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
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
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.
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.
HELL
AGIN'/AGAINST THE BARN DOOR [2]. Old-Time, Breakdown.
HELL AGIN’ THE BARN
DOOR [3].
Old-Time, Breakdown.
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 (
HELL AMONGST THE
SLAVISH. AKA and see "Flop Eared Mule." A local southwestern
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.
***
In 1939, Edgar Lee Masters
(of
account of a visit he made with Theodore Dreiser to the home fiddler
John Armstrong in
book The Sangamon in the Rivers
of America series. Masters grew in
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 "
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
***
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
HELL AMONG THE
YEARLINGS [2]. Old‑Time, Breakdown.
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.
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,
HELL BOUND FOR
***
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
HELL BROKE LOOSE IN
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
HELL IN THE MUD. AKA and see “Missouri Mud.”
Old-Time, Breakdown.
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
HELL ON THE
HELL ON THE
HELL ON THE
HELL ON THE
X:1
T:Hell on the
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
X:1
T:Hell On the
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
HELL OVER THE MOUNTAIN. AKA and see "Flop
Eared Mule." A local southwestern
HELL TO PAY IN
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
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
HELLBOUND FOR
HELLO, GOODBYE. American, Reel. A Major.
Standard tuning. AABB. Composed by Ralph Miller. Miller (Fiddler’s Throne), 2004; No. 168, pg. 106.
HELLO
HEL’N
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
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.
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
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 |
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 |
HEMAN DUBH. Scottish, Air. This worksong is from the
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
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 (
***
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 "
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."
HEN CACKLE(D). AKA and see "Old Hen Cackle(d) [1],"
"Cacklin’ Hen [1]," "Cluck Old Hen [1]." Old‑Time,
Breakdown.
HEN CACKLE RAG. American, Country Rag. Composed by Charles Johnson of
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.
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
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
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.”
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 :||
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).
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
HENRY
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
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.
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).
***
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
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
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
***
When I was a-roving one morning in spring,
To view the sweet flowers and the meadows so 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
HER SHEEP ALL IN CLUSTERS.
See “Sheep all in Clusters.”
HER SKIN IS LIKE THE
LILY. Irish, Air (4/4 time).
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 (
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,
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.
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
3, 1857, he opened with “Christy’s Minstrels in
until about 1860, when he joined
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
organized Joe Brown’s “Christy” Minstrels, visiting
opened at St. James Hall,
then returned to
died in
***
Cole (1000 Fiddle Tunes), 1940; pg. 87. Ryan’s Mammoth Collection, 1883; pg. 121. Condor
977‑1489, "Graham & Eleanor Townsend Live at
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
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
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|
F2F2E2F2|G4G4|
A3GF2G2|A6A2|
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
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
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 (
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
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 |
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.
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
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.
X:1
T:
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||
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 (
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
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
HEROES OF
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).
HERRA BOYS. Scottish. Composed by collector and composer Pat Shuldham Shaw during
one of his visits to the
HERRINBROOK REEL. American, Reel. B Flat Major. Standard tuning. AA'BB'. Source for
notated version: Tom Doucet (
HERRING REEL, THE. Canadian, Reel.
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
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