The Fiddler’s
Companion
© 1996-2007 Andrew Kuntz
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Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at
http://www.concertina.net/tunes_convert.html
**Please note that the abc’s in the Fiddler’s
Companion work fine in most abc conversion programs. For example, I use
abc2win and abcNavigator 2 with no problems whatsoever with direct
cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s
into the concertina.net converter results in double-spacing. For
concertina.net’s conversion program to work you must remove the spaces
between all the lines of abc notation after pasting, so that they are
single-spaced, with no intervening blank lines. This being done, the F/C
abc’s will convert to standard notation nicely. Or, get a copy of
abcNavigator 2 – its well worth it.
[AK]
|
HAS
SORROW THY YOUNG DAYS SHADED? [1]. AKA and see “Sly Patrick.” Irish, Air (3/4 time). B Flat Major.
Standard tuning. ABB. The title comes from a song by Thomas Moore set to the
tune of a piece called “Sly Patrick.” It appears in his Irish Melodies,
vol. 6, and begins:
***
Has
sorrow thy young days shaded,
As clouds o'er the morning fleet?
Too fast have those young days faded
That, even in sorrow, were sweet?
Does Time with his cold wing wither
Each feeling that once was dear?
Then, child of misfortune, come hither,
I'll weep with thee, tear for tear.
***
Roche Collection, 1983, Vol. 3; No. 44, pg. 12.
X:1
T:Sly Patrick
M:6/8
L:1/8
R:Air
N:”Tenderly”
S:O’Neill – Music of Ireland (1903), No. 85
Z:AK/Fiddler’s Companion
K:G
G/A/|B>AG AGE|D3 E2G|GAB c2B|A3
A2G/A/|
B>AG AGE|D3 E2G|G>AB
BA>G|G3G2||G|B>cd def|g3 f2e|
edB {Bc}BAG|A3 A2G/A/|B>AG AGE|D3
E2G|G>AB {B}AGG|G3G2||
HAS SORROW THY YOUNG
DAYS SHADED? [2]. Irish, Air (9/8 time). G Major.
Standard tuning. AB. "Sung with Moore's song of that name. I have already
remarked that when the people took to the words of a song without being able to
procure the proper air, they often sang it to some suitable old air familiar to
them" (Joyce). Source for notated version: Mr. J. Snowe, Cork (Joyce). Joyce (Old Irish Folk Music and Song), 1909;
No. 665, pg. 333.
HASBERRY HOWARD. Scottish, Hornpipe. G Major. Standard tuning. ABB. Skinner (The Scottish Violinist), pg. 45.
HASILS’. AKA and see “Captain Pugwash,” “Trumpet Hornpipe [2].” English,
Hornpipe. B Flat Major. Standard tuning. AAB.
Jamie Knowles (1993) identifies this as a “Saddleworth version of what
is arguably the most well-known fiddle tune in the world.” He gives its
provenance as Scottish. Source for notated version: the music manuscript of Joseph Kershaw, a
musician from Slackcote, Saddleworth, North West England who began his entries
around the year 1820 [Kershaw]. Joseph Kershaw Manuscript, 1993; No. 72.
HASLAM'S HORNPIPE. Scottish, Hornpipe. E Major. Standard tuning. AA'B. Hardie (Fiddle Music of Scotland), 1992; pg. 98. Henderson (Flowers of Scottish Melody), 1935. Kohler, Violin Respository.
HASTE TO THE WEDDING
[1] (Brostuig Go Dti An
Posad). AKA and
see “Carrickfergus [1],” "Come, Haste to the Wedding,"
"Rural Felictiy," "The Long Eight," "Perry's Victory" (American), "Footprints," "Granny Plays the Fiddle,"
"Trip to the Dargle,"
"A Trip to the Gargle,"
"Let Brainspinning Swains,"
"The Small Pin Cushion." British Isles, New England, American, Canadian, Old‑Time
(fiddlers in the Appalachians seldom knew or played jigs ‑ when they did this tune was one of
the most frequently played.); Jig, Country Dance, Long Dance (Irish), Morris
Dance Tune, or Quadrille (meaning 6/8 tunes from Midwestern USA). D Major (most
versions): C Major (Harding's, Sharp): F Major (Bacon‑Adderbury): G Major
(Bacon‑Brackley): A Major (Cranford). Standard tuning. AB (Bacon‑Adderbury,
Bayard, Harding, Kerr): ABB, x4 (Bacon, Mallinson): AABB (most versions):
AA’BB’ (Cranford): ABCD (Bayard {Marr}). "The
tune 'Come, Haste to the Wedding,' of Gaelic origin, was introduced in the
pantomime, The Elopement, staged in London in 1767. This version is known as
the Manx tune and was printed by the Percy Society in 1846. It is the basis of
the Manx ballad, 'The Capture of Carrickfergusby,' written by Thurot in
1760" (Linscott, 1939). Samuel Bayard (1944, 1981) comments on the
popularity of the air over the past two centuries as well as the tenacity of
the main title to stick with the tune. When Chappell printed his well‑known
set in National English Airs (1840,
I, No. 163; notes, II, 129; reprinted in JEFDSS,
III, 210.), he traced the tune to the year 1767, when it was used in pantomime,
to a song beginning 'Come, haste to the wedding, ye friends and ye neighbors!'
This version of the air, continues Bayard, is still the earliest known, and it
may be that the popularity of the song occasioned the fixed quality of the
title. In his 1944 work Bayard posses the question as to whether the words were
included in the original pantomime as a result of its associations, or whether
the later uses of the tune secured it.
***
If it at first achieved popularity as
a stage piece, it was soon after quickly disseminated, entering folk tradition.
Chappell noted that the tune was "more frequently to be heard upon the
chimes of country churches than any other, and usually played when a wedding is
about to take place." Caoimhin Mac Aoidh (1994) reports that in County Donegal tradition a bride was ‘hauled’
(marched) from her house to the chapel along with her family and guests, led by
a fiddler playing this tune. Morris dancers picked up the melody and morris
dance versions have been collected from the villages of Adderbury
(Oxfordshiere), Brackley (Northamptonshire), and Headington (Oxfordshire) in England's Cotswolds. The author of English Folk-Song and Dance found the
melody in the repertoire of fiddler William Tilbury (who lived at Pitch Place,
midway between Churt and Tilbury in Surrey), who used, in younger days, to play
at village dances. Tilbury learned his repertoire from an uncle, Fiddler
Hammond, who died around 1870 and who had been the village fiddler before him.
The conclusion was that “Haste to the Wedding” and other country dance tune of
similar type had survived in English tradition (at least in southwest Surrey) well into the second half of the
19th century. In northern Ireland “Haste” is often the first tune
played in a set (along with “Leslie’s Hornpipe” and “The German Beau”) for the
set dance The Three Tunes, which dates to the ceili dance revival of the
1930’s. Dance instructions are printed by Keegan (2002).
***
In America the piece also has a long history.
“Haste” appears in late 18th century music copybooks such as those
of Captain George Bush and Henry Livingston. The latter purchased the estate of
Locust Grove, Poughkeepsie, New
York, in 1771 at the age of 23. In 1775 he was a Major in the 3rd
New York Regiment, which participated in Montgomery’s invasion of Canada in a failed attempt to wrest Montreal from British control. An important
land-owner in the Hudson Valley, and a member of the powerful Livingston family, Henry was also a surveyor
and real estate speculator, an illustrator and map-maker, and a Justice of the
Peace for Dutchess County. He was also a poet and musician,
and presumably a dancer, as he was elected a Manager for the New York
Assembly’s dancing season of 1774-1775, along with his 3rd cousin,
John Jay, later U.S. Chief Justice of Governor of New York. It was printed by
Howe in his Musician’s Omnibus of
1850, and in his School for the Fife
in 1851. Burchenal published it under the title "Green Mountain
Volunteers" along with a New England contra dance by the same name. It
was recorded for the Library of Congress by musicologist/folklorist Vance
Randolph from Ozark Mountain fiddlers in the early 1940's, and
also was recorded by Herbert Halpert for the same institution in 1939 from the
playing of a Lauderdale County, Mississippi, fiddler named Stephen B. Tucker.
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) and it was
a favorite dance tune in western New York at the turn of the century (according
to Bronner's source, Milo Kouf). As "Hasten to the Wedding" it was
mentioned in an account of a fiddlers' convention at the Pike County
Fairgrounds in the Troy Herald of July
6th, 1926.
Winston Wilkinson (“Virginia Dance Tunes,” Southern
Folklore Quarterly, VI, 1, March, 1942) calls it “one of the best-loved
tunes in Virginia.” He collected it from Albermarle County fiddler James H. “Uncle Jim”
Chisholm, who had played it and other tunes in the 1930’s at the White House
for President and Mrs. Roosevelt.
***
The following passage is from A Contribution to the History of the
Huguenots of South Carolina (1887) by Samuel Dubose and Frederick Porcher.
It describes a country dance in Craven County, South Carolina in the early 1800’s:
***
Nothing can be imagined more simple or more fascinating that those
Pineville balls.
Bear in mind, reader, that we are discussing old Pineville as it existed
prior to 1836.
No love of display governed the preparations; no vain attempt to
outshine a com-
petitor in the world of fashion. Refreshments were provided of the
simplest character,
such only as the unusual exercise, and sitting beyond the usual hours of
repose, would
fairly warrant. Nothing to tempt the pampered appetite. Cards were
usually provided
to keep the elderly gentlemen quite, and the music was only that which
the gentlemen’s
servants could produce. The company assembled early. No one ever though
of
waiting until bedtime to dress for the ball; a country-dance always
commenced the
entertainment. The lady who stood at the head of the dancers was
entitled to call for
the figure, and the old airs, Ca Ira,
Moneymusk, Haste to the Wedding, and La
Belle
Catharine were popular and familiar in Pineville long after
they had been forgotten, as
dances, everywhere else.
***
An odd alternate title called
"A Trip to the Gargle" appears in O'Neill's 1001 Gems (probably a
corruption of "A Trip to the Dargle") while as “Carrickfergus” it
appears in Brysson’s A Curious Selection
of Favourite Tunes with Variations to which is appended Fifty Favourite Irish Airs (Edinburgh,
1790). The classical composer Camille Saint Saens used “Haste to the Wedding”
in his opera Henry VIII, and John
Powell employed a variant he collected from Mrs. John Hunter, a Virginia
fiddler, in the last movement of his symphonic composition Set of Three (Wilkinson). The English novelist Thomas Hardy,
himself an accordion player and fiddler, mentions “Haste to the Wedding” in Under the Greenwood Tree, as one of the
tunes the wedding-guests danced to after the marriage of Dick and Fancy.
***
Sources for notated versions: Bob
Walters (Burt County, Nebraska) [Christeson]: Smith Paine (Wolfeboro, N.H.) [Linscott, 1939]: Candace Woltz [Phillips]:
Emery Martin, Dunbar, Pennslyvania, October 14, 1943 (learned from his father)
[Bayard]; Milo Jouf, 1877 (New York State; learned from his father) [Bronner];
James Marr (elderly fidder from Missouri, 1949), and 21 southwestern Pa.
fiddlers and fifers [Bayard]; Mrs. Ben Scott (Turlock, California) [Kaufman];
Blackwell via Dr. Kenworthy Schofield [Bacon]; Jehile Kirkhuff (Pa.)
[Phillips/1995]; fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario)
[Begin]; the music manuscript of Captain George Bush (1753?-1797), a fiddler
and officer in the Continental Army during the American Revolution [Keller];
the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of
Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Adam, No. 15. Allan's Irish Fiddler, No. 15, pg. 5. The American Veteran Fifer, 1927; No.
49. Bacon (The Morris Ring), 1974;
pgs. 12, 107, 189. Bayard (Hill Country
Tunes), 1944; No. 22. Bayard (Dance
to the Fiddle), 1981; Appendix No. 33, pgs. 585‑586, and No. 447, pgs.
420‑428. Begin (Fiddle Music from
the Ottawa Valley: Dawson Girdwood),
1985; No. 61, pg. 70. Brody (Fiddler’s
Fakebook), 1983; pg. 131. R.P. Bronner (Old
Tyme Music Makers of New York State), 1987; No. 1, pg. 10. Burchenal (Rinnci na h‑Eireann), pg. 104.
Burchenal (American Country Dances, vol.
1), 1918; pg. 42. Christeson (Old
Time Fiddlers Repertory, vol. 1), 1973; pg. 121. Cole (1000 Fiddle Tunes),
1940; pg. 53. Cranford (Jerry Holland’s), 1995; No. 198, pg. 57. DeVille, No. 61. Ford (Traditional Music in America), 1940; pg. 53. Giblin (Collection of Traditional Irish Dance Music), 1928; 93. Hardings All Round Collection, 1905; No.
190, pg. 60. Hardings Original Collection,
1928; No. 8. Jarman (The Cornhuskers Book
of Square Dance Tunes), 1944; pg. 13. JEFDSS,
III, 208 (from a fiddler's book formerly the property of Thomas Hardy's
father), 210 (see Bayard's note). JFSS, VIII, 220, 221 (a Manx vocal set). Jigs and Reels, pg. 22. S. Johnson (The Kitchen Musician No. 4: Collection of
Fine Tunes), 1983 (revised 1991, 2001); pg. 3. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs),
1951; pg. 8 (altered version appearing as "The Long Eight"). Kaufman
(Beginning Old Time Fiddle), 1977;
pg. 46. Keegan (The Keegan Tunes), 2002; pg. 111. Keller (Fiddle
Tunes from the American Revolution), 1992; pg. 21. Kennedy (Fiddlers Tune Book), vol. 1, 1951; No.
81, pg. 40. Kerr (Merry Melodies),
vol. 1; No. 4, pg. 27. Krassen (Appalachian
Fiddle), 1973; pg. 86. Linscott (Folk
Songs of Old New England), 1939; pg. 88 (appears as "Come, Haste to
the Wedding"). MacDonald (The Skye
Collection), 1887; pg. 168. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 30. Mulvihill (1st Collection), 1986; No.
19, pg. 122. O'Neill (Krassen), 1976; pg. 49. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 987, pg. 184.
O'Neill (Dance Music of Ireland: 1001 Gems),
1907/1986; No. 203, pg. 48. Phillips (Fiddlecase
Tunebook), 1989; pg. 25. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 367. Raven (English Country Dance Tunes), 1984; pg. 102. Robbins, No. 5. Roche Collection, 1983, vol. 2; No. 291,
pg. 37 (listed as a Long Dance). Ruth (Pioneer
Western Folk Tunes), 1948; No. 5, pg. 4. Ryan’s Mammoth Collection, 1883; pg. 83. Saar, No. 44. Seventy Good Old Dances, pg. 6, No. 6. Sharp and Macilwaine, Morris Dance Tunes, pgs. 10‑11 (as
a handkerchief dance). Sharp (Country
Dance Tunes), 1909/1994; pg. 10. Silberberg (Tunes I Learned at Tractor
Tavern), 2002; pg. 60. Southern
Folklore Quarterly, VI, pg. 8 (Wilkinson- “Virginia Dance Tunes”). Spandaro
(10 Cents a Dance), 1980; pg. 45.
Stewart-Robertson (The Athole Collection),
1884; pg. 145. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 67. Sweet (Fifer’s Delight), 1965/1981; pg. 24.
Thomas and Leeder (The Singin’ Gatherin’),
1939; pg. 63 (appears as a waltz, "Footprints"). Trim (Thomas Hardy), 1990; No. 1. Tubridy (Irish Traditional Music, vol. 1), 1999;
pg. 30. White's Excelsior Collection,
1907; pg. 76. Antilles (Island) AN-7003, Kirkpatrick
& Hutchings - "The Compleat Dancing Master" (1974). BEJOCD-28,
The Mellstock Band – “The Dance at Pheonix: Village Band Music from Hardy’s Wessex and Beyond” (version
from Oxfordshire concertina player William Kimber). Edison 50653 (78 RPM), John H.
Kimmel (accordion player from N.Y.C.), 1920. F&W Records 4, "The Canterbury Country Orchestra Meets
the F&W String Band." Folkways FG 3531, Jean Carignan‑ "Old
Time Fiddle Tunes." Folkways 8826, Per's Four‑‑"Jigs and
Reels." Front Hall 01, Fennigs All Stars‑ "The Hammered
Dulcimer." Gennett 6088 (78 RPM), Uncle Steve Hubbard and His Boys (New England?), c. 1928. June Appal
JA 029, Guy Carawan ‑ "Jubilee" (1979). Library of Congress AFS
L62, Stephen Tucker (b. 1858, Mississippi) – "American Fiddle
Tunes." North Star NS0038, "The Village Green: Dance Music of Old Sturbridge Village." Rounder Records,
“Jerry Holland” (1976). Rounder 18964-1518-2, Various Artists (Stephen Tucker)
– “American Fiddle Tunes” (a reissue of the 1971 Library of Congress LP of
field recordings). Victor 19940 (78 RPM), Mellie Dunham, 1926 (appears under
the title "Mountain Rangers"). Voyager VRCD 344, Howard Marshall
& John Williams – “Fiddling Missouri” (1999. Learned from Missouri fiddling tradition).
X:1
T:Haste to the Wedding
M:6/8
L:1/8
R:Jig
B:Sharp – Morris Dance
Tunes
Z:AK/Fiddler’s Companion
K:D
DFA A2f|ede fdB|ABA AGF|GFG E2F|DFA A2f|ede fdB|AFA faf|ded
d3:|
|:afa agf|gfg bag|fga agf|gfg efg|a3 f3|ede fdB|AFA faf|ded
d3:|
X:2
T:Haste to the Wedding
M:6/8
L:1/8
K:D
DFA A2f|ede fdB|ABA AGF|GFG E2F|DFA A2f|ede fdB|AFA faf|ded
d3:|
|:afa
agf|gfg bag|fga agf|gfg efg|a3 f3|ede fdB|AFA faf|ded d3:|
X:3
T:Haste to the Wedding
M:6/8
L:1/8
R:Jig
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s
Companion
K:D
B|AFA Aaf|ede fdB|AFA AdF|EFE E2A|AFA Aaf|ede fdB|AFA
faf|ddd d2:|
|:f/g/|faf
faf|bgb bgb|afa agf|efe e2f/g/|a3 f3|ede fdB|AFA faf|ded d2:|
HASTE TO THE WEDDING
[2]. AKA and see "The Irish Washerwoman."
HASTLE THE CALLER. A modern ‘old-time’ composition by Hank Bradley.
HASTTON’S HORNPIPE. English, Hornpipe. D Major.
Standard tuning. AABB. The melody appears under this title in the music
manuscript copybook of fiddler John Burks, dated 1821. Unfortunately, nothing
is known of Burks, but he may have been from the north of England. The melody is an early version of “Morning Fair,” “Texarkana Hornpipe.” printed in Ryan’s Mammoth Collection (1883) and of “Tomorrow Morning,” printed in O’Neill’s
Music of Ireland (1903). See also “Manchester Hornpipe [1],” “Pigeon on the Gate [7],” “Rickett’s Hornpipe” and “Yarmouth
Hornpipe.” (see note for “Morning Fair” for discussion).
hATA-FEATAN DIARMADA. AKA and see "Jerry's Beaver Hat."
HATHAWAY TWO-STEP. Cajun, Two-Step (4/4 time). USA, Louisiana. A Major. Standard tuning. One
part. An instrumental named after Hathaway, Louisiana, situated eight miles north of Jennings. A related song is Merlin
Fontenot's "Pas de Deux Babineaux."
Francois (Yé Yaille, Chčre!),
1990; pg. 163.
HATHAWAY'S HORNPIPE. Old‑Time, Hornpipe. A Major ('A' part) & E Major ('B' part).
Standard tuning. AABB. Composed by Ira Hathaway. The Devil's Box.
HATTER FROM NENAGH, THE. Irish, Double Jig. D Mixolydian. Standard
tuning. AABB. Roche Collection, 1983,
vol. 3; No. 93, pg. 28.
HATTER'S HORNPIPE, THE. AKA and see "O'Mahony's Hornpipe," "Prend(i)ville's Hornpipe."
Irish, Hornpipe. D Major. Standard tuning. AABB. O'Neill (O’Neill’s Irish Music), 1915; No. 372, pg. 179.
X:1
T:Hatter’s Hornpipe
M:4/4
L:1/8
R:Hornpipe
S:O’Neill – O’Neill’s Irish Music (1915)
Z:AK/Fiddler’s Companion
K:D
AG | FGEF D2 de | fefd B2 AG | FAdc BAGF
| G2 EE E2 AG | FGEF D2 de | fefd B2 AG |
FAdB AFEF | D2 DD D2 :: ed | cABc
dfed | cdec ABAG | FAdc BAGF | E2 EE E2 AG |
FGEF D2 de | fefd B2 AG | FAdB AFEF
| D2 DD D2 :|
HATTON BURN. AKA and see “Cooleen Bridge,”
"Tarbolton Lodge,” “Tarbolton Reel." Scottish, Reel. E Minor.
Standard. AB. MacDonald (The Skye
Collection), 1887; pg. 75.
X:1
T:Hatton Burn
T:Tarbolton Lodge
M:C
L:1/8
R:Reel
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:E Minor
F|Eee^d e2 (BA)|GBAF GEEF|Ddd^c d2
(AG)|FdAG FDDF|Eee^d efga|
fedf eBBA|GABG FGAF|BGAF GEE||f|gfef
gebe gebe geef|defg adfd|
ABAG FDDF|G2 BG F2AF|Eeef gefd|BcdB
AGFA|BGAF GEE||
HATTON OF BUCHROMB'S
REEL. Scottish, Reel. F Minor. Standard.
AAB. Composed by William Marshall (1748-1833).
“Hatton of Buchromb” was the name of a farm in the possession of a friend of
Marshall’s, Mr. Shearer. It was situated on a hillside above the River Fiddich,
with views to Ben Aigan (Cowie, The Life
and Times of William Marshall, 1999). Hardie (Merry Melodies), 1992; pg. 104. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 29.
X:1
T:Hatton of Buchromb’s Reel
M:C|
L:1/8
S:Marshall – 1822 Collection
Z:AK/Fiddler’s Companion
K:F Minor
=E|Fff=d eEGB|Fffe c=def|gef=d
eEGB|cABG F2 F:|
g|afcf eEGg|afcf =efcf|c=def
gEGB|cABG F2 Fg|afcf eEGg|
afcf =efcf|gabg eEGB|cABG F2F||
HATTON REEL. Scottish, Reel. The melody appears in the Drummond Castle Manuscript, 1734, in the possession of the Earl of
Ancaster at Drummond Castle. It is inscribed "A Collection
of the best Highland Reels written by David Young, W.M. &
Accomptant."
HAUD AWA' FRAE ME
DONALD. AKA and see “The Lasses Fashion.” Scottish, Strathspey. E
Minor. Standard. AABB'. Kerr (Merry
Melodies), vol. 3; No. 71, pg. 10.
X:1
T:Haud Awa’ Frae Me Donald
M:C
L:1/8
R:Strathspey
S:Kerr – Merry Melodies, vol. 3, No. 71
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:E Minor
G<(E G2) (D<B,)D2|(G<E) G<A B2
(A<B)|(G<E)G2 (D<B,)D2|(G<E) G>A B2 (A<G):|
|:A>Bd>e d<B
A<G|A>Bd>e B2 (A<G)|A>Bd>e d<B A>B|1 (G<E) G>A B2
(A>G):|2 (G<E) G>A B2 (A<B)||
HAUD AWAY HAME. Scottish, Jig. D Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 4; No. 253, pg.
27.
X:1
T:Haud Away Hame
M:6/8
L:1/8
R:Jig
S:Kerr – Merry Melodies, vol. 4, No. 253
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
f | cfg f2e | faf ecA | cfe f2e |
cBA f3 | cfg f2e | faf ecA | ABA Bcd | cBA f2 :|
|: d | cBA ABA | cBA Bcd | cBA ABc | cBc f3 | cBA ABA | cBA Bcd | cfa fed | cBA f2 :|
HAUD AWAY JACK. English. England, Northumberland. Title appears in
Henry Robson's list of popular Northumbrian song and dance tunes ("The
Northern Minstrel's Budget"), which he published c. 1800.
HAUD THE LASS TILL I
COME AT HER.
AKA and see “Lads of Boot.” AKA – “Hold the Bonny Lass,” “Hod the Lass,”
“Hod the Lass While I Run at Her,” “Ha’d the Lass Till I Win at Her.” Scottish,
English; Reel. A Mixolydian (Bremner, Kennedy, Kerr): A Dorian (Vickers).
Standard tuning. AABB. The title translates as “Hold the lass while I get on
her,” ostensibly a direction given before attempting to mount a horse. The title has a double-meaning, however, and
the sexual content would not have been lost on anyone in the mid-18th
century, according to David Johnson. John Glen (1891) finds the earliest
printing of the tune in Robert Bremner's
1757 collection, and it also appears in the Gillespie
Manuscript of Perth, 1768. The melody appears in the music manuscript
copybooks of the Brown family of Troutbeck, in the old county of Westmoreland (now Cumbria), England. The early 19th century
manuscripts were the work of several people and were collected ultimately from
the Browne family before being deposited in the Armitt Library (now the Armitt
Collection in Ambleside Museum, Cumbria). The tune also appears in the music
manuscript collection of Northumbrian musician William Vickers, about whom
little is known. Bremner (A Collection of
Scots Reels), 1757; pg. 12. Kennedy (Traditional
Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 66, pg. 18. Kerr (Merry
Melodies), vol. 4, No. 53, pg. 8. Wilson (Companion to the Ballroom), 1815; pg. 74. Big
Chain BC103, Cooper & Bolton – “The Savage Hornpipe”
(2006).
X:1
T:Had the Lass till I winn at her
M:C|
L:1/8
R:Reel
S:Bremner – Scots Reels (1757)
Z:AK/Fiddler’s Companion
K:A Mix
A(ee)(g f)dec | A(ee)(B d)GdB |
A(ee)(g f)def | g>edg BGdB :: Ag (f/g/a) (fd)ec |
Ag (f/g/a) G(B/c/ d)B | Ag (f/g/a)
(fd)ef | g>edg BGdB :|
X:2
T:Haud the Lass Till I Come at Her
M:C|
L:1/8
R:Reel
S:Kerr – Merry Melodies, vol. 4, No. 53
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:A Mixolydian
Aeeg fdec | AeeB dGdB | Aeeg fdef |
gedg BGdB :|
|: A>g (f/g/a) fdec | A>g
(f/g/a) GBdB | A>g (f/g/a) fdef | gedg BGdB :|
X:3
T:Had the lass tel I won at hir
[sic]
M:C|
L:1/8
R:Reel
S:William Vickers’ music manuscripts,
pg. 15 (1770)
Z:AK/Fiddler’s Companion
K:A Dorian
Aeeg fdec|Aeeg BGdB|Aeeg fdef|gedg
BGdB:|
|:Ag fg/a/ fdec|Ag fg/a/ BGdB|Ag
fg/a/ fdef|gedg BGdB:|
HAUGH’S JIG. AKA and see “The Rover’s Return,”
“The Victor’s Return.” Irish, Jig. A
Dorian. Standard tuning. AABB. Martin Mulvihill gives this jig as an
accompaniment tune for the dance The Haymakers’ Jig. Mulvihill (1st Collection), 1986; No.
48, pg. 128.
HAUGHS O' CROMDALE, THE. AKA and see “Barrack Hill,” "Lady Catherine Stewart/Stuart,"
"Merry Maids Meeting,"
“Merry Maid’s Wedding,” “New Killiecrankie,” “O’Neill’s March,” “Scotch Mist” [3], “Sid mar chaidh n’ Cal a
gholaigh” (That is How the Cabbage Was Boiled), “The Spilling of the Kale,” “Tralee Gaol.” Scottish, Canadian;
Strathspey, Air or Polka. Canada;
Cape Breton, Prince Edward Island.
E Minor/Dorian (Dunlay & Greenberg/MacMaster, Martin, Perlman): A Dorian
(Dunlay & Greenberg/Campbell): D Minor (Lowe, Surenne). Standard tuning. AB
(Surenne): AAB (Honeyman): AABB (Athole, Dunlay & Greenberg/MacMaster,
Emmerson, Kerr, Martin, Perlman, Skye): AA’BB’ (Dunlay &
Greenberg/Campbell). ‘Haughs’ are the low-lying ground along a river, in this
case the Cromdale. The melody is an example of a strathspey of the schottische
structure, states Emmerson (1971); two accents to the bar {on the first and
third beats of the measure} instead of one. Dunlay & Greenberg point out
there are two main strains of the tune: both have similar ‘A’ parts, but the
‘B’ parts differ, one beginning on the tonic/I chord and one beginning on the
VII chord. They speculate that the tune originally had only one part, as many
ballads did, but that differing second turns were added to it later. John Glen
(1891) finds the earliest printing of the tune in Angus Cumming's 1780 Scottish
collection (A Collection of Strathspeys
or Old Highland Reels, pg. 15), though it also appeared in print the same
year in Alexander McGlashan’s Collection
of Reels as “Merry Maid’s Wedding.” Creighton and Calum MacLeod (1979) find
it earlier in Scotland in the Margaret
Sinclair Manuscript (c. 1710) under the title “New Killiecrankie,” and
Dunlay and Greenberg report it was said to be in an older manuscript under the
title “Wat ye how the play began.”
***
A
Scottish country dance also goes by the name of "Haughs of Cromdale,"
one of the relatively few that go in strathspey tempo. Flett and Flett (1964) date the dance from
somtime after 1855, the date of the introduction of the Highland Schottische,
for Haughs incorporates the Highland Schottische's movements. In the Dalbeattie district of
Kirkcudbrightshire before 1914 the dance was very popular, according to an informant
(Mrs. Margaret Patterson of Auchencairn) who danced it as a young girl. Mrs. Patterson remembered the dance always
was accompanied by a briskly played schottische such as "Kafoozalum,"
"Orange and Blue" or
"Wha's a' the steer, kimmer."
***
Cromdale
is a district in Strathspey, site of the battle of the Haughs of Cromdale in
the 17th century. During the battle a piper in the routed Jacobite
army under the inept General Buchan bravely attempted to rally his comrades.
Though badly wounded, he clambered atop a rock and continued to play until he
expired; the very rock can be seen today and is still named Clach a Phíobair, the Piper’s Stone
(Collinson, 1975). Perhaps in memory of this feat of bravery, "Haughs of
Cromdale" was one of the pipe tunes played by the British 92nd Regiment at
the battle of Maya, 1813, which served to so inflame the Highlanders that they
charged the French, who became so panic stricken at their audacity that they
turned and ran (Winstock, 1970; pg. 139). David Glen (in his bagpipe Tutor) states the tune was the “charge
and double post of the Gordon Highlanders.” Dunlay & Greenberg find the
tune set as both a march and a strathspey in various bagpipe collections,
including Logan’s Complete Tutor for the
Bagpipes and The Scots Guards
Collection (set as a four-part march).
***
As
with many popular British Isles tunes, there were
various sets of words attached to it. “As I came in by Auchindown” is one
common ballad sung to the air (which tells of a battle with the English on the
haughs) and can be found in James Hogg’s Jacobite
Relics of Scotland (vol. 1, 1819). “Birniebouzle” is another song set to
“Haughs”. In Cape Breton there was a Gaelic song entitled “Sid mar chaidh an
cal a dholaigh” (That is How the
Kale/Cabbage Was Ruined/Spoiled) that tells the amusing story of a meeting
between Scottish Highlanders and Lowlanders at an inn and how the kale broth
was ruined while the lady of the house was dancing (Dunlay & Greenberg).
Bayard identifies this as one of the tunes from the large "Welcome
Home" tune family. See “Cape North
Jig” for a 6/8 time setting of “Haughs” and the A Minor Irish variant “Tralee Gaol.” Sources for notated versions:
John Campbell (Cape Breton)
[Dunlay & Greenberg]; Kevin Chaisson (b. 1950, Bear River,
North-East Kings County, Prince
Edward Island) [Perlman]. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pgs. 36 & 85.
Emmerson (Rantin’ Pipe and Tremblin’
String), 1971; No. 65, pg. 153. David Glen (Bagpipe Tutor), 1876-1901 (two settings). Gow (Beauties of Niel Gow), 1819. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 14. Kerr (Merry Melodies), vol. 1; Set 7, No. 1,
pg. 6. Lowe (A Collection of Reels and
Strathspeys), 1844. MacDonald (The Skye Collection), 1887; pg. 85.
MacDonald (The Gesto Collection). Martin (Traditional Scottish Fiddling), 2002; pg. 11. Middleton’s,
1870. Perlman (The Fiddle Music of Prince
Edward Island), 1996; pg. 198. Stewart-Robertson
(The Athole Collection), 1884; pg.
249. Surenne (Dance Music of Scotland),
1852; pgs. 112-113. ACC-49290, Natalie MacMaster -
“Road to the Isle.” ACC-4925, Tara Lynne Touesnard - “Heritage.” Kicking Mule
KM‑327, "Scartaglen" (1984. Played as a march). RCC-102, Ian
McKinnon & Rawlins Cross - “Crossing the Border” (1991). RMD-CAS1, Rodney
MacDonald - “Dancer’s Delight” (1995). Rounder 7003, John Campbell - “Cape Breton Violin Music”(1976. Appears as “Traditional Strathspey,”
side two). Smithsonian
Folkways Records, SFW CD 40507, The Beaton Family of Mabou – “Cape Breton Fiddle and Piano
Music” (2004).
X:1
T:Haughs of Cromdale
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s
Companion
K:E Minor
e| B<E E>F B>A F<A |B>E E>F D>EF>A
|B<E E>F B>AF>A | d>BA>F ~E2 E :|
|: F| D<d d>e d/^c/B/A/ d2 |F<A A>B A<F A2
|B<e e>f g>fe>d | B<d B/A/G/F/ E2E :|
HAUGHS OF DELBAGIE, THE. Scottish, Strathspey. E Minor. Standard
tuning. AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c), 1866; No.
132, pg. 45.
HAUGHTON HOUSE. AKA and see “Auchdon House.”
HAUGHTY MARY (Maire Mhordhalach). Irish, Slow Air (3/4 time). D Minor. Standard tuning.
AAB. "From a County Limerick MS." (Joyce). Joyce (Old Irish Folk Music and Song), 1909;
No. 440, pgs. 248‑249.
HAUL AWAY THE HAWSER
[1]. English, Reel. England, Northumberland. G Mixolydian.
Standard tuning. AABB. Seattle (William
Vickers), 1987, Part 2; No. 267.
HAUL AWAY THE HAWSER
[2]. English, Reel. England, Lake District. G Major. Standard tuning. AAB.
There are some small resemblances between version #2 and Vickers’ “Haul Away
the Hawser [1]." Knowles identifies his tune as being from the Lake District. Knowles (A Northern Lass), 1995; pg. 16.
HAULING HOME, THE. AKA and see "Belle of Lexington," "Belle Election," "Kitty's Wedding (Hornpipe)," “Mrs. Smith’s Reel>,” "Smith's Delight." Irish, Hornpipe.
D Major. Standard tuning. AABB. Roche
Collection, 1983, vol. 2; No. 220, pg. 13.
HAUNT OF THE GNOMES, THE. Scottish, "Reverie" (Slow Air). A
Major. Standard tuning. Composed by the great Scots fiddler-composer of the
latter 19th and early 20th century, J. Scott Skinner
(1843-1927), originally published in his Harp
and Claymore collection. It is dedicated to William Walker, Pioneer of the
Royal Cinematograph. Skinner (The
Scottish Violinist), pg. 47. Skinner (Harp
and Claymore), 1904; pg. 154.
X:1
T:Haunt of the Gnomes, The
M:C
L:1/8
R:Air
N:”Slowly and languidly.”
S:Skinner – The Scottish
Violinist
Z:AK/Fiddler’s Companion
K:A
E2 | (EAGA) (d2c2) | (F4