[COMMENT1]  The Fiddler’s Companion

© 1996-2009 Andrew Kuntz

_______________________________

HOME       ALPHABETICAL FILES        REFERENCES

[COMMENT2] [COMMENT3] 

HEA - HEJ

[COMMENT4] 

[COMMENT5] 

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. “Headlight Reel” perhaps refers to the introduction of railroad engine headlights using the Fresnel lens, invented in 1823, developed originally for use in lighthouses. 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 Stain with dishonour America’s name.

In freedom we’re born, and in freedom we’ll live!

Our purses are read— steady, friends, steady;

Not as slaves, but as free men, our money we’ll give.

***

Aird (Selections), vol. 4, 1796; pg. 35. Chappell (Popular Music of the Olden Times), vol. 2, 1859; pgs. 1879-190. Mattson & Walz (Old Fort Snelling... Fife), 1974; pg. 71.

X:1

T:Heart of Oak

L:1/8

M:C

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

Z:AK/Fiddler’s Companion

K:A

E2|A2 A>A A2 c>B|A2 G>F E3E|F2 F>G A2 B>c|d2 c>B c2 c>B|A2 C>D E2 c>B|

A2 C>D E2A2|c2 B>A e2 G>A|B2 B>B E2||B>B|B2 G>A B2 c>c|c2 A>B c3c|

A2 Gc AF z2|A<A E2 CA, zE|F>G A>B

X:2

T:Liberty

M:3/4

L:1/8

R:Air

N:Song by John Dickinson, set to the melody of “Hearts of Oak.”

S:Henry Livingston’s manuscript copybook (late 18th century)

Z:AK/Fiddler’s Companion

K:D

d2A2G<F | E<FA2d2 | e>f d2 (c2{Bc}| d6) | d2A2 d>e | f2e2d2 |

e>dc>de>f | e6 :: ecAceg | g2f2e2 | (3def (3edc (3dcB | {B}A4G2 |

FA d2d2 | GB e2e2 | (3def B2 “tr”c2 {c/c/} | d6 :|

                       

HEARTLAND WALTZ. American, Waltz. D Major. Standard tuning. AABB. Composed by Paul Elliot. Source for notated version: Paul Elliot [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 266.

                       

HEART'S EASE [1]. English, Air and Country Dance Tune (6/4 or 6/8 time). G Dorian. Standard tuning. AAB (Chappell, Raven): ABB (Sharp): AABB (Barnes). This 16th century air was published by Playford in his The English Dancing Master (1650). Shakespeare mentions it in Romeo and Juliet (act iv., sc. 5):

***

Peter.‑‑Musicians, O musicians, "Heart's‑ease, heart's‑ease':

O an you will have me live, play 'Heart's‑ease.'

1st Mus.‑‑Why 'Heart's‑ease'?

Peter.‑‑O musicians, because my heart itself plays 'My heart

is full of woe': O play me some merry dump, to comfort me.

***

See also note for “dump.” Barnes (English Country Dance Tunes), 1986. Chappell (Popular Music of the Olden Time), vol. 1, 1859; pgs. 98‑99. Raven (English Country Dance Tunes), 1984; pg. 42. Sharp (Country Dance Tunes), 1994; pg. 42.

X:1

T:Heart's Ease [1]

M:6/4

L:1/8

Z:AK/Fiddler's Companion

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

K:G Dorian

G2|G3A B2 A4G2|^F4G2 A4D2|G4A2 B4c2|(d6 d4):|

d2|A2B2c2 c3d c2|f4 c2 c4A2|B4A2 B4c2|(d6 d4)d2|

c4 B2 A3B c2|B4A2 d2A2B2|A4 G2 ^F3=E F2|(G6 G6)||

 

HEARTS EASE [2]. English, Air and Country Dance Tune (4/4 time). G Mixolydian. Standard tuning. AB. This version of the air, the older of the two, appears in a University of Cambridge Library MSS. of lute tablature. Chappell (Popular Music of the Olden Times), vol. 1, 1859; pgs. 97‑98.

X:1

T:Heart's Ease [2]

M:C

L:1/8

Z:AK/Fiddler's Companion

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

K:G

G4A4|B4 B2G2|A2B2c2B2|A8|A4B4|c4 c2B2|A2G2G2F2|G8|c4B4|

A4 B2d2|c2B2A2A2|G8||A4A4|F3G A2B2|c4B4|A8|E3=FG2A2|G4 E2=F2|

G2c2A2B2|c8|^F3G A2B2|A4 F2G2|A2d2B2^c2|d4 B4|A2G2E2F2|G8||

                       

HEARTY BOYS OF BALLYMOATE/BALLYMOTE. AKA and see “Adew Dundee,” “Adieu Dundee,” “Bonnie Dundee [1]," “Laccaroo/Laccarue Boys,” “Laccarue Boys,” “Mary of Castlecary,” “Saw Ye My Wee Thing,” “Skylark [3]." Irish, Jig. E Dorian. Standard tuning. AABB. The tune appears in Scottish collections under many of the alternate titles above. An early recording was made by the Flanagan Brothers. Source for notated version: learned from a recording by the Irish group De Dannan by fiddler Jerry Holland (Inverness, Cape Breton) [Cranford]. Cranford (Jerry Holland’s), 1995; No. 249, pg. 72. Miller (Fiddler’s Throne), 2004; No. 56, pg. 44. Fiddlesticks cass., Jerry Holland - “Lively Steps” (1987). Green Linnett, Jerry Holland - “The Fiddlesticks Collection” (1995). Sugar Hill SU1130, De Danann - “Song for Ireland.”

X:1

T:Hearty Boys of Ballymote
R:Jig
M:6/8

L:1/8
K:Edor
GEE EDE|~F3 DFA|GEE EDE|FED E2A|
GEE EDE|~F3 DFA|d2B edB|1 AFD E2A:|2 AFD E2d||
Bdd dcB|AFD DFA|B2e ede|fed B2c|
ded dcB|AFD DFA|B2e dBG|1 AFD E2d:|2 AFD E3||

                       

HEARTY BUCKS, THE. AKA and see "The Bucks of Oranmore," "The Bucks of Carranmore," "The Bucks of Cranmore."

                       


HEATH AND FURZE (Fraoch A's Aitenn). AKA and see “Jenny Picking Cockles,” “Maggie Picking Cockles,” "Take Her Out and Air Her [2]." Irish, Reel. D Dorian. Standard tuning. AB. Learned by P.W. Joyce as a boy in Limerick, c. 1840’s. Joyce (Old Irish Folk Music and Song), 1909; No. 120, pg. 61.

X:1

T:Heath and Furze

M:C

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:D Dorian

Addc ABAG|FGAB c4|Addc ABA^F|GEcE ED D2|Addc ABAG|

FGAB c2 de|fdec dc A^F|GEcE ED D2||f4 e3d|cAAB cAAA|f4 e3d|

eaag edde|fagf egfe|dcAB cdeg|fdec dcA^F|GEcE ED D2||

                       

HEATHER BELL(S) [1]. Scottish, Strathspey. A Minor. Standard tuning. AABB'. Kerr (Merry Melodies), vol. 3; No. 139, pg. 17. Green Linnet SIF 1059, "Relativity" (1985).

X:1

T:Heather Bell [1]

M:C

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 3, No. 139  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A Minor

(E<A) A>G E>G A2 | (E<A) A>B c>d e2 | (E<A) A>G E>G A2 | (A>d) d>c A2A2 :|

|: e>dc>d e<(d d2) | e>dc>d e>f g2 |1 e>dc>d e<(d d2) | (e<a) a>g e2d2 :|2

(e<a) a>g e<(g g2) | (e<a) a>g e2d2 ||

 

HEATHER BELLS [2]. Scottish, Strathspey. D Major. Standard. AABB. Kerr (Merry Melodies), vol. 4; No. 84, pg. 11.

X:1

T:Heather Bells [2]

M:C

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 4, No. 84  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

A,2|D<D F>E D2 F>G|A>FB>F A>F A<d|D<D F>E D2 F>G|A>BA>F E2:|

|:A2|d<d f>e d>cB>A|B<B d>B A>GF>E|D<D F>A d>cd>e|f<a e>f (d2d):|

                       

HEATHER BELL HORNPIPE, THE. English, Reel. England, Northumberland. G Major. Standard tuning. AAB. Composed by teacher, musician, composer, dancing master and fiddler Robert Whinham (1814-1893), originally from Morpeth. Source for notated version: the C. “Kit” Liddell manuscript, from the late 19th century [Dixon]. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 60.

                       

HEATHER BLOOM, THE. AKA and see "Coppers and/of Brass [1]," "Crossing the Field," "The Dublin Lasses [1]," "The Green Fields of Erin [2]," "The Heather Breeze [1],” "The Heathery Breeze," "The Heathery Braes of Ballyhealy," "The Humours of Appletown," McNamara's Reel," "Ladies/Ladys Pantaloo(n)s," "Limerick Lasses [1]."

                       

HEATHER BREEZE [1], THE ("Leoithne an Fhraoigh" or "Feoitne Fraoc"). AKA and see “The Blind Fiddlers,” "Coppers and/of Brass [1]," “Crossing the Field,” "The Dublin Lasses [1]," "The Green Fields of Erin [2]," "Heather Bloom," "The Heathery Breeze," "The Heathery Braes of Ballyhealy," "The Humours of Appletown," "Ladies/Ladys Pantaloo(n)s," "Limerick Lasses [1],” "McNamara's Reel.” Irish, Scottish; Reel. G Major (most versions): G Major/Mixolydian (Kerr). Standard tuning. AB (Allan's, Flaherty, Feldman & O’Doherty, Harker/Rafferty, O’Malley, Tubridy): AABB (Russell): ABC (Breathnach, O'Neill): AA’BCC’DD’ (Kerr). Apparently the title is a corruption of "Heathery Braes," which makes sense as the Gaelic word brae refers to the slopes of a hillside. Doolin, north County Clare, tin whistle player Micho Russell (1989) thought a ‘heathery breeze’ was some kind of fairy wind, an isolated but strong gust which “roots up the grasses out of the ground,” and offered the folklore vegetables grew better in the soil where heather grows and that it is also a good place to find a shamrock.  P.W. Joyce collected the tune (which appears identified only as "an old reel" in his Old Irish Folk Music and Songs) in Kilkenny in the mid-19th century. In County Monaghan Breathnach found the melody as “Coppers of Brass,” “The Heather Bloom” and “The Heathery Braes.” “Coppers and Brass” was a Tipperary and Kerry title and “The Heathery Braes of Ballyhealy” was collected in Leitrim. Breathnach (1976) finds O’Neill’s "Crossing the Fields," in Waifs and Strays of Gaelic Melody, a related tune. The tune was popular in the early 20th century and was recorded several times in the 78 RPM era by, for example, “The Blind Fiddlers” in March, 1928, by the Hyde Brothers. Sources for notated versions: fiddler Tommy Peoples, 1968 (Co. Donegal & Dublin, Ireland) [Breathnach]; fiddler Kathleen Morris (Corlisheen, Ballyrush, Co. Sligo) [Flaherty]; Donegal fiddler John Doherty (1895-1980) [Feldman & O’Doherty, Jordan]; New York fiddler John McGrath (1900-1955), originally from County Mayo [O’Malley]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Allan's Irish Fiddler, No. 61, pg. 15. Breathnach (CRÉ II), 1976; No. 149, pg. 79. Feldman & O’Doherty (Northern Fiddler), 1979; pg. 76b (appears as “Untitled Reel”). Flaherty (Trip to Sligo), 1990; pg. 60. Giblin (Collection of Traditional Irish Dance Music), 1928; 19. Harker (300 Tunes from Mike Rafferty), 2005; No. 148, pg. 45. Jordan (Whistle and Sing!), vol. 2. Lyth (Bowing Styles in Irish Fiddle Playing, vol. 1), 1981; 61. Kerr (Merry Melodies), vol. 4; No. 122, pg. 15. O’Malley Collection, 1976; No. 38, pg. 19. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 285, pg. 144. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 779, pg. 135. Russell (The Piper’s Chair), 1989; pg. 15. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 20. Flying Fish 266, Malcolm Dalglish & Grey Larsen ‑ "Thunderhead" (1982). Folkways FW 6818, Leo Rowsome (1966. A re-release of the HMV IM 283 78 RPM recording of 1937). Green Linnet GLCD 1184, Patrick Street – “Made in Cork” (1997). Shanachie 79064, Matt Molloy – “Heathery Breeze” (1999).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Heather Breeze [1]

R:Reel

M:C

L:1/8

K:G

D>GBG dGBG|DFAF cFAF|DGBG dGBG|ABcA BG G2:|

g2 (3agf gbag|fede fgaf|g2 (3agf gbag|fdcA G2 Bd|

g2 (3agf gbag|fede fgac'|(3bag (3agf gbag|fdcA BG G2||

 

HEATHER BREEZE [2], THE. Irish, Reel. E Dorian. Standard tuning. AAB. Roche Collection, 1983, vol. 1; No. 143, pg. 57.

                       

HEATHER GLEN, THE (Gleann an Fraoic). Irish, Hornpipe. D Major. Standard tuning. AABB. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 819, pg. 142.

X:1

T:Heather Glen, The

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 819

Z:AK/Fiddler’s Companion

K:D

AG|FEFG A2 GA |BABc dcde|fdec dBAF|B2 E2E2 AG|

FEFG A2 GA|BABc dcde|fdec dBAG|F2 D2D2:|

|:g2|fefg afdf|ec A2A2dc|BABc dfed|c2 A2 ABAG|

FGAB A2 GA|BABc dcde|fdec dBAG|F2D2D2:|

                       

HEATHER HILL. AKA - “Heather on the Hill.” Canadian, Reel. Canada; Cape Breton, Prince Edward Island. G Major. Standard tuning. ABB (Shears): AABB (Cranford, Perlman). A popular tune composed (as “Heather Hill”) in the 1940's by the prolific Cape Breton composer and fiddler Dan R. MacDonald (1911-1976); it is one of his best. Most Cape Breton and Prince Edward Island fiddlers use the title “Heather on the Hill” to refer to the tune. Dan R’s nephew, guitarist John Allan Cameron, related that his uncle wrote the tune while working as a lumberjack in Scotland, working to clear land and construct bridges. A tune could come upon the prolific MacDonald at any time. One day he was sawing a tree down and started ‘jigging’ this tune in his head, and by the time the tree was felled he completed the melody. He took out a pencil out and, not having paper to hand, wrote a sketch of it on the stem of the tree so he wouldn’t forget it. The next day he returned with his saw and axe, and this time his fiddle, and played through the as-yet untitled piece. Looking around he noticed a large field of heather nearby and dubbed the tune “Heather Hill.” Cape Breton fiddler Winston Fitzgerald recorded the reel on a 78 RPM disc.

***

Dan R. MacDonald

***

Sources for notated versions: Peter Chaisson, Jr. (B. 1929, Bear River, North-East Kings County, Prince Edward Island) [Perlman]; Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]; musician Charlie Brown (Truro, Nova Scotia) [Shears]. Cranford (Winston Fitzgerald), 1997; No. 168, pg. 66. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 49. Shears (Gathering of the Clans Collection, vol. 1), 1986; pg. 53 (pipe setting). CAT-WMR004, Wendy MacIssac - “The ‘Reel’ Thing” (1994). GRT Records SP 203, “Ward Allen Presents Maple Leaf Hoedown, vol. 1” (reissue). GRT Records 9230-1031, “The Best of Ward Allen” (1973). Rounder 82161-7032-2, Bill Lamey – “From Cape Breton to Boston and Back: Classic House Sessions of Traditional Cape Breton Music 1956-1977” (2000). Jerry Holland – “Crystal Clear” (2000).

                       

HEATHER HILLS. Scottish, Jig. D Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 4; No. 248, pg. 27.

X:1

T:Heather Hills

M:6/8

L:1/8

R:Jig

S:Kerr – Merry Melodies, vol. 4, No. 248  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

A|FGA A2f|edc B2d|ABc def|agf e2A|FGA A2f|

edc B2d|ABc def|edd d2::f|a2b agf|g2a gfe|fed agf|

fee e2A|FGA A2f|edc B2d|ABc def|edd d2:|

                       

HEATHER ISLAND. AKA – “Tom an t-Searreach” (Knoll of the Foal), “The White Swan [2].” Scottish, Air (3/4 time). Scotland, Hebrides. A Minor. Standard tuning. AB. This Gaelic air appears in John McFadyen's Bagpipe Music. Miller (Fiddler’s Throne), 2004; No. 369, pg. 218. Alcazar Dance Series FR 204, "New England Chestnuts 2" (1981). Plant Life Records PLR017, "The Tannahill Weavers" (1979).

                       

HEATHER JOCK. Scottish, Strathspey. A Major. Standard tuning. AB. Kerr (Merry Melodies), vol. IV, No 23, pg. 5.

X:1

T:Heather Jock

M:C

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 4, No. 23  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

(e<c)a2 (e<c)a2|e>ca>e f>ec>A|(d<B)b2 (d<B)b2|d>fb>a (3gfe (3dcB|(e<c)a2 (e<c)a2|

e>ca>e f>ec>A|d>ef>a a>ec>A|f/e/d/c/ d/c/B/A/ G<B Bd||(c<A) E>A C>EA>B|c>Ae>c a>ec>A|

(d<B) F>B D>FB>c|d>B b>a (3gfe (3dcB|(c<A) E>A C>EA>B|c>Ae>c a>ec>A|d>ef>g a>ec>A|f/e/d/c/ d/c/B/A/ G<B Bd||

                       

HEATHER McCARTHY. American, Reel. E Major. Standard. Composed by fiddler Will Welling. Great Meadow Music GMM 2003, “Rodney Miller’s Airdance” (2000).

                       

HEATHER ON THE HILL [1]. AKA and see “Banks of Inverness,” “Croppies’ March,” “Croppy’s Retreat,” “Freedom for Ireland,” “Ireland Forever,” “Lark’s Nest.”  See also tune as part of “Seige of Ennis” and “Walls of Limerick.”

 

HEATHER ON THE HILL [2]. AKA and see “Heather Hill.”

                       

HEATHERY BRAES OF BALLYHEALY, THE. AKA and see "Heather Breeze [1],” "The Heather Bloom."

                       

HEATHERY BREEZE, THE. See "Heather Breeze [1].”

                       

HEATHERY CRUACH (An Cruach fraoch). AKA and see "John Mhosey McGinley's Reel." Irish, Reel. Ireland, Glencolumbkille and Kilcar area, southwest Donegal. D Major. Standard tuning. Cruach is the Gaelic word for mountain peak. The tune may be sourced to John Mhosey McGinley, a County Donegal fiddle master who died in the early 20th century [James Kelly, 1996]. Source for notated version: John Doherty (1895-1980, Co. Donegal) [Feldman]. Feldman & O’Doherty (The Northern Fiddler), 1979. Capelhouse Records, James Kelly – “Traditional Irish Music” (1996. Learned from fiddlers Francie and Mickie O’Beirne, Kilcar, County Donegal). Green Linnett GLCD 1137, Altan - "Island Angel" (1993. Learned from a 1977 recording of the late fiddler John Doherty, obtained from Caoimhin Mac Aoidh).

X:1

T:Heathery Cruach

M:4/4

L:1/8

R:Reel

Z:Bill Reeder

K:D Major

(3ABc|d2 AG FDDE|FDAF E2 (3ABc|d2 AG FDAD|

FGAF D2 (3gfe|d2 AG FDDE|FDAF E2 FG|

ABAG FDDE|1 FGAF D2 :|2 FGAF D2 ed||

cA (3AAA cAGE|cBcd efed|cA (3AAA cAGE|FGAF D2 ed|

cA (3AAA cAGE |cBcd e2 de|fded cAAG|FGAF D2 ed :||

                       

HEATHY LITTLE HILL.  See “Little Heathy Hill [2].”

 

HEATON’S CHAPEL.  Irish, Reel. E Dorian. Standard tuning. AA’BB’. Composed by flute player Kevin Crawford.

X:1

T:Heaton's Chapel

M:C|

L:1/8

Q:170

C:Kevin Crawford

R:Reel

D:Lunasa "Otherworld"

Z:Aaron Clegg

K:EDor

E2B2 BAFB | BABc dedA | D2A2 AGFA | BdAB FED/2E/2F |

E2B2 BAFB | BABc dedB | ABdB fedf |1 edBA G2FD :|2 edBA Beee |:

g2e2 edBA | Beee edBe | dBAF AFDE | F/2E/2DFA dAB/2c/2d |

g3   e edBA |1 Beee edBe | dFFF DEFA | dBAF BEEE :|

2 Beee edBG| BABc dfed | dBAF G2FD||

                       

HEAVE AND GO. Shetland, Listening Tune (2/4 time). G Major. Standard tuning. AAB (Anderson & Georgeson, Bain): AABB (Boys/Lough). A traditional Shetland tune, which Robin Morton (1976) believes has a "very Scandinavian feel," as do several Shetland tunes due to the cultural mix of the islands. Source for notated version: Arthur Peterson (Shetland) [Anderson & Georgeson]. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 18. Bain (50 Fiddle Solos), 19898; pg. 28. Boys of the Lough, 1977; pg. 21. Philo 1042, Boys of the Lough ‑ "The Piper's Broken Finger" (1976). Transatlantic TRA 311, Boys of the Lough, "The Piper's Broken Finger."

 

HEAVENS TO BETSY. American, Jig. D Major. Standard tuning. AA’BB’. Composed by Todd Silverstein (Salem, Oregon) [Songer]. Songer (Portland Collection), 1997; pg. 93.

 

HEAVING OF THE LEAD.  English, Air (cut time). G Major. Standard tuning. AABB. A seasong by English composer William Whield (1748-1828), a genre for which he was famous. It was composed in 1793. The title refers to the old nautical procedure for depth sounding; a lead weight was attached to a line and paid overboard in measured lengths.

***

For England when with a fav’ring gale,

Our gallant ship up Channel steer’d.

***

The melody was published on a song sheet in Philadelphia by Carr & Co. in 1793, who wasted no time in circulating the popular English song in America. 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; No. 166, pg. 89.

 

HEAVY BOOLTHAUN, THE (An Buailteán Mór). AKA and see "The Heavy Flail." Irish, Air (6/8 time). G Major. Standard tuning. AB. A 'boolthaun' is the striking part of a flail. Source for notated version: Mr. Francis Hogan of South Lodge, Brenormore, near Carrick‑on‑suir, sent to Joyce in 1884; "...a good musician and a great enthusiast in irish music and song. He must have been then well over seventy years of age." (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 254, pgs. 122‑123.

X:1

T:Heavy Boolthaun, The

T:An Buailteán Mór

M:6/8

L:1/8

R:Air

N:”With life: time well marked”

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

Z:AK/Fiddler’s Companion

K:G

B/c/|d>Bd cBA|GFG B>AG|FDB, CB,C|D<GA B2 B/c/|d>Bd cBA|

GFG B>AG|FDB, CB,C|D<GG G2||D|GBc d>ed|dec d2c|B>AB cAG|

FDD D2B/c/|d>Bd cBA|GFG B>AG|FDB, CB,C|DGG G2||

 

HECH HOW JOHNNIE LAD. AKA and see “Hoch Hey Johnny Lad,” "Lasses/Lassies of the Ferry."

 

HECTOR MACDONALD.  Scottish, Pipe March (4/4 time). A Mixolydian. Standard tuning. AABB. Composed by Scots fiddler-composer J. Scott Skinner, one of several melodies he wrote in honor of General Sir Hector MacDonald (1857-1903).  Skinner (Harp and Claymore), 1904; pg. 40 (includes variation sets).

X:1

T:Hector MacDonald

M:C

L:1/8

R:Pipe March

C:J. Scott Skinner

S:Skinner – Harp and Claymore  (1904)

Z:AK/Fiddler’s Companion

K:A Mix

(ce) A/>A/A (Be) (cA) | (df) (ea) {f}(ec) ({c}B2) | (ce) A({G}A) (Be) ({e}c)A | (df) (ea) (ec) ({B}A) z :|

|: ({A}a>)g ({g}f)e (eA)(ce) | (df) (ea) (ec) ({c}B2) | ({A}a>)g fe (aA)(ce) | (df) (ea) (eB) Ae :|

 

HECTOR MACDONALD'S LAMENT. Scottish. One of the tunes played by J. Scott Skinner in his 1921 concert tour set romantically entitled "Spey's Fury's."

 

HECTOR MACDONALD’S REEL. Canadian, Reel. Canada, Prince Edward Island. A Mixolydian. Standard tuning. AABB. Perlman (1996) suspects the tune was converted from a march on eastern Prince Edward Island. It was named after the source’s father, a famous PEI fiddler. Source for notated version: Allan MacDonald (b. c. 1950, Bangor, North-East Kings County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 83.

 


HECTOR [MACDONALD] THE HERO. Scottish, Lament ("with intense sadness," 6/8 time). A Major. Standard tuning. AAB (Hunter, S. Johnson, Skinner/Harp): AA’BB (Perlman): ABC (Martin, Skinner). Composed by the great Scots fiddler and composer J. Scott Skinner (1843-1927) in honor of the famous Major-General Sir Hector MacDonald (1857 - 1903), one of the most famous Victorian-era British military figures.  MacDonald was born in the Black Ilse and at the age of thirteen enlisted in the 92 Gordon Highlanders. He came up through the ranks, serving as a color-sergeant in the Afghan War, until he was promoted to the rank of 2nd Lieutenant at the end of those hostilities.  Transferred to South Africa, he was mentioned in dispatches in the 1st Boer War, and in 1885 he led a military expedition up the Nile to Sudanese territory. In 1888 he took part in the Battle of Sunkin and a year later won the Distinguished Service Order for his service in Sudan.  He remained in the Sudan for the next decade, seeing action in the Battle of Tokar (1891), and leading the 2nd Infantry Brigade in the Dunglen Expeditionary Force, by which time he was promoted to the rank of Brigadier-General. During the next two years he took part in the battles of Khartoum and Omdurman, with which he ended his Sudan service.  He subsequently served as the Aide de Camp to Queen Victoria and as a Major General with the Highland Bridgade in South Africa during the Boer War.  In 1901 he was knighted and the next year was stationed as Major General with British forces in Ceylon, however, in 1903 he was accused of being a homosexual and, feeling disgraced, he committed suicide.

***

Though the charge of homosexuality was probably true it was popularly believed by all levels of society in Scotland at the time that MacDonald had been framed. Soon after the incident Edward VII made his first visit to Scotland, though the atmosphere was decidedly chilly.

***

This ballad was composed in the soldier’s honor:

***

HECTOR THE HERO

***

Lament him, ye mountains of Ross-shire;

Your tears be the dew and the rain;

Ye forests and straths, let the sobbing winds

Unburden your grief and pain.

Lament him, ye warm-hearted clansmen,

And mourn for a kinsman so true

The pride of the Highlands, the valiant MacDonald

Will never come back to you.

***

O, wail for the mighty in battle,

Loud lift ye the Coronach strain;

For Hector, the Hero, of deathless fame,

Will never come back again.

***

Lament him, ye sons of old Scotia,

Ye kinsmen on many a shore;

A patriot-warrior, fearless of foe,

Has fallen to rise no more.

O cherish his triumph and glory

On Omdurman's death-stricken plain,

His glance like the eagle's, his heart like the lion's

His laurels a nation's gain.

***

O, wail for the mighty in battle,

Loud lift ye the Coronach strain;

For Hector, the Hero, of deathless fame,

Will never come back again.

***

O rest thee, brave heart, in thy slumber,

Forgotten shall ne'er be thy name;

The love and the mercy of Heaven be thine;

Our love thou must ever claim.

To us thou art Hector the Hero,

The chivalrous, dauntless, and true;

The hills and the glens, and the hearts of a nation,

Re-echo the wail for you.

***

O, wail for the mighty in battle,

Loud lift ye the Coronach strain;

For Hector, the Hero, of deathless fame,

Will never come back again.

***

Perlman (1996) notes that the melody is currently played on Prince Edward Island as a lament at funeral services. Source for notated version: Sterling Baker (b. mid-1940's, Morell, North-East Kings County, Prince Edward Island; now resident of Montague) [Perlman]. Cranford (Jerry Holland: The Second Collection), 2000; No. 320, pg. 115. Hunter (Fiddle Music of Scotland), 1988; No. 29. S. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 14. Martin (Ceol na Fidhle), vol. 2, 1988; pg. 24. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 208. Skinner (The Scottish Violinist), pg. 49. Skinner (Harp and Claymore), 1904; pg. 152. The Bothy Band (1st album). Dougie MacDonald – “A Minor.” Green Linnet GLCD 1189, John Cunningham – “Celtic Fiddle Festival: Encore.” Greentrax CDTRAX 096, “Tony McManus” (1995). Lismore LCOM5233, Fred Morrison – “Broken Chanter”.

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:Hector the Hero

C:James Scott Skinner

Z:Juergen.Gier@post.rwth‑aachen.de

M:3/4

L:1/4

K:A

A,|{B,}C>>B,A,|{E}F>>EC|{D}E3|~E2A,|{A,B,}C>>B,A,|{E}F>>EC|\

{A,}B,3|~B,2A,/<B,/|{B,}C>>B,A,|{E}F>>EC|{D}E2A,|{A,}[A,2A2]{AB}A/F/|\

E<<A,{B,}C|{D}B,2=G,/<A,/|A,3|~A,2||A|{AB}c>>BA|{A}f>>ec|e3|e2A|\

{AB}c>>BA|{A}f>>ec|{A}B3|~B2A/<B/|c>>BA|{A}f>>ec|{c}e2A|\

{ABcdefg}a2{ab}af|e<<A{B}c|{Bd}[E2B2]{Bd}[E/B/][E/A/]|[E3A3]|\

[E2A2]c/<[c/e/]||[d2f2][~df]|[c2a2]g/<f/|[A3e3]|[A2e2]c/<[c/e/]|\

[d2f2]{fg}e/<c/|e<<AB/<c/|[E3B3]|[E2B2]c/<[c/e/]|[d2f2]f/{gfef}>g/|\

[c2a2]a/{bag}>f/|e<<AB|c<<a{ab}a/f/|e<<AB/<c/|\

{Bd}[E2B2]{Bd}[E/B/][D/A/]|[E3A3]|[E2A2]|]

 

HECTOR'S HOME. See "Tigh Eachinn."

 

HECTOR'S HOUSE. See "Tigh Eachinn."

 

HEDGE SCHOOL MASTER, THE. Irish, Reel. From the playing of north Kerry fiddler Paddy O’Sullivan.

X:1

T:The Hedge School Master

S:Paddy O'Sullivan (fiddle), N. Kerry

R:reel

M:4/4

L:1/8

Z:Transcribed by Paul de Grae

K:D

A|~BAFD E2 FE|B,DA,D B,A, ~A,2|A,B,G,B, A,B,DB|AFDF ~E3 A|

BAFD E2 FE|B,DA,D B,A, ~A,2|A,B,G,B, A,B,DB|AFEF D3:|:F|

E2 FA ~B3 d|eB B2 dBAF|(3GFE FA ~B3 d|edBA d3 f|

eB ~B2 AF ~F2|~E3 F EB, ~B,2|A,B,G,B, A,B,DB|AFEF D3:||

 


HEDIGAN'S FANCY. Irish, Slip Jig. Arranged by fiddler Martin Fay, named after his favorite pub in his hometown of Cabra. Claddagh CC24, “The Chieftains 7” (1977). Columbia 35612, "The Chieftains 7" (1977).

 

HEEL AND TOE. AKA and see "Old Marlborough." English, Morris Dance Tune (6/8 time).

 

HEEL AND TOE POLKA [1]. AKA and see "Jenny Lind (Polka) [1]." English, Canadian, American; Polka. D Major (Raven): G Major (Miller & Perron). Standard tuning. AABB. The Heel and Toe Polka is a dance to which several tunes and variants of tunes were employed as the vehicle. One version of this tune was in the repertory of Arizona fiddler Kenner C. Kartchner, who claimed it was "popular with Mexican people" (Shumway, 1990). The title appears in the repertoire list of Norway, Maine, fiddler Mellie Dunham, printed by Bronner (1987). The elderly Dunham was Henry Ford's champion fiddler in the late 1920's. It also appears in musicologist/folklorist Vance Randolph's list of traditional Ozark Mountain fiddle tunes, published in 1954. Anne Lederman, in her article on “Fiddling” in the Encyclopedia of Music in Canada (1992), notes the “Heel-Toe Polka” was one of the tunes and dances of the Canadian fur-trade in the 19th century. English fiddler Stephen Baldwin had a “Heel and Toe Polka” with a second part in the relative minor (G/Em). Miller & Perron (101 Polkas), 1978; No. 54. Raven (English Country Dance Tunes), 1984; pg. 152. Folkways FW8827, Arbuckle, Mikkelson & Clifton - "Old Time Couple Dances" (1961).

X:1

T:Heel and Toe Polka

M:2/2

L:1/8

K:D

A3B A3B|A2d2f4|e3f g2c2|d2e2f4|A3BA3B|A3d2f4|e3fg2c2|e2d2d4:|

|:d2c2B2c2|B2A2A4|a2g2B2c2|d2e2f4|d2c2B2c2|B2A2 A4|a2g2B2c2|e2d2d4:|

 

HEEL AND TOE POLKA [2]. American, Polka. USA, New England. D Major ('A' part) & A Major ('B' part). Standard tuning. AB. Miller & Perron (101 Polkas), 1978; No. 56.

 

HEEL AND TOE POLKA [3]. American, Polka. G Major ('A', 'B', and 'C' parts) & C Major ('D' part). Standard tuning. AABBCDD. Ford (Traditional Music in America), 1940; pg. 165.

X:1

T:Heel and Toe Polka [3]

M:2/4

L:1/8

R:Polka

S:Ford – Traditional Music in America (1940)

Z:AK/Fiddler’s Companion

K:G

(DB)BB | (DB)BB | G/F/G/B/ ed | dA A2 |1 (DA)AA | (DA)AA |

F/E/F/G/ BA | AG D2 :|2 c/B/c/e/ ge | eddc | BBAA | GGGz ||

K:C

G2 cE | GGGz | (G/E/)C/E/ Gc | B3z | G2 d>F | AA A2 |

F/B,/D/F/ AG | c3z | g2 e>E | GGGz | G/E/C/E/ Gc |

A3 ^G/A/ | f3 ^G/A/ | e3 e/f/ | g/a/b/c’/ d’g | c’c’/c’/ c’z ||

 

HEEL AND TOE POLKA [4]. Canadian, Polka. Canada, Prince Edward Island. G Major. Standard tuning. AABB. The ‘B’ part only is similar to other versions of the tune. Source for notated version: Sterling Baker (b. mid-1940's, Morell, North-East Kings County, Prince Edward Island; now resident of Montague) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 153.

 

HEEL AND TOE POLKA [5]. English, Polka. G Major. Standard tuning. AB. Topic TSCD607, Walter & Daisy Bulwer – “English Country Music” (2000. Originally recorded 1966).

X:1

T:Heel and Toe Polka [5]

M:2/4

L:1/8

R:Polka

D:Topic TSCD607, Walter & Daisy Bulwer – “English Country Music” (2000).

Z:AK/Fiddler’s Companion

K:G

B2 B>A | AG G2 | FG AB | dc c2 | c2 c>B | BA A2 | GF EF | AG G2 |

B2 B>A | AG G2 | FG AB | dc c2 | c2 c>B | BA A2 | GF EF | AG G>E ||

D2 G>A | B3B | dd Ac | B3B | dd A>c | BB G2 | AA E>F | GF ED |

DE/F/ G>A | B3B | dd Ac | B3B | dd Ac | BB G2 | AA EF | G4 ||

 

HEEL AND TOE REEL. Irish, (Single) Reel. G Major ('A' part) & G Major/G Mixolydian ('B' part). Standard tuning. AB. O'Neill (O’Neill’s Irish Music), 1915; No. 302, pg. 150.

X:1

T:Heel and Toe Reel

M:4/4

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:G

GABc dece | dece dg g2 | GABc dece | decA FGAF | GABc d2 dc | dedc dg g2 |

GABc dece | dggf g2 || (3def | gfga gfdf | =fefg f2 (3de^f | gfga gfde | =fdcA G2 (3de^f |

gfga gfde | =fefg f2 ga | bgaf g=fdc | (3de=f cA G2 ||

 

HEEL FLIES [1]. AKA and see "Rock/Walk Along John To Kansas." Old‑Time, Breakdown. USA, Oklahoma. G Major. Standard tuning. AAB. Sources for notated versions: Charlie Lindsay (Beckham County, Oklahoma) [Thede]; Thede (The Fiddle Book), 1967; pg. 136.

 

HEEL FLY [2]. Old-Time, Breakdown. D Major. Standard tuning. AB. The tune is in the repertoire of Texas-style fiddler Gary Lee Moore (Seattle), who probably had it from Dale Morris. Source for notated version: Carthy Sisco [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 60.

 

HEEL OF THE HUNT, THE. AKA and see "The Old Bush [2]," "The Five Leaved/Leaf Clover [2],” “The Hawthorne [1],” “The Haymaker,” “The Hunter’s Purse,” “Paddy Kelly’s (Reel) [3],” "An Sceach." Irish, Reel. D Mixolydian. Standard tuning. AAB. O’Neill (1922) remarks: “’The Heel of the Hunt’ which is a variant of ‘The Five-Leaved Clover’ in former O'Neill Collections, is printed as remembered from boyhood days at the dances, before ‘patrons’ were proscribed.” “The Hunter’s Purse” is a related tune. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 294.

X:1

T:Heel of the Hunt, The

M:4/4

L:1/8

S:Capt. F. O'Neill

Z:Paul Kinder

R:Reel

K:D Mix

cd|"tr"e2 dB "tr"e2 dB|G2 AG EG G2|AGAB cBcd|eage d2:||

cd|efgf ef g2|eaag ea a2|efgf ef g2|afge d2 cd|

efgf ef g2|eaag ea a2|AGAB cBcd|eage d2||

 


HEI TUTI TETI. AKA and see "Scots Wh'a Hae (wi' Wallace Bled)." Scottish, "Very Slow" Air or March. F Mixolydian (Gow/Carlin): B Flat Major (Gow/Repository): G Major (Johnson): D Major (O’Farrell). Standard tuning. AAB. Scotland's first popular hero was William Wallace, who fought for Scottish independence from the English, but was captured and brutally executed. Robert (the) Bruce took up the rebellion in 1305 and, in 1314, defeated Edward II in the battle of Bannockburn and finally declared Scottish independence. Edward took his time recognising the new state, but in 1328 he acquiesced and Robert Bruce became King Robert I of Scotland. Tradition has it that this tune was played when he led his troops to the battle at Bannockburn. Robert Burns wrote words to the air, now the Scottish anthem. Carlin (Gow Collection), 1986; No. 543. Gow (Complete Repository), Book 2, 1802; pg. 1. Johnson (The Kitchen Musician's No. 10: Airs & Melodies of Scotland's Past), vol. 10, 1992 (revised 2001); pg. 8. Kerr (Merry Melodies), vol. 3; No. 202, pg. 24. O’Farrell (Pocket Companion for the Irish or Union Pipes), vol. 1, c. 1800; pg. 78. Oswald (Caledonian Pocket Companion), c. 1751.

X:1

T:Hei Tuti Teti

M:C

L:1/8

R:Air

S:Gow – 2nd Repository  (1802)

Z:AK/Fiddler’s Companion

K:B_

F2 F>D (F2 B)z|{A}G2 GF G(ABc)|{Bc}d2 c>B ~B>cd>c|(B<G) ~G>F F4:|

d2 ~d>c (d2 f)z|c2 ~c>B c2 (de)|(f<d) ~c>B B<c {Bc}d>c|(B<G) ~G>F F4|

d2 d>c (d2f)z|c2 cB ~c>d(eg)|(f<d) c>B B>c {Bc}d>c|(B<G) ~G>F F4||

 

HEIDENROSLEIN. German, English; Waltz. G Major. Standard tuning. AB. Composed by Franz Schubert and adapted by the late English Country dance enthusiast Pat Shuldham-Shaw. Matthiesen (Waltz Book II), 1995; pg. 24.

 

HEIDI’S BARK.  Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AABB. Composed by the late Cape Breton fiddler and composer Jerry Holland (1955-2009). Cranford (Jerry Holland: The Second Collection), 2000; No. 262, pg. 94.

 

HEIDS O VIGON, THE. AKA and see "The Atholl Highlanders Farewell to Loch Katrine." Shetland, Yell.

 

HEIGH HO FOR A HUSBAND. English, Air (4/4 time). D Major. Standard tuning. One part. The tune appears in John Gamble's Manuscript Common Place Book, while the words are in Pepys' Collection and in Wit and Mirth. It is mentioned twice in Shakespeare's Much Ado About Nothing (Act III, Scenes I and IV). Kines (Songs From Shakespeare's Plays and Popular Songs of Shakespeare's Time), 1964; pgs. 40‑41.

 

HEIGHHO MY JOCKEY. Irish, Air (3/4 time). G Major. Standard tuning. AABB. The air appears in several Irish songsters of the early 19th century. O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 32.

X:1

T:Heigho My Jockey

M:3/4

L:1/8

R:Air

S:O’Farrell – Pocket Companion, vol. III (c. 1808)

Z:AK/Fiddler’s Companion

K:G

G>A GG Bd | eA AG AB | GG GG Bd | cB/A/ BB E2 :: e>f g/f/e/d/ eB |

e/g/f/a/ g/f/e/d/ e>f | gfed eB | c B/A/ GB E2 :|

                       

HEIGH HO! MY NANCY OH. Irish, Air (6/8 time). B Flat Major. Standard tuning. One part.

***

Heigh ho my Nanch oh! (X2)

Yonder there’s my mother the Queen

And the swan she swam so bonny oh!

***

Source for notated version: “From T.B.” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 688, pg. 173.

X:1

T:Heigh Ho! My Nancy oh

M:6/8

L:1/8

S:Stanford/Petrie (1905) – No. 688

Z:AK/Fiddler’s Companion

K:B_

B2B d2d | c2d e3 | (d2f) f2d | e2d c3 | dff fdB | GFG Bcd | f2d c23B | G2B B3 || 

                       

HEIGH! HO! OVER THE DITCHES! Irish, Jig. D Major. Standard tuning. AABB. Levey (Dance Music of Ireland, 2nd Collection), 1873; No. 76, pg. 34.

X:1

T:Heigh! Ho! Over the Ditches!

M:6/8

L:1/8

R:Jig

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

Z:AK/Fiddler’s Companion

K:D

d3d3 | F>GF (F2E) | e3e3 | B>cB (B2c) | d3d3 | FGF FGA | Bcd AFD | EFE (E2D) :|

|: d>ed fed | afd def | gfe fed | dfa bc’d’ | ded fed | afd (e2f) | dcB AFD | EFE (E2D) :|

                                   

HEIGHWAY TO SCARBROUGH. English. England, Northumberland. One of the "missing tunes" of William Vickers' 1770 Northumbrian dance tune manuscript.

                       

HEIGHLANDS LADDY. AKA and see "The Highland Laddie's Hornpipe."

                       

HEIGHTS OF ALABAMA. 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.

                       

HEIGHTS OF ALMA. AKA – “The Alma.” Scottish (originally), Old‑Time (?); Quickstep March. A Major. The title of this tune, a standard in pipe repertory, comes from the first pitched battle of the Crimean War. Curiously, it appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Kerr (Caledonian Collection), pg. 3. Bob Smith’s Ideal Band, Better than an Orchestra” (1977).

                       

HEIGHTS OF CASSINO, THE. Scottish, March (6/8 time). D Major. Standard tuning. AABBCCDD’. Composed by D. Macrae, the title honors a World War II battle in Italy. Martin (Ceol na Fidhle, vol. 3), 1988; pg. 23.

                       


HEIGHTS OF DARGAI. Scottish, Retreat March (9/8 time). A Major. Standard tuning. AABB. The heights of Dargai are a promontory in India, the site in 1897 of a charge by massed Highlanders. A famous military anecdote has it that one of the Scots pipers continued to play to inspire his comrades, though shot through both legs. Composed by J. Wallace. “The retreat march is not necessarily a march time tune which would be marched to,” explains Stuart Eydmann; rather, “as often as not it was played as part of the evening ritual in military camps as day duties gave way to night ones. It was not linked to the military manoeuvre of retreating in or from battle but was linked to the idea of refuge and safety in the camp.” Gordon Highlanders' Pipe Music Collection, volume 1.  Martin (Ceol na Fidhle), vol. 1, 1991; pg. 49. 

                       

HEILAN DONALD KISSED KITTY. Scottish, Strathspey. G Major. Standard tuning. AAB. Hunter (Fiddle Music of Scotland), 1988; No. 76.

                       

HEIR AT LAW, THE. Irish, March (2/4 time). G Minor. Standard tuning. AA'BB'. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 109, pg. 62.

X:1

T:Heir at Law

M:2/4

L:1/8

R:March

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

Z:AK/Fiddler’s Companion

K:G Minor

d | {c}BA/B/ GG | DG Gd | {c}BA/B/ GB | d>edc | {c}BA/B/ GG | DGGB |

AF (F/G/A/B/) |1 c2 [^fd>]c :|2 c2 B>A |: B>cdd | fddc | Bcdd | gabb |1 B>cde |

fddB | AFFA | c2 BA :|2 bga^f | ge fc/B/ | AF (F/G/A/B/) | c2 [^Fd]c ||

                       

HEIRESS, THE. Scottish, Reel. D Major. Standard. AB. Thought to have been composed by Capt. Simon Fraser, and ascribed to him in Joseph Lowe's Collection, Book 6 (1844‑1845). Hardie (Caledonian Companion), 1992; pg. 91. Henderson (Flowers of Scottish Melody), 1935.

                       

HEIRESS'S EXPOSTULATION WITH ROB ROY, THE. AKA and see "The Lady's Expostulation with Rob Roy."

                       

HEJSAN GRABBAR. Scandinavian (12/8 time). G Major. Standard tuning. ABAB’. Source for notated version: Alan Ede [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 60.

 

_______________________________

HOME       ALPHABETICAL FILES        REFERENCES

 

© 1996-2009 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 - Off.

 [COMMENT3]This was Font/Pitch 1,10 - On.

 [COMMENT4]This was Font/Pitch 1,10 - Off.

 [COMMENT5]Note:  The change to pitch (12) and font (1) must be converted manually.