The Fiddler’s Companion

© 1996-2009 Andrew Kuntz

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HIGH

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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 BARBARY. English, Air (6/8 time). E Minor. Standard tuning. One part. An old broadside sea song probably written in the latter part of the 16th century, opines the collector Cecil Sharp. He also notes it was quoted in a play called The Two Noble Kinsmen written by John Fletcher and William Shakespeare. Kines (Songs From Shakespeare's Plays and Popular Songs of Shakespeare's Time), 1964; pg. 78.

 

HIGH BASS REEL, A. Cape Breton, Reel. A Major. AEae tuning. AAB. Source for notated version: Carl MacKenzie (Cape Breton) [Dunlay and Reich]. Dunlay and Reich remark that the tune is usually played after "The Bridge of Bamore" (in Stewart Robertson's Athole Collection) and that it may be a variation of that tune. Dunlay and Reich (Traditional Celtic Fiddle Music from Cape Breton), 1986; pg. 36. WRCI‑1548, Carl MacKenzie‑ "And His Sound is Cape Breton."

 

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, New England; Reel. G Major. Standard tuning. AABB. Source for notated version: Cassius Radford (Pembroke, N.H.) [Linscott]. "The tune and words are traditional and fitted for a sort of jig that finished off a quadrille. It is a lively reminder to Radford of the days when he was a champion fiddler travelling all over New England. He remembers this tune and jig as one that was indulged in by those who felt the need of cutting an extra flourish and was executed with steps similar to the Highland Fling (Linscott, 1939)."

***

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 New England), 1939; pg. 85.

 

HIGH BORN LADY. See “Highborn Lady.”

 

HIGH BRIDGE JIG. New England, Jig. G Major. Standard tuning. AABB. F&W Records 2, "F&W String Band 2."

 


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 tuning. 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 Washington, D.C.—he roared out "Circle of fifths" to the accompanying musicians and proceeded to go from key to key through the circle. Most ceili groups play a medley of tunes, perhaps staring and ending with “The High Cauled Cap.”

***

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 Ireland: 1001 Gems), 1907/1986; No. 1000, pg. 172. GN1, Joe Thoma ‑ "Up the Track: Traditional Music from Kenmare."

X:1

T:High Caul Cap

M:C

L:1/8

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 1000

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 tuning. AB. Composed by Massachusetts contra dance musician David Kaynor in 1980. Matthiesen (Waltz Book), 1992; pg. 29.

                       

HIGH COUNTRY WALTZ. Canadian, Waltz (9/8 time). Canada, Southeastern British Columbia. D Major. Standard tuning. AB. Composed by Frank Lowery in 1973. Gibbons (As It Comes: Folk Fiddling From Prince George, British Columbia), 1982; No. 1, pgs. 9‑10.

                       

HIGH C'S. New England, Reel. USA, New Hampshire. C Major. Standard tuning. AABB. Composed by the late New Hampshire flute player Newton F. Tolman. Miller (Fiddler’s Throne), 2004; No. 289, pg. 172. Tolman (Nelson Music Collection), 1969; pg. 23.

                       

HIGH DAD IN THE MORNING. Old‑Time, Bluegrass; Breakdown. USA. G Major. Standard tuning. AABBCC. The tune starts on an E minor chord. The tune has its origins in American black-face minstrelsy (see Hans Nathan’s Dan Emmett and the Rise of Early Negro Minstrelsy). Source for notated version: Kenny Baker [Brody, Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 135. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 112. County 719, Kenny Baker‑ "Portrait of a Bluegrass Fiddler" (1968. Learned from a tape of Doug Dillard's father, a Missouri musician). Rounder 0241, The Chicken Chokers ‑ "Shoot Your Radio" (1987). Rounder 0442, John Hartford – “Hamilton Ironworks” (2001) Takoma D‑1064, Norman Blake‑ "Directions."

                       

HIGH DANCE. English, Jig. G Major. Standard tuning. AABB. Raven (English Country Dance Tunes), 1984; pg. 126.

                       

HIGH DRIVE, THE. Scottish, Reel. D Major. Standard tuning. AABB. A modern composition by Gordon Duncan.

X:1

T:High Drive, The

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 tuning. 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 GINKS.  See “High Jinks [2].”

           

HIGH HILL, THE. Irish, Reel. D Major. Standard tuning. 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 tuning. AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black, named for a range of low heights (called “McGillicuddy’s Reeks”) in West Kerry, in the middle of the Ring. Black (Music’s the Very Best Thing), 1996; No. 79, pg. 41.

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 tuning. AABB. Source for notated version: fiddler Martin "Junior" Crehan, 1959 (Co. Clare, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 34, pg.

           

HIGH JINKS [1]. 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 County Antrim. Keegan (The Keegan Tunes), 2002; pg. 34.

 

HIGH JINKS [2]. AKA – “High Ginks.” English, Country Dance Tune (2/2 time). F Major. Standard tuning. AAB. The melody appears (as “High Ginks”) in the last volumes of the long-running Dancing Master series (volume 2), published by John Young in London, in 1718 and in a final edition in 1728. John Walsh also published it in his Second Book of the Compleat Country Dancing Master (1719). According to Partridge’s Dictionary of Slang and Unconventional English (1961), ‘high jinks’ oldest meaning (1770-1820) referred to a gambler who drinks to intoxicate his adversary i.e. one who feigns drinking, or drinks little, while encouraging other players to consume copiously. Similarly, in England ‘high jinks’ was a dicing game for drinks—guests threw dice to select a member of the group to perform some deft task for the amusement of the others; failure resulted in the necessity of downing a large drink, and if that was not accomplished, a forfeit of some kind ensued. Only later, in the mid-19th century, did it take its modern meaning of a frolic, or a noisy party with pranks. There is some speculation that ‘high jinks’ was originally a Scottish word. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 59.

X:1

T:High Ginks

M:C|

L:1/8

S:John Young – Dancing Master, vol. 2 (1718)

K:F

cB|A2F4 fg|a2f4 ga|b2ag f3^f|g^fga g2 cB|A2F4 fg|

a2f4 ga|b2 ag g3f|f6:||ef|g2 ga g2 fe|d2 d4 de|

f2 ef gfed|c2 c4 ga|b2 b4 ag|a2 a4 gf|e2f2 gfeg|f6||

                                   


HIGH LEVEL (HORNPIPE) [1] {An Árd Mhín}. AKA and see "Highland Hornpipe," "Velocipede Hornpipe." AKA ‑ "High Level Bridge Hornpipe." Scottish, English, Irish, Canadian, American; Hornpipe, Breakdown. England, Newcastle (northern England): USA; Nebraska, Missouri, New England. Ireland, County Donegal. Canada, Prince Edward Island. B Flat Major ('A' part) & F Major ('B' part) {most versions}: G Major {Williamson}. Standard tuning. AABA (Hunter): AABB (Christeson, Martin, Martin & Hughes, Messer, Skinner, Williamson): AABB' (Hardie, Miller & Perron, Skinner): AA'BB' (Bain, Perlman): AABC (Mulvihill): AA'BB'AA'CCDDBB'AA' (Phillips). One of the most popular hornpipes in the Scottish Repertoire, it was fashioned by 19th century fiddler James Hill (c. 1815-c. 1860), a noted composer of hornpipes who lived in Gateshead, Northumberland, England (near Newcastle), though born in Dundee, Scotland. Little is known about his life, although he seems to have been a sometime publican, and was a popular tavern fiddler and sports enthusiast. The "High Level Hornpipe" was apparently first published in Kohlers' Violin Repository, Book 1.

***

The piece is named after Newcastle's famous bridge across the River Tyne linking Newcastle and Gateshead, the first important rail crossing in Britain designed to carry more than two tracks.  It was begun in 1846, opened in 1849 and replaced a bridge that had been built in 1781. The High Level, designed by Robert Stephenson, was based on a series of cast iron bowstring arches springing from tall stone piers; each of the six main spans stretched for 125 feet, the length of the whole being 1,372 feet, well over a quarter of a mile.  It was a marvel of the age, and so splendid that Queen Victoria herself performed the opening ceremonies. A two-tier structure, it allowed three railway lines were carried on the upper deck, while pedestrians, horses and carriages traffic travelled on the road beneath. The bridge has survived almost unaltered since then, apart from the removal of two of its railway lines and some strengthening in 1922 to enable trams to pass safely across.

***

The High Level Bridge, Tyneside, c. 1890 (Gateshead Library)

***

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 Missouri), largely through the playing of fiddlers who could sight-read and had a copy of Ryan's Mammoth Collection, in which it appeared (see note for "Thunder Hornpipe" for more information). Howe notes that his source was Jimmy Norton, the ‘Boss Jig Player’, perhaps a band-leader or principal instrumentalist for a band in the Boston, Massachusetts area. The tune was arranged for 9 parts—violins, clarionet (sic), coronet, bass, flute, viola, trombone, cello and piano—in another of Howe’s publications, Howe’s Full Quadrille Orchestra (No. 262). R.P. Christeson (1973) believes the melody was derived from the "Highland Hornpipe," which is commonly published (e.g. in Cole’s 1000). “High Level Hornpipe” was a signature tune of American fiddler Howdy Forrester. Phillips swing version adds a fourth part in the key of G Minor.

***

In county Donegal it is a popular hornpipe (the title contrasts with another popular Donegal hornpipe, “The Low Level Hornpipe”).  Flute player Harry Bradley says he was told by fiddler Vincent Harrison, a contemporary of fiddler Lad O’Beirne’s in New York, that O’Beirne composed the third part of the tune that is often played in Irish settings of the tune. O’Beirne’s recorded performances of the tune (e.g. on “Milestone at the Garden”), however, have only two parts.

***

Sources for notated versions: Bob Walters (Burt County, Nebraska) [Christeson]; Howard Forrester and Jeff Guernsey [Phillips]; Ervan Sonnier (1920-1994) & Toussaint Arsenault (b. 1916) {Summerside, East Prince County, Prince Edward Island} [Perlman]. Bain (50 Fiddle Solos), 1989; pg. 8. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; pg. 32‑33. Dixon (The Lads Like Beer: The Fiddle Music of James Hill), 1987. Hardie (Caledonian Companion), 1986; pg. 39. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 53 (appears as "High Level Bridge Hornpipe"). Howe (1000 Jigs and Reels), c. 1867; pg. 31. Hunter (Fiddle Music of Scotland), 1988; No. 338. Jarman (Old Time Fiddlin' Tunes); No or pg. 21. Kerr (Merry Melodies), vol. 2; pg. 44. Koehler’s Violin Repository. Martin (Traditional Scottish Fiddling). 2002; pg. 57. Martin & Hughes (Ho-ro-gheallaidh), 1990; pg. 41. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 111, pg. 70. Miller & Perron (New England Fiddlers Repertorire), 1983; No. 75. Mulvihill (1st Collection), 1986; No. 4, pg. 88. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 114. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 198. Skinner (The Scottish Violinist), pg. 44. Skinner (Harp and Claymore), 1904; pg. 136. White’s Excelsior Collection. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 37. Cló Iar-Chonnachta CICD 167, Peter Horan & Gerry Harrington – “The Merry Love to Play” (2007). Condor 977‑1489, "Graham & Eleanor Townsend Live at Barre, Vermont." Fiddler FRLP001, Tom Doucet (Nova Scotia/eastern Mass.) - “The Down East Star.” Gael-Linn CEF 045, “Paddy Keenan” (1975). Green Linnet SIF1035, Brian Conway & Tony De Marco - "The Apple in Winter" (1981. Learned from a 78 RPM recording of fiddler Lad O'Beirne with Louis Quinn). HTD CD29, Ashley Hutchings – “The Guvnor, vol. 2.”  Leader Records LEA 4006, "Billy Pigg, The Border Minstrel." Old Bridge Music OBMCD 04, Tom McConville – “Fiddler’s Fancy.” Rounder 1123, Lad O’Beirne & Louis Quinn - “Milestone at the Garden” (two tracks, one from 1933, one from around 1950). Rounder CD7014, Alton Silliker – “Fiddlers of Western Prince Edward Island” (1997). Topic TSCD 752, Ashley Hutchings – “Stepping Up” (2004. Originally recorded during the Kicking up the Sawdust sessions in 1977, but not released on the album). Trailer LER 2030, The High Level Ranters (1971).

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 Boston box

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) Davistown, Pennsylvania, September 3, 1943 (learned from traditional players in and around Pittsburgh) [Bayard]. Bayard (Hill Country Tunes), 1944; No. 55.

 

HIGH LEVEL HORNPIPE [3]. American, Hornpipe. USA, Pennsylvania. A Major ('A' part) & E Major ('B' and 'C' parts). Standard tuning. AA'BBAA'CC'AA' (Phillips). The third section can also serve as the 'A' part, notes Stacy Phillips. Source for notated version: Jehile Kirkhuff (Schuylkal County, Pa.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 199.

                       

HIGH LEVEL BRIDGE HORNPIPE. AKA and see "High Level Hornpipe [1]."

           

HIGH PART OF THE ROAD (Ard an Bhóthair). AKA and see “The Hill on the Road,” "Top of the Road." Irish, Double Jig. G Major. Standard tuning. AB (Mitchell): AABB (Taylor): AA'BB (Breathnach): AA’BB’ (Cranitch, Songer). Brendan Breathnach gave the tune it’s title. Paul de Grae finds relationships with “Blooming Meadows.” Sources for notated versions: piper Willie Clancy/ Liam Mac Flannehadha (1918-1973, Miltown Malbay, west Clare) [Breathnach, Mitchell]; Jimmy McGettrick (b. 1909, Aughris, Rathmullen, Ballymote) [Flaherty]; set dance music recorded at Na Píobairí Uilleann in the late 1980’s [Taylor]. Breathnach (CRE I), 1963; No. 18, pg. 9. Cranitch (The Irish Fiddle Book), 1996; pg. 58. Flaherty (Trip to Sligo), 1990; pg. 139 (appears as “Unknown”). Mitchell (Dance Music of Willie Clancy), 1993; No. 133, pg. 106. Songer (Portland Collection), 1997; pg. 95. Taylor (Music for the Sets: Blue Book), 1995; pg. 3. Wild Asparagus WA 003, Wild Asparagus - "Tone Roads" (1990).

X:1

T:High Part of the Road

M:6/8

L:1/8

R:Jig

K:G

~B3 ~c3 | ded cAG | ^E-FD D=ED | DGG FGA | BAB cBc | ded d (3Bcd |

fed cAF|1 AGF G2 A:|2 AGF G (3Bcd || ~g3 def | g2 a bag | ~f3 d (3efg |

afd cAF | ~g3 def | g2 a bag | fed cAF | AGF G3 :|

           

HIGH POINT POLKA [1]. American, Polka. C Major ('A' and 'C' parts) & F Major ('B' part). Standard tuning. AABCC'. Ford (Traditional Music in America), 1940; pg. 169.

X:1

T:High Point Polka [1]

M:2/4

L:1/8

R:Polka

B:Ira Ford – Traditional Music in America (1940)

Z:AK/Fiddler’s Companion

K:C

g2 e>c|A2 GG|g2 f>B|A2 GG|g2 (e/d/c/B/)|

(G/A/c/e/) gg|(f/e/d/c/) (B/c/d/B/)|c[ce][ce]:|

K:F

F>A c>=B|(d/c/A/F/) DC|E>G c>=B c/_B/G/E/ C2|

F>A c>=B|(d/c/A/F/ DC|(E/G/c/e/) (b/g/)(e/g/)|[Af][Aa] [A2f2]||

K:C

ea/a/ aa|ea/a/ aa|ef e/d/c/B/|(A2 A2)|

dg/g/ gg|dg/g/ gg|1 de (g/f/e/d/)|(c2 c2):|2 G/B/d/e/ g/f/d/B/|c[ce] [c2e2]||

 

HIGH POINT POLKA [2]. Irish, Polka. B Minor. Standard tuning. AA’BB’.

X:1
T:High Point Polka
S:Johnny O'Leary
D:Chulrua, _Barefoot on the Altar_ 6c
Z:Jerome Colburn
M:2/4

L:1/8
K:Bmin
c/ | dBbB | def>e | dBbB | c/B/A/c/ ef/e/ | dBbB | def>e | de f/e/d |1 B2 B3/2 :|2 B2 B2 |:

ba/b/ af | edf>e | dBbB | c/B/A/c/ e2 | ba/b/ af | edf>e | de f/e/d |1 B2 B a :|2 B2 B3/2 |]**

           

HIGH REEL [1], THE. AKA and see “Duffy the Dancer,” "The Gauger [1]," "Sandy Duff." Irish, Reel. A Mixolydian. Standard tuning. ABB (Carlin): AABB (most versions). Robin Morton (1976) says the tune was originally the Scots "Sandy Duff," transplanted to Ireland where it gained currency. It is in O’Neill as “Duffy the Dancer.” Sources for notated versions: session at the Regent Hotel, Leeds, England [Bulmer & Sharpley]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Alewine (Maid that Cut off the Chicken’s Lips), 1987; pg. 21. Bulmer & Sharpley (Music from Ireland), 1974, vol. 1, No. 7. Carlin (Master Collection), 1984; No. 199, pg. 118. Harker (300 Tunes from Mike Rafferty), 2005; No. 18, pg. 6. Jordan (Whistle and Sing), 1975; 28. Mallinson (Essential), 1995; No. 57, pg. 25. Martin & Hughes (Ho-ro-gheallaidh), 1990; pg. 36. Reiner (Anthology of Fiddle Styles), 1979; pg. 54. Songer (Portland Collection), 1997; pg. 95. BM-91, Buddy MacMaster – “Glencoe Hall.” Cló Iar-Chonnachta CICD 167, Peter Horan & Gerry Harrington – “The Merry Love to Play” (2007). Culburnie Records CUL 121D, Alasdair Fraser & Natalie Haas – “Fire and Grace” (2004). Kells Music DM 9509, Mike and Mary Rafferty – “The Dangerous Reel” (1995). Smithsonian Folkways SFW CD 40126, Lamprey River Band – “Choose Your Partners!: Contra Dance & Square Dance Music of New Hampshire” (1999). Joe Burke (et al) – “The Big Squeeze.”

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 Reel, The [1]

L:1/8

M:4/4

R:Reel

K:A

a2 fa ec A2|cAeA fAeA|a2 fa ec A2|Bcdc B=GGB|

a2 fa ec A2|cdef =g2 fg|af=ge fdec|Bcdc B=GGB:|

|:(3cBA eA fAeA|(3cBA af ec A2|(3cBA eA fAec|Bcdc B=GGB|

(3cBA eA fAed|cdef =g2 fg|af=ge fdec|Bcdc B=GGB:|

 

HIGH REEL [2], THE. Irish, Reel. D Major. Standard tuning. AB. Source for notated version: The Irish Tradition (Washington, D.C.) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 115, pg. 30.

 

HIGH ROAD TO DUBLIN [1], THE. AKA and see "The Boy in the Basket," “The Skipper’s Wedding,” “The Way to Dublin.” Irish, Slip Jig. G Major. Standard tuning. AABB. An almost identical setting is in Joyce under the title “The Way to Dublin.” Goodman (ii, pg. 173) gives it as “The Boy in the Basket.” Roche Collection, 1983, vol. 2; No. 267, pg. 28.

X:1

T:High Road to Dublin, The [1]

M:9/8

L:1/8

R:Slip Jig

K:G

G2A BcB B2A|G2A B2d AFD|G2A BcB Bcd|e2A ABG FED:|

|:G2g gdB gdB|G2g gdB BAG|G2g gag gdB|e2A ABG FED:|

 


HIGH ROAD TO DUBLIN [2], THE (An Bóthar Mór go Baile Átha Cliath). AKA and see “Sally Hegarty’s.” Irish, Slip Jig. G Major ('A' part) & D Mixolydian ('B' part). Standard tuning. AB (Breathnach): AABB (Feldman & O’Doherty). Breathnach (1985) collected the tune from Paddy O’Brien who had no name for it, and it has a different ‘B’ part than “High Road to Dublin” [1]. The tune was recorded by the group Altan under the title “Humours of Whisky [3].” Sources for notated versions: accordion player Paddy O'Brien, 1970 (Dublin, Ireland) [Breathnach]; fiddler John Doherty (1895-1980, County Donegal) [Feldman & O’Doherty]. Breathnach (CRÉ II), 1976; No. 97, pg. 52. Feldman & O’Doherty (Northern Fiddler), 1979; pg. 61 (appears as last tune on page, “Untitled Slip Jig”).

           

HIGH ROAD TO FORT AUGUSTUS, THE (Coir'-a-Ghearraig). Scottish, Reel. B Minor. Standard tuning. AB (Fraser, Neil): AAB (Athole). Captain Simon Fraser, compiler of the famous collection of Highland melodies, writes in his note to this tune: "The words associated with this air give anecdotes regarding that stupendous work, the road cut in traverses, by General Wade, down the face of a mountain, in forming a communication betwixt Fort Augustus and Garvamore. By this road old Lord Lovat was carried, when on his last journey to London, on a litter,‑‑and here he was met by the late Governor Trapaud, of Fort Augustus, then in the Duke's army, who requested to have Lovat's face uncovered, that he might have a look of 'the old fox.' Lovat heard all this, but pretended to be sound asleep. Whenever he found Trapaud examining his phiz, he started up, and with the vigour of youth, made a snappish bark at him, like that of a terrier, which so thunderstruck the governor, that he fell backwards with terror, to the no small amusement of the party. Another anecdote, not less worthy of notice, occurs regarding this place. Hugh Fraser, Esq. of Dell, a most extensive drover and grazier, in returning from the southern markets, was benighted here, as he came on a fine frosty November evening to the foot of the traverses, when all of a sudden, as he ascended, a most furious driving of snow come on; he kept forward as long as he could, thinking it might cease,‑‑but in vain,‑‑he lost his way. He had an appointment for next day to pay large sums of money, in his custody,‑‑which, if he was lost, would bring ruin on many persons. If he sat down, he knew he must have inevitably perished with cold. In this state, a thought occurred to him worthy of being universally known,‑‑ and the cause of the present mention of it,‑‑that he should make for the highest pinnacle of the hill and there form a circular path and ride and walk by turns round it till morning came. This he according did, and hailed the morning cry of the grouse as the sweetest music ever he heard. When day‑light came, he could not distinguish one object known to him, nor find the road; and, even at sunset, in place of being near Fort Augustus, he reached a hut, entirely in a different direction, within three miles of his own house, unable to go further, and found he had rode over morasses and lakes that would have swallowed him up, but for the intenseness of the frost. He, however, perfectly recovered in a day or two. The presence of mind displayed by him, in preserving life during the night, as a lesson to others, will apologize for the length of this note.”

***

The ancient name of Fort Augustus, "Kilchuimen” (sometimes Kilcumein), or 'Church of Saint Cumine.' It was named after Saint Cumine (sometimes Cumein), a monk of Iona who became 7th Abbot of the island and who gained fame for his life of Saint Columba. The Fort that gives Fort Augustus its name was one of a series of forts built by the Hanoverians to secure the Great Glen of Scotland. There was Fort George near Inverness, Fort Augustus in the heart of the Glen at Loch Ness, and Fort William at the southern end. All were named after members of the Hanover royal family; Augustus was the name of George II’s son, William Augustus, the Duke of Cumerland. Cumberland is infamous for his part in the battle of Culloden and its aftermath, so much so he was known as ‘Butcher Cumberland’.  Following the defeat of the Highland forces of Bonnie Prince Charlie he took up residence in Fort Augustus, and remained oblivious to the depredations of his troops upon the local population and the suffering of the Highland people during the harsh winter of 1746. General Wade, referred to by Fraser in the passage above, built the fort in 1730 along with a network of roads and bridges, and he is recognized today as a great engineer.  In later years Fort Augustus passed into the hands of Lord Lovat, who bought it in 1867 as a shooting lodge, and whose son donated it to monks in the mid-1870’s.  The old fort was transformed into a Benedictine Abbey which survived until the present day, although it recently has been closed.

***

Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 169, pg. 69. Neil (The Scots Fiddle), 1991; No. 133, pg. 172. Stewart-Robertson (The Athole Collection), 1884; pg. 131.

X:1

T:High Road to Fort Augustus

M:C|

L:1/8

R:Reel

B:Stewart-Robertson – The Athole Collection  (1884)

Z:AK/Fiddler’s Companion

K:B Minor

F|CFF^G A2AF|A,>A, E2 C<A, A,>E|CFF^G A2Ac|AFEC B,/B,/B, F:|

BFBc dBFd|cAeA cAAc|BFBc dBFd|caec B/B/B f2|

def^g agfa|efde cAAa|fdec dBcA|FAEC B,/B,/B, F||


           

HIGH ROAD TO GALWAY.  AKA and see “Satin Slipper.” Irish, Reel. Topic TSCD 602, Siamsa Gaedheal Ceilidhe Band – “Irish Dance Music” (1995. A reissue of the 1931 original).

 

HIGH ROAD TO GLENCOE. Canadian. Canada, Cape Breton. Composed by Donald Angus Campbell. WS 031703, Wendy MacIsaac – “Timeline” (2003).

                       

HIGH ROAD TO GLIN, THE. Irish, Reel. D Major. Standard tuning. AABB. Composed by the late Bronx fiddler and teacher Martin Mulvihill (originally from Ballygoughlin, west County Limerick) while riding on a train in New York City. Glin is in north Limerick on the south bank of the river Shannon. Bill Black (1996) remarks that Glin sports a nice castle, of course said to be haunted! See also “The Low Road to Glin.” Black (Music’s the Very Best Thing), 1996; No. 325, pg. 174. Green Linnet GLCD  1211, Kevin Crawford – “In Good Company” (2001).

X:1

T: The High Road to Glin

C: M. Mulvihill

Q: 350

R: reel

Z:Transcribed by Bill Black

M: 4/4

L: 1/8

K: D

D/E/ | F2 AF EFDE | F2 AF EA, A,2 | F2 FE DEFA | (3Bcd AF E2 DE |

F2 AF DFAF | F2 AF EA, A,2 | F2 FE DEFA | (3Bcd AF D3 :|

e | f2 df e 2 df | afeg fB (3BAB | f2 df af (3fef | bfaf e2 de |

fa (3aba egfe | dfed BcdA | F2 FE DEFA | (3Bcd AF D3 :|

           

HIGH ROAD TO KILKENNY, THE. Irish, Slip Jig. G Major. Standard tuning. AABB. Source for notated version: “From Mrs. Close” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 549, pg. 139.

X:1

T:High Road to Kilkenny, The

M:9/8

L:1/8

S:Stanford/Petrie (1905), No. 549

Z:AK/Fiddler’s Companion

K:G

G2g gfg dBG | A2B c2d ecA | G2g gfg dBG | A/B/cA BGE E3 :|

|: e2f g2e fdB | e2f g2a bge | faf gbe dBG | {A/B/}c2A BGE  E3 :|

           

HIGH ROAD TO LINTON (An Bóthar Mór go Linton). AKA and see "Cuddle in a Boasie" (Shetland), “High Road to Lynn,” "High Way to Linton," “Highway to Linton,” “Jenny’s Gone to Linton,” “Kitty Got a Clinking [2],” "The Leinster Highroad." Scottish, Shetland, Irish, English, Canadian; Reel or Fling. Canada; Prince Edward Island, Cape Breton. Scotland, Lowlands. England, Northumberland. A Major (Breathnach, Cranitch): A Major/Mixolydian (Perlman, Songer, Surenne): A Mixolydian (Mallinson). Standard tuning. AB (Breathnach, Cranitch, Surenne): ABB (Gow, Carlin): AABB (Athole, Gow/Repository, S. Johnson, Honeyman, Hunter, Kerr, Lowe, Neil, Skye, Williamson): AABBCC (Mallinson): AABBCCDD (Martin, Perlman, Songer). Linton is a small town in the Borders region of Scotland and England, strategically located in the center of lowland Scotland. It was a major hub for the old drove-road network that fed Highland cattle to the lucrative English markets, and was as much a “cattle town” as any in the American wild west. Despite recent assertions that the title is a corruption of “The High Road to London,” Several think (Gordon Mooney, Stuart Eydmann) that the Linton title is correct and that the ‘high road’ refers to an old drove road (also known as "The Thieves Road" due to the numerous reivers and bandits which often plagued those who travelled it). This road crossed the Pentlands from West Linton to the Catslacksburn, and was at one time the main route for cattle droving from the Scottish Highlands through the Borders to the English markets. The introduction of the improved “Linton” breed of sheep from the border uplands to the Highlands helped hasten the end of the cattle trade and was a factor which led to the infamous Highland clearances. The October, 1999, issue of the Scottish periodical Box and Fiddle (the magazine of the National Association of Accordion and Fiddle Clubs) printed a piece about the Dickson family of West Linton, residents of the town since the mid-18th century with quite a few musician members since the 19th century. Dickson family lore has it that “High Road to Linton” was composed by a James Dickson (1827-1908), under the title "Ower the Garle" (the Garle was the road from Medwynbank/Garvald to West Linton). However, there are (two-part) versions of the tune older than Dickson’s dates; one of which is in Robert Mackintosh’s A Third Book of Sixty-Eight New Reels and Strathspeys. Also above forty old Famous Reels (Ediburgh, 1796), under the “High Road to Linton” title, while another printing is in McGlashan’s 1798 collection.

 ***

The melody is known as a (Scottish) Lowlands tune, despite the fact that Gaelic words are sometimes sung to it (see below). The title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800. English titles include “Jenny’s Gone to Linton,” and, in Norfolk, “The High Road to Lynn.” Neil (1991) notes there are several versions of the tune extent. Perlman (1996) remarks that the ‘A’ and ‘B’ parts appear in older Scottish publications, but that the ‘C’ and ‘D’ parts are from modern Cape Breton, Nova Scotia, playing. The ‘C’ and ‘D’ parts are frequently attributed to the late Scottish dance bandleader and piano accordion player Bobby MacLeod of Tobermory, who, in fact, added four parts to follow the original two, although only his ‘C’ and ‘F’ parts were absorbed into tradition. Nigel Gatherer points out that MacLeod himself (in his book Selections of Country Dance Tunes, 1957) did not definitively claim them as his own, remarking only “Traditional, with some variations…collected from Calum Iain Campbell, Benbecula.”

***

There are several sets of Gaelic words to the tune, one from Scotland which begins "Bodachan a mhill Anna" (which can be found in Margaret Fay Shaw's South Uist collection) and another found in both Scotland and Cape Breton which commences "Bodachan a'Mhirein." A third set is from the Isle of Lewis and goes:

***

Domhnull beag an t‑siúcair, an t‑siúcair, an t‑siúcair

Domhnull beag an t‑siúcair, is dúil aige pósadh

Cha ghabh a' chlann‑nighean e, chlann‑nighean e, chlann‑nighean e

Cha ghabh a' chlann‑nighean e, bho nach 'eil e boidheach

***

An Irish adaptation of the tune goes under the title “Kitty Got a Clinking Coming from the Races.” A version of “High Road to Linton” (with the first two parts reversed) is in the book Hidden Fermanagh, from the playing of John McManus, under the title “Uncle Hugh’s.”

***

Sources for notated versions: fiddler Paddy Glackin (Ireland) [Breathnach]; Paul MacDonald (b. 1974, Charlottetown, Queens County, Prince Edward Island) [Perlman]; David Reich (Madras, Oregon) [Songer]; Robert Mackintosh’s 1796 collection [Johnson]. Breathnach (CRÉ III), 1985; No. 166, pg. 76. Carlin (The Gow Collection), 1986; No. 482. Cranitch (Irish Fiddle Book), 1996; No. 62, pg. 149. Gow (Complete Repository), Part 2, 1802; pg. 24. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 19. Hunter (The Fiddle Music of Scotland), 1988; No. 234. S. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 18. Kerr (Merry Melodies), vol. 1; Set 8, No. 4, pg. 7. Lowe, Book 3, 1844‑45. MacDonald (The Skye Collection), 1887; pg. 22. Mallinson (Enduring), 1995; No. 10, pg. 4. Martin (Ceol na Fidhle), vol. 1, 1991; pg. 45. Neil (The Scots Fiddle), 1991; No. 17, pg. 23. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 97. Songer (Portland Collection), 1997; pg. 96. Stewart-Robertson (The Athole Collection), 1884; pg. 33. Surenne (Dance Music of Scotland), 1852; pg. 10. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 51. CCF2, Cape Cod Fiddlers – “Concert Collection II” (1999). Culburnie COL 113D, Aladair Fraser & Tony McManus – “Return to Kintail” (1999). Gael‑Linn Records CEF 018, Paddy Glackin ‑ "Ceol ar an bhFidil" (1977). Gael-Linn CEF060, “Paddy Glackin.” Greentrax CDTRAX 9009, Andrew Poleson (Whalsey, Shetland) - “Scottish Tradition 9: The Fiddler and his Art” (1993). Temple Records 2044, “Fiddlers 5: Fiddle Music from Scotland” (1991). Fife Strathspey and Reel Society – “The Fiddle Sounds of Fife” (1980). Ron Gonnella – “Scottish Violin Music” (1966). “The Caledonian Companion” (1975).

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 Road to Linton

M:C|

L:1/8

B:Stewart-Robertson – The Athole Collection  (1884)

Z:AK/Fiddler’s Companion

R:Reel

K:A

e | ceeg a2a>e | fefg a2 ae | ceeg a2 ae | faec B2A :|

|: d | ceea fddf | ecce fBBd | ceea fddf | ecac B2A :|

X:2

T:High Road to Linton

M:C|

L:1/8

B:Mackintosh – Third Book of Sixty Eight New Reels and Strathspeys (1796)

Z:AK/Fiddler’s Companion

R:Reel

K:A

c(eef) a2 (ae)|f2 fe a2 (ae)|c(eef) a2 (ae)|faec “tr”B2A2:|

|:e(ee=g) fddf|e(cce) f(BBd)|cee=g fddf|ecac “tr”B2 A2:||

X:3

T:High Road to Linton

M:4/4

L:1/8

R:Fling

O:Irish

K:Amix

ceef a2 ae|f2 fe a2 ae|ceef a2 ae|face B2A2:|

|:ceea fddf|ecce fBBd|ceea fddf|ecac B2A2:||

 

HIGH ROAD TO SLIGO (Am Bóthar Mór go Sligeach). Irish, Double Jig. D Major. Standard tuning. AAB. Recorded by Joe Burke. Source for notated version: The Bridge Ceili Band [Mulvihill]; accordion player Sonny Brogan (County Sligo/Dublin, Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 33, pg. 14. Mulvihill (1st Collection), 1986; No. 41, pg. 73.

 

HIGH UP ON TUG. Old-Time, Breakdown. G Major. Standard tuning. A tune from the Sandy River region of West Virginia/Kentucky. It was in the repertoire of West Virginia fiddler Edden Hammons. Edden Hammons Collection II, Disc 1.

 

HIGH UP THE GLEN. Scottish, Reel. G Dorian. Standard tuning. AAB. Stewart-Robertson (The Athole Collection), 1884; pg. 195.

X:1

T:High Up in the Glen

M:C|

L:1/8

R:Reel

B:Stewart-Robertson – The Athole Collection  (1884)

Z:AK/Fiddler’s Companion

K:G Minor

d|gaba agfd|cdfg agfa|gaba agfd|cAfA G<G G:|

c|B/c/d BG BdgB|A/B/c AF Acfc|B/c/d BG GdgB|cAfA G<G Gc|

B/c/d BG BdgB|A/B/c AF Acfc|Bcd=e fgfd|cAfA G<G G||

 

HIGH WAY... See also "Highway..." or "High Road..."

 

HIGH WAY TO ARDMILLAN, THE. English, Reel. England, Northumberland. F Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 3; No. 490.

 

HIGH WAY TO EDINBURGH, THE. AKA and see "The (Bonny) Black Eagle," "My Tocher's the Jewel," "Lord Elcho's Favourite." Scottish, Jig. E Minor. Standard tuning. AABB. The tune appears under the above title in James Aird's Selection of Airs and Marches, First Edition. The Scots poet Robert Burns accused Nathaniel Gow of plagerism of the tune when the latter published a similar melody under his own name called "My Tocher's the Jewel" (which Burns maintains is "notoriously taken from the 'Muckin' of Geordie's Byre'"). Burns himself had used the tune for his own poem "My Tocher's the Jewel," which he contributed to James Johnson's Scots Musical Museum. Cazden (et al, 1982) identifies the melody as a variant of a large tune family, much used for songs and airs over the years, which include the Scottish song "Gilderoy," the Irish "Star of the County Down," Chappell's English "We Be Poor, Frozen Out Gardeners" and Cazden's own Catskill Mountain (New York) collected "The Banks of Sweet Dundee." Bayard (1981) notes a resemblance between this tune and "Turkey in the Straw," especially to the second part of the latter, and suggests that in fashioning it the Scots tune may have been borrowed from. John Glen (1891) finds the earliest printing of the tune in Joshua Campbell's 1778 collection (pg. 75). Gatherer (Gatherer’s Musical Museum), 1987; pg. 15. Oswald (Caledonian Pocket Companion), vol. 1, 1757, pg. 100. Wood (Songs of Scotland), 1848‑49.


 

HIGH WAY TO GALLOWAY.  AKA and see "All the Way to Galway [1]," "The Galway Girls," "Sarsfield March," "The March of the Tribes to Galway," “Road to Lisdoonvarna [2].” "Slash Away the Pressing Gang," "Yankee Doodle Dandy." Scottish, English; Reel. D Major. Standard tuning. AABB. The melody is contained in the 1840 music manuscript collection of Cumbrian musician John Rook. See also the Scots relatives "Ciorsdan Mhor", "Big Kirsty", "Miss Stewart Bun Rannoch" and "A' the Way to Galloway, and the related Irish polka “The Kerry Cow.”

X:1

T:High Way to Galloway

M:C|

L:1/8

R:Reel

S:John Rook manuscript (Cumbria, 1840)

Z:AK/Fiddler’s Companion

K:D

defd cAAc|BGGB cAAc|defd cAAc|BGAF D2D2:|

|:ABAG AB c2|GAGF EFGE|ABAG ABc2|BGAF D2D2:|

 

HIGH WAY TO INVERNESS, THE. English, Reel. England, Northumberland. G Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 2; No. 331.

 

HIGH WAY TO LINTON. AKA and see "High Road to Linton."

 

HIGH WAY TO WARINGTON, THE. Scottish (?), Country Dance Tune (9/8 time). F Major. Standard tuning. AABBCC. McGlashan (Collection of  Scots Measures), c. 1780; pg. 24.

X:1

T:High Way to Warington, The

M:9/8

L:1/8

R:Jig

B:McGlashan – Collection of Scots Measures (c. 1780)

Z:AK/Fiddler’s Companion

K:F

F2f e/f/ge f3|cAF F2B A/B/cA|G2g ^f/g/af g3|dBG G2B A/B/cA:|

|:bag age f3|cAF F2B A/B/cA|bag ag^f g3|d=BG G2_B A/B/cA:|

|:dcB cBA BAG|cAF F2B A/B/cA|dcB cBA BAG|d=BG G2_B A/B/cA:|

 

HIGH YELLOW. Old‑Time, Breakdown. USA, western Virginia. C Major. Standard tuning. AABB. The title was a term applied to a mulatto or light-skinned African-American. Source for notated version: Woody Woodring [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 112.  Flying Fish FF‑055, The Red Clay Ramblers ‑ "Merchants Lunch" (1977. Credited to Henry Reed). CD, Alan Jabbour, James Reed, Bertram Levy – “A Henry Reed Reunion” (2002).

 

HIGHBORN LADY. Old‑Time. Probably an instrumental version of an Uncle Dave Macon favorite "My Gal's a High Born Lady” (Wolfe, 1997). In the repertoire of Uncle Jimmy Thompson (Texas, Tenn.) who recorded the tune for Columbia in November, 1926 (unissued).

           

HIGHER UP THE MONKEY CLIMBS. See “Seneca Square Dance.”

           

HIGHER UP THE MONKEY GOES. AKA and see "Engine on a Mogul," "Shoot That Turkey Buzzard."

 

HIGHEST HILL IN SLIGO, THE. Irish, Reel. D Major. Standard. AA’BB’. Composed by the late County Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988), to commemorate fiddlers Michael Coleman and Lad O’Beirne, both originally neighbors from County Sligo who emigrated to New York. Coleman took lessons from Lad’s father.  Reavy (The Collected Compositions of Ed Reavy), No. 23, pg. 24. Green Linnet GLCD 1087, Seamus Connolly - "Notes From My Mind" (1988. Learned from Reavy during his visit to Connolly's home in Limerick in the late 1960's). Shanachie Danú – “When All is Said and Done.”

X:1

T:The Highest Hill In Sligo

M:2/2

L:1/8

C:Ed Reavy

R:Reel

N:From this county came some of the greatest

N:fiddlers in the tradition: Coleman, Morrison, Scanlon, O'Beirne, and

N:others before them. It is their Sligo, the Sligo of Ballymote, Gurteen,

N:and Collooney. And it is also the Sligo of Ben Bulben, that most famous

N:hill immortalized in the verses of Ireland's Nobel Prize winning poet

N:William Butler Yeats.

Z:Joe Reavy

K:D

AF ||: FdAF G2 EG | FEFD CDEG | FDFA efaf | gece dBAG |

FdAF G2 EG | FEFD GFEG | FAdf EcdB |1 AFGE FDDE:|2 AFGE FD D2 ||

fgaf defa | gfga bgeg | fgaf defa | gbeg ed d2 | fg (3agf bagf | (3agf ec dcAG |

FAdf ecdB |1 AFGE FD D2:|2 AFGE FDDE ||

 

HIGHLAND. A dance form with accompanying music in 4/4 time. The name Highland is a regional name in northern Ireland (where Scottish influence is strong) for the dance form elsewhere most often called a schottische. It is also sometimes called a German (although this form is slightly different—see note for ‘German’), and elsewhere in Ireland is called a fling, highland fling or highland schottische. According to Caoimhin Mac Aoidh (1994) highlands were adapted by Donegal fiddlers from strathspeys and reels, and are played much slower than a reel but faster than a Scots strathspey. When borrowed from a strathspey the triplets tend to be simplified, but the “Scottish snap” is retained, unlike a German. In previous times the Highland/Fling/German form was to be heard played over much of Ireland, however, in the 20th century they were increasingly confined to the northern counties, principally in Donegal.

                       

HIGHLAND A’ CHOILLE. Irish, Highland. Ireland, County Donegal. G Major. Standard tuning. AB. A version of the Scottish schottische “Loudon’s/Louden’s Bonnie Woods (and Braes).” The tune is also known in Ireland as the reel “Little Ark.”

X:1
T:Highland a' Choille
S:James Byrne
D:The fiddle music of Donegal, vol. 2
M:C

L:1/8

Z:Juergen Gier
K:G
G2GA BddB|cABG ADFA|G2GA Bddg|(3efg fa gedB|\
G2GA BddB|cABG AG (3FED|G2GA Bddg|(3efg fa gfga||\
bgaf gfed|efge dBBg|bgaf gfed|(3efg fa gfga|\
bgaf gfed|efge dBBA|G2GA Bddg|(3efg fa gedB|]

                       

HIGHLAND BATTLE, A. Scottish, Fiddle Pibroch. D Mixolydian. Standard. A programmatic piece composed (probably) by James Oswald (1711‑1769) for the fiddle descriptive of a battle between the clans. It is divided into separate sections called "The March," "They Mend Their Pace," "The Battle Begins," "The Height of the Battle," "The Preparation for a Retreat," "The Chief is Killed," "The Retreat," and "Lamentation for the Chief." Johnson (1983) believes Oswald derived the idea for this kind of many‑part descriptive pibroch from 16th century European battle pieces, and was perhaps especially influenced by a harpsichord suite by the English composer William Byrd entitled "The Battell." Source for notated version: Oswald's Caledonian Pocket Companion, c. 1760, Vol. 9, pg. 6. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 58, pgs. 138‑140.


           

HIGHLAND BLACK LADDIE. AKA and see “Highland Laddie [5].” Scottish, Reel. A Major. Standard. AB (Kennedy): AA’BB’ (Kerr). Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 62, pg. 17. Kerr (Merry Melodies), vol. 4; No. 16, pg. 4. Wilson (Companion to the Ballroom), 1815; pg. 74.

X:1

T:Highland Black Laddie

M:C|

L:1/8

R:Reel
S:Kerr – Merry Melodies, vol. 4, No. 16  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

a|eAcA e2c2 | fBBc fBBa | eAcA e2c2 |1 eAAc eAA :|2 A/B/c/d/ eB cAA ||

|:a|fefa (fe)c2 | fBBc fBBa | fefa (fe)c2 |1 eAAc eAA:|2A/B/c/d/ eB cAA||

           

HIGHLAND BOAT SONG. AKA and see "The Arran Boat." Scottish, Air (3/4 time). E Minor (Lerwick): E Dorian (Gatherer). Standard. AAB. Gatherer (Gatherer’s Musical Museum), 1987; pg. 28. Lerwick (The Kilted Fiddler), 1985; pg. 80. Maver (Maver's Collection of Genuine Scottish Melodies), 1885. Highway SHY 7011, John and Phil Cunningham ‑ "Against the Storm" (appears as "The Arran Boat").

           

HIGHLAND BRIGADE AT WATERLOO, THE. Scottish, Jig. A Dorian. Standard. ABC (Martin): AABBCCDDEEFFGGHH (Gow). Composed by John Gow (1764-1826), youngest son of the famous Scots fiddler-composer Niel Gow. John moved to London, and with his brother Andrew established a publishing firm, becoming the English distributor of the Gow family publications. The battle of Waterloo was fought on June 18th, 1815, some two years prior to the printing of Gow’s 4th Repository, and, in the context of the times, the heroic event was still quite topical (see also the Gow’s “Lamentation for the Fallen Heros of Waterloo”). Gow included two other tunes in the same collection that refer to the battle, “Lamentation for the Fallen Heros of Waterloo” and “The Royal Highlanders Welcome from Waterloo.” Gow (Complete Repository), Part 4, 1817; pgs. 2-3. Martin (Ceol na Fidhle, vol. 3), 1988; pg. 33.

X:1

T:Highland Brigade at Waterloo, The

M:6/8

L:1/8

R:Jig

S:Gow – 4th Repository  (1817)

Z:AK/Fiddler’s Companion

K:A Dorian

g|e>dB ABd|e>dB dBG|e>dB ABd|e>ge/d/ B2A|e>dB ABd|e>dB dBG| e>dB ged|edB A2:|

|:^g|(aA)a (aA)a|gdg B>AG|(aA)a (aA)a|(aA)a a>ge|(aA)a (aA)a|gdg B>AG| e>dB ged|edB A2:|

|:e|AB/d/e AB/d/e|AB/d/e d2G|AB/d/e AB/d/e|AB/d/g e2d|AB/d/e AB/d/e|

AB/d/e d2G|e>dB ged|edB A2:|

|:g|aA/e/a aA/e/a|gd/e/g B2G|aA/e/a aA/e/a|aA/e/a a2g|aA/e/a aA/e/a|

gd/e/g B2G|e>dB ged|edB A2:|e|AB/d/e/d/ AB/d/e/d/|AB/d/e/d/ B2G|

AB/d/e/d/ AB/d/e/d/|AB/d/g/d/ e2d|AB/d/e/d/ AB/d/e/d/|AB/d/g/d/ B2G| e>dB g>ed|edB A2:|

|:e|aA/e/a/e/ aA/e/a/e/|gd/e/g/d/ B2G|aA/e/a/e/ aA/e/a/e/|aA/e/a/^g/ a2e|

aA/e/a/e/ aA/e/a/e/|gd/e/g/e/ B2G|e>dB ged|edB A2:|

|:g|(e/g/)e/(d/e/)d/ (e/g/)e/(d/e/)d/|(e/g/)e/(d/g/)d/ B2G|(e/g/)e/(d/e/)d/ (e/g/)e/(d/e/)d/|

(e/g/)e(d/g/)d/ B2A|(e/g/)e/(d/e/)d/ (e/g/)e/(d/e/)d/|(e/g/)e/d/g/d/ B2G|e>dB g>ed|edB A2:|

|:e|(a/b/)a/^g/(a/e/) (a/b/)a/^g/(a/e/)|(=g/a/)g/d/(g/d) B2G|(a/b/)a/^g/(a/e/) (a/b/)a/^g/(a/e/)|

(a/b/)a/^g/(a/e/) ~a2g|(a/b/)a/^g/(a/e/) (a/b/)a/^g/(a/e/)|(=g/a/)g/d/(g/d/) B2G| e>dB g>ed|edB A2:|

 

HIGHLAND BRIGADE'S MARCH TO THE BATTLE OF ALMA. Scottish, Pipe March (2/4 time). A Mixolydian. Standard tuning. AABB'. Composed by William Ross in commemoration of the march of the Black Watch (42nd Highlanders), Sutherland Highlanders, and the Cameron Highlanders to the Crimean War battle of Alma. On 20th September, 1854, the Highland Brigade reached the River Alma overlooked by the Russians. Under very heavy fire the 93rd (Sutherland) reached the summit and then charged the enemy. After fierce hand to hand fighting, the Russians abandoned their positions to the 93rd and the battle was won.

***

Curiously, the English had for some years had a liking for spectacular stage recreations of grand historical events. Extremely popular, this form of entertainment probably helped to explain events to a population that was still largely illiterate. The military melodrama reached its zenith with the recreation of the Battle of Alma at Astley’s in London, staged in 1855 with a cast that included four hundred extras.

***

Neil (The Scots Fiddle), 1991; No. 122, pg. 161.

                       

HIGHLAND BRIGADE'S MARCH TO WATERLOO, THE. Scottish, Pipe March (2/4 time). D Major. Standard tuning. AABB. Composed by William Ross. Among the stories of bravery of the several Highland regiments at the battle of Waterloo is the tale of one of the pipers of the Queen's Own Cameron Highlanders, one Kenneth Mackay, whose brigade formed a defensive square (according to the tactics of the day) when faced with a French calvary charge, bayonets facing out. Mackay stepped outside the massed Camerons and continued to play his pipes, marching around the square while skirling "Cogaidh no Sith" (War or Peace) to encourage the troops. Neil (The Scots Fiddle), 1991; No. 123, pg. 163.

                       

HIGHLAND BUMPKIN, A. AKA and see "Favorite Dram," "Ho ro mo bhoban an dram."

                       

HIGHLAND CATHEDRAL. Pipe tune. Although often mistaken for a traditional Scottish tune, it is actually a modern composition by two natives of Berlin, Germany, Michael Korb and Ulrich Roever. The composers were inspired by the story that, under the reign of King James I of Scotland, all the clan chiefs were summoned to a secret meeting at the Highland Cathedral. There they were to pledge an end to clan feuds and infighting and to promise to keep the piece. This they did, but only for such time as the king lived. The piece was intended to mimic the feeling of a national anthem. The tune was chosen by pop singer and actress Madonna as a wedding march at her wedding at Skibo castle in 2001.

                       

HIGHLAND CHIEFTAN, THE. Scottish, Slow Strathspey. D Major. Standard tuning. AB. Composed by Nathaniel Gow. Carlin (The Gow Collection), 1986; No. 71. Gow (Third Collection of Niel Gow’s Reels), 1792; pg. 1 (3rd ed.). Jones [ed]. (Complete Tutor Violin), c. 1815; pg. 2.

X:1

T:The Highland Chieftain.

M:C

L:1/8

B:Complete Tutor Violin (c. 1815)

Z:Dr. Evan Jones [Ed.]

K:D

U:T=!trill!

%%graceslurs false

g | Tf>e{c}d>B AFFd | (A<E)A>E {E} F2 Fg | Tf>ed>B A>B{B}d>B | (A<F)F>D {D} E2 Eg |

Tf>de>f d>fB>d | A>dAF {F} A2 AB/c/ | Td>f {e/}dc/B/ AFFd | (A<F)TF>D {D} E2 E ||

B | A<FTF>B A<FF>d | AF {F} (A>E) {E} TF2 FB | A<FA>B Td>e{e}f>e | {c}d>BAF {F} E2 EB |

(A<F)F>d (A<F)F<B | (A<F) {F} A>E {E} F2 F>B | A>B d>f e<f!fermata!d>B | A>B {AB} dF {F} E2 E |]

X:2

T:Highland Chieftain, The

M:C

L:1/8

R:Strathspey

N:”Slow”

B:Gow – 3rd Collection of Niel Gow’s Reels, p. 1, 3rd ed.  (orig. 1792)

Z:AK/Fiddler’s Companion

K:D

g|”tr”f>e{c}d>B AFFd|(A<F)A>E {E}F2 Fg|”tr”f>ed>B A>B {B}d>B|(A<F)F>D {D}E2 Eg|

“tr”f>de>f d>fB>d|A>dA>F {F}A2 AB/c/|”tr”d>f {e}dc/B/ AFFd|(A<F)”tr”F>D {D}E2E||

B|A<F”tr”F>B A<FF>d|AF {F}(A>E) {E}”tr”F2 FB|A<FA>B “tr”d>e{e}f>e|{c}d>BAF {F}E2 EB|

(A<F)F>d {A<F)F<B|(A<F){F}A>E {E}F2 F>B|A>B d>f e<fd>B|A>B {A/B/}dF {F}E2 E||

                       

HIGHLAND CRADLE SONG. Scottish, Slow Air (3/4 time). D Major. Standard tuning (fiddle). AABB. Martin (Ceol na Fidhle), vol. 2, 1988; p. 43.

 

HIGHLAND DIVISION’S FAREWELL TO SICILY. See “Farewell to the Creeks.”

 

HIGHLAND DONALD. Scottish, March (4/4 time). B Minor. Standard tuning (fiddle). AA'BB'.

X:1
T:Highland Donald
D:Andrew Rankine
Z:Nigel Gatherer
L:1/8
M:2/4
K:Bm
d/c/ | BB BA/B/ | cB Bc/B/ | A>F EF  | AB A>E | FB  BA/B/ | cB Bc/B/ | A>F EF | B2 B :|
A | d2 d>e | fd BA | e2  e>f | g/f/e/d/ BA  | d>e fd | Bd AF | BA FA | B2 B :|]

 

HIGHLAND DONALD KISSED KITTY. AKA and see “Heilan Donald Kissed Kitty,” “Merry Kitty.” Scottish, Strathspey. G Major. Standard tuning (fiddle). AABB. Kerr (Merry Melodies), vol. 3; No. 59, p. 9.

X:1

T:Highland Donald Kissed Kitty

M:C

L:1/8

R:Strathspey

S:Kerr (Merry Melodies, vol. 3, No. 59)

Z:AK/Fiddler’s Companion

K:G

(B<G) G>A B>A (B<g) | (B<G) G>B A>Bc>A | (B<G) G>A B>A (B<d) | e<g d<g B<g A2 :|

|: (B<d) d>e g>de>c | (B<d) d>e g>BA>c | (B<d) d>e g>de>d | e<g d<g B<g A2 :|

 


HIGHLAND DRESS AND ARMOUR (Cuir a nall am feileadh-beag 's an t-armachd). Scottish, Strathspey. C Major. Standard tuning (fiddle). AABCCD (Athole, Fraser): AABB'CCDD' (Kerr). This tune "celebrates the restoration of the Highland dress and armour, after having been proscribed for a number of years as a badge of disloyalty. Let that period by contrasted with the present, when almost every little boy in the kingdom delights to wear the bonnet as a national badge of honour; and let this air commemorate the glorious change" (Fraser). John Glen (1891) finds the earliest printing of a tune called "Highland Dress" in Neil Stewart's 1761 collection (pg. 61). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 127, pp. 50‑51. Kerr (Merry Melodies), vol. 3; No. 121, p. 15. Stewart-Robertson (The Athole Collection), 1884; p. 74.

X:1

T:Highland Dress and Armour

M:C

L:1/8

R:Strathspey

B:Stewart-Robertson – The Athole Collection  (1884)

Z:AK/Fiddler’s Companion

K:C

c|G<C G>E G>C E<c|G<C G>D E2 E>c|G<C G>E G>C E<c|G<cE<c d2D:|

f|(3efg (3fga e>c c<e|d<B c>G E2 E>g|(3efg (3fga e<cc<e|G<cE<c D2 D>f|

(3efg (3fga e>c c<e|d<B c>G E2 E>e|c>e d<e c>eA<c|G<cE<c D2D||

|:e/f/|g<c a>c g>c e<a|g<c g>d e2ef|g<c a>c g>c e<a|g<c g>e d2d:|

e|c>e d/c/B/A/ G>E E<c|G<E c>G E2 E>e|c>e d/c/B/A/ g>E E<c|

G>cE>c D2 D>d|c>e d/c/B/A/ G<E E>c|G<E c>G E2 E>e|c>e d<e c<eA<c| G>cE>c D2D||

 

HIGHLAND ECHOES. Scottish, Reel. D Major. Standard tuning. AABB. Harding’s All Round Collection, 1905; No. 123, pg. 39.

X:1

T:Highland Echoes

M:2/4

L:1/8

R:Reel

S:Harding’s All Round Collection, No. 123  (1905)

Z:AK/Fiddler’s Companion

K:D

(A/G/)|(F<A) AB/c/|d>ed>A|(F<A) Af|ed/B/ AG|(F<A) AB/c/|

d/c/d/e/ dA|(F<A) (Af)|(e<d) d::a|.f.a .e.f|d>e .f.d|(f<a) e>f|

g/f/e/d/ BA|(f<a) e>f|d/c/d/e/ fg|aA A>f|(e<d) d:|

 

HIGHLAND FABRICK, THE.  Scottish, Jig. G Major. Standard tuning. AABBCCDDEEFF. Colclough (Tutor for the Irish Union Pipes), c. 1830; pg. 15.

X:1

T:Highland Fabrick, The

M:6/8

L:1/8

R:Jig

S:Colclough – Tutor for the Irish Union Pipes (c. 1830)

Z:AK/Fiddler’s Companion

K:G

(G/4A/4B/4c/4) | d3 dBG | dBG ABc | d4 dBG | ABc B2 (G/4A/4B/4c/4) | d3 dBG |

dBG ABc | Bgd edc | BcA G2 :: B/A/ | GBd GBd | Gce Gce | GBd GBd | ABc B2 (G/4A/4B/4c/4) |

d3 dBG dBG ABc | Bgd edc | BcA G2 :: (3g/f/e/ | d2 (3c/B/A/ B2 (3g/f/e/ | d2 (3B/A/G/ A2 (3g/f/e/ |

d2 (c/B/A/ B2 (3g/f/e/ | d2 (3c/B/A/ G2 :: (G/4A/4B/4c/4) | BGB BGB | cAc cAc | BGB BGB |

BGB A2 (G/A/) | BGB BGB | cAc cAc | Bgd edc | BcA G2 :: (G/4A/4B/4c/4) | d2G B2G |

d2G B2G | d2G B2G | ABc B2 (G/4A/4B/4c/4) | d2G B2G | d2G B2G | Bgd edc |

BcA G2 :: (3d/e/f/ | gdd d2c | gdd d2c | gdd dcB | ABc B2 (3d/e/f/ | gdd gdd | ecc d2c | Bgd edc | BcA G2 :|

 

HIGHLAND FAIR, THE. Scottish, Reel. A Major. Standard tuning. AAB. Gow has “Lasses” in parenthesis with the title, so presumably “Highland Lasses” is an alternate title. “Old,” notes Gow. Gow (Sixth Collection of Strathspey Reels), 1822; pg. 33.

X:1

T:Highland Fair (Lasses), The

M:C|

L:1/8

R:Reel

B:Gow – Sixth Collection of Strathspey Reels (1822)

Z:AK/Fiddler’s Companion

K:A

F|E2 “tr”E>F EFAc|dcB>A GB B>d|cAec dcBA|GABd cAA:||f|

eA (c/B/A) eAcf|eA (c/B/A) GA Bf|eA (c/B/A) eA (c/B/A)|GA Bd cAAf|

eA (c/B/A) eAcf|eA (c/B/A) GA Bf|eA (c/B/A) eAfA|~GA Bd cAA||

 

HIGHLAND FLING.  Flings are a category of Scottish tunes, though 'flings' also appear in Irish tradition primarily in the northern part of the island (see also note for ”Highland”). The Scottish dance The Highland Fling is a solo dance (though there can be several individual dancers dancing it at one time) comprised of strathspey setting steps. Sometimes one or both hands are raised above the head during the dance, largely at whim of the dancers, and it is thought this convention came about for reasons of balance, though it has also been suggested that it may have derived from primitive sources and that the position imitates the horns of a stag (Flett & Flett, 1964). The “official tempo” for dancing a highland fling is 68 bpm. One "Highland Fling" was cited as having been played for dances in Orange County, New York, in the 1930's (Lettie Osborn, New York Folklore Quarterly), while another appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.  Edison 52395 (78 RPM), 1928, John Baltzell. {Baltzell was from Mt. Vernon, Ohio, the same town as minstrel Dan Emmett (d. 1904). Emmett returned to the town, poor, in 1888 and later taught Baltzell to play the fiddle}.

 

HIGHLAND FLING [1]. Scottish, Strathspey. D Major. Standard tuning. AABB’. One of the many compositions by Carl Volti in the Kerr collections. Kerr (Merry Melodies), vol. 4; No. 64, pg. 10.

X:1

T:Highland Fling [1]

M:C

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 4, No. 64  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

A>BA>F (A<d) d2|(B<d) d2 (A<d) d2|A>BA>F (A<d) d2|g>ef>d e>d (B<d):|

|:(f<a)a2 (f<a) a2|a>ba>g f>ef>d|1 (g<b) b2 g<b b2|g>ag>f e>dc>A:|2 b>ga>f g>ef>d|e>c (3ABc d2 d2||

 

HIGHLAND FLING [2]. AKA and see “Miss Drummond of Perth [1].” Scottish, Reel. A Minor. Standard. AABB. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 65, pg. 18.

 

HIGHLAND HARRY. AKA and see “The Blue Bonnet,” "The Highlander's Farewell to Ireland [2]." Scottish, Strathspey. A Minor. Standard. AABB. Popular with both fiddlers and bagpipers. Christine Martin (2002) says the tune was a vehicle for a song from Jacobite times, and that poet Robert Burns set some verses to it. Martin (Traditional Scottish Fiddling), 2002; pg. 78.

           

HIGHLAND HILLS. AKA and see "Newburn Lads," "The Bob of Fettercairn." Scottish. John Glen (1891) finds the earliest printing of the tune in Joshua Campbell's 1778 collection (pg. 20), though it had earlier appeared in the Gillespie Manuscript of Perth (1768). An early name for the tune now known as "The Bob of Fettercairn."

           

HIGHLAND HORNPIPE. AKA and see “High Level (Hornpipe) [1],” "Velocipede Hornpipe." American (?), Hornpipe. B Flat major ('A' part) & F major ('B' part). Standard. AABB. The title is perhaps a miss-hearing of “High Level Hornpipe,” attributed to Northumbrian fiddler James Hill. Cole (1000 Fiddle Tunes), 1940; pg. 90 (and pg. 110 as "Velocipede Hornpipe"). Ryan’s Mammoth Collection, 1883; pg. 123. MCA Records MCAD 4037, “The Very Best of Don Messer” (1994).

X:1

T:Highland Hornipe

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:B_

(3F/G/A/ | B/d/F/B/ D/F/B/d/ | f/b/d/f/ B/d/F/B/ | c/e/A/c/ F/A/C/F/ | A/F/A/c/ e/c/A/F/ |

B/d/F/B/ D/F/B/d/ | f/b/d/f/ B/d/F/B/ | G/A/B/c/ d/g/f/B/ | A/F/G/A/ B :|

|: c/B/ | A/f/c/f/ A/f/c/f/ | A/F/A/c/ f/c/A/F/ | d/f/B/f/ d/f/B/f/ | d/B/d/f/ b/f/d/B/ |

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


           

HIGHLAND HUNT, THE. AKA and see "The Fox Lamentation."

           

HIGHLAND JENNY. Irish, Highland. Ireland, County Donegal.

           

HIGHLAND LAD MY LOVE WAS BORN, A. AKA and see "White Cockade [1]," "Watson's Scotch Measure." This lyric by burns was originally set to "Watson's Scotch Measure," but is now commonly associated with the similar melody "White Cockade [1]."

 

HIGHLAND LADDIE(, THE ORIGINAL) [1]. AKA ‑ "Hielan Laddie." AKA and see "Bonny Laddie," "Clashing At Her," “Cockleshells,” "Donkey Riding," "High Caul'd Cap," “I have two yellow goats” (Ireland), "The Lass of Livingstone,” “Wilt thou play me fair play?" Scottish, English, New England; Scotch Measure, Quickstep, March, Polka, or Country Dance Tune (cut time). England, Northumberland. D Major (Kerr, Raven): F Major (Johnson): G Major (Miller & Perron, Vickers): A Major (Emmerson, Gow, Morison). Standard tuning. AB (Morison, Raven): AABB (Emmerson, Kerr, Seattle/Vickers): ABCD (Johnson): AABBCCDD (Gow). In the Gentleman's Magazine for 1750 that "The Highland Laddie written long since by Allan Ramsay, and now sung at Ranelagh and all the other gardens; often fondly encor'd, and sometimes ridiculously hiss'd," for, as Emmerson (1971) points out, the rising of 1745 of Bonnie Prince Charlie was fresh in the minds of many at the time. However, by the end of the century that memory had dimmed to the extent that Gow noted in his Repository (Part Second, 1802) "The Quick step (sic) of the gallant 42nd Regiment (The Royal Highlanders, or, more popularly, The Black Watch). It was performed when the Regiment was reviewed by His Majesty at Ashford, May 7, 1802. David Murray (Music of the Scottish Regiments, Edinburgh, 1994, pg. 178) writes: “A journalist at the 1845 Queen’s Birthday Parade commented that the Scots Guards marched past to ‘The national, but mediocre melody ‘Will ye go to Inverness?’—there are several versions of the song—and he compared it unfavorably with the splendid music played by the Coldstream Guards. The same, it must be said, holds good today. Consisting as it does of two simple eight-bar phrases, each repeated, ‘Highland Laddie’ can become monotonous when, for instance, a battalion in column or route has to be played past.” Still, it has the ability to stir: a piper led the British invasion of Normandy’s Sword beach playing the “Highland Laddie.” It is still played on ceremonial occasions.

***

The melody appears in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734." John Glen (1891) finds the earliest printing of the tune in Robert Bremner's 1757 collection (pg. 47). A variant appears under the title “Cockleshell’s” in Playford’s Apollo’s Banquet (London, 1690) and the Dancing Master of 1701. Highland Laddie is also the name of a simple step dance that used to be taught to children, and is the name of a Scottish country dance.

***

Numerous sets of words exist to the melody. This was often sung to the pipe tune version:

***

Where ha' ye been a' the day?

Bonnie laddie, Hielan' laddie

Saw ye him that' far awa'

Bonnie laddie, Hielan' laddie

On his head a bonnet blue

Bonnie laddie, Hielan' laddie

Tartan plaid and Hielan' trews

Bonnie laddie, Hielan' laddie

***

David Murray, in his Music of the Scottish Regiments (Edinburgh, 1994) remarks that “a street song to the tune of ‘Highland Laddie’ was popular with Scottish urchins when a Pipe Band passed, began:

A’ the bumbees kickin’ up a row,

Herrin’ Jennie, six a penny.   (pg. 182)

***

Barry Finn reports that the melody was used as a capstan and a 'stamp and go' shanty, and (without the grand chorus) was also used as a halyard shanty. It was popular on the Dundee Whalers, then later used (c. 1830's and 40's) as a work song for stowing lumber and cotton in the Southeastern and Gulf ports of the United States. An older Dundee version goes:

***

Where have ye been all the day, Bonnie Laddie, Hieland Laddie

Where have ye been all the day, my Bonnie Hieland Laddie

***

Chorus:

Way hay & away we go, Bonnie Laddie, Hieland Laddie 

Way hay & away we go, my Bonnie Hieland Laddie

***

I did see ye down the glen, Bonnie Laddie, Hieland Laddie

I did not see ye near the burn, my Bonnie Hieland Laddie

***

Chorus

***

No, I was not down the glen, no, I was not near the burn

I joined a ship & went a sailing, sailed far north & went a whaling

***

Shipped on board of a Dundee whaler, shipped on board as a whaling sailor

Bound away to Iceland cold, found much ice but not much gold

***

Greenland is a cold country, it's not the place for you and me

We caught some whales and boiled their blubber, oil and fat choked every scupper

***

I'll be glad when I get home, I'll give up this whaling game.

***

A later shanty called “Donkey Riding” was derived from the tune:

***

Was you ever in Quebec, moving timber on the deck

Where you nearly break your neck, riding on a donkey

***

Finn thinks the shanty probably goes back at least to the 1820's or earlier when the Scottish whalers out of Dundee, Peterhead, & Aberdeen were in their Greenland Fisheries hay-days, chasing the right whale. Source for notated version: Bowie Manuscript, c. 1789 [Johnson]. Bremner (Scots Reels), c. 1757; pg. 47. Carlin (The Gow Collection), 1986; No. 568. Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 29, pg. 129. Gow (Complete Repository, Part Second), 1802; pgs. 2-3. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 1, pg. 22. Kerr (Merry Melodies), vol. 1; No. 5, pg. 21. Miller & Perron (101 Polkas), 1978; No, 95. Morison (Highland Airs and Quicksteps, vol. 1), c. 1882; No. 34, pg. 18 (includes one variation set). Raven (English Country Dance Tunes), 1984; pg. 150. Seattle (William Vickers), 1987, Part 2; No. 265 (appears as "Clashing At Her"). Green Linnet SIF 1076, Relativity ‑ "Gathering Place" (1987). Green Linnet SIF 1121, Tannahill Weavers – “The Mermaid Song.” Maggie’s Music MM220, Hesperus – “Celtic Roots” (variations from the Bowie fiddle manuscript, Edinburgh). Topic 12TS283, Ned Pearson. Topic TSCD 669, Ned Pearson (et al) – “Ranting and Reeling: Dance Music of the north of England” (1998. Fiddler Pearson was born c. 1875 at Cambo, near Morpeth, Northumberland).

X:1

T:The Original Highland Laddie

M:2/4

L:1/8

S:Gow – 2nd Repository  (1802)

Z:AK/Fiddler’s Companion

K:A

E|A>Bcc|dB ~c2|cBB A/B/|cBB A/F/|A>B cc|dB ~c>B|AFF E/F/|AFF:|

e|(fa) (ef)|(d/c/)B/A/ {AB}c2|cBB A/B/|cB B>e|fa ea|(d/c/)B/A/ c>B|AFF E/F/|AF~F:|

|:e|a>b c’c’|d’b c’2|c’b~b a/f/|d’b c’>b|af~f e/f/|af~f:|

|:ag|fa ea|(d/c/)B/A/ {AB}c2|cB~B A/B/|cB ~B>e|fa ea|(d/c/)B/A/ c>B|AF~F E/F/|AF~F:|

X:2

T:Highland Laddie

M:C

L:1/8

R:Reel

S:Bremner – Scots Reels (c. 1757) 

Z:AK/Fiddler’s Companion

K:Amix

f | eAcA {c/d/}e2 “tr”c2 | fBBc fBBf | ecac e2 “tr” | (A/B/c/d/ e)B “tr”cAA :|

|: a | fefa “tr”f2 ec | fBBc fBBf | eaca “tr”e2c | (A/B/c/d/ e)B cAA :|

 


HIGHLAND LADDIE [2]. AKA and see “Highland Laddie's Hornpipe." English, Country Dance Tune (cut time). England, Northumberland. G Major. Standard tuning. AABBCCDD. Seattle (1987) says that the first half of the tune is very similar to "Highland Laddie's Hornpipe" in Vickers' MS, while the 'B' part is a repetition of "Butter'd Peas;" but Vickers' and Peacock's versions seem very similar to me. Peacock’s Tunes, c. 1805/1980; No. 47, pg. 21.

X:1

T:Highland Laddie [2]

M:C|

L:1/8

S:Peacock’s Tunes, No. 47, pg. 21 (c. 1805)

Z:AK/Fiddler’s Companion

K:G

G2G2B2AG | “tr”c4”tr”B4 | A2A2 cdec | A2A2 cdec | G2G2B2AG | c4”tr”B4 | G2G2 dedc | B2G2 “tr”G4 :|

|: gfed efge | “tr”d4B4 | A2A2 cdeec | A2A2 cdec | gfed efge | “tr”d4B4 | G2G2 dedc | B2G2 “tr”G4 :|

|: B2d2 edcB | c2e2 fedc | B2d2 edcB | c2A2A2c2 | B2d2 edcB | c2e2 gedc |BcdB ABcA | B2G2”tr”G4 :|

|: B2d2d2ef | gfee “tr”g4 | B2d2 edcB | c2A2A2c2 | B2d2d2ef | gfed “tr”g4 | BcdB ABcA | B2G2”tr”G4 :|

 

HIGHLAND LADDIE [3], THE. AKA and see "White Cockade [1]," "Fiddler's Morris," "The Ranting Highlander/Highlandman."

 

HIGHLAND LADDIE [4]. English, Reel. England, Northumberland. G Major. Standard tuning. AABBCCDDEFFGGHH. Peacock’s Tunes, c. 1805/1980; No. 50, pg. 24.

 

HIGHLAND LADDIE [5]. AKA and see “Highland Black Laddie.” Scottish, Reel. A Major. Standard tuning. AAB. In America the melody appears in the music manuscript copybook of Henry Livingston, Jr.  Livingston purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 he was a Major in the 3rd New York Regiment, which participated in Montgomery’s invasion of Canada in a failed attempt to wrest Montreal from British control. An important land-owner in the Hudson Valley, and a member of the powerful Livingston family, Henry was also a surveyor and real estate speculator, an illustrator and map-maker, and a Justice of the Peace for Dutchess County. He was also a poet and musician, and presumably a dancer, as he was elected a Manager for the New York Assembly’s dancing season of 1774-1775, along with his 3rd cousin, John Jay, later U.S. Chief Justice of Governor of New York. Gow (Complete Repository), Part 4, 1817; pg. 34.

X:1

T:Highland Laddie [5]

M:C|

L:1/8

R:Reel

S:Gow – 4th Repository  (1817)

Z:AK/Fiddler’s Companion

K:A

f|eAcA {f}e2{d}c2|fBBc fBBf|ecac f2 ed|cAAB cAA:|

a|fefa f2 ec|fBBc fBBa|fefa f2 ec|eAAB cAAa|

fefa f2 ec|fBBc fBBf|ecac efdf|eAAB cAA||

 

HIGHLAND LADDIE [6]. Scottish, Country Dance Tune (cut time). D Major. Standard tuning. AABB. McGibbon (Scots Tunes, book III), 1762; pg. 84.

X:1

T:Highland Laddie [6]

M:C|

L:1/8

S:McGibbon – Scots Tunes, book III, pg. 84  (1762)

Z:AK/Fiddler’s Companion

K:D

A2 | F2 ED FGAF | BAGF E3B | A2D2 (FG) A2 | (B>cd)A “tr”F2A2 | D2 d>e d3f | e2E2”tr”E3D |

F2A2 (Bd)”tr”(cB) | A2D2F2A2 :: d3e defd | (gf)(ed) e2 f>e | d2A2”tr”F2A2 | (Bcd)A F2A2 |

D2d2 (d3e/f/) | e2E2 “tr”E3D | F2A2 Bd”tr”cB | A2D2F2A2 :|

 

HIGHLAND LADDIE'S HORNPIPE, THE. AKA ‑ "Highland Laddie [2]." English, Hornpipe. England, Northumberland. G Major. Standard tuning. AABB. "One of the many 'Highland Laddie' tunes. Vickers lists "Heighlands Laddy" as an alternate title. Seatlle (William Vickers), 1987, Part 2; No. 292.

           

HIGHLAND LASSIE GOING TO THE FAIR. AKA and see “Doherty’s March,” “Johnny Doherty’s March.” Scottish, Pipe March. See note for “Stepping Stones [2].”

           

HIGHLAND LASSIE'S LOVELY THING, THE. Scottish. The title of a tune with bawdy lyrics.

 

HIGHLAND LILT. Scottish, Reel. A Minor. Standard tuning. AABB. The generically-titled melody was published by John & William Neal in A Collection of the Most Celebrated Irish Tunes (Dublin, 1724). Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 56 (appears as “The Haymakers”, the name of a dance set to the tune).

 

HIGHLAND MAN [1], THE. AKA and see "The Highland Man That Kissed His Grannie." Scottish, Reel. Simply an abbreviated title.

 

HIGHLANDMAN [2], THE. Irish, Highland. Ireland, County Donegal. D Major (‘A’ part) & G Major (‘B’ part). Standard tuning. AABB. A Donegal reworking of the Scottish reel “The Highland Man Who Kissed His Mother/Grannie.” Altan.

X:1

T:The Highlandman
R:Highland
S:Mairead Ni Mhaonaigh & Frankie Kennedy, "Altan"
M:4/4
L:1/8

Z:Philippe Varlet
Q:180
K:D
A2 A/2A/2A B/2c/2d ec | ABce dBGB | A2 A/2A/2A B/2c/2d eg | af{a}ge dBGB:||
K:G
cg~g2 af{a}ge | ce{a}ge dBGB | cg~g2 afgb | af{a}ge dBGB :||

 

HIGHLAND MAN DOWN THE HILL, THE. England, Reel. England, Northumberland. E Minor. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 3; No. 519.

 

HIGHLAND MAN KISS'D HIS MOTHER, THE. See "Highland Man That Kissed His Grannie."

 


HIGHLAND MAN THAT KISSED HIS GRANNIE [1], THE. AKA – “Highland Man Who Kissed his Granny,” “Highlandman Kissed His Love.” AKA and see “Around the World [1],” “The Cavan Reel,” "The Cottage in the Grove [2]," "Down with the Mail,&quoCt; “The Gravel Walk(s),” "The Gravelled Walks to Granny," "The Faraway Wedding [1]," "The Highland Man Kiss’d His Mother," "In and Out (of) the Harbour," "Jenny Tie your Bonnet," "Jenny Lace your Tight," “Jenny Tie Your Bonnet,” “The Jolly Seven,” "Lassie(s) tie your Bonnet(s)," "Lizzie's Bonnet," “Miss Kelly’s,” “Miss Percy’s Reel,” "The Rambler's Rest," “Stenson’s No. 1,” “The Tailor’s Thimble [2],” "Tie the Bonnet," "Upstairs in a Tent [1]." Scottish, Irish; Reel. C Major ('A' part) & A Dorian ('B' part) {most versions}: D Major {Kennedy, Plain Brown Tune Book}. Standard tuning. AB (Gow, Surenne): AABB (most versions). Related tunes are perhaps "The Jolly Seven" and "Around the World" (Cole). John Glen (1891) finds the earliest printing of the tune in Robert Bremner's 1757 collection (as "The Higlandman kiss'd his mother"). See also the Irish derivative reels “Gravel Walk(s),” “Maid in the Cherry Tree” and “Curragh Races [1],” and “The Highlandman [2],” a highland (the parts are sometimes reversed from the Scottish tune). Surenne, evidently finding the title a bit too risqué for early-Victorian sensibilities, edits the title down to “The Highlandman.” Sources for notated versions: fiddler Tommy Peoples (Donegal, Ireland) [Brody, Boys of the Lough]; a c. 1847 music manuscript by Ellis Knowles, a musician from Radcliffe, Lancashire, England [Plain Brown Tune Book]. Boys of the Lough, 1977; pg. 2. Bremner (A Collection of Scots Reels), 1757; pg. 10 (appears as “The Highlandman Kiss’d his Mother”). Brody (Fiddler’s Fakebook), 1983; pg. 135. DeVille (The Violin Player’s Pastime), pg. 22. Gow (Complete Repository), Part 1, 1799; pg. 21. Howe {Musician’s Omnibus), No. 2, pg. 116. Huntington, 1977; pg. 11. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 66, pg. 18 (appears as “The Highlandman Kissed His Love”). Kerr (Merry Melodies), Vol. 1; Set 8, No. 2, pg. 7. Levey (2nd Collection), No. 25 (appears untitled). MacDonald (The Skye Collection), 1887; pg. 105 (appears as "The Highlandman Kiss'd His Mother"). Plain Brown Tune Book, 1997; pg. 47. Stewart-Robertson (The Athole Collection), 1884; pg. 51 (appears as "The Highlandman Kissed His Mother"). Surenne (Dance Music of Scotland), 1852; pg. 37 (appears as “The Highlandman”). Wilson (Companion to the Ballroom), 1815; pg. 73 (appears as “Highlandman kiss’d his mother”). Philo 1042, Boys of the Lough‑ "Piper's Broken Finger" (1976. Learned from Donegal fiddler Tommy Peoples).

X:1

T:Highlandman Kissed His Mother, The

M:C|

L:1/8

R:Reel

B:Stewart-Robertson – The Athole Collection  (1884)

Z:AK/Fiddler’s Companion

K:A Minor

cgge gcge|cgge dBGB|cgge gcge|a^fge dBGB:|

|:ceAe ceAe|ceAe dBGB|deAe ceA^g|a^fge dBGB:|

X:2

T:The Highlandman Who Kissed his Grannie
R:Reel
S:Tommy Peoples, via The Boys of the Lough
M:4/4
L:1/8

Z:Philippe Varlet
Q:240
K:G
cgge gcge | cgge dBGB | cgge gcge | afge dBGB :||
ce A/A/A ABcA | ceAe dBGB | ce A/A/A ABcd | egge dBGB :||

 

HIGHLAND MAN WHO KISSED HIS GRANNIE [2]. Irish, Reel. Ireland, northern Ireland. D Major. Standard tuning. AABB. A variant of “Highland Man that Kissed his Grannie [1]." Source for notated version: fiddler Peter Turbit [Feldman & O’Doherty]. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 237.

                          

HIGHLAND MAN’S BONNET.  AKA and see “Highlander’s Bonnet.”

 

HIGHLAND MARCH IN OSCAR AND MALVINA. See “March from Oscar and Malvina.”

                          

HIGHLAND MARY [1]. English, Morris Dance Tune (4/4 time). G Major (Bacon‑Longborough & Oddington versions, Mallinson): A Major (Bacon‑Bampton version). Standard tuning. AB (Bacon): ABB, x4 (Bacon‑Ascot under Wychwood version, Mallinson): AABB (Bacon‑Oddington version). Similar versions have been collected from the villages of Ascot‑under‑Wychwood (Oxfordshire), Longborough (Gloucestershire), Oddington (Gloucestershire), and Bampton (Oxfordshire) in England's Cotswold's. A 1943 field recording of Bampton morris musician William ‘Jinkey’ Wells (1868-1953) exists of the elderly musician playing this tune and singing his own accompaniment with nonsense ‘mouth-music’ syllables. Bacon (The Morris Ring), 1974; pgs. 25, 34 (Bampton), 252 (Longborough), and 271 (Oddington). Mallinson (Mally’s Cotswold Morris Book), 1988; No. 24, pg. 18 (Bampton) and No. 40, pg. 26 (Longborough). Raven (English Country Dance Tunes), 1984; pg. 79 (Longborough). Cottey Light Industries CLI-903, Dexter et al - "Over the Water" (1993). Folktrax 90-084, “Constant Billy: the Morris Dancers of Bampton.” Topic TSCD458, John Kirkpatrick - “Plain Capers” (1976/1992).

X: 1

T: Highland Mary

R: hornpipe

O: England

Z: John Chambers <jc@trillian.mit.edu>

B: Morris Ring (several versions)

B: J.Timpany

N: Both Morris Ring and Timpany identify this tune with Bampton.

M: C|

L: 1/8

P: A(ABB)4

K: G

P: A

(3DEF \

| "G"G2 A>G F>E D2 | G2 A>B "C"c2 B>c | "G"d2 d>e "D7"d>c B>A | "G"G2 B2 "D7"D3 (3DEF |

| "G"G2 A>G F>E D2 | G2 A>B "C"c2 B>c | "G"d2 d>e "D7"d>c B>A | "G"G2 "D7"F2 "G"G2 ||

P: B

|: D2 \

| "G"G>A B>c d2 d2 | "C"e>d dB "D7"c2 B>c | "G"d2 d>e "D7"d>c B>A | "G"G>A B>G "D7"D3 (3DEF |

| "G"G2 A>G F>E D2 | G2 A>B "C"c2 B>c | "G"d2 d>e "D7"d>c B>A | "G"G2 "D7"F2 "G"G2 :|

X:2
T:Highland Mary
D:Swarbrick, Lift the Lid and Listen
Z:Nigel Gatherer
M:2/4
L:1/16
K:A
A2 | A2BA GFE2 | A2Bc d2cd | e^def edcB | A2c2 E4  |

A2BA GFE2 | A2Bc d2cd | e^def edcB | A2G2 A2 :|
A2 | ABcd e2e2 | fedc d2cd | e2ef  edcB | A2c2 E4  |

A2BA GFE2 | A2Bc d2cd | e^def edcB | A2G2 A2 :|

 

HIGHLAND MARY [2]. English, Morris Dance Tune (4/4 time). G Major. Standard tuning. AABCC (Raven): AA'BCBCB (Bacon). From the village of Bledington, Gloucestershire, in England's Cotswolds. Bacon (The Morris Ring), 1974; pg. 93. Raven (English Country Dance Tunes), 1984; pg. 78. Topic TSCD458, John Kirkpatrick - “Plain Capers” (1976/1992).

X:1

T:Highland Mary [2]

M:C

L:1/8

K:G

D2|:G2 AG F2D2|G2 AB c2 Bc|d2d2 AcBA|1 G4 F2D2:|2 F3F G2||

z2|e2d2c2B2|AcBA B2c2|e2e2AcBA|G4 F2D2|G2 AG F2D2|

G2 AB c2Bc|d22 AcBA|G3F G2||z2|:D4G4|A2G2F4|D2G4|

A2B2c2 Bc|d2d2 AcBA|1 G4F2z2:|2 G3F G2||

                                      

HIGHLAND MINSTREL BOY, THE. Scottish, Strathspey. G Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 55, pg. 8.

X:1

T:Highland Minstrel Boy, The

M:C

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 3, No. 55  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

G>A|B>GD>G E>GD>G|E<A A>G F<A d>c|B>GD>G E>GD>G|

D<G B>A G2::G>A|B>cd>B A>GE>D|E<A A>G F<A d>c|

c>BAG> G<E D>E|D<G B>A G2:|

                                      

HIGHLAND MUSTER ROLE, 1715, THE. AKA and see "Little Wot Ye Wha's Coming."

                                      

HIGHLAND PIBROCH. AKA and see “Auld Wattie.” Scottish, Slow Air (6/8 time). A Minor. Standard tuning. AAB. A pibroch is a type of bagpipe tune, thus this is a generic title. Martin (Ceol na Fidhle), vol. 2, 1988; pg. 26. Martin (Taigh na Teud), 1990; pg. 15.

                                      

HIGHLAND PIPER [1]. English, Polka? C Major. Standard tuning. AAB. The melody is contained in the Joseph Kershaw manuscript. Kershaw was a fiddler who lived in Slackcote, Saddleworth, North West England, in the 19th century, and his manuscript dates from around 1820 onwards. The Joseph Kershaw Manuscript, 1993; No. 26.

 

HIGHLAND PIPER [2], THE. English, March (6/8 time). A march played by the former British army 1st Battalion The Royal Hampshire Regiments, the 2nd Battalion Gloucestershire Regiment, and the 2nd Battalion Essex Regiment, according to David Murray [Music of the Scottish Regiments, Edinburgh, 1994, pg. 211]. Murray points out the melody is out of range of the bagpipe chanter, and suggests it may be of Irish origin, picked up from a fifer or fiddler.

                          


HIGHLAND PLAID. AKA and see “Lord Seaforth Reel.” Scottish, Canadian; Reel. Canada, Cape Breton. G Major. Standard tuning. AAB. John Glen (1891) finds the earliest printing of the reel “Highland Plaid” in Alexander M'Glashan's 1780 collection (pg. 30), and traced the strathspey setting, called “Lord Seaforth,” to one of the Cumming collections (c. 1780's). A strathspey setting of the melody is in later Scottish collections as “Lord Seaforth.” Cape Breton renditions are traditionally reel versions. Source for notated version: Duncan MacQuarrie (Cape Breton) [Dunlay & Greenberg, Dunlay & Reich]. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pg. 100. Dunlay and Reich (Traditional Celtic Fiddle Music of Cape Breton), 1986; pg. 60 (appears as “Lord Seaforth Reel”). Glen (The Glen Collection of Scottish Dance Music), Vol. 1, 1891; pg. 8. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 67, pg. 18. McGlashan (Collection of Strathspey Reels), c. 1780/81; pg. 30. Unity Gain CU-1002, Dave MacIsaac - “Celtic Guitar” (1986. Appears as “Myster Reel”). Paddledoo PAD 105, Buddy MacMaster - “Scottish Fiddle Rally, Concert Highlights 1985-1995"(1996. Appears as “Traditional Reel”). Oak/Heritage Music RHF9, Johnny Wilmot - “Red Hot Fiddle” (appears as untitled last reel in “Inverness Reel Medley”). Rounder 7003, John Campbell - “Cape Breton Violin Music” (1976. Appears as first of “Two Mabou Reels”).

X:1

T:Highland Plaid

M:C|

L:1/8

R:Reel

S:McGlashan – Strathspey Reels  (c. 1780-81)

Z:AK/Fiddler’s Companion

K:G

G>DD>E G>AB>G|c>AB>G E2 EA|GDD>E G>AB>e|dBA>G G3:|

g|e/f/g d>g B>gd>g|cABG E3 g|e/f/g d>g B>gd>g|c>AdB G3 g|

e/f/g d>g B>gdB|c>AB>G E>DEA|G>DD>E G>AB>e|d>BA>B G3||

              

HIGHLAND POLKA. New England, Polka. G Major ('A' part) & D Major ('B' part). Standard tuning. AABB. Composed by D. Kippen. Miller & Perron (101 Polkas), 1978; No. 33.

              

HIGHLAND PRESIDENT, THE. Scottish, Strathspey. G Minor. Standard tuning. AB. Composed by “the late Mr. George Jenkins” (Gow). Carlin (The Gow Collection), 1986; No. 72. Gow (Complete Repository), Part 3, 1806; pg. 3.

X:1

T:Highland President, The

M:C

L:1/8

R:Strathspey

S:Gow – 3rd Repository (1806)

Z:AK/Fiddler’s Companion

K:G Minor

F|D(GG>)^F ~G>A Bc/B/|AfcF dF (d/c/B/A/)|G(DD>)C B,>A, G,d/c/|(c/B/)A/G/ (B/A/)G/^F/ G2 G,>=F|

D(GG>)^F G>A Bc/B/|A/>F/~F c/>F/~F d/>F/~F (d/c/B/)A/|G/A/B/G/ A/B/c/A/ B/c/d/B/ (c/d/)(f/g/)|(f/d/)(c/d/) (B/c/)(A/B/) {F}G2 G,||

B|G(gg>)d (Bd) Gg/>a/|b/g/d/g/ B/d/G/B/ D/G/B,/D/ G,/B,/D/G/|F(ff>)c (Ac) Ff/>g/|

A/f/c/f/ A/c/F/A/ C/F/ A,/C/ F/A/c/f/|G(gg)d/c/ (Bd)G A/G/|F(ff)c/B/ (Ac)F B/A/|

G/A/B/G/ A/B/c/A/ B/c/d/B/ (c/d/)(f/g/)|(f/d/)(c/d/) (B/c/)(A/B/) {F}G2 G,||

              

HIGHLAND RANT. Scottish, Reel. A Minor. Standard tuning. AABB’. Kerr (Merry Melodies), vol. 4; No. 146, pg. 18.

X:1

T:Highland Rant

M:C|

L:1/8

R:Rant

S:Kerr – Merry Melodies, vol. 4, No. 146  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:Amin

e>A A/A/A (ed)Bd | e>A A/A/A (dB)GB | e>A A/A/A (e^f)ga | gegd BGdB :|

|: A/A/A e2 A/A/A a2 | A/A/A e2 gdBG |1 A/A/A e2 A/A/A a2 | gegd BGdB :|2

AcBd cedf | edcB A2a2 :|

              

HIGHLAND ROAD TO INVERNESS. AKA ‑ "Druimuachdar." Scottish, Pipe Reel. G Major. Standard. AAB. This tune (with peurt‑a‑beul words) "is another of the pipe‑reels so often referred to. The words describe two foot passengers, overtaken by a frosty wind of such extreme cold, that they could scarcely preserve life by trotting to the measure of this air" (Fraser). Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 45, pg. 137. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 163, pg. 66‑67.

X:1

T:Highland Road to Inverness

T:Druimuachdar

M:C

L:1/8

R:Pipe Reel

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:G
g|dGBG dG B2|dGBG Bddg|dBGB dG B2|cABG Bee:|

g|efge dG B2|efgd Bddg|efge dG B2|cABG Beeg|

efge dG B2|efge fgaf|bfge dg B2|cABG Bee||

              

HIGHLAND RORY.  AKA and see “Drunken Piper [2],” “March of the Meenatoitin Bull.”

                          

HIGHLAND SCHOTTISCHE, THE. Irish, Schottische. G Major. Standard tuning. One part. Source for notated version: John Doherty (County Donegal, Ireland). Carlin (Master Collection), 1984; No. 229, pg. 133. Phillips (Fiddlecase Tunebook/British Isles), 1989; pg. 28. Comhaltas Ceoltoiri 10, John Doherty.

              

HIGHLAND SECRETARY, THE. Scottish, Scots Measure. A Dorian. Standard tuning. AAB. Composed by Nathaniel Gow (1763-1831), fiddler, composer, music publisherm bandleader, and son of the famous Scots fiddler-composer Niel Gow. Gow (Complete Repository), Part 4, 1817; pg. 11.

X:1

T:Highland Secretary, The

M:C

L:1/8

R:Scots Measure

S:Gow – 4th Repository  (1817)

Z:AK/Fiddler’s Companion

K:Amin

e2A3A3e|eAAe eA e2|e2A2A2 Bd|(e^fg)f {f}e2d2|e2A2A3e|eAAe eA e2|

d2G2~G3B|~d3e (ed) cB:|a2e2e3a|aeea ge a2|a2e2e3^g|(abc’)b a2^g2|

a2e2e3a|aeea ge a2|g2G2~G3B|~d3e {e}d2 cB|a2e2e3a|aeea ge a2|

a2e2e3^g|(abc’)b a2^g2|a2e2 {ab}c’3b|agea ge {^g}a2|g2G2 ~G3B|~d3e (ed)cB||

              

HIGHLAND SKIP [1]. AKA and see "The Hon. George Baillie's Strathspey." Scottish, Reel. F Major. Standard tuning. AB (Glen, Surenne): AAB (Athole, Gow). Composed by Daniel Dow, an Edinburgh composer and music teacher who lived from 1732 to 1783, perhaps most famous as the composer of “Money Musk.” Dow published a collection of Scots tunes called Thirty-seven new reels and strathspeys (1775) which appears to be the first collection to include the word "strathspey" in its title. His family is known to have stayed in Strathardle and his son (John Dow) was born at Kirkmichael. Dow, whose first name has been given as Daniel or Donald (both acceptable translations for the Gaelic ‘Domhnull’) was buried in the Canongate Kirk, Edinburgh on January 20th, 1783. “Highland Skip” appear in Dow’s 1776 collection (pg. 22). Some believe Niel Gow plagerized the tune when he retitled it "Hon. George Baillie's Strathspey" in his First Collection (1801), though Alburger (1983) believes the tunes are not the same. However, it was attributed to Dow by Gow in his Repository, Part Third, 1806. Carlin (The Gow Collection), 1986; No. 428. Glen (The Glen Collection of Scottish Dance Music), vol. 1, 1891; pg. 13. Gow (Complete Repository), Part 3, 1806; pg. 31. Stewart-Robertson (The Athole Collection), 1884; pg. 216. Surenne (Dance Music of Scotland), 1852; pg. 111.

X:1

T:Highland Skip, The

M:C|

L:1/8

R:Reel

B:Stewart-Robertson – The Athole Collection  (1884)

Z:AK/Fiddler’s Companion

K:F

f|cFc>A cFcA|cFcA c3d|cFcA cFAc|~f>dc>A G3:|

d|cAfA aAfA|cAfA c3d|cAfA aAfd|cFcA G3d|cAfA aAfA|

cAfA c3d|cAfA cdfg|~fdcA G3||

 

HIGHLAND SKIP [2]. AKA and see “Boyne Hunt,” "Molly Maguire [2]," "Perthshire Hunt," “The Popcorn,” “Richmond Hill [2],” “Sailor’s Trip to Liverpool,” "Niel Gow's Reel [1]." American (?), Reel. E Mixolydian. Standard tuning. AB. Cole (1000 Fiddle Tunes), 1940; pg. 27. Ryan’s Mammoth Collection (c. 1880), pg. 32.

See also listing at:

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

X:1
T:Highland Skip [2]
T:The Boyne Hunt
N:Originally 'The Perth Hunt'
S:Evolved over the years. Originally from Ryan's
Z:Nigel Gatherer
M:4/4
L:1/8
K:D
A2FA DAFA | A2FA BEEB | A2FA DAFA | ABde fedB  |
A2GA FAEA | DAFA BEEB | A2FA DAFA | ABde fdd2 ||
Adfd adfd | Adfd gee2 | Adfd adfd | ABde fdd2  |
Adfd adfd | Adfd gee2 | fgfe dedB | ABde fedB |]

 

HIGHLAND SOCIETY OF LONDON, THE. Scottish, Strathspey. A Mixolydian. Standard tuning. AA'BB'. A pipe tune. MacDonald (The Skye Collection), 1887; pg. 10.

X:1

T:Highland Society of London, The

M:C

L:1/8

R:Strathspey

S:MacDonald – Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:A

a|A<AeA cAAB|=g2 ed B=GGa|1 AaeA cAAB|=g2 dB AAA:|2 A<AeA c2 Ae|

=g2 dB AAA||e|A<AeA a2 ef|=g2 ed B=GAB|1 A<AeA a2 ef|=g2 dB AAA:|2

A<AeA c2 Ae|=g2 dB AAA||

              


HIGHLAND SOCIETY OF SCOTLAND [1], THE (An Comunn Rioghail Gaidhealach). Scottish, Slow Strathspey. A Major. Standard tuning. AAB. An editors note in Fraser says the Highland Society was "rather an association of the 1745 (the date of Bonnie Prince Charlie's defeat). "Though this air appears complimentary to the Highland Society, it was originally composed for an association in the 1745, in favour of the Pretender, which assumed the name of the Highland Association" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 5, pg. 2.

X:1

T:Highland Society of Scotland, The [1]

T:An Comunn Rioghail Gaidhealach

M:C

L:1/8

R:Slow Strathspey

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:A

c/>B/|AFEC EEEc/B/|A<F E>C B,2 B,c/B/|A>FEC FF EC/>B/|

A,>F E/>D/C/>B,/ A,2 A,:|

d|c>Ae>c d/c/B/A/ e>d|c>Ad>c B2 B<d|c>Ae>c f/a/g/a/ g/f/e/d/|

d>ccG A2 Ac/B/|A<ae<c F/G/A E>C|A>CA>C B,2 B,C/D/|E>F A<c B<c A>E| F>DE>C A2 A||

 

HIGHLAND SOCIETY OF SCOTLAND [2], THE. Scottish, March (4/4 time). E Major. Standard tuning. AABB'. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 123, pg. 42.

           

HIGHLAND SOLDIER. Scottish, Air and March (4/4 time). D Major. Standard. AB. The late guitarist Tony Cuffe sang the song on the first Jock Tamson’s Bairnes album, obtained from Bob Cherry who had it from an elderly Glasgow piper. The song is said to have been popular with the Highland Light Infantry in World War I.

X:1
T:Highland Soldier
D:Wick S.C.D., By the Peat Fire (n.d.)
O:Scotland
Z:Nigel Gatherer
L:1/8
M:4/4
K:D
e2|A>AAe dBAB|G>ABG g2 ef/g/|a2 ge edBA|G2 G>A B2 AG|
A>AAe dBAB|G>ABG g2 ef/g/|a2 ge dBgB|A2 A>B A2||
ef|g>fga gfed|e>fge a2 ef|g>fga efgd|B>c d/c/B/A/ G3 e|
A>AAe dBAB|G>ABG g2 ef/g/|a2 ge dBgB|A2 A>B A2||

                       

HIGHLAND SOLO. Scottish, Slow Air (4/4 time). D Mixolydian. Standard tuning. AABBCCDDEEFFGG. A double-tonic tune (D and C). Martin (Ceol na Fidhle), vol. 2, 1988; pgs. 14-15. Martin (Taigh na Teud), 1990; pgs. 10-11.

 

HIGHLAND SWORD DANCE. Scottish, Strathspey. A Major. Standard tuning. AABB. Harding’s All Round Collection, 1905; No. 115, pg. 37.

 

HIGHLAND TIME. Scottish, Strathspey. B Flat Major. Standard tuning. AAB. The tune may or may not have been composed by William Marshall (1748-1833). It was included in his Kinrara Collection (1800), which is simply a sheet printed on both sides, featuring a definite Marshall melody, “Kinrara,” along with some filler tunes that are probably not Marshall compositions. Marshall, Fiddlecase Edition, 1978; Kinrara Collection (1800), pg. 25.

X:1

T:Highland Time

M:C|

L:1/8

R:Strathspey

S:Marshall – Kinrara Collection (1800)

Z:AK/Fiddler’s Companion

K:Bb

F|B>cBd FB G/F/E/D/|B<FBd cCCA|B>cBd FB (G/F/E/D/) E<g f>e dBB:|

f|df (e/d/c/B/) bBeg|f>g (e/d/c/B) d<c c(d/e/)|fBdB gBeg|FB (cB/c/) dBBd|

fg/a/ bB gBfB|ecdB Accd|B<FG<B F<B (G/F/E/D/)|E<g f>e dBB||

 

HIGHLAND TROOP, THE (An Trupa Ghaidhealach). Scottish, Jig or Pastoral Air. G Major. Standard tuning. AB. "The Highland Troop is the editor's composition, intended as a salute to the Black Watch and others, on their return as CONQUERORS from Egypt. Its recent date cannot detract from its character as a Highland melody, he having comparatively little knowledge of any other species of music" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 81, pg. 30. Henderson (Flowers of Scottish Melody), 1935.

X:1

T:Highland Troop, The

T:An Trupa Ghaidhealach

M:6/8

L:1/8

R:Jig or Pastoral Air

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:G

B,/C/|DGG G2B|AGF GFE|DGG G2 (3g/f/e/|dcB cBA|DGG G2B|

AGF GF/E/D/C/|B,DG FAc|GBd G2 B,/C/|DGG G2B|AGF GFE|

DGG G2 (3g/f/e/|dcB cBA|DGG G2B|AGF GF/E/D/C/|B,DG FAc|

GBd G2:|

|:(3g/f/e/|dBB B2 (3g/f/e/|dBB B2 (3g/f/e/|dBG G>FG|FAA A2 (3g/f/e/|

dBB B2 (3g/f/e/|dBG g2 f/4e/4d/4c/4|Bdg fac’|gbd’ g2 (3g/f/e/|

dBB B2 (3b/g/e/|dBB B2 (3g/f/e/|dBG G>FG|FAA A2 B/c/|dgb agf|

ga/g/f/e/ d2 (c/4B/4c/4d/4e/4f/4|g/)d/c/B/A/G/ A>GA|GBd G2||

                          

HIGHLAND WATCH, THE (NOW THE 42nd REGT. OR ROYAL HIGHLANDERS) Scottish, Strathspey. E Minor. Standard tuning. AAB. The 42nd Royal Highland Regiment is better-known as the famous Black Watch, first raised in 1739 under John, the Earl of Crawford. O’Farrell directs: “Very Slow.” Gow (1st Repository), 1799; pg. 1. O’Farrell (National Irish Music for the Union Pipes), 1804; pg. 45.

X:1

T:The Highland Watch

M:C

L:1/8

R:Strathspey

S:Gow – 1st Repository  (1799)

Z:AK/Fiddler’s Companion

K:Emin

B|G<E E>F GEEc|G<E E>B, D2 D>B|G<E E>F GEE>F|G>ABG E3F|

G>ABA {c}B>AGA|{GA}B>A GB, {B,} D2 DG/F/|E>FG>A B>AGe|

{e}d>B {B}A>G E2E:|e/f/|{ef}ge e>f geeb|g>e{d}d>B {^c}d2 de/f/|

geef gee>f|g>a {ga}b>g e2 e>f|g>a{a}b>a {ga}b>aga|{ga}b>a (a/g/)(f/e/) {e}d2 dg/f/|

e>fg>a {ga}bgab|g>ef>^d e2 e>f|gee>f geeb|{f}g>e (e/d/)c/B/ d2 de/f/|

ge e>f ge eB/^d/|e>B d>F {F}E2 D>F|G>ABd {c}B>A GA|

{GA}B>A GB, {B,}D2 DG/F/|E>FG>A B>AGe|{e}d>B {B}A>G E2E||

                          

HIGHLAND WATCH'S FAREWELL TO IRELAND, THE. AKA and see "The Highlander's Farewell (to Ireland).

                          

HIGHLAND WEDDING [1] (A’ Bhanais Ghaidhealach). AKA and see "Buttered Peas(e) [1]," "Jack's Be The Daddy On't," "Stumpie/Stumpey." Scottish, March (2/4 time). A Major. Standard tuning. AABBCCDDEEFF'. Adapted and arranged by Angus Mackay of Raasay. Mackay’s father, John MacKay of Raasay, had been among the last of the pupils at the famous ancient piping college of the MacCrimmons at Boreraig. The younger Mackay wrote, while still in his early twenties, a book called A Collection of Ancient Piobaireachd, or Highland Pipe Music; a piper’s bible for many decades after its appearance in 1838. Great Highland bagpiper Hamish Moore believes "Highland Wedding" was derived from the famous strathspey "Stumpie," which originally appeared as "Butter'd Peas." Cowal, Book 5, Glendaruel, Gordon Highlanders, Book 1. Martin (Ceol na Fidhle), vol. 1, 1991; pg. 31.

 

HIGHLAND WEDDING [2]. AKA and see "Hit me gently with your tassles", "Young Rory," “Stumpie.” Scottish, March (2/2 time).

 

HIGHLAND WEDDING [3], THE.  English, Country Dance Tune (cut time). G Major. Standard tuning. AABB. The melody was first published (along with dance instructions) in R. Baldwin’s London Magazine, or Gentleman’s Monthly Intelligencer in 1757. It was picked up the next year by London publisher John Johnson for his Two Hundred Favourite Country Dances, vol. 8 (1752), and by  Charles and Samuel Thompson for their Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765), republished in the latter’s third collection of 1773. Finally, it was published by the Thompson firm for their Twenty-Four Country Dances for 1797. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 25.

X:1

T:Highland Wedding, The [3]

M:C|

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)

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

Z:abc’s:AK/Fiddler’s Companion

K:G

B(gg)e dBAG|E>DE>G E>DE>G|B(gg)e dBBG|EDEF G2 G,2::gege dedB|gege d2B2|

geaf gede|dBAG A2 DA|B(gg)e dBAG|E>DEG E>DEG|B(gg)e dBAG|E>DEF G2 G,2:||

              

HIGHLAND WHISKY. Scottish, Slow Strathspey. A Major. Standard tuning. AB (Honeyman, Surenne): AAB (Athole, Gow, Hunter, Kerr, Martin, Skye). Composed by Scottish fiddler Niel Gow on the occasion of the brief banning in 1799 of the distilling of whisky. Source for notated version: fiddler and teacher Jean-Ann Callender (Aberdeen) [Martin]. Carlin (The Gow Collection), 1986; No. 73. Gow (Complete Repository), Part 4, 1817; pg. 26. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 21. Hunter (Fiddle Music of Scotland), 1988; No. 127. Kerr (Merry Melodies), vol. 1; Set 8, No. 3, pg. 7. MacDonald (The Skye Collection), 1887; pg. 26. Martin (Traditional Scottish Fiddling), 2002; pg. 12. Stewart-Robertson (The Athole Collection), 1884; pg. 6. Surenne (Dance Music of Scotland), 1852; pgs. 148-149.

X:1

T:Highland Whiskey

M:C|

L:1/8

S:Strathspey

B:Stewart-Robertson – The Athole Collection   (1884)

Z:AK/Fiddler’s Companion

K:A

E|A/A/A A2 A>B c<e|B/B/B ~B2 d>e f<a|A/A/A A2 A>B c<d|ef/g/ a>c B2A:|

||e|c/B/A e>A f>Ae>A|G<BB>G G<BB>e|d/c/B/A/ e>A f>Ae>c|

ef/g/ a<c B2 A>e|c/B/A e>A f>Ae>A|G<BB>G G<BB>c|A<cB<d c<ed<f| ef/g/ a>c B2A|]

                                      

HIGHLAND WIDOW’S LAMENT. Scottish, Air (4/4 time). D Minor/F Major. Standard tuning. One part. Martin (Taigh na Teud), 1990; pg. 9.

                                      


HIGHLANDER, THE ("Am Braigeac" or "Albanac Gaedealac"). Irish, Double Jig. A Mixolydian {O'Neill/Krassen, 1001 & 1915}. Standard tuning. AABB. O'Neill (O’Neill’s Irish Music), 1915; No. 178, pg. 98. O'Neill (Krassen), 1976; pg. 34. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 857, pg. 159. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 117, pg. 34. Front Hall 018, How To Change a Flat Tire ‑ "Traditional Music of Ireland and Shetland" (1978).

X:1

T:Highlander, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 117

Z:AK/Fiddler’s Companion

K:Amix

g/f/|e2A ABA|e2A Bcd|e2A ABA|dBG Bcd|e2A g2A|e2A Bcd|ede g2e|dBG GBd:|

|:g3 f<gf|g2e dBd|g3 f2e|dBG GBd|g2e a2f|g2e dBd|gfg f2e|dBG GBd:|

 

HIGHLANDER’S BONNET. AKA and see “Highland/Hiland Man’s Bonnet,” “Highlandman’s Bonnet,” “Sailor’s Bonnet,” “Sailor’s Cravat.” Scottish, Reel. D Major. Standard tuning. AAB. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 63, pg. 17.

 

HIGHLANDER'S FAREWELL (TO IRELAND) [1], THE. AKA and see “The Highland Watch's Farewell to Ireland." Scottish, Strathspey. A Dorian. Standard tuning. AAB (Gow, Skye): AABB (Glen, S. Johnson): AA’BB (Phillips): ABCCDD (Athole): AABBCCDD (Kerr): AABBCCDDEE (Johnson): AABBCCDEEFGGHH (McGlashan). A strathspey composed for the fiddle in imitation of bagpipe style. John Glen (1891) finds the earliest printing of the tune in Neil Stewart's 1761 collection (pg. 27), although it also appears in the 1768 Gillespie Manuscript of Perth. Originally published with two parts, it was a favourite piece for variation sets. For example, it appears in the 1780 Robert Ross collection in 6 parts—a similar version was recorded by Cape Breton fiddler Bill Lamey in the 1950’s. Sources for notated versions: Ross's Scots Reels, pg. 10 [Johnson]; Ruthie Dornfeld (Seattle) [Phillips]. Glen (The Glen Collection of Scottish Music), vol. 1, 1891; pg. 23. Gow (Complete Repository), Part 2, 1802; pg. 5. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 39, pg. 98. S. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 43. Kerr (Merry Melodies), vol. 1; Set 12, No. 1, pg. 9. MacDonald (The Skye Collection), 1887; pg. 102. McGlashan (A Collection of Reels), c. 1786; pg. 5. Phillips (Traditonal American Fiddle Tunes), vol. 1, 1994; pg., 112. Stewart-Robertson (The Athole Collection), 1884; pg. 48. Comhaltas Ceoltoiri Éireann CL 13, "Tommy Peoples.” Rounder Records 7052, Buddy MacMaster – “The Cape Breton Tradition” (2003). WMR002, Wendy MacIsaac – “The ‘Reel’ Thing” (1994).

See also listing at:

Alan Snyder’s Cape Breton Fiddle Recording Index

X:1

T:Highlander’s Farewell to Ireland, The  [1]

M:C

L:1/8

R:Strathspey

B:Stewart-Robertson – The Athole Collection  (1884)

Z:AK/Fiddler’s Companion

K:Amin

A,3B, A,/A,/A, ~A,2 | G>ED>B, G,/G,/G, G,>G | E>DE>G A>BA>G |

E<G D>B, A,/A,/A, ~A,2 :| a3b a/a/a a2 | g>ag>e d/c/B/A/ G>g | e>de>g a>ba>g |

g>ed>B A/A/A A2 | a3b a/a/a a2 | g<b e>g d/c/B/A/ G>g | e>de>g a>ba>g | g>ed>B A/A/A A ||

|: ^F | E>A, A,/A,/A, E>A, E2 | D>B, G,/G,/G, G>AB>D | E>A, A,/A,/A, E<A, E>A |

G>ED>B, A,/A,/A, A, :: a>ba>e a>ba>e | g>ag>e d/c/B/A/ G>g | e>de>g a>ba>g | g>ed>B A/A/A A2 :|

 

HIGHLANDER'S FAREWELL TO IRELAND [2], THE. AKA and see "Highland Harry." Scottish, Strathspey. A Mixolydian (Gatherer). Standard tuning. AAB. This tune is a pipe variation of version #1. Gatherer (Gatherer’s Musical Museum), 1987; pg. 36.

 

HIGHLANDER'S FAREWELL [3], THE. Scottish. The first half of the tune is derived from "The Lass of Patie's Mill." Smith (Scottish Minstrel) Vol. 5, pg. 88.

 

HIGHLANDER'S FAREWELL [4]. Old‑Time, Breakdown. A Dorian. Standard tuning. AA'BB. Traditional. The tune was in the repertoire of Grayson County, Va., fiddler Emmett Lundy and recorded by him for the Library of Congress. There is some similarity between this tune and the contra-dance staple “Growling Old Man and (Grumbling Old) Woman.” Source for notated version: Ruthie Dornfeld (Seattle) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 112. Carryon Records 007, The Renegades - "I Need to Find." Flying Fish FF266, Malcolm Dalglish & Grey Larsen ‑ "Thunderhead" (1982). Marimac 9009, Andy Cahan ‑ "Old Time Friends" (1987). Ruthie Dornfeld - “The American Cafe Orchestra” (1987). Sara Hieber - “Moving Cloud Orchestra” (1993).

           

HIGHLANDER’S FAREWELL TO WATERLOO.  Scottish, Slow March (6/8 time). A Minor. Standard tuning. AABC. Morison (Highland Airs and Quicksteps, vol. 1), c. 1882; No. 29, pg. 15.

X:1

T:Highlander’s Farewell to Waterloo

M:6/8

L:1/8

R:March

N:”Slowly”

S:Morison – Highland Airs and Quicksteps, vol. 1 (c. 1882)

Z:AK/Fiddler’s Companion

K:Amin

e2 d/B/ A2 B/d/ | e2 d/B/ d2 B/G/ | e2 d/B/ A2 B/d/ | egd e2d :|

aAa aAa | gGg B2 A/G/ | aAa aAa | aAa a2g | aAa aAa | gGg B2 A/G/ |

dBd g2 e/d/ | edB A2G || A2 B/e/ A2B/e/ | d2 e/d/ BAG | A2 B/e/ A2 B/g/ |

edB A2G | A2 B/e/ A2B/e/ | d2 e/d/ BAG | {e}d2 B/d/ g2 e/d/ | edB A3 ||

 

HIGHLANDERS IN PARIS, THE. Scottish, Strathspey. E Minor. Standard tuning. AABB. Kerr (Merry Melodies), vol. 1; Set 19, No. 1, pg. 12.

X:1

T:Highlanders in Paris, The

M:C

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 1, Set 19, No. 1  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:Emin

B,|E<E E>G F>E DF|E<E E>F G>AB>^c|d>e(dB) A/G/F/E/ DF|G>A B/A/G/F/ G<E E:|

|:D|E<e e>f d>edA|B<b a>g g>age|d>ed>B A/G/F/E/ DF|G>A B/A/G/F/ G<E E:|

           


HIGHLANDER'S JIG. AKA and see "Cold Winds from Ben Wyviss," “Forest and Glen” “Graham’s Brook.” Scottish, Canadian; Jig. Canada, Cape Breton. A Mixolydian. Standard tuning. AABB. Codroy Valley, Newfoundland, fiddler Walter MacIsaac has recorded the tune under the title “Graham’s Brook.” Dunlay & Greenberg (Traditional Celtic Violin Music from Cape Breton), 1996; pg. 107. Kerr (Merry Melodies), vol. 3; No. 301, pg. 32. Celtic CX20, The Five MacDonald Fiddlers (c. 1957. Appears as “Forest and Glen”). IMS-WMRCI-759, Winnie Chafe - “Cape Breton Scottish Memories”(1979. Appears as “Cold Winds from Ben Wyvisss”). SLMC-1001, Sandy MacIntyre - “Cape Breton...My Land and Music” (c. 1980. 1st in “Set of Two Jigs”).

X:1

T:Highlander’s Jig

M:6/8

L:1/8
R:Jig

S:Kerr – Merry Melodies, vol. 3, No. 301  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

d|c2e ece|fdf ecA|c2e ef=g|B=GB B2d|c2e ece|fdf ecA|cec dBG|ABA A2:|

|:g|a2f g2e|fdf ecA|a2f =g2d|B=GB B2^g|a2f g2e|fdf ecA|cec dBG|ABA A2:|

 

HIGHLANDER'S KNEEBUCKLE [1], THE (Búcla Glúine an Híleantóra). AKA and see “Leather Buttons.” Irish, Reel. G Major. Standard tuning. AB. See also “A Galway Reel” printed in the The Darley & McCall Collection of Traditional Irish Music. Breathnach (1976) finds the tune in Byrne's Collection of New Country Dances for 1800 and in Lee's Country Dances for this present year 1801. Paul de Grae’s source, the late fiddler Paddy O’Sullivan of north Kerry, fiddler friend Paddy O'Sullivan said of the tune that it is "probably West Country - not Scotch but the West Country of England.  They got better music from the West Country to Ireland than they did from Scotland." Breathnach’s and Kennedy’s versions are nearly identical. Source for notated version: collected as an untitled tune from fiddler Johnny Henry, 1967 (Doocastle/Caisleán an Dumha, Ballymote, Co. Sligo, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 136, pg. 73. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 64, pg. 17.

X:1

T:Highlander’s Kneebuckle [1]

M:C|

L:1/8

R:Reel

K:G

c | BGdG EGdG | BGdG BAAc | BGdG eGdG | egfa gedc | BGdG eGdG |

BGdG BAAc | BGdG eGBd | egfa (g2g) || z | dgbg agbg | dgbg ag (3efg |

dgbg agbg | abag edeg | dgbg agbg | dgbg agea | (3bag (3agf ({a}g)fed | egfa ged ||

 

HIGHLANDER'S KNEEBUCKLE [2], THE (Búcla Glúine an Híleantóra). AKA and see "Pat Ward's Jig," "Leather Buttons." Irish, Single Jig (12/8 time). D Major. Standard tuning. AA'BB. A single jig setting of the tune which is usually found as a reel. Breathnach (1996) says the tune was published as early as 1800, and that it “now enjoys a vogue among present-day pipers under the name ‘Pat Ward’s Jig’.” It was source Pat Mitchell who called the tune “Pat Ward’s Jig” after a piper who lived in Drogheda, County Louth, who died in 1927. See also Darley & McCall’s (1914) “A Galway Reel” for another variant of this tune. Source for notated version: piper Pat Mitchell, 1972 (Dublin, Ireland), who learned the tune from Séamus Ennis, who had the tune from his father, who in turn had learned the tune from piper Ward [Breathnach]. Breathnach (CRÉ II), 1976; No. 58, pg. 34. Vallely (Learn to Play the Tin Whistle with the Armagh Pipers Club), vol. 1, 29.

 

HIGHLANDER’S KNEE BUCKLE [3], THE. Scottish, Reel. E Dorian (‘A’ part) & D Major (‘B’ part). Standard tuning. AAB. Kerr (Merry Melodies), vol. 4; No. 43, pg. 7.

X:1

T:Highlander’s Knee Buckle, The [3]

M:C|

L:1/8

R:Reel

S:Kerr – Merry Melodies, vol. 4, No. 43  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:E Dorian

(dc)|(BE) E2 GAFB|AFdF DEFA|(BE)E2 BAFB|AFdF E2:||

(FE)|DFAB d2 (cB)|BdAc BcAF|DFAB defe|dBAF E2 (FE)|

DFAB d2 (cB)|BdAc BcAg|fdec dcBA|(3Bcd (AF) D2||

 

HIGHLANDER'S KNEEBUCKLE [4], THE.  AKA and see “Hand Me Down the Tackle(s),” “Tom(m) Steele.” Irish, Reel.

 

HIGHLANDER'S KNEEBUCKLE [5], THE.  Irish, Reel. D Major. Standard tuning. AB. From the playing of the late north Kerry fiddler Paddy O’Sullivan, via Paul de Grae.

X:1

T:The Highlander's Kneebuckle

S:Paddy O'Sullivan (fiddle), north Kerry

M:4/4

L:1/8

R:reel

K:D

dB|AF ~F2 BF ~F2|FADF E2 dB|AF ~F2 BFAF|DFEF D2 FG|

A3 B AF ~F2|DFDF E2 dB|AF ~F2 BFAF|DFEF D2 dB||

Ad ~d2 fd~dB|ABdf e2 dB|Ad ~d2 fddB|AFEF D2 AB|

~d3 f edBc|~d3 f e2 de|fedB ~BABd|AFEF D2||

 

HIGHLANDER'S MARCH, THE. AKA and see "Montrose's March," "Rock and the/a Wee Pickle Tow." Scottish. A version of "Montrose's March" (c. 1663 or earlier). Oswald (Caledonian Pocket Companion), vol. 2, c. 1750, pg. 32.

 

HIGHLANDER'S MARCH FROM THE BATTLE OF WATERLOO. AKA and see "Mrs. MacKinnon Corry." AKA ‑ "Bonny Toun O' Kenmore."

                       

HIGHLANDER'S RANT, THE. See "MacLaine of Loch Buie's Reel."

                       

HIGHLANDER’S REEL. American, Reel. A Major. Standard. AA’BB’CC’DD’. A reel adaptation of the Scottish jig “The Atholl Highlanders,” by Todd Silverstein of Salem, Oregon. Songer (Portland Collection), 1997; pg. 97.

                       

HIGHLANDER’S REVENGE. Scottish,  A Major. Standard tuning. AABB.

X:1
T:Highlander's Revenge
C:Bruce MacGregor
S:Slow Session, W End Hotel, Edinburgh
Z:Nigel Gatherer
M:4/4
L:1/8
K:A
E2 EE EF A2 | B2 c2 BA F2 | E2 EE EF A2 | Bc e2 f4  |
f2 ff a2 ag | f2 e2 cB A2 | B2 BB c2 cB | A2 F2 E4 :|
B2 BB c2 cB | A2 B2 AF E2 | B2 BB c2 cB | AceA  f4  |
f2 ff a2 ag | f2 e2 cB A2 | B2 BB c2 cB | A2 F2 E4 :|

           

HIGHLANDMAN. See also “Highland Man.”

                       

HIGHLANDMAN KISSED HIS MOTHER, THE. See "The Highland Man That Kissed His Grannie."

                       

HIGHLANDMAN’S BONNET. AKA and see “Highlander’s Bonnet.”

 

HIGHLANDMAN'S COWL, THE.  Scottish, Highland Schottische. A Mixolydian. Standard tuning. AABB. Kerr (Merry Melodies), Vol. 3; No. 200, pg. 23.

X:1

T:Highlandman’s Cowl, The

M:C

L:1/8

R:Highland Schottische

S:Kerr (Merry Melodies, vol. 3, No. 200)

Z:AK/Fiddler’s Companion

K:A

=g | e<A c>d e>cA>d | c<A e>c (B2A)d | c<A c>d e>d AB/c/ | d<B =G>B (A2A) :|

|: a | f>e f/g/a/f/ e>cA>a | f>e f<a (B2B)a | f>e f/g/a/f/ e>c A(B/c/) | d<B =G>B (A2A) :|

                       

HIGHLANDMAN’S REEL, THE. Canadian, Reel. Canada, Prince Edward Island. G Major. Standard tuning. AABB. Ken Perlman (1996) believes this tune was probably composed on Prince Edward Island. Source for notated version: Archie Stewart (b. 1917, Milltown Cross, south Kings County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 67.

                       

HIGHLANDS, THE.  Irish, Reel. Giblin (Collection of Traditional Irish Dance Music), 1928; 52.

 


HIGHLANDS OF BANFFSHIRE, THE (Braigh Bhanbh). Scottish, English; Strathspey. England, Northumberland. F Major (Athole, Fraser, Hunter, Kerr, Skinner, Skye): G Major (Hall & Stafford, Johnson). Standard tuning. AAB (Athole, Fraser, Hall & Stafford, Hunter, Johnson, Skinner, Skye): AABB' (Kerr). MacDonald’s (The Skye Collection) source for the tune was Captain Simon Fraser's Knockie Collection, and the editor notes it can be found in the Inverness Collection, where the composition is also attributed to Capt. Fraser. Lowe also believes the tune originated with Fraser, though he notes Fraser himself did not claim it in his collection. Banffshire is located in the North East of Scotland between Aberdeenshire, Moray and Inverness. "The Highlands of Banffshire, extending south of the Spey, have been long famous for the best dancers of the strathspeys, which must have been well performed to inspire them sufficiently. In this district also lie the most picturesque scenery, the finest sporting grounds and deer forests, perhaps in Great Britain, belonging to the Duke of Gordon, Earl of Fife, &c., long inaccessible to strangers, from the badness of the roads, and want of bridges" (Fraser). Scottish violinist J. Scott Skinner added variations to Fraser’s melody. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 35, pg. 12. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 38. Henderson (Flowers of Scottish Melody), 1935. Johnson (Kitchen Musician No. 10: Airs & Melodies of Scotland's Past), 1992 (revised 2001); pg. 8. Kerr (Merry Melodies), vol. 2; No. 193, pg. 22. MacDonald (The Skye Collection), 1887; pg. 161. Skinner (The Scottish Violinist), pg. 15. Skinner (Harp and Claymore), 1904; pg. 123. Stewart-Robertson (The Athole Collection), 1884; pg. 216. Culburnie COL 113D, Aladair Fraser & Tony McManus – “Return to Kintail” (1999). Rounder Records 7052, Buddy MacMaster – “The Cape Breton Tradition” (2003). Rounder Records 7057, Jerry Holland – “Parlor Music” (2005).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

X:1

T:Highlands of Banffshire, The

M:C

L:1/8

R:Strathspey

B:Stewart-Robertson – The Athole Collection  (1884)

Z:AK/Fiddler’s Companion

K:F

d|c<F c>B A>F F<f|c<F c>B A2 A>f|c<F c>B A<F c>A|B>G _E/F/G/_A/ B2B:|b|

a>fc>f A<fc<b|a<f c>B A2 A>b|a>f c<f A<fc<A|B>G _E/F/G/_A/ B2 B>b|

a>f c<f A<fc<b|a<f c>B A>B cf/g/|(3afa (3geg (3fed (3cBA|B>G _E/F/G/_A/ B2B||

           

HIGHLANDS OF SCOTLAND, THE. Scottish, Strathspey. E Minor. Standard tuning. AABB. The pairing of this tune with the reel “Lowlands of Scotland” is a traditional set. Kerr (Merry Melodies), vol. 4; No. 115, pg. 14. Maggie’s Music MMCD222, Bonnie Rideout – “Scottish Fire” (2000).

X:1

T:Highlands of Sclotland, The

M:C

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 4, No. 115  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:E Minor

(B2 B>)A B<e e>f|g>f e>f g>f g<b|(B2 B>)A B<e e>f|g>e a/g/f/e/ d>e f<d:|

|:e>bg>b e>b a/g/f/e/|d>af>a d>f b/a/g/f/|e>bg>b e>b a/g/f/e/|f/e/f/g/ b/a/g/f/ (e2 e)B:|

           

HIGHLANDS POLKA. New England, Polka. C Major. Standard tuning. AAB. Miller & Perron (101 Polkas), 1978; No. 41.

           

HIGHLY EXCELLENT GOOD MAN OF TIPPEROUGHNY, THE. AKA - “The Men of Tiooeroughny.” Irish, Air (3/4 time). Ireland, County Kilkenny. G Major. Standard tuning. AB. Source for notated version: “Rev’d Mr. Graves” (“County of Kilkenny”) [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 852, pg. 212.

X:1

T:Higly excellent good man of Tipperoughny, The
M:3/4

L:1/8

R:Air

S:Stanford/Petrie (1905), No. 852

Z:AK/Fiddler’s Companion

K:G

d ef | g2f2e2 | d2 cB AG | A2 AB AG | A2 A>B cd | (ef) (gf) (ed) | e2 cA BA |

G2 G2 AF | G2G || DE | F2G2A2 | B2c2 AG | A2A2 BG | A2A2G2 | F2G2A2 |

B2 (cB) (AB) | G2 GA GF | G2G ||

           

HIGHWAY NIGGER. Old‑Time. This derogatorily-titled tune was recorded for the Library of Congress by musicologist/folklorist Vance Randolph from Ozark Mountain fiddlers in the early 1940's.

           

HIGHWAY TO BOUTRIE HILL, THE. Scottish. Glen (1891) finds the earliest printing of the tune in Riddell's collection (pg. 42).

           

HIGHWAY TO COILSFIELD. Scottish. Glen (1891) finds the earliest printing of the tune in John Riddell's 1782 collection (pg. 16).

           

HIGHWAY TO COLAIN, THE. Scottish. Glen (1891) finds the earliest printing of the tune in John Riddell's 1782 collection (pg. 18).

           


HIGHWAY TO CRAIGIE HOUSE. Scottish. Glen (1891) finds the earliest printing in John Riddell's 1782 collection (pg. 31).

           

HIGHWAY TO DUBLIN, THE (An Botar Go Baile-Ata-Cliat). AKA and see “(A) Draught of Ale,” "Farrell's Pipes," "The Fourpenny Girl,” “Grania’s Welcome Home [2],” “Langstrom’s Pony,” “The Priest’s Leap [3],” “The Right Way to Dublin,” “Saddle the Pony [3],” “Sweet Tibby Dunbar.” Irish, Scottish; Double Jig. A Mixolydian (Cole, Gow, O'Neill/Krassen & 1001, 1915, Skye): A Major (O'Neill/1850). Standard tuning. AABB. Carlin (The Gow Collection), 1986; No. 494. Cole (1000 Fiddle Tunes), 1940; pg. 64. Gow (Complete Repository), Part 2, 1802; pg. 27. MacDonald (The Skye Collection), 1887; pg. 177. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 199, pg. 107. O'Neill (Krassen), 1976; pg. 72. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 713, pg. 133. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 15, pg. 19. Ryan’s Mammoth Collection, 1883; pg. 94.

X:1

T:Highway to Dublin, The

M:6/8

L:1/8

R:Jig

S:MacDonald – Skye Collection  (1887)

K:A

=g|~f>ed ~c>BA | ecA A2=g | ~f>ed dcd | dB=G G2g | ~f>ed ~c>BA |

def ef^g|a=gf g2e | dB=G G2 :|

|: =g | (f/=g/)af g2f | ecA A2=g | (f/=g/)af g2e | dB=G G2g | (f/=g/)af geg |

fdf ef^g|a=gf gfe | dB=G G2 :|

X:2

T:Highway to Dublin, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 15

Z:AK/Fiddler’s Companion

K:D

g|fed cBA|ecA A2g|fed cBc|dBG G2g|f>ed c>BA|def efg|agf efd|cAA A2:|

|:g|faf g2f|ecA A2g|faf g2e|dBG G2g|faf geg|fdf efg|agf efd|cAA A2:|

 

HIGH WAY TO DUBLIN, THE (A NEW SETT). Scottish? Jig. D Dorian. Standard tuning. AA’BBCCDD. Aird (Selection of Scotch, English, Irish and Foreign Airs), vol. II, 1782; No. 190, pg. 71.

X:1

T:High Way to Dublin. A New Sett.

M:6/8

L:1/8

S:Aird, vol. II (1782)

Z:AK/Fiddler’s Companion

K:D Dorian

A2a g2e | f2d ege | c3 c>dc | A2a g2e | f2d gec |1 d3 AFD :|2 d3 d3 ||

|: F | D2E F2D | G2F E>DE | (C3 C2)E | D2E F2D | GFE Dd^c | d3 d3 :|

|: e | fed “tr”c2A | c2f ege | c3 cde | fed cBA | d2d (f/g/a)f | d3 d2 :|

|: e | f>gta gaf | “tr”e2d ege | c2 cde | f>ga gaf | “tr”e2d gec | d3 d3 :|

           

HIGHWAY TO EDINBURGH, THE. See "High Way to Edinburgh."

           

HIGHWAY TO EGLINTOUNE, THE. Scottish. John Glen (1891) finds the earliest printing of the tune in John Riddell's 1782 collection (pg. 27).

           

HIGHWAY TO GREENVALE, THE. Scottish. John Glen (1891) finds the earliest printing of the tune in John Riddell's 1782 collection (pg. 35).

           

HIGHWAY TO HOLBURN, THE. AKA and see "Jenny's Welcome to Charlie," "Jennie and the Weazel," "Jennie and the Weaver."

           

HIGHWAY TO KILKENNY. AKA and see “Humours of Kilkenny [2].” Irish, Slip Jig. G Major. Standard tuning. AA’BB’. Breathnach (CRÉ II), 1976; No. 106 (appears as untitled slip jig). Cotter (Traditional Irish Tin Whistle Tutor), 1989; 60. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 451, pg. 88. Green Linnet GLCD 1175, Cherish the Ladies – “New Day Dawning.” Green Linnet GLCD 1187, Cherish the Ladies – “One and All: the Best of Cherish the Ladies” (1998. Learned from Brooklyn fiddler Sheila McGuire).

X:1

T:Highway to Kilkenny

M:9/8

L:1/8

R:Slip Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 451)

X:AK/Fiddler’s Companion

K:G

G2g gfg dBG | A2B c2d ecA | G2g gfg dBG |1 e/f/ge f/g/af gdB :|2 A/B/cA BGE E2z ||

|: e2f g2e fdB | e2f g2a bge |1 g/a/bg f/g/af e/f/ge | B/c/dB A/B/cA BGE :|2

faf gbe dBG | A/B/cA BGE E2 ||

           

HIGHWAY TO LIMERICK, THE ("An Slige Go Luimneac" or "An Bealac Mor Go Luimneac"). Irish, Reel. A Dorian. Standard tuning. AAB. Compare this tune with “Untitled Reel” in Feldman & O’Doherty’s Northern Fiddler (1979, pg. 75), a variant of “Old Grey Gander.” See also for comparison “Humors of Schull” and “Rolling Reel.” O'Neill (Krassen), 1976; pg. 132. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1402, pg. 261. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 644, pg. 116.

X:1

T:Highway to Limerick, The

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 644

Z:AK/Fiddler’s Companion

K:A Minor

EAAB cBAc | BAGB dBGA | EAAB cBcd | (3e^fg dB BA A2 :|

eaag e^fge | dBGB AGED | eaag e^fga | bagb a2a2 | eaag e^fge |

dBgd BG G2 | EAAB {d}cBcd | (3e^fg dB BA A2 ||

                       

HIGHWAY TO LINTON. AKA and see “High Road to Linton,” "Cuddle in a Boasie" (Shetland), "High Way to Linton," “Jenny’s Gone to Linton,” “Kitty Got a Clinking [2],” "The Leinster Highroad."

                       

HIGHWAY TO LONDON, THE. Scottish. John Glen (1891) finds the earliest printing of the tune in Joshua Campbell's 1778 collection (pg. 76).

                       

HIGHWAY TO NEWFIELD, THE. Scottish. John Glen (1891) finds the earliest printing of the tune in John Riddell's 1782 collection (pg. 11).

           

HIGHWAY TO SCARBROUGH. See "Heighway to Scarbrough."

           

HIGHWAY WALTZ. AKA and see "Valse des Grands Chemins."

 

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