[COMMENT1]  The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

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HEA - HEJ

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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]

 

 

 

HE ASKED ME NAME THE DAY. AKA and see "The Proposal [1]," "I Know That Johnny Loves Me."

                       

HE DIDN'T DANCE ALL DAY. AKA and see "Another Jig Will Do."

                       

HE HAS COME BACK TO ERIN. Irish, Air ("lively", 6/8 time). E Minor. Standard tuning. AB. 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 musical taste" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 185, pg. 92.

X:1

T:He has come back to Erin

M:6/8

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:E Minor

EGE E2D|G2A E2D|d2e B/A/GB|A2G E3|ded d2B|e2d  e2g|e>d/B/A/ G2A|B3 B3||

EGE E2D|G2A E2D|B2A B>de/f/|g3 fe(3d/B/d/|ege d2A|B>AG/E/ G2B|AGE D2E|E3 E3||

                       

HE HIRPL'D TILL HER. Scottish, Reel. A Mixolydian. Standard. AABB. The melody appears earliest in print in Robert Bremner's 1757 collection, according to John Glen (1891). ‘Hirpl’d’ means ‘hobbled’, while ‘till’ (sometime ‘til’) indicates ‘towards’ or ‘to’; thus the title means “He hobbled towards her.” Bremner (A Collection of Scots Reels), 1757; pg. 12.

X:1

T:He hirpl’d till her

M:C|

L:1/8

R:Reel

S:Bremner – Scots Reels (1757)

Z:AK/Fiddler’s Companion

K:A Mix

f | eaca ecAc | d>fec B/B/B Bf | eaca ecAc | dfec A/A/A A :: e | cAec fdec |

dfca B/B/B Be | cA (ef/^g/) afec | dfec A/A/A A :|

                       

HE LEFT THE POOR WIDOWS A-WEEPING. Irish, Air (3/4 time). F Mixolydian? Standard. AB. "A song of the war time" (Joyce). Source for notated version: Ballinamore, Co. Leitrim, professional fiddler Hugh O'Beirne, 1846, via Forde (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 641, pg. 325.

                       

HE LEFT US IN SORROW (D'Fag Se Sinn Bronac). Irish, Air (2/4 time, "plaintive"). D Major. Standard tuning. One part. Source for notated version: credited to Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 562, pg. 99.

X:1

T:He Left Us in Sorrow

M:2/4

L:1/8

R:Air

N:”Plaintive”

S:O’Neill – Music of Ireland (1903), No. 562

Z:AK/Fiddler’s Companion

K:D

A|d>c de|fg ed/c/|d>c AA|A3 f/g/|a>g fa|g>f eA|de/f/ g/e/{e}d/c/|d3 f/g/|

a>g fb/>a/|g>f ed/c/|de/f/ g/f/e/d/|c<A zc|d>c de|fd ge/>d/|dc A(3G/A/B/|A3||

                       

HE MANDU’S TRUAGH NACH DIGEADH. Scottish, Air (2/4 time). G Dorian. Standard tuning. One part.

X:1
T:He mandu 's truagh nach digeadh
N:Waulking song
S:LP, 'Music from the Western Isles'
Z:Nigel Gatherer
M:2/4
L:1/8
K:G dorian
G2 Ac | (3BAG AF  | G2  Ac  | (3BAG AF  |
G2 Ac |   C>D F<G | c>c B<G |   A>G FD  |
C2 DF |   A>G F<D | C2  F2  |   G2  G2 |]

                       

HE, MOM. See "Chère Mam'."

 

HE NA  BODDACHIN.  See “Ha na Boddachin.”

                       

HE PIPED SO SWEET. Scottish, Jig. G Major. Standard. AABB. Harding’s All Round Collection, 1905; No. 99, pg. 31.

X:1

T:He Piped so Sweet

M:6/8

L:1/8

R:Jig

S:Harding’s All-Round Collection (1905), No. 99

Z:AK/Fiddler’s Companion

K:G

d|ded g2d|B2D G2A|B2B Bcd|d2A A2d|ded g2d|B2d GA|

B2B AGA|GGG G2::B|e2f g2f|e2B B2^c|d2e fge|d2A A2B|

c2c e2c|B2B d2B|A2a abg|f2d d2d|d2d g2d|g2g a2d|

g2b afd|e2f g2B|(c2a) (B2g)|(A2B) cBc|(d.g)e (d.B)G|(B.c)A G2:|

                       

HE SAYS HE WINNOT HAE ME. Northumbrian. Title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800.

                       

HE THAT WILL MARRY ME. Irish, Air (2/4 time). G Mixolydian. Standard. One part. Source for notated version: Hugh O'Beirne, professional fiddler from Ballinamore, Co. Leitrim, 1846 (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 584, pg. 305.

                       

HE THOUGHT OF THE CHARMER. Irish, Air (6/8 time, "with life"). A Dorian. Standard. One part. Source for notated version: "...copied from (a) very old well‑written manuscript lent to me in 1873 by Mr. J. O'Sullivan, of Bruff, Co. Limerick" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No247, pg. 119.

X:1

T:He thought of the charmer

M:6/8

L:1/8

R:Air

N:”With life”

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

Z:AK/Fiddler’s Companion

K:A Dor

A|cde ede|dcA G2G|EAA cBc|Add d2G|FFF GFG|Acd =f2d|

eaa gec|dcd e2 c/A/| G2F GEF|G2A cde/f/|ged cAG|A3A2||

                       

HEAD HER IN FOR BASTAVOE. Shetland, Shetland Reel. Shetland, Unst. A tune whose reference is a boat coming into port.

                       


HEAD OF CABBAGE, THE. There was a time, according to collector and fiddler Philippe Varlet, that Irish fiddler Frankie Gavin called nearly every tune he didn't have a name for "The Head of Cabbage." For example, there is a tune on the De Dannan album "Star Spangled Molly" (Shanachie 79018) under the Cabbage title which is actually Ed Reavy's "Love at the Endings."

                       

HEAD OF CURLS (Cul Na Lub). Irish, Slow Air (4/4 time). F Major. Standard tuning. AB. Source for notated version: Hugh O'Beirne, professional fiddler from Ballinamore, Co. Leitrim, 1846, via Forde (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 620, pg. 318.

 

HEADING FOR ZERO. American, Slip Jig. D Major. Standard tuning. AABBCC. The name of a dance and tune composed in 2004 by Jenny Beer. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 57.

                       

HEADINGTON JIG. AKA and see "Shepherd's Hey."

                       

HEADINGTON MORRIS REEL. English, Morris Dance Tune (4/4 time). G Major. Standard tuning. AABB (x4), A. From the village of Headington, in England's Cotswolds. Mallinson (Mally’s Cotswold Morris Book), 1988; No. 49, pg. 30.

                       

HEADLANDS, THE. Shetland, March (2/4 time). A Major. Standard tuning. AABB'. Composed by Shetland accordion player Ronnie Cooper (d. 1982), who wrote in the Scottish idiom. Source for notated version: Eddy Arsenault (b. 1921, St. Chrysostom, East Prince County, Prince Edward Island) [Perlman]. Martin (Ceol na Fidhle), vol. 2, 1988; pg. 38. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 183. Greentrax CDTRAX 9009, Pat Shearer (Orkney Islands) - “Scottish Tradition 9: The Fiddler and his Art” (1993).

                       

HEADLIGHT, THE. American, Dance Tune (cut time, or 4/4). G Minor (Cole, Kerr, Ryan): A Minor (Craig). Standard. AABB. Labled a 'jig' in Ryan's Mammoth/Cole's 1000 (refering to a “straight” or "sand jig," a type of syncopated duple-time dance tune and not the Irish 6/8 jig), a 'clog dance' in Kerr. Cole (1000 Fiddle Tunes), 1940; pg. 82. Craig (The Empire Collection of Hornpipes), c. 1890’s; pg. 5. Kerr (Merry Melodies), vol. 2; No. 390, pg. 43. Ryan’s Mammoth Collection, 1883; pg. 115.

X:1

T:Headlight, The

M:C|

L:1/8

R:”Sand” Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G Minor

B,4 A,/4 | (3G,B,D (3GBd g2z2 | (3cde (3ABc (3^FGA D2 | (3cde (3ABc (3^FGA D2 |

B,4 A,/4 | (3G,B,D (3GBd g2z2 | d>^cd>e (d<A) z>e |1 d>cB>A G2z2 :|2 d>cB>A G2F2 ||

|: (B>.A)(B>.c) d>c B2 | c>=Bc>d e>d c2 | f>=ef>g a>gf>e | d>cB>G (_G2F2) |

B>AB>c d>cB2 | c>=Bc>d e>d c2 | f>=ef>g a>g f2 |1 (3agf (3edc B2F2 :|2 (3agf (3edc B2 G,>A, ||

                       

HEADLIGHT REEL, THE. American, Reel. D Major. Standard tuning. AABB. The composition is credited to a “T. Densmore” in Ryan/Coles. Michael McKernan believes this refers to a member of a musical family from Chelsea, Vermont, (he was perhaps the brother of O. Densmore, a bandleader who wrote the “Old Granite State Reel” in Ryan’s/Cole’s, and a relative of a C. Densmore, of Claremont, New Hampshire, who also led a band in the mid-1800’s). The “Messrs. Densmore” were listed as playing at a Musician’s Annual Ball in Lebanon, New Hampshire, in 1847. Cole (1000 Fiddle Tunes), 1940; pg. 51. Ryan’s Mammoth Collection, 1883; pg. 79. A & M Records 79602 2000-2, Ashley MacIsaac - “Close to the Floor” (1992).

X:1

T:Head-Light, The

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

D | D/A,/A,/D/ F/D/D/F/ | A/d/d/B/ .A(F/A/) | G/B/E/G/ F/A/D/F/ | E/F/G/E/ D/C/B,/A,/ |

D/A,/A,/D/ F/D/D/F/ | A/d/d/B/ .A(F/A/) | G/B/E/G/ F/A/D/F/ | E/D/C/E/ D :: f/g/ |

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

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

                       

HEADWATERS OF TYGART. Old-Time, Breakdown. USA, northeastern Kentucky. G Major. Standard or ADae tunings. AABB. Tygart’s Creek is in Carter and Greenup Counties in northeast Kentucky. The watercourse was named after an early explorer, Michael Tygart. The creek is nowadays a favorite for canoe trips, it is commonly known as the ‘Tiger’ in the region. Source for notated version: Roger Cooper (Garrison, Lewis County, Ky.), learned from Joe Stamper and Abe Keibler.  [Titon]. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 58, pg. 89. Berea College Appalachian Center AC007, Roger Cooper – “Snakewinder” (1993).

                       

HEADWOOD CROSSING.  Irish, Jig. G Major. Standard tuning. AABB. Composed by Patrick Davey, flute player for the group Craobh Rua. The time is named for a railway feature on a line in County Antrim, and is paired with “Inver Bank” for a set known as “The Narrow Gauge Jigs.” 

X:1

T:Headwood Crossing

M:6/8

L:1/8

C:Patrick Davey

K:G

CGE G3 | AGE G3 | CGE G3 | A3 dcB |
CGE G2E | A2E G3 | (3Bcde g2g | eae ged :||
|: (3Bcde g2g | eae ged | (3Bcde ged | CGE GAB |
|(3Bcde g3 | eae gab | a3 ged | eae ged :||

                       

HEALTH, THE. AKA and see "Merry Wassail," "Merry Frolic." English, Country Dance Tune (4/4 or 2/2 time). G Major. Standard tuning. One part. The tune was first published by Playford in his English Dancing Master (editions 1650‑90) and Musick's Delight on the Cithren (1666). The title presumably refers to the salute or toast just prior to drinking in convivial atmosphere. Henry Cockburn (1779-1854), in his book Memorials of His Time (published posthumously in 1856), recalled the custom of toasting at the beginning of the 19th century, when he was a young man:

***

Healths and toasts were special torments; oppressions which cannot now be conceived.

Every glass during dinner required to be dedicated to the health of some one. It was

thought sottish and rude to take wine without this—as if forsooth there was nobody

present worth drinking with. I was present, about 1803, when the late Duke of Buccleuch

took a glass of sherry by himself at the table of Charles Hope, then Lord Advocate; and

this was noticed afterwards as a piece of dual contempt. And the person asked to take

wine was not invited by anything so slovenly as a look combined with putting of the hand

upon the bottle, as is practised by near neighbours now. It was a much more serious affair.

For one thing, the wine was very rarely on the table. It had to be called for; and in order

to let the servant know to whom he was to carry it, the caller was obliged to specify his

partner aloud. All this required some premeditation and courage. Hence timid men never

ventured on so bold a step at all; but were glad to escape by only drinking when they

were invited. As this ceremony was a mark of respect, the landlord, or any other person

who thought himself the great man, was generally graciously pleased to perform it to every

one present. But he and others were always at liberty to abridge the severity of the duty,

by performing it by platoons. They took a brace, or two brace, of ladies or of gentlemen,

or of both, and got them all engaged at once, and proclaiming to the sideboard—“A glass

of sherry for Miss Dundas, Mrs. Murry, and Miss Hope, and a glass of port for Mr. Hume,

and one for me,” he slew them by coveys. And all the parties to the contract were bound

to acknowledge each other distinctly. No nods or grins, or indifference; but a direct look

at the object, the audible uttering of the very words—“Your good health,” accompanied by

a respectful inclination of the head, a gentle attraction of the right hand towards the heart,

and a gratified smile. And after all these detached pieces of attention during the feast were

over, no sooner was the table cleared, and the after-dinner glasses set down, than it became

necessary to drink the health of every other person present, individually. Thus, where there

were ten people, there were ninety healths drunk. This ceremony was often slurred over by

the bashful, who were allowed merely to look the benediction; but usage compelled them to

look it distinctly, and to each individual. To do this well, required some grace, and consequently

it was best done by the polite ruffled and frilled gentlemen of the olden time.

***

This prandial nuisance was horrible. But it was nothing to what followed. For after dinner,

and before the ladies retired, there generally began what were called “Rounds” of toasts;

when each gentleman named an absent lady, and each lady an absent gentleman, separately;

or one person was required to match a gentleman with that lady, and the pair named were

toasted, generally with allusions and jokes about the fitness of the union. And, worst of all,

there were “sentiments.” These were short epigrammatic sentences, expressive of moral

feelings and virtues, and were thought refined and elegant productions. A faint conception

of the nauseousness may be formed from the following examples, every one of which I have

heard given a thousand times, and which indeed I only recollect from their being favourites.

The glasses being filled, a person was asked for his, or for her, sentiment, when this or

something similar was committed—“May the pleasures of the evening bear the reflections

of the morning.” Or, “May the friends of our youth be the companions of our old age.” Or,

“Delicate pleasures to susceptible minds.” “May the honest heart never feel distress.” “May

the hand of charity wipe the tear from the eye of sorrow.” “May never worse be among us.”

There were stores of similar reflections; and for all kinds of parties, from the elegant and

Romantic, to the political, the municipal, the ecclesiastic, and the drunken. Many of the thoughts

and sayings survive still, and may occasionally be heard at a club or a tavern. But even there they are

out of vogue as established parts of the entertainment; and in some scenes nothing can be very

offensive. But the proper ‘sentiment’ was a high and pure production; a moral motto; and was

meant to dignify and grace private society. Hence, even after an easier age began to sneer at

the display, the correct course was to receive the sentiment, if not with real admiration, at least

with decorous respect. Mercifully, there was a large known public stock of the odious commodity,

so that nobody who could screw up his nerves to pronounce the words had any occasion to

strain his invention. The conceited, the ready, or the reckless, hackneyed in the art, had a

knack of making new sentiments applicable to the passing accidents, with great ease. But it

was a dreadful oppression on the timid or the awkward. They used to shudder, ladies

particularly—for nobody was spared, when their turn in the round approached. Many a

struggle and blush did it cost; but this seemed only to excite the tyranny of the masters of

the craft; and compliance could never be avoided except by more torture than yielding. There

can scarcely be a better example of the emetical nature of the stuff that was swallowed than

the sentiment elaborated by the poor dominie at Arndilly. He was called upon, in his turn,

before a large party, and having nothing to guide him in an exercise to which he was new,

except what he saw was liked, after much writhing and groaning, he come out with—“The

reflection of the moon in the cawm bosom of the lake.” It is difficult for those who have

been born under a more natural system, to comprehend how a sensible man, a respectable

matron, a worthy old maid, and especially a girl, could be expected to go into company only

on such conditions.

***

But the new generation gradually laughed the sentiments away; so that at last one could only

be got as a curiosity, from some old-fashioned practitioner. They survived longer in male parties,

especially of a wild character. Yet (Sir Walter) Scott, in presiding even at the grave annual dinners

of the Bannatyne Club, always insisted on rounds of ladies and gentlemen, and of authors and

printers, poets and kings, in regular pairs. Of course in that toasting and loyal age, the King was

never forgotten, even though the company consisted only of the host and his wife and children.   (pgs. 32-36).

***

Barnes (English Country Dance Tunes), 1986. Raven (English Country Dance Tunes), 1984; pg. 42 (a facsimile copy of the Playford original). Sharp (Country Dance Tunes), 1909/1994; pg. 46.

X:1

T:Health, The

T:Merry Wassail, The

M:2/2

L:1/8

S:Sharp – Country Dance Tunes  (1909)

Z:AK/Fiddler’s Companion

K:G

|: (Bc | d2) d2 (d3c | B2 G4) (cd | e2) (e2 B3c | d6) (AB |

c2) (c2B2A2 | B4 A2) (G2 | A2B2A3G) | G6 :|

                       

HEALTH FROM THE CUP. AKA and see "Slainte on gCupan."

 

HEALTH TO ALL HONEST MEN, A.  English, Jig. G Minor. Standard tuning. AABB. The melody for dancing appears in John Young’s Dancing Master, vol. 2 (London, editions of 1718 and 1728) and John Walsh’s Second Book of the Compleat Dancing Master (London, 1719). Thomas Hammersley included it in his music manuscript copybook (London, c. 1790). The title is from a popular song by Mr. Burkhead, appearing in John Watts’ Musical Miscellany, vol. 3 (London, 1730) and on numerous song sheets. It begins:

***

Ev’ry man take a glass in his hand

***

Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 57.

                       

HEALTH TO BETTY, A. English, Scotch; Country Dance ("Longways for as many as will."). G Minor. Standard tuning. One part. The tune was published by John Playford in his English Dancing Master (1651). Chappell (1859) asserts the Scots appropriated this tune for their "My Mither's Ay Glowrin O'er Me," which is the opening line of Allan Ramsay’s song set to the tune. John Glen (Early Scottish Melodies, 1900) believes the provenance is just the other way round, and that the English captured the tune as a country dance, to which the words had become detached. Glen points out the tune is in the Scottish Blaikie manuscript (c. 1695). Stenhouse, in his notes to Johnson’s Scots Musical Museum (Illustrations, 1853), says that Ramsay’s words were adapted to an ancient tune, in triple time, called “A Health to Betty,” which originally consisted of one strain (which is printed in Thomson’s Orpheus Caledonius, 1725). D’Urfey wrote was song to the melody called “The Female Quarrel,” according to Glen (1900), a lampoon upon Phillida and Chloris. It was printed in Pills to Purge Melancholy (1715).  Chappell (Popular Music of the Olden Times), 1859; pg. 320. Raven (English Country Dance Tunes), 1984; pg. 39.

X:1

T:Health to Betty, A

M:6/8

L:1/8

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

Z:AK/Fiddler’s Companion

K:G Minor

G | (G>A)G ^F2D | B4 A2d | (d>e)d c2A | f3 d2e |

fd2 (B>c)d | c2A ^F2F | G2AG ^F2D | B3 A2 :|


                       

HEALTH TO KING PHILLIP. See “Slainte Righ Pilib.”

                       

HEALTH TO THE LADIES, A. AKA and see “Buttermilk Mary [3],” “Coleman’s Favourite,” “Fond of the Ladies” (‘A’ part only), “The Frolicksome Dame,” "The Irish Miller," “Irishman’s Heart to the Ladies,” “Irishman’s Love [1],” “The Móinín Jig,” “The Mountain Road [2],” “The Mountainy Boy,” “The Night of the Wedding,” “O’Mahony’s,” “Over the Callows,” “Paddy Clancy’s,” “Pat Beirne’s Favourite,” “The Queenstown Jig,” "Saddle the Pony [2]" (Roche), “Sweet Biddy Daly,” “To the Ladies.” Irish, Double Jig. A Major. Standard tuning. AABB. Allan's Irish Fiddler, No. 29, pg. 7. Green Linnett 1052, Kevin Burke - “Up Close” (1984. Appears as “Health to the Ladies”).

                       

HEAR GUNNER WATTS. English, Jig (3/8 time). C Major ('A' part) & G Major ('B' part). Standard tuning. AABB. There's a lost story behind this one!  Huntington (William Litten’s), 1977; pg. 33.

                       

HEAR ME YOU THAT’S LOOKING FOR A WIFE. Irish, Air (4/4 time). D Major/Mixolydian. Standard tuning. AB. Stanford/Petrie (Complete Collection), 1905; No. 386, pg. 88.

X:1

T:Hear me you that’s looking for a wife

M:C

L:1/8

R:Air

N:”Moderato”

S:Stanford/Petrie (1905), No. 386

Z:AK/Fiddler’s Companion

K:D

F2 | A2 AB =c2 BA | dBAF A2 BA | {A}B2d2d2 fe | d2 dc BAFB | AFED E3F |

E2D2D2 || (3DEF | GFGA BAFB | AFED D3E | F2 AB =c2 B^c | d2 dc B2 AF |

AFED ~E3F | E2 D2 D2 ||

                       

HEART AND HAND (Croide 's Lam). Irish, March (6/8 time). G Major. Standard. AABBCC. Source for notated version: Cronin [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1834, pg. 344.

X:1

T:Heart and Hand

M:6/8

L:1/8

R:March

S:O’Neill – Music of Ireland (1903), No. 1834

Z:AK/Fiddler’s Companion

K:G

D|GAB Bcd|d2c ABc|dBG dBG|AFD DEF|GAB Bcd|d2c ABc|dBG cAF|G2B G2:|

|:B|ABA A2d|c2e dcd|e2c ABA|FBA GFG|A2d c2e|dfe dcB|BAF AGE|E3 D2:|

|:G/F/|E2E GBd|g3 gfe|dcB AGF|B2E E2 G/F/|E2E GBd|g3 gfe|dcB AGF|E3 D2:|

                       

HEART BOWED DOWN, THE (An Croide Dub-Bronac). Irish, Slow Air (4/4 time). G Major. Standard. AB. A compostion by Balfe. O’Neill was criticized in some traditional circles for his inclusion of several of Balfe’s melodies in his Music of Ireland on the grounds that “Balfe’s music...was not Irish, even if he was” (O’Neill, 1913). O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 499, pg. 87.

X:1

T:Heart Bowed Down, The

M:C

L:1/8

R:Air

N:”Slow”

S:O’Neill – Music of Ireland (1903), No. 499

Z:AK/Fiddler’s Companion

K:G

D2|B2 B2B2 B2|(3BAD A4 d2|d2 B2 d>c (3AEF|G4 z2 D2|B2B2B2B2|(3BAD A4 d2|

d2 B2 ^c2 {d/c/}BA|A2 ^A2 B2 ^cd|dF BA (3^ABC F>E|D4 z2||A2A2A2A2|

(3AGB, D4 G2|F2F2 G2 cB|A6 D2|B2B2B2B2|(3BAD A4 d2|d2B2d2 ca|_B6 G2|

=B3 B c3 A|^d4 e2 GA|B3 A c3B|G4 z2||

                       

HEART OF ME KITTY, THE. Irish, Jig. Ireland, County Donegal. A Dorian. Standard tuning. AA’BB’. Source Simon Doherty’s tune was ‘crooked’ in the ‘B’ part, with a measure of 9/8 included. Source for notated version: Simon Doherty (County Donegal) [Feldman & O’Doherty]. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 99.

                       

HEART OF MUNSTER, THE (Croidhe Mhumhan). Irish, Air (3/4 time). E Minor. Standard tuning. ABB. Source for notated version: P. Carey, piper of Co. Cork (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 741, pg. 367.

X:1

T:Heart of Munster, The

T:Croidhe Mhumhan

M:3/4

L:1/8

R:Air

S:P.W. Joyce – Old Irish Folk Music and Songs, No. 741  (1909)

Z:AK/Fiddler’s Companion

K:E Minor

GA|B2 AGFG|E4 ef|edcBAG|A2 D2 EF|G2 FEFG|

A2 D2 EF|G2 AGFG|E4||Bd|e2 edBd|e2e2 AB|

dedBAB|d2d2 GA|B2 cBAG|A2 BAGF|G2 AGFG|E4||

                       

HEART OF MY KITTY, THE. See “Heart of my Kitty still Warms to Me.”

 

HEART OF MY KITTY [2].  Irish, Jig. Feldman & O’Doherty (The Northern Fiddler), 1979; 99.

                       

HEART OF MY KITTY FOR ME. See “Heart of my Kitty still Warms to Me.”

                       

HEART OF MY KITTY SOON TURNS TO ME, THE. Irish, Jig. E Minor. Standard tuning. AABB. Stanford/Petrie (Complete Collection), 1905; No. 515, pg. 130.

X:1

T:Heart of My Kitty Soon Turns to Me, The

M:6/8

L:1/8

S:Stanford/Petrie (1905), No. 515

Z:AK/Fiddler’s Companion

K:E Minor

G/F/ | EE>F {A}GFE | ee>f {a}g>fe | d<gd {d/e/}dBG | GDd {A/B/}AGF |

EE>F {A}G>FE | ee>f g2 g/a/ | bge {d/e/}dBA | Bee e2 :: g/a/ | {g/a/}b2d {g/a/}b2d |

bc’b {d’/}bag | {f/g/}a2d {f/g/}a2d | aba {b/}a>gf | g2g a2g | bag fga |

g2e {d/e/}dBA | Bee e2 :|

                       


HEART OF MY KITTY STILL WARMS TO ME. AKA and see “The Heart of my Kitty,” “The Heart of my Kitty for Me,” "Katie's Rambles," "The Rambles of Kitty," "Kitty's Rambles to Youghal," "Linehan's Rambles," "Young Ettie Lee," "Murray's Maggot," "Strop the Razor [1]," "The Ladies Triumph [3]," "I'm a Man in Myself Like Oliver's Bull," "An Chailleach is a Ceag ar a Gualainn." The title comes from County Monaghan, collected and printed by Joyce in Old Irish Folk Music and Songs (1909). “The Heart of My Kitty for Me,” similarly titled, appears as a song in O’Neill’s Waifs and Strays of Gaelic Melody (65), from the Hudson Manuscripts (1840-41).

                       

HEART(S) OF OAK (ARE OUR SHIPS). English, Air and Morris Dance Tune (4/4 time). A Major. Standard. AB. The tune is by Dr. William Boyce (1711-1779) with rousing lyrics by David Garrick, inspired by England's naval victories of 1759 (the Year of  Victories) at Lagos, Quiberon Bay and Quebec which restored the Royal Navy’s glory and confirmed the security of the Empire in the “hearts of oak” and “jolly tars.”  It was first sung, according to Chappell (1859), in Harlequin's Invasion in 1759. Boyce was a London songwriter who rose to become the organist at the Chapel Royal and in charge of the King’s Band of Musick, a position much earlier held by the great English composer Purcell. The melody appears in the Gillespie Manuscript of Perth, 1768. Other songs written to the tune are "Keppel's Triumph" and "The Hardy Tars of Old England; or, The True Hearts of Oak."

***

Come, cheer, up, my lads, ‘tis to glory we steer,

To add something to this wonderful year;

To honour we call you, as freemen, not slaves,

For who are so free as the sons of the waves?

Heart of oak are our ships, Jolly tars are our men;

We always are ready.

Steady, boys, steady,

We’ll fight and we’ll conquer again and again.

***

The song was reset in 1768 by John Dickinson (founder of Dickinson College) prior to the American War for Independence and given patriotic words. His “The Liberty Song” was sung at political meetings, dinners and celebrations in the years leading up to the Revolution. The melody appears in the late 18th century manuscript copybook of Henry Livingston, Jr.  Henry Livingston purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 Livingston was a Major in the 3rd New York Regiment, which invaded Canada in Montgomery’s 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 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.

***

Come, join hand in hand, brave Americans all,

And rouse your bold hearts at fair Liberty’s call;

No tyrannous acts shall suppress your just claim,

Or St