The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

HAR

[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] 

HARBOUR LIGHTS [1]. Scottish, Hornpipe. G Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 4; No. 289, pg. 31.

X:1

T:Harbour Lights [1]

M:C|

L:1/8

R:Hornpipe

S:KerrMerry Melodies, vol. 4, No. 289  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

D2 | G>FG>B d>B G2 | c>Bc>e g>e c2 | G>F>G>B d>B G2 | A>GF>E D2 D2 |

G>FG>B d>B G2 | c>Bc>e g>e c2 | d>gf>e (3ded (3cBA | G2B2G2 :|

|: D2 | A>^GA>B c>A F2 | G>FG>A B>G D2 | c>Bc>A B>AB>G | (3ABA (3GFE D2D2 |

A>^GA>B c>A F2 | G>FG>A B>G D2 | d>gf>e (3ded (3cBA | G2B2G2 :|

 

HARBOR LIGHTS (JIG) [2]. AKA and see “Whiskey Jig.”

           

HARBOUR OF BALLYSHONE, THE (Cuan Bhaile Seoin). Irish, Slow Air (6/8 time). D Dorian/C Major. Standard. AAB. "Copied by Forde from a MS. lent to him by Patrick Carey a piper of the Co. Cork; who I believe, is the same as Patrick Carew often mentions in his Ancient Music of Ireland" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 452, pg. 254.

           


HARBOURSTOWN HOUSE (Teach Bhaile an Chuain). Irish, Reel. G Major. Standard. AB. Source for notated version: Jack Wade (County Monaghan) [Breathnach]. Breathnach (CRÉ IV), 1996; No. 121, pg. 61.

           

HARD HEARTED MAIDEN. Irish, Air (3/4 time). F Major. Standard. AB. O'Neill (O’Neill’s Irish Music), 1915; No. 82, pg. 48.

X:1

T:Hard Hearted Maiden

M:3/4

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:F

CD | F2G2A2 | c2f2e2 | d2c2 A>B | A4 GF | (G2A2)F2 | D4 CD | F2F2G2 | A2d2 c>d |

c2A2B>A | G2F2F2 | F4 || cd | f2e2d2 | c2A2^c2 | d2D2FA | ^c2A2de | f2e2 d^c |

d4 AG | F2D2 FG | A2f2d2 | c2A2 FG | A2d2 cA | G2F2F2 | F4 ||

           

HARD HEARTED WIDOW, THE. Irish, Slow Air (6/8 time). E Minor. Standard. AABB. "This air...from an old MS. written before 1770, belonging to Mr. T.S. Head" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 768, pg. 377.

           

HARD IS MY FATE (Nach truagh mo chas). Scottish, Slow Air (4/4 time, "Slow and plaintive"). B Flat Major. Standard. AAB (Fraser): AABB (Alburger, Hunter). "This delightful melody has been attached to a supposed soliloquy of Prince Charles on the night after his defeat at Culloden. The editor's mother, with her elder sister, then little girls, were, from the crowd which the presence of the Prince and Lord Lovat brought to their father's house, stowed into a small apartment or closet betwixt the Prince's bedchamber and another, having a door of communication with both when requisite. The whispers of the little girls, in terror of making noise, produced suspicion in the Prince's breast of having been betrayed. Their door was secured; but how they must have been astonished to hear him knock, and exclaim with agitation 'Open, open!'‑‑when, upon their reluctantly opening the door, he presented a visage of consternation which they could never forget, easier to be imagined than described. It however gave them the best opportunity they had of viewing his person; and his only exclamation which they understood was 'Hard is my fate, when the innocent prattle of children could annoy me so much.'" (Fraser). Alburger suggests that this tune may be an unacknowledged composition of Fraser's, "writing music associated with the past in the same way that Burns and Hogg wrote poems and songs with historic connections and, by not acknowledging the them as theirs, left the reader to think he would" (Alburger). Alburger (Scottish Fiddlers and Their Music), 1983; ex. 98, pg. 163. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 125, pg. 49. Hunter (Fiddle Music of Scotland), 1988; No. 53.

X:1

T:Hard is my fate

T:Nach truagh mo chàs

M:C

L:1/8

R:Slow Air
S:Fraser Collection   (1874)

Z:AK/Fiddler’s Companion

K:B_

B>c|d2F2F2d2|dccB B2 B>c|d2G2G2c2|BAGF F2 B>c|d2F2F2d2|

dccB B2 B>c|d3G c3A|B6:|

|:D>E|F3D B3c|dBFD E3D|C3D E3F|GFFE D2 zd/e/|f3d b3a|

gfed e3f|g3f f3A|B6:|

           

HARD ROAD, THE (An Bóthar Dian). Irish, Jig. G Major. Standard tuning. AABB. Source for notated version: accordion player Paddy O’Brien (originally from County Offaly and Dublin, now of the Mid-West U.S.) [Breathnach]. Breathnach (CRÉ V), 1999; No. 41, pg. 21.

 

HARD ROAD TO PASSAGE, THE. Irish, Jig. D Major/Mixolydian. Standard tuning. AABB. Source for notated version: set dance music recorded live at Na Píobairí Uilleann, in the 1980’s [Taylor]. Taylor (Music for the Sets: Yellow Book), 1995; pg. 17.

           

HARD ROAD TO TEXAS. Old‑Time, Breakdown. USA, Mississippi. A Major. AEae (or GDgd) tuning. AABCCC. While there is no exactly similar tune in print or recording to this one, Tom Rankin (1985) notes this tune is made up of common melodic material in the old‑time tradition, so it sounds like other better known tunes. Mississippi Department of Archives and History AH‑002, Charles Long ‑ "Great Big Yam Potatoes: Anglo‑American Fiddle Music from Mississippi"  (1985).

           

HARD ROAD TO TRAVEL [1]. Old‑Time, Breakdown. D Major. ADae tuning. AABB. Sources for notated versions: Liz Slade (Yorktown, New York) [Kuntz]; Jane Rothfield [Phillips]. Kuntz, Private Collection. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 61.

X:1

T:Hard Road to Travel

L:1/8

M:2/4

S:Liz Slade

N:ADae tuning

Z:Transcribed by Andrew Kuntz

K:D

A/A/F/F/ A/B/A/A/|B/A/B/(B/ A)(3A/2B/2c/2|d/)e/f/f/ e/e/(A/d/)|

(e/ f) ([d/e/] [d/f/])e/[df]|A/A/F/F/ A/B/A/A/|B/A/B/B/ A(3A/2B/2c/2|

d2f2 e/(A/d)|(e/ e) (e/ e)f||(f/ g) f/ (g/f/)g/e/|f/e/f/e/ (f/e/)d|

A/B/d/(e/ f/)e/d/e/|(e/ f) (e/ f)f|f/ g f/ g/f/g/e/|f/e/f/e/ f/e/d|

A/B/d/e/ fe|d/ [df] d/ [d2f2]||

 

HARD ROAD TO TRAVEL [2]. Irish, Reel. E Dorian. Standard tuning. AB. New Jersey flute player Mike Rafferty (b. 1927, originally from Ballinakil, east County Galway), learned the tune from his father, Barrel Rafferty. Lesl Harker (2005) says “this…is the old way of playing ‘In the Tap Room’.” “In the Tap Room” belongs to a large family of tunes (see also “The Youngest Daughter [1],” "The Lady's Top Dress," "Lord Edward," "Miss Fargherson's New Reel," "The Mountain Lark [7]," "Polly's Reel," “The Ranting Widow,” among others). Harker (300 Tunes from Mike Rafferty), 2005; No. 70, pg. 22. Green Linnet GLCD  1211, Kevin Crawford – “In Good Company” (2001. Learned from Mike Rafferty). Larraga LR090098, Mike and Mary Rafferty – “The Old Fireside Music” (1998).

See also listing at:

Alan Ng’s Irishtune.info

X:1

T:Hard Road to Travel, the [2]

R:reel

D:Mike and Mary Rafferty, the Old Fireside Music.

Z:Lesl

M:C|

L:1/8

K:Edor

E2BE edBz|dBAF DEFD|E~EBE edBz|dBAF BFAF|

EzBE edBz|dBAF DEFD|E~EBE edBz|dBAF BFaf||

ezef gfef|dBAF Defd|e~e2f gfez|dBAF BFaf|

ezef gfef|dBAB defg|abaz fafe|dBAF BFAF||E8||

 

HARD ROAD TO TRAVEL [3], A. Irish, March (4/4 time). D Major. Standard tuning. ABC. O’Neill (O’Neill’s Irish Music), 1915; No. 121, pg. 68.

X:1

T:Hard Road to Travel, A [3]

M:C

L:1/8

R:March

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

Z:AK/Fiddler’s Companion

K:D

A2 | D>CDE FGAF | GFGB A2 AF | D>CDE FGAF | G2E2E2 AF | D>CDE FGAF |

GFGB A2 (3ABc | dcdB ABAG | F2D2D2 || (3ABc | d2 dA BAFA | DAFA BAFA |

d2 dA BAGF | G2E2E2 (3ABc | d2 dA BAFA | DAFA BAFA | GABG EFGE | F2D2D2 ||

(3ABc | dAFA BAFA | DAFA BAFA | dAFA BAGF | G2E2E2G2 | FDFA GEGB |

AFAc d2 cB | AdcB AGFE | F2D2D2 ||

 

HARD SWEET CIDER. Old-Time, Breakdown. The tune resembles “Paddy Won’t You Drink Some Good Old Cider.” Marimac 9064D, Lauchlin Stamper & A.C. Overton - “Sally with the Run Down Shoes” (1996).

           

HARD UP BIG CANOY. American. A tune in the repertoire of blind northeast Kentucky fiddler Ed Hayley, as remembered by people around Portsmouth, Ohio, where Northern and Southern fiddle traditions tended to mix.

           

HARDIMAN THE FIDDLER (Fear-Tailce An Fidileir). AKA ‑ "Hardy Man the Fiddler."  Irish, Slip Jig. D Major (O'Neill/1850 & 1001): D Mixolydian (Cranitch, Mallinson, Mitchell, O'Neill/Krassen, Tubridy): D Mixolydian (‘A’ part) & D Major (‘B’ part) {Feldman & O’Doherty}: D Minor (Tolman). Standard tuning. One part (Mitchell): AAB (Cranitch, O’Neill, Taylor, Tolman, Tubridy): ABB (Feldman & O’Doherty): AABB (Mallinson). David Taylor (1992) suggests that these several tunes with the name "Hardiman" (of which "Hardiman the Fiddler" is probably the most famous) honor the historian James Hardiman, author of Irish Minstrelsy (1831). Sources for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; set dance music recorded at Na Píobairí Uilleann, late 1980’s [Taylor]; fiddlers Francie and Mickey Byrne (County Donegal) [Feldman & O’Doherty]. Breathnach (Folk Music and Dances of Ireland), 1971; 9. Cranitch (Irish Fiddle Book), 1996; No. 31, pg. 137. Cranitch (Irish Session Tunes: Red Book), 2000; 31. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 160 (appears as 2nd “Untitled Slip Jig”). Mallinson (Enduring), 1995; No. 87, pg. 37. Mitchell (Dance Music of Willie Clancy), 1993; No. 127, pg. 102. O'Neill (Krassen), 1976; pg. 79. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1117, pg. 211 (appears as "Hardy Man the Fiddler"). O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 412, pg. 82 (appears as "Hardy Man the Fiddler"). Taylor (Music for the Sets: Blue Book), 1995; pg. 19. Tolman (Nelson Music Collection), 1980; pg. 4 (appears as "Hardy Man the Fiddler"). Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 37. Drumlin Records BMNCD2, Brian McNamara – “Fort of the Jewels” (2004).

X:1

T:Hardiman the Fiddler

M:9/8

L:1/8

R:Slip Jig

K:D Mixolydian

A2G FDE F2G|A3 AGA cAG|A2G FDE F2G|Add ded cAG:|

||Add d2e f3|Add ded cAG|Add d2e f2g|agf ged cAG|

Add d2e f3|Add ded cAG|dcA B/c/de f2g|agf ged cAG||

           

HARDIMAN'S FANCY. AKA - “Hardiman’s.” AKA and see "Derrane's," “Joe Derrane’s Jig [2].” Irish, Double Jig. D Major/Mixolydian. Standard tuning. AABB (most versions): AA’BB (Harker/Rafferty). Jerry O'Brien's button accordion tutor (where the tune is given in the body of the music as “Hardiman’s Jig” but in the frontspiece as “Hardiman’s Fancy Jig”) credits the tune to a Martin Hardiman of Chicago. O’Brien taught Boston box player Joe Derrane, and was his musical partner on the latter’s early recordings (they recorded this tune c. 1950’s). Philippe Varlet believes this tune to be a variant of "The Shores of Lough Gowna." Sources for notated versions: accordion player Joe Derrane (Boston) and a Chicago fiddler named Martin Hardiman in the late 1940's [Black]; Danny O’Donnell, who said his version derived from the O'Beirne De Witt sponsored melodean collection printed in Boston [Feldman & O’Doherty]; fiddler Andrew Davie (b. 1928, Cloonagh, Mullaghroe, Keash) [Flaherty]; fiddler Danny O’Donnell (County Donegal) [Feldman & O’Doherty]; accordion and flute player Dermot Grogan, via New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Black (Music’s the Very Best Thing), 1996; No. 202, pg. 108. Feldman & O’Doherty (The Northern Fiddler), 1978; pg. 182. Flaherty (Trip to Sligo), 1990; pg. 114 (appears as “Unknown”). Harker (300 Tunes from Mike Rafferty), 2005; No. 235, pg. 76. O’Brien (Jerry O’Brien’s Accordion Instructor), 1949 (the collection from which O’Donnell learned the tune). Taylor (Through the Half‑door), 1992; No. 59, pg. 42. Shaskeen ‑ "Atlantic  Breeze." De Danann (appears as “Joe Derrane’s”).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Hardiman's Fancy

T:Derrane's

M:6/8

L:1/8

R:Jig

Z:Philippe Varlet

K:D

~B3 BAF|AFE EFE|DFA def|afe dBA|

~B3 BAF|AFE EFE|DFA def|1 edB Bdc :|2 edB Bcd ||

efe edB|AFF dFF|def afa|bff afa|

bff afa|baf edB|def afe|1 dBB Bcd :|2 dBB Bdc ||

X:2

T: Hardiman's

S: De Danaan / J.Derrane

Q: 325

R: jig

Z:Transcribed by Bill Black

M: 6/8

L: 1/8

K: D

A | BdB BAF | AFE EFE | DFA def | afe dBA |

BdB BAF | AFE EFE | DFA def | edB B2 :|

B | efe edB | AFF dFF | def afa | b2 b afe |

bff afa | baf edB | def afe | dBB B2 :|

                                   

HARDING’S JIG. AKA and see “Austin Barret’s,” “The Blasket Sound Jig,” “Dusty Windowsill,” “Harland’s,” “Johnny Harling’s,” “The Howling Jig,” “Tim Harding’s.”


                       

HARDY MAN THE FIDDLER. AKA and see "Hardiman the Fiddler."

                       

HARE, THE. French-Canadian, Reel. G Major. Standard. AABB. Source for notated version: Skip Parente (Portland, Oregon) [Songer]. Songer (Portland Collection), 1997; pg. 93.

                       

HARE AMANG THE HEATHER, THE. AKA - “Hare Among the Heather,” “Hare in the Heather,” “Morning Dew [1].” Scottish, Reel. E Minor (Gatherer): E Dorian (Kerr). Standard. AABBCC. Familiar to Irish musicians as the popular session reel “Morning Dew.” Gatherer (Musical Museum), 1987; pg. 13. Kerr (Merry Melodies), vol. 4; No. 132, pg. 16 (appears as “The Hare Among the Heather”).

X:1

T:Hare Among the Heather, The

M:C|

L:1/8

R:Reel

S:Kerr – Merry Melodies, vol. 4, No. 132  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:E Minor

(3BBB (eB) fBeB | B^cdB ADFA | (3BBB (eB) fBeB | d^cdB ADFA :|

|: B2 (EB) GBEB | B2 (EB) ADFA | B2 (EB) GBEB | B^cdB ADFA :|

|: E2 B2 BAFD | E2B2 ADFD | E2B2 BAFA | B^cdB ADFA :|

                       

HARE IN/AMONG THE CORN [1] ("An Gearrgiad Annsa Arbar" or "Gearrfhiadh 'San Arbhar"). AKA and see "The Absent-Minded Man, “Fox Chase [2]." English, Scottish, Irish, American; Jig. England, Northumberland; USA, Massachusetts. G Major/Mixolydian (O'Neill, O'Sullivan/Bunting, Vickers): A Major (Johnson, Kerr). Standard or AEae tuning. AB (O'Sullivan/Bunting): AA'B (Kerr): AABB (O'Neill, Vickers): AABBCCDDEEFGGHHIIJJ. Another double‑entendre title. Johnson (1983) believes “Hare in the Corn,” which was often played in scordatura tuning, to be very old, and says there is a short set of it in the Scottish Skene Manuscript of c.1630-1640. It also appears in Riddell's Scotch, Galwegian and Border Tunes (1794). In America, the somewhat simplified version of the melody was copied into Whittier Perkin's violin MS (Massachusetts, 1790). The variations in Johnson are from the Trotter Manuscript and were probably composed later than 1760, based on his stylistic analysis. Flood (1906) indicates it was a dance tune popular in Ireland at least as far back as 1779, as its playing is mentioned by Beringer in an account of a "cake" dance (where the prize was a cake) he participated in while on a visit to Connacht. Bunting (1840) identified the piece as "an ancient tune for the pipes, in which there is an imitation of a hunt, including the sound of the huntsmen's horns, the crying of dogs, and finally the distress and death of the hare." The pipes, he thought, were the only instrument that could musically render all these elements, particularly the dying cry of the hare.

***

Cork guitarist Paul de Grae came across “a bit of doggerel that adorns an old postcard showing the North Kerry piper Tom McCarthy, who for 65 years played regularly on the Castle Green, Ballybunnion:
***
I like to hear Tannhauser on a fine orchestral band
Or listen to Paderewski when he's playing on a grand,
But there's something more enchanting to the heart that is Irish-born,
To hear old Tim [sic] McCarthy playing "The Hare among the Corn".

***
McCarthy was remarkable, like the harper Denis Hempson, for having lived in three centuries--in McCarthy's case,
1799-1904. He was a distant relative of the English singer Martin Carthy, who invented the guitar tuning that I use for
playing tunes like "The Hare among the Corn" at our regular North Kerry session (which sometimes just *seems* like it's
been going for 65 years...).” 

***

Sources for notated versions: Trotter Manuscript (1780, pg. 44) [Johnson]; an unknown piper in the year 1800 [Bunting]. Holden (Most Esteemed Irish Melodies), volume II, No. 35. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 42, pgs. 100‑101. Kerr (Merry Melodies), vol. 3; No. 230, pg. 26. Kinloch (100 Airs), No. 48. McFadden (Scotch, English, Irish and Foreign Airs), volume V, pg. 25. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 766, pg. 143. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; Nos. 49 & 254 (appears as "The Absent-Minded Man"). O'Sullivan/Bunting, 1983; No. 146, pgs. 203-204. Riddell (Scotch, Galwegian and Border Tunes), 1794. Seattle (William Vickers), 1987, Part 2; No. 390. Wright (Compleat Collection of Celebrated Country Dances), volume I, pg. 4.

X:1

T:Hare in the Corn [1]

M:6/8

L:1/8

R:Jig

S:O’NeillMusic of Ireland (1903), No. 766

Z:AK/Fiddler’s Companion

K:G

(3A/B/c | d2G d2=f | edc B2G | c2e dcB | cAA A2 (B/c/) | d2G d2=f |

edc BAG | Aag {g}fef | gGG G2 :: (3A/B/c/ | .d(B/c/d/B/) GBc | .d(B/c/d/B/) GBd |

.e(c/d/e/c/) Ace | .e(c/d/e/c/) ABc | dBd ece | fef {a}gfe | dcB Agf | gGG G2 :|

 

HARE IN THE CORN [2] (An Gearrfiad 'San Arbar). Irish (originally), American; Jig. D Mixolydian. Standard tuning. AABBCC. Not apparently related to version #1. Captain Francis O’Neill wrote (in Irish Folk Music, 1910) that he took this tune from “an American collection,” presumably the version from Ryan’s Mammoth Collection, which it is identical to (Carolan, 1997). Breathnach (1985) states that O’Neill’s second part does not go with the “Hare in the Corn” tune. See also the related "Art O'Keeffe's [1]." Cole (1000 Fiddle Tunes), 1940; pg. 56. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 767, pg. 143. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 49, pg. 25. Ryan’s Mammoth Collection, 1883.

X:1

T:Hare in the Corn [2]

M:6/8

L:1/8

R:Jig

S:O’NeillDance Music of Ireland: 1001 Gems (1907), No. 49

Z:AK/Fiddler’s Companion

K:D Mixolydian

B|BAB c2A|BAB c2A|BdB AFD|EFE E2c|BAB c2A|BAB c2A|BdB AFA|DED D2:|

|:G|F2A AFA|BGB AFA|BdB AFD|EFE E2G|F2A AFA|BGB AFA|BdB AFA|DED D2:|

|:g|fdd edd|fdd d2A|BdB AFD|EFE E2g|fdd edd|fdB AFA|DFA deg|fdd d2:|

 

HARE IN THE CORN [3], THE (An Giorria San Arbhar). AKA and see "The Absent‑minded Man," "The House in the Corner," "The Little House (A)round the Corner [1]," "The Royal Irish Jig", "O as I was kiss’d Yestreen [2]," "The Hare in the Corner," "Fhiach an Mhada Rua." Irish, Double Jig. D Major. Standard. AA'BB' : AABBCC (O’Farrell). O’Neill’s names for the tune are “The Absent-Minded Man,” “The House in the Corner,” “The Little House around the Corner,” “The Royal Irish Jig” and “O, as I was kissed Yestreen.” Levey also gives it as “The House in the Corner.” Breathnach identifies the tune as the jig in the set piece “The Hunt of the Hound and Hare” in Feldman & O’Doherty’s Northern Fiddler. He also remarks that Seamus Ennis employed a version of “Hare in the Corn” as an overture to programmatic piece “The Foxhunt.” O’Neill (1922) remarks: “A rather florid setting of ‘The Hare in the Corn’, procured ‘from a piper in 1800" is printed in Bunting's Ancient Music of Ireland, published in 1840, with notation ‘Author and date unknown’. The name is not indexed in any of the Petrie or Joyce Collections. The setting herewith presented was taken from Aird's Selections of Scotch, English, Irish, and Foreign Airs, 1782-97. It is also known as ‘The Hare in the Corner.’” Miller prints a variant with a different ‘B’ part. Source for notated version: fiddler Paddy Glackin (Donegal, Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 19, pg. 10. Miller (Fiddler’s Throne), 2004; No. 54, pg. 43. O’Farrell (Pocket Companion, vol. 1); c. 1805; pg. 77. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 171 {reprinted from Aird}. Gael‑Linn Records CEF 060, Paddy Glackin ‑ "Ceol ar an bhFidil" (1977). Gael-Linn CEF060, “Paddy Glackin.”

X:1

T:Hare in the Corn, The [3]

M:6/8

L:1/8

S:Aird's Selections 1782-97

Z:Paul Kinder

K:G

c|BGB def|gdc B2 G|cec BdB|cAA A2 c|

BGB def|gdc B2 G|Aag fef|gGG G2:|

|:c|dBB GBB|dBB GBB|cAA FAA|cAA GBc|

dBB ecc|fdd gee|dBB cAf|gGG G2:||

X:2

T:Hare in the Corn, The [3a]

M:6/8

L:1/8

R:Jig

S:Randy Miller

K:D

FEF ABc|dAG FED|GBG FGA|BEE E2A|

FEF ABc|dAG FED|afd gec|dAF D3:|

||afd gec|dAG FED|GBG FGA|BEE E2^g|

afd gec|dAG FED|afd gec|dAF D3|

afd gec|dAG FED|GBG FGA|BEE E2^g|

aba gec|dAG FED|faf gec|dAF D3||

 

HARE IN THE CORN [4], THE (An Giorria San Arbhar). AKA and see “The Cat in the Corner [2],” “Quarry Cross Slide [2],” “Sleamhnáin chrosaire an chairéil, no. 2.” Irish, Slide (12/8 time). Ireland, Sliabh Luachra region of the Cork-Kerry border. G Major. Standard tuning. AA'BB'. Source O’Leary sometimes called the tune “The Cat in the Corner” (Moylan). Source for notated version: fiddlers Julia Clifford & Denis Murphy (west Kerry) [Breathnach]; accordion player Johnny O’Leary (Sliabh Luachra region) [Moylan]; set dance music recorded at Na Píobairí Uilleann, mid-1980’s [Taylor]. Breathnach (CRÉ III), 1985; No. 42, pg. 21. Moylan (Johnny O’Leary), 1994; No. 103, pg. 60. Taylor (Music for the Sets: Yellow Book), 1995; pg. 35. Claddagh Records CC5, Denis Murphy & Julia Clifford ‑ "The Star Above the Garter" (1969). Gael-Linn CEF132, Johnny O’Leary - “An Calmfhear/The Trooper” (1989. Appears as second tune of “Sleamhnain Chrosaire an Chaireil”). RTE CD174, “The Sliabh Luachra Fiddle Master Padraig O’Keeffe.”

 

HARE IN THE CORN [5], THE. AKA and see “Art O’Keeffe’s [1].” Irish, Jig. D Major. Standard tuning. AA’BB’. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 212, pg. 122. Topic 12T311, John & Julia Clifford - “Humours of Lisheen” (appears as “Art O’Keeffe’s”).

X:1

T:Hare in the Corn [5]

M:6/8

L:1/8

R:Jig

S:Johnny O’Leary

K:D

e|fdf gfe|faf gfe|f/g/af ecA|BcB Bce|fdf gfe|faf gfe|

f/g/af ec/d/e|1 ABA A2e:|2 ABA A2B||:cBc ece|faf ec/d/e|

a2f ecA|Bcc BAB|c2c ece|faf ece|f/g/af ec/d/e|1 ABA A2B:|2 ABA A2e||

 

HARE IN THE CORN [6], THE. AKA and see “The Old Hag in the Corner [1],” “Rathawaun.” Irish, Jig. D Major. Standard tuning. AABB: AA’BB’ (Connolly & Martin). Connolly & Martin (Forget Me Not), 2002; pgs. 40-41. Shanachie 79026, The Chieftains – “ Bonaparte’s Retreat” (appears as second tune of Around the House and Mind the Dresser set).

X:1

T:Hare in the Corn, The [6]

M:6/8

L:1/8

R:Jig

K:D

F2A AFA | B/c/dB AFE | ~F3 EDE | F2D DED | F2A AFA | B/c/dB AFA |

Bcd ecA | ded d3 :: ~f3 fed | g2e ede | ~f3 fed | a^ga ba=g | ~f3 fed |

~g2e edB | AB/c/d ecA | ded d3 :|

 

HARE IN THE CORN [7], THE. AKA and see “Coleman’s Fancy,” “The Curragh Races [1],” “The Maid in the Cherry Tree [3].” Irish, Reel. A Mixolydian/Dorian. Standard. AA’BB’. Doherty’s tonality slips between the mixolydian and dorian mode, although the ‘B’ part settles in the dorian (almost ‘C’ major). Source for notated version: John Doherty (1895-1980, County Donegal) [Feldman & O’Doherty]. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 69.

 

HARE IN THE CORN [8], THE. Irish, Jig. G Major. Standard. AABB. Source for notated version: B/C accordion player Billy McComiskey (Baltimore) [Taylor/Tweed].

Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 9.

X:1

T:Hare in the Corn, The [8]

M:6/8

L:1/8

R:Jig

K:G

d2B GFG | ded cBA | BAG EDB, | EDB, A,B,A, | G,B,D G,B,D |

EFG Adc | B2G dBG | B/A/GF G2 B :|

 

HARE IN THE CORN [9]??? A melody and dance under this title, different than version #1, appears in Wright's Collection, c. 1742.

 

HARE IN THE CORN [10]???, THE. Shanachie 79011, Planxty ‑ "Cold Blow and the Rainy Night." Shanachie 79012, Planxty ‑ "The Planxty Collection" (1974).

                       

HARE IN THE CORNER. AKA and see "Quinn's Reel [2]," "The Maids of Kilmallock," "Hare in the Corn [3].”

                       

HARE IN THE HEATHER, THE (Giorria sa bhFraoch). AKA - “The Hare Among the Heather.” AKA and see "The Morning Dew [1].” Irish, Reel. E Dorian. Standard. ABC. Source for notated version: piper Matthew Tiernan/Maitiu Mac Righearnain (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 198, pg. 77. Shanachie 79064, Matt Molloy – “Heathery Breeze” (1999).

                       

HARE ON THE MOUNTAIN, THE. AKA and see "Fire on the Mountain(s) [2]," "Fire in the Valley," "The Blackthorn Stick [1]," "The Maid(en) on the Green," "The Eagle's Nest," "The Rose on the Mountain [1]," "The Catholic Boys [3]," "The Humors of Bantry," "Billy Patterson('s Favorite)," "Boys of Bockhill/Rockhill."

                       

HAREM SCAREMS, THE. Canadian, Reel. Canada, Cape Breton. D Major. Standard. AA'BB'. Composed by fiddler and instrument maker Otis Tomas, who lives near Goose Cove, Saint Ann's Bay, Cape Breton. Cook (Night in the Kitchen Collection), 1996; pg. 14.

                       

HARE’S EAR. American, Jig. Composed by New England fiddler Frank Ferrel. The Hare’s Ear is a favorite New England trout fly. Flying Fish 70572, Frank Ferrel - “Yankee Dreams: ‘Wicked Good Fiddling from New England’” (1990).

                       

HARE'S FOOT, THE. AKA and see “The Hare’s Paw.”

           

HARE’S LAMENT, THE. Irish, Slow Air or Lament (3/4 time). A Minor. Standard tuning. AB. Stanford/Petrie (Complete Collection), 1905; No. 1028, pg. 262.

           

HARE'S MAGGOT. AKA and see "Up with Aily." English, Country Dance Tune (3/2 time). A Minor. Standard tuning. AAB. One meaning of  maggot is for a dram, a unit of liquid measure, but the musical meaning may stem from the word’s derivation from the Italian word maggioletta, or a plaything. The melody was published in 1701. Fleming‑Williams & Shaw (English Dance Airs; Popular Selection, Book 1), 1965; pg. 13. Raven (English Country Dance Tunes), 1984; pg. 28. Island Records AN-700, Kirkpatrick & Hutchings - "The Compleat Dancing Master" (1974).

X:1

T:Hare’s Maggot

M:3/2

L:1/8

R:Country Dance Tune

K:A Minor

e4A4a4 | ga b2e2 ^g2 a4 | e2 gf e2g2e2c2 | d2g4 d2B2G2 | c2e2 f4 e2f2 |

(d4d4) c4 :||: e2c4 e2g2e2 | d2B4 d2g2d2 | c2e2A2 c2E2A2 | ^G6 A2B4 |

c2e4 B2c2A2 | ^f2b4 f2^g2e2 | a2e2 fe d2 ed c2 | c6 B2 A4 :|

           

HARE’S PAW [1], THE (“Cois an Ghiorria” or “Cois a’ Ghaorthaidh”). AKA and see "The Bundle of Straw," "The Corry Boys," "Follow Me to Carlow," "The Hare's Foot," "Jim Kennedy's Favorite," "Low Park," "The Lowlands of Scotland," “The Silvermines [1],” "The Tralee Lasses." Irish, Reel. E Minor. Standard tuning. AB (Breathnach, Harker/Rafferty), Moylan, Mulvihill): AAB (Kerr, Tolman): AABB' (Carlin). O’Neill prints versions as “The Hare’s Foot,” “Jim Kennedy’s Favourite” (the shortened “Kennedy’s Favourite” also appears to be a variant) and “The Lowlands of Scotland.” Joyce prints the tune as “The Silvermines.” Sources for notated versions: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; fiddler Tommy Potts (Ireland) [Breathnach]; Sean Ryan (County Offaly) via Jim Bly [Mulvihill]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ I), 1963; No. 185, pg. 72. Carlin (Master Collection), 1984; No. 201, pg. 119. Giblin (Collection of Traditional Irish Dance Music), 1928; 29. Harker (300 Tunes from Mike Rafferty), 2005; No. 79, pg. 25. Joyce (appears as "The Silvermines"). Kerr (Merry Melodies), vol. 1; No. 14, pg. 35. Kerr (Merry Melodies), vol. 2; pg. 32 (appears as "Irish Reel"). Kerr (Merry Melodies), vol. 4; (appears as "Bundle of Straw"). Levey Collection (appears as "Gan ainm"). Moylan (Johnny O’Leary), 1994; No. 202, pg. 117 (see also No. 149). Mulvihill (1st Collection), 1986; No. 17, pg. 5. Tolman (Nelson Music Collection), 1969; pg. 21.

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Hare’s Foot, The

B:Kerr's Merry Melodies, Bk.2, p32 (appears as “Irish Reel”)

Z:Nigel Gatherer

M:4/4

L:1/8

K:Em

e2|G2 GA BE E2|BEdE BEEF|G2 GA BABd|egfd e2:|]

ef|(3gag (3fgf edBc|d2 ed Bd d2|(3gag (3fgf edBd|egfd e2|

(3gag (3fgf edBc|d2 ed Bd d2|bgaf gfed|egfd e2|]

X:2</