[COMMENT1]
The Fiddler’s Companion
© 1996-2008 Andrew Kuntz
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Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then “cutting-and-pasting”
the highlighted notation into one of the many abc conversion programs
available, or at concertina.net’s incredibly handy “ABC Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s
Companion work fine in most abc conversion programs. For example, I use
abc2win and abcNavigator 2 with no problems whatsoever with direct
cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s
into the concertina.net converter results in double-spacing. For
concertina.net’s conversion program to work you must remove the spaces
between all the lines of abc notation after pasting, so that they are
single-spaced, with no intervening blank lines. This being done, the F/C
abc’s will convert to standard notation nicely. Or, get a copy of
abcNavigator 2 – its well worth it.
[AK] |
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
X:1
T:He has come back to
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
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
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 (
***
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
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