The Fiddler’s
Companion
© 1996-2008 Andrew Kuntz
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Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s
Companion work fine in most abc conversion programs. For example, I use
abc2win and abcNavigator 2 with no problems whatsoever with direct
cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s
into the concertina.net converter results in double-spacing. For
concertina.net’s conversion program to work you must remove the spaces
between all the lines of abc notation after pasting, so that they are
single-spaced, with no intervening blank lines. This being done, the F/C
abc’s will convert to standard notation nicely. Or, get a copy of
abcNavigator 2 – its well worth it.
[AK] |
HIGH
HIGH BASS REEL, A.
HIGH, BETTY MARTIN. AKA and see "Tip
Toe, Pretty Betty Martin," "Betty
Martin," "Old Mother
Gofour," "Fire
on/in the Mountain [1]," "Hog
Eye [1]" [1], "Granny Will Your Dog Bite?
[1]" Old‑Time,
***
High, Betty Martin, tip toe, tip toe,
High, Betty Martin, tip toe fine;
Never found a man to suit her fancy,
Never found a man to suit her mind.
***
Ford (Traditional Music in America), 1940; pg. 58 (appears as "Tip
Toe, Pretty Betty Martin"). Linscott (Folk
Songs of Old
HIGH BORN LADY. See “Highborn Lady.”
HIGH BRIDGE JIG.
HIGH
CAUL/CAUL'D CAP, THE ("An Caip
Cul-Ard" or "Caiop an Cuil Aird").. AKA and see "Bonny Laddie," "Bonnie Lassie," "Bonnie Lass of Livingston,"
"Cockleshells," "Donkey Riding," "An Gabhairin
Bui," "Hielan Laddie [1],"
“Highland Laddie(, The Original)
[1],” "What Shall I Do?"
Irish, English; Set Dance (2/4 time), March, Polka, "Barn Dance" or Country
Dance Tune. A Major (Allan, Mallinson): G Major (Kennedy, Mulvihill,
O'Neill/1001): F Major (O'Neill/1850). Standard. AABB (Allan, Kennedy,
Mallinson, O’Neill): AABB’ (Mulvihill). O’Neill (1913) mentions that a special
dance was performed to this tune, and indeed The High Caul Cap has long been
considered one of the ‘traditional’ ceili dances, a set eight-hand reel.
Frequently the tunes played to accompany the dance The High Caul Cap are “The
High Cauled Cap,” “The Dashing
White Sergeant” and “The White
Cockade,” although occasionally others are substituted (such as
“O’Connor’s/Hayden Fancy.” The term high
caul cap refers to a style of close-fitting head covering worn by women to
shield their hair, most popular during the Renaissance period. It could be made
of cloth or leather, sometimes featured a turnback around the face (as we might
nowadays think of for baby bonnets), and occasionally sported a short tail or
peak at the crown. Men’s versions were worn to protect the head when wearing a
metal cap or helm. In modern usage a caul refers to the part of the hat that is
not the brim.
***
The term ‘caul’ derives from the Old English cawl, Middle English calle, and denotes the fetal membrane. In this sense the term caul is meant metaphorically, for occasionally a baby is born with the caul covering its head. This phenomenon has much folklore attached to it. In Estonia the color of a child’s caul foretold his fortune, red for luck and black for misfortune, while in Russia’s Carpathians, a child born with a caul or "cap" on the head was expected to have good luck. More sinister, a Polish folk superstition has it that an infant born with a caul on his head would later become a Vjesci, or vampire. If, however, the cap was removed, dried, ground up and fed to the child on his seventh birthday it would prevent him from maturing into the monster.
***
That playing the tune over and over
for a dance can sometimes get tedious is well-known to ceili musicians (it goes
on for 576 bars!). Button accordion great Billy McComiskey had this spontaneous
solution while playing for one ceili dance in
***
Source for notated version: “learned
from my mother” [Mulvihill]. Allan's
Irish Fiddler, No. 112, pg. 28. Kennedy, Vol. 1, 1951; No. 62, pg. 30
(appears as "Bonny Laddie"). Mallinson (100 Polkas), 1997; No. 49, pg. 19. Mulvihill (1st Collection), 1986; No. 11, pg. 121. O'Neill (Music of Ireland: 1850 Selections),
1903/1979; No. 1807, pg. 339. O'Neill (Dance
Music of
X:1
T:High Caul Cap
M:C
L:1/8
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:G
D2|G2 GA B2d2|cBAG BAGA|B2A2A2
GA|B2A2A2D2|GFGA B2d2|
CBAG BcAB|G2E2E2 DE|G2E2E2:|
|:d2|e2g2d2e2|cBAG BAGA|B2A2A2
GA|B2A2A2d2|1 e2g2d2e2|
cBAG BcAB|G2E2E2 DE|G2E2E2:|2 efge dged|BdAc BcAB|G2E2E2DE|G2E2E2||
HIGH CLOUDS. American, Waltz. G Major. Standard. AB. Composed by
HIGH COUNTRY WALTZ. Canadian, Waltz (9/8 time).
HIGH C'S.
HIGH DAD IN THE
MORNING. Old‑Time,
HIGH DANCE. English, Jig. G Major. Standard. AABB. Raven (English Country Dance Tunes), 1984; pg. 126.
HIGH DRIVE, THE. Scottish, Reel. D Major. Standard. AABB. A
modern composition by Gordon Duncan.
X:1
T:
M:4/4
L:1/8
R:Reel
C:Gordon Duncan
K:D
d3
e fedA | (3BBB gB BAGB | GA(3AAA fedf | eA(3AAA afge |
d3 e fedA | (3BBB gB BAGB | GA(3AAA fedf | edce d4 :|
|: a3 g ad(3ddd | AB(3BBB gBdB | GA(3AAA fedf | eA(3AAA efge |
a3 g ad(3ddd | AB(3BBB gBdB | GA(3AAA fedf | edce d4 :|
HIGH-FLIER, THE. Irish, Air (9/8 time). G Major. Standard. AB.
"'High‑flier', a girl that goes in for style and fashion"
(Joyce). Joyce (Old Irish Folk Music and
Songs), 1909; No. 184, pg. 92.
X:1
T:High-Flier, The
M:9/8
L:1/8
R:Air
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
N:”With spirit”
K:G
B/c/|dAF GDE FGA|BBB cAG =F2
B/c/|dAF GDE FGA|Bdc AEF G2||G|
ABc def g2 d/c/|BBB cAG =F2 B/c/|dAF
GDE FGA|Bdc AEF G2||
HIGH HILL, THE. Irish, Reel. D Major. Standard. AABB’.
Composed by County Cavan/Philadelphia fiddler and composer Ed Reavy
(1898-1988). Reavy (The Collected
Compositions of Ed Reavy), No. 11, pg. 11. Shanachie
SH-78010, Solas - “Sunny Spells and Scattered Showers” (1997).
X:1
T:The High Hill
M:2/2
L:1/8
C:Ed Reavy
S:The Collected Compositions of Ed Reavy
R:Reel
N:It's the hill that almost disappears in the mist,
N:where the hill people reside. Stories have been told about
N:it and about those who live there. Their music is the music
N:of a lost art and their stories are the tales of a forgotten time.
Z:Joe Reavy
K:D
FG | AD (3FED A,DDE | FGAc dcAG | AD (3FED A,EFA |
GE=CE G2FG | AD (3FED A,DDE | FGA B cBce | dcAG FGAF |
GE=CE D2 FG :|| Addc d2 cd | ed (3dcd edd=c | AGAB =cBcd |
e=c (3cBc ecdc | Add^c d2 cd | ed (3dcd edd=c | AGAB =cded |1
=cAGE DEFG :|2 =cAGE
D2 ||
HIGH IN THE REEKS. Irish, Polka. E Minor/Dorian. Standard. AABB. Composed by
X:1
T: High in the Reeks
C: © B. Black
Q: 275
R: polka
M: 2/4
L: 1/8
K: Emin
E>F GA | B>c BA | GE FE | DE B,2 |
E>F GA | B>c BA | GB FA | GF E2 :|
B>^c dB | e>f gf | eB dB | Ad B2 |
eB
GB | d>^c BA | GB FA | GF E2 :|
HIGH JIG, THE (An Port Ard). Irish, Double Jig. A Dorian. Standard. AABB.
Source for notated version: fiddler Martin "Junior"
Crehan, 1959 (
HIGH JINKS. Irish, Reel. E Minor (‘A’ and ‘C’ parts), G Major (‘B’ part) & D
Major (‘D’ part). Standard tuning. AABBCCDD. Composed by fiddler and pianist
Josephine Keegan (b. 1935), of Mullaghbawn, south
HIGH LEVEL (HORNPIPE)
[1] {An Árd Mhín}. AKA and see "Highland Hornpipe," "Velocipede Hornpipe." AKA ‑
"
***
The piece is named after
***
The
***
There is a pub at one end of the
structure is called The Bridge, and has long been home to The Bridge Folk Club,
where the band The High Level Ranters started. It remains a desirable venue for
traditional and folk performers. Northumbrian musicians often pair the tune with
“New High Level Hornpipe [2].”
***
Williamson
(1976) says: "The tune is a very popular one in the North of England, and
many players have evolved their own elaborations of it." As a solo piece
it usually ends on the first strain of the tune, rather than the second,
although the second part leads into other tunes when played in a medley. In the
1970’s English concertina virtuoso Alastair Anderson, from Northumberland, used
the tune and variations as a showcase. It also became popular in the American
mid-west (especially in
***
In
***
Sources for
notated versions: Bob Walters (
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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:High Level Hornpipe
L:1/8
M:C|
K:B_
|:dc|Bd FB DF Bd|fb df Bd cB|ce Ac FA cf|ag f=e gf _ec|
Bd FB DF Bd|fb df Bd cB|GA Bc de =ef|gf ec B2:|
|:cB|Af cf Af cf|AF Ac fc Ac|df Bf df Bf|dB df bf df|=eg cg eg cg|
=ec
eg bg eg|f=e fa gb eg|1 f=e fg f2:|2 f=e ag fe _ec|]
X:2
T:High Level Hornpipe
M:4/4
L:1/8
Z:transcribed by Cari Fuchs
K:Bb
(3FGA|Bd FB DF Bd|fb df Bd cB|ce Ac
FA cf|ag f=e gf _ec|
Bd FB DF Bd|~f2 df Bd cB|GA Bc de
=ef|gf (3edc B2:|
|:cB|Af cf Af cf|AF Ac fc Ac|df Bf
df Bf|dB df bf df|
=eg cg =eg cg|=ec =eg bg =eg|f=e
fa gb ag|f=e fg f2:|
|: (3^fga|bf df ge cA|Bf dB F2 BA|Ge
Ge Fd Fd|Ec ~c2 dc AF|
G^F GA Be cA|Bf dB F2 BA|~G2 eG ~F2
dF|~E2 cA B2:|
X: 3
T: High Level Hornpipe
M: 4/4
L: 1/8
H: “If you're familiar with the playing style of
the great
H: player Joe Derrane, you might be able to
muster up a little sympathy
H: for any poor slob who tries to transcribe a
tune from one of his
H: recordings. This is one such attempt.”
Z: Transcribed by Bill Black
R: hornpipe
K: G
D2 | (3GBG (3DGD B,DGB | (3dgd (3BdB GBAG |
(3AdA (3FAF D2 (3B^cd | fed^c ed=cA |
(3GBG (3DGD B,DGB | (3dgd (3BdB GBAG | E^EFG
ABcd | (3fed (3cBA G2 :|
(3AcA |: FdAd FdAd | FDFA dcBA | BdGd BdGd |
BABd gdBd |
^ceAe
ceAe | ^cAce aece | d^cdf gece |1 dAfe dAFD :|2 dAfe dcBA ||
HIGH LEVEL [2]. American, Hornpipe. AKA and see "President Garfield's
Hornpipe." B Flat Major. Standard tuning. AB. Source for notated
version: John Kubina, (near)