for the Spring, c. 1747. "The Tulip" gave rise to a morris dance tune called "Balance a Straw," and a camp‑meeting spiritual called "We Are Coming Father Abraham" (see also the spiritual "Band of Freeman"). Also in the morris dance tradition and stemming from "The Tulip" is "Lads a Bunchum," which Bayard (1981) takes as a corruption of "Laudnam Bunches" (Laudnam was an opiate). Source for notated version: Henry Bryner (elderly fiddler from Fayette County, Pa., 1944) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 421B, pgs. 398‑399.

                       


FROSTY MORNING [1]. AKA and see "Cold Frosty Morning." Old‑Time, Breakdown. USA; West Virginia, Virginia, Tennessee. A Dorian. Standard tuning. AB (Silberberg): AABB (Brody). This tune is mentioned as having been played in a 1931 account of a LaFollette, northeast Tenn. fiddle contest. In the 1960's it was collected by Alan Jabbour from Glen Lyn, Virginia, fiddler Henry Reed (born c. 1885, Peterston, Monroe County, West Virginia). Jabbour popularized it with his influential late 1960’s recording with the Hollow Rock String Band. Brody (Fiddler’s Fakebook), 1983; pg. 114. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 49. Source for notated version: Joel Shimberg (Arlington, Va.) [Krassen]. Krassen (Appalachian Fiddle), 1973; pg. 38‑39. Phillips (Traditional American Fiddle Tunes, Vol. 1), 1994; pg. 56. Cassette C-7625, Wilson Douglas - "Back Porch Symphony." Reed Island Rounders - “Wolves in the Wood” (1997). Rounder 0010, "Fuzzy Mountain String Band" (1972. Learned from Henry Reed via Alan Jabbour). CD, Alan Jabbour, James Reed, Bertram Levy – “A Henry Reed Reunion” (2002).

X:1

T:Cold Frosty Morn

T:Frosty Morning

M:4/4

L:1/8

Q:120

K:A Dorian

||EDEG A2AA|cAcd e2A2|G2BA G2BA|GABc  d2d2|EDEG A2AA|

cAcd e2A2|cBAc  BAGB|A2AA  A4 || a4 a4 |abag e4|edef gagf | edce e4 |

A4 c4|dc d2 e2 ed|c2 A2 BA G|A4 ||

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