The Fiddler’s Companion

© 1996-2010 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]

 

 

 

HELAR'S YSGFARNOG. AKA and see "Hunting the Hare [1]."

                       

HELEN BLACK OF INVERAN. Scottish, Reel or March. A Major. Standard tuning. AABBCCDD'. Composed by Jimmy Ritchie. Martin (Ceol na Fidhle), vol. 1, 1991; pg. 43. Greentrax Trax 073, Hamish Moore--"Stepping on the Bridge."

 

HELEN DOUGLAS. AKA and see "The Lady of the Lake," "Eilidh Dhughlas." Scottish, Slow Air (3/8 time). A Minor. Standard tuning. AABB. "This air is one of those handed by the editor to the young ladies who presented him with Mr. Scott's work of the Lady of the Lake, and a universal favourite" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 134, pg. 54.

                       

HELEN N. ROBERTSON. Scottish, Air (3/4 time). G Major. Standard tuning. AB. The first composition of Scottish fiddler and composer Arthur S. Robertson (b. 1911), living in Lerwick, Sheltand, named for his wife of over 40 years. Neil (1991) says: "The composition was inspired to some extent by listening to evangelical music and also by memories of his mother at the church organ. It is perhaps the most celebrated of his compositions and is currently played throughout Scotland by many strathspey and reel societies." The tune was meant by Robertson to be played mostly in the third position. Neil (The Scots Fiddle), 1991; No. 169, pg. 219.

X:1

T:Helen N. Robertson

M:3/4

L:1/8

C:Arthur S. Robertson (1969)

R:Air

K:G

d2|”G”(B3AG2)|(B4 AG)|”C”(G2E2G2)|(E2”G”D4)|(D2E2G2)|”Bm”(B4 AB)|”G”d2 (d2B2)|

“D7”A4d2|”G”B2A2G2|”G7”B4 AG|”C”G2E2G2|E2 “G”D4|B,4 DB,|”Am”C4 B,A,|”D7”D2A2F2|”G”G4||

“G”(B,>A,)|G,4 (DC)|B,4 (CD)|”C”(E2G2E2)|”G”(E2D3D)|(D2E2G2)|”Bm”B4 (AB)|

“G”d2 (d2B2)|”D7”A4 d2|”G”B3A G2|”G7”B4 AG|”C”G2E2G2|”G”E2D4|B,4 DB,|”Am”C4 B,A,|”D7”D2A2F2|”G”G4||

                       

HELEN SCOTT OF HUMBIE. Scottish, Slow Air (3/4 time). G Major. Standard tuning. One part. Composed by Freeland Barbour. Martin (Ceol na Fidhle, vol. 3), 1988; pg. 4.

                       

HELENA POLKA. American, Polka. D Major ('A' and 'C' parts), A Major ('B' part) & G Major ('D' part). Standard tuning. AA'BB'BB'CDD'. Source for notated version: Vivian Williams (Washington) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 348. Voyager VRLP 328‑S, "Kenny Hall and the Long Haul String Band."

                       

HELEN’S WALTZ. Old-Time, Waltz. USA, Missouri. A Major. Standard tuning. AB. Source Ball told Mark Wilson (Rounder) that he learned this as an untitled waltz from his grandfather, Amos Bishop, originally from Kentucky. When he recorded it however, dubbed it “Helen’s Waltz” in honor of his wife. Source for notated version: Earl Ball (1928-2008, Humansville, Missouri) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 167.  Rounder 0436, Earl Ball – “Traditional Fiddle Music of the Ozarks, vol. 2: On the Springfield Plain” (2000).

                       

HELL AGAINST THE BARN DOOR. See entry under “Hell Agin’ the Barn Door [1].”

                       

HELL AGIN' THE BARN DOOR [1]. Old-Time, Breakdown. USA, Missouri. D Major. Standard tuning. AA'BB. Missouri fiddler Joe Politte recorded the tune in the 1950’s on a 78 RPM produced for square dancing. Source for notated version: Joe Politte (Mo.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 109.

 

HELL AGIN'/AGAINST THE BARN DOOR [2]. Old-Time, Breakdown. USA, Missouri. G Major. Standard tuning. AA'BB. This particular tune is attributed to Missouri fiddler Lee Stoneking, although the title is attached to several unrelated melodies. This version is also in the repertoire of Bob Holt. A similar melody is Art Galbraith’s “Waverly.” Source for notated version: Geoff Seitz with the Ill-Mo Boys (Mo.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 109. Marimac 9054, The Ill-Mo Boys - "Fine as Frog Hair" (1995).

 

HELL AGIN’ THE BARN DOOR [3].  Old-Time, Breakdown. USA, Iowa. A minor mode tune. This melody is unrelated to “Hell Agin’ the Barn Door” [1] and [2]. Rounder 0529, Dwight Lamb – “Hell Agin the Barn Door” (2005. Perhaps learned from his father, Clarence).

 

HELL AMONG THE INDIANS. AKA and see "Hell Among(st) the Yearlings." Old-Time, Breakdown. Marimac AHS #3, Glen Smith – “Say Old Man” (1990. Learned from Arthur Smith).

 

HELL AMONG THE MOONSHINERS. AKA and see “(Big) Chief Sitting Bull,” "Indian on a See Saw." Old-Time, Hornpipe. B Flat Major. Standard tuning. AABB. Source for notated version: Gary Lee Moore (Seattle, Washington) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 195.

 

HELL AMONGST THE SLAVISH. AKA and see "Flop Eared Mule." A local southwestern Pa. title for the tune.

 


HELL AMONG(ST) THE YEARLINGS [1]. AKA ‑ "Trouble Among the Yearlings," "Hell After the Yearlings," "Devil Among the Yearlings," "Round Up the Yearlings," "Hell Among the Indians." Old‑Time, Breakdowwn. USA; Oklahoma, Mississippi, Alabama, Georgia, West Virginia, Pennsylvania, Arkansas, Missouri, Nebraska. G Major (Ford, Thede): D Major (Bayard, Brody, Christeson, Fiddler Magazine, John Hatcher, Phillips): C Major (Christeson/1984, Songer). Standard tuning. AB (Christeson, 1984): AA'B (Bayard): AABB (Thede): AA'BB (Phillips): AA'BB' (Fiddler Magazine): AABBCCDD (Songer). Several unrelated tunes in various parts of the United States carry the name “Hell Among(st) the Yearlings,” so obviously a memorable title in rural communities. The title has itself aroused some speculation. It is thought by some to represent ‘trouble with the cattle’—yearlings being young cattle that are bred for the first time and quite rambunctious. Another interpretation hinges on ‘hell’ as a term for dense underbrush and thicketed country, with the title meaning that the yearlings are in the underbrush, thus making it quite a chore to round them up. Chicago musician Paul Tyler made the following comments (Fiddle-L, 5/10/04).

***

In 1939, Edgar Lee Masters (of Spoon River fame) published in Esquire an
account of a visit he made with Theodore Dreiser to the home fiddler
John Armstrong in Oakford, Illinois.  The account reappeared in Masters’
book
The Sangamon in the Rivers of America series.  Masters grew in
Menard County where Armstrong lived.  The visit was made in 1916, two
decades before the account was published, so you have to allow for the
author's creativity to have been at work on the memories.  Here's
Masters' words of what John Armstrong had to say about Hell:
***
We asked for "Turkey in the Straw" again, and John played it with
spirit.  Then he played "Hell Amongst the Yearlings."  "This here is
called 'Hell Amongst the Yearlings.'  I don't ricollect what it was
furst called; but they had a dance over at Ben Sutton's oncet, and while
they was a-dancin' the cattle broke into his corn.  So ever since they
have called it 'Hell Amongst the Yearlings.'" John furnished us with
evidence of the manner in which tales and sayings grow up, and by that
token how myths originate and flourish.

***

The 'A' part generally has nine measures instead of the usual eight. What is the 'B' part for most of the versions is usually quite a bit different than some other versions, and is very seldom similar from region to region or collection to collection. However, the title (or variations on it) is often a floater and appears for totally unrelated tunes. The most influential version historically was recorded by Kanawha County, West Virginia, fiddler Clark Kessinger (1896-1975) who recorded it (backed with “Turkey in the Straw”) in 1928 for the Brunswick label (#235), his second recording for the company. It was the first commercial recording of the tune and featured Kessinger’s much imitated technique of brushing the stings of the fiddle with his forefinger, creating a pizzicato effect (Mountains of Music, John Lilly ed., 1999, pg. 28. Alan Jabbour (Fiddle-L, 5/08/04) says that most modern versions seem to stem from the Kessinger recording, and that the extra beats in the fourth phrase of the high part of the tune have become standard in many bluegrass and old-time renditions. He interprets these extra beats as ‘dwelling’ notes, “that tendency of Appalachian fiddlers, especially in WV and KY, to linger on a note mid-phrase for a couple of beats before resuming the course of the tune.  The note is often the fifth of the tune's scale, and that's the case here,” he says. The exceptions to the Kessinger variant group are a few Appalachian fiddlers like Henry Reed and Doc White (who played an alternate low strain from Reed) who played the tune in square, or regular, strains of 8 bars. White’s playing of the tune can be heard on AFS 12,704 (June, 1967).

***

The title is mentioned in reports (1926‑31) of the De Kalb County, Alabama, Annual (Fiddlers') Convention, finds Cauthen (1990). The piece was recorded for the Library of Congress by musicologist/folklorist Vance Randolph from Ozark Mountain fiddlers in the early 1940's, and, by Herbert Halpert, in 1939 from the playing of Lauderdale County, Mississippi, fiddler Frank Kittrell. Today it is especially common among Midwest fiddlers. It is on Missouri fiddler Charlie Walden’s list of ‘100 essential Missouri fiddle tunes’. Jabbour finds references (in WPA interviews, for one) to at least the 1930’s in Texas fiddling, and suspects it may have had older currency in the state. See also related “Streak of Fat, Steak of Lean.” Sources for notated versions: Claude Keenan (Oklahoma County, Oklahoma) [Thede]; Clark Kessinger (West Virginia) [Brody, Phillips]; Bob Walters (Burt County, Nebraska) and George Helton (Maries County, Missouri) are referenced by Christeson {1973}; Cyril Stinnett (Oregon, Missouri) [Christeson {1984}]; Laurie Lewis [Fiddler Magazine/1994]; Hollis Taylor [Fiddler Magazine/2007]. Bayard (Dance to the Fiddle), 1981; No. 277, pgs. 232. Brody (Fiddler’s Fakebook), 1983; pg. 133. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; pg. 67. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; pg. 44. Fiddler Magazine, Spring 1994; pg. 31. Fiddler Magazine, Spring 2007, vol. 14, No. 1; pgs. 40-41 (a contest setting with numerous variations). Ford (Traditional Music in America), 1940; pg. 101. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 109. Songer (Portland Collection), 1997; pg. 94. Thede (The Fiddle Book), 1967; pg. 130. Brunswick 235 (78 RPM), The Kessinger Brothers (1928). County 202, Eck Robertson. County 733, "The Legend of Clark Kessinger." Flying Fish 515, Laurie Lewis - "Singin' My Troubles Away" (1990). Folkways FA2379, Arthur Smith. Folkways FA 2336, Clark Kessinger (W.Va.) ‑ "Fiddler." June Appal 0056, Ralph Blizard and the New Southern Ramblers - "Blizard Train." Marimac 9110, Dilly and His Dill Pickles (1930) ‑ "It'll Never Happen Again: Old Time String Bands, Vol. 1." MSOTFA 007, Charlie Walden - "Draggin' the Bow" (1985). Northeastern Records 5011, American Cafe Orchestra - “Egyptian Dominoes” (1991). Rounder 0006, Country Cooking‑ "Fourteen Bluegrass Instrumentals." Vetco 506, Fiddlin' Van Kidwell‑ "Midnight Ride." Vocalion 5446 (78 RPM), 1930, Dilly and His Dill Pickles (AKA John Dilleshaw, No. Ga.). Voyager 301, Bill Mitchell‑ "Fiddle Jam Session." Voyager VRCD 344, Howard Marshall & John Williams – “Fiddling Missouri” (1999. Learned from Pete McMahon & Charlie Walden).

 

HELL AMONG THE YEARLINGS [2]. Old‑Time, Breakdown. USA, Texas. A Minor/Mixolydian. Standard tuning. AAB. Not related to version #1, but a variation of "Cattle in the Cane [1]." Source for notated version: Eck Robertson (Texas) [Old Time Herald]. Old Time Herald, vol. 3, No. 5, Fall 1992, pg. 32. County 202, "Eck Robertson: Famous Cowboy Fiddler."

 

HELL AMONG THE YEARLINGS [3].  Old-Time, Breakdown. USA Arkansas. G Major. Standard tuning. AA’B. Similar versions of this tune (which is unrelated to other “Hell Among the Yearlings” pieces) are played by some Arkansas fiddlers, such as Skeeter Walden, note Beisswenger & McCann (2008). The authors find it similar to the ‘A’ part of “Fat Meat and Dumplings” and the ‘B’ part of "Sally Goodin.” Source for notated version: Seth Mize (1901-1977, Searcy County, Arkansas) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 93.

((()))  Seth Mize (1901=1977)

“Hell Among the Yearlings [3]”

 

HELL AND SCISSORS. Old‑Time, Breakdown. USA; Arkansas, Kentucky. A Major. ADae tuning. A ‘hell’ is a leather holster used by tailors to hold a pair of scissors. The tune is in the repertoire of fiddler Bruce Greene, who learned it from Day’s 78 RPM recording.  The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Library of Congress 1010B2, Jilson Setters {Kentucky fiddler J.W. “Blind Bill” Day} (recorded 1934 for John Lomax in Ashland Ky).

 

HE'LL AYE BE WELCOME BACK AGAIN. AKA and see "Ye'll Aye (always) be Welcome Back/Home Again." Scottish. The figures for the dance to this tune, but not the tune, appear in the Menzies manuscript (1749) contained in the Atholl Collection of the Sandeman Library, Perth.

 

HELL BOUND FOR ALABAMA. AKA and see "Hell Broke Loose in Georgia." Old-Time, Breakdown. Some of the rhymes Carson used for the tune were taken from the song “I’d Rather Be a N....r than a Poor White Man” (See Talley {Ed. Wolfe}, 1991, pgs. 36-37).

***

My name’s Ran, I wuks in de san’,

But I’d druther be a Nigger dan a po’ white man.  (Talley)

***

Similarities to the Ozark region tune “Little Home to Go to [1].” Okeh 45159 (78 RPM), Fiddlin’ John Carson (1927).

 


HELL BROKE LOOSE IN GEORGIA. AKA and see "There's No Hell in Georgia," "Hell Bound for Alabama," "Been to the East, Been to the West," "Great Big Yam Potatoes." Old‑Time, Breakdown. C Major ('A', 'B' and 'D' parts) & A Minor ('C' part). Standard tuning. AABCC'DD'. The title perhaps dates to the gold rush in Georgia before the settlement of Gordon County in 1850 (approx. c. 1830). There are three distinct fiddle tunes that have been identified with this title. The tune was used in 1899 in a Gallatin Tenn. fiddle contest as a category tune ‑ each fiddler played a version, with the best version winning a prize (all fiddlers playing a rendition of the same commonly known tune was formerly a common way of structuring fiddle contests) [C.Wolfe, The Devil's Box, vol. 14, No.4, 12/1/80]. Cauthen (1990) finds reference to a Georgia fiddler, Ben Smith, who served with the 12th Alabama Infantry in the Civil War, and was known to have played the tune in that conflict. She also cites A.B. Moore in his History of Alabama (1934) who said it was one of the standard tunes in the square dance fiddler's repertoire. The melody "Streak O' Lean, Streak O' Fat" is related to Phillips' version of the tune, as is “Big Footed N....r [2]” and “Possum Up a Gum Stump [2].” This was the four-part version recorded by the Skillet Lickers. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Source for notated version: Ruthie Dornfeld (Seattle) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 110. Songer (Portland Collection). County 526, "The Skillet Lickers, vol. 2" (1975). Heritage 048, Lowe Stokes ‑ "Georgia Fiddle Bands" (Brandywine, 1982). Oken 45018 (78 RPM), Fiddlin' John Carson (Atlanta, Ga.). Ruthie Dornfeld and the American Café Orchestra – “Egyptian Dominoes.” PearlMae Muisc 004-2, Jim Taylor – “The Civil War Collection” (1996. The Skillet Lickers’ 1920’s version).

 

HELL BROKE LOOSE IN GEORGIA [2?]. American, Reel. USA, southwestern Pa. G Major. Standard tuning. AB. Bayard (1981) identifies this tune as a composite with an 'A' part from British Isles tradition, attached to a 'B' part newly composed. The 'A' part appears to be the Scottish "My Ain Kind Deary O," which can be traced to the 1760's; the tune is also known as "Christmas Eve [1]," and the march sets "Our President," "Here's a Health unto Our Leader," and "The Fearless Boys" {Bayard also links these tunes to "Oh! Lassie, Art Thou Sleeping Yet," and suggests they are all part of a "moderate sized tune family of perhaps some respectable antiquity" i.e. they are descended from some unknown original single air}. Source for notated version: Abraham Gray (Westmoreland County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 106, pg. 61.

 

HE'LL NEVER BE LIKE MY OTHER GOODMAN. 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.

 

HELL IN TEXAS. Old-Time, Breakdown. USA, Missouri. Missouri Sate Old Time Fiddlers' Association, Bill Driver (a black fiddler from Iberia, Mo.) - "Old Time Fiddler's Repertory" (1976).

 

HELL IN THE MUD. AKA and see “Missouri Mud.” Old-Time, Breakdown. USA, Missouri. D Major. Standard tuning. AABB. Source for notated version: Cyril Stinnett (Mo.) [Phillips]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 110.

 

HELL ON THE NINE MILE. Old-Time. Marimac 9038, Dan Gellert & Brad Leftwich - "A Moment in Time" (From Oklahoma fiddler John Kennedy).

 


HELL ON THE POTOMAC [1]. AKA and see "Hell on the Wabash [1],” "Wake Up Susan [1]," "Hell on the Rappahannock," "The Night We Paid the Rent," "Picnic Romp," "Jack of Diamonds [1]" (Thede), "The Cottage By the Sea," "The Red‑Headed Girl." American, Reel. USA, southwestern Pa. G Major. Standard tuning. AB. Bayard (1981) identifies this as "one of the three or four" tunes universally known by Pennsylvania folk musicians. The melody is usually known as "Wake Up Susan" or "Hell on the Wabash" and it is sometimes found with other parts; Bayard is not sure if this means the tunes with different titles are "divergently evolving cognate tunes" or the result of trading strains or "otherwise infecting one another." Sources for notated versions: 17 southwestern Pa. fifers and fiddlers [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 352A‑Q, pgs. 346‑353.

 

HELL ON THE POTOMAC [2]. American, Reel. USA, southwestern Pa. G Major. Standard tuning. AB. Unrelated to versions #1 and #3. Source for notated version: Boden (fiddler from Pa., 1957) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 353, pg. 353.

 

HELL ON THE POTOMAC [3]. AKA and see "The Bridge of Lodi," "The Huntsman's Hornpipe," "Nelson's (Hornpipe) [2]," "Murray's Hornpipe." American, March (2/4 time). USA, southwestern Pa. D Major. Standard tuning. AB. The tune is a well‑known hornpipe in the British Isles converted in America to a march and attracting a floating title. It is elswhere known as "The Bridge of Lodi" and "The Huntsman's (Hunter's) Hornpipe". Source for notated version: Hiram Horner (fifer from Westmoreland and Fayette Counties, Pa., 1944) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 354, pg. 353.

 

HELL ON THE WABASH [1]. AKA and see "Lady on the Green," "Hell on the Potomac [1],” "Picnic Romp," "The Night We Paid the Rent," "The Cottage by the Sea," "The Red‑Headed Girl,” “Wake Up Susan [1].” Old-Time, Breakdown. The “Hell on the Wabash” title for this tune is a floater. Supposedly this was a popular fife tune among the inhabitants of the Wabash environs (the Wabash is a river in central and western Indiana). See note to "Hell on the Potomac [1]” for more on this tune family.

 

HELL ON THE WABASH [2]. American, Breakdown. E Minor (Mattson & Walz): A Minor (Cole, Kerr): A Major (Sweet). Standard tuning. AABB (Cole, Kerr, Sweet): AA’BB’CC’ (Mattson & Walz). Listed as a 'jig' in Ryan’s Mammoth/Cole’s 1000, referring not to the Irish 6/8 jig but to a type of old-time syncopated banjo tune known as a “straight” or “sand” jig. The minstrel origins for this syncopated tune are quite evident and the genre was popular on the early variety stage in the 1870’s and 1880’s. American Veteran Fifer, 1902. Bruce & Emmett (The Drummer’s and Fifer’s Guide), 1862. Cole (1000 fiddle Tunes), 1940; pg. 81 (appears as "H_' on the Wabash"). Kerr (Merry Melodies), vol. 2; No. 423, pg. 48. Mattson & Walz (Old Fort Snelling... Fife), 1974; pg. 67. Ryan’s Mammoth Collection, 1883; pg. 114. Sweet (Fifer’s Delight), 1964/1981; pg. 55.

X:1

T:Hell on the Wabash [2]

M:2/4

L:1.8

Z:AK/Fiddler’s Companion

K:A

(3e/f/g/ | aa Az/B/ | c/d/e/c/ Az/f/ | =gg Gz/A/ | B/=c/d/B/ =Gz/^g/ | aa Az/B/ | c/d/e/c/ A (3B/A/G/ |

A/c/(3e/f/g/ a/e/f/d/ | c/A/B/G/ A :: A | c/e/ z/e/ e/e/c/A/ | c/e/ z/e/ e/e/c/A/ | B/d/ z/d/ d/d/B/=G/ |

B/d/ z/d/ d/d/B/=G/ | c/e/ z/e/ e/e/c/A/ | c/e/ z/e/ e/e/c/A/ | A/c/(3e/f/g/ a/e/f/d/ | c/A/B/G/ A :|

X:2

T:Hell on the Wabash [2]

M:2/4

L:1/8

K:Emin

D||:BB E>F|G/F/G/A/ B/G/E/D/|BB E>F|G/A/G/F/ ED|BB E>F|G/F/G/A/ B2|g2d2|1

BG E>D:|2 BG E>f||aa A2|z2 z>e/|gg G2|z2 z>f|aa A2|z4|g2d2|1 BE E>f:|2

BG E>B||e/e/z/e/ e/B/A/B/|e/e/z/e/ e/B/A/B/|d/d/z/d/ d/B/G/B/|d/d/z/d/ d/B/G/B/|

e/e/z/e/ e/B/A/B/|e/e/z/e/ e2|g2d2|1 BG E>B:|2 BG E2||

 

HELL ON THE WABASH [3]. Old‑Time, Breakdown. G Major (Ford): D Major (McMahon). Standard tuning. AABB. It is on Missouri fiddler Charlie Walden’s list of ‘100 essential Missouri fiddle tunes’. Missouri fiddler Pete McMahan incorporates the high strain of “Rocky Mountain Goat” in his version of “Hell on the Wabash.” Ford (Traditional Music in America), 1940; pg. 65. Missouri State Old Time Fiddlers Association 001, Pete McMahan ‑ "Ozark Mountain Waltz." Art Rosenbaum – “The Art of the Mountain Banjo.”

X:1

T:Hell On the Wabash

S:John Greig, Edinburgh (probably from Art Rosenbaum)

Z:Nigel Gatherer

M:4/4

L:1/8

K:G

z2|g2 dB GBGB|D2 G2 G2 B2|cBAG F2 A2|BAGF G3 z|g2 dB GBGB|

D2 G2 G2 B2|cBAGFGAF|G3 G G2::Bc|d2 d2 dBdB|e2 e2 e2 eg|\

f2 d2 f2 d2| BAGF G2 Bc|d2 d2 dBdB|e2 e2 e2 eg|f2 d2 f2 d2|BAGF G2:|]

 

HELL ON THE WABASH [4]. AKA and see “Pussy and the Baby,” “She Oughta Been a Lady,” “Silver Lake [4].” Old-Time, Breakdown. The “Hell on the Wabash” title for this tune is a floater. It is related to the Irish hornpipe “Boys of Blue Hill” or “Beaux of Oak Hill [1].”

 

HELL OVER THE MOUNTAIN. AKA and see "Flop Eared Mule." A local southwestern Pa. title for the well‑known tune "Flop Eared Mule."

 

HELL TO PAY IN TULSA. 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.

 


HELL UP COAL HOLLER [1]. AKA – “Hell Up Coal Creek Holler.” Old-Time, Breakdown. C Major. Standard tuning. AA'BB'. A different tune by this name is said to have been in eastern Kentucky fiddler Ed Haley’s repertoire. Source for notated version: Armin Barnett [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 110. “Old Tyme Fiddling/Old Time Way.” Jim Martin Productions JMP201, Gerry Milnes (et al) – “Gandydancer.” Shanachie Records, Gerry Milnes & Lorraine Lee – “Hell Up Coal Holler” (1999).

X:1

T:Hell Up Coal Holler

M:2/4

L:1/8

S:Gerry Milnes

Z:AK/Fiddler’s Companion

K:C

(3G,A,B,|Cc/c/ A/G/E/D/|Cc/c/ A/G/E/G/|D/E/G B>A|B/A/G/B/ A/G/E/D/|!

Cc/c/ A/G/E/D/|Cc/c/ A/G/E/G/|D/E/G/A/ B/A/B|[G>c>]B [Gc]:|!

|:([de]|[ee])e/g/|e/d/c/d/|e/d/c/e/ d/c/A/G/|D/_E/=E/G/ B/A/B/d/|!

e/d/e/g/ b/g/e/g/|ee/g/ e/d/c/d/|e/d/c/e/ d/c/A/G/|D/E/G/A/ B/A/B|!

[G>c>]B [Gc]:|

 

HELL UP COAL HOLLER [2]. Old-Time, Breakdown. A member of a large tune family that includes “Dubuque,” “Old Dubuque,” “Nancy Dawson [2],” “Nancy Dalton,” “Duck River” and “Ma Ferguson,” among others.

 

HELL UP FLAT ROCK.  AKA and see “Marmaduke’s Hornpipe.”

                       

HELL UP HICKORY HOLLER. Old‑Time, Breakdown. USA, West Virginia. The source, Oscar Wright, could recall nothing of the tune's background. Rounder 0089, Oscar & Eugene Wright ‑ "Old Time Fiddle and Guitar Music from West Virginia."

                       

HELLBOUND FOR ALABAMA.  Old‑Time, Breakdown. USA, north Georgia. Originally recorded by north Georgia fiddler and showman John Carson and his Virginia Reelers in the 1920's. A similar tune called "Ride Old Buck to Water" was recorded by another north Georgia band, the Skillet Lickers, about the same time. Folkways FTS 31062, "Ship in the Clouds: Old Time Instrumental Music" (1978).

           

HELLO, GOODBYE.  American, Reel. A Major. Standard tuning. AABB. Composed by Ralph Miller. Miller (Fiddler’s Throne), 2004; No. 168, pg. 106.

           

HELLO QUEBEC GIRLS. AKA and see "Allo, Quebecoises."

                       

HEL’N GEORGIA. AKA and see “Eileen Curran [1]."

                       

HELSTON FURRY DANCE. English, Morris Dance Tune (4/4 time). F Major (Karpeles, Raven): G Major (Carlin): D Major (Barnes). Standard tuning. AABB. The tune and its variants are widespread over England and Wales. The name Helston, referring to a town in Cornwall, comes from a Celtic root, henlis, meaning ‘old court’, coupled with and Old English ending, ‘ton’ (tun), meaning an enclosure, farm or village. It is an ancient market town and was first granted its charter in the year 1201. Helston was one of the ancient coinage towns where ingots of Welsh tine were assayed and stamped to assess the duty to be paid to the Duke of Cornwall (during the process a corner, or coign, was cut off to be tested for quality). In early times Helston was a port town at the head of the Cober estuary, but around the 13th century it began to silt up until nowadays a great shingle bank has formed across the estuary making the largest freshwater lake in Cornwall. The Furry Dance takes place on the 8th of May, when the first greenery of spring appears and the town is decorated with bluebells and hazel, among others. It takes the form of a dignified procession with separate dances for adults and children. The dancers dress in top hats and tails and their finest dresses, and the procession follows a traditional route, even passing through people’s homes, shops and gardens. As with many morris dances, pagan origins are ascribed to the ritual that “welcomes in the spring.” See "Processional Morris Dance" [2], and a variant of the Helston tune, “Nobody’s Jig.” Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 57. Carlin (Master Collection), 1984; No. 55, pg. 40. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 39. Raven (English Country Dance Tunes), 1984; pg. 75. Topic TSCD607, Billy Cooper, Walter & Daisy Bulwer – “English Country Music” (2000. Originally recorded 1962).

X:1

T:Helston Furry Dance

M:4/4

L:1/8

K:B Flat Major

F3F A3A|c2c2c2de|f2c2 cdcB|1 A4F4:|2 A4F2||

|:GA|B2d2d2 cB|AB c2c2 de|f2c2 cdcB|1 ABAG F2:|2 A4F4||

X:2

T:Helston Furry Dance

M:4/4

L:1/8

K:D

D2D2D2 FG|A2A2A2 Bc|d2A2 ABAG|F4 D4:|

|:B2B2BB2AG|FEFG A2 Bc|d2A2 ABAG|F4 D4:|

                       

HELTER SKELTER. AKA and see “Dance Terpsichore,” "Sticks and Stones." Old‑Time. USA, Arkansas. In the repertoire of Lon Jordan of Farmingham, Arkansas.

                       

HELVETIA POLKA. AKA and see "Poor Uncle Davy," "Rochester Schottische [2]." American, Polka. D Major ('A' part) & A Major ('B' part). Standard tuning. AA'B.  Stacy Phillips says this is a polka version of the "Military Schottische," although it does not appear to be the “Military Schottische” that Ford prints. Source for notated version: Argel Kaufman [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 349.

           

HELVIC GROVE.  AKA and see “Helvic Head,” Irish, Jig.

           

HELVIC HEAD. AKA – Helvic Grove.” AKA and see “Melvin Head,” “Walk Out of it, Hogan.”  Irish, Jig. G Major. Standard tuning. AABBCCDD (O’Farrell): AABBCCDDEE (Kennedy). Helvic Head (Ceann Heilbhic) is a promontory stretching out from the coastline of County Waterford. O’Neill prints the tune as “Melvin Head.” Some similarities to the slip jig “Yellow Stockings.” Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 56, pg. 15 (appears as “Helvic Head”). O’Farrell (Pocket Companion for the Irish or Union Pipes, vol. 1), c. 1805; pgs. 28-29. Mulligan Records, Fisherstreet – “Out in the Night.” Todd Denman & Bill Dennehy – “Like Magic.”

See also listings at:

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

Alan Ng’s Irishtune.info

X: 1

T: Helvic Head

S: Treoir

N: from "O'Farrell's Pocket Companion for the Irish Union Pipes"

Z: Transcribed by Bill Black

M: 6/8

L: 1/8

Q: 325

R: jig

K: G

D/E/ |: G3 AGE | A2 A AGE | G3 AGE | GAB GED |

G3 AGE | ABA ABc | BAG AGE | GAB GED :|

BGG AGG | BGG AGE | BGG AGE | G3 GED |

BGG cAA | dBB cAA | BGG AGE | G3 GED :|

egf/g/ dBG | ABA A2 d | egf/g/ dBG | Dgf g2 a |

bag agf | gfe dBG | BAG AGE | G3 GED :|

G2 c BGd | BGd AGE | G2 c BGd | AFd GED |

G2 c BGd | BGd ABc | BAG AGE G3 GED :|

DFD DED | A3 AGE | DFD DED | G3 GED |

DFD DED | ABA ABc | BAG AGE | G3 GED :|

                       

HEMAN DUBH. Scottish, Air. This worksong is from the Hebrides Islands in northern Scotland. Rounder 3067, Alan Stivell ‑ "Renaissance of the Celtic Harp" (1982).  Rounder 3038, Pierre Bensusan ‑ "Musiques" (1979).

 

HEMP DRESSERS, THE. AKA and see “Flaunting Two,” "The London Gentlewoman," "London Maid," "The Sun Has Loos'd His Weary Teams," "The Winchester Christening," "The Deil's awa’ wi’ the exciseman." English, Country Dance Tune (6/8 time). G Major. Standard tuning. AABB. The air appears in John Gay's Begger's Opera (1728) under the title "The first time at the looking glass." It was printed earlier in Playford's English Dancing Master, 1650‑1725 and takes its name from a song beginning:

***

There was a London gentlewoman,

that loved a country man‑a:

And she did desire his company,

a little now and then‑a

This man he was a hemp‑dresser, (etc.)

***

A Welsh version of the tune appears under the name “Flaunting Two,” printed in 1794, although Kidson (Groves) says claims of a Welsh provenance for the melody are false. It was a popular country dance tune throughout the 18th century.

***

Aird (Selections), vol. II, 1785; No. 105, pg. 38. Chappell (Popular Music of the Olden Time), vol. 1, 1859; pg. 297. Seattle (William Vickers), 1770/1987, Part 2; No. 201.

X:1

T:Hemp Dressers, The

M:6/8

L:1/8

R:Jig

S:Aird, vol. II (1785)

Z:AK/Fiddler’s Companion

K:G

D | G2d ded | c2B ABc | d2G G2A | B3 d2G |

G2d ded | c2B ABc | dgG G2A | B3 d2 :|

|: c| BAB GAB | AGA D2D | G2G G2A | B3 d2c |

BAB GAB | AGA D2f | g2G G2A | B3 d2 :|

                                               

HEN AND A COCK WENT OUT TOGETHER [1], A (Cearc Agus Coilleach A D-imthigh le Cheile). AKA ‑ "A Hen and a Cock." Irish, Air (6/8 time). G Major. Standard tuning. AB (Stanford/Petrie): AABB (Joyce). Joyce remarks his is the "Connaught version: different from Petrie's Munster version (Ancient Music of Ireland)”. Source for notated version: "...copied...about 1873 from a MS. lent me from near Lough Conn, County Mayo" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 306, pg. 143. Stanford/Petrie (Complete Collection), 1905; No. 1509, pg. 377.

X:1

T:Hen and a cock went out together, A [1]

M:6/8

L:1/8

R:Air

N:”With expression”

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

Z:AK/Fiddler’s Companion

K:G

d/c/|BcB ABG|GFG ABc|ded dcB|ABc d2c|BcB ABG|GFG ABc|ded ecA|AGG G2:|

|:c|Bcd dcB|A/B/c/d/e/f/ gfg|afd cBc|Add d2c|BcB ABG|GFG ABc|ded ecA|AGG G2:|

 

HEN AND A COCK WENT OUT TOGETHER [2], A (Cearc agus Coileach a d'imigh le cheile). Irish, Air. E Flat Major. Standard tuning. One part. The melody appears in Petrie's "Ancient Music of Ireland" (1855), pg. 162, and is related to Bunting's "An Londubh Agus an Cheirseach." Petrie prudishly remarks “The Irish song to this air is also inadmissible in this work.” Source for notated version: T. Mac Mahon [Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 1508, pg. 377.

                       

HEN AND ALL HER BROTH, THE. Irish, Single Jig. G Major. Standard. AABB'. Roche Collection, 1927/1983, vol. 2; No. 239, pg. 20.

X:1

T:Hen and all Her Broth, The

M:6/8

L:1/8

R:Single Jig

S:Roche vol. 2, No. 239  (1927)

Z:AK/Fiddler’s Companion

K:G

(G2E D2)(E|G2)A B2(e|d2)B A2(G|E2)A A2(B|G2)E D2(E|G2)A B2(e|

d2)B A2B|G3G3::g2f e2(d|e2)d B2(e|d2)(B A2)(G|E2)A A2(f|1 g2)(f e2)(d|

e2)(d B2)(e|d2)(B A2)B|G3G3:|2 g2(e f2)(d|e2)(d B2)(e|d2)(B A2)B|G3G3||

                       

HEN AND CHICKENS [1]. Irish, "Very Slow" Air (3/4 time). G Minor. Standard tuning. AB. Source for notated version: "distinguished sculptor" Patrick MacDowell (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 786, pgs. 383‑384.

 

HEN AND CHICKENS [2]. American, Breakdown (2/4 time). A Major (‘A’ part) & D Major (‘B’ part). Standard tuning. AABB. Shaw (Cowboy Dances), 1943; pg. 386.

X:1

T:Hen and Chickens [2]

L:1/8

M:2/4

S:Shaw – Cowboy Dances  (1943)

Z:AK/Fiddler’s Companion

K:A

A [Ae] A [Ae]|[ce][ce] [ce][Be]|[Ae4]B/c/ dc/B/|A/B/c/d/ ea| A [Ae] A [Ae]|

[ce][ce] [ce][Be]|AB/c/ d/e/f/g/|a2 [c2a2]:|

K:D

[df][df] [fa][fa]|a/b/a/f/ dd|Ac/e/ gf/e/|d/e/f/g/ ab|[df][df] [fa][fa]|

a/b/a/f/ dd|Ac/e/ ac|(d2 d)z:|

 

HEN AND CHICKENS [3], THE. English, Country Dance Tune (4/4 time). B Flat Major. Standard tuning. AABB. Described in Howe as an “English Contra Dance.” Howe (1000 Jigs and Reels), c. 1867; pg. 164.

X:1

T:Hen and Chickens, The [3]

M:4/4

L:1/8

R:Country Dance Tune

S:Howe – 1000 Jigs and Reels (c. 1867)

Z:AK/Fiddler’s Companion

K:B_

B>F D>F EFCE | DFcd cAFD | EGcE DFBd | (3edc (3dcB (3BcB A2 | BFDF EFCE |

DFBd cAFD | Egfe dABG | (3FGF (3DcA B2B,2 :: fdcB fdcB | b2 ab (^f2g2 | gfed cBcd |

eefg (3BcB A2 | BFDF EFCE | DFBd cAFD | Egfe dABG | (3FGF (3DcA B2B,2 :|

                       

HEN AND HER CLUTCH, THE (An Chearc is a hÁl). AKA and see "The Galway Harebait," "The King of the Cellar." Ireland, Reel. A Dorian. Standard tuning. AB. “The Galway Harebit” title is from the Goodman Manuscripts at the Library of Trinity College, Dublin. Source for notated version: fiddler Tom Mulligan/Thomas Ó Maolagain (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 117, pg. 48.

                       


HEN CACKLE(D). AKA and see "Old Hen Cackle(d) [1]," "Cacklin’ Hen [1]," "Cluck Old Hen [1]." Old‑Time, Breakdown. USA; Alabama, north Georgia. The tune appeared on one side of the very first string band recording, by Gid Tanner and Riley Puckett, for Columbia in 1924. It was in the repertoire of Phil Reeve of Georgia Yellow Hammers (a contemporary band of Tanner's Skillet Licker's) fame as "Hen Cackled." It was noted by the Clarke County Democrat of May 9th, 1929, as one of the "popular old‑time tunes" that assuredly would "be rendered in the most approved fashion" at a fiddlers' contest in Grove Hill, southwest Alabama. The title also appears listed in a 1925 University of Alabama master's thesis entitled "A Preliminary Survey of Folk‑Lore in Alabama," and in A.B. Moore's History of Alabama (1934) {where it appears in a list of standard tunes in the square dance fiddler's repertoire} [Cauthen, 1990]. Art Rosenbaum (1989) relates a story of how Carroll County, Georgia, banjoist Uncle John Patterson learned to play from his mother, champion banjo player Bessie Patterson. When she died in 1924 she made him promise never to let anyone beat him in a contest, and one month laer he found himself competing at the Fiddler's Convention in Atlanta's city auditorium. His primary competition was Fiddlin' John Carson's daughter Rosa Lee ("Moonshine Kate"), who had already played Patterson's best piece, "Spanish Fandango." "So the sixty‑seven‑pound boy, wearing a shirt made out of a flour sack, and a pair of his 'granddaddy's pistol pants' picked 'Hen Cackle' so spiritedly that 'old Gid Tanner, and even John Carson...got to cackling and got to crowing.'" Under the title “Chicken Cackle” it was a tune in the repertoire of fiddler and Confederate veteran Arnold A. Parrish (Willow Springs, Wake County, N.C.), as recorded by the old Raleigh News and Observer. Parrish was a contestant at fiddler’s conventions held in Raleigh prior to World War I. Columbia 110‑D (78 RPM), Tanner and Puckett (N. Ga.). County 543, Earl Johnson and His Clodhoppers (North Ga.) ‑ "Red Hot Breakdown" (as "Hen Cackle"). Voyager VRLP 328‑S, "Kenny Hall and the Long Haul String Band" (learned from Ron Huey).

                       

HEN CACKLE RAG. American, Country Rag. Composed by Charles Johnson of Kansas City, c. 1900.

           

HEN RUN, THE.  English, Country Dance Tune (2/4 time). C Major. Standard tuning. AABB. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 57.

           

HENCHEY'S DELIGHT. AKA and see "Hinchy's Delight." Irish, Double Jig. G Major. Standard tuning. AABB. Mitchell (The Dance Music of Willie Clancy), No. 104. Taylor (Crossroads), 1992; No. 39, pg. 28. Treoir, vol. 32, No. 2. Shaskeen ‑ "The Mouse Behind the Dresser."

X: 1

T: Henchy's Delight

S: "Treoir" 32/2

M: 6/8

L: 1/8

R: jig

Z: Transcribed by Bill Black

K: G

A | BAB GBG | ADE F2 G | AGA fed | cAG FGA |

BAB GBG | ADE F2 G | AGA fed | AFD G2 :|

d | gfg afd | gfg a2 d | gfg b2 g | a2 g fga |

geg fed | fed cde | fef ded | cAF G2 :|

                       

HENNESSEY'S HORNPIPE. AKA and see “The Brighton Hornpipe,” “Duke of Leinster [3],” “The Five Pound Note,” “Kildare Hornpipe,” “O’Neil’s Hornpipe [1],” “Peggy Morrissey,” “Pretty Maggie Morrissey,” “The Strip of Turf (Ciumhais na Móna),” “The Wexford Hornpipe.” Irish, Hornpipe.

                       

HENNESSEY'S HORNPIPE (Crannciuil Ui h-Aengusa). Irish, Hornpipe. G Major. Standard tuning. AABB. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 308, pg. 153. O'Neill (Dance Music of Ireland: 1001 Fiddle Tunes), 1907/1986; No. 813, pg. 141. Shanachie 14001, "The Early Recordings of Angus Chisholm."

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:Hennessey’s Hornpipe

L:1/8

M:C|

R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 813

Z:AK/Fiddler’s Companion

K:G

D2|GABc dBGB|g2 fg edBA|GABc dedc|BGAF GFED|

GABc dBGB|g2 fg edBA|dedc BGAF|G2GG G2:|

|:Bc|d^cde gB (3BBB|g2 ag fddd|gfed eB (3BBB|eddd d2 ef|

gedc BAGB|ABAG FGAB|dedc BGAF|G2 GG G2:||

                       

HENNESSY’S POLKA.  AKA and see “The New Roundabout.”

                       

HENNESSY’S (REEL). AKA and see “The Phoenix Reel.” Arcady – “After the Ball.”

                       

HENNIGAN’S FAVOURITE. Irish, Jig. A Major. Standard. AABBCC. Source O’Leary always paired this jig with “Tom Billy Murphy’s,” with “Jack Sweeney’s” sometimes added as a third tune in the medley. See also the related “Éireann go Brách.” Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border), who had the tune from a Co. Mayo accordion player by the name of Jim Hennigan around 1945-46 when they worked in the bogs of Kildare together [Moylan]. Moylan (Johnny O’Leary), 1994; No. 181, pgs. 104-105.

                       

HENRIETTA HORNPIPE. American, Hornpipe. F Major (Cole, Ryan): G Major (Miller). Standard. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 104. Miller (Fiddler’s Throne), 2004; No. 288, pg. 172. Ryan’s Mammoth Collection, 1883; pg. 139.

X:1

T:Henrietta Hornpipe

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:F

.c.c A/c/f/a/ | .g.g g>e | f/e/d/c/ =B/c/d/e/ | {g}f/e/f/g/ a2 | .c.c A/c/f/a/ | .g.g g>e |

f/e/d/c/ =B/c/d/e/ | faf :: c | .f/(c/=B/c/) .A/(c/B/c/) | .d/(_B/A/B/).G/(B/A/B/) |

A/c/f/e/ d/f/b/a/ | g/f/e/d/ .cd/e/ | .f(c/=B/c/) .A(c/B/c/) | .d(_B/A/B/) .G/(B/A/B/) |

A/c/f/a/ g/b/e/g/ | fff :||

 

HENRIETTE, LA.  French, Country Dance (6/8 time). D Major. Standard tuning. AABB. From the contradance book (tunes with dance instructions) of Robert Daubat (who styled himself Robert d’Aubat de Saint-Flour), born in Saint-Flour, Cantal, France, in 1714, dying in Gent, Belgium, in 1782. According to Belgian fiddler Luc De Cat, at the time of the publication of his collection (1757) Daubat was a dancing master in Gent and taught at several schools and theaters.  He also was the leader of a choir and was a violin player in a theater. Mr. De Cat identifies a list of subscribers of the original publication, numbering 132 individuals, of the higher level of society and the nobility, but also including musicians and dance-masters (including the ballet-master from the Italian opera in London). Many of the tunes are written with parts for various instruments, and include a numbered bass. Daubat (Cent Contredanses en Rond), 1757; No. 13.

X:1

T:Henriette, La

M:6/8

L:1/8

S:Daubat – Cent Contredanses en Rond (1757), No. 13

Z:AK/Fiddler’s Companion

K:D

(D/E/) | FED AGF | {e}d3 B3 | AGF E2D | CDE A,2 (D/E/) | FED AGF |

{e}d3f3 | (c/d/ec) (B/c/dB) | A3A3 :: A/B/ | cBA {b}a2A | cBA {b}a2A |

cBA fga | f3 e2 D/E/ | FED A2F | GFE e2g | fed e3 | d3d3 :|

                       

HENRY BEAG. Canadian, Pipe March (2/4 time). Canada, Nova Scotia. A Mixolydian.  Standard tuning. AABB’. Composed by Arthur Severance in honor of his father, “Little” (in Gaelic, Beag) Henry Severance. Shears (Gathering of the Clans Collection, vol. 1), 1986; pg. 32.

                       

HENRY DOOGAN'S JIG. AKA and see "An Mhuc o Ath Eascrach,” “Pig from Ahascragh.”

           

HENRY GARDINER’S.  English, Waltz. A Major. Standard tuning. AABBCC. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 132, pg. 33.

           

HENRY MACDERMOTT ROE [1]. AKA ‑ "Sir Henry MacDermott Roe." Irish, Planxty (6/8 or 6/4 time). G Major. Standard tuning. AB (Complete Collection): AABB (Joyce). Composed by blind Irish harper Turlough O'Carolan (1670-1738). Complete Collection of Carolan's Irish Tunes, 1984; No. 78, pg. 66. Joyce (Old Irish Folk Music and Song), 1909; No. 537, pgs. 287‑288 (appears as "Sir Henry MacDermott Roe").

 

HENRY MACDERMOTT ROE [2]. Irish, Planxty. G Dorian. Standard tuning. AABB. Composed by blind Irish harper Turlough O'Carolan (1670-1738). Complete Collection of Carolan's Irish Tunes, 1984; No. 79, pg. 66.

 

HENRY MACDERMOTT ROE [3]. Irish, Planxty. C Major. Standard tuning. AB. Composed by blind Irish harper Turlough O'Carolan (1670-1738). Complete Collection of Carolan's Irish Tunes, 1984; No. 80, pg. 67.

                       

HENRY REED'S WALTZ. American, Waltz. C Major. Standard tuning. AA'AA"BB'BB'. The title refers to southwest Virginia fiddler Henry Reed, from whom much traditional material was collected in the mid-20th century. Source for notated version: Alan Jabbour with the Hollow Rock String Band (N.C.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 266.

                       

HENRY RICHMOND. Old-Time, Breakdown. Similar to the tune “Jim Shank(s),” from the playing of Bruce Greene.

           

HENRY STABLES’ ‘GRAND HORNPIPE’. English, Hornpipe. From the manuscript collection of Cumbrian musician Henry Stables.

                                   

HENRY THE SAILOR BOY. AKA and see "The River Roe."

           

HENRY’S HORNPIPE.  English, Country Dance Tune (3/2 time). D Minor. Standard tuning. AB. A modern tune composed by Jonathan Jensen. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 58.

           

HENRY’S SCOTCH REEL. AKA and see “Master Henry’s Reel.” Scottish, Reel. G Major. Standard tuning. AABB. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 61, pg. 17.

 

HEN’S CONCERT, THE. See “Hen’s March to the Midden.” Irish, Air (4/4 time). D Major. Standard tuning. AABB. O’Farrell (Pocket Companion, vol. 1), c. 1805; pg. 42.

X:1

T:Hen’s Concert

M:C

L:1/8

R:Air

S:O’Farrell – Pocket Companion, vol. 1 (c. 1805)

Z:AK/Fiddler’s Companion

K:D

A | d4 A3G | FEFG A3d | BdBd g2f2 | edef e2A2 | d4 A3G | FEFG A3d |

Bcde fgab | f2e2d2 :: .A2 .A.A .A2.A2 | .A2 .Ad e2f2 | .A2 .A.A A2A2 |

A2 Af e2f2 | d2dd d2d2 | d2 dg f2a2 | d2 dd d2d2 | d2 dg f2a2 | agfa gfeg |

f2 ge dcBA | defg a2 ba/g/ | f2e2d2 :|

 

HEN'S MARCH [1], THE. AKA and see "Hen's March to the Midden."

 

HEN’S MARCH [2], THE.  Scottish, Pipe Jig. Composed by piper Donald MacLeod (Lewis), Pipe Major of the Seaforth Highlanders. MacLeod was driving near Arderseir and hit a hen; the fowl was stunned, not killed, and its peculiar gait after the accident inspired the tune. Wildcat Records WILDCD 101, Ronan Martin – “Ronan Martin” (2008).

                       


HEN'S MARCH TO/O'ER THE MIDDEN, THE. AKA and see "The Cackling of the Hens,” “The Duck’s in the Midden,” “The Hen’s Concert,” "Hen's March," “Major Hen’s March.” Shetland, English, Irish, Scottish (originally); March or Novelty Tune (4/4 time). Ireland, northern Ireland. D Major. Standard tuning. AB (Hunter): AAB (Cooke): ABB (Alburger, Phillips): AABB (Johnson): AABB' (Martin). Hunter (1988) says it is "undoubtedly one of the most popular pieces in the fiddler's 'entertainment repertoire.'" The 'B' part attempts to musically describe chicken clucks. Alburger and David Johnson's versions are set for two violins and continuo, and are from the earliest Scottish collection‑‑Robert Bremner's (c. 1713‑1789) Collection of Airs and Marches (c. 1756‑1761, pg. 64). Johnson (1983) states that Bremner may have either composed it or arranged it, though Purser (1992) thinks it probably was the work of James Oswald. It was known to almost every Scots fiddler in the 18th century (Johnson). Alburger also suggests that the idea for the tune "may have come from a brief motif called "The Hen's March, or Farmyard" form the pantomime Fortunatus, performed at Drury Lane in London in 1753, and published by Oswald" (Alburger, 1983). Johnson (1983) places Bremner's composition in context, for there was a general vogue for interpreting bird calls in European music in the 18th century; also, the first several bars of the tune are typical of trumpet marches that were then currently popular in London. If he was influenced by the pantomime Forunatas, whose "Hen's March" was admittedly similar to his tune, then Johnson gives him credit for fashioning the definitive form in Scotland.

***

Cooke claims the tune, while of British origins, survived in Shetland in near original form and was reintroduced to the Scottish mainland "as much by the playing of Tom Anderson as by anyone else. His setting is close to that published by Walsh in his Third Book ({1730}, p. 19, where it is called 'The Cackling of the Hens'), though not as close as another variant recorded by Tom Anderson from Miss Jean Pole" (Cooke, 1986). In Ireland the tune appears in O’Farrell’s Pocket Companion for the Uilleann or Union Pipes, c. 1811-1816 as “The Hen’s Concert.” Paul Wells finds the tune in the United States in a music manuscript from New England, c. 1823, under the title “Cacklin’ Hen,” in an 1834 flute tutor published in Albany as “Major Hen’s March,” and in a guitar tutor of 1863 by the 19th century publisher Elias Howe of Boston as “The Hen’s March.” Sources for notated versions: Dave Swarbrick (England) [Phillips], Jean Pole (Mainland, Shetland) [Cooke]. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 33, pgs. 56‑58 (appears as "The Hen's March"). Bruce & Stokoe (Northumbrian Minstrelsy), 1882. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex. 40, pg. 93. Johnson (Scottish Fiddle Music in the 18th Century), 1983; No. 88, pgs. 236‑237. Martin (Ceol na Fidhle), vol. 1, 1991; pg. 36. Phillips (Fiddlecase Tunebook: British Isles), 1989; pg. 26. Polydor Special 236‑514, Dave Swarbrick.

X:1

T:Hen’s March, The

L:1/8

M:2/4

S:Bruce & Stokoe – Northumbrian Minstrelsy  (1882)

Z:AK/Fiddler’s Companion

K:G

G|c>de>f|g>fe>d|c>d c/d/e|G2G2|c>de>f|g>fe>f|g>fe>f|g2 g>g|

g>fe>g|f>ed>f|e>d c/d/e|G2G2|c>Bc>d|efgf|edcB|c3:|

|:G|Gccc|cccc|cccc|cceg|Gccc|cccc|cccc|cceg|cceg|cceg|

c/d/c/d/ c/d/c/d|c/d/c/d/ eg|c/d/c/d/ c/d/c/d/ c/d/c/d eg|c/d/c/d/ eg c/d/c/d/ eg|

g>fe>g|f>ed>f|e>d c/d/e|G2G2|c>Bcd|efgf|edcB|c3:|

                       

HER ABSENCE WILL NOT ALTER ME.  Scottish, Slow Air (cut time). G Major. Standard tuning. AABB. McGibbon (Scots Tunes, Book 1), c. 1746; pg. 4.

X:1

T:Her absence will not alter me

M:C|

L:1/8

R:Air

N:”Slow”

S:McGibbon – Scots Tunes, Book 1, pg. 4 (c. 1746)

Z:AK/Fiddler’s Companion

K:G

GA | B2 (AG) G3e | (d<B)”tr”(AG) E2 (DE) | (GA)(Bc) (d>eg)G | E2 (G>A)G2 :|

|: (gf) | “tr”e3d (ef)(ga) | (ba)(ge) d3d | (g>ab)a (ba)(ge) | g2 d>e d2 (ga) | (ba)(ge) “tr”g3e |

(dB)(AG) E2 (DE) | G>AB>c d>egG | E2 (G>A) G2 :|

 

HER BLUE EYES THEY GLEAM AND THEY TWINKLE. AKA and see "Moll Roe (in the Morning)," "Mall Rua," "Moll Roe on the top of the castle," "Ditherum Doodle," "Come under my Dimity," "Late on a Saturday Night," "The Night of Fun [3]," "Though Late was I Plump," "Munsterman's Flattery," "I'll take a glass with a friend," "One Bumper at Parting," "Jig an da Thuistiun."

                       

HER BLUSHING CHEEK (A Gruaid Adantact). Irish, Air (4/4 time). A Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 602, pg. 106.

X:1

T:Her Blushing Cheek

M:C

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 602

Z:AK/Fiddler’s Companion

K:A

E|A>BAF AEEF|AB{B}AF {F}E3E|F>BBc dfed|cAB>A A3||

E|AAce AA c/d/e|A>B c/B/A/G/ F3E|FBBc dfe>d|c>A c/B/A/G/ A2 z||

                       

HER DADDIE FORBAT AND HER MINNIE FORBAD. AKA and see "Cock o' the North [1]," "Jumping John," "Jumping Joan."

                       

HER GOLDEN HAIR WAS CURLING DOWN. AKA – “Her Lovely Hair was Curling Down.” AKA and see “By the Old Fairy Fort.” Irish, Hornpipe. D Major. Standard tuning. AABB. The tune was recorded under this title by John Brosnan, apparently obtained from Sliabh Luachra fiddle master Pádraig O’Keeffe, with whom the melody is associated. It is a different tune from Junior Crehan’s similarly titled “Her Golden Hair Hanging Down Her Back,” however, the first part of the melody (as Paul de Grae points out) is clearly based on the music hall song “And Her Golden Hair Was Hanging Down Her Back” (see note for that tune for more). The second part is different. The alternate title “By the Old Fairy Fort” is from a recording by Jackie Daly. Source for notated version: from a manuscript written down by influential Kerry fiddler and teacher Pádraig O’Keeffe [Breathnach]. Breathnach (CRÉ V), 1999; No. 214, pg. 104. Reedblock Records JBCD 01, John Brosnan – “The Cook in the Kitchen.” 

X:1

T:Her golden hair hung down in ringlets

T:Her golden hair was curling down

T:Her lovely hair was curling down

T:By the Old Fairy Fort

D:Connie O'Connell, Ceol Chill na Martra

D:Jackie Daly, Domhnach is Da/lach

D:John Brosnan, The Cook in the Kitchen

R:hornpipe

M:4/4

L:1/8

K:D

(3ABc|dfde BAFA|dfed B2 de|fAdf edBd|~e2 df edBA|

~d3 A BAFA|dfed B2 de|faaf edBA|~d2 dc d2:|:dB|

ABde ~f3 e|dedB ADFA|~G3 A Bdef|e2 df edBA|

dfed BAFA|dfed B2 de|faaf edBA|~d2 dc d2:||

                       

HER GOLDEN HAIR (WAS) HANGING DOWN HER BACK [1]. AKA - “Her Long Dark Hair was Flowing Down Her Back,” “Her Golden Hair Hung Down Her Back.” Irish, Hornpipe. A Dorian. Standard tuning. Composed by the late fiddler Martin "Junior" Crehan (b. 1908), from Ballynakea, near Quilty, Co. Clare. ACM Records, Mick O’Brien - “May Morning Dew.” Green Linnet SIF 1157, “John Williams.”

X:1

T:Her Long Black Hair Flowing down her Back

T:Her Golden Hair Hanging Down Her Back

C:Junior Crehan

S:Mick O'Brien

M:C|

L:1/8

K:AMin

cd|edce d2cA|GE~E2 G2cd|edce d2cd|eaag a2gf|\

edce d2cA|GE~E2 GAcd|edcA dcAG|A2AG A2::cd|\

egg^f gede|cAAB ~c3d|eaag a2gf|edce d2cd|\

egg^f gede|cAAB ~c3d|edcA dcAG|A2AG A2:|

                                      

HER GOLDEN HAIR (WAS HANGING DOWN HER BACK) [2]. AKA -- "And Her Golden Hair Was Hanging Down Her Back." English, Music Hall Song. A Major. Standard tuning. AB. British music hall tune which may or may not have been associated with the Abbots Bromley (Staffordshire) horn dance (see note for "Bobby Shaftoe") {Bullen}. Bullen, Andrew, Country Dance and Song, May 1987, vol. 17, pg. 12.

X:1

T:And Her Golden Hair Was Hanging Down Her Back

M:C

L:1/8

N:”Moderato”

N:As sung by Alice Lamar and Sir Seymour Hicks

C:Felix McGlennon

K:A

EE | AG BA FE CE | AG BA F2 AB | c>E A>c B>A FE> | (A4 A)z EE |

AG BA FE CE | AG BA F2 AB | c>E A>c B>A F>E | (A4A)z cc |

AG Gc cG AG | FC DC F2 AA | AG Gc cG AG | FG AB G2 AA |

AG Gc cG AG | FC DC F2 AB | c>E A>c B>A F>E | (A4 A)z || E |

A4c4 | B>G A>F E4 | C>E ^D>E F>E B>A | (G4G)z F>G |

A2 G>A F4 | A2G2F2 A>B | c>E A>c B>A F>G | (A4A) z ||

                       


HER MANTLE SO GREEN. AKA and see “George Reilly,” “The Plains of Waterloo [2],” “Young Willie of Famed Waterloo.” Irish, Slow Air. This melody is published in Colm O’Lochlainn’s Irish Street Ballads (No. 7), and was taken from early twentieth century broadsides. The ballad tells of a young woman visited in the meadows by a young man; he  tests her to see if her love is true; she passes, having remained faithful to her William Reilly, whom she believed killed at the battle of Waterloo. He reveals himself and they are wed. A similar situation occurs in Homer’s Odyssey, when Ulysses returns home after his voyages of twenty years. The melody also belongs to the 18th century song “George Reilly.”

***

When I was a-roving one morning in spring,

To view the sweet flowers and the meadows so queen,

I met a young damsel, she appeared like a queen

With her costly fine robes and her mantle so green.

***

Cló Iar-Chonnachta CICD 167, Peter Horan & Gerry Harrington – “The Merry Love to Play” (2007. Learned from the playing of Cork accordion player Jackie Daly and Séamus Creagh). Green Linnet GLCD 1151, Seamus McGuire - “The Wishing Tree” (1995).

                       

HER SHEEP ALL IN CLUSTERS.  See “Sheep all in Clusters.”

 

HER SKIN IS LIKE THE LILY. Irish, Air (4/4 time). Ireland, County Tyrone. G Minor. Standard tuning. One part. Source for notated version: “From Rev. James Mease, learned in Tyrone” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 820, pg. 205.

X:1

T:Her skin is like the lily
M:C

L:1/8

R:Air

N:”Andante”

S:Stanford/Petrie (1905), No. 820

Z:AK/Fiddler’s Companion

K:Gmin

D | G2B2 A3G | G2^F2 z2D2 | B4 c2B2 | A6D2 | D4 d2d2 | d2c2B2A2 |

(G2^F2) (G2A2) | B6d2 | f4 f2f2 | B2A2 z2A2 | d4 B2G2 |

^F4G2A2 | B4 c2d2 | e2d2 z2 c/d/e | d2B2A2G2 | G6 ||

           

HERALD, THE.  American, Air or March (4/4 time). The melody, composed by Martin Madan, appears in the key of E Flat Major in The Bridgewater Collection of Sacred Music (Boston, 1812). Miller (Fiddler’s Throne), 2004; No. 341, pg. 200.

           

HERBERT SMITH’S FOUR HAND REEL.  English, Reel. G Major. Standard tuning. AABB. There is an irregular measure at the end of the ‘A’ part, when not played  for dancing.

X: 1
T:Herbert Smiths' Four Hand Reel
N:(Miss out the 2/4 bar when playing for dancing)
M:4/4
L:1/4
K:G
|:gfed|cBAG|G/A/B/c/ dB|(3B/c/B/ A A3/4d/4|
gfed|cBAG|G/A/B/c/ db|agag|M:2/4 g8:|!
M:4/4
|:BB/B/BB|c/B/A/G/ B2|BB/B/BB|A/G/F/E/ D2|
BB/B/BB|c/B/A/G/ B2|Bc/B/AB/A/|G2G2:|

 

HERBERT SMITH’S POLKA.  English, Polka. G Major (‘A’ and ‘C’ parts): D Major (‘B’ part). Standard tuning. AA’BB’CC’. Barry Callaghan (2007) notes: “This tune has become somewhat obscured since the recording by The Old Swan Band in 1978 where it is combined with one part of ‘Dan Leno’s’, and the ‘A’ music was subsequently printed as the ‘B’ music to that, with ‘B’ and ‘C’ getting lost.” Source for notated version: a 1952 BBC recording of blacksmith and fiddler Herbert Smith (Blakeney, Norfolk) [Callaghan]. Callaghan (Hardcore English), 2007; pg. 67. Topic 12TS274, Bob Davenport – “Down the Long Road” (1975). Topic TSCD752, Webb’s Wonders – “Stepping Up” (2004. Compilation CD).

 

HERD, THE.  American, Reel. C Major. Standard tuning. AABB. The melody appears in George P. Knauff's Virginia Reels, volume II (Baltimore, 1839).

X:1

T:Herd, The

M:2/4

L:1/8

R:reel

B:George P. Knauff – Virginia Reels, vol. II (Baltimore, 1839)

Z:AK/Fiddler’s Companion

K:C

CC (C/E/G/B/)|(c/G/E/G/) (c/G/E/G/)|DD (D/^F/A/^c/)|(d/A/^F/A/) (B/A/F/A/)|CC (C/E/G/B/)|

c/G/E/G/ cB/A/|Gg (e/d/c/A/)|(G/c/c/d/) cc::(e/c/a/g/) (e/c/a/g/)|(e/f/g/a/) g d/c/|

(B/G/d/c/) (B/G/d/c/)|(B/c/d/e/) (da/g/)|(e/c/g/c/) (a/c/g/c/)|(e/f/g/a/) gg|Af (e/d/c/B)|(G/c/c/d/) cc:||

 

HERD ON THE HILL. English, Reel. England, Northumberland. Composed by Tom Clough.

X:1

T:Herd on the Hill

M:C|

L:1/8

K:G

B/c/ | dg Bg dg GA/B/ | cf Af cf A B/c/ |

                       

HERE AND THERE [1]. American, Hornpipe. A Major. Standard tuning. AABB. The composition is credited to one J.A. Brown, according to Ryan's Mammoth Collection (1883), and it is possible the attribution refers to black-face minstrel Joe Brown (1830-1883). Edward Le Roy Rice, in his book Monarchs of Minstrelsy (New York, 1911), has this entry:

***

JOE BROWN, one of the world’s greatest jig dancers, made his first appearance at

Albany, N.Y., in 1844. His first New York engagement was in the fall of 1852; August

3, 1857, he opened with “Christy’s Minstrels in London, England, remaining with them

until about 1860, when he joined Nish’s “Christy” Minstrels, opening in Cape Town,

South Africa, August 20, 1862. Prior to the opening he and the company were

shipwrecked, losing everything except for his clothes; a handsome silver belt he won

from Dick Sliter in 1856 was amongst the things lost. Returning to England in 1863, he

organized Joe Brown’s “Christy” Minstrels, visiting Egypt and India; returning to London,

opened at St. James Hall, June 11, 1866. In 1868 he paid a brief visit to the United States,

then returned to England. Joe Brown was born in Buffalo, N.Y., January 20, 1830; he

died in Glasgow, Scotland, October 25, 1883. (pg. 74).

***

Cole (1000 Fiddle Tunes), 1940; pg. 87. Ryan’s Mammoth Collection, 1883; pg. 121. Condor 977‑1489, "Graham & Eleanor Townsend Live at Barre, Vermont."

X:1

T:Here and There [1]

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:A

E | A/E/A/c/ B/G/B/d/ | c/A/c/d/ e/a/e/c/ | d/c/B/d/ c/B/A/c/ | B/A/G/A/ B/G/E/G/ |

A/E/A/c/ B/G/B/d/ | c/A/c/d/ e/a/e/c/ | d/c/B/d/ c/B/A/c/ | B/A/G/B/ A :|

|: c/d/ | e/c/A/c/ e/c/a/g/ | {g}f/e/f/g/ .f(B/c/) | d/B/G/B/ d/B/g/f/ | {f}e/^d/e/f/ .e.E |

A/E/A/c/ B/G/B/d/ | c/A/c/d/ e/a/e/c/ | d/c/B/d/ c/B/A/c/ | B/A/G/B/ A :|

 

HERE AND THERE [2]. AKA and see “Coming Down From Denver.” American, Breakdown. A Major. Standard tuning. AABB. Some similarity to the "Here and There" [1] hornpipe, though, if it was once cognate, it is now a different tune. Source for notated version: Tommy Jackson [Phillips]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 111.

                       

HERE AWA’. AKA and see “Blue Bonnets [2],” “Frank Roche’s Favorite,” “John Roche’s Favorite,” “Lady Ann Hope [1],” “Tiger Hornpipe,” “Woodford Fling [1].” Irish, Scottish; Fling. Breathnach (CRÉ V), 1999; No. 211. Ryan’s Mammoth Collection, 1883; pg. 170.

                       

HERE COMES A YOUNG MAN. Canadian. In the repertoire of Native American Mi’kmaq fiddler Lee Cremo (1939-1999), from Cape Breton.

                       

HERE COMES JACK WITH A FIDDLE ON HIS BACK. AKA and see “Jaybird Died of the Whooping Cough.” Old-Time, Breakdown. D Major. Standard tuning. AABB. These words were probably sung to the ‘B’ part of the tune:

***

Here comes Jack with a fiddle on his back;

Inquirin' his way to the frolic.

***

Titon (2001) says the tune is a local south-central Kentucky tune. Source for notated version: Bruce Green [Phillips]; Sammie Walker (Nabob, Metcalfe County, Ky.) [Titon]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 111. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 59, pg. 90 (appears as “Here Come Jack with a Fiddle on His Back, Going to the Frolic”).

           

HERE WE COME A WASSAILING.  English, Air.

X:1
T:Here We Come A-Wazlin'
O:George Dunn
A:Black Country UK
Z:John Adams - Ryburn 3 Step
D:In Paper Houses - Pete Coe - BASHCD53
D:George Dunn - Trailer LEE4042
L:1/8
M:4/4
K:D
D2 D2 D2 D2 | D4 A,2 A,2| D2 D2 E2 E2 | F8| F2F2F2F2|F4E2F2|A2G2F2E2|F8||
F2F2E2F2|G4G4|E2E2D2E2|F4F4|D4 A,2A,2|B,4G2G2|F2E2D2C2|D6A2||
A3GF2G2|A6A2|A3GF2G2|A8|D4 A,2A,2|B,4G2G2|F2E2D2C2|D8||

           

HERE WE GO UP, (UP, UP). AKA and see “Mad Moll [1],” "Up and Down Again."

                       

HEREDITARY HALL OF MACLEOD, THE (An tall'am by gna do Mhac Leoid). Scottish, Slow Air (3/4 time). F Major. Standard tuning. ABCD. This tune "is a well known composition of the celebrated female bard, of the laird of Macleod, but often sung to an imperfect melody. The real air is given in this work as sung by Culduthel" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 37, pg. 13.

X:1

T:Hereditary Hall of Macleod, The

T:An tall’am bu gnà do Mhac Leoid

M:3/4

L:1/8

R:Slow Air

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:F

f>d|c2A2G2|F2 Dz F>D|C2 F2 A2|c2 Az c>d|f2 a2 f>d|c2 A2 G2|F3 z f>d|

c2 A2 G2|F2 Dz F>D|C2 F2 A2|c2 Az c>d|f2 a2 f>d|c2 A2 G2|F3z||c>d|

f2a2 a>g|f2 d2 d2|c3 z||c>d|f2 a2 a>g|f2 dz f>d|c2 A2 G2|F2 Cz c>d|f2 a2 f>d|

c2A2G2|F3 z c>d|f2 a2 a>g|f2 dz f>d|c2 A2 G2|F2 Cz c>d|f2 a2 f>d|c2 A2 G2|

F3 z||c>d|f2 a2 a>g|f2 d2 d2|c3z||

                       


HEREFORDSHIRE LASSES. English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABA. Herefordshire is a southern county in England near the border with Wales. Hereford is an Anglo-Saxon name meaning “army ford” and referring to a crossing place on the Severn river that was apparently quite important during times of conflict (Matthews, 1972). The air is from Longman, Lukey & Broderip’s 1776 publication Bride’s Favorite Collection of Two Hundred Select Country Dances, Cotillons (London, pg. 58).  The Herefordshire Lasses is also the name of a country dance. Kidson (Old English Country Dances), 1890; pg. 9. Fledgling Records, John Kirkpatrick – “The Duck Race: Morris Dance Tunes from Shropshire” (2004).

X:1

T:Herefordshire Lasses, The

M:2/4

L:1/8

S:Frank Kidson – Old English Country Dances (1890)

Z:AK/Fiddler’s Companion

K:G

GB/d/ c/A/F/D/|G/B/d/g/ dc/B/|c/e/A/c/ B/d/G/B/|A/c/F/A/ GG,:|

|:dB/c/ dB/c/|d/g/f/e/ ed|gg/e/ ff/d/|e/g/e/^c/ dD|G B/d/ c/A/F/D/|

G/B/d/g/ dc/B/|c/e/A/c/ B/d/G/B/|A/c/A/F/ G2:|

                       

HERE'S A HEALTH TO ALL HONEST MEN. English, Air (6/8 time). E Minor. Standard tuning. AAB. The tune appears in Playford's Dancing Master (1718 and 1728), Watts' Musical Miscellany (1730), The Convivial Songster (1782), and the ballad opera of The Jovial Crew.

***

Many years may he rule o’er this land,

And his laurels for ever fresh spring,

Ev’ry man take his glass in his hand,

And drink to the health of our King.

Let wrangling and jangling straigh-way cease,

Let ev’re man strive for his Country’s peace,

Neither Tory nor Whig,

With your parties look big

Here’s a health to all honest men.

***

Chappell (Popular Music of the Olden Time), vol. 2, 1859; pgs. 107‑108.

X:1

T:Here’s a Health to All Honest Men

M:6/8

L:1/8

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

Z:AK/Fiddler’s Companion

K:E Minor

E/F/|G>FE Ee^d|(e3 e2) d/c/|B>AG FGE|(B3 B2):|B|B>AG G2B|d2D D2F|

G>FE E2G|B2B, B,2 G/F/|E>FG ^C2 A/G/|F>GA ^D2 e/^d/|e2B G>FE|(E3 E2)||

                       

HERE'S A HEALTH TO OUR LEADER. AKA and see "The Fearless Boys," "Our President," "Christmas Eve [1]," "(My) Ain Kind Dearie (O)." Irish, Air and March (4/4 time). G Major. Standard tuning. AB. "I heard this tune played on the Highland pipes by Lewis O'Brien when I was very young. It was on a Sunday, when good old Dr. Ryan, bishop of Limerick (who Confirmed me), was coming to administer Confirmation. The parishioners, led by their saintly and active parish priest, Father Darby Buckley, met his in a body at the bridge of Barrabunoky, with Lewis O'Brien at the head of the procession, playing all the time, with the grand blue ribbons flying from the tops of the pipes overhead. And in this manner we escorted the Bishop in honour and glory to the chapel" (Joyce)./ The melody dates back to the 1760's or earlier, according to Glen.  Source for notated version: "Lewis O'Brien of Coolfree, Co. Limerick: 1845" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 175, pg. 88.

X:1

T:Here’s a health to our leader

M:C

L:1/8

R:Air and March

N:”Mod.: time well marked”

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

Z:AK/Fiddler’s Companion

K:G

B>A|GBD>D DE|G>EFA G2 EG|AGAB cBAG|GBE>E E>cBA|GBD>D D2 DE|

G>EGA G2g2|edef gedc|BdG>G G2||GA/B/|cBcd e2 A>c|BABc d2 G>B|AGAB cBAG|

GBE>E E>cBA|GBD>D D2 DE|G>EGA G2g2|edef gedc|BdG>G G2||

                       

HERE’S A HEALTH TO THE YOUNG MAN, RUNS MOST IN MY MIND. Irish, Air (3/4 time). F Major. Standard tuning. AB. Source for notated version: P. McDowell, W. Forde and J.E. Pigott (Stanford/Petrie). Stanford/Petrie (Complete Collection), 1905; No. 315, pg. 78.

                       

HERE'S A HEALTH TO THEM THAT'S AWA'. AKA and see "Good Health to Our Friends Far Away." Scottish, "Very Slow" Air (3/8 time). D Major. Standard tuning. AABB. The first part of this tune is the second of "Kenmuir's Up and Awa." Carlin (The Gow Collection), 1986; No. 544. Gow (Complete Repository), Part 3, 1806; pg. 14. Johnson (Scots Musical Museum), vol. 5, No. 412. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 213. Smith (Scottish Minstrel), vol. 2, pg. 13.

X:1

T:Here’s a Health to them that’s awa’

M:3/8

L:1/8

R:Slow Air

S:Gow – 3rd Repository  (1806)

Z:AK/Fiddler’s Companion

K:D

z|f2 e|d2 A|B>AF|A3|f2 e|d2 A|(Bg)f|{f}e3|f2 e|d2 A|B>cd|{d}cBA|

{c}d2 A/G/|F>DF|(EC)E|D3|(F<A):|

|:D|A2 A/A/|B>AF|(A3|A2) D/D/|A2 A/A/|(Bg)f|(f3|e2) D/D/|A2 A/A/|

(Bc)d|{d}c>BA|{c}d2 A/G/|F>DF|(EC)E|D3|(F>A):|

 

HERE'S A HEALTH UNTO HIS MAJESTY. English, Air (4/4 time). G Major. Standard tuning. AB. Chappell records that this tune was very popular in the reign of Charles II, at least with those Cavaliers loyal to the King, and that it is twice mentioned in the plays of Shadwell ("The Miser" {1672} and "Epsom Wells" {1673}). The air appears in Playford's Musical Companion of 1667, 1672, and later editions, and as a three part song by Jeremiah Savile in The Musical Companion. Chappell (Popular Music of the Olden Times), vol. 2, 1859; pgs. 18‑19.

 


HERE'S GOOD HEALTH TO THE PIPER (Seo Slainte Do'n Piobaire). AKA and see “Piper’s Fancy [2],” “Piper’s Maggot.” Irish, Slip Jig. A Mixolydian. Standard tuning. AABB. Source for notated version: fiddler Danny O’Donnell (County Donegal) [Feldman & O’Doherty]. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 185 (appears as “Untitled Slip jig”). O'Neill (Krassen), 1976; pg. 84. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 1150, pg. 217.

X:1

T:Here’s Good Health to the Piper

M:9/8

L:1/8

R:Slip Jig

S:O’Neill – Music of Ireland (1903), No. 1150

Z:AK/Fiddler’s Companion

K:A

c2A AcA ecA | ede acA e2d | c2A AcA ecA | BGB gdB d2e :|

|: c2a aec aed | c2a aec e2d | c2a aec aec | BGB gdB d2e :|

                       


HERE'S THE CUTTER COMING WITH A LOUSY CREW. 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. It is perhaps the same as "Here's the Tender Coming."

                       

HERE'S THE TENDER COMING. English, Air (9/8 time). England, Northumberland. F Major. Standard tuning. AB.

***

Here's the tender coming, Pressing all the men,

Oh! dear hinny, What shall we do then?

Here's the tender coming, Off at Shields Bar,

Here's the tender coming, Full of men o' war.

***

The song refers to a press gang; see note for "Captain Bover." Bruce & Stokoe

(Northumbrian Minstrelsy), 1882; pg. 126.

X:1

T:Here’s the Tender Coming

M:9/8

L:1/8

S:Bruce & Stokoe – Northumbrian Minstrelsy  (1882)

Z:AK/Fiddler’s Companion

K:F

c2c A2c F2G|A2d d2A c3|c3 (A2G) F2G|A2c d2A G3||F2e f2f e2c|

f2d (c2A) c3|F2A f2f e2c|f2d c2A G3||

                       

HERE'S TO ALL AROUND ARDMILLAN. Scottish, Jig. G Major. Standard tuning. AB. Composed by J. Warden. Gatherer (Gatherer’s Musical Museum), 1987; pg. 15. Hamilton's Universal Tunebook (Glasgow), 1844.

X:1
T:Here's to All Around Ardmillan
C:J Warden
B:Gatherer's Musical Museum
N:orig. from Hamilton's Universal Tune Book
Z:Nigel Gatherer
M:6/8
L:1/8
K:G
E | DEG G2A | B2c BAG | DEG  G2A | B2e d2B  |
DEG G2A | B2c BAG | B>AG efg | dcB A2G ||

Bcd G2B | cde edc | Bcd  G2e | d2B A2G  |
Bcd G2d | efg e2d | gze  czB | BAG A2G |]

                       

HERE'S TO THE MAIDEN (OF BASHFUL FIFTEEN). English, Scottish; Country Dance Tune (6/8 time). D Major (Raven): G Major (Kerr, Sweet): F Major (Howe). Standard. One part (Howe): AB (Raven): AABB (Kerr, Sweet). The tune to a song by playwright and politician Richard Brinsley Sheridan (1751-1816), for his comedy The School for Scandal (1780). It begins:

***

Here’s to the maiden of bashful fifteen;

Here’s to the widow of fifty;

Here’s to the flaunting extravagant quean,

And here’s to the housewife that’s thrifty.

***

Cho.:

Let the toast pass,--

Drink to the lass,

I’ll warrant she’ll prove an excuse for the glass.  (x2)

***

The melody frequently appears in fife and drum repertoire. Howe (1000 Jigs and Reels), c. 1867; pg. 156. Kerr (Merry Melodies), vol. 3; No. 403, pg. 44. Raven (English Country Dance Tunes), 1984; pg. 121. Sweet (Fifer’s Delight), 1964/1981; pg. 38 (includes a harmony part). Empty Pockets Productions, Skip Healy – “Purgatory Chasm” (2000).  

X:1

T:Here’s to the Maiden (of Bashful Fifteen)

M:6/8

L:1/8

R:Jig

S:Howe – 1000 Jigs and Reels (c. 1867)

Z:AK/Fiddler’s Companion

K:F

FGF fef | dcd c2F | FGF fef | d3 czF | FGF fef | dcd c2 B/A/ | BeB AcA |

A2G F2z | ABc c2z | cBA G2F | ABc cdc | ABG F2z ||

X:2

T:Here’s To the Maiden

M:6/8

L:1/8

R:Jig

S:Kerr – Merry Melodies, vol. 3, No. 403  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

G | GAG gfg | ede d2B | GAG gfg | e3 d2B | GAG gfg | ede d2B |

cec BdB | A3 G2 :: c2 | Bcd d2d | dcB A2c | Bcd ded | cBA G2 :|

                       

HERLIHY’S RANT. Irish, Danny Meehan – “Navvy on the Shore.”

                       

HERMAN THE CARPENTER.  See “Hamish the Carpenter,” “Old Time Wedding Reel [2].”

                       

HERMAN’S HORNPIPE. Old-Time, Two-Step? D Major (‘A’ part) & A Major (‘B’ part). Standard tuning. ABB’ Source for notated version: Floyd Engstrom [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 62.

                       

HERMAN'S RAG. Old-Time, Country Rag. USA, Texas. C Major. Standard tuning. AABB'CC. Source for notated version: Benny Thomasson (Texas) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 63.

 

HERMES RÉHEL.  French-Canadian, In the repertoire of fiddler Yvon Mimeault (b. 1928, Mont-Louis, Gaspé). Fiddler Réhel (Brossard, Montréal area) was originally from the Gaspé and is a friend on Mimeault’s. Yvon Mimeault – “Y etait temps!/It’s About Time.”

                       

HERMIONE, THE. English, Country Dance Tune (cut time). A Major. Standard tuning. AABB. The melody is unique to London publisher Charles and Samuel Thompson’s 1765 country dance collection. Hermione was the daughter of the Greek king Menelaus and his wife Helen, later abducted or eloped to become the famous Helen of Troy. There were British navy ships called the Hermione (famously one whose crew bloodily mutinied), but not prior to 1782. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 140.

X:140

T:Hermione, The

M:C|

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:A

a2 ec a2 ec|fefg agfe|a2 ec a2 ec|faB^d e4:|

|:ecdf dBcd|cABc BG E2|a2 ec f2 ed|cABG A4:||

 

HERMIT OF KILLARNEY (Ditreabac Loca Lein). AKA and see “Adieu, Adieu Thou Faithless World,” "When War Was Heard." Irish, Air (4/4 time). G Major. Standard tuning. AABB. O’Farrell (National Irish Music for the Union Pipes), 1804; pg. 17. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 116, pg. 21.

X:1

T:Hermit of Killarney

M:C

L:1/8

R:Air

N:”Moderate”
S:O’Neill – Music of Ireland (1903), No. 116

Z:AK/Fiddler’s Companion

K:G

B/A/ | G>AGE D>EGA | BdBG A2 d/c/B/A/ | G>AGE D>EGA | B<d A>B G2 z :|

|: D | G>Bdd e>dBd | e>d c/B/A/G/ A2 d/c/B/A/ | G>AGE D>EGz/A/ | Bd A/G/A/B/ G3 :|

 

HERMITAGE, THE. English, Jig. England, Northumberland. C Major/G Mixolydian. Standard tuning. AABB. The title may reference one of several places. A hermitage may refer, of course, to the dwelling of a hermit or a religious man who secluded himself for various reasons. These sites often became sacred in later ages. A hermitage also refers to a small forest or wood in which specific species of trees are planted. Dunkeld Hermitage in Scotland, for example is primarily Scots pine. Finally, Hermitage Castle is in the Borders region of Scotland. Parts of the castle date to the 13th century, built for the Cacres family, although subsequently in the hands of the Douglas’s and the Earl of Bothwell. Mary Queen of Scots visited the 4th Earl of Bothwell, her future spouse, at the Hermitage and her ghost is said to still haunt the structure. The ghostly screams that can be heard from time to time are traditionally thought not to be Mary’s however, but rather are attributed to an earlier tenant of the castle who dabbled in witchcraft. Seattle (William Vickers), 1987, Part 2; No. 320.

 

HERMITAGE BRIDGE, THE.  Scottish, Slow Air (6/8 time). B Minor. Standard tuning. AABB’. Composed by renowned Perthshire fiddler-composer Niel Gow (1727-1807). The Hermitage Bridge is a stone span over the Braan in Dunkeld, Perthshire, Scotland, only a mile or so north of Gow’s home. Gow (Second Collection of Niel Gow’s Reels), 1788; pg. 24  (3rd ed.).

X:1

T:Hermitage Bridge, The

M6/8

L:1/8

R:Slow Air

C:Niel Gow (1727-1807)

B:Gow – 2nd Collection of Niel Gow’s Reels, 3rd ed., pg. 24  (orig. 1788)

Z:AK/Fiddler’s Companion

K:B Minor

B,|”tr”B.d/.c/.B/.^A “tr”B.c/.B/.^A/.F/|(EF).A “tr”B2d|(AB).d ({d/e/}f2)D|~FA)A [C2A2] d/c/|

“tr”Bd/c/B/^A/ “tr”Bc/B/^A/F/|(EF).A ~B2d|ABd ({d/e/}f2)E|(FB).B B2:|

|:d/e/|”tr”fg/f/e/d/ ef/e/d/B/|(AB).d ~e2f|{c}d2A “tr”(Bd)D|”tr”FAA A2 d/e/|1

“tr”fg/f/e/d/ ef/e/d/B/|ABd e2f|{c}d2A BeE|(FB).B B2:|2 “tr”f>ed {f}e>dB|ABd e2f|{c}d2A (Be)E|(FB).B B2||

 

HERNE BAY DANCE, THE. English, Country Dance Tune (2/4 time). G Major ('A' part) & D Major ('B' part). Standard tuning. AABB. The tune dates to 1836. Barnes (English Country Dance Tunes), 1986.

 

HERO, THE. AKA and see "Miss Brown's Reel," "Wagoner [1]." American, Reel. C Major. Standard tuning. AB. The melody, a precursor to the popular American melody "Wagoner," appears under this title in George P. Knauff's Virginia Reels, volume II (Baltimore, 1839).

X:1

T:Hero, The

M:2/4

L:1/8

R:Reel

S:Knauff – Virginia Reels (1839)

Z:AK/Fiddler’s Companion

K:C

CC C/E/G/B/ | c/G/E/G/ c/G/E/G/ | DD D/^F/A/^c/ | d/A/^F/A/ B/A/F/A/ | CC C/E/G/B/ |

c/G/E/G/ cB/A/ | Gg e/d/c/A/ | G/c/c/d/ cc || (e/c/)(a/g/) (e/c/)(a/g/) | e/f/g/a/ gd/c/ |

(B/G/)(d/c/) (B/G/)(d/c/) | (B/c/d/e/) da/g/ |e/c/g/c/ a/c/g/c/ | e/f/g/a/ gg | Af e/d/c/B/ | G/c/c/d/ cc ||

 


HERO NEVER DIES, A (Cha bhàs thig air Laoch ach cadal). Scottish, Slow Air (9/8 time). D Minor. Standard tuning. AABB. "To this air the editor's father sung Gaelic verses, by a Dr. Morison, from the Island of Lews, who was assistant surgeon of the old 78th, or Fraser Highlanders, and composed on the memorable event of General Wolfe's fall at Québec. If conversation at any time introduced the name of his lamented relative, Brigadier‑General Fraser, who also fell in battle at Saratoga, having served under both these heroes, he indiscriminately applied the words of this air to either. They appear to have spread no further than the circle of such of the officers as spoke Gaelic. Dr. Morison composed verses to many of the Highland melodies while on that expedition" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 185, pg. 76. Redwing Music RWMCD 5410, Abby Newton – “Castles, Kirks and Caves” (2001).

X:1

T:Hero Never Dies, A

T:Cha bhàs thig air Laoch ach cadal

M:9/8

L:1/8

R:Slow Air

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:D Minor

A,|D2E (F>A/G/F/) E<CE|D2E (F>EF) E2d|c>BA (G<A)F E<CE| D>EF (EA)[A,^C] D2:|

|:(A/=B/4^c/4)|d<Ad f>ed eA=B|c>d/(e/f/) gec c2 (f/e/)|d<Ad f>ed e<Ac|

A>GF GFE D2 (3A/=B/4^c/4)|d<Ad f>ed eA=B|c>d/(e/f/) gec c2 (a/4g/4f/4e/4)|

FFF (G>AF) E<CE|D>EF (EA)[A,^C] D2:|

                       

HERO(E)S OF LONGHOPE. Scottish, Air (3/4 time). G Major. Standard tuning. AABB. Composed by Orkney Islander fiddler Ronnie Aim (1919‑1982) in honor of the Longhope life‑boat crew of eight men who died in heavy seas the Pentland Firth during a March gale in 1969 while trying to rescue the Liberian registered cargo ship "Irene". Neil says: "The conditions were reported as being the worst for 30 years and a freak sea caused tons of water to crash down on the life‑boat and two‑thirds of the starboard side had been stove in.  Two fathers and their sons, plus two others, died in the disaster and the population of the little hamlet of Longhope, situated at the south end of the island of Hoy in Orkney, was reduced from 43 to 35, leaving 10 orphans and 7 widows." Neil (The Scots Fiddle), 1991; No. 170, pg. 221. Culburnie Records CUL110, Abby Newton – “Crossing to Scotland” (1997).

                       

HEROES OF SALAMANCA. English, Country Dance Tune (6/8 time). D Major. Standard tuning. AABA. Knowles (A Northern Lass), 1995; pg. 30.

                       

HERR ROLOFF'S FAREWELL. Scottish, Air (4/4 time). F Major. Standard tuning. One part (Bain): AB (Skinner). Composed by J. Scott Skinner in honor of a musical friend who helped him arrange his Harp and Claymore collection. Bain (50 Fiddle Solos), 1989; pg. 19. Skinner (Harp and Claymore Collection), 1904; pg. 158.  Green Linnet GLCD 3105, Aly Bain - “Lonely Bird” (1996).

X:1

T:Herr Roloff’s Farewell

M:C

L:1/8

R:Air

C:J. Scott Skinner (1843-1927)

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:F

C | A2 B>G c2 A>F | f2 e>d c2F2 | E2F2D2 EF | B2A2G3C | A2 B>G c2 A>F |

f2 e>d c2F2 | E2 F>D C2 FB | A2 ({F/A/}G2) F2 z || A | A2 d>e f2 ({g/f/}e)d |

e2A2d3G | G2 cd e2 ({f/e/}d)c | d2G2c3C | A2 B>G c2 A>F | f2 B>d c2AF |

D2F2C2 FB | A2 ({F/A/}G2 (F2F) ||

                       

HERR SMITH. American, Dance Tune (6/8 & 4/4 time). USA, Michegan. D Major. Standard. AABB. There is a particular dance that goes with the tune. The 'A' part is an elementary school ditty which goes "I feel, I feel, I feel like a morning star..." Johnson (The Kitchen Musician's No. 7: Michigan Tunes), Vol. 7, 1986‑87; pg. 10.

                       

HERRA BOYS. Scottish. Composed by collector and composer Pat Shuldham Shaw during one of his visits to the island of Yell, Shetland. Green Linnet GLCD 3107, Aly Bain & Phil Cunningham – “The Pearl” (1994). 

                       

HERRINBROOK REEL. American, Reel. B Flat Major. Standard tuning. AA'BB'. Source for notated version: Tom Doucet (Nova Scotia/eastern Mass.) and Don Roy [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 111. Fiddler FRLP001, Tom Doucet - “The Down East Star.”

                       

HERRING REEL, THE. Canadian, Reel. Canada; Maritime Provinces. F Major. Standard tuning. AABB. Source for notated version: Eddy Arsenault (b. 1921, St. Chrysostom, East Prince County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 116. Rounder CD 7014, Eddy Arsenault – “Fiddlers of Western Prince Edward Island” (1997).

 

HERVE BROWN'S DREAM. AKA and see "Little Rabbit," "John Brown's Dream," "Brown's Dream [1]," "Pretty Little Miss [1]." Old-time, Breakdown. See note for “John Brown’s Dream.” One of a family of tunes that includes “Brownstream,” “Jimmy Johnson Pass that Jug Around the Hill,” John Brown's Dream,” “Little Rabbit,”  Pretty Little Gal [1],” “Stillhouse Branch” “Table Mountain Road” and others. The tune family is a common a popular one in the Blue Ridge Mountains, where it probably originated but has since been disseminated.


 

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