The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

_______________________________

HOME       ALPHABETICAL FILES        REFERENCES

[COMMENT1] [COMMENT2] 

HAA - HAP

[COMMENT3] 

 

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]

 

 

[COMMENT4] 

H-' ON THE WABASH. See "Hell on the Wabash [2]."

                       

H. F. NICHOLS. 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. 37.

                       

H. MACKWORTH. Scottish, Strathspey. B Flat Major. Standard tuning. AABB. Composed by the great Scottish fiddler and composer J. Scott Skinner (1841-1927). Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 105, pg. 44.

                       

H. MARTINI’S FAVORITE MINUET. ??, Minuet. D Major. Standard tuning. AABC. O’Farrell (Pocket Companion, vol. II), c. 1806; pg. 153154.

X:1

T:H. Martini’s Favorite Minuet

M:3/4

L:1/8

R:Minuet

S:O’Farrell – Pocket Companion, vol. II (c. 1806)

Z:AK/Fiddler’s Companion

K:D

d3f e2 | e3g f2 | .d2.e2.f2 | {f}g2e2z2 | .g.f.e.d.c.B | A4 Bc | dA f2e2 | {e}d6 :|

a2 abag | {g}f2 fdfa | {a}g2 g3f | fedcBA | d2 d/c/d/e/ f2 | B2 B/A/B/c/ d2 |

ef gefd | cdec A2 | d3f e2 | e3g f2 | d2e2f2 | {f}g2e2z2 | gfedcB | A4 Bc | dA f2e2 |

{e}d4z2 | FAdd d2 | GBee e2 | FA d3f | {f}e2 dcBA | FAdd dd | GBee ee | FA d2c2 |

{c}d6 || A4 Bc | d4 fd | A4 GF | FE E4 | A4 Bc | d4 fd | Aaaggf | f2e2 z2 |

FAdd d2 | GBee e2 | FA d3f | {f}e2 dcBA | FAdddd | GBeeee | FA d2c2 | {c}d6 ||

                       

H. R. H. THE DUKE OF ROTHESAY. Canadian, Pipe March (6/8 time). A Mixolydian. Standard tuning. AA’BB’. Composed by J. Abercromby. The tune is also played as a jig on Cape Breton. Shears (Gathering of the Clans Collection, vol. 1), 1986; pg. 38.

                       

HA A’ CHAILLICH. Scottish. The tune was used by the Scots poet Robert Burns as the air for one of his songs.

                       

HA NA BODDACHIN. AKA – “He na Boddachin.” Scottish, Slow Air (6/8 time). G Major. Standard tuning. AAB. Identified by Gow as “A Gallic Air.” The title is probably garbled Gaelic. Nigel Gatherer thinks it may derive from bodachan, a little old man. Carlin (Gow Collection), 1986; No. 541. Scottish, Air (6/8 time). Gow (The First Collection of Niel Gow’s Reels), 1784 (revised 1801); pg. 16. Kerr (Merry Melodies, vol. 1), c. 1880’s; No. 15, pg. 48 (appears as “A Gaelic Air”).

X:1

T:He na Boddachin

M:6/8

L:1/8

R:Air

N:”Slow”

S:Gow – The First Collection of Niel Gow’s Reels (1784)

Z:AK/Fiddler’s Companion

K:G

“tr”G2G GBG|”tr”A2A Age|”tr”G2G GBG|geg “tr”e2d:||

deg “tr”aga|{ga}bag ged|deg “tr”aga|bag “tr”g2e|

deg “tr”aga|{ga}bag ged|e>dc BAG|geg “tr”e2d||

                       

HAA, DA. Shetland, Reel. G Major. Standard tuning. AAB. Composed by Tom Anderson, 1969. Tom Anderson remarks that this tune was named for the house where his paternal grandfather stayed, probably a Laird's house at one time. Anderson composed it on a visit to the old house in 1969. Anderson (Ringing Strings), 1983; pg. 63.

                       

HAAD DEE TONGUE, BONNIE LASS. AKA and see "Da Tief On Da Lum [1].” Shetland, Reel. A Mixolydian. Standard tuning. AABB. Reminiscent in its tonal structure to "The Reel of Tulloch" (Cooke). Source for notated version: Gilber Gray (Unst, Shetland) [Cooke]. Cooke (Fiddle Tradition of the Shetland Isles), 1986; Ex. 43, pg. 102.

                       

HAAND ME DOON DA TACKLE. See “Hand Me Down the Tackle.” Shetland, Shetland Reel. Shetland, Tingwell.

                       

HABBIE’S HOW.  Scottish, Strathspey. A Minor. Standard tuning. AAB. “Very Old,” states Gow. Habbie’s How is a spot on Glencross Burn, at the head of a glen some twelve miles outside of Edinburgh, near Penicuick . It has long been supposed the setting of poet Allan Ramsay’s Gentle Shepherd, with a small picturesque waterfall that empties into a pool. Gow (Sixth Collection of Strathspey Reels), 1822; pg. 21.

X:1

T:Habbie’s How

M:C

L:1/8

R:Strathspey

N:”Very Old”

B:Gow – Sixth Collection of Strathspey Reels (1822)

Z:AK/Fiddler’s Companion

K:Amin

A<A A<A c<c d2|e2 e>d c>G G2|A<A A<A c<c d2|(ea)e>d cA A2:||

{cd}e2 e>c e2 e>c| {cd{e2 ed c>G G2|{cd}e2 ec e2 ec|dd e?d cA A2|

{cd}e2 e>c e2 e>c|{cd}e2 ed cG G2|A<A A<A c>c d2|(e<a)e>d cA A2||

 

HABIT SHIRT, THE. AKA and see "One Day in My Rambles," "The Rambling Reaper."

                       

HACK A MOREAU, LE (Moreau's Hack). Cajun, Waltz. USA, Louisiana. A Major. Standard tuning. One part. The hack referred to in the song, according to Raymond Francois (1990), is a horse-drawn cart (later a motor bus) filled with merchandise and poultry cages, a sort of store on wheels which traded along rural routes in Louisiana. A related song is "La Fille a Jasman." Source for notated version: Raymond Francois (La.) [Francois]. Francois (Yé Yaille Chère!), 1990; pg. 158. Swallow Records SW-LP6049, Joe Bonsall.

                       

HACKBERRY HOP. Cajun, Two-Step. USA, La. C Major. Standard tuning. AABB. The tune is a version of "Hip et Taiaud." Hackberry is a small town near Lake Charles, La. Recorded by fiddler Leo Soileau's Three Aces, 1934. Greenblatt (The Cajun Fiddle Tune Book), 1985; pg. 21.

                       


HAD AWAY FRAE ME, DONALD. Scottish. Ascribed to Daniel Grant in the McLean Collection (1772, pg. 1), published by James Johnson in Edinburgh.

                       

HAD I A COT OR A BOAT (An M-beidhedh Agum Coite Na Bad). Irish, Air (9/8 time). D Major. Standard tuning. AB. Source for notated version: "...sent to me from time to time during 1884 by Mr. Francis Hogan of South Lodge, Brenormore, near Carrick‑on‑Suir, a good musician and a great entusiast in Irish music and songs. He must have been well over seventy years of age" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 263, pg. 126.

X:1

T:Had I a cot or a boat

M:9/8

L:1/8

N:”With expression”

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

Z:AK/Fiddler’s Companion

K:D

F|Add ded d2F|Add dAF EFA|Add ded d2A|BcB A2F EFA||

BdB AFA d2A|BdB A2F EFA|BdB Afe d2A|BdB A2F EFA||

                       

HAD I THE WYTE/WIGHT. AKA and see "Kail and Knockit Corn," "The Bob of Fettercairn," "Newburn Lads" (Northumberland). Scottish, Reel. The title is Scottish.

                       

HAD THE LASS TILL I WINN AT HER. AKA and see “Haud the Lass Till I Come at Her.”

                       

HA'D THE TING TAE GIBBY. Shetland, Shetland Reel. Shetland, Yell.

                       

HAD YE BEEN WHAR I HAD BEEN YE WADNA BE SAE CANTY. See "Kilecranky," "If Ye Had Been Where I Hae Been."

                       

HAD YOU SEEN MY SWEET COOLIN. AKA and see "The Coolun/Coolin," "In This Calm Sheltered Villa," "Oh! Hush the Soft Sigh," "Oh! The Hours I Have Passed," "Though the Last Glimpse of Erin."

                       

HADDIN(G)TON ASSEMBLY. AKA and see "South Bridge of Edinburgh." Scottish, Jig. G Major. Standard tuning. AABBC. The tune was composed by the celebrated 18th century oboist William Fraser (1760‑1825), who wrote the tune in Oswald's giga style, a favorite with pipe bands as a march. Fraser's playing greatly impressed poet Robert Burns who met the musician and conductor in 1793 (Stenhouse thought in 1820 to be "peculiarly chaste and masterly"), and he became an "outstanding and influential figure in Edinburgh musical life" (Emmerson, 1971). It was published in Niel Gow's Second Collection (1788). John Glen (1891) finds the earliest printing of a tune by this title in Daniel Dow's c. 1775 collection (pg. 6). Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 80, pg. 159. Gow (Second Collection of Neil Gow’s Reels), 1788; pg. 23 (3rd ed.). Celestial Entertainment CECS001, Brenda Stubbert (Cape Breton) - “In Jig Time!” (1995). HJC 2000, Hanneke Cassel – “Many Happy Returns” (2003).

X:1

T:Haddington Assembly, The

M:6/8

L:1/8

R:Jig

C:William Fraser

B:Gow – 2nd Collection of Niel Gow’s Reels, 3rd ed., pg. 23  (orig. 1788)

Z:AK/Fiddler’s Companion

K:G

B/c/|dBG “tr”G2B|dBG “tr”G2B|ecA AcA|”tr”f3 {e/f/}g3|dBG “tr”G2B|
AFD D2c|(B/c/d)B cAF|G3 G2::d|”tr”g2a bge|”tr”f2g afd|

(e/f/g)e dBG|ABG “tr”F>ED|1 “tr”g2a bge|f2g afd|(e/f/g).e (f/g/a).f|

g3 g2:|2 G/A/B).G Ac|(B/c/d).B “tr”c2e|dcB AGF|G3 G2||

                       

HADDINGTON LASSES. Scottish. Yet another tune composed in honor of someone's local lasses, like "Lothian Lasses," "Clydeside Lasses," "Lasses of Duns," "Lasses of Stewarton," "Ayrshire Lasses," etc. John Glen (1891) finds the earliest printing of the tune in Robert Ross's 1780 collection, pg. 25.


                       

HAE YOU ONY MORE ADO. AKA and see "The Downfall of Paris." This is the Shetland title, known throughout the islands.

                                      

HAG AND HER PRASKEEN. AKA and see "Blooming Meadows [1],” “Cover the Buckle,” “Down the Hill,” "Down with the Tithes [1]," "Humors of Mil(l)town [1]."

                                                              

HAG AT THE CHRISTIE. Irish.

                                      

HAG AT THE CHURN. THE (Cailleach ‘sa Mhaistrim). AKA and see “Dinny Delaney(‘s) [1],” “The Maid at the Churn,” “The Merry Woodsman.” Irish, Double Jig. D Mixolydian. Standard tuning. AB (Mallinson): AAB (Sullivan). A highly regarded pipe tune, according to the Bothy Band. Caoimhin Mac Aoidh says a correct translation of the Irish title would be “Hag in the churn.” This refers, he maintains, to the folk superstition that witches would inhabit a churn to steal butter. They could not abide this particular tune, however, so it would be played as a ward when the chore of churning butter was done. It was a terrible and telling mark if a woman left the house during this ritual. See also the related “Church Hill [2].” Breathnach (CRÉ II), 1976; No. 43 (appears as “Gan ainm/No title”). Mallinson (Enduring), 1995; No. 50, pg. 21. Sullivan (Session Tunes), vol. 2; No. 27, pg. 11. CCF2, Cape Cod Fiddlers – “Concert Collection II” (1999). Green Linnet SIF 3013, Bothy Band – “Out of the Wind, Into the Sun.”

..............                        

HAG AT THE SPINNING WHEEL. See “Maid at the Spinning Wheel.”

..........................                        

HAG BY THE FIRE, THE (Cailleac na Teine). AKA and see “Golden Wedding (Reel) [3].” Irish, Reel. D Major. Standard tuning. AB. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 773, pg. 134. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 261.

X:1

T:Hag by the Fire, The

M:C|

L:1/8
R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 773

Z:AK/Fiddlers Companion

K:D
BAFG AD (3FED|BAFG A2d2|BAFG AD (3FED|ABde f2 ed|BAFG AD (3FED|

BAFG A2d2|BAFG AD (3FED|ABde fd d2||f2 fe d2 dB|ABde fe e2|fgfe dedB|

ABde fd d2|afef d2 dB|ABde fe e2|faaf gefd|ABde fd d2||

..........................                        

HAG IN THE BLANKET. AKA and see "Snug in the Blanket."

..........................                        

HAG IN THE KILN, THE. AKA and see “Dinny Delaney’s,” “The Old Hag in the Kiln.” Irish, Single Jig. D Mixolydian. Standard tuning. AABB. Source for notated version: New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No. 167, pg. 52. Green Linnet SIF 3005, The Bothy Band - “Old Hag You Have Killed Me” (1981. A reissue of the 1976 Mulligan LP). Mike and Mary Raffety – “The Dangerous Reel.”

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Old Hag in the Kiln, The

T:Dinny Delaney’s

R:slide

N:Parts 3 and 4 are optional.

Z:id:hn-slide-26

Z:transcribed by henrik.norbeck@mailbox.swipnet.se

M:6/8

L:1/8

K:Dmix

A2D ~D3|A2G EFG|A2D ~D3|G2A GED|A2D ~D3|c2d e2d|dcA AGE|G2A GED:|

|:dcA AGE|c3 ABc|dcA AGE|G2A GED|dcA AGE|c2d e2d|dcA AGE|G2A GED:|

|:A2D ~D3|A2B G2B|A2B G2A|E2E GED|A2D ~D3|c2d e2d|dcA AGE|G2A GED:|

|:dcA AGE|c3 ABc|dcA AGE|G2A GED|dcA AGE|c2d e2d|dcA AGE|G2A GED:|                             

..........................            

HAG OF THE SPINNING WHEEL, THE (Cailleach an Túirne). See “The Maid at the Spinning Wheel.”

..........................                        

HAG WITH HER KEG ON HER SHOULDER.  AKA and see “Kitty’s Ramble{s}.” Irish, Jig.

..........................            

HAG WITH THE MONEY, THE (Cailleac an t-Airgiod/Airgid). AKA – “Cailleach an Airgead.” AKA and see "I was born for sport," "My Brother Tom."  Irish, Air and Double Jig. A Dorian/G Major {'A' part} & D Major/A Dorian {'B' part} (O'Neill): D Major?A Dorian/Mixolydian? (Breathnach, Miller, Moylan): D Mixolydian (‘A’ part) & D Major (‘B’ part) {Harker/Rafferty, Taylor, Tubridy}. Standard tuning. AABB (most versions): AABB’ (Moylan). The title comes from a song set to the tune, popular especially among Connemara singers (says Mick Conneely). Petrie (Complete Collection, 1905) prints the tune under the title “I was born for sport,” noted down from the piper Patrick Coneelly in the year 1845. Breathnach prints the chorus of the song which goes:

***

Sí mo Mhamó í, sí mo Mhamó í,

Sí mo Mhamó í, cailleach an airgid.

Sí mo Mhamó í, as baile Iorrais Mhóir í

Is chuirfeadh sí cóistí ar bhóithre Chois Fhairrge.

***

Translated by Paul de Grae as:

***

She’s my granny, she’s my granny,

She’s my granny, the hag with the money.

She’s my granny, from the town of Errismore

And she’d put coaches on the roads of Cois Fhairrge.

***

See also the related reels “Jenny/Maggie Picking Cockles” and “Old Slipper Shoe.” Sources for notated versions: the playing partners of Chicago police Sergeant James Early and John McFadden, a piper and fiddler from adjoining counties in the province of Connaght [O’Neill]; piper Pat Brophy/Patrick Ó Broithe (Ireland) [Breathnach]; accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border), recorded in recital at Na Píobairí Uilleann, November, 1990 [Moylan]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ I), 1963; No. 41, pg. 17. Harker (300 Tunes from Mike Rafferty), 2005; No. 183, pg. 57. Jordan (Whistle and Sing), 1975; No. 72. McNulty (Dance Music of Ireland), 1965; pg. 18. Miller (Fiddler’s Throne), 2004; No. 51, pg. 42. Moylan (Johnny O’Leary), 1994; No. 175, pg. 101 (appears as “Cailleach an Airgid”). O'Neill (Krassen), 1976; pg. 19. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 721, pg. 134. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 21, pg. 20. Taylor (Music for the Sets: Blue Book), 1995; pg. 10. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 34. Cló Iar-Chonnachta Records, CICD 148, Mick Conneely – “Selkie” (2001). Columbia Legacy CK 48693, "The Best of the Chieftains" (1992). Copely Records 9-119 (78 RPM), Paddy Cronin (195?). Larraga MMR112000, Mike & Mary Rafferty – “The Road from Ballinakill” (2001). Talcon Records KG240, Paddy Cronin – “The House in the Glen” (197?).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Hag with the Money, The

T:Cailleach an Airgid

M:6/8

L:1/8

K:Dmix

Adc A2A|AGE G3|Adc A2A|GEA GED|Adc A3|AGE G3|AGE cde|dcA GED:|

|:AB^c d2d|fed ed^c|AB^c d^cd|eag ed^c|AB^c d2e|fed efg|age cde|dcA GED:|

X:2

T:Hag with the Money, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 21

Z:AK/Fiddler’s Companion

K:D

Add AcA|GEF G2E|Ddd A/B/cA|GEF GED|AdB c2A|GEF G2E|DAF =cBA|BGE GED:|

|:Adc d2e|fec d2c|Adc d2e|fdf ecA|Adc d2e|f/g/af ecA|AGE =cBA|BGE GED:|

X: 3

T: Hag With the Money

S: J. O'Brien: "Irish Folk Dance Music"

M: 6/8

L: 1/8

Q: 325

Z: Transcribed by Bill Black

R: jig

K: Dmix

Add ABc | AGE G2 E | Ad^c A2 B | cBA GED |

Add ABc | AGE E/G/EF | DFA cde | dcA GFG :|

AB^c d2 e | fed ed^c | AB^c d2 e | faf ge^c |

AB^c d2 e | fed efg | aed ^cde | dcA GFG :|

..........................                        

HAGANTOWN GALS. American, Reel. G Major. Standard tuning. AB. A version of "Buffalo Gals [1]" with a local title (See note for "Buffalo Gals"). Source for notated version: Irvin Yaugher Jr., Mt. Independence, Pannsylvania, October 19, 1943 (learned in that locality) [Bayard]. Bayard (Hill Country Tunes), 1944; No. 1A.

..........................                        

HAGGACE OF DUMBER. See "Haggies O' Dumbar."

..........................                        


HAGGIES O' DUMBAR, THE. Scottish, English; Reel. England, Northumberland. A Mixolydian. Standard tuning. AAB. As "Haggace of Dumber," it is one of the "missing tunes" of William Vickers' 1770 Northumbrian dance tune manuscript. Carlin (Gow Collection), 1986; No. 493. Gow (Complete Collection), Part 2, 1802; pg. 27. Stewart-Robertson (The Athole Collection), 1884; pg. 154.

X:1

T:Haggis of Dunbar, The

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:A

e|cBAc E/E/E (=G2|G)B/c/ d=G B2GB|cBAc E/E/E A2|Ac/d/ ed c2A:|

c|Ac/d/ eA cAeA|=GB/c/ dG B2 GB|Ac/d/ eA cAeA|Ac/d/ ed c2Ac|

Ac/d/ eA cAeA|=GB/c/ dG B2 GB|cBAc E/E/E A2|a/g/f/g/ ae c2A||

..........................                        

HAGGIS, THE. Scottish, (Pipe) Reel. C Major (Athole, Cranford, Fraser, Kerr, Skye): D Major (Johnson). Standard tuning. AAB (Fraser, Johnson, Skye): AABB (Cranford/Fitzgerald): AABB' (Kerr). Composition of this double‑tonic tune is credited to Captain Simon Fraser by MacDonald in his Skye Collection (1887). A haggis is a large Scottish pudding made of the heart, lungs and liver of a sheep, along with suet, onions, oatmeal and seasoning, stuffed into a sheep's stomach and the whole boiled. It is traditional around the New Year. "This is an admirable one of the pipe reels, so often mentioned, wherein the piper compares his bag and chanter to a well stuffed haggis with its pin. Burns, having taken up so many of the same ideas in his excellent poem to a haggis, may have heard the meaning conveyed by the words, though his genius was so original and capacious, that this is mere conjecture" (Fraser). Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 118, pg. 48. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 43, pg. 15. Johnson (Airs and Melodies of Scotland’s Past), vol. 10, 1992 (revised 2001); pg. 6. Kerr (Merry Melodies), vol. 2; No. 77, pg. 11. MacDonald (The Skye Collection), 1887; pg. 109. Stewart-Robertson (The Athole Collection), 1884; pg. 62. Breton Books and Records BOC 1HO, Winston “Scotty” Fitzgerald - “Classic Cuts” (reissue of Celtic Records CX 40). Green Linnet SIF 1077, Capercaillie ‑ "Crosswinds" (1987). Rounder 7001, Joe Cormier ‑ "Scottish Violin Music from Cape Breton Island" (1974).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

X:1

T:Taigeis Agus Dealg Innte

T:Haggis, The

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:C

F|E/F/G Gc GEEF|E/F/G GB c2 ce|E/F/G Gc GcGE|D/D/D _BD F2F:|

g|ecgc eccg|ecge f2fa|ecgc acgc|d/d/d _bd f2 fa|

ecgc eccg|ecge fagf|ecdB cAGE|D/D/D _BD F2F||

..........................                        

HAGGIS OF DUNBAR, THE. See "Haggies o' Dumbar."

..........................                        

HAGG'S CASTLE [1]. Scottish, Strathspey. D Major. Standard tuning. AABB. Composed by Carl Volti, born Archibald Milligan in Glasgow in 1849. Volti, a fiddler, composed many tunes found in the Kerr’s collections and also published several tutors, albums of popular songs, national overtures, etc. (Nigel Gatherer). Kerr (Merry Melodies), vol. 2; No. 159, pg.19.

X:1

T:Hagg’s Castle [1]

M:C

L:1/8

R:Strathspey

C:Carl Volti

S:Kerr – Merry Melodies, vol. 2, No. 159

Z:AK/Fiddler’s Companion

K:D

g | (f<a)d>c B>dA>G | F>Ad>f f<ee>g | (f<a) d>c B>dA>G | (3FAd (3cde f<d d :|

|: B | A<D F>D A>Dd>B | A<DF>D (E<A)A,>B | A<DF>D A>Dd>g | (f<a)e>g f<d d :|

 

HAGG'S CASTLE [2]. Scottish, Reel. D Major. Standard tuning. AABB. Composed by Carl Volti, born Archibald Milligan in Glasgow in 1849. Volti, a fiddler, composed many tunes found in the Kerr’s collections and also published several tutors, albums of popular songs, national overtures, etc. (Nigel Gatherer). Kerr (Merry Melodies), vol. 2; No. 160, pg. 19.

X:1

T:Hagg’s Castle [2]

M:C

L:1/8

R:Reel

C:Carl Volti

S:Kerr – Merry Melodies, vol. 2, No. 159

Z:AK/Fiddler’s Companion

K:D

g | fdBd A2 (FB) | A2 (FB) ABcd | eAfA eA A/A/A | (e^d)ef gea :|

|: g | fa a/a/a (af)de | fa a/a/a (af)df | eg g/g/g (ge)cd | efge cba :|

..........................                        

HAG'S GRAVE, THE (Leabaid Caillige). Irish, Reel. A Dorian. Standard tuning. AB. Roche Collection, 1983, vol. 1; No. 137, pg. 55.

..........................                        

HAGS OF ULSTER, THE. AKA and see “The Northern Hags.” Irish, Slip Jig. D Major. Standard tuning. AABB. Stanford/Petrie gives the tune as “The Northern Hags” (Ulster is the northernmost province of Ireland).  Levey (Dance Music of Ireland, 2nd Collection), 1873; No. 28, pg. 12 (appears as untitled slip jig).

X:1

T:Hags of Ulster, The

M:9/8

L:1/8

R:Slip Jig

S:Levey – Dance Music of Ireland, 2nd Collection (1873)

Z:AK/Fiddler’s Companion

K:D Major

(ABd) (efe) (edB) | (AFA) (faf) (e2d) | (ABd) (efe) (edB) | ABc dAF (E2D) :|

|: FED FAD FAD | FED FAF (E2D) | FED FAD FAD | ABc dAF (E2D) :|

..........................                        

HAG’S PURSE, THE (Sparán Airgid na Caillí). AKA- “The Old Woman’s Purse of Money.” AKA and see “Ann Sheehy’s Jig,” “Bobby Casey’s Jig [2],” “Diamond [2],” “Little Black Pig,” “Roscommon Jig.” Irish, Double Jig. D Mixolydian. Standard tuning. AABB (Cranitch, S. Johnson): AA'BB' (Breathnach). See also the titles “Old Woman’s Money [1]” and “The Old Woman Lamenting Her Purse.” Source for notated version: accordion player Sonny Brogan (County Sligo/Dublin, Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 34, pg. 15. Cranitch (Irish Fiddle Book), 1966; pg. 54. S. Johnson (The Kitchen Musician No. 6: Jigs), 1982 (revised 1989, 2001); pg. 11. Columbia Records (78RPM), Frank Quinn. De Dannan – “Selected Jigs and Reels” (1978).

See also listings at:

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

Alan Ng’s Irishtune.info

X: 1
T:Hag’s Purse
T:Bobby Caseys Jig
T:Roscommon Jig
R:jig
M:6/8

L:1/8
K:D
D|A2B =cAF|G2E EDE|=c2d cAG| A2D FED|A2B =cAF|GEE =cEE|DED D2:||
A|d2e fed|e2 d cAF|G2 E EDE|=c2 d cAG| Add fed|e2 d cAF|GEE =cEE|DED D2:||
K:Dmix
G|A2D FED|A2B cAF|G2E EDE|c2d cAG| A2D FED|A2B cAF|GEE cEE|DED D2:|
c|d2e =fed|e2d cAF|G2E EDE|c2d cAG| d2e =fed|e2d cAF|GEE cEE|DED D2:||
"Variation"
G|A2D FED|A2d cAF|G2E EDE|c2d cAG| A2D FED|A2d cAF|GFG cGE| EDD D2:||
c|d2e fed|ged cAA|G2E EDE|c2d cAG| Add fed|ged cAA|GFG cGE|EDD D2:||
"Variation by bobby Casey"
A2D FED | AdB cAF | GEE EDE | ~c2d cAG | A/2A/2AD FED | A2A cAF | GEE cGE | D^CE D2F |
[F2A2]D FED | A/2A/2AB cAF | GEE EDE | ~c2d cAG | ADD FED | AdB cAF | ~G2E cGE | D^CE DFG ||
d2e f2d | efd ^cAF | GEE EDE | c/2c/2cd cAG | Add fed | e2d ^cAF | GEE cGE | D^CE DFA |
d2e f2d | e2d ^cAF | ~G2E EDE | ~c2d cAG | Add fed | efd cAF | GEE cGE | D^CE D3 :||

..........................                        

HAG'S REEL, THE. AKA and see "Gearrchailiu Chontae Mhuigheo," “Into the Room I Want You,” “The Mayo Lasses,” “The Old Maid(s) of Galway.”

..........................                        

HAIDH-O-HAIDRIUM. Scottish, Reel. A Major. Standard tuning. AABBCC. From the Wick Scottish Country Dance Band.

X:1
T:Haidh-O-Haidrium
D:Wick S.C.D., The Sound of the North (1970)
O:Scotland
Z:Nigel Gatherer
L:1/8
M:4/4
K:A
z f|g2 f2 e2 A2|e>de>f g2 e2|d2 d2 d2 G2|d>Bd>e g2 a2|
g2 f2 e2 A2|e>de>f g2 a>g|e<de<g e2 d>B|A4 A2:|
A>B|e>AAAA<A|e>de>f gde<g|B>AAGG<G|d>GG<G B>AB<d|
e>AAAA<A|e>de>f g2 a>g|e<de<g e2 d>B|A4 A2:|
B<d|e>a (3aaa g>e (3eee|e>dB<d e2 d<B|e>a (3aaa g>e (3eee|d>Bd<e g2e<d|
e>a (3aaa g>e (3eee|e>dB<d e2 a>g|e<de<g e2 d>B|A4 A2:|

..........................                                    

HAIGIN DEAS. Irish.

..........................                        


HAIL, COLUMBIA, HAPPY LAND. Old‑Time, Breakdown. Arkansas?

..........................                        

HAIL TO THE SHAMROCK. Irish, Air (6/8 time). G Major. Standard tuning. AB. O'Neill (O’Neill’s Irish Music), 1915; No. 90, pg. 51.

X:1

T:Hail to the Shamrock

M:6/8

L:1/8

R:Air

S:O’Neill – O’Neill’s Irish Music (1915)

Z:AK/Fiddler’s Companion

K:G

c/B/ | AG>G g>fe | dBG E2 G/A/ | B>cB A>BA | (G3G2)d | (3e/f/g g (3g/a/b/ d |

(3e/f/g/ g (3g/a/b/ d | g>fe dBG | BA>G G2 || c/B/ | AG>G g>fe | dBG E2G/A/ |

B>cB BA>G | (G3G2) c/B/ | A>GG g>fe | dBG [E2e2] e/f/ | g>fe dB>G | B>AG G2B |

cec BdB | AGE G2 G/A/ | Bee ef^d | e3z2e | eee edd | dcB e2 G/E/ | DEG dcB | B2A G2g |

ggg gf>f | f>ee def | gce dB>G | BA>G G2d | ggg gf>f  | fee d2 e/g/ | gce d<BG | BA>G G2 ||

..........................                        

HAIR FELL OFF MY COCONUT, THE. AKA and see “Durham Reel,” “(A) Hundred Pipers.” Irish, Slide (12/8 time). A Major. Standard tuning. AABB. The tune is the famous Scots piece “A Hundred Pipers” renamed from a rhyme heard from Breanndan O Beaglaoich which went “The hair fell off my coconut (x3), and how do you like it baldy?” Source for notated version: accordion player Thadelo Sullivan via accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border), recorded in recital at Na Píobairí Uilleann, February, 1981 [Moylan]. Moylan (Johnny O’Leary), 1994; No. 135, pg. 79.

                       

HAIR IN THE BUTTER. AKA and see "Chinky Pin," "Yellow Eyed Cat," "My Love is/She's But a Lassie Yet [1]," "Sweet Sixteen," "Darling Child," "I'm My Momma's Darling (Child)," "Fourth of July," "Midnight Serenade [1]," "Ten Nights in a Bar Room," “Too Young to Marry [1],” "Lead Out," "Buffalo Nickel [1]."

                       

HAIR LIPP SUSIE. Old-Time, Breakdown. D Major. Standard tuning. AB. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 59.

 

HAIRPIN BEND. Irish, Slide (12/8 time). Cotter (Traditional Irish Tin Whistle Tutor), 1989; 48.

                                               

HAIRY CHESTED FROG, THE. Irish, Reel. Composed by West Clare fiddler Bobby Casey.

                       

HAKIE. Scottish. It is perhaps "Ca' Hawkie." The title appears in the Bodleian Manuscript (in the Bodleian Library, Oxford), inscribed "A Collection of the Newest Country Dances Performed in Scotland written at Edinburgh by D.A. Young, W.M. 1740."

                       

HAKKI'S POLKA. Shetland, Polka. D Major. Standard tuning. AAB. "Tom (Anderson) composed this polka in the winter of 1978 sitting at the fireside with an American student, Ellen Thomas, who wrote the second fiddle part. 'Hakki' is the Shetland name for the Norwegian 'Haakon', and this tune is dedicated to the great Norwegian king Haakon, a statuette of whom stands on Tom's mantlepiece" (Anderson). Anderson (Ringing Strings), 1983; pg. 66 (includes a 2nd fiddle part).

                       

HAL SCOTT’S SPECIAL. Old-Time, Breakdown. USA, Missouri. Howard Marshall informs that Scott was a local Linn County, Missouri, fiddler. Marshall’s source’s (Nile Wilson) father had the tune from Scott and named it in his honor. Voyager VRCD 3 44, Howard Marshall & John Williams  – “Fiddling Missouri” (1999. Learned from Nile Wilson).

                       

HALE AND HEARTY.  Irish, Hornpipe. Composed by County Tipperary fiddler Seán Ryan (d. 1985). Ryan (Seán Ryan’s Dream), 30.

 

HALE POUR LA TIENNE. See "La Porte d'en Arriere."

                       

HALE'S RAG. Old‑Time, Rag. C Major. Standard tuning. AA'BB'C. An original by Pikeville, Tennessee, fiddler Theron Hale, who recorded it with his daughters in 1928. Hale and family were early Grand Ol' Opry performers. A shift to the second or third position on the violin will facilitate this tune. Sources for notated versions: Ron Kane [Phillips]; Hank Bradley [Silberberg]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 59. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 58. County 542, Theron Hale ‑ "Nashville: the Early String Bands, vol. 2." Greenhays GR 710, John McCutcheon ‑ "Fine TImes at Our House" (1982. Learned from Joel Eckhaus).

X:1

T:Hale’s Rag

R:Reel

M:C|

L;1/8

N:From Greg Canote

Z:Transcribed by Bruce Thomson

K:C

z4 z2 ef|:geag egeg|agag eg-g2|cAdc AcAc|dcdc Ac-c2|

G2BG AB-B2|G2BG AB-B2|cBcB cdef|g3g g2ef|

geag egeg|agag eg-g2|cAdc AcAc|dcdc Ac-c2|

G2BG AB-B2|G2BG AB-B2|cBcB ge3|1 c3c c2ef:|2 c3c c2AB|]

|:cAdc AcAc|dcdc Ac-c2|C2EC DCA,C|EDCD A,C3|

G,A,B,2 B,3A,|G,A,B,2 B,2(3G,A,B,|1 C2C2 DE3|G3G G2AB:|[2 G2(3DEF G2AB|c3c c4||

c’2b2 agcd|eg2e agcd|e2(e2 e)cd2|c3c c4|

c’2b2 agcd|eg2e agag|b2bb–bbab2|d’8|

c’2b2 agcd|eg2e agcd|e2(e2 e)cd2|c4 c2B2|

A,G,A,B, CB,CD|EC2A,3cd|ee2(e e)cd2|c8|]

                       


HALEY'S FAVORITE #1 JIG. Irish, Double Jig. C Minor ('A' part) & E Flat Major ('B' part) {Carlin}: G Minor {O’Malley}. Standard tuning. AABB. O’Malley says: “Sean Maguire learned this one from me in 1959 when he stayed at my house for two weeks. I have since seen it in a collection, Sean Maguires.” Source for notated version: Donny McCarty (Springfield, Mass.), who learned it from Boston button accordion great Joe Derrane [O’Malley]. Carlin (Master Collection), 1984; No. 264, pg. 151. O’Malley Collection, 1976; No. 90, pg. 45 (appears as “John Kimmel’s”). Green Linnet SIF3040, De Dannan - "Ballroom" (1987. Learned from a recording of New York Irish accordion player John J. Kimmel, who recorded between 1904 and 1929).

X: 1

T: John Kimmel's

T: Haley’s Favorite #1 Jig

M: 6/8

L: 1/8

Q: 325

S: Luke O'Malley vol 1

Z: Transcribed by Bill Black

R: Jig

K: Gdor

D | GDG BGB | dBd g2 a | bag fdB | GcB AGF |

GDG BGB | dBd gdg | bag fdc |1 BGG G2 D :|2 BGG G2 g/a/ ||

|: bdd d2 a/g/ | fdd d2 g/a/ | bag fdB | GcB AGF |

bdd d2 a/g/ | fdd d2 g/a/ | bag fdc |1 BGG G2 g/a/ :|2 BGG G2 z ||

                       

HALEY'S JIG [2]. AKA and see “John Kimmel’s.” Irish, Double Jig. B Flat Major. Standard tuning. AABB. The tune was recorded in 1919 by German accordion player John “Dutch” Kimmel, an outstanding player of Irish tunes. Carlin (Master Collection), 1984; No. 265, pg. 151. Green Linnet SIF 3040, De Dannan – “Ballroom.”

X:1

T:Haley’s Jig No. 2

M:6/8

L:1/8

K:G

gGG Gge|dGG Gef|gfe dBG|EAG FED|gGG Gge|dGG Gef|gfe dBA|GEE Eef:||

                       

HALF CHORUS OF SIGHS AND TEARS. AKA and see "An Caoine."

           

HALF-CROWN GIRL.  AKA and see “Two and Sixpenny Girl.”

           

HALF MOON, THE.  English, Jig. G Major. Standard tuning. AABB. The melody is unique to Charles and Samuel Thompson’s Compleat Collection, vol. 3 (London, 1773). Dance instructions for a “Half Moon” appear in the American publications A Select Collection of the Newest and Most Favorite Country Dances (Ostego, N.Y., 1808) and A Treatise on Dancing (Boston, 1807), and may be the same dance printed by the Thompsons. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 167.

X:1

T:Half Moon, The

M:6/8

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:G

G|d>ed d>ed|e2f g2d|d>ed d>ed|c2A A2G|d>ed d>ed|e2f gag|fed Ad^c|(d3 d2):|
|:d|d>ed d>ed|c2A A2B|c>dc edc|B2G G2d|d>ed d>ed|e2f gfe|dcB cBA|(G3 G2):||

 

HALF PAST FOUR. Old-Time, Breakdown. USA; Kentucky, West Virginia. A Major. AEae tuning. The same tune was recorded in the mid-20th century by Edden Hammonds (Pochontas County, West Virginia) who called it “Paddy on the Turnpike [1].” Paul Mitchell suggests that Henry Reed’s “Granny” (on the Hollow Rock String Band LP) is a corrupt or undeveloped version of “Half Past Four.” Copper Creek CCCD 0199, James Leva – “Memory Theatre.” Rounder CD0421, Bruce Molsky - “Big Hoedown” (1997. Learned from a recording by Ed Haley, Ashland, Ky.). Rounder 1133, Ed Haley Vol 2 – "Grey Eagle". John Johnson – “Strange Creek Fiddling 1947” (the tune is mislabled as “Grey Eagle”).

X:1

T:Half Past Four

M:C|

L:1/8

N:AEae tuning. Play “as if” in standard notation, position and tuning.

S:Bruce Molsky, based on Ed Haley’s version.

Z:AK/Fiddler’s Companion

K:A

(3efg | a2 ab aecA | defd ecAe | a2 ab aecA | defg a2 ef |

=gaba gfge | defd efed | c2 AB cABA | FABF A2 :|

|: [G,D][G,E]| [G2A2] [Ae>]c d2 c2 | {B/c/}BAFA BcdB |

Acec dAcA | B F2 D A2 [G2,D2] | [G2A2] [Ae>]c d2 c2 |

{B/c/}BAFA Bc d2 | [e3e3] [e2e2] [ef] ec | B F2 D [A2A2] :|

                       

HALF PENNY. AKA and see “Honeymoon (Reel) [1].” American, Reel. Ryan’s Mammoth Collection, 1883; pg. 50. Edison 50653 (78 RPM), Joseph Samuels, 1919 (appears as next to last tune of "Devil's Dream Medley").

                       

HALF-SHAVED NIGGER. Old-Time, Breakdown. Wade Ward (of Independence, Va.) played a piece with a similar title on Rounder CD 0028 (“High Atmosphere”). However, Mike Yates (2002) records that Fields Ward knew both Wade’s tune and the “Half-Shaved N....r” played by Dent Wimmer (Floyd, Floyd County, Va.), and said that his uncle was confused about two tune titles and made a mistake in naming the tune on his album. Thus, according to Fields Ward, Wimmer’s tune is correctly titled. Musical Traditions MTCD321-2, Dent Wimmer (et al) – “Far in the Mountains, Vols. 1 & 2” (2002).

                       

HALFDOOR. AKA and see "The London Bridge Polka," "Leather Away with the Wattle," "The Grand Old Dame," "The Lisdoonvarna Polka [2]," "The Water Street Polka." Irish, March (2/4 time). D Major. Standard tuning. AABB. Mulvihill (1st Collection), 1986; No. 32, pg. 125.

X:1

T:Halfdoor

M:2/4

L:1/8

Q:240

R:Polka

B:Richard Darsie's Traditional Tune Sourcebook

N:4/4 in book; transcribed as 2/4 here

Z:Lorna LaVerne

K:D

B/c/ | dA FA |d2 dc/d/ | ed cd | ef gf/g/ | af/a/ g/f/e | dB AF | GB A/B/A/G/ | FD D :|

e | f2 fe/f/ | g2 ge | f2 fa | gf ef/g/ | af/a/ g/f/e | dB AF | GB A/B/A/G/ FD D :|

                       

HALFE HANNIKIN. English, Country Dance Tune (6/8 time). C Mixolydian (Chappell, Merryweather, Raven): G Major (Barnes, Sharp). Standard tuning. ABAB (Sharp): ABC (Chappell): AAB (Barnes): AABB (Merryweather, Raven). The tune was first published by John Playford in his English Dancing Master of 1650, though Chappell (1859) finds the air mentioned in Sir H. Herbert's office‑book of revels and plays performed at Whitehall during the Christmas season, 1622‑23. Confirming that the tune is older than Playford is a recorded mention that on Sunday, Jan. 19th, 1623, Ben Jonson's masque Time Vindicated was performed, and:

***

The Prince did lead the measures with the French Ambassador's wife...

the measures, braules, corrantos, and galliards, being ended, the

masquers, with the ladies, did daunce two countrey dances, namely,

'The Soldier's Marche' and 'Huff Hammukin.'

***

Barnes (English Country Dance Tunes), 1986. Chappell (Popular Music of the Olden Time), vol. 1, 1859; pg. 302. Merryweather (Merryweather’s Tunes), 1989; pg. 40. Raven (English Country Dance Tunes), 1984; pg. 41 (a facsimile copy of the Playford original). Sharp (Country Dance Tunes), 1909/1994; pg. 47.

X:1

T:Halfe Hannikin

M:6/8

L:1/8

S:Sharp – Country Dance Tunes  (1909)

Z:AK/Fiddler’s Companion

K:G

(B>cd d2c | B>cB A2) (G | B>cd d>cB | A>GF G3) |

(B>cd d2c | B>cB A2) (G | B>cd d>cB | A>GF G3) ||

(B3c3 | B3A2) (G | B>AB c2B | A>GF G3) |

B>AB c>Bc | B>AB A2) (G | B>AB c2B | A>GF G3 ||

                       

HALFWAY HOUSE, THE (Teac an Meadon-Botair). AKA and see “Lardners’ [1],” “The Turnpike.” Irish, Hornpipe. A Major. Standard tuning. AABB. The second part is similar to the 'B' part of an untitled reel collected in Pennsylvania by Bayard (1981, No. 122, pg. 68). There are many inns named ‘Halfway House’ that were accommodations on old coach roads, so named because they were a waystop between destinations. O'Neill (Krassen), 1976; pg. 167. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1569, pg. 291.

X:1

T:Halfway House, The

M:C

L:1/8

R:Hornpipe

S:O’Neill – Music of Ireland (1903), No. 1569

Z:AK/Fiddler’s Companion

K:A

(3EFG | ABcA BGAF | Ecce fefg | agae faec | dBcA BFEF |

ABcA BGAF | Ecce fefg | agae faed | cABc A2 :|

|: E2 GB BEGB | A2 cA eAce | B2 df fBdf | e2 ge befg |

agae (3fga ec | defg a2 ga | bgeg agaf | ecBc A2 :|

                       

HALFWAY TO KERRY. Irish, Slide (12/8 time). G Major. Standard tuning. AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black. Black (Music’s the Very Best Thing), 1996; No. 51, pg. 28.

X:1

T: Halfway to Kerry

C: © B.Black

Q: 400

R: slide

M: 12/8

L: 1/8

K: G

A | B2 A c2 A B2 G G2 d | g2 d A2 B c3 B2 A | B2 A c2 A B2 G G2 d | ABA DEF G3-G2 :|

A | d^cd g2 d a2 d b3 | g2 d A2 B c3 B2 A | d^cd g2 d a2 d b3 | agf def g3-g2 :|

                       

HALIFAX. Old‑Time, Breakdown. USA, southwestern Va. A tune and tune name peculiar ot the Franklin/Floyd County area of southwestern Va. (Blanton Owen & Tom Carter, 1976).


 

HALKIRK GAMES, THE. Scottish, Jig. B Minor. Standard tuning. AA’B. Composed by Scottish three-row button accordion player Sandy Coghill, in honor of the yearly Halkirk Highland Games held in the village of Halkirk, Caithness, northern Scotland. Coghill was a member of the Wallochmor Ceilidh Band, along with ex-Silly Wizard member and piano accordion player Freeland Barbour. Miller (Fiddler’s Throne), 2004; No. 52, pg. 42. Lapwing Records LAP 103, Sandy Coghill – “Out the Box” (1981).

                       

HALLING. A halling tune is the generic name for a principal form of Norwegian traditional fiddle music. It is possibly related to the Highland Fling of Scotland.

                       

HALLING AFTER FINN VABO. Norwegian, Halling (2/4 time). Norway, West Coast. A Mixolydian. ADae tuning. One part. The tune is generally in duple meter with occasional measures of triple meter interspersed. Finn Vabo (b. 1931) is an expert dance accompanist and Norwegian harding fiddle player from Bergen, west Norway; a student originally of Jon Rosenlid (1891‑1974). Hopkins, 1986; Ex. 1, pg. 107.

                       

HALLOW E’EN. Scottish, Scots Measure. F Major. Standard tuning. AABB. The tune also appears in the c. 1726 publication Musick for the Scots Songs in Tea Table Miscellany. Howe (1000 Jigs and Reels), c. 1867; pg. 122. McGlashan (Collection of Scots Measures), 177?; pg. 6.

X:1

T:Hallow E’en

M:C|

L:1/8

R:Scots Measure

B:McGlashan – Collection of Scots Measures   (177?)

Z:AK/Fiddler’s Companion

K:F

c>B | A2GA F2fg | a2gf d3f | A3f cAGF | E2G2G2 cB | A2G>F F2fg | agfe d3f |

c>dcA BAGF | D2 F>G F2 :: fe | dcde fgfe | dcde f2FG | A4f cAGF | E2G2G2 c>B |

AGAF cBcA | gagf edec | bagf eded | d2fg f2 :|

X:2

T:Hallow Een                

B:Musick for the Scots Songs in Tea Table Miscellany, c1726

Z:Nigel Gatherer

M:4/4

L:1/8

K:F

cB|A2 GF F2 fg|a2 gf d3 f|A3 f cAGF|E2 G2 G2 cB|A2 GF F2 fg|

a2 gf d3 f|ABcE FDEC|D2 F>G F2::fe|dcde fgfe|dcde f2 FG|

A3 f cAFG|E2 G2 G2 cB|AGAF cBcA|gagf e2 dc|bagf edec|d2 fg f2:|]

                       

HALLOW FAIR. Scottish. The melody appears in the Gillespie Manuscript of Perth, 1768. John Glen (1891) finds the earliest printing of the tune in Neil Stewart's 1761 collection (pg. 21).

                       

HALL’S FAVOURITE. AKA and see “Maudabawn Chapel.” Irish, Reel. E Minor. Standard tuning. AA’BB. The melody is Ed Reavy’s “Maudabawn Chapel.” Armagh Pipers Club (Play 50 Reels), 1982; pg. 20.

X:1

T:Hall’s Favourite

M:C|

L:1/8

K:Emin

(3GFE (3FED EDB,A, | G,A,B,D E~B,3 | G,A,B,D GABd | eaag efgf |

g2 ag edge | dged Bcdg | edBd g2 e^c |1 dBAF GEEF :|2 dBAF GEED ||

|: ~E2 BE dEBE | ~E2 BE ADFD | ~E2 BE dEBE | ~A2 FD A,DFD |

EBBA BcdB BAFA Bcde | f2 af gfec | dBAF FE E2 :|

                       

HALL'S RIGHT PUMP. English, Reel. England, Northumberland. G Major. Standard tuning. AABB. Composed by G. Dodd. Hall & Stafford (The Charlton Memorial Tune Book), 1974; pg. 3.

                       

HALL'S MILL. Irish, Air (9/8 time). A Minor. Standard tuning. AB. Source for notated version: Patrick MacDowell, "distinguished sculptor, born in Belfast 1799: died in 1870" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 532, pg. 285.

                       

HALSA DEM DARHEMMA. Scandinavian. In the repertoire of Wisconsin Swedish musician Fritz Swenson.

 

HALSWAY MANOR JIG.  American, Jig. G Major. Standard tuning. AABCD. Composed in 2001 by Liz Donaldson, named for the manor house dating from the 15th century in Halsway Somerset, now England’s National Centre for Traditional Music. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 55.

 

HALTING MARCH. AKA ‑ “The Pikeman,” "The Pikeman's March." Irish, March. A Aeolian (Am): A Dorian (Mallinson, Sullivan). Standard tuning. AAB. Source for notated version: Tommy Gunn, County Fermanagh/Belfast fiddler and singer--"Tommy says that the tune dates from the 1798 rebellion when it was used for drilling pikemen. The checks in the tune are the point where they would thrust into the dummy enemy" [Boys of the Lough]. Source for notated version: Boys of the Lough flute player Cathal McConnell [Sullivan]. Brody (Fiddler’s Fakebook), 1983; pg. 128. Boys of the Lough, 1977; pg. 5. Bulmer & Sharpley, vol. 2, No. 77 (appears as “Pikeman’s March”). Carlin, 1977; pg. 28. Mallinson (Enduring), 1995; No. 95, pg. 40. Spandaro (10 Cents a Dance), 1980; pg. 46. Sullivan (Session Tunes), vol. 3; No. 38, pg. 15 (appears as “The Pikeman”). Maggie's Music MM107, "Music in the Great Hall" (1992). Rounder 3006, Boys of the Lough‑ "Second Album" (1974).

                       

HALTON-LE-GATE HORNPIPE. English, Hornpipe. England, Northumberland. B Flat Major. Standard tuning. AABB. Composed by Robert Whinham (1814-1893), a musician, teacher, composer, dancing master and fiddler, originally from Morpeth. Graham Dixon (1995) identifies the title as a place-name of a hamlet near the South River Tyne, between Brampton and Alston, Northumberland. Dixon notes the tune was published in Northumbrian musicologist John Stokoe’s weekly column in the Newcastle Courant in 1882, albeit with Whinham’s first name given incorrectly. Source for notated version: the J.E. Baty manuscript, dated 1870, in the Morpeth Chantry Bagpipe Museum [Dixon]. Dixon (Remember Me), 1995; pg. 38.

 

HAM BEATS ALL MEAT. American, Song Tune. USA, Tennessee. The melody is from the late 19th century minstrel stage. Grand Old Opry pioneer Uncle Dave Macon adapted it as “Country Ham and Red Gravy.” African-American collector Thomas Talley (born c. 1870) printed a version, close to Humphrey Bates’ in both music and lyrics, in his 1922 book Negro Folk Rhymes:

***

Dem white folks set up in a Dinin’ Room

An’ dey charve dat mutton an’ lam’.

De Nigger, he set ‘hind de kitchen door,

An’ he eat up de good sweet ham.

***

Dem white folks dey set up an’ look so fine,

An’ dey eats dat ole cow meat;

But de Nigger grin an’ he don’t say much,

Still he know how to git what’s sweet

***

Deir ginger cakes taste right good sometimes,

An’ deir Cobblers an’ deir jam.

But fer every day an’ Sunday too,

Jest gimme de good sweet ham.

***

Ham beats all meat,

Always good an’ sweet.

Ham beats all meat,

I’se always ready to eat.

You can bake it, bile it, fry it, stew it,

An’ still it’s de good sweet ham.

***

Bluebird 7951, Uncle Dave Macon (1938). County 531, Dr. Humphrey Bate & His Possum Hunters ‑ "Old Time String Band Classics, 1927‑1933" (1975). Vocalion 5238 (78 RPM), Dr. Humphrey Bate & His Possum Hunters (1928).

                       


HAM FAT SMOKING IN THE PAN. 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.

                       

HAM HOUSE. AKA and see "Cherry Garden.” English, Country Dance Tune (6/4 time). C Major. Standard tuning. AABB'. This dance tune was published by John Playford in 1687. Merryweather (Merryweather’s Tunes for the English Bagpipe), 1989; pg. 46.

                       

HAMAR OWER DA TAING. Shetland, Reel. A Mixolydian. Standard tuning. AAB. "A fisherman's meid from the days of the handline or line fishing" (Anderson & Georgeson). Source for notated version: Arthur Peterson (Shetland) [Anderson & Georgeson]. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 27.

                       

HAMBLETON'S ROUND O. English, Country Dance Tune (3/2 time). C Minor. Standard tuning. AB. The tune dates to 1713. Barnes (English Country Dance Tunes), 1986. Flying Fish FF90564, Bare Necessities ‑ "Take a Dance" (1991).

                       

HAMBO. A popular Swedish couple-dance form in ¾ time, roughly in waltz tempo, although the pulse is subtly different with major accent on the first beat of the measure but also with a lesser accent on the third beat. Tom Paley says the accent pattern is characteristic of the polska, and says the hambo may have been derived from that form, and indeed, sometimes a hambo is called a 'hambo-polska'.  It was told to Paley that a polska from Hanebo, in Haelsingland province, was originally referred to as a 'Hanebo-polska' and that the name ‘hambo’ derives from careless pronunciation, although this story may be apocryphal. The dance is in two parts—during the second part the partners execute different steps in time with each other. A hambo is frequently played at modern North American contra dances.

                       

HAMBURGH DANCE, THE.  English, Country Dance Tune (cut time). E Flat Major. Standard tuning. AABB. The melody was originally published in Charles and Samuel Thompson’s Compleat Collection, vol. 3 (London, 1773), and subsequently in Bride’s Favourite Collection of 200 Select Country Dances, Cotillons (London, 1776). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 188.

X:1

T:Hamburgh Dance, The

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:Eb

Eedc BAGF|GEDE FD B,2|BEcE dEeE|D2 E2 F4::gBgB fB=AB|(c/d/e) dc dB=AB|

fBgb aBbB|fedc BAGF|Eedc BAGF|GEDE FD B,2|BEcE dE e2|BAGF E4:||

 

HAMBURGH WALTZ, THE.  English, Waltz. G Major. Standard tuning. AABBCC. Gibbons originally set the tune in the key of C major in his mss. 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. 31 (set for three instruments).

 

HAME CAM OOR GUDE MAN. AKA – “Hame Cam Oor Gude Man at Een.” AKA and see “Cuckold’s Song,” “Back of the Change House.” Scottish, Reel. D Major. Standard tuning. AAB. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 60, pg. 16.

 

HAME FARERS, DA. Shetland, Reel. D Major. Standard tuning. AABB. Composed in 1960 by Shetland fiddler Tom Anderson and used at the time for the festival of Hamefarin. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 32.

                       

HAMILTON COUNTY. AKA ‑ "Georgia Shuffle." Bluegrass, Breakdown. USA. G Major. Standard tuning. AABB. Composed by Tommy Jackson. Brody (Fiddler’s Fakebook), 1983; pg. 129. Elektra EKS 7285, The Dillards with Byron Berline‑ "Pickin' and Fiddlin.'"

                       

HAMILTON HOUSE [1]. AKA and see "Colonel Hamilton's Jig." Scottish, Jig. G Major. Standard tuning. ABB (Neil): AABBCC (Hunter). This melody was composed by Edinburgh composer and cello teacher Joseph Reinagle (b. 1762) about 1783 and was originally called "Colonel Hamilton's Delight." The name Hamilton derives from the Old English word hamel, meaning scarred, mutilated or crooked, and when combined with the ending means ‘the broken hills’ (Matthews, 1972). There is a Scottish Country Dance called “Hamilton House,” which portrays in the steps “the peculiar succession of the earldom of Selkirk: if the Duke of Hamilton, head of the house, has a younger brother, then the earldom passes to the latter rather than to the duke. Thus the earldom has on three occasions (1885, 1940, 1994) passed to a duke’s brother. (If Lord Selkirk has a surviving son, the title descends normally.) In the dance, the first lady (just widowed) sets off, dances with the new Duke and then turns his younger brother before coming back to line up between the new Duke and his wife. The concept behind the dance has nothing to do with flirting, however this can be an interesting side-line.” [quoted from http://en.wikipedia.org/wiki/Hamilton_House]. Hunter (Fiddle Music of Scotland), 1988; No. 286. Neil (The Scots Fiddle), 1991; No. 3, pg. 6.

 

HAMILTON HOUSE [2]. Scottish, Reel. E Major. AEae tuning. AABBCCDDEFAABB. Alexander McGlashan gives the tune in scordatura tuning. McGlashan (A Collection of Reels), c. 1786; pgs. 10-11.

X:1

T:Hamilton House [2]

M:C|

L:1/8

R:Reel

S:McGlashan – Reels  (c. 1786)

Z:AK/Fiddler’s Companion

N:written as fingered as if in standard tuning on a fiddle

N:tuned AEae, not as sounded.

N:end on second part

K:E

D>B F>B D>B F>B|=C3E G/F/E/D/ CE|D>E F>B D>B F>B| E/E/E B>A F>E D:|

|:g|e>B Bc =d>c d>f|f/e/d/c/ =dA E>C C<e|e>B B>c e>f g>f|e>B B>c e3g:|

|:e>B B>c =dc d>f|f/e/d/c/ dA E>C Cf|e<c =d>B c>A B>F|G>E B>A F>E D:|

|:f|e<e g<e af g>e|f<f g>e a>=d d<f|e<e g>e a>f g>e|g>a b/a/g/f/ g>e e:|

g|e>B B>c =d>c d>f|f/e/=d/c/ dA E>=C Ce|e>B B>c ea g>f|e>B B>c e3g|

e>B B>c =d>c d>f|f/e/=d/c/ dA E=C C<f|e<c  =d>B c<A B>F|GE B>A F>ED||

g|e>b g>b e>b g>b|=d3f a/g/f/e/ df|e>b g>b e>b g>b|f/f/f b>a g>f e>g|

e>b g>b e>b g>b|=d3f a/g/f/e/ df|b<g a<f g<e f<d|e<c B<A F>E D||

 

HAMILTON HOUSE [3].  English, Air (whole time). G Major. Standard tuning. AABB. The tune appears in the John Rook music manuscript collection of 1840-1841 (Warerton).

X:1

T:Hamilton House [3]

M:C

L:1/8

R:Air

S:John Rook music manuscript (Warerton, 1840)

K:G

d2 g<d B2 AG|e2 a<e {g}f2 {e}d2|e2 g<e d<Bg<d|cBAG {G}A4|

A2 dc {c}B2 AG|B2 ed ^c2 BA|d<f e<g f^cdg|f2e2d4:|

|:d2 a<g {g}f2 {e}d2|dfa=c {c}B2 AG|(BG)(dB) (ed)(gd)|cBAG A4|

B<G d<B {cd}e2d2|e2a2 afed|e<gf<a gdec|B2A2G4:|

                       

HAMILTON IRON WORKS. Old-Time, Breakdown. USA, Missouri. D Major/Mixolydian. Standard tuning. AAAABBBBC. According to Missouri fiddler and writer Howard Marshall, John Hartford learned this tune from Missouri fiddlers Gene Goforth and Roy Wooliver in the late 1950’s, although it had originally been in Wooliver’s repertoire (the latter was Goforth’s mentor). “John Harford always felt that Roy Wooliver probably authored this tune,” says Marshall, “But the feeling or the culture of fiddlers was that fiddlers who made up tunes generally attributed them to someone else, usually older fiddlers than themselves. So Wooliver never owned up to having composed it.” Goforth himself said that he and brother Cecil Goforth, along with Clifford Hawthorne, learned it from Wooliver in the 1950’s, but that the tune never spread from beyond their local region. For some time no one knew where the Hamilton Iron Works had been located, although Marshall believed it would have been in the upper eastern Ozarks and south or southwest of St. Louis. Drew Beisswenger (2008) finds that the Hamilton Iron Works was located near Sullivan, Missouri, in the present location of Meramec State Park, and dated to the 1880’s. See also the similar “Piper’s Lass” in Ryan’s Mammoth Collection (1883). Hartford thought the tune was a distant cousin to “Cumberland Gap.” Source for notated version: John Hartford [Phillips]; Cecil Goforth [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 186. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 107. Rounder CD-0388, Gene Goforth – “Emminence Breakdown” (1997). Rounder 0442, John Hartford – “Hamilton Ironworks” (2001). Rounder CD 0435, Cecil Goforth – “Fiddle Music of the Ozarks, vol. 1” (1999).

                       

HAMILTON RACES. AKA and see "The Three Sheepskins." Scottish, Jig. D Major. Standard tuning. AABB. Composed by the famous Inver fiddler and composer Niel Gow (1727-1807). Hamilton was once the County Town of Lanarkshire, Scotland, named for the Hamilton family. It was long a market town and was incorporated as a Burgh in 1451. Hamilton Park is still one of the premier racecourses in Scotland (although the course moved in 1926 to new grounds nearby). Gatherer (Gatherer’s Musical Museum), 1987; pg. 23. Gow (Complete Repository), Part 4, 1817; pg. 29. McGlashan (A Collection of Reels), c. 1786; pg. 40.

X:1

T:Hamilton Races

M:6/8

L:1/8

R:Jig

S:McGlashan – Reels   (c. 1786)

Z:AK/Fiddler’s Companion

K:D

A|FAA d2f|ecA A2d|BdB AdF|GEE E2A|FAA d2f|eac d2B|cfe dcB|AAA A2:|

|:c/d/|ecA Ace|fed cBA|dbd cac|dBB B2 F/E/|DFA d2f|eac d2B|AdF GEA|FDD D2:|

                       

HAMILTON RANT. AKA and see “Doctor Bob Smith.” Scottish, Reel. D Major. Standard tuning. AABB. Composed by J. Stanley Hamilton. Martin & Hughes (Ho-ro-gheallaigh), 1990; pg. 14.

                       

HAMILTON'S. Scottish, Strathspey. D Major. Standard tuning. AAB. Composed by J. Scott Skinner (1848-1927), first appearing in his Harp and Claymore collection. Skinner (The Scottish Violinist), pg. 13.

X:1

T:Hamilton’s

M:C

L:1/8

R:Strathspey

N:”In a lilting style”

S:Skinner – Scottish Violinist

Z:AK/Fiddler’s Companion

K:D

(A,>DF>D) (A>D dc/B/) | A>DF>D C<E E>F | (A,>DF>D) (A>D dc/B/) | (A>F G>E) (F<ED) :|

|| g | (3.f.g.a (3.g.f.e dA FD | .A.D.F.A B<E E>g | (3.f.g.a (3.g.f.e (3.d.e.f (3e.d.c |

(3.B.c.d (3.A.B.c d<D D>g | (3.f.g.a (3.g.f.e dA FD | .A.D.F.A B<E E>F |

A,DFD .G/.B/.d/.g/ b>g | fd ea f<d [F2d2] ||

                       


HAMILTON'S JIG [1]. AKA and see “The Woodcock [2].” Irish, Double Jig. G Major. Standard tuning. AAB. The title refers to flute player and craftsman Hammy Hamilton. Source for notated version: fiddler Philip Duffy (b. 1966, London, now residing in Dublin) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 30.

 

HAMILTON'S JIG [2]. AKA and see “The Kerfunten Jig.” Irish, Double Jig. G Major. Standard tuning. AABB. No relation to "Hamilton's Jig [1]." Source for notated version: fiddler Philip Duffy (b. 1966, London, now residing in Dublin) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 32.

                       

HAMILTON'S SPECIAL BREAKDOWN. AKA and see "Y.Z. Special," "Wyzee Hamilton Special," "Concord Rag," "G Rag." Recorded for Paramount in 1925 by Alabama fiddler Y.Z. Hamilton (1888‑1936).

                       

HAMISH HENDERSON’S REFUSAL. Scottish, Reel. A modern composition by ex-Battlefield Band fiddler Brian MacNeill, commemorating the refusal for political reasons by Henderson to accept the award of "Scot of the year" from then English Prime Minister Margaret Thatcher. He declined the honor due to his opposition to his government’s participation in the nuclear arms race. Henderson is regarded by many as the father of the Scottish folk revival, much as Pete Seegar is in the United States.

X:1

T:Hamish Henderson’s Refusal

M:4/4

L:1/8

K:F

A,2|:D2 C>D A,2  A,>G,| A,<D E>F D3 E| F>C F<A (3GAB A>G| A<d d>e ^c3 A|!

d>e f<a e<c c>A| (3Bcd A>F E3 F| D2 C>D A,2 A,>G,| A,<D E>F D4:|!

E2 E>D E<c c2| (3BAG A>B A<d d>e| f>e (3fga a>g g<f| f>e e<d e3 A|!

B>A (3GAB A<d d2| F<d d<F E3 F| D2 C>D A,2 A,>G,| A,<D E>F D4:||

                       

HAMISH THE CARPENTER. AKA and see “Och a Chiallain,” “Old Time Wedding Reel [2].” Canadian, Reel. Canada; Cape Breton, Prince Edward Island. A Dorian. Standard tuning. AB. The tune is part of a traditional Cape Breton wedding medley along with “Cape Breton Wedding Reel” and “The Big Coffin Reel.” Source for notated version: Gus Longaphie (b. 1915, Little Harbor, North-East Kings County, Prince Edward Island; now resident of Souris) [Perlman]. Dunlay & Reich (Traditional Celtic Fiddle Music of Cape Breton), 1986; No. 24, pg. 43 (appears as “Old Time Wedding Reel #2"). Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 95. Shanachie 79061, Boys of the Lough – “Welcoming Paddy Home” (1986). WMT002, Wendy MacIsaac – “That’s What You Get” (1998?  Appears as “Herman the Carpenter”).

X:1

T:Old Time Wedding Reel #2

T:Hamish the Carpenter

T:Och a Chiallain

R:Reel

A:Cape Breton

S:Sandy MacIntyre

N:From the playing of Sandy MacIntyre

Z:Transcribed Nov 20 1998 by Wil Macaulay

M:C

L:1/8

K:Amin

B | A2GE GABd | e2dB degB | A2GE GABd | egdB A/A/A AB |

  A2GE GABd | e2dB dega | gedB GABd | egdB A/A/A A ||

B | Aaab a2ge | gaba gegd | eaab a2ge | dBgB A/A/A A B, |

A,aab a2ge | gaba gegd | egab ageg | dBgB A/A/A A ||

                       

HAMLET WHERE MY LOVER DWELLS, THE (Am baile 'm beil mo leannan fein). Scottish, Slow Air (4/4 time). G Major. Standard tuning. AABB. "The editor never heard this air sung with any taste, but by his father; the words must have been different from those now current, as the air was rendered slow and plaintive, though frequently now sung in dancing time, which destroys it" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 71, pg. 26.

X:1

T:Hamlet where my lover dwells, The

T:Am baile ‘m beil mo leannan fein

M:C

L:1/8

R:Slow Air

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:G

G/>A/|B2 Bd A2 G>A|B>ABd ef g z/G/|B2 Be A2 G>A|B>ABd ef g:|

|:(3d/e/f/|g>fga bdd (GA/B/c/d/e/f/)|g>fga b2 ag|a>gfe/d/ d<B b2|g>fe>d ef g:|

                       


HAMMER AND TONGS. Irish, Air (6/8 time). G Major. Standard tuning. ABC. Source for notated version: "...from the whistling of Joe Martin of Kilfinane Co. Limerick, a rambling working man with a great knowledge of Irish airs and songs, and much natural taste" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 181, pgs. 90‑91.

X:1

T:Hammer and Tongs

L:1/8

M:6/8

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

Z:AK/Fiddler’s Companion

N:The chorus is the third part.

K:G

B2|d2d dBd|g3 fed|efe d2d|(d3 d2)d|e2e efg|a2f d2g|efd c2B|(A3 A2)||c|

B2B Bcd|e2c A2c|BdB A2A|(A3 A2) f/g/|a3 gfe|d2c B2d|e2d fed|

G3||age|d2B c2d|e2A A2c|BdB A2A|(A3 A2) f/g/|a3 gfe|d2e B2G| B2A G2G|(G3 G2)||

                       

HAMMERMENS’ MARCH, THE. A trade tune printed by James Aird.

                       

HAMMERSMITH ASSEMBLY.  English, Jig. B Flat Major. Standard tuning. AABB. The melody is unique to London publishers Charles and Samuel Thompson’s 1757 country dance collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 136.

X:1

T:Hammersmith Assembly

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:Bb

B3 fdA|B3 efg|fdB ecA|BFE DCB,|B3 fdA|B3 gab|afc dg=e|fcA F3:|

|:e3 c’ae|d3 efg|fdB Gec|AcB AGF|E3 cAE|Ddf Eeg|fdB ecA|BFD B,3:||

 

HAMNATAING. Scottish. A modern composition by Chris Stout of Fiddler’s Bid, said to have been composed to play in a medley with Phil Cunningham’s “Hut on Staffin Island.” Hamnataing is the name of the headland on the island of Mousa, which Stout’s house overlooks.

                       

HAMNAVOE POLKA, THE. Shetland, Polka. Named by Tom Anderson, this tune was part of the repertory of his grandfather who lived in Hamnavoe in North Mavine (Shetland). Anderson & Swing, 1979 (Haand Me Doon Da Fiddle).

                       

HAMPSTEAD JIG.  American, Jig. D Major. Standard tuning. AABB. Based on a theme from Mozart, according to Randy Miller (2004). Source for notated version: the Bridgewater Collection of Sacred Music (Boston, 1812) [Miller]. Miller (Fiddler’s Throne), 2004; No. 53, pg. 43.

 

HAND ME DOWN THE TACKLE. AKA and see “Drogheda Lass/Lasses [1],” "The Drogheda Reel," "The Dangerous Reel,"  Hielanman’s Kneebuckle,” “Highlander’s Kneebuckle,” "The Pure Drop [2]," “Reidy Johnson’s [2],” "The Road to Drogheda,” “Tom(m) Steele." Irish, Reel. D Major. Standard tuning. AABB’. “Haand Me Doon the Tackle,” as it is called, is also played in the Shetland Isles. Paddy Glackin identifies it as a tune from the Donegal tradition, and that his is “an interesting version of a well-known reel which is a favorite with pipers.” O’Neill calls the tune “Tom Steele,” and this was the title used by the Flanagan brothers when they recorded the melody in the 1928. “Drogheda Lasses” is a related tune. Source for notated version: Dublin piano accordion player/piper Seamus Meehan [Tweed]; set dance session music at Na Píobairí Uilleann, recorded in the 1980's [Taylor]. Breathnach (CRÉ II), 1976; pg. 156. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 18. Taylor (Music for the Sets: Yellow Book), 1995; pg. 3. BERCD 001, Arty McGlynn – “McGlynn’s Fancy.” CC 47, Ronan Browne (with O’Loughlin) – “The Southwest Wind.” Celtic Crossings CD0299-02, Gearóid Ó hAllmhuráin & Patrick Ourceau – “Tracin” (1999. Learned from concertina player Paddy Murphy, Fiach Roe, Sliabh Callan region, West Clare). CK 01, Conor Keane – “Cooley’s House.” DMP Records, Karen Tweed – “Drops of Springwater” (1994). Green Linnet SIF 3051, Frankie Gavin - “Frankie’s Goes to Town.” Franie Gavin – “Tribute to Joe Cooley.” Gael-Linn CEF 137, Sean Maguire – “Portraid.” Gael-Linn CEF 145, Various – “Ceol Tigh Neachtain.” Gael-Linn CEF 153, Paddy Glackin – “In Full Spate” (1991). NPU 002, Templehouse Ceili Band – “Music for the Sets, Vol. 1.” WW 004, Grianan – “Maid of Erin.” John Doherty – “The Floating Bow.” Seamus & Manus McGuire – “Humors of Lissadell.” . The Long Mile - Seamus Thompson – “The Long Mile.” Seamus Ennis – “Return from Fingal.” Oisin – “The Jenny C.”

X:1

T:Hand me Down the Tackle

B:Karen Tweed's Irish Choice

M:4/4

L:1/8

Z:transcribed by Juergen Gier

K:D

"D"dD~D2 FDFA|"D"dfaf "A7"gfec|"D"dD~D2 FDFA|"G"BGEF "A7"GABc|\

"D"dD~D2 FDFA|"D"dfaf "Em"gfec|"D"d2cd BdAF|"G"GBEF "A7"GABc:|\

"D"d2fd Adfd|"D"~d2fd "A7"BAFA|"D"dafd Adfd|"G"BGEF "A7"GABc|\

"D"d2fd Adfd|(3B"G"cd ef "Em"g3^g|"A7"afge fded|"A7"BGEF GABc|\

"D"d2fd Adfd|"D"~d2fd "A7"BAFA|"D"dafd Adfd|"G"BGEF "A7"GABd|\

"D"a2 (3ba^g afdf|"G"gfed "Em"cbag|"A7"faec dBAF|"A7"GBEF GABc|]

                       

HAND ORGAN HORNPIPE. AKA and see “Bristol Hornpipe,” “Harlequin Hornpipe [3],” "Lamplighter's Hornpipe [2],” "The Clover Blossom," “Slayley Bridge Hornpipe.”  Irish, New England; Hornpipe. A Major. Standard tuning. One part (Burchenal): AABB (Cole). Burchenal prints the tune under the title "Lamplighters Hornpipe," and also gives a New England contra dance by that title. Burchenal (American Country Dances), 1918; pgs. 49‑50. Cole (1000 Fiddle Tunes), 1940; pg. 87. Ryan’s Mammoth Collection, 1883; pg. 122. White’s Unique Collection, 1986; No. 97, pg. 17.

X:1

T:Hand Organ Hornpipe

M:2/4

L:1/8

S:White’s Unique Collection (1896), No. 97

Z:AK/Fiddler’s Companion

K:A

(3e/f/g/ | a/e/c/e/ A/c/e/a/ | f/d/B/G/ .A(B/c/) | d/f/e/d/ d/c/B/A/ | G/B/A/F/ E (3e/f/g/ |

a/e/c/e/ A/c/e/a/ | f/d/B/G/ A(B/c/) | d/f/e/d/ c/B/A/G/ | B[CA][CA] :: e | c/e/a/e/ c/e/a/e/ |

d/f/B/f/ d/f/B/f/ | c/e/A/e/ c/e/A/e/ | G/B/e/B/ G/B/e/B/ | c/e/A/e/ c/e/A/e/ |

d/f/B/f/ d/f/B/f/ | e/a/g/f/ e/d/c/B/ | c[CA][CA] :|

                       

HAND ORGAN POLKA. American, Polka. D Major ('A' and 'B' parts) & G Major ('C' part). Standard tuning. AABBCC. Ford (Traditional Music of America), 1940; pg. 164.

X:1

T:Hand Organ Polka

M:2/4

L:1/8

R:Polka

S:Ford – Traditional Music in America (1940)

Z:AK/Fiddler’s Companion

K:D

ff {a}g/f/g/b/|aa A>f|gg A>e|ff A2|ff {a}g/f/g/b/|

aa A>f|gg A>c|ddd z:::f/f/f g/g/g|gf (F/A/d/e/)|

(3f/g/f/e (3f/g/f/e|(3e/f/e/d A2|f/f/f g/g/g|gf F/A/d/e/|

(3f/g/f/e (3f/g/f/e|ddd z:|

K:G

B2 B2|B3 (D/G/)|(Bc^cd)|(f2 e)z|A2A2|

A2 ^G/A/|BAFD|(E2 D)z|B2B2| B3 (D/G/)|

(Bc^cd)|(f2 e)z|d(^c/d/) e(f/e/)|e d2 B|d c2A|G z g z:|

                       

HANDLE’S MINUET. English, Minuet (3/4 time). D Major. Standard tuning. AA’BB. The title indicates origins with the composer Georg Friedrich Handel, who composed several minuet movements as parts of larger works. O’Farrell (Pocket Companion, vol. II), c. 1806; pg. 87.

X:1

T:Handle’s (sic) Minuet

M:3/4

L:1/8

R:Minuet

S:O’Farrell – Pocket Companion, vol. II (c. 1806)

Z:AK/Fiddler’s Companion

K:D

A | de f2e2 | f2d2f2 | fagfed | cBAGFE | DAFADA | DBGBDB | DAFADA |

DBGBDB | de f2e2 | f2d2a2 |1 cdecdB | ABAGFE :|2 (3fed c2B2 | B2A3 |: f/g/ |

agfgaf | bagfed | dafada | dbgbdb | dafada | dbgbdb | a2 gfed | bagfed |

(cd)(ef)(gf) | e2A2 fg | aagafa | gafaea | aagafa | fgfaea | fdcdec | dcBAGF |

GdBdGd | FdAdFd | GBeGFE | FAdAFA | G2E2c2 | d4 :|

                       

HANDSHAKE POLKA. New England, Polka. F Major ('A' part) & D Minor ('B' part). Standard tuning. AABB. A modern composition by Randy Miller (N.H.). Miller & Perron (101 Polkas), 1978; No. 65.

                       

HANDORGAN HORNPIPE. See "Hand Organ Hornpipe."


                       

HANDSOME COUPLE, THE. English, Jig and Country Dance Tune. D Major (Raven): A Major (Williamson). Standard tuning. AABB. Published before 1730. Raven (English Country Dance Tunes), 1984; pg. 29. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 19.

                       

HANDSOME MILD YOUNG GIRL, THE (An Cailin Deas Min). Irish, Air (3/4 time). C Major. Standard tuning. One part. Source for notated version: "...from the playing of Hugh O'Beirne, a professional fiddler of Ballinamore, Co. Leitrim" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 588, pg.

                       

HANDSOME PLOUGHBOY, THE ("An Treabaide Boideac" or 'Giolla Ceacta Maiseac"). AKA and see "The Ploughboy [2]." Irish, Hornpipe. A Major. Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 203. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1723, pg. 320. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 907, pg. 155.

X:1

T:Handsome Plowboy, The

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 907

Z:AK/Fiddler’s Companion

K:A

E2|A2A2 AcBA|G2B2 BdcB|A2A2 Acea|gfed cBAG|

A2A2 AcBA|G2B2 BdcB|Acea gfed|c2A2A2:|

|:(3efg|aece aece|afdf afdf|bgeg bgeg|agfe dcBA|

ceAe ceAe|dfBf dfBf|cegf edBG|A2A2A2:|

                       

HANDSOME SALLY [1]. AKA and see "The Day I Met Tom Moylan,” “Ivy Leaf [4],” “The Merry Thatcher,” "Mind My Border," "Mind My Brother," “Miss Kelly’s Favourite,” “Old Tom,” “The New Potatoes,” "Sally Grant," “Through the Heather." Irish, Reel. E Minor. Standard tuning. AABB. Related to “Autumn Leaves,” “Paddy Carthy’s Reel [2],” and “The Man of the House.” The tune is sometimes paired with “Johnny Watt Henry’s” (i.e. by Matt Molloy, and by Tony Linnane and Noel Hill). Sources for notated versions: Johnnie Maguire [Ceol]; obtained by fiddler Séan McGuire from his father Jack (County Cavan), a piccolo, flute and tin whistle player [McGuire & Keegan]. Ceol, vol. 3, no. 1. McGuire & Keegan (Irish Tune by the 100, vol. 1), 1975; No. 59, pg. 15.

X: 1

T: Handsome Sally [1]

N: many alternate names and related tunes

M: 4/4

Z: transcribed by B.Black

L: 1/8

R: reel

S: Matt Molloy

K: Em

E2 BE GEBE | E2 BE AFDF | E2 BE GBdB | AFDE FEED :|

fedB A3 e | fedB AFDB | edef gfef | dBAG FD D2 :|

X:2

T:Handsome Sally

M:C|

L:1/8

R:Reel

K:Emin

EBBA FAFD | EBBA FAFD | EBBA FDFA | BAdA FEED |

EBBA FAAF | EBBA FAFD | EBBA FDFA | BAdA FE E2 :|

|: Beed B^cdA | Bfed FD E2 | Bdeg fded | BedA FE E2 |

Beed B^cdA | Bfed FD E2 | Bdeg fded | BAdA FE E2 :|

 

HANDSOME SALLY [2]. Irish, Air (3/4 time). A Minor. Standard tuning. One part. "I learned this pretty ballad, air and words, from constantly hearing it sung at home in my childhood, and I never heard it elsewhere. Further than this I know nothing about it: but I believe it commemorates a real event. I am not aware that it was ever printed before, either air or words" (Joyce).

***

Young men and maidens, I pray draw near’

The truth to you I will now declare;

How a young lady’s heart was won;

All by the loving of a farmer’s son.

***

Joyce (Old Irish Folk Music and Song), 1909; No. 396, pgs. 193‑194.

X:1

T:Handsome Sally [2]

M:3/4

L:1/8

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

Z:AK/Fiddler’s Companion

K:Amin

A|AE G2 A>G|ED E3E|A>B c2 BA|GA {B}c3d|ed c2 (BA)| GE G2 (A>G)|ED C>D EG|AA A3||

                       

HANDSOME SPORTSMAN, THE. Irish, Air (3/4 time). F Dorian. Standard tuning. AB. Stanford/Petrie (Complete Collection), 1905; No. 601, pg. 151.

X:1

T:Handsome Sportsman, The

M:3/4

L:1/8

R:Air

S:Stanford/Petire (1905), No. 601

Z:AK/Fiddler’s Companion

K:Fdor

AB | c2 fg ec | BG E2 FG | A2e2 GE | F4 AB | c2 fg ec | BG E2 FG |

A2e2 GE | F4 || E2 | EG Bc e2 | EG Bc e2 | c2a2 g=e | f4 fg |

a>g fg ec | BG E2 FG | A2e2 GE | F4 ||

                       

HANDSOME YOUNG MAID(EN)S, THE. AKA – “Handsome Young Lasses.” AKA and see “New York Jig [2].” Irish, Jig. A Major. Standard tuning. AAB. Composed by composer, pianist and fiddler Charlie Lennon (Rossinver) for the band De Danann as part of a 1986 suite of tunes entitled "An Island Wedding." The melody represents the bridesmaids on the day of the wedding. Black (Music’s the Very Best Thing), 1996; No. 4, pg. 2. Lennon (Musical Memories), vol. 1, 1993. Drumlin Records BMNCD2, Brian McNamara – “Fort of the Jewels” (2004). Green Linnet SIF3040, De Dannan - "Ballroom" (1987).

X:1

T: Handsome Young Maidens, The

C: Charlie Lennon

Z: transcribed by B.Black

Q: 300

R: jig

M: 6/8

L: 1/8

K: A

g | aed cdB | Ace aga | bee dee | bee bag | aed cdB | Ace aga | bge dBG | BAG A2 :|

B | c2 A EAc | dff fed | cde aec | Bff fed | c2 A EAc | dff fed | cde aec | dBe A2 B |

c2 A EAc | dff fed | cde aec | Bff fed | cAA eAA | dAA fed | ece fdf | gfg a3 ||

X:2

T:The Handsome Young Maidens

T:New York Jig, The?

M:6/8

L:1/8

S:John Skelton - One At A Time (appears as “New York Jig”)

R:jig

K:D

dAG FAE | DFA dcd | eAA GAA | EAA edc |

dAG FAE | DFA dcd | eAA GAA |1 edc d3 :||2 edc d |

|: AG | F2A DGD | G2B BAG | FGA dAF | EBA BAG |

F2A DGD | G2B BAG |1 AFA dAF | FEC D:||2 AFA BAB | cBc d3 ||

                       

HANDSWORTH SWORD DANCE. AKA and see "The Girl I Left Behind Me."

                       

HANDY ANDY'S HIGHLAND FLING. AKA and see "Duncan Davi(d)son," "Ye'll Aye Be Welcome Back Again," "Maggy's Weame Is Fu I Trow," "The 1812 March." Scottish, Fling. D Major. Standard. AAB. The title is an American re-naming of a famous Scots melody. White's Unique Collection, 1896; No. 158, pg. 29.

X:1

T:Handy Andy’s Highland Fling

M:C|

L:1/8
R:Highland Fling

S:White’s Unique Collection (1896), No. 158

Z:AK/Fiddler’s Companion

K:D

(D>F)(A>B) (A>F) (A>.d) | (D>.F)(A>B) (A>.F) E2 | D>FA>B A>F A>d |

f>de>c d2d2 :| f>de>f g>fe>d | c>Ae>A f>Ae>A | f>de>f g>fe>d | c>AB>c d2 (d>e) |

f>de>f g>fe>d | c>Ae>A f>Ae>A | f>de>f g>fe>d | c>AB>c d2d2 ||

                       

HANDY MAN, THE (An Fear Cliste). Irish, Hornpipe. B Flat Major. Standard. AABB. O'Neill (Krassen), 1976; pg. 187. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1659, pg. 308.

X:1

T:Handy Man, The

M:2/4

L:1/8

R:Hornpipe

S:O’Neill – Music of Ireland (1903), No. 1659

Z:AK/Fiddler’s Companion

K:Bb

F | BB/c/ dc/B/ | B/d/f/g/ fd/f/ | b/f/d/f/ g/f/d/B/ | c/B/c/d/ c/e/d/c/ |

BB/c/ dc/B/ | B/d/f/g/ fd/f/ | g/b/f/d/ c/B/c/d/ | Bd B :|

|: B/A/ | G{A}G/^F/ G{A}G/F/ | G/=F/G/A/ BB/c/ | d{e}d/^c/ d{e}d/c/ |

d/=c/B/d/ fB/d/ | f/g/f/d/ fd/f/ | g/a/g/^f/ gb/g/ | f/d/B/d/ c/e/d/c/ | Bd B :|

                       


HANDY WITH THE STICK (Cliste Leis An Maide). AKA and see “The White Petticoat.” Irish, Double Jig. E Minor. Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 39. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 896, pg. 167. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 143, pg. 38.

X:1

T:Handy with the Stick

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 143

Z:AK/Fiddler’s Companion

K:Emin

G/A/|Bed cBA|GEG BGE|DEG GAB|edB cBA|Bed cBA|GEG BGE|DEG GAB|Be^d e2:|

|:e/f/|gdB GBd|gaf gdB|cAA EAA|ced cBA|GBB Acc|GBA GFE|DEG GAB|Be^d e2:|

                       

HANG FIRE. AKA and see “Kiley’s Reel.” American?, Scottish?; Dance Tune (2/4 time). A Major. Standard tuning. AABB. ‘Hang fire’ means ‘hold your fire,’ or ‘wait a minute’. Labelled a "jig" in Ryan/Cole, meaning a type of old‑time banjo tune rather than the traditional Irish 6/8 jig; Kerr calls it a clog dance. Cole (1000 Fiddle Tunes), 1940; pg. 85. Kerr (Merry Melodies), vol. 2; No. 364, pg. 40. Ryan’s Mammoth Collection, 1883; pg. 118.

X:1

T:Hang Fire

M:2/4

L:1/8

R:Sand Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:A

Ac/e/ a/g/f/e/ | d/c/B/A/ G/B/E | BG/B/ a/G/B | z/c/ B/A/ G/B/E | Ac/e/ a/g/f/e/ |

d/c/B/A/ G/B/E | BG/B/ z/G/B |1 AcAz :|2 AcA |: (A/4B/4c/4d/4) | ec/e/ z/c/e |

fd/f/ z/d/f | ec/e/ z/c/e | BG/B/ z/G/B | ec/e/ z/c/e | fd/f/ z/d/f | A/c/e/g/ a/g/a/e/ |1

f/d/B/G/ A :|2 f/d/B/G/ Az ||

                       

HANG ON. Old‑Time, Breakdown. D Major. Standard tuning. AABB. "A thoroughly characteristic western Pennsylvania fiddle tune, unmistakably British in character, and composed‑‑like many others‑‑in such a way that the whole point of the melody lies in the recurring cadential formula. See Ford, p. 91, 'Old Mother Logo', for an air resembling this in a general way" (Bayard). There is no way to tell how old this tune might be, but an enticingly similar title appears in an account of 18th century weddings on the frontier, unearthed by Paul Gifford. In 1876 there appeared a volume written by one Joseph Doddridge, entitled "Notes on the settlement and Indian wars of the western parts of Virginia and Pennsylvania, from 1763 to 1783, inclusive : together with a view of the state of society, and manners of the first settlers of the western country” (Edited by A. Williams, published in Albany, N. Y., by J. Munsell, 1876), where on pg. 155 he states:
***
[Desciption of weddings].  After dinner the dancing commenced, and generally lasted till

the next morning.  The figures of the dances were three and four handed reels, or square sets,
and jigs.  The commencement was always a square four, which was followed by what was

called jigging it off; that is, two of the four would single out for a jig, and were followed
by the remaining couple.  The jigs were often accompanied with what was called cutting out;

that is, when either of the parties became tired of the dance, on intimation, the place was

supplied by some one of the company without any interruption of the dance.  In this way a

dance was often continued till the musician was heartily tired of his situation.  Toward the

latter part of the night, if any of the company, through weariness, attempted to conceal
themselves for the purpose of sleeping, they were hunted up, paraded on the floor, and

the fiddler ordered to play "Hang on till to-morrow morning."

***

Source for notated version: Irvin Yaugher Jr., Mt. Independence, Pennsylvania, October 19, 1943 (learned from his grandfather) [Bayard]. Bayard (Hill Country Tunes), 1944; No. 95.

                       

HANG SORROW. English, Country Dance Tune (2/2 time). D Minor. Standard tuning. AAB. From 204 Country Dances selection in 'A frolic.'" Raven (English Country Dance Tunes), 1984; pg. 214.

X:1

T:Hang Sorrow

M:2/2

L:1/8

R:Country Dance Tune

S:204 Country Dances

K:Dmin

a4 g2e2 | f2 ed ^c4 | d2f2 ef g2 | f4e4 | a3g f2e2 | e2 ed ^c2d2 | d2f2efg2 | f4e4 :|

|: e2ef e2d2 | c2=B2c2A2 | c3c dc_BA | G4F4 | A=B c2B3c | =B^cd2c3d | e3f g2 fe | e4d4 ||

                       

HANGED MAN, THE. English, Jig. G Major. Standard tuning. AABB. A modern composition by Michael Raven. Raven (English Country Dance Tunes), 1984; pg. 202.

                       

HANGED MAN'S REEL. AKA ‑ "Hangman's Reel." AKA and see "The Nightengale [1]," "Reel of the Hanged One," "Reel Du Pendu." See "Hangman's Reel [1]" (Old‑Time version). French-Canadian, Reel. Canada; Quebec, Prince Edward Island. A Major (Brody, Hart & Sandell): G Major (Perlman). AEac# (usually) or Standard tunings. AABB (Perlman): ABCC’DEF (Hart & Sandell): AABBCCDDEEFF (Brody). A widely known reel among French-Canadian fiddlers, it is considered one of the “showcase” tunes of the repertoire.  “Reel du Pendu” (Hanged Man’s Reel) exists in myriad versions and variations, some of which are quite distanced from one-another, although they all feature scordatura tuning in the key of ‘A’. Fiddler and researcher Lisa Ornstein writes the tune “typically features a nuclear melody which is followed by a number of short strains based on arpeggiated motifs which gradually descend from the upper to the lower octave; many versions include the use of left-hand pizzicato on the open strings… virtually all versions are characterized by the use of an AEac# scordatura and by an associated story which credits the composition of the tune to a prisoner condemned to be hanged.”  Ken Perlman (1996) writes that this reel is always played in a medley with “Reel du Cordonnier” on Prince Edward Island in the form of two time through for “Reel Du Pendu,” once for “Reel du Cordonnier” and finally two more times through of “Pendu.”

***

There are several variants of a story associated with the tune, all having to do with a condemned man and an offer of reprieve as reward for a performance or musical task accomplished. One such variant is that the condemned man was able to secure a last-minute reprieve—challenged and given an out-of-tune fiddle, he was able to play a tune no one had ever heard before. Another version goes (from Louis Boudreault) that the (sometimes musically untrained) condemned was given an untuned fiddle and was told that if he could play a reel by morning he would be pardoned: he did—he was—and “Reel du Pendu” is the result.

***

The tune’s origins remain unclear, writes Ornstein, who was unable to find any antecedents for the melody in music from France. There are some similarities with the Scottish reel “Grieg’s Pipes,” as well as with the American “Lost Indian” family of tunes (another family with myriad variants, including the Louisiana, back-to-French version, “Reel du sauvage perdu” {Lost Indian}, according to Hart & Sandell, 2001). The earliest mention Lisa Ornstein found of the tune in Quebec was in an account by agronomist and author Georges Bouchard (1888-1956), who wrote about his childhood in the latter part of the 19th century in the village of Saint-Philippe-de-Néri (in the Kamouraska region). There “Reel du Pendu” was played by the fiddler at the end of a dance, retuning for the piece, after which the crowd dispersed. The earliest sound recording appears to be by Quebec fiddlers Joseph Allard in 1928, and Isadore Soucy, who recorded it five times on 78 RPM between 1927 and 1952.

***

Sources for notated versions: Jean Carignan (d. 1987, Montreal, Canada) [Brody]; Louise Arsenault (b. 1956, East Prince County, Prince Edward Island) [Perlman]; fiddler Pierre Laporte of the group La Bottine souriante, who credits both Jean Carignan and André Alain for his version [Hart & Sandell]. Brody (Fiddler’s Fakebook), 1983; pg. 130. Hart & Sandell (Dance ce Soir), 2001; pgs. 72-73 (appears as “Reel du pendu”).  Perlman (Fiddle Tunes of Prince Edward Island), 1996; pg. 66. Biograph 6007, Ebenezer‑ "Tell It To Me." Folkways FG 3531, Jean Carignan‑ "Old Time Fiddle Tunes" (1961. Appears as "Reel of the Hanged One"). June Appal 014, John McCutcheon‑ "The Wind That Shakes the Barley." Legacy 120, Jean Carignan‑ "French Canadian Fiddle Songs." Philo 2000, "Louis Beaudoin” (1973).  Point Records P‑229, Isidore Soucy ‑ "Canadian Jigs and Reels." Rounder 0193, Rodney Miller ‑ "Airplang" (1985). Starr 15705 (78 RPM), Isidore Soucy (fiddle) {1930}. Starr 16169 (78 RPM), Tommy Duchesne (accordion) {1938}. Transatlantic 337, Dave Swarbrick‑ "Swarbrick" (appears as "The Nightengale"). Voyager VRLP 322‑S, Louis Boudreault‑ "Old Time Fiddler of Chicoutimi, Québec" (1977, 1993). La Bottine souriante – “Les éspousailles” (1980). Yvon Mimeault – “Y’etait temps!/It’s About Time.”

X:1

T:Hanged Man's Reel, The

S:irtrad-l, Edward A Beimborn, 9/94

D:Aly Bain Version from "Far From Home"

N:Use AEac\# Tuning

Z:Converted from abc code by Dan Beimborn

L:1/8

M:C

K:A

P:A

A,AAB c2 cc|c2 cB ABcA|EAAc BABc|dcBA cAAB| c2 cc c2 cB|ABcA EAAc|BBGB A2 A2:|

P:B

A,AAB c2 cc|BABd c2 c2|A,AAB c2 cc|BBGB A2 A2:|

P:C

e2 c2 A2 ee|eccc BcAc|e2 c2 A2 ee|eccc BcBa:|

P:D

B2 z2 B2 BB|BBGB AGAc|B2 GB BBGB|1 BBGB A4:|2 BBGB A2||

P:E

cAEA,|A2 BABd c2|A2 A2 cAEA,|A,2 E2 A2|BABc A2:| P:F A,A,|+C2E2++CE++AE+ +D2F2+ +DF++AE+|+C2E2+ +CE++AE+ +B,2E2+ +B,E++A,E+| +C2E2+ +CE++AE+ +D2F2+ +DF++AE+|CEB,E A,2:|

                       

HANGFIRE. AKA and see “Hang Fire,” “Kiley‘s Reel.”

                       

HANGING AROUND THE KITCHEN (TILL THE COOK COMES HOME). AKA and see "Wait in the Kitchen (Till the Cook Comes In)," "Richmond Cotillion," "Run Them Coons in the Ground," "Jackson's Breakdown," "Old Richmond." Old-Time, Breakdown & Song. The tune is a version of “Richmond Cotillion,” from the repertoire of fiddler Lymon Enloe. Grey Eagle Records 101, Lymon Enloe – “Now That’s a Good Tune.”

                       

HANGING OUT THE SHEETS. AKA and see "Folding Down the Sheets." Old‑Time, Breakdown. USA, Ky. The Barren County, Kentucky, title for the Virginia tune "Folding Down the Sheets." This tune "may have been brought to Southern Kentucky by one John Gregory, originally from Virginia" (Bruce Green).

                       

HANGMAN'S NOOSE [1]. AKA and see “Daniel O’Connell, the Home Ruler,” “Frank McCollum’s [2],” "The Home Ruler,” "McCollum's Hornpipe," “Pat Galvin’s Hornpipe,” "Sean Ryan's (Hornpipe) [1]." Irish, Hornpipe. Parts reversed from Frank McCollum’s “Home Ruler.” However, see “Hangman’s Noose (2)” for the actual tune by that name. Both are compositions of Ballycastle, County Antrim, piper and fiddler Frank McCollam, who liked to pair them together in a medley (hence the apparent confusion). Source for notated version: fiddler Pat Neilly [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1974, vol. 4, No. 68.

 

HANGMAN’S NOOSE [2].  Irish, Hornpipe. G Major. Standard tuning. AABB. Composed by Ballycastle, County Antrim, piper and fiddler Frank McCollam. The tune was inspired by the tale of a felon from Bushmills, named John McNaughton, who in 1761 was convicted of murdering his lover and sentenced to hang.  The execution was dully carried out, but when McNaughton dropped the rope snapped, leaving him dazed by alive.  Legend has it that McNaughton was offered a pardon, but declined it saying that he could not bear the though of spending the remainder of his life being known as Half hanged McNaughton’.

X: 1
T:The Hangmans Noose [2]
M:4/4
L:1/8
S:Ciaran Kelly, Moneymore, Derry (Accordian)
R:Hornpipe
H:Same composer as the Home Ruler (Frank McCollum of Ballycastle)
D:Session tape - Cross Keys, Antrim 1993
Z:Bernie Stocks
K:G
G2BG DGBd | g2fg d3e | =f2fe fdcA | c2cB cAFA | G2BG DGBd | g2fg d3e |\
=f2fe fdcA | GBAF G2Bc :: dg~g2 dgBg | dg~g2 a2ga | bggf gdBd |\
cBAG A2Bc | dg~g2 dgBg | dg~g2 a2ga | bggf gdBc | B2G2 G4 :|

                       

HANGMAN'S REEL [1]. Old‑Time, Breakdown. USA, southwestern Va. A Major. AEae or AEac# tunings. AABB: ABCD (Silberberg): AABCCDD (Songer): AABBCCDD (Kuntz): AABBCC'DD (Phillips). The origins of the tune are somewhat obscure. It was in the repertoire of Albert Hash, a traditional fiddler of Whitetop or Rugby, Va. and identified by him as originally a British Isles tune, though stylistically that provenance is doubtful. Susan Songer and Clyde Curley (1997) report that New York fiddler Judy Hyman (of the Horseflies) believes it originally derived from the Québecois tune “Reel du Pendu” (Hanged Man’s Reel) and that it was rendered in a Southern old-time style by younger upstate New York fiddlers. Whether the tune was a Southern traditional tune or a “revival” processing, it has since become a very popular "festival tune" among younger old-time fiddlers and frequently heard at square dances. See the related melody "Rattlesnake." Sources for notated versions: Albert Hash via Liz Slade (Yorktown, New York) [Kuntz]; Tim O'Brien [Phillips]. Kuntz, Private Collection. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 108. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 58 (appears as “Hanged Man’s Reel”). Songer (Portland Collection), 1997; pg. 92. County CO-CD-2711, Kirk Sutphin - "Old Roots and New Branches" (1994). June Appal 014, John McCutcheon ‑ "The Wind That Shakes the Barley" (1977. Learned from Albert Hash). Marimac 9040, The Heartbeats - “Living in Black and White” (1990).

X:1

T:Hangman’s Reel

L:1/8

M:2/4

N:AEae Tuning

N:Notated as it would be fingered if played in standard tuning, not as it actually sounds

N:The second time through the last part may be played an octave lower.

Z:AK/Fiddler’s Companion

K:A

(D/|A/)D/A/(A/ B/)A/B|c/B/c/(A/ B/)A/B|AA B/A/B/B/|c/B/c/c/ B>B|AA BB|

c/B/c/A/ B(A/B/|c/)B/c/A/ B/A/B|(D/A)(D/ A):|

|:(A/|e/)(A/c/)(A/|e/)(A/c/)(A/|B/)A/B/B/ c/B/A|ec ec|B/A/B/(B/ A:|

(A|:B>)(A B)(A|A/)B/c/A/ B/A/E|(A/B)(A/ B/)A/B|e/f/e/(d/ c/B/)A:|

|:c/B/c dd|cc/c/ d/c/d|cc d/c/d|c/B/c/A/ BB|c/B/c d/c/d c/B/c d/c/d|c/B/c B/A/B|D/AD/ A2:|

 

HANGMAN'S REEL [2]. See "Hanged Man's Reel."

                       

HANGMAN’S NOOSE. AKA and see “Frank McCollum’s [2],” “The Home Ruler,” “Sean Ryan’s (Hornpipe) [1].” Irish, Reel. The tune is Frank McCollum’s “Home Ruler.” Source for notated version: fiddler Pat Neilly [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), vol. 4, No. 68.

                       

HANGMAN’S ROPE. Irish, Hornpipe. G Mixolydian. Standard tuning. AABB. Composed by the late County Antrim fiddler Frank McCallum. Source for notated version: Martin Mulvihill (New York) [Black]. Black (Music’s the Very Best Thing), 1996; No. 31, pg. 16.

X:1

T: Hangman's Rope

C: F. MacCallum

Z: transcribed by B.Black

Q: 300

R: hornpipe

M: 4/4

L: 1/8

K: G

(3DEF | G2 BG DGBd | g2 fg d3 e | =f2 fe fdcA | c2 cB cAFD |

G2 BG DGBd | g2 fg d3 e | (3=fgf ef dc (3ABc | B2 G2 G2 :|

Bc | dg (3ggg dgBg | dgBg a2 ga | bagf gdBd | cBAG A2 Bc |

dg (3ggg dgBg | dgBg a2 ga | bagf gd (3ABc | B2 G2 G2 :|

                       

HANGOVER, THE. Irish, Jig. Composed by County Fermanagh flute player Cathal McConnell. McConnell notes that he wrote this tune some time ago, and had forgotten it until he heard it played by a musician in Ann Arbor Michigan. McConnell didn’t recognize it at first, until finally informed that it was his own composition! Compass 7 4287 2, Cathal McConnell – “Long Expectant Comes at Last” (2000).

                       

HANGTOWN GALS. 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.

                       

HANING'S FAREWELL. AKA and see “Booth Shot Lincoln [2].” Old‑Time, Slow breakdown. USA; Texas, Oklahoma. A Aeolian (Am). Standard tuning. AABB. Marion Thede says Price learned the tune around 1902 from John Crooks, a fiddler in west Texas. It has been picked up by “revival” fiddlers in the 1970’s from Thede’s book, and David Molk is often credited with popularizing it along with Armin Barnett, and Brian "Hawk" Hubbard.  The tune was further developed (or distanced from the original) until, as Kerry Blech says, “it took on a life of its own…folks like Jeff Goehring and Andy Cahan got hold of it and breathed whole new life into it and started calling it ‘Music From the Spheres’”.

***

Blech identifies a tune played by Texas fiddler Claude Parker as a close variant. Parker, who lived in Gonzalez and Bexar Counties, was born around the beginning of the 20th century and played in an archaic style. Blech accessed a home recording made in the 1960’s on which Parker’s modal version, called “Indian Shot the Woodchuck” is played (with the fiddle tuned considerable below standard pitch). Source for notated version: J.S. Price (Greer County, Oklahoma) [Thede]. Thede (The Fiddle Book), 1967; pg. 16. Flying Fish FF266, Malcolm Dalglish & Grey Larsen ‑ "Thunderhead" (1982). Whoop it Up 101, Red Mountain White Trash – “Fire in the Dumpster.”

                       

HANK MARONE. See “Old Time Jig.”

                       

HANKIE DANCE, THE. Scottish. Green Linnett GLCD 1146, The Tannahill Weavers - "Capernaum" (1994). Green Linnet GLCD 1182, The Tannahill Weavers - “Choice Cuts” (1997).

                       

HANK’S TUNE. Old-Time, Two-Step?. D Major. Standard tuning. AB. The tune is attributed to Henry Mitchell, who never mentioned the title, if any. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 59.

                       

HANLY’S TWEED. AKA and see “Harvest Moon [2],” “Paddy O’Brien’s (Reel) [2].” Irish, Reel. A Dorian. Standard tuning. AABB. Composed by Paddy O’Brien. Source for notated version: flute player Harry McGowan (b. 1937, Carrowmore, Co. Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 159 (appears as “Unknown 2”).

X:1

T:Paddy O'Brien's

T:Harvest Moon

T:Hanly’s Tweed

C:Paddy O'Brien

H:Mike played it following the Tara reel

D:Martin Connolly "Back to Brooklyn"

Z:lesl

M:C|

L:1/8

K:Ador

A2EA FAEA|BzAB GABG|AE~E2 A2 (3Bcd|edef gzed|

eaag ed(3Bcd|g{a}g fa gedz|edBA BGGA|1 BedB A4:|2 BedB Az (3Bcd||

|:eaaf g~g2z|eaag ed (3Bcd|ezaf g~g2e|dG~G2 AG (3Bcd|ea~a2 bg~g2|

agab gzag|edBA BGGA|1 BedB A2 (3Bcd:|2 BedB A4||

                       

HANNAH AT THE SPRINGHOUSE. Old-Time, Breakdown. USA, West Virginia. A Dorian/Mixolydian. Standard tuning. AB. The tune was in the repertoire of legendary fiddler Lewis Johnson “Uncle” Jack McElwain (1856-1938) of White Oak, a tributary of Laurel Creek, near the village of Erbacon, Webster County, West Virginia (local lore, remarks Gerry Milnes (Play of a Fiddle, 1999), gives that Erbacon was named by the habit of the cook at the local hotel, who invariably asked, “Do you want ham ‘r bacon? Investigating further, Milnes found that the town was actually named for E.R. Bacon, an official with the B & O railroad.)  Braxton County, West Virginia, fiddler Melvin Wine (1909-1999) learned the tune from his father, Bob, who had it from his father Nels and Grandfather “Smithy.” Source for notated version: Melvin Wine [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 60. Cass., Melvin Wine – “Hannah at the Springhouse.”

                       

HANOVER. AKA and see "Hanover Hornpipe."

                       

HANOVER HORNPIPE. AKA - "Hanover." AKA and see "Minstrel's Fancy," "McElligot's Fancy," "Pioneer Clog." American, Hornpipe. D Major. Standard tuning. AABB. The Company of Fifers and Drummers, 76, 1974; pg. 21. Sweet (Fifer’s Delight), 1964/1981; pg. 53.

                       

HANOVER SQUARE. Scottish, Hornpipe. D Major. Standard tuning. AA’AA’BB. Kerr (Merry Melodies), vol. 4; No. 30, pg. 287.

X:1

T:Hanover Square

M:C|

L:1/8

R:Hornpipe

S:Kerr – Merry Melodies, vol. 4, No. 287  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

A2 | dcdf edcB | A2A2A2 (FE) |1 DEFG ABcd | e^def e2 | DFAd fedc |

d2f2d2 A2|dcdf edcB | A2A2A2 (FE) |1 DEFG ABcd | e^def e2 |

DFAd fedc | d2f2d2 |||: (cB) | ABcd e2 (fe) | dcdB A2 (GF) | GBAG FAGF |

E2E2E2A2 | dcdf edcB | A2A2A2 (FE) | DFAd fedc | d2f2d2 :|

                       

HANOVER WALTZ. English, Waltz (3/8 time). G Major. Standard tuning. AABB. Huntington (William Litten’s), 1977; pg. 33.

                       

HANOVERIAN DANCE. English, Country Dance Tune. D Major. Standard tuning. AABB. Raven (English Country Dance Tunes), 1984; pg. 141.

                                   

HANOVERIAN MARCH. AKA and see “Buonaparte’s March,” "Napoleon('s March)," "Bonaparte's March [2]." English, Scottish; March. England, Shropshire. G Major (Ashman): D Major (Kerr). Standard tuning. AABB. See note for “Buonaparte’s March” for discussion. Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 14, pg. Kerr (Merry Melodies), vol. 4 (as “Buonaparte’s March”). 

                                      

HANSKIN. AKA and see "Jog On (Jog On the Footpath Way),” “Eighty-Eight." English, Air (6/4 time). G Major. Standard tuning. One part. The tune appears under this title in the Fitzwilliam Virginal Book, though the words, if any, have not been discovered. Chappell (Popular Music of the Olden Times), vol. 1, 1859; pg. 159.

                                   

HANSON’S WALTZ.  English, Waltz. G Major. Standard tuning. AABB. 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. 80 (originally set in the key of ‘C’ major in the ms.).

 

'HAP ON' ROW THE FEETIES O'T. Scottish, Quickstep. A Major. Standard tuning. AABBCCDD. "J. Scott Skinner's Set." Skinner (The Scottish Violinist), pg. 40.

 

HA’PENNY BIT. AKA and see “The Three Little Drummers [1].”

                       


HA’PENNY BRIDGE, THE. Irish, Reel. G Major. Standard tuning. AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black. The Ha’penny Bridge spans the river Liffey in Dublin, linking the northern and southern sides of the city, from Liffey Street to the popular Temple Bar area. A cast-iron footbridge, it was built in 1816 by John Windsor, an ironworker originally from Shropshire, England. It was originally called the Wellington Bridge, now officially the Liffey Bridge, but was popularly christened the Ha’penny Bridge due to the toll pedestrians were once charged to cross it. Although the toll was abandoned in 1919 the name persists.  Black (Music’s the Very Best Thing), 1996; No. 225, pg. 121.

X:1

T: Ha'penny Bridge

C: © B. Black

Q: 350

R: reel

M: 4/4

L: 1/8

K: G

A | BAGA Bded | BE E2 GEEA | BGBd ecBc | dBGA BA A2 |

BAGA Bded | BE E2 dE E2 | edef gdBd | ecAc BG G :|

A | Bd d2 edgd | edgd gabg | afdc Bdgd | efgd BA A2 |

Bd d2 edgd | edgd gaba | gfgd eage | dBcA BG G :|

                       

HA'PENNY FOR A COTTON BALL, A. AKA and see “A Letter from Home.” Irish, Reel. G Major. Standard tuning. AAB. O’Neill (Music of Ireland), 1903; No. 1279. O'Neill (Krassen), 1976; pg. 110. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 230.


                       

HA'PENNY REEL. AKA and see "The Honeymoon Reel."

                       

HA'PORTH OF TEA, A (Luac Leat-Pingine Tae). AKA and see “Delaney’s Frolics.” Irish, Reel. B Minor/D Major. Standard tuning. AAB. See also the related “Holy Land.” O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 785, pg. 136.

X:1

T:Ha’porth of Tea, A

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 785

Z:AK/Fiddler’s Companion

K:Bmin

d/c/|BA (3Bcd A2 FA|dBcA BF ~F2|BA (3Bcd A2 Af|afeg fdd:|

||e|fddA dfag|fddA (3Bcd eg|fddA defg|afeg fdde|fddA dfag|

fddA (3Bcd eg|f2 fd g2 fg|afeg fdd||

                       

HAPPY 'A' JIG. AKA and see "Cuil Aodha Jig," "The Maid that Cut Off the Chicken's Lips." A Major. Standard tuning. AABB. Private collection, A. Kuntz (from the playing of Massachusetts contra dance musician Dave Kaynor).

                       


HAPPY ACRES (TWO-STEP). Canadian (originally), American; Two‑Step. USA; New York, New Hampshire, Missouri. D Major ('A' part) & A Major ('B' part). Standard tuning. AB (Bohrer/Kibler): AABB (Messer): AA'BB' (Phillips). Composed by Canadian guitarist and fiddler Cecil “Cec” McEachern, who joined radio and TV fiddler Don Messer’s band in 1947. Transplanted French-Canadian fiddler Omer Marcoux (Concord, N.H.) played a similar sounding tune, obtained off a record in Québec, which he called simply "Reel #1 in C" [Miskoe & Paul, 1994; pg. 18].  The tune has considerable currency among New England French fiddlers (remarks Peter Yarensky), and is a popular contra dance tune. Central New York fiddler Chad Miller reports the tune has become a regional ‘standard’ of sorts, stemming from a performance by Graham and Eleanor Townsend (Ontario) at a Fiddler’s Picnic in Osceola, NY. Source for notated version: Vivian Williams (Seattle) [Phillips]. Bohrer (Vic Kibler), 1992; No. 19, pg. 19. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 187, pgs. 132‑133. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 60. Great Meadow Music, Bob

McQuillen – “Old New England” (1996).

See also listing at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources
X:1
T:Happy Acres Two-Step
M:2/4
L:1/16
S:field tape
N:B part played only once
Z:Chris Ricker
K:D
A2 d2f2|:a4a2ga|b2a2f2d2|F6A2|dcBA GFED|C3D E2F2|G4F2G2|(3BcB A4^G2|A2A2
d2f2|a4a2ga|b2a2f2d2|F6A2|dcBA GFED|C3D E2F2|G2A2B2c2|
d4 d3d|d4c3d:|K:A (3efg a4c2A2|E3F E2D2|C2E2A2c2|e4 B2 (3cBA|G3A B2c2|
d4c2d2|f2e4d2|c4 c3d|(efg a2 c2A2|E3F E2D2|C2E2A2c2|e4 B2 (3cBA|
G3A B2c2|d2e2f2g2|a4a3a a2A2d2f2:|

                       

HAPPY BILL DANIELS' QUADRILLE. American, Quadrille (12/8 time). A Major. Standard tuning. ABACA'B'A'DDE. Happy Bill Daniels (1853‑1923) was a popular and influential fiddler in the central ten counties of New York State for fifty years. Born in Broome County, New York, he was reportedly "generous with his musical knowledge," and McDermott, a Tomkins County, New York, fiddler learned quite a bit from his repertoire. He recorded this quadrille as one of his first records for the Brunswick label (Bronner). The piece is a collection of strains, the only recognizable one of which is "Turkey in the Straw." Source for notated version: John McDermott, 1926 (New York State) [Bronner]. Bronner (Old-Time Music Makers of New York State), 1987; No. 3, pgs. 20‑21. Brunswick 20053 (78 RPM), John McDermott, 1926.

                                   

HAPPY BOY SCHOTTISCHE. Old-time, Schottische. G Major. Standard tuning. AA'BB'. The melody is the vehicle for the 1950’s movie theme song “Ballad of Thunder Road.” The schottische can also be heard in the 1940’s movie “Commandoes Strike at Dawn,” a movie of occupied Norway in World War II starring Paul Muni, played by an accordion band in the background of one scene. Source for notated version: Stuart Williams [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 60.

                                   

HAPPY CAPTIVE. AKA and see "The Dusky Night." English, Country Dance Tune (6/8 time). D Major. Standard tuning. AABB. The tune dates to 1777. Barnes (English Country Dance Tunes), 1986.

                       

HAPPY CLOWN. AKA and see "One Evening Having Lost My Way," "Walpole," "I'm Like a Skiff on Ocean Toss'd." English, Air (6/8 time). E Flat Major (Chappell): G Major (Aird). Standard tuning. One part (Chappell): AABB (Aird). The tune appears in the 1718 and 1728 editions of Playford's Dancing Master, Walsh's Compleat Country Dancing Master, and many ballad operas and broadside sheets. Stenhouse (in commentary on the Scots Musical Museum) claims to have had a manuscript version from 1709. "I'm like a skiff on ocean toss'd" are words to the tune in John Gay's Beggar's Opera (1729, air XLVII). Irish versions of the tune appear in Stanford-Petrie (Complete Collection, 1905, Nos. 1397 and 1398) under the title “Is truagh mar’ chonairc me aen bhean a-riamh” (Tis pity I e’er saw a woman), in which two bars correspond to one bar in the older English sets. Aird (Selections of Scotch, English, Irish and Foreign Airs), vol. II, 1785; No. 156, pg. 57. Chappell (Popular Music of the Olden Times), vol. 2, 1859; pgs. 108‑109. Johnson (Scots Musical Museum), 1787-1803; No. 251.

X:1

T:Happy Clown, The

M:6/8

L:1/8

S:Chappell – Popular Music of the Olden Time  (1859)

Z:AK/Fiddler’s Companion

K:Eb

B, | E2F GFE | B2B B2e | d2c B2A | G2F E2B, | E2F GFE|B2B B2e|dcB c2A|(B3 B2)B|

BGA BcB | BAG A2A | AFG ABA | AGF G2B | e2B e2B|(e3 e2) d/c/|BAG F2E|(E3E2)||

X:2

T:Happy Clown, The

M:6/8

L:1/8

S:Aird, vol. II (1785)

Z:AK/Fiddler’s Companion

K:G

D | G2A BAG | d2d d2g | “tr”f2e dcB | C2B AFD | G2A BAG | d2d d2g | fed edc | d3d3 :|

|: B/c/ | dBc ded | dcB c3 | cAB cdc | cBA B2d | g2d g2d | g3 gfe | dcB AGF | G3 G3 :|

                                               

HAPPY COBBLER, THE. English, Reel. A Major. Standard tuning. AABB. The melody originally appeared in John Hinton’s periodical Universal Magazine of Knowledge and Pleasure (London, 1758). Figures to a dance called “The Happy Cobbler” were entered by Greenland, New Hampshire, resident Clement Weeks into his dance copybook of 1783. Seattle (William Vickers), 1987, Part 3; No. 459. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 40.

X:1

T:Happy Cobbler, The

M:C|

L:1/8

R:Reel

S:William Vickers’ music manuscripts, pg. 138  (1770)

Z:AK/Fiddler’s Companion

K:A

f|eA AA/A/ cAcA|fB BB/B/ fBfB|eA AA/A/ cAcA|dfec AA/A/ A:|

|:f|egaf ecec|dfec B/B/B Bf|egaf ecec|dfec A/A/A A:|

X:2

T:Happy Cobler, The

M:2/4

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:A

f|eA A/A/A|cAcA|fB B/B/B|fBfB|eA A/A/A|cAcA|dfec A/A/A A:|

|:f|egaf|ecec|dfec|B/B/B Bf|egaf|ecec|dfec|A/A/A A:||

                                   

HAPPY COUPLE, THE. AKA and see "The Sports of Listowel," "West the Hill."

 

HAPPY COUPLE [2], THE.  English, Jig. D Major. Standard tuning. AABB. The melody appears first in print (as do many in Charles and Samuel Thompson’s 1757 collection) in John Johnson’s Choice Collection of 200 Favourite Country Dances, vol. 6 (London, 1751). The preceding melody in the collection is “Kendal House,” the residence of King George I’s notorious mistress, the Dutchess of Kendal (George’s 1st wife having been long disposed of in Germany through divorce and imprisonment). Does “The Happy Couple” refer to this liason? Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 16.

X:1

T:Happy Couple  [2]

M:6/8

L:1/8

N:The ‘g’ note in the 7th measure may be played sharp.

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:D

A|B2c d2A|B2c d2A|BdB AdA|F>ED A3|G3 (Fd)c|cBA ^G>AB|

g>ab “tr”d3|cea ce/d/c/B/|A3 A2::A|BGB Adf|eAG F2A|

BGB A2d|e/f/gf e2G|GFB Bad|dcf fed|{d}”tr”c2d g>fe|d>AF D2:||

                       


HAPPY DAYS. AKA and see “Let’s Dance.” Irish, Jig. F Major. Standard tuning. AABB. Composed by New York Irish-American musician Larry Redican (1908-1975). Bulmer & Sharpley (Music from Ireland), vol. 4; No. 54 (appears untitled). Green Linnet SIF 1063, Irish Tradition - “The Times We’ve Had.” Green Linnet GLCD 1119, Cherish the Ladies - "The Back Door" (1992. Learned from Brooklyn, New York, born accordion player Billy McComiskey).

X:1

T:Happy Days

T:Let's Dance

C:Larry Redican

R:jig

M:6/8

L:1/8

Z:Philippe Varlet

K:F

G|FDC FAc|agf dfc|Bdf Acf|~B3 GEC| FAG FAc|agf dfc|

BAG AGF|EFG F2:||c|faf gec|dBf cAc|faf gec|

deg fga| bag afd|cdB AFG|ABc fcA|BGE F2:||

           

HAPPY DAYS CROSS.  Irish, Jig. G Major. Standard tuning. AABB. Composed by fiddler and piano player Josephine Keegan (b. 1935), of Mullaghbawn, south County Armagh. The title is a knitting stitch. Keegan (The Keegan Tunes), 2002; pg. 60.

                       

HAPPY DAYS OF YOUTH [1], THE AKA and see “John McKenna’s [2],” “Seán McKenna’s [1],” “McKenna’s [1].” Irish, Reel. G Major. Standard tuning. AB (Miller & Perron): AAB (Moylan): ABAB’AB (Harker/Rafferty). The tune was recorded by flute player John McKenna (1880-1947) for Decca in 1934 (paired with “Colonel Rogers”), accompanied by Michael Gaffney on banjo; both originally were from County Leitrim. In fact the tunes became so associated with the flute player’s name that they have often simply been referred to as “John McKenna’s” or “McKenna’s Reels.” The fidelity to which the tunes have become attached in tradition has led to some confusion between the titles of the generically titled “McKenna’s Reels” (e.g. “Colonel Rogers” is sometimes called “Happy Days of Youth” and vice versa). McKenna and Gaffney were fast friends, remembers McKenna’s daughter Catherine, who told Harry Bradshaw and Jackie Small that she could not remember a week that Gaffney was not in her father’s house playing his banjo or rehearsing new numbers with the flutist for recordings, dances, weddings and other events they had booked. Sources for notated versions: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; flute player Séamus Tansey [Miller & Perron]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Bulmer & Sharpley (Music from Ireland), vol. 2; 28. Harker (300 Tunes from Mike Rafferty), 2005; No. 74, pg. 23 (appears as “McKenna’s No. 2”). Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 75. Moylan (Johnny O’Leary),  Claddagh 4CC 39, “The Pipering of Willie Clancy vol. 2” (1983. Appears as “McKenna’s”). Coleman Center CD CC004, Gregory Daly & Ted McGowan – “The Mountain Road” (1999. Various artists. “A Compilation of tunes popular in South Sligo”). Coleman Music Center CHC 009, flute player Éamonn Cullen (Cloontia) – “The Coleman Archive, vol. 2: The Home Place” (2005. Various artists). Gael-Linn CEFCD 103, Frankie Gavin – “Croch Suas É/Up and Away” (1983. Appears as “McKenna’s”). Larraga TR 1103, Mary Rafferty – “Hand Me Downs” (2002).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T: Happy Days of Youth

S: Liam Og O'Flynn

D: The Piper's Call

M: 4/4

L: 1/8

Z: Transcribed by Dennis J. Gormley 26 March 1999

K: G

(3ABd | e2 ed B2 BA | GA (3BAG AEED | ~G3 B dBeB | dBAc BGG2 |

e2 ed B2 BA | GA (3BAG AEED | ~G3 B dBeB | dBAc BGG2 ||

faag fded | (3Bcd ef g2 gf | eB ~B2 gefd | BAGA Bcde |

faag fded | (3Bcd ef ~g3 a | bgaf gfed | (3efg fa g2 ||

 

HAPPY DAYS OF YOUTH [2], THE ("Laeta Aoibin na N-Oige" or "Laete Seanmar na h-Oige"). Irish, Reel. G Major. Standard tuning. AAB (O'Neill/1850, 1001 & 1915): AABB' (O'Neill/Krassen). Source for notated version: Francis O'Neill learned the tune from an accomplished West Clare flute player (and Chicago police patrolman) named Patrick "Big Pat" O'Mahony, a man of prodigious physique of whom he said: "the 'swing' of his execution was perfect, but instead of 'beating time' with his foot on the floor like most musicians he was never so much at ease as when seated in a chair tilted back against a wall, while both feet swung rhythmically like a double pendulum" [O'Neill, Irish Folk Music]. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 255, pg. 132. O'Neill (Krassen), 1976; pg. 116. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1311, pg. 246. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 574, pg. 106.

X:1

T:Happy Days of Youth [2]

M:C|

L:1/8

R:Reel

S:O’Neill – Music of Ireland (1903)

Z:AK/Fiddler’s Companion

K:G

G2 Bd e2 dB | (GA)BG (AG)EF | G2 Bd e2 dB | (cA)BG (EG)G2 :|

(f<a)ag (fd)de | fdag (fd) d2 | (f<a)ag (fd)df | edef gfed |

(f<a)ag (fd)de | fdag (fd) d2 | bgaf gfef | dfaf gedB ||

                                                           

HAPPY FARMER [1], THE. English, Jig and Morris Dance Tune. A Major (Raven): G Major (Wade). Standard tuning. ABB (Raven): AABB (Wade). Tune used for a single step dance in the North‑West England morris tradition. Raven (English Country Dance Tunes), 1984; pg. 120. Wade (Mally’s North-West Morris Book), 1988; pg. 25.

 

HAPPY FARMER [2]. AKA and see "The Contented Farmer." Northumbrian, Jig. A variation of version #1. Northumbrian Piper’s Tune Book.

           

HAPPY FRANK.  Scottish, Hornpipe. A Major. Standard tuning. AABB. Composed by the great Scots fiddler-composer J. Scott Skinner (1843-1927), in honor of Frank Gilruth, Dumfries Academy. Skinner (Harp and Claymore), 1904; pg. 131.

X:1

T:Happy Frank

M:2/4

L:1/8

R:Hornpipe

C:J. Scott Skinner (1843-1927)

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:A

E/>(D/ | C/>)(E/A/>)(c/ d/>)(B/G/>)(B/ | A/>)(c/e/>)(g/ a)e/>(c/ | d/>)(f/B/>)(d/ c/>)(e/A/>)(c/ | d/>)c/B/>A/ G/>F/E/>(D/ |

C/>)(E/A/>)(c/ | d/>)(B/G/>)(B/ | A/>)(c/e/>)(g a)e/>(c/ | d/>)(f/B/>)(d/ c/>)(e/A/>)(c/ | d/>)(B/G/>)(e/ A) :|

|: c’/>(d’/ | e’/>)(c’/a/>)(c’/ d’/>)(b/g/>)(^a/ | b/>)(g/e/>)(g/ | =a/>)(f/>d/>)(f/ e/>)(c/A/>)(c/ | d/>)c/B/>A/ G/>F/E/>(D/ |

C/>)(E/A/>)(c/ d/>)(B/G/>)(B/ | A/>)(c/e/>)(g/ a)e/>(c/ | d/>)(f/B/>)(d/ c/>)(e/A/>)(c/ | d/>)(B/G/>)(e/ A) :|

                       

HAPPY FRIENDS, THE. English, Country Dance Tune (whole time). F Major. Standard tuning. AABB. The melody was originally printed in Charles and Samuel Thompson’s Compleat Collection, vol. 3 (London, 1773). As with numerous other tunes from the Thompson’s 1773 collection, it was entered into the 1788 music copybook of fiddlers John and William Pitt Turner (Norwich, Conn.). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 166.

X:1

T:Happy Friends, The

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:F

F>GA>B {d}c2 BA|{d}c2 BA {c}B2 AG|F>GA>B c>de>f|g>ab>a (a2g2):|
|:{b}a2 gf {b}a2 gf|g>fg>a ge c2|{a}a2 gf {b}a2 gf|afge f2F2:||

 

HAPPY GO LUCKY. Canadian, Reel or Hornpipe. Canada, Cape Breton. C Major/Mixolydian. Standard tuning. AB. A ‘double-tonic’ tune composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976), according to Cameron. Mark Wilson says it is credited to Donald MacLean. Cameron (Trip to Windsor), 1994; pg. 18. Rounder LP7005, Carl MacKenzie – “Welcome to Your Feet Again” (1976. Appears as first hornpipe of “Robert Cormack, Aberdeen” medley). Rounder Heritage Series 1166-11592-2, Carl MacKenzie (et al) – “The Art of Traditional Fiddle” (2001. Appears as first hornpipe of “Robert Cormack, Aberdeen” medley).

                                   

HAPPY GO LUCKY CLOG, THE. Canadian, Clog. Canada, Cape Breton. F Major. Standard tuning. AABB’. Composed by Northside (Cape Breton County), Cape Breton, fiddler Donald MacLean. It was one of Angus Chisholm’s “pet tunes” according to Paul Stewart Cranford (1995). Cranford (Jerry Holland’s), 1995; No. 145, pg. 42.

                       


HAPPY GROVES. English, Air. This air, by John Barrett, appears in John Gay's Beggar's Opera (1729). Raven (English Country Dance Tunes), 1984; pg. 68.

                       

HAPPY HAMSTER, THE. Irish, Jig. D Mixolydian. Standard tuning. AABB. Composed by Falmouth, Massachusetts, musician Bill Black. Black (Music’s the Very Best Thing), 1996; No. 49, pg. 26.

X:1

T: The Happy Hamster

C: © B.Black

Q: 300

R: jig

M: 6/8

L: 1/8

K: D

D | DEF Ad=c | AFA GE=C | DFA def | agf e=cA |

DEF Ad=c | AFA GA=c | fdd ^ceg | fdc d2 :|

A | daa baa | faf dAB | =cgg agg | ege =cAc |

dfa baf | =ceg age | fdd ^ceg | fdc d2 :|

           

HAPPY HEINY. American, Two‑Step. Composed in 1898. Voyager VRLP 328‑S, "Kenny Haul and the Long Haul String Band" (learned from a Happy Hayseeds recording).

           

HAPPY HOLLOW. AKA – “Happy Holler.” Old-Time, Breakdown. A Major. AEac# tuning. AA’BB. From fiddler Marcus Martin of Ararat, North Carolina, who recorded the tune in the 1940's. CD2001, “The Rough Deal Stringband.”

X:1

T:Happy Holler

M:C|

L:1/8

S:Bruce Molsky, based on Marcus Martin’s version

N:Tune fiddle AEac#, play low strings fingered “as if”

N:in standard tuning in key of G.

Z:AK/Fiddler’s Companion

K:A

DE | A2D2A2D2 | GEDC B, G,3 | B3B cBA(c c)BAE | A2 A6 |

[c3e3] [c2e2] B AB | CBAE D B,2 A, | G,A,B,C DEDD | EG2E G2 ||

DE | GEDE GEDE | GEDC B, G,3 | B3B cBA(c c)BAE | A2 A6 |

[c3e3] [c2e2] B AB | CBAE D B,2 A, | G,A,B,C DEDD | EG2E G2 ||

|: [G,2D2] | [D2B2] [G,2D2] [D3B3] B|(B/d/B)AE D B,2 [B,D]|[D2B2] [G,2D2] [D3B3] B|(B/c/B)AE G2G2 |

{B/}c3 {B/}c4B AB | cBAF D B,2 A, | G,A,B,C DEDD | EG2E G2 :|

           

HAPPY HOURS. AKA and see “Plaisance.” AKA – “Plaisance Fox.” English, Scottish; Polka. D Major. Standard tuning. AA’BB’CC’DD. The tune has been recorded as a polka, although Scottish accordion player Jimmy Shand recorded the tune in the late 1930’s where it was described as a foxtrot on the record label (Beltona BL 2382). The melody (as “Plaisance Fox”) previously had currency in France as part of Emile Vacher’s musette repertoire, and, indeed, the composition is attributed to Vacher & Peyrennin, who composed it in 1926. It is perhaps Shand (or his record company) that renamed it “Happy Hours”. Barry Callaghan (2007) notes it has also been recorded by harmonica player Jimmy Hiddlestone with Bob Smith’s Ideal Band (Glasgow, c. 1931), Will Starr, and Northumbrian musician Billy Pigg. Callaghan (Hardcore English), 2007; pg. 92. EFDSS CD13, Old Hat Band – “Hardcore English” (2007. Various artists). Old Hat Records OH-1, Old Hat Band - "The Old Hat Concert Party." Topic Records TSCD550, Brass Monkey – “Flame of Fire” (2004. Learned from the 1930’s recording of Glasgow’s Bob Smith’s Ideal Band).

           

HAPPY HOURS WALTZ. American, Waltz. The title appears in a list of Maine fiddler Mellie Dunham's repertoire (the elderly Dunham was Henry Ford's champion fiddler in the late 1920's). Bronner (1987) says it was apparently Dunham's own composition.

***

Mellie Dunham. Photograph courtesy of David Sanderson, Maine

           

HAPPY IS THE MILLER BOY. American, Song Tune? G Major. Standard tuning. AB. The 'A' part is in 4/4 time, the 'B' part in 6/8. Source for notated version: Cloud Cribbs (Indiana County, Pa., 1948) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 199, pg. 155‑156.

           

HAPPY JACK. Old‑Time, Breakdown. USA; Arkansas, Missouri. C Major. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. It is on Missouri fiddler Charlie Walden’s list of ‘100 essential Missouri fiddle tunes’. Howard Marshall informs that the tune is associated with and was popularised in Central Missouri by The Fiddlin’ Sheriff, George Morris, of Columbia, Missouri.  He used this as the theme song for his live radio show over KFRU-AM (Columbia) in the 40s and early 50s.” Apparently Morris was never a sheriff, despite his moniker, however he was a very influential fiddler in his region of the state in the mid-20th century and influenced many key players such as Pete McMahan, Taylor McBaine and Jake Hockemeyer. Missouri State Old Time Fiddlers Association 001, Pete McMahan ‑ "Ozark Mountain Waltz." Voyager VRCD 344, Howard “Rusty” Marshall & John Williams – “Fiddling Missosuri” (1999. Learned from Pete McMahon & Charlie Walden).

           

HAPPY LAND HORNPIPE. English, Hornpipe. England, Northumberland. D Major. Standard tuning. AABB. Composed by teacher, musician, composer, dancing master and fiddler Robert Whinham (1814-1893), originally from Morpeth. Source for notated version: an un-attributed 19th century manuscript in the Beamish Museum [Dixon]. Dixon (Remember Me), 1995; pg. 18.

 

HAPPY MAN. English, Morris Dance Tune (3/4 time). G Major. Standard tuning. AB. A singing dance went to this tune, from the village of Adderbury, North Oxfordshire, England. The original tune was noted by Janet Blunt from the last of the old village dancers, William Walton, in 1917. Blunt recorded it was "especially sung by old Soloman Lines...he was a noted singer and his neighbours called him 'The Happy Man' because of this song" (Suff, 1994). Bacon (The Morris Ring), 1974; pg. 11. EMI/Harvest 7243 8 29861 2 6, Ashley Hutchings et al - "Son of Morris On" (1976/1994).

           

HAPPY MARRIAGE, THE.  English, Jig (6/8 or 6/4 time). D Minor. Standard tuning. AABBCC. “The Happy Marriage” appears in Henry Playford’s Second Part of the Dancing Master (London, 1698, 9th edition) and in all subsequent editions through the end of the series, with the 18th edition in 1728. John Walsh also published it in his Compleat Country Dancing Master (London, 1718, and in subsequent editions published in 1731 and 1754). Barlow (Compleat Country Dance Tunes from Playford’s Dancing Master), 1985; No. 356, pg. 85. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 56.

X:1

T:Happy Marriage, The

M:6/4

L:1/8

R:Jig

S:Henry Playford – Dancing Master, 9th Edition (1698)

K:D Minor

a2|f3e d2 ^c3d e2|f6 e3f g2|a3b a2 (f2d2)g2|e6 f6|g3a b2 a4g f2|

e3 fed ^c3 d e2|c3B A2 A4B ^G2|(A6 A4):||e2|d3f e2 ^c3d e2|

A3d ^c2 d4a2|b4a2g3f e2|d3e f2 e4f2|(g2e2) c2 f4g2|a2f2d2 b4a2|

(g2e2)c2f3ge2|(f6 f4)g2|a2 fg a2g2 ef g2|f2 de f2e2^c2e2|a3gf2 f3ed2|(d6 d4):|

 

HAPPY MISTAKE, THE. AKA and see “Best in the Bag,” “The King,” “King of Jigs,” “Lady Shire’s Favourite,” “Miss/Mrs. Monroe’s Jig,” “Mrs. Spens Monroe.” Irish, Jig. A Major (Allan’s, Roche): G Major (O’Farrell). Standard tuning. AABB. Allan's Irish Fiddler, No. 23, pg. 6. O’Farrell (Pocket Companion), c. 1805; pg. 18. Roche Collection, 1983, vol. 1; No. 126, pg. 52.

X:1

T:Happy Mistake, The

B:Allan's Irish Fiddler, no. 23

M:6/8

L:1/8

R:Jig

K:A

E | ABA BAB | caf ecB |AGA BAB|cAF F2 E| ABA BAB | caf ecA |d2 B cAF | ABA A2 :|

|: e | aga fga|gba gfe|aga fga |bge efg | ~a3 b2 g | agf ecA | d2 B cAF | ABA A2 :|

 

HAPPY NIGHT, THE.  English, Jig. D 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. 86.

X:1

T:Happy Night, The

M:6/8

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:D

d3 dAd|e3 eAe|fga afd|cde ecA|d3 dAd|e3 eAe|f^ga Bag|a3 A3:|

|:a3 aAa|aba agf|g3 gAg|gag gfe|(3f/g/a/ a2 (3e/f/g/ g2|(3f/g/a/ a2 (3e/f/g/ g2|faf gec|d3 D3:||

           


HAPPY ONE STEP. Cajun, One Step (4/4 time). USA, Louisiana. G Major. Standard tuning. AABB. A very popular Cajun fiddler tune, especially over the past few decades, played by Michael Doucet and others. It was originally recorded by fiddler Dennis McGee along with Sady D. Courville (as ‘Courville and McGee’) on 2nd fiddle in March, 1929, in New Orleans. Source for notated version: Dennis McGee (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pg. 159. Morning Star 45002 ‑ "The Early Recordings of Dennis McGee 1929‑1930." Green Linnet GLCD 3127, Sharon Shannon – “The Best of Sharon Shannon: Spellbound” (1999. Appears as second tune of “Blackbird”). Morning Star 45002 ‑ "The Early Recordings of Dennis McGee 1929‑1930." Swing Cat 1612, “Al Berard & Friends.” Yazoo 2012, “The Complete Early Recordings of Dennis McGee: 1929-1930.”

X:1

T:Happy One-Step, The

M:4/4

L:1/8

R:Cajun One-Step

K:G

d>G B>d- d>G B>d|g>c e>g- g>a g>e|d>G B>d- d>B- B>A|A>G G>E D2 G>B|

d>G B>d- d>G B>d|g>c e>g- g>a g>e|d>G B>G A>G E>D |1 E>G G>G- G2 A>G:|2 E>G G>G- G2 B>d||

b>d b>b- b>d b>d|a>d a>a- a>d a>d|b>d b>b- b>d b>d|c'>d c'>c'- c'>d c'>d|

b>d b>b- b>d b>d|a>d a>a- a>d a>d|b>d b>b- b>d b>d|c'>d b>d- a>d g>e|]

 

HAPPY PAIR, THE.  English, Jig. D Major. Standard tuning. AABB. The melody, originally printed by London publisher Charles and Samuel Thompson in their 1765 country dance collection, also appears in the 1786 music manuscript copybook of American flute player Henry Beck. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 154.

X:1

T:Happy Pair, The

M:6/8

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:D

d2d d2a|afd ecA|B2B B2d|cec d3|d2d d2a|afd ecA|Bcd ef^g|ab^g a3:|
|:e2f ecd|e2f ecd|Adc Bcd|egf e3|fdf edc|dcd AGF|GFG Egf|edc d3:||

           

HAPPY SOLDIER, THE. English, Jig. G Major. Standard tuning. AB. Raven (English Country Dance Tunes), 1984; pg. 122.

X:1

T:Happy Soldier, The

M:6/8

L:1/8

R:Jig

K:G

e | d^cd GB=c | dBc d2e | d^cd GBd | cAB c2e | d^cd GB=c |

dBc d2e | d^cd GBd | cAB c2 || e | dcB dcB | dcB d2e |

dBd gGB | cAB c2e | dcB dcB | dcB d2e | dBd gGB | def g2 ||

           

HAPPY TIMES SCHOTTISCHE. Canadian, Schottische. Apex AL 1613, "The Best of Don Messer and his Islanders, vol. 6."

           

HAPPY TIMES WALTZ. Old‑Time, Waltz. Arhoolie C‑334, Kenny Baker ‑ "Masters of the Folk Violin" (1989).

           

HAPPY TO MEET {AND SORRY TO PART} ("Is Sultmar An Casad's/Teagmail's Uaigneac An Sgarad/Scaramain" or "Rimead ar Chastail"). AKA and see "You'll go a hunting no more," "Jemmie the Gom," "Sorry to Part," "The Wake Jig," "My Love in the Morning." Irish (originally), New England; Double Jig. G Major. Standard tuning. AAB (Cole, O'Neill/1915): AABB (Breathnach, Flaherty, Miller & Perron, Tubridy): AABA (Howe): AABB' (O'Neill/1850 & 1001): AA’BB’ (Taylor). O’Neill could find no previously published version in Irish sources, though he did find one printing in an American volume of miscellaneous dance music (Irish Folk Music, pg. 101). However, it was included (and easy to find) in Howe’s 1000 Jigs and Reels (c. 1867, which included many Irish compositions, along with Scotch, American and “Ethiopian” melodies), in a section of tunes from the playing of Jimmy Norton, “The Boss Jig Player.” Norton was presumably a band-leader or principal instrumentalist in the eastern Massachusetts area in the mid-1900’s. See also the related “Priest’s Jig”/“Port an tSagairt.” Sources for notated versions: flute player Jim Conroy, 1969 (Co. Galway) [Breathnach]; accordion player Joe Fallon (b. 1935, Collooney, Co. Sligo) [Flaherty]; Bob Spence, “a fellow boarder, 1870” [O’Neill]; set dance music recorded at Na Píobairí Uilleann, late 1980’s [Taylor]. Breathnach (CRE II), 1976; No. 28, pg. 17. Cole (1000 Fiddle Tunes), 1940; pg. 55. Flaherty (Trip to Sligo), 1990; pg. 102. Howe (1000 Jigs and Reels), c. 1867; pg. 50. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 23. O'Neill (O’Neill’s Irish Music), 1915; No. 177, pg. 97. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 807, pg. 150. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 78, pg. 29. Ryan’s Mammoth Collection, 1883; pg. 83. Taylor (Music for the Sets: Blue Book), 1995; pg. 30. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 30. Cló Iar Chonnachta CICD 165, John Wynne & John McEvoy – “Pride of the West” (2007. Learned from Roscommon flute player Patsy Hanly, who had the tune from fiddle and flute player John Joe Gardiner of Ballymote, County Sligo). RCA 60939, Chieftains - “Another Country.”

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:Happy to Meet, Sorry to Part

M:6/8

L:1/8

R:Jig

K:G

dBB BAB|GEF G2A|Bee dBA|B2B gfe|dBB BAB|GEF G2A|Bee dBA|BGG G3:|

|:g2g fed|Bdd def|g2g fed|Bee e2f|g2g fed|Bdd def|gfg eag|fef gfe:|

           

HAPPY TOM. Scottish, Strathspey. A Major. Standard tuning. AAB. Composed by J. Scott Skinner. Skinner (The Scottish Violinist), pg. 4. Skinner (Harp and Claymore), 1904; pgs. 110-111.

See also listing at:

Alan Snyder’s Cape Breton Fiddle Recording Index

X:1

T:Happy Tom

M:C

L:1/8

R:Strathspey

C:J. Scott Skinner

Z:AK/Fiddler’s Companion

K:A

A,/B,/C/D/ E>G {G}[A2A2] E>D | C<E {G}[A>A]c B<B, B,>C |

A,/B,/C/D/ E>G {G}[A2A2] a>e | e/d/B/A/ G/F/E/D/ C<A,A, :|

e | a/b/c’/d’/ e’a fd’ ec’ | db ca {c/4B/4^A/4}B>cdB | a/b/c’/d’/ ea fd’ ec’ |

db ef/g/ {g}aA[EA]e | a/b/c’/d’/ e’a fd’ ec’ | db ca {c/4B/4^A/4}B>cdB |

A,/B,/C/D/ E>G {G}[A2A2] a>A | d/c/B/A/ G/F/E/D/ C<A,A, ||

           

HAPPY TRIO. New England, Polka. G Major. Standard tuning. AABB. Miller & Perron (101 Polkas), 1978; No. 43.

           

HAPPY WE'VE BEEN A THE-GITHER. Scottish, Highland Schottische. D Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 2; pg. 24.

X:1

T:Happy We’ve Been a The-gither

M:C
L:1/8

R:Highland Schottische

S:Kerr – Merry Melodies, vol. 2, pg. 24

Z:AK/Fiddler’s Companion

K:D

A | (F<A) A>B d>ed>A | (F<A) A>f e>dB>A | (F<A) A>B d>ed>A | (F<A) A>f e>f d :|

e | f<a e>f d>ef>d | f<a e>f g/f/e/d/ B>g | f<a e<a d>ef>g | a<A A>f e>f d :|

 

_______________________________

HOME       ALPHABETICAL FILES        REFERENCES

 

© 1996-2010 Andrew Kuntz

Please help maintain the viability of the Fiddler’s Companion on the Web by respecting the copyright.

For further information see Copyright and Permissions Policy or contact the author.

 

 


 [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.