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]

 

 

 


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 Gweedore, County Donegal, fiddler 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).

See also listings at:

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

Alan Ng’s Irishtune.info

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|1 fed cAF|

DGG FGA|BGG G2:|2 fed 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 AND SNAKES OF GALWAY.  Irish, Hornpipe. D Major. Standard tuning. AABB. Composed by Cape Cod banjo player, composer, writer and session leader Bill Black, in tribute to musician Mike Connolly, a native of Ballyconeely, Connemara, who emigrated to Boston in 1962. Treoir, vol. 38, No. 3 & 4, 2006; pg. 33.

X:1

T:Frogs and Snakes of Galway

M:C|

L:1/8

R:Hornpipe

C:Bill Black

K:D

e|f2 ed BAFB|ABAF EDEF|f2 ed BAFA|(3Bcd AF E4|f2 ed BAFB|

ABAF EDEF|GFED defd|AFEF D3::z|FABA FABA|GBeB GBeB|

Acef gfef|gfed cBAG|FABA FABA|GBeB GBeB|Acea gfef|gece d3:||

           

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:Emin

{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).

           

FROLICK AND FREE.  English, Country Dance Tunes (2/4 time). G Major. Standard tuning. AABB. The melody also appears in John Johnson’s 200 Favourite Country Dances, vol. 8 (London, 1758).  Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 122.

X:1

T:Frolick and Free

M:2/4

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:G

[G,2D2B2g2] fe|dcBA|[G,2D2B2g2] fe|fg (f/g/a)|[G,2D2B2g2] fe|dcBA|BGAF G2g2:|

|:BG (B/c/d)|(e/f/g) (B/c/d)|BGBd|ecAc|BG (B/c/d)|(e/f/g) (B/c/d)|BGAF|G2 g2:||

           


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), “Swallow’s Nest [1].” 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:Ddor

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)||

                       

FRONTIER REEL. Canadian, Reel. Canada, Maritimes. B Flat Major. Standard tuning. AABCC. Cape Breton fiddler Howie MacDonald has recorded a version that differs quite a bit from that published in Jerry Holland’s Second Collection. Cranford (Jerry Holland: The Second Collection), 2000; No. 53, pg. 22.

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

 

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:Amin

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:Gmix

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:Ador

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]. 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). See his notes on the tune at http://memory.loc.gov/cgi-bin/query/D?afcreed:1:./temp/~ammem_xtbO::@@@mdb=mcc,gottscho,detr,nfor,wpa,aap,cwar,bbpix,cowellbib,calbkbib,consrvbib,bdsbib,dag,fsaall,gmd,pan,vv,presp,varstg,suffrg,nawbib,horyd,wtc,toddbib,mgw,ncr,ngp,musdibib,hlaw,papr,lhbumbib,rbpebib,lbcoll,alad,hh,aaodyssey,magbell,bbc,  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).

Recording of Henry Reed: American Memory http://memory.loc.gov/cgi-bin/query/r?ammem/afcreed:@field(NUMBER+@band(afcreed+13037a16))

X:1

T:Frosty Morning

M:4/4

L:1/8

Q:120

K:Ador

||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 ||

 

FROSTY MORNING [2]. AKA and see "Cold Frosty Morning." Old-Time, Breakdown. A Major. Standard tuning. AB. A similar title to Henry Reed’s “Frosty Morning”, that engenders some confusion between the tunes. Source for notated version: West Virginia fiddler Melvin Wine [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 49. Recorded sources: Poplar LPU 40390, Melvin Wine – “Cold Frosty Morning” (1976).

                       

FRUGE'S WALTZ. AKA and see "Valse des Fruges."

                       

FRUIT AT THE BOTTOM. American, Reel. A Major. Standard tuning. AABB. Composed by multi-intrumentalist Danny Noveck, lately of Bloomington, Indiana.

X:1

T:Fruit at the Bottom

M:C|

L:1/8

C:Danny Noveck

Z:Transcribed by Philippe Varlet

R:reel

K:A

AF~F2 A2 {a}fe | ceAB cBBc | AF~F2 AFEF | DEFD ~E3  F |

AF~F2 A2 {a}fe | ceAB cABc | dcBc defd | (3efe cA BdcB :||:

ABce ~a3  e | ~f3  e aecB | A2 af ecAB | cB~B2 BdcB |

ABce ~a3  e | ~f3  e a2 ga | bagb a2 fe | cB~B2 BdcB :||

                       

FRUIT FOR THE LADIES. AKA and see “Apples in Winter [2],”  "Gillan's Apples [1]" (Ullai Uí Ghiollain), “Gillian’s Apples,” “Jackson’s Growling Cat,” “The Longford Jig,” “Rise the Grouse,” “Rouse the Grouse.”

           

FRUITFLY BLUES.  American, Country Blues. A Major. Standard tuning. AA’B. Composed by Vermont fiddler Pete Sutherland. Sutherland (Bareface), 1984; pg. 9.

           

FRY A LITTLE MEAT. 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.

                       

FUATH NAM FIDHLEIREAN. AKA and see “The Fiddler’s Contempt.”

                       

FUDDLIN' BOYS. Scottish, Jig. A Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 218, pg. 25.

X:1

T:Fuddlin’ Boys

M:6/8

L:1/8

R:Jig

S:Kerr – Merry Melodies, vol. 3, No. 218  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

E|A2E A2E|A2B c2c|d2c B2A|G2F E2E|AAE AAE|A2B c2e|fed c2B|(A3 A2):|

|:c|F2F F2A|E2E E2e|fed cde|dcB A2c|F2F F2A|E2E E2e|fed c2B|(A3 A2):|

                       

F(H)UISEOG, AN. Irish, Reel. D Major. Standard tuning. AABB. Source for notated version: piper Matthew Tiernan/Maitiu Mac Tighearnain (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 156, pg. 62.

                       

FUISEOG AN tSLÉIBHE (The Mountain Lark). AKA and see "The Mountain Lark."

                       

F(H)UISEOG AR AN TRA, AN. AKA and see "The Stolen Purse [1]," "The Old Woman Lamenting her empty Purse." Irish, Double Jig. G Major. Standard tuning. AABB. Source for notated version: accordion player Sonny Brogan (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 7, pg. 5.

                       

FUISEOG NA MAIDINE. See “The Morning Thrush.”

                       

FUISEOG SAN MAIDIN, AN. AKA and see "The Lark in the Morning."

                                   

FUISEOG SLEIBE, AN. AKA and see "The Mountain Lark [4]."

           

FUAIM NA DTONN. AKA and see "The Sound of the Waves."

           

FUGATIVE, THE. Irish, Jig. G Major. Standard tuning. AABB. Composed by fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn, south County Armagh. Keegan (The Keegan Tunes), 2002; pg. 53.

                                   

FULL MOON [1], THE (An Rae Lan). Irish, Double Jig. D Major. Standard tuning. AABB. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 322, pg. 68.

X:1

T:Full Moon, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland (1907), No. 322

Z:AK/Fiddler’s Companion

K:D

g|f>ed cAA|f>ed cBA|FGA ABG|FGA A2g|f>ed cAA|

f>ed cAG|FDF G2 A/G/|F>DD D2:|

|:A/G/|F>GA ABc|d/e/fd cAG|cAA A2G|cAA A2g|

f>ed cAA|f>ed cAG|FDF G2 A/G/|F>DD D2:|

 

FULL MOON JIG [2]. American, Double Jig. D Major. Standard tuning. AABB. Composed by Gordy Euler (Portland, Oregon) for his band, Full Moon. Songer (Portland Collection), 1997; pg. 82.

                       

FULL OF THE BAG, THE (Lan Do'n Mala). Irish, Hornpipe. G Major ('A' and 'B' parts) & E Minor ('C' part). Standard tuning. AABBCC. Source for notated version: Edward Cronin [O’Neill]. O'Neill (Krassen), 1976; pg. 185. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1651, pg. 307.

X:1

T:Full of the Bag, The

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Music of Ireland (1903), No. 1651

Z:AK/Fiddler’s Companion

K:G

DF | GDB,D G,B,DG | BGAB cdef | afge dBAB | cABG AGEF |

GDB,D G,B,DG | BGAB cdef | afge dgec | BGAF G2 :|

|: GA | BcBA GABc | ded^c defg | BcBA GABd | cBAG FGAc |

BcBA GABc | ded^c defg | afge dgec | BGAF G2 :|

|: A2 | Beef e^def | gebe geag | fdd^c defg | afge dcBA |

Beef e^def | gebe g2 ag | fe^df e=dB^c | dBAF E2 :|

                       


FULL RIGGED SHIP [1], DA. Shetland, Reel. A Dorian ('A' and 'C' parts) & A Major or Mixolydian ('B' part). Standard tuning. ABC (Bain). Scots fiddlers generally play this tune in a medley with the similarly titled “New Rigged Ship.” Bain (50 Fiddle Solos), 1989; pg. 43. Martin & Hughes (Ho-ro-gheallaidh: Sessions Tunes for Scottish Fiddlers), 1990. CCF2, Cape Cod Fiddlers – “Concert Collection II” (1999). Culburnie CUL110, Abby Newton – “Crossing to Scotland” (1997). Flying Fish FF 70572, Frank Ferrel – “Yankee Dreams: Wicked Good Fiddling from New England” (1991).

 

FULL RIGGED SHIP [2], DA. Shetland, Listening Piece (triple meter). A Dorian. Standard tuning. AABB'CC' (Cooke, Martin & Hughes). Popularized by Tom Anderson, who explains the little hesitations and sudden melodic turns as the motion when a fine sailing ship mounts the ocean swell, pauses and dips its bow again. It is often followed without a break by the reel "The New Rigged Ship" (Cooke). Source for notated version: Peter Fraser (Walls, Shetland) [Cooke]. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex. 39, pg. 92. Martin & Hughes (Ho-ro-gheallaidh), 1990; pg. 30. Topic 12TS379, Aly Bain & Tom Anderson ‑ "Shetland Folk Fiddling, vol. 2" (1978).

X:1

T:Da Full Rigged Ship

S:Sessions etc

Z:Nigel Gatherer

M:6/8

L:1/8

K:Am

e2a aea|aea aba|e2^f g2g|gag ^f2d|

e2a aea|aea aba|g2e edB|A3 E3::efe edB|

A2B c3|B2G B2G|Bcd E3|efe edB|A2B c2d|

efe dBG|A3 A3::EGE EGE|EGE c3|

EGE E2D|E2FGEC|EGE EGE|EGEc2d|efe dBG|A3 A3:|]

                       

FULLER’S REEL. AKA and see “Sheep Shell Corn by the Rattling of His Horn.”

                       

FUMANT MA PIPE, EN (While smoking my pipe).  French-Canadian, Air or Reel.  A Dorian. Standard tuning. AABB’. Sounds like a variant of the Irish “Battle of Aughrim [1].” Pascal Gemme says the tune is played in Montreal sessions, and is “very popular…among people who have been playing for less than 10 years.” This is perhaps because it is an adaptation by violinist and music teacher Jean Cousineau, that appeared in the 1962 film “Pour la suite du monde”, for which he helped compose the music.

X:1

T:Fumant ma pipe, En

M:2/4

L:1/8

R:Reel

S:Transcibed by Pascal Gemme (of the group Genticorum) http://tradquebec.over-blog.com/archive-1-2007.html

K:Ador

A/E/A/B/ c/B/c/d/|e/=f/e/c/ A/A/B/A/|GB/G/ d/G/B/G/|GB/G/ AG|

A/E/A/B/ c/B/c/d/|e/=f/e/c/ AB/A/|GB/G/ d/G/B/G/|A/B/c/B/ AE:|

|:aa/g/ ee/g/|a/b/a/g/ ee/f/|gf g>e|d/e/d/B/ G2|ae ee/g/|

a/b/a/g/ ee/f/|ge dB|1 A/B/c/B/ A2:|2 A/B/c/B/ AE||

 

FUMBLER [1], THE.  English, Country Dance Tune (cut time). G Minor. Standard tuning. AABB. The melody first appears in print in Johnson’s Choice Collection of 200 Favourite Country Dances, vol. 5 (London, 1750), and in the periodical London Magazine, or Gentleman’s Monthly Intelligencer (pg. 182, 1750). It also appears in Walsh’s Compleat Country Dancing Master, vol. the Fifth (London, 1754). Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 48.

 

FUMBLER [2], THE.  English, Jig. A different tune than “The Fumbler [1].” It appears in Johnson’s Choice Collection of 200 Favourite Country Dances, vol. 6th (London, 1751), David Rutherford’s Compleat Collection of 200 of the Most Celebrated Country Dances (London, 1756), and James Aird’s Selection of Scotch, English, Irish and Foreign Airs, vol. 3 (Glasgow, 1788).

 

FUN AT DONNYBROOK, THE (An Greann Ag Domnac-Broc). Irish, Air (6/8 time, "cheerfully"). G Minor. Standard tuning. One part (ten bars). O’Neill mentions a five-verse Irish rhyming text to the tune, relating what a stranger saw at the Donnybrook Fair when he got home. “This strain so charmed our kind and appreciative friend, Rev. Dr. Henebry, while on a visit to our city, that it was not without much persuasion he could be induced to lay down his violin, although dinner awaited him” (Irish Folk Music, pg. 40). Source for notated version: Chicago police sergeant Michael Hartnett, like O’Neill a native of west Cork [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 5, pg. 1.

X:1

T:Fun at Donnybrook, The

M:6/8

L:1/8

R:Air

N:”Cheerfully”

S:O’Neill – Music of Ireland (1903), No. 5

Z:AK/Fiddler’s Companion

K:Gmin

B/A/|G>FD C>D=F|G3 z2G/A/\B>cd cAG|F3 z2B/c/|d>ed c2 d/c/|

B>AG A2 B/A/|G>FD CD=F|G2G B2B/c/|ded cBA|(G3 G2)||

                       

FUN OF THE FAIR, THE. Irish, Reel. A Minor. Standard tuning. AA’BB’. Kerr (Merry Melodies), vol. 4; No. 182, pg. 21.

X:1

T:Fun of the Fair, The

M:C|

L:1/8

R:Reel

S:Kerr – Merry Melodies, vol. 4, No. 182  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:Amin

A2 (cB) AECE|ABcd e2 (ag)|fedf edce|1 dcBA ^G2E2:|2 edcB A2B2||

|:c2 (ed) cGEG|cdef gedc|1 B2 (dc) BGBd|fedc BGAB:|2 afge fdec|dBGB cedB||

                       

FUNDY, THE. Canadian, Polka. D Major. Standard tuning. AABB. Presumably named after the Bay of Fundy in New Brunswick/Nova Scotia. Messer (Way Down East), 1948; No. 56. Messer (Anthology of Favorite Fiddle Tunes), 1980; pg. 63.

X: 1

T:The Fundy Polka

R:Polka

M:2/4

L:1/16

Z:Transcribed by Bruce Osborne

K:D

FG|A2FA f2ef|e2d2 A4|B2^AB g2fg|f2e2 e2FG|

A2FA f2ef|e2d2 A4|B2^AB gfga|b2a2 d2:|

|:B2|A2d2 a2^ga|b2a2 e3f|gfed cABc|dAdf a3B|

A2d2 a2^ga|b2a2 e3f|gfed cABc|d2f2 d2:|

                       

FUNNY EYE(S). Irish, Air (4/4 time). G Major. Standard tuning. AABB. See also "You're Right My Love," "Molly, What Ails You?" "Cunningham's Fancy," “Fisherman’s Lilt [1],” "The Pretty Girls of the Village [1]," “Kerryman’s Daughter [1],” "Lady Mary Lindsay," "The Siege of Ennis [1]." Irish, Reel. The title appears on a music broadsheet published by Hime in Dublin about 1810. Joyce (Old Irish Folk Music and Songs), 1909; No. 703, pg. 352.

                       

FUNNY MISTAKE, THE (An Mearbal Cluiteac). AKA and see “Sir Philip McHugh.” Irish, Slip Jig. C Major. Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 83. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1146, pg. 216.

X:1

T:Funny Mistake, The

M:9/8

L:1/8

R:Slip Jig

S:O’Neill – Music of Ireland (1903), No. 1146

Z:AK/Fiddler’s Companion

K:C

G | c2e ege f2d | e2c fdc B2G | c2e ege f2d | e2c fdB c2 :|

|: B/c/ | ded dBG BAG | ded dBG ABc | ded dBG BAG | ege fdB c2 :|

                       

FUNNY REEL, THE. AKA and see “Crossing the Shannon.”

 

FUNNY TAILOR, THE (Tailliuir an Magaid). AKA and see "The Lark in the Clear Air [2],” "The Return Home [1]." Irish, Set Dance (6/8 or 9/8 time). G Major. Standard tuning (fiddle). In modern times The Funny Tailor is one of the jig time set dances performed in competitions sponsored by An Coimisiún le Rincí Gaelachha (The Irish Dance Commission, Dublin). Instead of a traditional pattern of steps, however, each dance teacher choreographs original steps for their students to dance this tune to. Among dancers, it is also referred to as The Drunken Gauger, although there is another unrelated set dance tune by that name and there is some resultant confusion between the tunes for that reason. P.W. Joyce (Ancient Irish Music, 1873) writes: “We have a class of Irish airs, each phrase of which consists of the unusual number of five bars. To this class belong Bunting’s air ‘The Pretty Red Girl’, (known in Munster as ‘Banathee haive’); ‘The Red Haired Man’s Wife’, ‘Drahareen-o-machree’, (p. 39 of this book); and many others. Most of them are slow tunes; but a few like the present are quick. Some would perhaps reduce tunes like this to six-eight time, by doubling the length of every fifth bar (which could be done by prolonging the crotchet to the length of five quavers, i.e. dotted crotchet and crotchet); but to do so in the present case, would be simply to falsify the tune. The set dance was adapted to it in the way in which I give it here.” Source for notated version: “From (the Irish collector) Mr. Joyce” [Stanford/Petrie]. Joyce (Ancient Irish Music), 1873; No. 69, pgs. 70-71. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 960, pg. 165. Stanford/Petrie (Complete Collection), 1905; No. 594, pg. 150. Stanford/Petrie (Complete Collection), 1905; No. 1517, pg. 379. Stanford/Petrie (Complete Collection), 1905; No. 594, pg. 150.

X:1

T:Funny Tailor, The

M:6/8

L:1/8

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 960

Z:AK/Fiddler’s Companion

K:G

B/A/|GED GAB|GBA G2G|G2A Bcd|efg fed|e2B d2A|Bcd efg|fed g2B|

DBA GED|GAB GBA|G2G G2A|Bcd efg|fed g2B|dBA GED|GAB GBA|G2G G2||

X:2

T:Funny Tailor, The

M:3/8

L:1/8

R:Jig

S:P.W. Joyce – Ancient Irish Music (1873), No. 69

Z:AK/Fiddler’s Companion

K:G

B/A/|GED|GAB|GBA|G2G|G2A|B2A|Bgf|efe|d2B|

d2G|B2A|Bgf|efe|d2B|d2 B/A/|GED|GAB|GBA|G2G|G2||

X:3

T:Funny Tailor, The

M:9/8

L:1/8

S:Stanford/Petire (1905), No. 594

Z:AK/Fiddler’s Companion

K:G

B/A/ | GED GAB  AGA | G2G (G3G2) A | B2A Bgf efe | d2B d3d2 G/A/ |

B2A Bgf  efe | d2B (d3 d2)B/A/ | GED GAB AGA | G2G G3 G2 ||

                       


FUN'S ALL OVER [1], THE. Old‑Time, Breakdown. USA; West Virginia, Kentucky. C Major. Standard tuning. AA'BB'. The tune has been identified as an eastern Kentucky, West Virginia fiddle tune. See also the high part of “Wild Hog in the Woods [1].” A similar title, perhaps unrelated, goes "The Fiddler's Drunk and the Fun's All Over." Source for notated version: J.P. Fraley (Rush, Ky.) [Phillips]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 93. In the repertoire of Kentucky African-American fiddler Cuje Bertram, who recorded it on a home tape in 1970, made for his family. Flying Cloud FC-203, Kirk Sutphin - "Fiddlin' Around."

 

FUN'S ALL OVER [2], THE. Old-Time, Breakdown. C Major. Standard tuning. AABB. A variation of version #1. Source for notated version: Burce Molsky [Phillips]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 93.

                       

FURLONG, THE. English. The melody was printed in England in 1711 and used probably by the Waits of London and Southwark.  It was reprinted in John Stafford Smith's "Musica Antiqua" (1812). The title derives from the name "Forlane," which was a type of 6/4 or 6/8 dance form descended from the Galliard, and which featured the rhythm of dotted-quaver, semi-quaver, quaver. The form began as a localized dance from the northern Italian province of Friuli, and was only occasionally used in other countries where it generally appeared as a novelty or curiosity (.

                       

FURNILL'S FROLIC. Irish, Slip Jig. D Mixolydian. Standard tuning. AABBCC. Source for notated version: "...copied from (a) very old well‑written manuscript lent to me in 1873 by Mr. J. O'Sullivan, of Bruff, Co. Limerick" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 242, pg. 117.

X:1

T:Furnill’s Frolic

M:9/8

L:1/8

R:Slip Jig

S:Joyce – Old Irish Folk Music and Songs  (1909), No. 242

Z:AK/Fiddler’s Companion

K:D Mix

ABA GAG F2G|ABA AFD EFG|ABA GAG F2d|cBc AGF GEC:|

|:F2D E/F/GE D2 F/G/|ABA AFD EFG|F2D E/F/GE D2d|cBc AGF GEC:|

|:f2d cAG F2G|ABA AFD EFG|f2d e/f/ge fdB|cBc AGF GEC:|

 

FURROW REEL, THE.  Irish, Reel. Composed by concertina player Chris Droney (Bell Harbour, County Clare), named for the ruins of an abbey not far from his home town. Droney is the veteran of several influential céilí bands, including the Aughrim Slopes, Kilfenora, and, latterly, the Four Courts.

                       

FURZE BUSH, THE. AKA and see “The Longford Tinker,” “The Longford Spinster.” Irish, Reel. See also the Scots “Jenny Dang(ed) the Weaver [1].” Source for notated version: Joe Burke [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1974, vol. 3, No. 42.

                       

FURZE FIELD, THE. English, Morris Dance Tune (6/8 time). G Major. Standard tuning. AABB, x4. From the Bampton, England, area. Mallinson (Mally’s Cotswold Morris Book), 1988; No. 9, pg. 11.

 

FURZE IN BLOOM, THE. Irish, Jig. A modern composition by Kenmare, County Kerry, fiddler Gerry Harrington, and gets its name from “the colorful hinterland of Monatarriv, Lismore, County Waterford.” Spin CD1001, Eoghan O’Sullivan, Gerry Harrington, Paul De Grae - “The Smoky Chimney” (1996).

           

FUCHSIA, THE. Irish, Hornpipe. A Major. Standard tuning. AABB. Composed by fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn, south County Armagh. Keegan (The Keegan Tunes), 2002; pg. 73.

                       

FUSCHIA HEDGES, THE. English, Reel. D Major. Standard tuning. AABB. Composed by Hugh Blake, 1985. English Dance and Song, vol. 48, No. 1, Spring 1986, pg. 21.

 

FUSILIERS’ MARCH, THE. AKA and see “Leslie’s March,”

 

FUTTERAT WI’ THE GREY TAIL, THE. Scottish, Strathspey. A Minor. Standard tuning. AAB. The tune goes well paired with “Niel Gow’s Wife.” Howe (1000 Jigs and Reels), c. 1867; pg. 121. MacDonald (The Skye Collection), 1887; pg. 116.

X:1

T:Futterat Wi’ the Grey Tail, The

M:C|

L:1/8

R:Strathspey

S:MacDonald – Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:A Minor

B|:A<e e>d eAAB|d>cB>A GEEG|D>EGA B>ABg|G/G/G BG c2 B>A:|

Aaa^g aee^f|gage gddg|edeg abag|g2 dB c2 B>A|Aaa^g aee^f|gage gddg|

e>deg ageg|dBGB c2 B>A||

 

FY BUCKLE YOUR BELT. AKA and see "Over the River to Charlie [2]," "More Power to Ye," "Behind the Bush in the Garden [1]." Scottish. See the American "Weavily Wheat" for a version based on the 'B' part of "Over the Water to Charlie." Fy means to ‘come’ or ‘hurry’.

 

FYE FATHER SEE HIM. AKA and see "Saw you Charlie coming."

 


FY(E) GAR RUB HER O'ER WI' STRAE. Scottish, Reel. A Minor. Standard tuning. AABB (Gatherer, Howe): AABBCCDD (Aird). The title means 'rub her over with straw'. This tune, found in manuscripts from c. 1610 on, was later used by Munro (in 1732) for the last a movement of a variation sonata and by Allan Ramsay in his ballad opera The Gentle Shepherd (1725). Williamson says all that is known of the old song is this chorus:

***

Gin ye meet a bonnie lassie

Gie her a kess and let her gae

But gin ye meet a dirty hizzie

Fye, gar rub her o'er wi' strae.

***

The word fy or fye appears to have a few meanings; it can be an exclamation or surprise, shame or disgust, or it can mean ‘come’ or ‘hurry’. Gar means to ‘make’. Perhaps the best translation of the title, suggested by Ted Hastings is “Make her rub herself with straw”—a curious phrase, although in the context of the lines above one might surmise that it might refer to making a ‘hizzie’ (i.e. hussy) clean herself by rubbing herself with straw, as one might rub down a horse. Aird (Selections), vol. II, 1785; No. 87, pg. 32. Gatherer (Gatherer’s Musical Museum), 1987; pg. 26. Howe (1000 Jigs and Reels), c. 1867; pg. 152. McGibbon (Scots Tunes, book II), c. 1746; pg. 58. Orpheus Caledonius (1725). Flying Fish, Robin Williamson ‑ "Legacy of the Scottish Harpers, Vol. 2."

X:1

T:Fy gar Rub her o’er wi’ Straw (sic)

M:C

L:1/8

S:Aird, vol. II (1785)

Z:AK/Fiddler’s Companion

K:A Minor

B | c3B A2e2 | decd B2AG | c3d e^f g2 | e>dcB A3 :|

|: a | g2e2 e2 dc | Bcde dBAG | gagf e2g2 | ageg a3c’ |

g2e2e2 dc | Bcde B2 AG | c3d e2 ^fg | e>dcB A3 :|

|: B | c>(dcB Aece | dgcg BABG | cegf egdg | e>dcB A2 :|

|: a | g>agf edec | dgcg BABG | g>(agf e>d(eg) | ageg agac’ |

gc’ec’ (gedc) | d(e/d/) c(d/c/) BABG | (c/B/c/).d/ .c.A (d/c/d/e/) dB | e>dcB A3 :|

X:2

T:Fy gar rub her o’er wi Straw

M:C

L:1/8

R:Air

N:”Brisk”

S:McGibbon – Scots Tunes, book II, pg. 58  (c. 1746)

Z:AK/Fiddler’s Companion

K:A Minor

c3BA2e2 | decd B2AG | ~c3d e^f g2 | e>dcB A4 :: g2e2”tr”e2dc | Bcde “tr”B2AG |

g>agf e2g2 | ageg “tr”a3c’ | g2e2 “tr”e2dc | Bcde “tr”B2AG | ~c3d e^fg2 | e>dcB A4 :|

|: c>d”tr”(cB) Aece | dgcg BABG | cegf egdg | e>dcB A4 :: g>a”tr”gf edec | dgcg BABG |

g>a”tr”(gf) edge | ageg agac’ | ga/g/ fg/f/ edec | de/d/ cd/c/ BABG | cBcA dcdB | e>dcB A4 :|

|: (c/B/c/d/) c/d/c/B/ A/e/c/e/ | d/c/d/e/ d/e/d/c/ BABG | (c/d/e/f/ g)c (de/^f/ g |

(e/f/e/d/) (e/d/c/B/) A4 :: (g/f/g/a/) g/a/g/f/ e/d/e/f/ e/d/e/c/ | d/c/d/e/ d/e/d/c/ “tr”(B/A/B/c/) BG |

(g/f/g/a/) g/a/g/f/ e/d/e/f/ eg | a/g/e/g/ a/g/e/g/ aAab | “tr”(g/f/g/)a/ gf “tr”(e/d/e/)f/ ec |

“tr”(d/c/d/)e/ dc “tr”(B/A/B/)c/ BG | “tr”(c/B/c/)d/ cA “tr”(d/c/d/)e/ dB | (e/f/e/d/) (e/d/c/B/) A4 :|

|: ~ceAe ceAe | dGBd dGBd | ceAe dgBd | e>dcB A4 :: egcg egcg | dgBg dgBd | gecg eceg |

aAce agac’ | gecg eceg | (d/c/B/A/) Gd BGBd | cAce dBdg | e>dcB A4 :: (A/B/c/d/ e)A cAeA |

(G/A/B/c/ d)g (G/A/B/c/ d)B | (A/B/c/d/ e)a (G/A/B/c/ d)B | (A/B/c/d/) (e/d/c/B/) A4 :|

|: (c/d/e/f/ g)c ecgc | (G/A/B/c/) dG BGdG | (c/d/e/f/ g)c ecgc | a(g/f/) (e/d/c/B/) (A/B/c/d/ e)a |

c/d/e/f/ gc G/c/G/c/ E/(c/”tr”B/A/) | (G/A/B/c/ d)B (G/A/B/c/ d)g | (A/B/c/d/ e)a (G/A/B/c/ d)B |a(g/f/) (e/d/c/B/) A4 :|

                       

FY LET US A’ TO THE WEDDING. Scottish, Jig (9/8 time). F Major. Standard tuning. AAB. “Very Old” (Gow, 1817). ‘Fy’ is an expression that can be used as an exclamation, or to mean ‘come’ or ‘hurry’. Gow (Complete Repository), Part 4, 1817; pgs. 12-13.

X:1

T:Fy let us a’ to the Wedding

M:9/8

L:1/8

R:Jig

S:Gow – 4th Repository  (1817)

Z:AK/Fiddler’s Companion

N:”Slowly and Distinctly”

K:F

C|F2F A/B/cF cAF|G2G GAc ~d2f|~F>GA fed cAF|~G>AB AGF D2:|

a/g/|fcf fgf {f}edc|dcA fga {a}g2 a/g/|fcf f>gf {f}edc|def cAF D2 a/g/|

fcf f>gf {f}edc|dcA f>ga {a}g2e|f>ga g>af gec|(d/e/f)d cAF D2||

                       

FY LET US AWA TO THE BRIDAL. AKA and see "Silly Old Man.” Scottish. The word ‘fy’ in this case means ‘hurry’.

                       

FY, NAY, PRITHEE JOHN. AKA and see “Pall-mall,” “Pell-Mell.” English, Country Dance Tune (2/2 time). G Minor (Barnes): G Dorian (Barlow). Standard tuning. AAB (Barnes): AABB (Barlow). Originally published by Henry Playford in the 7th edition of the Dancing Master (London, 1786) as “Pall-mall”. Playford also published a tune called “Fy, nay, prithee John” in the 12th edition of the Dancing Master (1703), but it is a different tune (see “Fy, Nay, Prithee John [2]”). . Sharp notes: “To the tune of ‘Pell-Mell’.” ‘Fy’ is used as an exclamation (sometimes of disgust or shame), or to mean ‘come’ or ‘hurry’. Barlow (Complete Country Dance Tunes from Playford’s Dancing Master), 1985; No. 253, pg. 65 (as “Pall-mall”). Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 27 (appears as “The Dancing Wife,” the name of a country dance by Gary Roodman set to the tune of “Pell Mell”). Sharp (Country Dance Tunes), 1909; pg. 77.

X:1

T:Fy, Nay, Prithee John

L:1/8

M:4/4

K:Gm

D2|G2 G2 B2 g2|B4 G2 AB|c2 F2 f2 c2|A4 F4|G2 G2 B2 g2|B3 A G2 AB|

cBAG ^F 2 A2|G2 D4::Bc| d2 ef gfed| B2 g2 G2 AB| c2 de fedc|

A2 f2 F2 Bc|d2 ef g2 cB|cBAG ^F2 A2| G2 D4:|

 

FY, NAY, PRITHEE JOHN [2].  English, Country Dance Tune (cut time). C Major. Standard tuning. ABBCC. The melody appears in Henry Playford’s Apollo’s Banquet, sixth edition (London, 1690), seventh edition (London, 1693), and his Dancing Master, 12th edition (London, 1703), 13th edition (1706) and 14th edition (1709). Barlow (Compleat Country Dance Tunes from Playford’s Dancing Master), 1985; pg. 114.

X:1

T:Fy, Nay, Prithee John [2]

M:C|

L:1/8

S:Playford – Dancing Master vol. 1, 12th edition (1703)

K:C

c3 e dB G2|A3 c BG E2|F3 A GE c2|F2G2C4||

|:cggc BggB|AffA GeeG|FddF EccE|D2B2c4:|

|:geca fdBg|ecAf dBGe|cAFd BGEe|a2 g>f e4:|

 

FYE TO THE COALS IN THE MORNING. AKA and see "Johnny Cope [1].” Scottish. The tune was set to a couple of songs about the route of the English (who were commanded by Sir John Cope) by the Scots (under Bonnie Prince Charlie) at Prestonpans (1745).

 

FYKET [1], THE. Scottish, Strathspey or Reel. A Mixolydian. Standard tuning (fiddle). AAB (Gow): AABB' (Athole, Skye). "Very Old" (Skye). John Glen (1891) finds the earliest appearance of this ‘double-tonic’ melody in print in Robert Bremner's 1757 collection. ‘Fyket’ means ‘to fidget’, as in fidgeting fingers. See also the reel setting called “Fekyet (The)”, also printed by the Gows. Aird (Selection), vol. 1, 1782; 28. Bremner (A Collection of Scots Reels), 1757; p.6. Carlin (Gow Collection), 1986; No. 60. Gow (The First Collection of Niel Gow’s Reels), 1784 (revised 1801); p. 26. MacDonald (The Skye Collection), 1887; p. 13. Stewart-Robertson (Athole Collection), 1884; p. 38.

X:1

T:Fyket [1], The 

M:C|

L:1/8

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

Z:AK/Fiddler’s Companion

R:Strathspey

K:A

=g|f>A e/f/=g/e/ a<A A>g|f>A e/f/=g/d/ B<=GG>g|f>A e/f/=g/e/ f>A e/f/g/e/|

fd/f/ ed/^c/ B=GG:||:e/=g/|a>a b/a/=g/e/ aA Ae/g/|a>a b/a/=g/e/ g<=G Ge/g/|1

a>a b/a/=g/e/ a>a b/a/g/e/|=gg e/g/d/g/ B=GG:|2 a>a a>=g a/g/a/b/ ag/e/|d/e/=g/a/ e/g/d/g/ B=GG||

 

FYKET [2], THE. Scottish, English; Reel. England, Northumberland. A Mixolydian. Standard tuning (fiddle). AB (Athole, Gow, Skye, Surenne): AABB (Vickers). The title appears in William Vickers' original MS. as "The Figkit or (partly illegible, but looks like:) "Fy Got to the Pryr Besse" (Seattle). "Very old" (Skye). ‘Fyket’ is Scottish dialect for “fidget.” Gow (Complete Repository), Part 3, 1806; p. 25. Mooney, 1983, Choicest Scots Tunes...; p. 14. MacDonald (The Skye Collection), 1887; p. 13. Seattle (William Vickers), 1987, Part 2; No. 217. Stewart-Robertson (Athole Collection), 1884; pg. 38. Surenne (Dance Music of Scotland), 1852; p. 75. MAR 325, David Geenberg & Concerto Caledonia – “Spring Any Day Now” (2005).

X:1

T:Fyket [2], The 

M:C|

L:1/8

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

Z:AK/Fiddler’s Companion

R:Reel

K:A

=g|fAeA aAe=g|fAeA B=GG=g|fAeA aAe=g|fde=c B=GG=g|fAeA aAe=g|

fAeA B=GG=g|fAeA ceaf|=gde=c B=GG||g|f/^g/a ea cAA=g|f/^g/a e=g B=GGg|

f/^g/a ea ceaf|=gde=c B=GGg|f/^g/a ea cAA=g|f/^g/a e=g B=GGg|faea ceaf|

=gbeg B=GG||

 

FYRISH REEL, THE. Scottish, Reel. B Minor. Standard tuning. AA’BB’.

X:1

T:The Fyrish Reel

C:David Gordon

S:The Cast

Z:Juergen.Gier@post.rwth-aachen.de

L:1/8

M:C|

K:BMin

B2Bc dcde|fgaf gfed|cA (3AAA cAeA|faec dcBA|\

B2Bc dcde|fbbf afef|bfaf efae|1ceae cBBA:|2\

ceae cBBc|:d2de fefg|aAgA fedc|A2AB cBcd|\

eaec dcBA|B2Bc dcde|fbbf afef|bfaf efae|1\

ceae cBBc:|2ceae cBBA|]

 

FYVIE CASTLE. Scottish, "Pastoral Air" (3/4 time). C Minor. Standard tuning. AAB. Composed by the famous Scots fiddler-composer James Scott Skinner (1843-1927). Fyvie Castle dates to the 13th century and features five different towers, one built in each century from 13th to 17th, by each of several families to hold it. The oldest part of the castle was built in the Scottish baronial style, however, subsequent renovations added important features. A 17th century ‘Morning-Room’ is in Scottish Renaissance style with decorated plasterwork and paneling. There is a great wheel stairway, one of the finest in Scotland. The interior of the castle was substantially renovated in Edwardian times by the 1st Lord Leith of Fyvie.

***

It is said to be haunted by several ghosts, including a “Grey Lady” and a “Green Lady.” The former emerged when building work uncovered a secret room containing a skeleton—the Grey Lady was seen frequently thereafter, that is, until the bones were returned to the room, upon which the apparitions ceased. The Green Lady is said to be 17th century Dame Lillias Drummond, the unfortunate victim of her husband, Sir Alexander Seton, who starved her to death.  He remarried soon after (to the woman he had been consorting with in secret), and while the newlyweds were waiting for some new rooms to be refurbished elsewhere in the castle they were to sleep in a tiny, little-used room high up in the castle. During the night they heard soft sights emanating from somewhere in the chamber, and when they awoke the discovered that the name Lilies D. Drummond was carved deeply into the stone window-sill outside their room, stories above the ground. The name can still be seen there. Castle Fyvie was also reputed to have been cursed by Thomas the Rhymer.

***

Fyvie Castle.

***

Skinner (The Scottish Violinist), pg. 39. Tartan Tapes CDTT1004, Paul Anderson – “Heat the Hoose” (1998).

X:1
T:Fyvie Castle
C:James Scott Skinner
S:Paul Anderson
D:Heat The Hoose
Z:Juergen.Gier@post.rwth-aachen.de
M:3/4

L:1/8

R:Slow Air
K:CMin
G,2|{G,}C3DE2|F4F2|G2c4|c4cd|[E4e4]dc|\
[A,3A3]G^F2|(G6|G4)G,2|{G,}C3DE2|\
M:4/4
F3F G2B2|{B}c3B|[D2B2][B,2G2][D2B2][A,2D2]|[G,6E6]::{^F}G2|\
g3(a/g/) (d/e/)(=B/c/) (G/A/)(D/E/)|=B,CG,2 {G,}A,4|\
B,2{A,G,A,}B,>A,|1{A,}G,6{^F}G2|\
{^f}g3(a/g/) (d/e/)(=B/c/) (G/A/)(D/E/)|=B,CG,B, C>B,C>B,|\
CDEF|{G,}G6:|2{A,}G,6G,2|{G,}C=B,CD EDEF|G=Bcd "rit. molto"eagf|\
"a tempo"[Bg][Af][Ge][Ec] [D2B2][A,2D2]|[G,6E6]|]

 

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