The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

HONOR - HOW

[COMMENT3] 

 

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]

 

 

[COMMENT4] 

HONOUR, RICHES, MARRIAGE BLESSING.  Irish, March (cut time). G Major. Standard tuning. AAB. Composed by Thomas Cooke (1782-1848), an Irish composer for the theater. Many other composers have set Shakespeare’s The Tempest to music, including this lyric which appears in Act IV, scene 1. Notably, English composer Henry Purcell (1659-95) produced a “semi-opera” setting (a form of musical theatre with spoken and sung dialogue) of  the play, but music was also composed for it by Thomas Arne, Goerge Frederic Handel, Johann Pachelbel, and Georg Philipp Telemann, among others.

***

Honour, riches, marriage-blessing,

Long continuance, and increasing,

Hourly joys be still upon you!

Juno sings her blessings on you.

***

Miller (Fiddler’s Throne), 2004; No. 342, pg. 201.

 

HONORABLE CAPT. ELLIOT'S QUICKSTEP. Scottish, Quickstep (2/4 time). B Flat Major. Standard tuning. AABB. Composed by J. Pringle. Hunter (Fiddle Music of Scotland), 1988; No. 360.

 

HONORABLE CAPTAIN ELPHINSTON’S.  Scottish, Strathspey. G Dorian. Standard tuning. AA’B. Composed by Nathaniel Gow (1763-1831) in honor of George Keith-Elphinstone (1746-), 5th son of Charles, 10th Lord Elphinstone. He had little hope inheriting a title and determined to make a career for himself in the British navy where he became one of the most celebrated officers of the Napoleonic era. He made post-captain in 1775 and served under Lord Howe in the American Revoution. Elphinstone had a distinguished career and garnered a reputation as an aggressive and capable commander. During his American adventure Elphinstone and his ship was chosen by prince William Henry, afterwards kin William IV but then a midshipmen, as his place of service. The captain returned to Britain to marry in 1787 Jane, daughter of William Mercer, Perthshire—a short-lived union as she died two years later (he married again in 1808 to a daughter of the MP for Southward). He was elected MP several times. In 1793 hostilities with France resumed and Elphinstone was again in command of a ship of 74 guns under Lord Hood in the Mediterranean. He continued to advance and in 1794 became Rear-Admiral of the White, followed several years later with another honor, an Irish peerage with the title of Baron Keith of Stonehaven-Marischal. After his victory at Aboukir a grateful England awarded him an English peerage, Baron Keith of Barheath, County of Dumbarton, and yet another promotion, to Admiral of the Blue. While in command of the channel fleet in 1812 he affected the capture of Napoleon Bonaparte, on his flight from France after the defeat at Waterloo. In 1814 Lord Keith was created a Viscount and retired to his estate of Tulliallan, where he died in March, 1823, at the age of 78. Gow (Third Collection of Niel Gow’s Reels), 1792; pg. 23 (3rd ed.).

X:1

T:Honorable Captain Elphinton’s Strathspey

M:C

L:1/8
R:Strathspey

C:Nathaniel Gow

B:Gow – 3rd Collection of Niel Gow’s Reels, 3rd ed., pg. 23 (orig. 1792)

Z:AK/Fiddler’s Companion

K:G Dorian

G<Gd>B “tr”G2 DB|G<GGB “tr”d>cBg|G<Gd>B “tr”G2 DE|1 F>GAB c>BAf:|2 F>GA>B cffa||

g<gb>a “tr”g2 de/^f/|ggga {g/a/}b>agd|g<gb>a “tr”g2 dc/B/|Afcf “tr”A>GFa|

g<gb>a “tr”g2 de/^f/|ggga {g/a/}b>agd|g<gbg afge|”tr”f>cdf A<Fc>A||

 

HONORABLE CAPTAIN MAITLAND('S STRATHSPEY). Scottish, Strathspey. G Major. Standard tuning. AB (Surenne): AAB (Athole, Glen, Gow): AABB (Kerr). The tune is attributed Gow's Repository, Part Second (1802) to Nathaniel Gow (1763-1831), the fiddler, composer, music publisher and bandleader and son of the famous Scots fiddler Niel Gow. However, it appears that the tune was first published in Malcolm McDonald's Second Collection (1789). Emmerson (1971) relates MacDonald was a bass player in Nathaniel Gow's band at the time his volume appeared, and likely heard Gow play the tune, although he may not have realized Nathaniel wrote it. Glen (The Glen Collection of Scottish Dance Music), vol. 1, 1981; pg. 31. Gow (Complete Repository), Part 2, 1802; pg. 14. Kerr (Merry Melodies), vol. 2; No. 126, pg. 15. MacDonald (A Second Collection of Strathspey Reels), 1789; pg. 10. Stewart-Robertson (The Athole Collection), 1884; pg. 170. Surenne (Dance Music of Scotland), 1852; pgs. 46-47.

X:1

T:Honorable Captain Maitland’s

M:C

L:1/8

R:Strathspey

B:MacDonald – 2nd Collection of Strathspey Reels (1789)

Z:AK/Fiddler’s Companion

K:G

D | G<G B>G “tr”c>AFD | G<G B>G d<G B>G | c<aB<g ADFD | G<G “tr”B>A {A}G2G :|

B/c/ | d<gB<g ADFD | d<gB<g dgBg | c<aB<g ADFD | G<G”tr”B>A {A}G2 GB/c/ |

d<gB<g ADFD | d<gB<g d<BgB | c<aB<g A<dD<F | G<G “tr”B>A {A}G2G ||

 

HONORABLE CHARLES BRUCE, THE. Scottish, Reel. B Flat Major. Standard tuning. AAB. Composed by Miss Magdelina Stirling, appearing in John Bowie's 1787 collection. Glen (The Glen Collection of Scottish Dance Music), vol. 1, 1891; pg. 41.

X:1

T:Hon. Chas. Bruce, The

M:C

L:1/8

R:Reel

S:Glen Collection, vol. 1  (1891)

Z:AK/Fiddler’s Companion

K:Bb

d|BFDB GBFB|EBDB C/C/C CF|BFDF Bdfd|cBcd B/B/B B:|

d|B/B/B dB fBbd|Bdfd c>Bcd|B/B/B dB fBbd|c>Bcd B/B/B Bd|

B/B/B dB fBbd|Bdfd c>Bcd|BGFD FGBg|fdcd B/B/B B||

 

HONORABLE COLONEL HAMILTON’S DELIGHT, THE.  AKA and see “Colonel Hamilton’s Delight,” “New Bumpkin.” Scottish, Jig. G Major. Standard tuning. AABBCC’. Composed by Joseph Reinagle. The Gow's printed the tune again in The Beauties of Niel Gow, Part I, under the title "New Bumpkin." Gow (Second Collection of Niel Gow’s Reels), 1788, 3rd edition; pg. 6.

X:1

T:Honorable Colonel Hamilton’s Delight, The

T:New Bumpkin

M:6/8

L:1/8

R:Jig

C:Joseph Reinable

B:Gow – 2nd Collection of Niel Gow’s Reels, pg. 6  (1788)

Z:AK/Fiddler’s Companion

K:G

[G,3D3B3g3] dBd|({d}”tr”c2)B A2c|BdB ({B}A2)G|”tr”F>EF D3|[G,3D3B3g3] dBd|

({d}”tr”c2)B Ace|dcB AGF|G3 G3::D3 “tr”(EDE)|DGB d2d|({d}c2)B ({B}A2)G|

“tr”FEF D2D|E2c cde|dBG G2g|dBG cAF|G3 G3::B/c/|dBd ege|dBd ({d}c2)A|

dBG EFG|ABG FED|1 dBd ege|dBd ({d}”tr”c2)A|dBG DEF|G3 G2:|2

dgb bgd|cfa afc|Bed cBA|GDC B,A,G,||

 

HONORABLE COLONEL WEMYSS, THE. Scottish, Reel. F Major. Standard tuning. AB (Surenne): AAB (MacDonald). MacDonald (The Skye Collection), 1887; pg. 145. Surenne (Dance Music of Scotland), 1852; pg. 156.

X:1

T:Honorable Colonel Wemyss, The

M:C

L:1/8

R:Reel

S:MacDonald – Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:F
C|F2 AF ABcf|Afc>F EGGA|F2 AF ABcA|dfeg fFF:|

g|a/g/f/e/ fc ABcf|Afc>F EGGg|fefc ABcA|efeg fFFg|

afge fdcB|Afc>F EGGB|AFcA Bcde|fcdB AFF||

 


HONORABLE GEORGE BAILLIE'S STRATHSPEY. AKA and see "Highland Skip [1]." Scottish, Strathspey. F Major. Standard tuning. AAB. The tune appears under the above title in Niel Gow's First Collection, second edition (1801), attributed to Niel (1727-1807), although the tune first was published as "Highland Skip" by Daniel Dow in c. 1775. The tune is probably named for the grandson (and namesake) of George Baillie of Jerviswood (d. 1738), an Edinburgh burgess who had been granted the lands of Mellerstain by Charles I. Baillie began construction of a grand estate at Mellerstain commissioning architect William Adam to design and build the house. However, when George died in 1738 only two wings had been constructed and work stopped with the main part of the house unbuilt. The estate descended to George’s daughter Rachel, who married Charles Hamilton, Lord Binning. Their first son eventually became the 7th Earl of Haddington, but their second son, named George, became the laird of Jerviswood and Mellerstain and assumed the name Baillie. This George Baillie resumed work on Mellerstain, and commissioned the famous architect Robert Adam, to complete the construction of Mellerstain which his father William began, which he did between 1770 and 1778. The interior of the manor features some of Adam’s finest work. The (Hon.) George Baillie’s name appears among those in a “List of the Nobility and Gentry Who appeared at the Balls at Kelso Races, October 1783,” a broadside published sheet of the period (National Library of Scotland). Gow (First Collection of Niel Gow’s Reels), 1784 (revised 1801); pg. 18. Carlin (The Gow Collection), 1986; No. 63.

 

X:1

T:Honorable George Baillie’s Strathspey

M:C|

L:1/8

R:Strathspey

S:Gow – First Collection of Niel Gow’s Reels (2nd ed. 1801)

Z:AK/Fiddler’s Companion

K:F

f|c<F”tr”c>F c<F”tr”f>d|c<F”tr”c>A {A}G2 G<f|c<F”tr”c>A c<Fa>g|f<d”tr”c>A F2F:||

c|f>g{fg}a>g f>ca>(g|f>)d”tr”c>A {A}G2 G>c|”tr”f>g{fg}a>g f<ca>g|f<d”tr”c>A F2 F>c|

“tr”f>g{fg}a>g f>ca>g|f<dc>A {A}G2 G>A|F<cA<c F<ag<a|f>d”tr”c>A F2F||

 

HONORABLE GEORGE CARNEGIE, THE. Scottish, Strathspey. G Minor. Standard tuning. AAB. Stewart-Robertson (The Athole Collection), 1884; pg. 202.

X:1

T:Honorable George Carnegie, The

L:1/8

M:C

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:Gmin

B|G>AB>G DG G2|A>GF>c A<F F2|G>AB>G D>GB>d|c>AF>A BGG:|

d|g>fd>g f<d g2|f>dc>f A<Fc<A|g>fd>g f<d g2|f>df>A B<G G2|

g>fd>g f<d g2|f>dc>f A<Fc<A|G<BA<c B<dc<g|f<df<A G2G||

 

HONORABLE JAMES RAMSAY'S REEL, THE. Scottish, Reel. A Major. Standard tuning. AB. Composition credited to Niel Gow Jr. by Gatherer. Gatherer (Gatherer’s Musical Museum), 1987; pg. 6. Niel Gow Junior, Collection of Airs, Reels, Strathspeys (1837).

 

HONORABLE JOHN LESLIE MELVILLE. Scottish, Strathspey. D Minor/Dorian. Standard tuning. AAB. Composed by Niel Gow (1727-1807). The Hon. General John Leslie-Melville (1759-1824) was the son of the 8th Earl of Leven and Melville. He later assumed the name of Cumming when he married the eldest daughter and heir of T. Cumming, Esq., in 1816.. Gow (Fifth Collection of Strathspey Reels), 1809; pg. 13. Stewart-Robertson (The Athole Collection), 1884; pg. 241.

X:1

T:Honorable John Leslie Melville

M:C

L:1/8

C:Niel Gow (1727-1807)

N:”Slowly”

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:Dmin

A|d>e f>de>^c d2|A>cG>F E<C C>E|d>ef>d e<^c d2|A<c E>G F<DD:|

A|F/G/A D>AF>A d=B|c>GA>F E<C C>E|F/G/A D>AF>A d=B|c>GE>A F<D D>A|

F/G/A D>AF>A d>=B|c>GA>F E<C C>E|F>AG>B A>d^c>g|f>de>^c d<DD|| 

 

HONORABLE LADY FRASER OF LOVAT, THE. AKA and see “Mrs. Stewart’s Strathspey.” Scottish, Strathspey. A Minor. Standard tuning. AAB. The melody appears in Petrie’s Third Collection. From Gow's Collection. The tune was printed by John Gow under the title “Mrs. Stewart’s Strathspey.” Composed by Robert Petrie. MacDonald (The Skye Collection), 1887; pg. 103.

X:1

T:Honorable Lady Fraser of Lovat, The

M:C

L:1/8

R:Strathspey

S:MacDonald – The Skye Collection (1887)

Z:AK/Fiddler’s Companion

K:G

G|E<A, E>D EA,A,>C|B,>G E/D/C/B,/ DB,G, G|(E<A,) E>D EA,A,(B,/C/)|DE/F/ (E/D/)C/B,/ CA,A,:|

c/>B/|Aaca Aa ed/c/|GgBg Gg (e/d/)c/B/|Aaca Aa (f/e/)d/c/|B/(c/d/)B/ e/>c/d/>B/ cA Ac/>B/|

Aaca Aa (f/e/)d/c/|GgBg Gg (e/d/)c/B/|A/B/c/A/ B/c/d/B/ c/d/e/c/ d/e/f/d/|e>E (e/d/)c/B/ cAA||

 

HONORABLE MISS BULLER’S, THE. AKA and see “Honorable Miss Rollo.” Scottish, Reel. D Major. Standard tuning. AAB. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 69, pg. 18.

 

HONOURABLE MISS CHARTERIS, THE.  Scottish, Reel. G Minor. Standard tuning. AB. The Earls of Wemyss adopted the name Charteris (absorbing the ill-gotten gains of the infamous Colonel Charteris). The title may honor one of the daughters of Francis Wemyss Charteris, Lord Elcho (1749-1808) and Susan Tracy-Keck, whom he married in July 1771. The daughters were Susan, Augusta, Henrietta and Katherine. Gow (Third Collection of Niel Gow’s Reels), 1792; pg. 15 (3rd ed.). Surenne (Dance Music of Scotland), 1852; pg. 105.

X:1

T:Honourable Miss Charteris, The

M:C

L:1/8

R:Reel

S:Surenne – Dance Music of Scotland, pg. 105   (1852)

Z:AK/Fiddler’s Companion

K:Gmin

d | gaba g2 fd | cdfg agfa | gaba g2 fd | cdfA G<GGd | gaba g2 fd |

cdfg agfa | gaba g2 fd | cdfA G<GG || c | (B/4c/2<d) BG BdgB | (A/4B/2<c) AF AcfA |

(B/4c/2<d) BG BdgB | ({B}A)G^FA G<GGc | (B/4c/2<d) BG BdgB |

(A/4B/2<c) AF AcfA | Bcd=e fgfd | cfcA G<GG ||

X:2

T:Honourable Miss Charteri’s [sic] Reel

M:C|

L:1/8

R:Reel

B:Gow – 3rd Collection of Niel Gow’s Reels, 3rd ed., pg. 15 (orig. 1792)

Z:AK/Fiddler’s Companion

K:Gmin

d|gaba {a} “tr”g2 fd|cdfg ({f/g/}a)gfa|gaba {a}g2 fd|cdfA G/G/G G:||c|

(B/c/d) .B.G BdgB|(A/B/c) .A.F AcfA|(B/c/d) .B.G BdgB|{B}A>G^FA G/G/G Gc|

(B/c/d) .B.G BdgB|(A/B/c) AF AcfA|Bcde fgfd|cf {d}cA G/G/G G||

 

HONORABLE MISS/MRS. DRUMMOND OF PERTH('S REEL) [1]. Scottish, Reel. A Mixolydian. Standard tuning. AAB. This tune, attributed to Niel Gow in his First Collection (second edition, 1801), has been identified by John Glen (1895) as taken from a William Marshall composition called "Miss Grace Gordon's Strathspey." Alburger, however, says there is no such title in any of Marshall's collections, though Emmerson (1971) lists it as appearing in Marshall's First Collection of 1781. Stewart-Robertson (The Athole Collection), 1884; pg. 17.

 

HONORABLE MISS DRUMMOND OF PERTH [2], THE. See "Honorable Mrs. Drummond of Perth." Scottish, Strathspey.

 

HONORABLE MISS DRUMMOND OF PERTH(‘S STRATHSPEY) [3].  Scottish, Strathspey. E Minor. Standard tuning. AAB. Composition attributed by Gow to one Captain Ross of the Royal Artillery. Gow (Second Collection of Niel Gow’s Reels), 1788, 3rd ed.; pg. 7.

X:1

T:Honorable Miss Drummond of Perth’s Strathspey, The [3]

M:C

L:1/8

C:Captain Ross, Royal Artillery

B:Gow – 2nd Collection of Niel Gow’s Reels, pg. 6  (1788)

Z:AK/Fiddler’s Companion

K:Emin

B,|”tr”E3F E/E/E EF|A>BAF DEFD|B,(E”tr”E>)D “tr”E>FGe|d<B “tr”A>F ({F/A/}B2)E:||

B|e3~f e/e/e “tr”e>d|B<d “tr”A>F D>EFD|e3f e/e/e “tr”e>d|B<d “tr”F>A ({F/A/}B2)EB|

e3f e/e/e “tr”e>d|B<d”tr”A>F D>EFD|B,(E”tr”E>)D “tr”E>FGe|d<BA>F ({F/A/}B2)E||

 

HONORABLE MISS DRUMMOND OF PERTH’S DELIGHT. See “Honorable Mrs. Drummond of Perth’s Delight.”

 

HONORABLE MISS ELLIOT. Scottish, Slow Strathspey. F Major. Standard tuning. AAB. Composed by J. Pringle. Hunter (Fiddle Music of Scotland), 1988; No. 160.

 

HONORABLE MISS JESSIE A. RUTHVEN. Scottish, Strathspey. C Minor. Standard tuning. The tune is attributed to A. Leburn by John Glen. Glen (The Glen Collection of Scottish Dance Music), vol. 2, 1895; pg. 33.

X:1

T:Honorable Miss Jessie A. Ruthven

M:C

L:1/8

R:Strathspey

S:Glen Collection, vol. 2  (1895)

Z:AK/Fiddler’s Companion

K:Cmin

E/D/|CccG E>F GF/E/|B,BBF (D/E/F/E/) DC/B,/|CccG E>FGg|ed/c/ dc/=B/ cCC:|

c|Gcec gcec|FBdB fBdB|Gcec gceg|g/f/e/d/ =B/c/d/f/ eccA|(Gce)c gcec|

(FBd)B fBdB|c>ed>f e>gf>a|g/f/e/d/ =B/c/d/f/ ecc||

 

HONORABLE MISS ROLLO. AKA and see “The Honorable Miss Buller’s.” Scottish, Reel. C Major (Glen): D Major (Kerr). Standard tuning. AAB (Glen): AABB' (Kerr). The melody appears in John Bowie's 1789 collection. Glen (The Glen Collection of Scottish Dance Music), Vol. 1, 1891; pg. 34. Kerr (Merry Melodies), vol. 3; No. 4, pg. 3.

X:1

T:Honorable Miss Rollo, The

M:C|

L:1/8

R:Reel

S:Glen Collection, vol. 1  (1891)

Z:AK/Fiddler’s Companion

K:C

f|e2 ce dBcG|AcGE Dddf|e2 ce dBcG|Aagf ecc:|

e|gagf ecgc|Bcdc BGGe|gagf ecgc|fd e/f/g ecce|

gagf ecgc|Bcdc BGGB|cGAF EFGf|egdf ecc||

 

HONORABLE MISS SEMPILL. Scottish, Reel. G Major. Standard tuning. AB. The tune is attributed to Robert 'Red Rob' Mackintosh by John Glen. Glen (The Glen Collection of Scottish Dance Music), vol. 2, 1895; pg. 12.

X:1

T:Honorable Miss Sempill

M:C|

L:1/8

R:Reel

S:Glen Collection, vol. 2   (1895)

Z:AK/Fiddler’s Companion

K:G

f|g2 dB GBdB|A2 ec Acea|g2 dB GBdB|cedc BGGf|g2 dB GBdB|

a2 ec Acea|g2 eg dgBg|cA d/c/B/A/ BGG||D|B,DGD CEAE|DFAB cABG|

B,DGD CEAE|DFAc BGGD|B,DGD CEAE|DFAB cedc|BdgB ceag|fdaf gGG||

 


HONORABLE MR. FRASER (OF LOVAT). Scottish, Reel. D Major. Standard tuning. AB. The tune is attributed to Robert 'Red Rob' Mackintosh by John Glen. Glen (The Glen Collection of Scottish Dance Music), vol. 2, 1895; pg. 50.

X:1

T:Honorable Mr. Fraser (of Lovat), The

M:C|

L:1/8

S:Glen Collection, vol. 2  (1895)

Z:AK/Fiddler’s Companion

K:B Minor

g|f2 (ef) dfBd|cAec aecA|f2 (ef) dfBd|efdc d(BBg)|f2 (ef) dfBd|

cAec aecA|(Bcd)B cdeg|fdec dBB||f|b2 (fd) b2 (fd)|(cea)^g aecA|

b2 (fd) b2 (fd)|efdc dBBf|b2 (fd) b2 (fd)|(cea)^g aecA|Bb^ab gbeg|fedc dBB||

 

HONORABLE MR. GRAY’S STRATHSPEY.  Scottish, Strathspey. F Major. Standard tuning. AAB. The tune was included by Kirkmichael, Perthshire, fiddler and composer Robert Petrie in his Second Collection of Strathspey Reels and Country Dances (1796, pg. 10).

X:1

T:Honorable Mr. Gray's Strathspey

S:Petrie's Second Collection of Strathspey Reels and Country Dances &c.

Z:Steve Wyrick <sjwyrick'at'astound'dot'net>, 6/5/04

N:Petrie's Second Collection, page 10

% Gore's Index gives earliest publication as Robert Mackintosh's

% "68 New R., Str. & Q./Steps" 1793

L:1/8

M:C

R:Strathspey

K:F

d|:c>df>g (a/g/f/e/) fd|c>d f>a g<G B<d|c>df>g (a/g/f/e/) f>d|c<Af<d c<FA<d:|

c<Af<A a<Af<A|c<Af<c d<GB<d |c<Af<c a<fg<e|f<cf<A d<GB<d|

c<Af<A a<Af<A|c<Af<c d<GB<d |c<Aa<f g<ef<d|c>f (e/f/g/e/) fFF|]

 

HONORABLE MR. MAULE’S FROLICK, THE.  See “Mr. Maule’s Frolick.”

 

HONOURABLE MR. RAMSAY MAULE’S FAVORITE.  Scottish, Slow Air (6/8 time). G Major. Standard tuning. AAB. Composed by Nathaniel Gow. A companion air is “The Honorable Mrs. Maule of Panmure’s Favorite.” See note for “Mr. Maule’s Frolick” for more on Maule. Gow (Third Collection of Niel Gow’s Reels), 1792; pg. 10 (3rd ed.).

X:1

T:Honourable Mr. Ramsay Maule’s Favorite

M:6/8

L:1/8

R:Air
N:”Slow”

C:Nathaniel Gow

B:Gow – 3rd Collection of Niel Gow’s Reels, 3rd ed., pg. 10  (orig. 1792)

Z:AK/Fiddler’s Companion

K:G

F|”tr”G>AB E2E|(EB).E “tr”E2F|”tr”G>AB (cA).F|(BG).E (AF).D|”tr”G>AB E2E|

E<BE E>FG/A/|Beg (fb).^d|”tr”d3 E2:||f|”tr”g>ab e2e|”tr”g2f eBe|e/>fg/a/ bge|Bge afd|

”tr”g>ab e2e|”tr”g2f eBA|”tr”G>FE B2”tr”^d|e2E E2f|”tr”g>ab e2e|{f}g2.f (eB).G|

(EG).B (GB).e|(eB).G AFD|”tr”G>AB E2”tr”E|(cA)G (FA).c|”tr”B>AG AGF|GEE E2||

 

HONORABLE MR. RAMSAY MAULE’S REEL. Scottish, Reel. G Minor. Standard tuning. AB. Composed by Kirkmichael, Perthshire, fiddler and composer Robert Petrie, in honor of his friend, Ramsay Maule, and MP from the area. It was included in his Second Collection of Strathspey Reels and Country Dances (1796, pg. 4). See note for “Mr. Maule’s Frolick” for more on Maule.

X:1

T:Honorable Mr. Ramsay Maule's Reel

C:R. Petrie

S:Petrie's Second Collection of Strathspey Reels and Country Dances &c.

Z:Steve Wyrick <sjwyrick'at'astound'dot'net>, 6/5/04

N:Petrie's Second Collection, page 4

L:1/8

M:C|

R:Reel

K:Gm

d|BG G/G/G DGBd| cAFc AFcA|BG G/G/G DGBd|cAFA  BGGd|

BG G/G/G DGBd| cAFc AFcA|BGBb AFAc|dBcA  BGG||

^f|(g^fg)d  Bdgd|.f(dcB) AfAF|(g^fg)d  Bdgd|fcAd BGG^f|

(g^fg).d Bdgd|(fdcB) AFcA|BGcA dBec|dg^fa gGG|]

 

HONORABLE MR. RAMSAY MAULE('S STRATHSPEY). Scottish, Strathspey. E Minor. Standard tuning. AB. Composed by Perthshire fiddler-composer Niel Gow (1727-1807), apparently as “Mr. Ramsay Maule’s,” the honorific ‘honorable’ apparently being attached to the title in later 19th century editions and collections. See note for “Mr. Maule’s Frolick” for more on Maule. Carlin (The Gow Collection), 1986; No. 166. Gow (Third Collection of Niel Gow’s Reels), 1792; pg. 10 (3rd ed.). MacDonald (The Skye Collection), 1887; pg. 82. Stewart-Robertson (The Athole Collection), 1884; pg. 261.

X:1

T:Honourable Mr. Ramsay Maule

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:Emin

e|B<E B>A F<D D>d|B<E B>A B<E B>A|B<dA<d F<D D>d|B<E B>A G<E E>e|

B<E B>A F<D D>d|B<E B>A B<de<f|d>BA>G F<D D>d|B<E B>A G<EE||

g|e<B e>G d<DA>F|e<B e>g e<B e>g|e>fg>e d<D A>F|B<E B>A B<E E>g|

e<B e>g d>D AG/F/|e>Be>g Be/f/ g>e|d>fB>d F>D AG/F/|B<E B>A G<EE||

X:2

T:Honourable Mr. Ramsay Maule’s Strathspey

M:C
L:1/8

R:Strathspey

C:Niel Gow  (1727-1807)

B:Gow – 3rd Collection of Niel Gow’s Reels, 3rd ed., pg. 10  (orig. 1792)

Z:AK/Fiddler’s Companion

K:Emin

e|B<E”tr”B>A FDDd|B<E”tr”B>A B<E”tr”B>A|B<dA<d FDDd|B<E”tr”B>A GEEe|

B<E”tr”B>A FDDd|B<F”tr”B>A B<de<g|d>B AG FDDd|B<E”tr”B>A GEE||g|

eBeg dD”tr”A>F|eBeg eBeg|e>f ({e/f/}g)e dDFA|B<E”tr”B>A GEEg|

eBeg dD ({B}A)G/F/|eBeg Be/f/ ge|dfBd FD {B}AG/F/|B<E”tr”B>A GEE||

 

HONORABLE MRS. CAMPBELL OF LOCHNELL. Scottish, Reel. C Major. Standard tuning. AB. Composed by Robert Mackintosh. Glen (The Glen Collection of Scottish Dance Music), vol. 2, 1895; pg. 17. Hunter (Fiddle Music of Scotland), 1988; No. 187.

X:1

T:Honorable Mrs. Campbell (of Lochnell)

M:C|

L:1/8

R:Reel

S:Glen Collection, vol. 2  (1895)

Z:AK/Fiddler’s Companion

K:C

G|c2 Gc ECGE|c2 ec dDDB|c2 AF EGCE|FDG,G ECCG|c2 Gc ECGE|

c2 ec dDDB|c2 Ac GcEc|defd ecc||G|ECEG AFAc|ECFE DG,G,F|

ECEG AFAc|BdGf eccG|ECEG AFAc|ECFE DG,G,F|EGFA GBAc|Bag>f ecc||

 

HONORABLE MRS. DRUMMOND OF PERTH, THE. AKA - "The Honorable Miss Drummond of Perth [2]." Scottish, Strathspey. D Major. Standard tuning. AABB'. Composed by John Bowie. Mrs. Drummond was Clementina Elphinstone (d. 1822), daughter of Charles Elphinstone, 10th Lord Elphinstone. She married James Drummond in 1785, who was created Lord Perth in 1797. James died in 1800. They had two children, a son and daughter, although the boy died at age seven. The surviving child, Clementina Sarah Drummond, matured into a patroness of the highest order and had several melodies dedicated to her or written in her honor (see “Miss Clementina Sarah Drummond of Perth,” “Miss Sarah Drummond of Perth [1]”). Gow (Second Collection of Niel Gow’s Reels), 1788; pg. 17 (3rd ed.). MacDonald (The Skye Collection), 1887; pg. 56. Stewart-Robertson (The Athole Collection), 1884; pg. 109.

X:1

T:Honorable Miss Drummond of Perth, The

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:D

F|D>AF>A D<d d>B|A<D F>D E<B, B,>E|D>AF>A D<g f>e|d>BA>F D/D/D D:|

|:f|d/e/f/g/ a<d f<d a>d|A/B/c/d/ e>A c>Ae>A|1 d/e/f/g/ a>d f>da>d|

A<g f>e f<dd:|2 d>fe>g f>d e<f|d>BA>F D/D/D D||

X:2

T:Honorable Mrs. Drummond of Perth’s (now Lady Perth) Strathspey

M:C

L:1/8

C:J. Bowie

B:Gow – 2nd Collection of Niel Gow’s Reels, 3rd ed., pg. 17  (orig. 1788)

Z:AK/Fiddler’s Companion

K:D

F|D>AF>A D(d”tr”d>)B|AD”tr”F>D E(B,B,>)E|D>AF>A Dg”tr”f>e|d>BA>F D/D/D D:||

|:f|(d/e/f/g/) ad fdad|(A/B/c/d/) eA cAeA|1 (d/e/f/g/) ad fdad|Ag”tr”f>e fdd:|2

d>fe>g “tr”f>def|d>BA>F D/D/D D||

 

HONORABLE MRS. DRUMMOND OF PERTH’S DELIGHT.  Scottish, Jig. A Major. Standard tuning. AAB. The melody appears in Malcolm MacDonald of Dunkeld’s 3rd Collection, dedicated to Miss Drummond of Perth. The Mrs. was presumably her mother. MacDonald (A Third Collection of Strathspey Reels), c. 1792; pg. 5.

X:1

T:The Honourable Miss Drummond of Perth's Delight

S:Playing of David Greenberg on Puirt a Baroque CD "Bach Meets Cape Breton"

L:1/8

M:6/8

Q:260

Z:Transcribed by Erica Mackenzie

K:A

E|\

AAA A2c/2d/2|e-e/2f/2e ecA|FBB B2B/2c/2|d-d/2e/2d/2c/2 BGE|

AAA A2c/2d/2|e-e/2f/2e ecA|Fdc BAG|AAA A2:|

c/2d/2|efg a2g|fed cBA|dfe/2d/2 ced/2c/2|dFc/2B/2 A/2G/2FE|

efg a-a/2b/2a/2g/2|fed cBA|Fdc BGE|AAA A2:|

X:2

T:Honorable Mrs. Drummond of Perth’s Delight, The

M:6/8

L:1/8

R:Jig

N:”Slow”

S:MacDonald – 3rd Collection of Strathspey Reels (c. 1792)

Z:AK/Fiddler’s Companion

K:A

E | A,AA A2 c/d/ | e>fe ecA | FBB B2c|d>ed/c/ BGE |A,AA A2c/d/ |

 e>fe ecA |Fdc BGE | AAA A2 :| c/d/|efg a2g |fed cBA|

dfe/d/ ced/c/ | dFB/A/ {A}GFE |efg a>ba/g/|fed cBA|Fdc BGE|AAA A2 f/g/ |

ab/a/g/f/  e>fe/d/|cea {f}(ed/c/”tr”B/A/)|(d/e/f/)(d/”tr”c/B/) (c/d/e/)(c/”tr”B/A/)|(B/F/d/)(c/”tr”B/A/) {A}(GF)E/D/|

cEA Ace |(d/c/d/)e/f/g/ a2 g/f/ | ecA Ff(e/d/) | cAA A2 || 

 

HONORABLE MRS. F. GRAY. Scottish, Strathspey. F Major. Standard tuning. AA'B. The tune was composed by Nathaniel Gow (1763-1831), according to John Glen. Glen (The Glen Collection of Scottish Dance Music), vol. 2, 1895; pg. 24.

X:1

T:Honorable Mrs. F. Gray

M:C

L:1/8

R:Strathspey

S:Glen Collection, vol. 2   (1895)

Z:AK/Fiddler’s Companion

K:F

f|c>df>g a/g/f/e/ f2|c>df>a gGB<d|c>df>g a/g/f/e/ f>d|1 c<A f>d c>F A<f:|2

c>Afd cFA<d||cAfA aAcA|cAf>d cGBd|cAf>c a>fge|f>c d<f AFA<f|

cAfA aAcA|cfef g>G B<d|cAa>f g>ef>d|c>f e/f//g/e/ f>F A<f||

 

HONORABLE MRS. FRASER OF LOVAT, THE.  Scottish, Strathspey. A Minor. Standard tuning. AAB. The tune probably refers to Jane Fraser of Leadclure, who had married Archibald Campbell Fraser of Lovat in 1763. He was the second son of Simorn “The Fox” Fraser of Jacobite fame, and assumed the Chiefship of Clan Fraser upon the death of his brother, also Simon Fraser, in 1782. The couple had five children, most of whom predeceased them. The tune is unattributed in Gow’s collection, although MacDonald in his later 1887 collection credits the composition to Robert Petrie. Gow (First Collection of Niel Gow’s Reels), 1787 (revised 1801); pg. 27. MacDonald (The Skye Collection), 1887; pg. 103.

X:1

T:Honorable Mrs. Fraser of Lovat, The

M:C

L:1/8

R:Strathspey

N:”Slowish”

S:Gow – The First Collection of Niel Gow’s Reels (1787, revised 1801), pg. 27

Z:AK/Fiddler’s Companion

K:Amin

G|(E<A,) “tr”E>D EA,”tr”A>C|B,>G (E/D/)C/B,/ {B,}DG,G, {^F}G|(E<A,) “tr”E>D EA,A,B,/C/|DE/F/ (E/D/).C/.B,/ CA,A,:||

“tr”c/>B/|.A.a.c.a Aa {f}ed/c/|GgBg Gg (e/d/).c/.B/|Aaca Aa (f/e/).d/.c/|(B/c/d/B/ e/>c/d/>B/ cAA “tr”c/>B/|

Aaca Aa (f/e/).d/.c/|GgBg Gg (e/d/).c/.B/|.A/.B/.c/.A/ .B/.c/.d/.B/ .c/.d/.e/.c/ .d/.e/.f/.d/|e>E (e/d/).c/.B/ cAA||

 

HONORABLE MRS. GRAHAM OF BALGOWAN. Scottish, Reel. D Mixolydian. Standard tuning. AABCCD. Composed by Daniel Dow. Mary Cathcart (1757-1792), second daughter of the 9th Earl Cathcart, married Thomas Graham, 1st Baron Lynedoch, on the 26th of December, 1774, the same day her elder sister married the Duke of Athole. Thomas inherited a fine estate in the valley of the Almond, and was content to work on improving it, sporting, and attending to the classics. Their marriage appears to have been a love match for both.  After her decline and early demise at age 42, the griefstricken Graham concentrated on the military, rising to the rank of General and participating in the Napoleonic Wars.  Mrs. Gramham’s portrait was painted twice by Thomas Gainsborough, albeit the first was a study for the full-length portrait which hangs in the National Galleries of Scotland, Edinburgh—it shows Mary as an extremely beautiful young woman, some few weeks after her marriage to Thomas. After her death Graham could not bear to have the portraits in the house, and had them crated and sent away for safekeeping, where they remained for decades. After his death in 1842 the portrait was rediscovered by his heir, and donated to the museum, with the proviso that it never leave Scotland. Cranford (Jerry Holland: The Second Collection), 2000; No. 88, pg. 35. Gow (Complete Repository), Part 3 1806; pg. 38. Stewart-Robertson (The Athole Collection), 1884; pg. 109.

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

X:1

T:Honorable Mrs. Graham of Balgowan, The

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:D

d|ADFD FAAd|GBFA =cEEd|ADFD FAGB|Agfe dDD:|

g|fdad fada|g=cec egcg|fdad ^ceA=c|BGE^c dDDg|fdad fada|

g=cec efga|fd^ce dDAF|Egfe dDD||:d|AdFd DdAd|BdFA =cEEd|

AdFd DdAd|GBA^c dDD:||d|Adfd gefd|edfd eg=ce|dAfd eAag|

fde^c dDDe|Adfd edfd|gefd cdeg|fdBd AdGd|FdEe fdd||

 

HONORABLE MRS. HOBART’S REEL, THE.  See “Mrs. Hubard’s Reel.”

 

HONORABLE MRS. JOHN RAMSAY’S REEL, THE.  Scottish, Reel. B Flat Major. Standard tuning. AAB. Composed by Nathaniel Gow (1763-1831). John Ramsay (1775-1842), a son of George Ramsay, 8th Lord Dalhousie, was a military officer who began as a Captain in the 92 Gordon Highlanders when they were raised in the early 1790’s. He rose to the military rank of Lieutenant-General and became Colonel of the Queen’s Own Cameron Highlanders, the 79th. He was brother to politician William Maule, 1st Baron Panmure, for whose family so many tunes were composed by the Gows. John Ramsay’s wife was Mary Delise (d. 1843), daughter of Philip Delise of Calcutta, and the couple wed in April, 1800, a date which coincides with the Gow’s Fourth Collection. Gow (Fourth Collection of Niel Gow’s Reels), 2nd ed., originally 1800; pg. 33.

X:1

T:Honorable Mrs. John Ramsay’s Reel, The

M:C|

L:1/8

R:Reel

C:Nathaniel Gow (1763-1831)

B:Gow – Fourth Collection of Niel Gow’s Reels (1800)

Z:AK/Fiddler’s Companion

K:Bb

E|(D/E/F) Fd BG F2|GBFB A(cc)e|(D/E/F) Fd BGFB|DFEF DB,B,:||

e|dBfB cAec|dBGB FBDe|dBfB cAec|dfce dBBf|

(d/c/B) fB cAec|dBGB FBDC|B,DFD GEec|dBcA B2B||

 

HONORABLE MRS. JOHN RAMSAY'S STRATHSPEY, THE. Scottish, Strathspey. Composed by Niel Gow's fourth son, John (1764-1826), who in 1788 established a London publishing firm with his older brother Andrew. They became the English distributor for the Gow family publications.

 

HONORABLE MRS. LESLIE CUMING. Scottish, Jig. F Major. Standard tuning (fiddle). AABB. “Composed and communicated by Mr. Boswell of Auchinleck” (Gow, 1817). This is the James Bowswell, a lawyer, who was a journalist, writer and anamnesis to Dr. Samuel Johnson (see also “Shelah O’Neill” for more). Gow (Complete Repository), Part 4, 1817; pp. 16-17.

X:1

T:Honorable Mrs. Leslie Cuming, The

M:6/8

L:1/8

R:Jig

S:Gow – 4th Repository   (1817)

Z:AK/Fiddler’s Companion

K:F

~F3 Ac2|c>BA G2A|F>GF A<cd|dfA (AG)F|F>GF A>cd|cfA G3|a3 {a}g2f|dfA G2F:|

|:agf fed|(cf)A G3|agf {g}fed|cAc de{g}f|a3 {a}g2f|cfA G3|F3 Ac2|(c>f)A G2F:|

 

HONORABLE MRS. MAULE OF PANMURE. Scottish, Strathspey. F Major. Standard tuning (fiddle). AAB. Composed by Nathaniel Gow (1763-1831). Mrs. Maule was Patricia Heron Gordon (c. 1775-1821), daughter of Gilbert Gordon of Halleaths, Dumfries-shire, and whose mother had impressed (journalist and writer) James Boswell as a “smart, comely, gay girl.” Presumably Patricia inherited those qualities. In 1794 she became the wife of Scottish politician William Ramsay Maule (1771-1852), first Baron Panmure, and had seven daughters and three sons, one of whom was Fox Maule Ramsay, 11th Earl of Dalhousie (1801–1874). The air was copied by Scottish musician James Webster into his music manuscript collection of 1831-1839 (held a Univ. of Aberdeen). See note for “Mr. Maule’s Frolick” for information on the family. Gow (Fourth Collection of Strathspey Dances), 2nd ed., 1800; p. 9. Stewart-Robertson (The Athole Collection), 1884; p. 235.

X:1

T:Honorable Mrs. Maule of Panmure

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:F

f|c<F C>A G>FD>f|c<F c>A F/G/A/B/ cA|B>GA>F G>FD>f|c>FA>G F2F:|

(3c//d//e/|~f>cf>a g>fd>e|~f>cf>a cf/g/ a<f|~g>fa>f g>fd>e|~f>ca>g ~f2 f (3c//d//e/|

f>cf>a g>fd>g|~f>c f<a d<fc<f|B<fA<f G>FD>G|F/G/A/B/ c>A ~c2c||

                       

HONORABLE MRS. MAULE OF PANMURE’S FAVORITE, THE.  Scottish, Air (6/8 time). F Major. Standard tuning (fiddle). AAB. Composed by Nathaniel Gow (1763-1831). A companion air is “The Honorable Mr. Ramsay Maule’s Favorite.” The air was copied by Scottish musician James Webster into his music manuscript collection of 1831-1839 (held a Univ. of Aberdeen). Gow (Fourth Collection of Niel Gow’s Reels), 2nd ed., originally 1800; p. 9.

X:1

T:Honorable Mrs. Maule of Panmure’s Favorite, The

M:6/8

L:1/8

R:Air

N:”Slow”

B:Gow – Fourth Collection of Niel Gow’s Reels (1800)

Z:AK/Fiddler’s Companion

K:F

A/B/|(cA).F (AF).C|(DG)G G2 F/G/|{F/G/}A>GF (cAF)|Acc “tr”c2 B/A/|(BD).B {d}cB/A/G/F/|

(DG)G “tr”G2 F/G/|{F/G/}A>GF (DF)C|(DF).F F2:||f/>g/|{f/g/}a>gf d<fc|dgg g2 f/g/|{f/g/}a>gf (d<f)c|

(df)f f2A|(Bd).B (cA).F|(DG)G “tr”G2 F/G/|{F/G/}A>GF (DF)C|(DF)F F2 f/>g/|{f/g/}a>gf (df).c|dgg “tr”g2 f/g/|

{f/g/}a>gf d<fc|dff “tr”f2A|(B/d/)c/B/A/G/ (A/c/).B/.A/.G/.F/|(DG).G “tr”G2 A/B/|c/>dA/G/ (FA)C|(DF).F F2||

 

HONORABLE MRS. MAULE'S REEL. Scottish, Reel. A Major. Standard tuning (fiddle). AAB. Composed by Robert ‘Red Rob’ Macintosh. It was included by Kirkmichael, Perthshire, fiddler and composer Robert Petrie in his Second Collection of Strathspey Reels and Country Dances (1796, pg. 3). Petrie was a friend of the Maule family, and a sometimes participant in Ramsay Maule’s escapades. See note for “Mr. Maule’s Frolick” for more on the family. MacDonald (The Skye Collection), 1887; p. 181. Stewart-Robertson (The Athole Collection), 1884; pg. 32.

X:1

T:Honorable Mrs. Maule

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

R:Reel

K:A

e|a2ed cAec|B>cde fBbg|a2ed cAec|dfed cAA:|

e|c/B/A EA cAec|Bcde fBed|c/B/A EA cAec|dBed cAAe|c/B/A EA cAec|

B>cde fBbB|cefd eabg|afed cAA||

X:2

T:Honorable Mrs. Maule's Reel

C:"By R. Mackintosh"

S:Petrie's Second Collection of Strathspey Reels and Country Dances &c.

Z:Steve Wyrick <sjwyrick'at'astound'dot'net>, 6/5/04

N:Petrie's Second Collection, page 3

L:1/8

M:C|

R:Reel

K:A

e|a2 (ed) cAec|Bcde fBbg|a2 (ed) cAec|dfed cAA  :|

e|(c/B/A) (EA) cAec|Bcde fBed|(c/B/A) (EA) cAec|dBed c(AAe)|

(c/B/A) (EA) cAec|Bcde fBed|cefd eabg|afed cAA  |]

                       

HONOURABLE MRS. MOULES’, THE. Scottish, Strathspey. Atlantic Music 02 77657 50222 26, Dave MacIssac - “Atlantic Fiddles” (1994). UCCB Press 1007, Dave MacIssac - “Celtic Music of Cape Breton, vol. 1" (1986).

                       

HONORABLE MRS. OLIPHANT MURRAY’S REEL, THE.  Scottish, Reel. D Major. Standard tuning (fiddle). AAB. Janet Oliphant was the daughter of John Oliphant of Bachilton, Perthshire, styled Lord Oliphant. She eventually inherited from him when he died in 1781. In 1803, Janet married Alexander Murray, 8th Baron Elibank. Their two children adopted the family name Oliphant-Murray. Janet died in France in 1836. Gow (Fifth Collection of Strathspey Reels), 1809; p. 25.

X:1

T:Honorable Mrs. Oliphant Murray’s Reel, The

M:C

L:1/8

R:Reel

B:Gow – Fifth Collection of Strathspey Reels (1809)

Z:AK/Fiddler’s Companion

K:D

f|~d2 dA (FG)Ad|Bd Ad (Ec) ec|”tr”d2 dA FG Ag|fd (f/e/).d/.c/ dDD:||

f|dd (f/e/d) adfd|Ad (f/e/d) eBBe|dd (f/e/d) adfd|AF “tr”f>e fddf|

dd (f/e/d) adfd|Ad (f/e/d) eBBe|dfeg f(ba)g|f>d (f/e/).d/.c/ dDD||

 

HONOURABLE PEACE, AN. Scottish, Reel. E Minor. Standard tuning (fiddle). AAB. John Glen (1891) finds the earliest printing of the tune in Daniel Dow's c. 1775 collection (pg. 4). Gow (Complete Repository), Part 3,1806; p. 19. Stewart-Robertson (The Athole Collection), 1884; p. 257. Mill Records MRCD018, William Jackson – “Duan Albanach” (2003). Redwing Music RWMCD 5410, Abby Newton – “Castles, Kirks and Caves” (2001).

X:1

T:Honourable Peace, An

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:Emin

F|E2 BG E2 B,E|D2 FD AFDF|E2 BG E2 GB|eBdA BE E:|

F|E2 BA Bdef|dBAd FDAF|E2 BA Bdeg|gdAF BEEF|

E2 BA Bdef|dBAd FADF|GBEF GABg|f^d Bd eEE||

                       

HONOURABLE SEYMOUR EGERTON, THE. Scottish, Reel. F Major. Standard tuning. AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 156, pg. 53.

                       


HONORABLE THOMAS BURKE, THE. AKA and see "Thomas Burke," "My Love's a Bonny Naithing." Irish, Planxty (3/4 time). G Dorian. Standard tuning. AB. Composed by blind Irish harper Turlough O'Carolan (1670-1738). Complete Collection of Carolan's Irish Tunes, 1984; No. 11, pg. 31.

                       

HOOK AND LINE. AKA and see “Banjo Sam,” “Fish on a Hook,” “Mr. Catfish,” "Shout Lula/Lulu." Old‑Time, Breakdown. USA; Piedmont region of N.C., east Tennessee, western Virginia, northern & eastern Kentucky. GDad tuning. Charles Wolfe (1982), writing on the country music of Kentucky, describes it as a driving banjo tune that was recorded by eastern Kentucky musicians in the 1920's. "Heard in many parts of the South but relatively rare" (Kerry Blech), and "said to be the tune all Kentucky banjo players learn on" (Bill Mansfield). In the repertoires of Dock Boggs (as "Shout Lula") and of African-American fiddler Joe Thompson (who played it in FCgd tuning). Hobart Smith also fiddled the tune, as “Katy Went Fishing with Her Hook and Line,” and said “It’s a real old piece, handed down from my fathers.” Mike Yates (2002) says the song may be based on an early minstrel tune called “My Old Dad,” with African-American origins echoed in the version collected by Cecil Sharp from Ebe Richards of Callaway, Franklin County, Virginia, in 1918. Richards knew the song under the title “The Jackfish,” with the chorus:

***

O de lor de gal sindy, sindy,

Lor de gal sindy sue.

***

Dan Tate (b. 1894), of Fancy Gap, Carroll County, Virginia, sang it as “Fish on a Hook,” with these words:

***

Fish on a hook, fish on a line,

Fish no more ‘til the summer time.

***

Throw my hook to the middle of the pond,

Fish for the girl with a josy on.

***

See that catfish a-going upstream,

What in the hell does a catfish mean?

***

Fish that catfish by its snout,

Turn that catfish wrong side out.

***

Gennett Records (78 RPM), The Hatton Brothers (1933. Soon after their only session the fiddler and banjoist brothers gave up music, and Jess, the younger brother, became a full‑time minister for the Mormon Church). Global Village C217, (Black fiddle and banjo players) Joe and Odel Thompson ‑ "Old Time Music From the North Carolina Piedmont." Musical Traditions MTCD321-2, Dan Tate (et al) – “Far in the Mountains ol. 1 & 2” (2002). Old Homestead OHCS 191, "Dykes Magic City Trio" (known as well to him as "Shout Lula"). Rounder CD 1701, Hobart Smith – “Southern Journey, vol. 1: Voices from the American South.” Yodel-Ay-Hee 008, One Eyed Dog - "Traditional Mountain Tunes" (1993).

           

HOOK DANCE, THE.  See note for “Drops of Brandy [1].”

                       

HOOKER'S HORNPIPE. Old‑Time, Breakdown. USA; north Missouri, Nebraska. G Major. Standard tuning. AABB. The low part is reminiscent of Clayton McMichen's tune "McMichen's Reel." Hooker may refer to the Civil War general Joe Hooker, or, as Howard Marshall points out, to a laborer on a riverboat, a petty thief or pickpocket , a one-masted fishing boat, loggers, etc. It is on Missouri fiddler Charlie Walden’s list of ‘100 essential Missouri fiddle tunes’. Source for notated version: Bob Walters (Burt County, Nebraska) [Christeson]; Taylor McBaine (Mo.) [Phillips]. R.P. Christeson (Old Time Fiddlers’ Repertory, vol. 1), 1973; pg. 87. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 201. Missouri State Old Time Fiddlers Association 002, Taylor McBaine (b. 1911, Columbia, Mo.) ‑ "Boone County Fiddler." Voyager 340, Jim Herd - "Old Time Ozark Fiddling." Voyager VRCD 344, Howard Marshall & John Williams – “Fiddling Missouri” (1999. Learned from Taylor McBaine and Jimmy Gilmore of Jefferson City).

                       

HOOK’S CONTRA DANCE.  American(?), Contra Dance Tune (6/8 time). The melody appears in the music manuscript copybook (c. 1810) of Ann Winnington, a resident of New York City. The title probably refers to James Hook (1746-1827), a prolific and famous composer and concertizer who held tenure at several of London’s fashionable pleasure gardens as organist.

X:1

T:Hook’s Contra Dance

M:6/8

L:1/8

S:The music manuscript copybook of Ann Winnington, New York (c. 1810)

Z:AK/Fiddler’s Companion

K:G

{c}BAB G2d | {c}BAB G2d | G2B A2c | B2G AFD | {c}BAB G2d |

{c}BAB G2d | G2B A2c | B3G3 :: {a}gfg b2g | e2g d2g | Bcd efg |

{g}fef def | {a}gfg b2g | e2g d2g | Bcd Adc | B3G3 :|

 

HOOLEHAN, DA. Shetland, Shetland Reel. Shetland, Unst.

           

HOOLY AND FAIRLY. AKA and see "Ballyhooley." English. England, Northumberland. 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. It is listed as an alternate title for the jig "Ballyhooley" in O'Neill's Dance Music of Ireland (1001 Gems).

           

HOOP DE DOODEN DO [1]. English, Country Dance Tune (2/4 or 6/8 time). C Major (Raven): D Major (Howe). Standard tuning. One part (Howe): AABB (Raven). Howe (1000 Jigs and Reels), c. 1867; pg. 162. Raven (English Country Dance Tunes), 1984; pg. 148.

X:1

T:Hoop de Dooden Do [1]

M:2/4

L:1/8

K:C

G/ | c>c d>d | e>e f>f | g>g f>d | c>e G>G | c>c d>d | e>e f>f |

g>g f>d | c3 z/ :: G/ | d>d e>d | f>f d>f | e>e f>d | c>e G>G |

c>c d>d | e>e f>f | g>g | f>d | c3 z/ :|

X:2

T:Hoop De Doodendoo [1]

M:6/8

L:1/8

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

Z:AK/Fiddler’s Companion

K:D

A | d2d e2e | f2f g2g | a2a g2e | d2f A2A | d2d e2e | f2f g2z | a2a g2e | d2z z2 ||

 

HOOP DE DOO DEN DOO [2]. American, Dance Tune (2/4 time). A Mixolydian. Standard tuning. AB (Cole): AABB (Kerr). Both Cole and Kerr lable the tune as a jig, meaning a type of dance tune once associated with the banjo rather than an Irish jig. Cole (1000 Fiddle Tunes), 1940; pg. 82. Kerr (Merry Melodies), Vol. 2; No. 434, pg. 49. Ryan’s Mammoth Collection, 1883; pg. 115. White’s Unique Collection, 1896; No. 32, pg. 6.

X:1

T:Hoop-De-Doo-Den-Doo [2]

M:2/4

L:1/8

R:’Sand Jig’

S:White’s Unique Collection (1896), No. 32

Z:AK/Fiddler’s Companion

K:A

E | ABcd | (3e/f/e/ (3d/c/B/ ea | ABcd | (3e/f/e/ (3d/c/B/ AE | ABcd |

(3e/f/e/ (3d/c/B/ e(e/f/) | =g/e/f/d/ (3e/e/e/ e/z/ | z/e/d/B/ A || (e/f/) |

=g/e/f/d/ (3e/e/e/ e/z/ | z/ e/d/B/ e(e/f/) | =g/e/f/d/ (3e/e/e/ e/z/ | (3e/f/e/ (3d/c/B/ A(e/f/) |

=g/e/f/d/ (3e/e/e/ e/z/ | z/e/d/B/ e(e/f/) | =g/e/f/d/ (3e/e/e/ e/z/ | (3e/f/e/ (3d/c/B/ A ||

           


HOOP HER AND GIRD HER [1]. Scottish, English; Jig. England, Northumberland. G Mixolydian (Gow): G Major (Bruce & Stokoe). Standard tuning. AABB. “Hoop Her and Gird Her” refers to the process of barrel-making, as in “hoopers and girders”—to gird meant to encircle and fasten with a band, as a barrel-hoop. The title could have a double-entendre or some other meaning, however. For example, it may refer in some way to dancing, or to the fashion of hoop skirts for women. The melody also appears in William Vicker’s c. 1770 Northumbrian collection and in the music manuscript collection of Cumbrian musician John Rook (1840). Carlin (The Gow Collection), 1986; No. 334. Gow (Fourth Collection of Niel Gow’s Reels), 2nd ed., originally 1800; pgs. 12-13. Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 170. Puirt a Baroque – “Kinloch’s Fancy” (1997).

X:1

T:Hoop Her and Gird Her [1]

M:6/8

L:1/8

R:Jig

S:Bruce & Stokoe – Northumbrian Minstrelsy  (1882)

Z:AK/Fiddler’s Companion

K:G

GBG GB/c/d|GBG d2B|GBG GB/c/d|AB/A/B c2A|

GAG GB/c/d|BGB gdB|cec d/c/B/c/d/B/|cAB c2A:|

|:gdB de/f/g/f/|gdB d2B|gdB de/f/g/e/|cAB cd/c/B/A/|

gdB de/f/g/e/|gde dcB|cec d/c/B/c/d/B/|cAB c2A:|

X:2

T:Hoop Her and Gird Her [1]

M:6/8

L:1/8

R:Jig

B:Gow – Fourth Collection of Niel Gow’s Reels (1800)

Z:AK/Fiddler’s Companion

K:G

G2G .B/.c/.d.B|GBG “tr”B2A|GBG GB/c/d/B/|A=FA c2A|[B,3G3] [B,G]B/c/d/B/|

G>AB gdB|c<ac B<gB|A=FA c2A::”tr”g3 def|gfe dBG|”tr”g3 de=f|A=FA c2A|

”tr”g3 def|gfe dcB|c<ac B<gB|A=FA c2A::BGG ADD|BGG ABc|BGG ADD|

A=FA ABc|BGG ADD|GAB gdB|c>ac B>gB|A=FA c2A::gdB gdB|G>AB d2B|

gdB gdB|A=FA c2A|gdB gdB|G>AB dBG|c<ac B<gB|A=FA c2A:|

X:3

T:Hoop Her and Gird Her [1]

M:6/8

L:1/8

R:Jig

S:John Rook manuscript (Cumbria, 1840)

Z:AK/Fiddler’s Companion

K:G

G2G B/c/dB|GBG B2A|GBG GB/c/d/B/|AFA c2A:|

|:G2G GB/c/d/B/|GAB gdB|cAc BgB|AFA c2A:|

g3 def|gfe dBG|g3 def|AFA c2A|g3 def|gfe dcB|cAc BgB|AFA c2B||

BGG ADD|BGG ABc|BGG ADD|AFA ABc|BGG ADD|GAB gdB|cac BgB|AFA c2A||

gdB gdB|GAB d2B|gdB gdB|AFA c2A|gdB gdB|GAB gdB|cAc BgB|AFA c2A||

 

HOOP HER AND GIRD HER [2]. Scottish, Reel. Border Dance Book.

           

HOOPER'S JIG. AKA and see "Peter's Peerie Boat."

           

HOOR IN THE NETTLES. Sometimes a tongue-in-cheek name for any “gan ainm” (untitled) tune in Ireland.

           

HOOSIER. American, Quadrille. USA, Ohio. Before the term 'hoosier' was used to designate someone from Indiana it was used in the South to describe a rough or uncouth person, a backwoodsman. Only later did it migrate to Indiana along with much backwoods culture, and was used to differentiate the inhabitants of the state from their Yankee neighbors. The word has North British origins and comes from hoozer or hoozier in the old Cumbrian dialect used to denote someone who was unusually large and rough (Fischer, Albions Seed, pg. 758). Edison 51548 (78 RPM), 1923, John Baltzell (appears as 2nd tune of "Buckeye Medley Quadrille") {Baltzell was from Mt. Vernon, Ohio, the same town as minstrel Dan Emmett (d. 1904). Emmett returned there in 1888, poor, and later taught Baltzell to play the fiddle.}.

           

HOOVER'S BATTERY. American, March (2/4 time). USA, southwestern Pa. D Major. Standard tuning. AABB. The title refers to an artillery unit. Source for notated version: the Hoge MS (No. 14), a fife MS. from Pennsylvania [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 384, pg. 367.

           

HOP ALONG, SALLY. AKA and see "Wild Horse," "Ston(e)y Point [1]," "Pigtown Fling" and related tunes. Old‑Time, Breakdown. G Major. Standard tuning. AABB. Ford (Traditional Music in America), 1940; pg. 64.

X:1

T:Hop Along, Sally

M:2/4

L:1/8

B:Ford – Traditional Music in America (1940)

Z:AK/Fiddler’s Companion

K:G

D|G2g/e/ de/d/|Bg/d/e/d/B/A/|Gg/e/ de/d/|B/c/A/F/ G:|

|:D|GB e>g|f/e/d/f/ e/d/B/A/|GB e>g|f/e/f/a/ g:|

           

HOP HIGH LADIES (THE CAKE'S ALL DOUGH). AKA and see "(Miss) McCloud's Reel," "Mrs. MacLeod (of) Raasay," "Miss McLeod's/MacLeod’s Reel [1]," "Did You Ever Go To Meetin' Uncle Joe, Uncle Joe?" "Did You Ever See the/a Devil, Uncle Joe?" "Uncle Joe," "Hop Light, Ladies," "Green Mountain [1]," “Knickerbocker Reel,” "Billy Boy [2]," “Sally’s Hornpipe,” "Walk Jaw Bone [1]," “Whitewash Station.”  Old‑Time, Breakdown. USA, Widely known. G Major (usually ‑ Thede published an odd version in G ['A' part] and D ['B' part). Standard tuning. AB. An American ‘old-time’ version of the Scottish “Miss McCloud’s/Miss McLeod’s Reel,” the main difference being that the old-time version resolves to the tonic on the cadence, while the Scottish tune generally ends on the dominant. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Wade and Fields Ward (Galax, Va.) recorded the tune on guitar and banjo in 1937 for Alan Lomax (AAFS #1363). The Lomaxes included a transcription of the tune (under the title “Hop Up, My Ladies”) in their book Our Singing Country, where it is proximate with the version of  “Bonaparte’s Retreat” printed a few pages later. “Hop Light Ladies” was in the repertoire of fiddler S.S. Ransdell (Louisburg, Granville, County, N.C.) who competed in 1905 in the Raleigh, N.C., fiddler’s convention, as recorded by the old Raleigh News and Observer. Various lyrics to the tune go:

***

Hop high ladies for the cake's all dough (x3)

I don't mind the weather so the wind don't blow

***

The cow kicked Nelly in the belly in the barn

The cow kicked Nelly in the belly in the barn

The cow kicked Nelly in the belly in the barn

And another little snort wouldn't do us any harm

***

Did you ever see the devil, Uncle Joe, Uncle Joe (3x)

Well, I don't mind the weather if the wind don't blow.

***

Did you ever go to meeting, Uncle Joe, Uncle Joe (3x)

Well, I don't mind the weather if the wind don't blow.

***

How'd ya like the weather, Uncle Joe, Uncle Joe (3x)

Huh?  What'd you say?

***

Hop high ladies and the cakes all dough (3x)

I don't mind the weather if the wind don't blow.

***

Tennessee entertainer Uncle Dave Macon did not always sing the three repeat lines of the chorus, “Hop High Ladies, (for) cake’s all dough,” but sometimes substituted instrumental fragments to hold the rhythm.  Tom Paley says that Macon’s last line occasionally went something like (it is not clear on the recording):

***

How I get enough time, my Lord, I never will know.

***

These words are from the Memphis Jug Band (who called the tune “Whitewash Station”):

***

If you want to go to heaven

I tell you what to do

You put on your sock, a boot or a shoe

You place a bottle of corn in your right hand

That'll send you right over to the Promised Land

***

And if you meet the Devil

You ask him "How'd ya do"

"I'm on my way to heaven don'tcha wanna go too?"

You know there's a place

That'll do just as well

It's called a Whitewash Station

Ten miles from hell.

***

Source for notated version: W.S. Collins (Pottawatomie County, Oklahoma) [Thede]. Ruth (Pioneer Western Folk Tunes), 1948; No. 13, pg. 6 (appears as “Don’t You Want to Go to Heaven, Uncle Joe?”). Thede (The Fiddle Book), 1967; pg. 99. Biograph Records LP 6003, “The Bog-Trotters: 1937-1942.” Folkways FA 2494, "Sing Songs of the New Lost City Ramblers" (1978). Philo 1042, Boys of the Lough (with old‑time mandolinist Kenny Hall) ‑ "The Piper's Broken Finger" (1976). Vocalion 5154 (78 RPM), Uncle Dave Macon.

X:1

T:Hop Light Ladies

T:Hop High Ladies

T:Don’t You Want to Go to Heaven, Uncle Joe?

L:1/8

M:2/4

S:Ruth – Pioneer Western Folk Tunes (1924)

Z:AK/Fiddler’s Companion

K:G

G/A/B/c/ d/B/G/A/|BB/A/ BA|GA/B/c/ d/B/G/B/|AA/B/ Az|

G/A/B/c/ d/B/G/A/|BB/A/ Bd|e>d e/f/g/d/|BA Gz:|

|:Gg e/f/g/d/|BB/A/ BA|Gb e/f/g/e/|a>b a2|Gg e/f/g/d/|BB/A/ Bd|e>d e/f/g/d/|BA G2:|

|:G/G/ g/g/ e/e/g/g/|BB/c/ BA|G/G/ g/g/ e/e/g/g/|a>b a2|G/G/ g/g/ e/e/g/g/|BB/A/ Bd|e>d e/f/g/d/|BA G2:|

           

HOP JIG. A hop jig is an Irish melody in 9/8 time, a variant of the more common slip jig. They are to the slip jig what single jigs are to double jigs, i.e. rhythmically they have a long-short pattern rather that triplet groupings. See Slip Jig.

                       


HOP LIGHT, LADIES. AKA and see "Hop High Ladies (the Cake’s All Dough)," "Did You Ever See the/a Devil, Uncle Joe," "Uncle Joe," "Walk Light Ladies," "Walk Jaw Bone [1]," "Green Mountain [1]," "Billy Boy [2]," "The Cake's All Dough," "Miss McLeod's/MacLeod’s Reel [1]," "Run Here, Johnny, There's a Bug Done Got on Me." USA; known in parts of Virginia (esp. Patrick County) and Tennessee under this title, and by Alabama fiddler D. Dix Hollis (1861‑1927), who considered it one of "the good old tunes of long ago" (as mentioned in the Opelika Daily News of April 17th, 1926). Also played under this title by J.B. Crenshaw (Covington, Ga.) at a 1913 Atlanta, Ga., fiddlers' contest, and it is mentioned in reports of the De Kalb County (Alabama) Annual (Fiddlers) Conventions 1926‑31.  Under this title the tune was recorded by legendary Galax, Va., fiddler Emmett Lundy and by Steppville, Alabama, fiddler J.C. Glasscock (for the Gennett label, though it was unissued). The title appears in a list of traditional Ozark Mountain fiddle tunes (as does its alternate, "Hop High Ladies") compiled by musicologist/folklorist Vance Randolph, published in 1954. A version played by elderly Franklin County, Georgia, banjoist Mabel Cawthorn was called "Run Here, Johnny, There's a Bug Done Got on Me." County 201, "The Old Virginia Fiddlers...Patrick County, Virginia." Rounder 0057, Frank Dalton and George Wood (Meadows of Dan, Patrick County, Va.) ‑ "Old Originals, vol. 1" (1978).

           

HOP-PICKER'S FEAST. English, Country Dance Tune (2/4 time). D Major. Standard tuning. AABB. The melody dates to 1786. Barnes (English Country Dance Tunes), 1986.

           

HOP POLKA. Canadian, Polka. F Major ('A' part) & C Major ('B' part). Standard tuning. AABB. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 101, pg. 64.

           

HOP SKIP SQUIRREL. See “Hop Squirrel,” “Ston(e)y Point [1].” Rounder CD-0388, Gene Goforth – “Emminence Breakdown” (1997. His father called it “Stoney Point”).

                       

HOP SQUIRREL. AKA and see "Ston(e)y Point [1]." Old‑Time, Breakdown. USA, southwestern Va. A tune and tune name peculiar to the Franklin/Floyd County area of southwestern Va. (Tom Carter & Blanton Owen, 1976). Bill Rogers (Lodi, CA) writes to report that the late Wade Enloe of Eldon, Missouri (the north Ozarks), played the tune under the title “Hop Skip Squirrel.” Gene Goforth – “Emminence Breakdown” (appears as “Hop Skip Squirrel”).

           

HOP UP, KITTY PUSS [1]. AKA and see‑ "Black Eyed Susie [1]," "Kitty Puss,” “Possum Up a Simmon Tree [1],” “Puncheon Camp(s)." Old‑Time, Breakdown. USA, Oklahoma. D Major. Standard tuning. AABB. Marion Thede linked her Oklahoma-collected tune with “Black-eyed Susie [1].” Source for notated version: John Crawford (McIntosh County, Oklahoma) [Thede].

***

Hop Up Kitty Puss, hop a little higher,

Hop Up Kitty Puss, your tail's on fire.

***

Refrain

O my honey, O my sugar,

O my pretty little black‑eyed Susie.

***

Rain come wet me, sun come dry me,

Stand back pretty girl, don't come nigh me.

***

Thede (The Fiddle Book), 1967; pg. 89.

See also listing at:

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

 

HOP UP KITTYPUSS [2]. Old-Time, Breakdown. USA, Kentucky. No relation to “Hop-Up Kittypuss [1] or [3].”  In the repertoire of Kentucky fiddler Buddy Thomas and popularized by him.

See also listing at:

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

 

HOP UP KITTY PUSS [3].  Old-Time, Breakdown. USA, Missouri. G Major. Standard tuning. AABB. Little relationship to Thede’s “Hop Up, Kitty Puss [1],” or Buddy Thomas’s tune of the same name. Source Bob Holt said this was his father’s favorite tune, and remembered him singing the lyric:

***

Hop up, Kitty Puss, hop up higher,

Hop up, Kitty Puss, your tail’s on fire.

Poor little Kitty Puss, poor little fella,

Poor little Kitty Puss, died in the celler.

***

Holt thought the lyric was associated with a play-party game, an assumption corroborated by the North Carolina-collected play party “Poor Little Kitty Puss” (see The Frank C. Brown Collection of North Carolina Folklore, V, pg. 78) [Beisswenger]. Source for notated version: Bob Holt (1930-2004) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 62. Rounder CD 0432, Bob Holt – “Got a Little Home to Go to” (1998).

           

HOP UP LADIES. AKA and see "Hop High Ladies."

           

HOP UP, SUSAN. AKA and see "Wake Up Susan [1]."

           

HOP WALTZ [1]. American, Schottische. USA, southwestern Pa. G Major. Standard tuning. AA'BB. Source for notated version: Levi Hall (elderly fiddler from Fayette County, Pa., 1944) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 429, pg. 406.

 

HOP WALTZ [2]. American, Schottishe (?). G Major (‘A’ & ‘B’ parts) & C Major (‘C’ part). Standard tuning. AABBCC. Howe (Diamond School for the Violin), c. 1861.

X:1

T:Hop Waltz

L:1/8

M:2/4

S:Elias Howe – Diamond School for the Violin  (c. 1861)

Z:AK/Fiddler’s Companion

K:G

d|d>gd>B|dc A2|g>fe>f|gbdd|d>gd>B|dc A2|g>fe>fd|g2 z:|

|:d|c’3 b|a3 g|fg ag|fedc|Bg dg|g2 agfg|ac’/a/ fa/f/|g2 z:|

K:C

|:G|Ge c2|Gg e2|ff/e/ dd/c/|BB/A/ G2|Ge c2|Gg e2|ff/d/ BB/d/|c2 z:|


           

HOPE’S HORNPIPE.  English, Hornpipe. D Major. Standard tuning. AABB. From the 1840 music manuscript book of John Rook (Multum in Parvo, or A Collection of Old English, Scotch, Irish, Welsh Tunes), a musician from Warerton, England. Rook was a multi-instrumentalist, judging from the cover picture of his collection, and played what appears to be the Northumbrian small-pipes, bugle, flute, fife and fiddle, among others, as he indicates the collection is “for his amusement on the above instruments.”

X:1

T:Hope’s Hornpipe

M:C|

L:1/8

R:Hornpipe

S:John Rook music manuscripts, 1840, Wareton, England

Z:AK/Fiddler’s Companion

K:D

AG|FAdf ad’af|gfed cBAG|FAdf gfed|c2A2A2 AG|FAdf ad’af|gfed cBAG|

FAdf gedc|d2d2d2::AG|FAdA FAdA|GBdB GBdB|gfed cded|

cded cBAG|FAdA FAdA|GBdB GBdB|gfed cdec|d2d2d2:|

 

HOPETON HOUSE. AKA and see "Sweet Molly [1]."

           

HOPETOUN HOUSE. AKA and see “Blossom of the New Tree,” “Captain Murray’s Reel,” "Cock Your Pistol, Charley/Charlie [2]," “The District Nurse,” “In the Tap Room,” “Life of Man [2],” "The Mountain Lark [7]," "Polly's Reel," “The Ranting Widow,” “(A) Short Way to Heaven,” "Sweet Molly [1]," "The Tap House," “The Tap Room,” "The Youngest Daughter [1]." Scottish, Reel. Irish, Highland or Reel. E Minor. Standard tuning. AABB’. John Glen (1891) finds the earliest printing of the tune in Robert Bremner's 1757 collection. The melody also appears in the Gillespie Manuscript of Perth (1768). Hopetoun House was the seat in West Lothian of the Earls of Hopetoun, built in 1699-1701 by the famous period architect Sir William Bruce at the behest of Charles Hope, first Earl of Hopetoun, perhaps for his new wife, Henrietta Johnstone (“Lady Harriet Hope”), whom he married in 1699. It is spectacular enough that it is often called the “Scottish Versailles.” John, the 4th Earl of Hopetoun (1765-1823) was General of the 92nd Gordon Highlanders. O’Neill (1922) remarks: “’Hoptown House’ as it was then named was first printed in the 9th Number of Robert Bremner's A Collection of Scots Reels, and Country Dances, Edinburgh 1760. The editor has taken the liberty of supplying it with a second finish.” See also note for Breathnach’s “The Ranting Widow.” O’Neill publishes it as “The Youngest Daughter,” and prints related tunes under the titles “The Mountain Lark [7]” and “Kitty Losty’s Reel.” A variant of the melody appears in the 1770 music manuscript of Northumbrian musician William Vickers as “Life of Man.” Bremner (A Collection of Scots Reels), 1757; pg. 9 (appears as “Hoptoun House”). Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 70, pg. 19. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 303.

X:1

T:Hopetown House

M:4/4

L:1/8

S:Caledonian Muse, London 1785

Z:Paul Kinder

R:Reel

K:Emin

d2 |: (3EEE BE dEEe | dBAF DEFA | (3EEE BE dEEe | dBAF BE E2 :|

|: Eeef gefd | BdAF DEFD | Eeef gefd | BdFA BE E2 |

|1 Eeef gefd | BdAF DEFD :|2 gfge fde^c | dBAF BE E2 ||

           

HOPKIN’S CORNER.  English, Jig. A Major. Standard tuning. AABB. The tune was first published in Charles and Samuel Thompson’s 1757 country dance collection (London). It also appears in Norris & Sayer’s Village Fifer (Exeter, N.H.) of 1808. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 131.

X:1

T:Hopkin’s Corner

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)

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

Z:abc’s:AK/Fiddler’s Companion

K:A

E|ABA ABc|efe efg|a2(a a)gf|edc {c}”tr”B2E|ABA ABc|efe efg|aga Bc^d|e3 E2:|

|:A|e2 (e e)dc|dBd cAc|B2(e e)dc|dBd cAc|E2(a a)gf|edc Bcd|cAc BGB|A3 A,2:||

 

HOPKIN'S HORNPIPE. English, Hornpipe. England, Yorkshire. B Flat Major. Standard tuning. AABB. Source for notated version: an MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Cole (1000 Fiddle Tunes), 1940; pg. 115. Merryweather & Seattle (The Fiddle of Helperby), 1994; No. 37, pg. 38. Ryan’s Mammoth Collection, 1883; pg. 152.

X:1

T:Hopkin’s Hornpipe

M:2/4 L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:Bb

F | B/A/B/c/ B/F/d/c/ | B/A/B/c/ B/F/d/c/ | Bc/d/e/ f/d/g/f/ | e/d/c/B/ A/F/G/A/ |

B/A/B/c/ B/F/B/d/ | B/A/B/c/ B/F/B/d/ | B/f/d/B/ A/F/G/A/ | [DG][DG][DG] :|

|: A/B/ | c/B/A/B/ c/d/e/c/ | d/c/B/c/ d/e/f/d/ | c/B/A/B/ c/d/e/d/ | c/B/A/G/ F/f/e/c/ |

B/A/B/c/ B/F/d/F/ | B/A/B/c/ B/F/d/c/ | B/f/d/B/ A/F/G/A/ | [DG][DG][DG] :|

           

HOPKINSON’S FAVOURITE.  English, Country Dance Tune. From a music manuscript from the Lakeland district, now in the Vaughan Williams Memorial Library (Cecil Sharp House, London). The ms. has a few names and the date 1816, and an outer sheet (in a different hand than the inner sheets and tune titles) identifies one William Docker of Newby Head (Cumbria). Beautiful Jo BEJOCD-22, Magpie Lane – “Jack-in-the-Green.”

 

HOPPING BIDDY. Irish, Highland. Ireland, County Donegal. D Major.

X:1

T:Hopping Biddy

R:highland

C:Traditional

S:Mickey Doherty

Z: Transcribed by Larry Sanger from *The Donegal Fiddle* (RTE 196).

M:C

K:D

d2||B>d {Bc}B>A B<d d>g|e<d g>d e<g d2|B>d {Bc}B>A B<d d>f|{a}g>e d<B {AB}A2 G>A|

B>d {Bc}B>A B<d d>g|e<d g>d e>d e<g|B>d {Bc}B>A B<d e>f|{a}g>e d<B {c} B<A A>E||

A2 a2 {b}a>f e>d|e>d B<G +G2B2+ d2|{ef}e2 e>d (3Bcd e>a|{ga}g>e d<B  {B}A2 A<E|

A2 a2 {b}a>f e>d|{ef}e>d B<G +G2B2+ d2|{ef}e2 e>d (3Bcd  f>a|{ga}g>e

d<B

{AB}A2 G>A||

{Bc}"2nd time around"

B>A {c}B>G B<d d>g|e<d g>d e<g d2|{Bc}B>A {c}B>G B<d d>f|{a}g>e d<B {AB}A2 G>A|

{Bc}B>A {c}B>G B<d d>g|e<d g>d e>d e<g|{Bc}B>A {c}B>G B<d d>f|{a}g>e  d<B {c}B<A A<E||

A2 a2 {b}a>f e>d|e<g d>A {Bc}B2 d>B|A2 a2 {b}a>f e>d|{ga}g>e d<B {B} A2 A<E|

A2 a2 {b}a>f e>d|e<g d>e {Bc}B2 d2|e>g d>A B<d f>a|{ga}g>e d<B {AB}A2  G>A||

"3rd time around"

B>A {c}B>G B<d d>g|e<d g>d e>d e<g|{Bc}B>A {c}B>G B<d d>f|{a}g>e d<B  {AB}A2 G>A|

{Bc}BA {c}B>G B<d d>g|e<d g>d e>d e<g|{Bc}B>A {c}B>G B<d d>f|{a}g>e  d<B {c}B<A A<E||

A2 a2 {b}a>f e>d|e<g d>A {Bc}B2 d>B|A2 a2 {b}a>f e>d|{ga}g>e d<B {c} B<A A<E|

A2 a2 {b}a>f e>d|e<g d>A {Bc}B2 d2|{ef}e2 e>d c<d f>a|{ga}g>e d<B {AB} A2 G>A||

{Bc}"4th and last time around"

B>A {c}B>G B<d d>g|e<d g>d e>d e<g|{Bc}B>A {c}B<G B<d d>f|{a}g>e d<B  {AB}A2 G>A|

{Bc}BA {c}B>G B<d d>g|e<d g>d e>d e<g|{Bc}BA {c}B>G B<d d>f|{a}g>e d<B {c}B<A A<E||

A2 a2 {b}a>f e>d|e<g d>A {Bc}B2 d>B|A2 a2 {b}a>f e>d|{ga}g>e d<B {B} A2 A<E|

A2 a2 {b}a>f e>d|e<g d>A {Bc}B2 d2|{ef}e2 e>d c<d f>a|{ga}g>e d<B A4|A,4||

                                   

HOPPING JOHN. Old‑Time, Breakdown. USA, western North Carolina. D Major. Standard tuning. AABB. The tune features slides and staccato which is meant to suggest hopping. Source for notated version: Bil Hensley (western North Carolina) [Phillips]. Phillips (Traditional American Fiddle Tunes), 1994; pg. 114.

                                   

HOPPING ON THE GREEN. Old‑Time, Fiddle Tune. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

                       

HOPPING RABBIT. Old-Time, Breakdown. G Major. Standard tuning. AA'BB'. The 'A' part sounds like that of "Liberty" while the 'B' part is similar to that of "Ebenezer." Source for notated version: Brian Hubbard [Phillips]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 114.

           

HOPPLE'S HORNPIPE. AKA and see "Sweet Ellen/Ellum [2]," "Billy Howard's Tune." American, Reel. USA, southwestern Pa. D Major. Standard tuning. AA'B. Bayard (1981) asserts the piece is widespread in the U.S., but he was unable to trace it in British tradition. The title given comes from old Juniata County, Pennsylvania, fiddler Christ Hopple, though it was usually known as "Sweet Ellen" in Pennsylvania. Source for notated version: Samuel Losch (Juniata County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 243F, pg. 204.

           

HOPPLE'S REEL. American, Reel. USA, southwestern Pa. D Major. Standard tuning. ABB. The first part of the tune is the same as "Lardner's Reel," "Galaxy Reel" and "Cow Boys," while the 'B' part Bayard (1981) calls "simple repetitive melodizing." The source named Christ Hopple, an old Juniata County, Pa., fiddler as the one who taught it to him. Source for notated version: Sameul Losch (Juniata County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 30, pgs. 29‑30.

           

HOPPLE'S TUNE. AKA and see "The Mountain Hornpipe [1]," "Douglas(‘s) Favorite Hornpipe," "Shape's Hornpipe." The version of the tune played by old Juniata County, Pa., fiddler Christ Hopple.

           


HOPS AND STEPS. English, Country Dance Tune (6/8 time). England, Yorkshire. G Major. Standard tuning. AABB. Source for notated version: an MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 54, pg. 42.

           

HOPSCOTCH POLKA. American, Polka. G Major ('A' part) & D Major ('B' part). Standard tuning. AB. Source for notated version: Harvey Taylor [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 349.

           

HOPTOUN HOUSE. See "Hopetoun House."

           

HORACE HANESWORTH. American, Breakdown. D Major. Standard tuning. AABB. Composed by Massachusetts musician Larry Unger, who told Susan Songer (The Portland Collection) that his inspiration for the title was Alfred Hitchcock’s movie The 39 Steps, which features a character with a similar name. Songer (Portland Collection), 1997; pg. 101. Unger, Curvey Road to Corinth.

           

HORACE THE RAKE. Irish, Air (6/8 time). F Minor. Standard tuning. AB. Source for notated version: “Set from F. Keane” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 348, pg. 88.

X:1

T:Horace the Rake

M:6/8

L:1/8

R:Air

B:Stanford/Petrie, No. 343  (1905)

Z:AK/Fiddler’s Companion

K:Fmin

F/G/|A2F G2E|FEC EFG|A2F G2E|E2e c2B|A2F G2E|

FEC EFG|AGF ECB,|C3 F2||G|ABc/d/ ece|fgf ecB|

ABc/d/ ece|f3 F2G|ABc/d/ ece|fgf ecB|AGF ECB,|C3 F2||

           

HORGA DUR. Scandinavian, Hambo Tune (3/4 time). A Major. Standard tuning. AA'BB'. Private collection, A. Kuntz.

X:1

T:Horga Dur

M:3/4

L:1/8

R:Hambo tune

N:efter Andrea Hoag

K:A

e2 (ef) ed|(dc) c2 Ac|(cB) (BE) GB|(AG) (AB) cd| e2 (ef) ed|

(dc) c2 Ac|(cB) (BE) GB|A2 A4::(cd) e2 (c2|de) f4|g2 gf/g/ af|

(fe) e4|(cd) e2 (c2|de) f4|g2 gf/g/ af|(fe) e4:||

“2nd Violin”

c2 cd cB|BA A2 EA|AG GE B,E|CB, CE AB|c2 cd cB|

BA A2 EA|AG GE B,E|C2 C4::AB c2A2|Bc d4|

B2 B>e ed|dB c4|AB c2A2|Bc d4|B2 B>e ed|d[EB] [E4B4]:||

           

HORGALÅTEN. Scandinavian, Hambo Tune (3/4 time). A Minor ('A' part) & C Major ('B' part). Standard tuning. AABA. Private collection, A. Kuntz.

X:1

T:Horgalåten

M:3/4

L:1/8

N:Play AABA

R:Hambo tune

K:Amin

|:”Am”e2 e>f e>d|dc c2 A<c|”E7”c>B BE ^G>B|”Am”A^G A>B c>d|e2 e>f e>d|

dc c2 A>c|”E7”c>B BE ^G>B|”Am”A2A2 z2:||”C”c>d e2c2|”G7”d>e f2d2|

g2 ga gf|”C”f>e e3B|c>d e2c2|”G7”d>e f2d2|g2 ga gf|”E7”f>e e4||

“2nd violin”

c2 c>d c>B|BA A2 E>A|A>^G GD E>G|E2 E>^G A>B|c2 c>d c>B|

BA A2 E>A|A>^G GD E>G|E2 E2z2:||E>G c2G2|B>c B2G2|

B2 Bc BA|B>c c3G|EG> c2G2 B>c B2G2|B2 Bc dB|A>^G A4||

           

HORN HORNPIPE. AKA - “The Horn.” Scottish, Hornpipe. B Flat Major ('A' part) & F Major ('B' part). Standard tuning. AABB (Phillips): AABB' (Cranford, Kerr). Sources for notated versions: Antoine Silverman [Phillips]; Winston Fitzgerald (Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 17, pg. 7. Kerr (Merry Melodies), vol. 3; No. 361, pg. 40. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 201. Breton Books and Records BOC 1HO, Winston “Scotty” Fitzgerald - “Classic Cuts” (reissue of Celtic Records CX40).

X:1

T:Horn Hornpipe

M:C

L:1/8

R:Hornpipe

S:Kerr – Merry Melodies, vol. 3, No. 361  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:B_

(3de=e | g>fd>B F>de>d | d>c=E>d c2 c>B | A>ce>=e a>gf>_e | g>f=e>g f2 (3c_e=e |

g>fd>B F>de>d | d>c=E>d c2 c>_B | A>ce>a g>ce>A | c2B2B2 :|

K:F

A>B | c>dc>B A>cf>a | g>AB>e d2c2 | B>cB>A G>Bd>e | d>c=B>d c>A_B>=B |

c>dc>B A>cf>a | g>AB>e d2c2 | c>bg>e c>^cd>e | 1f2a2f2 :|2 g>ff>=e f>d_e>=e ||

           

HORNEO. AKA and see “Horney Ewe.” Sometimes “Hornio,” a corruption of the title “Horney Ewe” from the Scottish dialect pronunciation wherein ‘ewe’ rhymes with ‘row’ (c.f. the song “Broom of the Cowdenknows” or “Broom, Broom, the Bonny Bonny Broom,” where ‘father’s ewes’ is the rhyme for ‘Cowdenknows’).

                                               

HORNEY EWE, THE. AKA and see "Hornio." Old‑Time, Breakdown. USA, Braxton County, W.Va. The tune sometimes appears as “Hornio” or “Horneo,” a corruption, reveals Gerry Milnes (1999), of the title “Horney Ewe” stemming from vestiges of Scottish dialect in the Appalachians where ‘ewe’ is pronounced so as to rhyme with ‘row’ (c.f. the song “Broom of the Cowdenknows” or “Broom, Broom, the Bonny Bonny Broom,” where ‘father’s ewes’ is the rhyme for ‘Cowdenknows’). The tune was mentioned (as “Horneo”) by William Byrne who described a chance encounter with West Virginia fiddler ‘Old Sol’ Nelson during a fishing trip on the Elk River. The year was around 1880, and Sol, whom Byrne said was famous for his playing “throughout the Elk Valley from Clay Courthouse to Sutton as…the Fiddler of the Wilderness,” had brought out his fiddle after supper to entertain (Milnes, 1999). Augusta Heritage Records 003, Ernie Carpenter ‑ "Elk River Blues: Traditional Tunes From Braxton County, W. Va."

           

HORNIO. AKA and see "Going Down to Georgie‑o," "Horney Ewe."

           

HORNLESS COW [1], THE (An Bo Maol). Irish, Reel. D Major. Standard tuning. AB (O'Neill/1850): AA'BB' (O'Neill/Krassen). O'Neill (Krassen), 1976; pg. 142. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1455, pg. 269. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 686, pg. 121.

X:1

T:Hornless Cow, The [1]

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland; 1001 Gems (1907), No. 686

Z:AK/Fiddler’s Companion

K:D

FAAF GFED|FAAc dABG|FAAF GBdB|Adfe dcBA|FAAF GFED|FAAc dABG|

FAAF GBdB|AFDF E2 D2||afdf gfge|afdf eB B2|afdf gfge|afdf e2d2|afdf gfge|

afdf eB B2|defg afbf|afdf e2d2||

 


HORNLESS COW [2], THE (Bo Maol). Irish, Air (cut time). B Flat Major (??). Standard tuning. One part. No particular connection with version #1. Source for notated version: the index to the Irish collector Edward Bunting's 1840 collection gives that the piece was noted from one "T. Conlan, 1833." O'Sullivan/Bunting, 1983; No. 37, pgs. 58-59.

 

HORNLESS COW [3], THE. AKA - “The Brown Ewe.” Irish, Air (9/8 time). B Flat Major. Standard tuning. AB. Stanford notes after the alternate title: “A private still.” Source for notated version: “Set by (the Irish collector) Forde from the people of Glen Farne. From (the collector) J. Pigott, Esq.” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 442, pg. 111.

X:1

T:Hornless Cow, The [3]

M:9/8

L:1/8

S:Stanford/Petrie (1905), No. 442

Z:AK/Fiddler’s Companion

K:Bb

d/e/ | f2d B2G F2D | F2G B2c d2e | f2g f2d c2d | B2G F3 F2 d/e/ |

f2d B2G F2D | F2G B2c d2f | g2d f2d c2d | B2B B3 B2 || B |

B2d f2e d2f | g2a b3 a2b | g2d f2d c2d | B2G F3 F2 d/e/ |

f2d B2G F2D | F2G B2c d2f | g2d f2d c2d | B2B B3 B2 ||

           

HORNPIPE. Originally the name given to a wind instrument of British origin, localized primarily in Cornwall and Wales. The word derives from the Celtic 'pib-corn' or 'piob-corn' (in Brittany, Cornwall and Ireland), or 'pib-corn' and 'corn-bib' in Wales, and there may be a Celtic origin for the instrument, which logic dictates was known to pastoral peolpes from ancient times. Chaucer (in Romanunt of the Hose) mentions the hornpipe as a Cornish instrument, according to Chappell—

***

Controve he would, and foule faile, In Floites made he discordaunce,

With Hornpipes of Carnwaile. And in his musike with Misehauce,”    

***

The medieval hornpipe was a wooden pipe with finger holes and a bell of horn at the further end with a single reed covered by a horn mouthpiece at the near end. The instrument is mentioned in the writings of Ben Jonson ("Sad Shepherd"), Dryden (in his translation of the "Aeneid"), Robert Greene "Greene's Groatsworth of Witte"), Chaucer, and in the "Tatler" (No. 157), according to Pulver (1923). Jonson, in Love’s Welcome at Welbeck, says—

***

Your firk-hum jerk-hum to a dance,

To wonder at the hornpipes here

Shall fetch the fiddles out of France,

Of Nottingham and Derbyshire.

***

The instrument gave name to the dance which it accompanied originally, of pastoral origins, though it sustained several developments during its lengthy history. Perhaps the first surviving written composition of a hornpipe is to be found in the works of Hugh Aston, an organist in Henry VIII's reign (which appears in John Stafford Smith's "Musica Antiqua" {1812}). By the time Henry's daughter, Elizabeth I, ascended the throne, the hornpipe was fairly popular and an accepted dance form, making Banrnaby Rich's list of fashionable dances (1581). It appears that sometime after this the hornpipe developed variations peculiar to certain areas, for Ben Jonson remarks of the Nottingham and Derbyshire hornpipes, and later Lancashire hornpipes became quite famous. By the end of the 18th century the form was ensconced on the stage and was frequently mentioned in period literature, and it remained popular there until the mid-19th century. In fact, several performers of the time, chiefly women, made their reputations with the dance, which increasingly took on the nautical motif that remains etched in popular thought today. Sailors did dance the hornpipe, though it is impossible to tell what the inter-relationships were between the stage and nautical hornpipe; Pulver (1923) thinks the sailors' dance may have nothing to do with what was once a pastoral dance, but may have been derived from the Dutch 'Matelotte'.

***

The earliest ("single") hornpipes were in triple meter (3/2, 6/4 and 12/8) and examples can be found in Matthew Locke's Melothesia (1673), Humphrey Salter's Genteel Companion (1683), Playford's Apollo's Banquet (1690), and Henry Purcell's Bonduca (1695). Duple ("double") hornpipes appeared beginning in 1666, when Playford published one in Musick's Delight on the Cithren, though this was rare. Increasingly, however, the duple form superseded the triple, and by the middle of the 18th century the duple form (which Pulver thinks may have begun simply as a name composers used in the spirit of the hornpipe dance rather than any more substantive musical reason) became dominent. Emmerson (1972) writes that the antiquary William Stenhouse records in his Illustrations of the Lyric Poetry that 3/2 hornpipes had been played in Scotland "time out of mind, as a particular species of the double hornpipe," and that a former piper of the Duke of Northumberland, one James Allan, maintained that this "particular measure originated in the borders of England and Scotland." On the evidence of the large amount of triple-time hornpipes (such as "The Dusty Miller," "Go to Berwick, Johnnie" and "Jockey said to Jenny") from the Borders and Northumberland, Emmerson believes this may be true.  In Scotland the triple-time hornpipes were referred to as 'single' hornpipes, while the duple-time, "Jacky Tar" class of hornpipes was referred to as 'double' hornpipes.

           

HORNPIPE. Scottish, Hornpipe. G Major. Standard tuning. AABB. Petrie (Collection of Strathspey Reels and Country Dances), 1790; pg. 13.

X:1

T:A Hornpipe

S:Petrie's Collection of Strathspey Reels and Country Dances &c., 1790

Z:Steve Wyrick <sjwyrick'at'astound'dot'net>, 3/19/04

N:Petrie's First Collection, page 13

L:1/8

M:2/4

R:Hornpipe

K:G

B/c/ | {^c}dB/G/ B/=c/A/F/ | GDDB, | CeB,d | c/B/A/G/ G/F/E/D/ |

{^c}dB/G/ B/=c/A/F/|Gg a/g/f/e/| f/a/f/d/ e/g/e/^c/| dDD :|

|:d/e/|=f/e/d/c/ B/f/e/d/ |cA Ac/d/   | e/d/c/B/ A/e/d/c/ |BGGD |

EgDf | CeB,d | {c}BA/G/  F/G/A/F/ | GDG, :|

 

HORNPIPE BY MORGAN [1]. English, Hornpipe. England, Northumberland. D Major. Stanbard. AABB. Seattle (William Vickers), 1987, Part 2; No. 380.

 

HORNPIPE BY MORGAN [2]. English, Hornpipe. England, Northumberland. D Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 2; No. 382.

 

HORNPIPE BY MORGAN [3]. English, Hornpipe. England, Northumberland. E Flat Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 2; No. 383.

           

HORNPIPE BY MR. LAWRENCE, A.  English, Hornpipe (3/2 time). B Flat Major. Standard tuning. AAB. Geoghegan (Compleat Tutor for the Pastoral or New Bagpipes), c. 1745-46; pg. 32.

X:1

T:Hornpipe by Mr. Lawrence, A

M:3/2

L:1/8

S:Geoghegan – Compleat Tutor for the Pastoral or New Bagpipe (c. 1745-46)

Z:AK/Fiddler’s Companion

K:Bb

(BG)(FE) (Ac) e4 dc | dBAB fdcB A2F2 | (DB)ec (dA)(BG) FEDc | edcB {d}c2 {B}A2 B4 :|

fdcB =eg b4 ag | af=ef fagf =e2c2 | Ac(=eg) (be)(fd) cBAG | (ba)(gf) agf=e f4 |

f2 {fg} a2g2f2 bdcB | Ac e4 dc (ac)(bA) | (DF)(Ac) (eA)(BG) FEDC | {e}d2 {c}B2{d}c2{B}A2 B4 ||

 

HORNPIPE THEME NO. 3. American, Hornpipe. USA, New Hampshire. F Major. Standard tuning. AABB. Composed by New Hampshire flute player Newton F. Tolman. Tolman (Nelson Music Collection), 1969; pg. 23.

           

HORNSBY’S MARCH.  English, March (4/4 time). G Major. Standard tuning. AABB. Gibbon’s originally set the tune in the key of ‘C’ major. Source for notated version: the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 10.

 

HORSE AND AWAY TO NEWMARKET. AKA and see "Newmarket Races," "Fenwick O' Bywell." English, Jig. England; Northumberland, Cumbria. G Major. Standard tuning. AABBCC. Bears similarity to the Irish jig "Garryowen" in the first part. The melody appears in a number of musicians’ manuscripts from the north of England: William Vicker’s c. 1770 Northumbrian ms., James Biggin’s (Leeds) 1779 manuscript collection, John Peacock’s Northumbrian piping collection (1800), and Cumbrian musician John Rook’s music manuscript collection of 1840. Stokoe (Northumbrian Minstrelsy, 1882) "gives the song line 'Fenwick o' Bywell's off to Newmarket', connecting the different titles of the tune" (Seattle). Northumbrian Piper's Tune Book, vol. 1; pg. 12 (appears as "Fenwick o' Bywell"). Peacock's Tunes, c. 1800 (1980); No. 48 (Appears as "Newmarket Races"). Seattle (William Vickers), 1987, Part 2; No. 288.

X:1

T:Horse and Away to Newmarket

M:6/8

L:1/8

R:Jig

S:John Rook music manuscripts (Cumbria, 1840)

K:G

g|edc BAB|GAG B2g|edc BAB|BAB c2g|edc BAB|

GAG B2G|GBd gdB|ABA c2g::GGd BBg|GGd B2g|

GGd BBg|ABA c2g|GGg BBg|GGd B2G|GBd gdB|

ABA c2g:||:g/g/gd e/e/eB|d/d/dG B2f|g/g/gd e/e/ec|aAB c2f|

g/g/gd e/e/eB|d/d/dG B2G|cde gdB|ABA c2g:|

           

HORSE AND BUGGY-O. AKA and see “Old Horse and Buggy.” Old-Time, Breakdown. A Major/Mixolydian. Standard tuning. AABB. “Old Horse and Buggy” was Kentucky fiddler Art Stamper’s name for the tune. Source for notated version: Fred Stoneking (b. 1933, Missouri), who learned it from bluegrass musician Jim Hoover (Atlanta, Ga.) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 138. Silberberg (93 Fiddle Tunes I Didn’t Learn at the Tractor Tavern), 2004; pg. 20. Rounder CD 0381, Fred Stoneking – “Saddle Old Spike” (1996).

 

HORSE AND JOCKEY, THE (An Capall 'Sa Marcac). Irish, Hornpipe. A Dorian. Standard tuning. AABB. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 359, pg. 174. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 941, pg. 161.

X:1

T:Horse and Jockey, The

L:1/8

M:C|

R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 941

Z:AK/Fiddler’s Companion

K:Ador

ed|cABG A2 ed|cBcA g2fe|dega (3efg dc|B2G2G2 ed|

cABG EFGB|cBcA a2 ag|edce (3gfe dB|c2A2A2:|

|:(3efg|agab aged|cdeg bage|dBGB cedc|B2G2G2 (3efg|

aged gedc|dedB GABd|cBcd edcB|c2A2A2:|


           

HORSE CALLED ROVER, THE. AKA and see "Rooster in the Strawpile," "Cotton Eyed Joe." Old‑Time, Breakdown. USA, southwestern Pa. G Major. Standard tuning. ABB. A composite tune, perhaps fashioned in America. The 'A' part is quite old, asserts Bayard (1981), going back to the 16th century and appearing as "Malt's Come Down" (included in the Fitzwilliam Virginal Book arranged by William Byrd). The 'B' part is a common strain which can be found in collections from European countries (Germany), and in the chorus of the American minstrel ditty "Jim Along Josey" (1840). A version of the tune is found in Ford (1940, pg. 60) as "Cotton Eyed Joe", while the oldest set Bayard found was in Aird (vol. 1, No. 155) as "The Virginian." The tune was collected in Pennsylvania with these words:

***

Had a little horse and I called him Rover,

When he lived, he lived in clover,

And when he died, he died all over.

***

Source for notated version: Hiram White (elderly fiddler from Greene County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 10, pgs. 20‑21.

           

HORSE GRENADIER MARCH, THE.  English, March (cut time). D Major. Standard tuning. AABB. 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.

X:1

T:Horse Grenadier March, The

M:C|

L:1/8

R:March

S:Henry Livingston’s manuscript copybook, late 18th century

Z:AK/Fiddler’s Companion

K:D

A | d3A d3A | d>Ad>e f2d2|f>ef>g a2 gf|e2 ee e3:|

|:e>de>f e2A2|e>de>f g4|f>ef>g a3(3b/a/g/ | “tr”{f}e3d d3:|

 

HORSE IN THE POUND. AKA and see “Carolan’s Favourite Jig,” “The Humours of Dublin [2],” “Mary O’Neill [1]," “The Rutland Jig.” Irish, Jig. The tune appears in Stanford/Petrie (1905, No. 981) as “Carolan’s Favourite Jig,” and in Gow’s Complete Repository (vol. 1, 36) as “The Humours of Dublin.” Breathnach finds the title “The Rutland Jig” in County Leitrim. Goodman, vol. IV, pg. 1.

           

HORSE KEANE’S. Irish, Hornpipe. G Major. Standard tuning. AABB. Composed by Chicago accordion player Jimmy Keane, named for his father. Black (Music’s the Very Best Thing), 1996; No. 368, pg. 196.

X:1

T: Horse Keane's

S: Jimmy Keane

Q: 250

R: hornpipe

Z:Transcribed by Bill Black

M: 4/4

L: 1/8

K:G

d>c |(3BcB (3ABA G>AB>d|e>E (3EEE E2 (3GFE|D>EG>A B>dd>B|B>AG>B A2 d>c |

(3BcB (3ABA G>AB>d | e>E (3EEE E2 (3GFE | D>EG>A A>DF>A | G>B (3AGF G2 :|

(3Bcd| e2 e>f g>a (3gfe| d>bg>e d>B (3GAB| c2 c>e d>BG>A| B>AA>G A2 d>c |

(3BcB (3ABA G>AB>d | e>E (3EEE E2 (3GFE | D>EG>A A>DF>A | G>B (3AGF G2 :|

           

HORSE SHOE [1]. AKA ‑ "Horseshoeing." A tune identified as distinct to the Rocky Ridge, Alabama, region. AKA "Horseshoe Bend"???

           

HORSE SHOE, THE. AKA and see “(An) Cru Capaill.”

                                   

HORSE SHOE BEND. Old‑Time, Breakdown. USA, Alabama. C Major. Standard tuning. Named for a spot in Alabama. The tune is related to the Kentucky tunes known variously as "Soap in the Washpan" or "Hot Corn". Lee Stripling, inheritor of the Stripling family fiddling tradition, plays the tune in four parts. County 401, "The Stripling Brothers". Fretless FR 160, The Double Decker String Band ‑ "Sentimental Songs and Old Time Melodies" (1981). Vocalion 5395 (78 RPM), Stripling Brothers (Alabama) {1929}.

                       

HORSE THAT MADE A HAYMES OF HIS WINDERS, THE. AKA and see “Mrs. Cooty’s Jig.” Irish, Jig. The ‘winders’ of the horse is a corruption of ‘withers’, the area of a horse’ shoulder  where the mane meets the back. Haymes, or hames, refers to the wooden or metal pieces forming the collar on a horse, to which the traces are attached. However, the in colloquial usage the phrase to ‘make a hames’ means to ‘make a mess of,’ possibly because it is difficult to put the hames on a horse the right way up. Harry O’Prey remarks that ‘haymes’ or ‘hames’ is an Irish pronunciation of the word "hams," referring to the back leg of an animal such as a pig. Thus to ‘make a hames’ is to make a (pig’s) arse of it. Shanachie 34014, James Kelly, Paddy O’Brien & Daithi Sproule – “Traditional Music of Ireland” (1995).

                       

HORSE WITH A HEART, THE. Irish, Jig. Composed by the late Belfast flute player Frankie Kennedy, who, with his wife, fiddler Mairead Ni Mhaonaigh, was a founding member of the band Altan. Kennedy died in 1994, succombing to cancer. Green Linnet SIF 1095, Altan – “Horse with a Heart.”

                       


HORSEMAN'S PORT, THE. AKA and see "The Black and the Brown [2]," "John Paterson's Mare (Goes Foremost/Forewort)." Scottish, Jig (6/4 time) {"Brisk"}. F/G Major (double tonic). Standard tuning. ABCDE. A 'port' is the Anglicized form of the Gaelic 'peurt', or instrumental piece. The double tonic tune style was also popular in England in the 16th and 17th centurys, however, around 1700 it fell into disfavor there but retained its fashion in Scotland. It is now identified with that country for in the 18th century fiddle literature perhaps 1/6 of the tunes composed were in that form. The tune also appeared in Bremner's Scots Tunes of 1759 with a note saying that it was "To be begun moderately & increased in quickness to the end, As the Tune represents a Battle" (see "Highland Battle, A" and "Battle of Falkirk" for other quasi‑programatic pieces). Source for notated version: Sinkler Manuscript, 1710 (pg. 6) [Johnson]. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 13, pgs. 28‑29.

                       

HORSES' BRANSLE, THE (Bransle des Chevaux). English, Country Dance Tune (whole or cut time). C Major ('A' and 'B' parts): C Mixolydian ('C' part). Standard tuning. AABB (Barnes): AA'BB'CC. Merryweather (1989) gives the dance (a Branle, pronounced ‘brawl’) for this tune, composed around 1589, which features a movement in which the dancers paw the floor like horses. Both melody and dance may have been composed by the French canon Jehan Tabourot (1519‑95) who used an anagram of his name (Thoinot Arbeau) as a penname for his dance instruction book Orchesographie (which includes the “Horses’ Bransle”). In modern times the tune is still heard played by traditional French musicians, especially as a hurdy-gurdy piece, and several variants exist. A version was recorded in the 1970’s by the French traditional group Malincore. Another version, quite distanced from the original French, was recorded by the Albion Band in the 1970’s (attributed to Eddie Upton), and this version is sometimes heard played by English session musicians. See also note for "Branle." Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 61 (appears as “Horseplay”, the name of a dance by Gary Roodman set to the tune). Merryweather (Merryweather’s Tunes for the English Bagpipe), 1989; pg. 31.

X:1

T:Horses Bransle

M:4/4

L:1/4

K:C

cdee|fedf|edcB|A2G2|cdee|fedf|edcB|c2c2:|

|:gf/2e/2dd/2e/2|fe/2d/2ce|dcBc|d2d2|gf/2e/2dd/2e/2|fe/2d/2ce|dccB|c2c2:|

|:ed/2c/2ed/2c/2|Bcd2|GABc|ded c|ed/2c/2ed/2c/2|Bcd2|GABc|cBc2:|

                       

HORSES IN THE CANEBRAKE. Old-Time, Breakdown. USA, Kentucky. G Major. Standard tuning. AABB. Titon says this appears to be a local tune, not related to the well-known (albeit relatedly entitled) “Cattle in the Cane.” Source for notated version: William Lee “Jake” Phelps and Street Butler (Pea Ridge, Todd County, Ky., 1965) [Titon]. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 63, pg. 93.

                       

HORSES LEOTARD, THE. Irish, Jig. E Dorian. Standard tuning. AA’BB’. Source for notated version: a recording of Paddy O’Brien and James Kelly [Black]. Black (Music’s the Very Best Thing), 1996; No. 161, pg. 85. Shanachie 29015, Paddy O'Brien & James Kelly ‑ "Is it yourself?" (1979). Shanachie 34014, James Kelly, Paddy O’Brien & Daithi Sproule – “Traditional Music of Ireland” (1995).

X:1

T: Horse's Leotard

S: J.Kelly - P.O'Brien

Q: 325

R: jig

Z:Transcribed by Bill Black

M: 6/8

L: 1/8

K: Edor

D |: E2 E BAF | ABc dcd | E2 E BAF | AFB AFD |

E2 E BAF | ABc d2 e | fed edB |1 AFB AFD :|2 dcB AFA ||

Bcd e2 e | fed e2 d | Bcd e2 f | gfe dBA |

|1 Bcd e2 e | fed e2 d | ABc d2 B | AFB AFD :|

|2 gfe fed | edB d2 B | ABc d2 B | AFB AFD ||

                       

HORSES ON THE BRIDGE. Old‑Time, Fiddle Tune. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

 

HORSESHOE, THE. Irish, Reel. G Minor. Standard tuning. AABB. Composed by fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn, south County Armagh. Named for an abandoned horseshoe Keegan found while visiting her abandoned homestead. Keegan (The Keegan Tunes), 2002; pg. 45.

                       

HORSLEY LASSES. English, Jig. England, Northumberland. D Major. Standard tuning. AABB. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 2.

 

HOSSES IN THE CANEBREAK. Old‑Time, Breakdown. Rounder 0215, James Bryan ‑ "The First of May."

 

HOSTETLER'S HORNPIPE. American, Hornpipe. USA, southwestern Pa. D Major. Standard. ABB'. Awkward. Source for notated version: William Shape (elderly fiddler from Greene County, Pa., 1930's; learned from a man named Hostetler) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 99, pg. 58.

 

HOT AS PEPPER.  American, Reel. A Major. Standard tuning. AABB. Composed by New Hampshire musician Rick Gagne, who told Randy Miller (2004) that the title was a phrase his great-aunt used when complaining about the weather. Miller (Fiddler’s Throne), 2004; No. 169, pg. 107.

 

HOT BUTTERED SCOTCH. Scottish, Jig. D Major. Standard tuning. AABB. A modern composition by California Scottish-style fiddler Alan Lerwick (1983). Lerwick (The Kilted Fiddler), 1985; pg. 45.

 

HOT CORN. AKA and see "Soap(‘s) in the Washpan." Old‑Time, Breakdown. USA, Kentucky. This tune is the Franklin County, Ky., name for "Soap's in the Washpan" and is related to the Stripling Brothers' "Horse Shoe Bend."

 


HOT CORN, COLD CORN. AKA and see “Green Corn.” Old‑Time, Song Tune. A nonsense song popular with both blacks and whites, according to Charles Wolfe. It is attributed by a least one source to singer and guitarist Asa Martin of Estill County, Ky., a sometimes accompanist of fiddler Doc Roberts, although Talley’s version seems to be from tradition. The famous bluegrass duo Flatt and Scruggs performed it under this title.

***

Hot corn, cold corn, bring along a demi-john (x3)

Hey pretty darlin,' see you in the mornin.'

***

African-American collector Thomas Talley, in his book Negro Folk Rhymes (reprinted in 1991, edited by Charles Wolfe), published a version under the title “Bring on Your Hot Corn,” apparently the first time it appeared in print, although Randolf (2:342-343) has a version called “I’ll Meet You in the Evening.”  Wolfe points out it was recorded by Leadbelly as “Green Corn, Come Along Charlie.” Talley’s version goes:

***

Bring along yo hot co’n,

Bring along yo hot co’n;

But I say bring along,

Bring along yo Jimmy-John   (i.e. whiskey jug)

***

Some loves de hot co’n,

Some loves de cold co’n,

But I loves, I loves,

I loves dat Jimmy-John.

***

New Lost City Ramblers Songbook (pgs. 180-181). Champion 45065 (78 RPM), Asa Martin & Ray Hobbs (1928). June Appal JA 028, Wry Straw ‑ "From Earth to Heaven" (1978). Perfect 6‑03‑52, Doc Roberts (Ky.).

                       

HOT FINGERS. Canadian, Reel. Canada, Cape Breton. E Major. Standard tuning. AAB. Composed by fiddlers Jerry Holland (Inverness, Cape Breton) and Hilda Chiasson. Cranford (Jerry Holland’s), 1995; No. 131, pg. 38. Fiddlesticks cass., Jerry Holland - “Lively Steps” (1987).

                       

HOT PUNCH. AKA and see "Blue Bonnets Hornpipe," “The Frolic,” "Orange and Blue [2]," "Lick the Laddle Sandy [2],” "The Queen's Marriage." Scottish, Jig. D Major. Standard tuning. AB. Usually known as “Orange and Blue,” by which title it is widely printed. The word ‘punch' derives from a Hindi word, panch, meaning ‘five’, because of its five ingredients: spirits, water, lemon-juice, sugar and spices. The word was first recorded in English in 1669. 4/4 time versions of the melody go under the title “The Frolic” (e.g. William Vickers), among others (see alternates, above). The tune was popularlized in the mid-20th century by melodeon player Bob Cann (Dartmoor). Callaghan (Hardcore English), 2007; pg. 59. HEBE Music HebeCD002, Flowers and Frolics – “Reformed Characters.” Veteran VT138CD, Bob Cann – “Proper Job!: Melodeon playing from Dartmoor recorded 1952-1988.”

X:1

T:Hot Punch

M:6/8

L:1/8

K:G

d2c | B2G GFG | E2G D2G | B2G BdB | G3A2B | c2A AGA | F2A A2G |

F2D FAF | D3d2c | B2G GFG | E2G D2G | B2G BdB | G3-G2d | dBd cAc |

BGB A2A | D2D DEF | G3 || d2c | B2d dcd | B2d dcd | B2G BdB | G3A2B |

c2A AGA | F2A A2G | F2D FAF | D3d2c | B2d dcd | B2d d2c | B2G BdB |

G3-G2d |dBd cAc | BGB A2A | D2D DEF | G3 |]

 

HOT PUNCH [2].  Scottish, Highland Schottische. A duple time version of the same tune as the jig setting above. Northumbrian musician William Vickers included a 4/4 time version in his 1770 manuscript collection. Reid (The Piper's Delight), 19‑‑; pgs. 2 & 18.

                       

HOT SPRINGS. Bluegrass, Breakdown. F Major (‘A’ part) & D Minor (‘B’ part). Composed by Orville Burns.

                       

HOT SPRINGS HOLLER. Old‑Time, Fiddle Tune. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

                       

HOT TAR ROAD.  American, Jig. D Major. Standard tuning. AABB. The tune begins on an F#m chord. Composed by New Hampshire flute player Rick Gagne. Miller (Fiddler’s Throne), 2004; No. 58, pg. 45.

 

HOT TIME IN THE OLD TOWN TONIGHT. American, Song and Dance Tune (4/4 time). G Major. Standard tuning. One part. A song tune turned into a singing call. It refers to the great Chicago fire? Sweet (Fifer’s Delight), 1964/1981; pg. 9.

                       

HOTFOOT. AKA and see “Old Parnell Reel.” Texas-Sytle, Breakdown. C Major. Standard tuning. One part. Source for notated version: Benny Thomasson (Texas) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 65. Voyager 309, Benny & Jerry Thommason - "The Weiser Reunion" (1993).

                       

HOUGH GREEN. Scottish, Hornpipe. A Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 351, pg. 38.

X:1

T:Hough Green

M:C

L:1/8

R:Hornpipe

S:Kerr – Merry Melodies, vol. 3, No. 351  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

(cd) | eaga faga | ecAA Acde | fedc dcBA | G2B2B2 (cd) | eaga faga |

ecAA Acde | fedc dcBA | E2A2A2 :: e2 | (ae)ce (fe)ce | (ae)ce (fe)eg |

fedc dcBA | GABc defg | (ae)ce (fe)ce | (ae)ce (fe)ce | fedc dcBA | E2A2A2 :|

                       

HOUGH'S FAVORITE. American, Reel. D Major. Standard tuning. AABB. Michael McKernan suggests the title may refer to Albyron E. (A.E.) Hough, who played in the band of fiddler and bandleader Abram Pushee (see note for “Pushee’s Hornpipe”) in Lebanon, New Hampshire, in the mid-19th century. Hough was influential in continuing the band after Pushee’s death. McKernan says he was known as a cornetist, and believes he also played the fiddle, and he is recorded as having tuned pianos. Cole (1000 Fiddle Tunes), 1940; pg. 49. Ryan’s Mammoth Collection, 1883; pg. 78.

X:1

T:Hough’s Favorite

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

F/G/|A/G/A/B/ A/F/E/D/|G/F/G/A/ B/c/d/e/|f/f/f/d/ g/g/g/e/|f/d/c/e/ d/F/G/B/|

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

|:.a2 (d>.f)|e/d/e/f/ e/d/.B|.a2 (d>.f)|e/d/e/f/ e/f/.g|

.a2 (d.>.f)|e/d/e/f/ e/d/.B|f/f/f/d/ g/g/g/e/|f/d/c/e/ d:|

                       

HOUGHTON FEAST. English, Jig. England, Northumberland. G Major or Mixolydian. Standard tuning. AABB. "Another relative of 'Elsie Marley'" (Seattle). The name Houghton is Anglo-Saxon, meaning a village near a height. Seattle (William Vickers), 1987, Part 2; No. 237.

                       

HOULD THE REINS. AKA and see “Kilfenora Reel [5]," “Thornton’s.” Irish, Reel. G Major. Standard tuning. AABB. Geraldine Cotter called the tune “Kilfenora Reel,” while Sean Ryan recorded it as “Thornton’s.” Source for notated version: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 85, pg. 22.

                       

HOUMURS OF THE TEA TABLE. See "Humours of the Tea Table."

                       

HOUND CHASE. Old-Time, Breakdown. The tune was in the repertoire of Ohio fiddler Arnold Sharp.

                       


HOUNDS IN THE BRIAR PATCH. AKA and see "Scott's Return,"Scotts Favorite," "The Duke of Gordon's Rant."

                       

HOUNDS IN THE HORN. AKA and see “Forked Deer.” Old-Time, Breakdown. The title appears to be unique to fiddler Sherman Wimmer of Boones Mill, Franklin County, Va. Musical Traditions MTCD321-2, Sherman Wimmer (et al) – “Far in the Mountains” (2002).

                       

HOUR BEFORE DAY, AN. Irish, Slow Air (4/4 time). G Major. Standard tuning. AAB. Source for notated version: credited to Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 407, pg. 71.

X:1

T:Hour Before Day, An

L:1/8

M:C

R:Air

N:”Slow with expression”

S:O’Neill – Music of Ireland (1903), No. 407

Z:AK/Fiddler’s Companion

K:G

(3DGA|B2 cB BABA|{G/A/}G>FGA BA zD|DEFD G>F D/C/B,/C/|DGGF G3:|

||D|GBcA d>cBc|dcBA GFD>c|dcBA BAGF|G>FDC D2 (3DGA|B2 cB BABA|

{G/A/}G>FGA BA zD|DE{G}FD G>F D/C/B,/C/|DGGF G2||

                       

HOUR GLASS, THE.  English, Jig. G Major. Standard tuning. AABB. The melody appears unique to Charles and Samuel Thompson’s publication (London, 1765). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 47.

X:1

T:Hour Glass, The

M:6/8

L:1/8

N:The c note in the 3rd measure, 2nd part, may be sharped.

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

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

Z:abc’s:AK/Fiddler’s Companion

K:G

G2A B2c|dBG dBG|F2G A2B|cAF cAF|G2A B2c|dBG dBG|AcB AGF|G3g3:|

|:d2e f2g|afd afd|c2d e2f|ge^c|ge^c|d2e f2g|afd afd|egf ed^c|d3 d3:||

 

HOUSARDE, LA.  French, Country Dance (2/4 time). D Major. Standard tuning. AABB. From the contradance book (tunes with dance instructions) of Robert Daubat (who styled himself Robert d’Aubat de Saint-Flour), born in Saint-Flour, Cantal, France, in 1714, dying in Gent, Belgium, in 1782. According to Belgian fiddler Luc De Cat, at the time of the publication of his collection (1757) Daubat was a dancing master in Gent and taught at several schools and theaters.  He also was the leader of a choir and was a violin player in a theater. Mr. De Cat identifies a list of subscribers of the original publication, numbering 132 individuals, of the higher level of society and the nobility, but also including musicians and dance-masters (including the ballet-master from the Italian opera in London). Many of the tunes are written with parts for various instruments, and include a numbered bass. Daubat (Cent Contredanses en Rond), 1757; No. 63.

X:1

T:Housarde, La

M:2/4

L:1/8

N:”Allegro”

S:Daubat – Cent Contredanses en Rond (1757), No. 63

Z:AK/Fiddler’s Companion

K:D

d f2 e | d a2g | f A2G | F2E2 | DdFE | DdFE | (B/c/d) (c/d/e) | {e}d2D2 :|

|: f/e/d/e/ f/e/d/c/ | Bg ~g2 | e/d/c/d/ e/d/c/B/ | Af ~f2 |

GecA | Fe/c/ B/A/G/F/ | EgAc | {e}d2D2 :|

                       

HOUSE AND HOME. See “Ty a Gardd.”

 

HOUSE CARPENTER. Old-Time, Breakdown. Carryon 005, "The Renegades" (1993).

           

HOUSE HUNTING.  Canadian, Pipe Reel. Canada, Cape Breton. A Dorian. Standard tuning. AABB. Composed by the late Cape Breton fiddler Jerry Holland (1955-2009). The tune is gaining popularity in piping circles. Cranford (Jerry Holland: The Second Collection), 2000; No. 35, pg. 15. Gray (Music for the Great Highland Bagpipe). Jerry Holland – “Crystal Clear” (2000).

           

HOUSE IN/ON THE CORNER, THE. AKA and see "The Absent-Minded Man," "The Hare in the Corner," “House in the Glen [2],” "The Little House (A)round the Corner [1]," "The Royal Irish Jig," "O as I was kiss’d Yestreen [2]," "The Hare in the Corner [3]," "Fhiach an Mhada Rua."

                       

HOUSE IN THE GLEN [1] (An Teac Annsa Feoran/Gleann). AKA and see “Peacock’s Feather [3].” Irish, Double Jig. D Major/Mixolydian. Standard tuning. AABB. The tune is called “Lark in the Morning [1]” in Dance Music of Willie Clancy. The second part of “House in the Glen [1]” is the fourth part of the tune usually known as “Lark in the Morning.” It appears in Moylan’s Johnny O’Leary book as “The Peacock’s Feather” (No. 125), although Paul de Grae suggests that may be a mistake, as that is the name usually assigned to either of two hornpipes. O'Neill (Krassen), 1976; pg. 39. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 897, pg. 167. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 144, pg. 39.

X:1

T:House in the Glen, The [1]

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 144

Z:AK/Fiddler’s Companion

K:D

AFA DED|AGF A2=c|BGG dGG|BAG Bcd|AFA DED|AGF A2c|def gfe|fdB B2A:|

|:Add fdd|ede fdB|Add fdd|edB B2A|Add fdd|ede efg|f<af gfe|fdB B2A:|

 

HOUSE IN THE GLEN [2], THE (An Teac Annsa Feoran). AKA and see "The Absent‑minded Man," "The Hare in the Corn [3]," "The House in the Corner," "The Hunt of the Hound and the Hare,” “Little House in the Glen,” “Little House (A-)Round the Corner [1],” “Little Thatched Cabin [1],” "O, as I was kissed Yestreen [2]," "The Royal Irish Jig." Irish, Jig. D Major. Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 68. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1088, pg. 205. Talcon Records KG240, Paddy Cronin – “The House in the Glen” (197?).

X:1

T:House in the Glen, The [2]

M:6/8

L:1/8

R:Jig

S:O’Neill – Music of Ireland (1903), No. 1088

Z:AK/Fiddler’s Companion

K:D

A | FDA, DFB | AFD {F}EDB, | A,DF Adf | {a}gfg eag |

{g}fed AFD | {F}EDB, DFA | dcd eag | fdd d2 :|

|: (f/g/) | (af)a g(eg) | fed ecA | {e}dcd ede | fdf efg |

afa geg | {g}fed ecA | {e}dcd AFD | {F}EDD D2 :|

 

HOUSE IN THE GLEN [3].  Irish, Slide. A Major. Standard tuning. AABB. Paul De Grae identifies this tune as a slide version of “The Rambler [2],” also known as “Father Hanley’s Jig.” Source for notated version: Dan O’Leary via his nephew, accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 253, pg. 145.

X:1

T:House in the Glen

M:12/8

L:1/8

R:Slide

S:Moylan – Johnny O’Leary of Sliabh Luachra (1994)

Z:AK/Fiddler’s Companion

K:A

ECE A,CE FEC ECE | e2e ABc BAA F/G/AF | E2E A,CE FEC EC/D/E | e2e ABc BcB A2F :|

|: efe Ace aga f/g/af | ece fec ecc Bcd | e2A Ace aga f/g/af | e2c BAB cAG A3 :|

                          

HOUSE MAID. Irish. The tune is attributed by Goodman to the 18th century gentleman-piper Walker ‘Piper’ Jackson, of the townland of Lisdaun, parish of Ballingarry, Aughrim, County Limerick. Goodman, volume IV, pg. 5.

                       

HOUSE OF ACHLUNCART, THE. Scottish, Reel. C Major. Standard tuning (fiddle). AAB (Athole, Marshall): AABB' (Kerr). Composed by William Marshall (1748-1833). A Scottish fiddler and composer, Marshall is most famous for his many fine strathspeys. Marshall worked for much of his life for the Duke of Gordon as the Steward of his Household, and it is fortunate that the Duke was an enthusiastic supporter and patron of Marshall’s music. Achluncart House is near Keith and still exists. In Marshall’s time it was the home of Rachel Missing Duff and her husband Patrck Steuart of Achlinkart and of Tannachy, Portgordon. Kerr (Merry Melodies), vol. 2; No. 105, p. 13. Marshall, Fiddlecase Edition, 1978; 1822 Collection, p. 46. Stewart-Robertson (The Athole Collection), 1884; p. 81.

X:1

T:House of Achluncart, The

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:C

c|c2c2 ecge|c2c2 gBGB|c2c2 ecgc|Bddc BGG:|

~c2 Gc EcGc|EcGc dDDB|~c2 Gc EcGc|fedc BGGB|

~c2 Gc EcGc|EcGc dDDf|afge fdec|Bcde dB G||

                       

HOUSE OF BELLABEG, THE. Scottish, Strathspey. C Major. Standard tuning (fiddle). AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 70, p. 25.

                       

HOUSE OF CAIRNFIELD, THE. Scottish, Strathspey. E Flat Major. Standard tuning (fiddle). AAB. Composed by William Marshall (1748-1833). A Scottish fiddler and composer, Marshall is most famous for his many fine strathspeys. Marshall worked for much of his life for the Duke of Gordon as the Steward of his Household, and it is fortunate that the Duke was an enthusiastic supporter and patron of Marshall’s music. The House of Cairnfield was a Gordon family seat built in 1802 near the burn of Gollachy, Portgordon, Scotland. As the name ‘cairnfield’ suggests, it was built on an old Pictish site (Moyra Cowie, The Life and Times of William Marshall, 1999). Marshall, Fiddlecase Edition, 1978; 1822 Collection, p. 24.

X:1

T:House of Cairnfield, The

L:1/8

M:C

S:Marshall – 1822 Collection

Z:AK/Fiddler’s Companion

K:E_

~E>Gbe e/d/c/d/ B2|~B>Dfa gf/g/ e2|~g>abg fedc|BAGF [G,2E2][G,E]:|

geef/g/ ac ~f2|d>e f/e/d/c/ Bdfa|geag fedc|BAGF [G,2E2] [G,2E2]|

geef/g/ ac ~f2|d>e f/e/d/c/ Bdfa|~g>abg fedc|BAGF [G,2E2] [G,2E2]||

                       


HOUSE OF CANDACRAIG, THE. Scottish, Air. A Major. Standard tuning (fiddle). AAB. Composed by William Marshall (1748-1833). A Scottish fiddler and composer, Marshall is most famous for his many fine strathspeys. Marshall worked for much of his life for the Duke of Gordon as the Steward of his Household, and it is fortunate that the Duke was an enthusiastic supporter and patron of Marshall’s music. Candacraig House is located in the heart of Strathdon. It was the home of Catherine Gordon, an illegitimate child of the Duke of Gordon who was raised by the Duke at Gordon castle. Catherine married Captain John Anderson of Candacraig. Marshall, Fiddlecase Edition, 1978; 1822 Collection, p. 18.

X:1

T:House of Candacraig, The

L:1/8

M:C

R:Air

S:Marshall – 1822 Collection

Z:AK/Fiddler’s Companion

K:A

A,ACA A,(AA)c|e>c d/c/B/A/ G/A/B/c/ Bc|A,ACA A,(AA)c|

e>c d/c/B/A/ (G/A/)B/G/ A2:|

A,Ace ~a>bag|fedc (e/d/c/d/) ~B2| A,Ace ~a>bac|dbca (EG) A2|

A,Ace ~a>bag|fedc e/d/c/d/ B2|CDEC DFBd|cAGB (EG) A2||

                       

HOUSE OF CLONELPHIN, THE. Irish, Jig. E Minor. Standard tuning (fiddle). AAB. O’Neill (Irish Folk Music) identifies this as a version of “The Jolly Corkonian” (see also “Pat Burke’s,” “The Hills of Glenorchy [1],” “Mrs. Martin’s Favourite”). Source for notated version: "...copied from a Munster MS. lent me by the late John O'Daly, the Irish publisher of Anglesea St., Dublin" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 193, pp. 95‑96.

X:1

T:House of Clonelphin, The

M:6/8

L:1/8

R:Jig

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

Z:AK/Fiddler’s Companion

K:E Minor

d|BEE EFA|BAB dcB|AFD D/E/FD|FAA A2d|BEE EFA|Bdc dcB|ABc dAF|FEE E2:|

|:d|e3 fdB|Bee f2e|ded dAF|Ddd d2f|efe edB|Bee f2e|d/c/Bc dAF|FEE E2||

                       

HOUSE OF CLOVA, THE. Scottish, Jig. B Flat Major. Standard tuning (fiddle). AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 51, p. 19.

                       

HOUSE OF CLUNY, THE. Scottish, Strathspey. F Major. Standard tuning (fiddle). AAB. Composed by William Marshall (1748-1833). A Scottish fiddler and composer, Marshall is most famous for his many fine strathspeys. Marshall worked for much of his life for the Duke of Gordon as the Steward of his Household, and it is fortunate that the Duke was an enthusiastic supporter and patron of Marshall’s music. George Gordon of Buckie lived at the House of Cluny in the 18th century. It is no longer in existance. Marshall, Fiddlecase Edition, 1978; 1822 Collection, p. 57. Stewart-Robertson (The Athole Collection), 1884; p. 223.

X:1

T:House of Cluny, The

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:F

C|F<F A>F A<c F2|E<G G<c G<c E>C|F<F A>F A>c~f>c|d/c/B/A/ Gc/B/ A<F~F||

c|f/e/d/c/ ~fcdc f2|~f>c d<c f<a ~ge|f/e/d/c/ f>c d<BA<f|c>B A<G F2 F>c|

f/e/d/c/ f>c d<c ~f2|f>c d<c f<a ~g>e|f/g/a/g/ f>c d>fB>d|c>A c/B/A/G/ F2 ~F||

                       

HOUSE OF CRAIG, THE. Scottish, Reel. D Major. Standard tuning (fiddle). AABB'. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 92, p. 32.

                       

HOUSE OF DAVID BLUES. American, Country Blues (2/4 time). G Major. Standard tuning (fiddle). AB. Tennessee’s Fiddlin’ Arthur Smith (d. 1971), along with his group the Dixieliners (later to become the Delmore Brothers) recorded this old blues song in 1937. At the turn of the 20th century the House of David, a religious sect, was perhaps better known as the sponsors of a touring baseball team than for their spiritual tenets. The team was made up of bearded acolytes. Lyrics to the melody go:

***

Gee, but ain’t it grand, don’t you hear that band,

Play those House of David Blues.

All the folk in town are gatherin’ around

To see the funny thngs they do.

When ham was selling for a dollar a pound,

Eat so many rabbits, made me hop all around;

Gee, but ain’t it grand, don’t you hear that band,

Play those House of David Blues.

***

Kuntz (Ragged But Right), 1987; pp. 181-182. Ruth (Pioneer Western Folk Tunes), 1948; No. 73, p. 27. Folkways, “The Red Clay Ramblers with Fiddlin’ Al McCanless.” Lowe Stokes – “Brandywine Festival 1982.”

X:1

T:House of David Blues

M:2/4

L:1/8

S: Viola “Mom” Ruth – Pioneer Western Folk Tunes (1948)

Z:AK/Fiddler’s Companion

K:G

{^A/} B/G/D/E/ G/A/G/D/|F/D/E/^C/ D2|^C/D/C/D/ B/G/A/F/|G4|

{^A/} B/G/D/E/ G/A/G/D/|F/D/E/^C/ D2|^C/D/C/D/ B/^A/B/G/|

A<d e<d||({f}|g/)a/g/e/ f<d|({^A/}B/)d/B/A/ G2|C/D/E/G/ A/G/A/B/|

d>({^A}B/A/) G2|{^A/} B/G/D/E/ G/A/G/D/|F/D/E/^C/ D2|

^C/D/C/D/ B/G/A/F/|G4||

X:2

T:House of David Blues

M:C|

L:1/8

N: The melody for the verse is followed by Arthur Smith’s recorded break.

Z:Transcribed by Andrew Kuntz

K:G

BG DE G2 GG|FF3 E4|^CC EG B3A|G8|({^A/}B)B DE G3G|F/FF/ E3E|

^CC EG B3_B|(A4 A3)G|B2B2 GG GG|B^A B B4 G|EE GG AG _BG|

d_B2B G4|BG DE G2 GG|F F3 E4|^CC EG BA3|G7||

(^a||b)bde g3(^e|f)e f2 e3c|^cd c2 ({a/}b) [d3b3]|[B/g/][B/a/] [B6g6] (^a|

b)bde gbge|fe=f(e e3)c|^cd c2 ({^a}b) [d3b3]|a7 ^a|b^ab(g|g)=ag^a|

(ba2) (g/a/ g3) (B|c)de(g g2) ({a/}_b2)|[B4g4] [B3g3] (^A|B)BDE G4|

=F3 E(D D3) (C|^C)E C2 [DB]G A2|[B4G4] [B3G3] (^A|B2) DE GAGD|

=FDE(D D4)|^CE C2 BAB^A|A d3 d3 (f|g)a g2 =fe d2|(d_B3 G4)|
EG2A _BAGA|(^c/d/) (_B3 G3) (^A|B)GD(G G3)D|FDE(D D4)|

^CE C2 BG A2|G8||

                       

HOUSE OF DRUMMUIR, THE. Scottish, Reel. D Major. Standard tuning (fiddle). AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 88, p. 31.

                       

HOUSE O' DUNCAN. Scottish?. A variant of "O As I Was Kiss’d Yestreen [1]." Bruce‑Emmett (The Drummer's and Fifer's Guide), 1862, 1880; p. 61.

                       

HOUSE OF EDINGLASSIE, THE. Scottish, Reel. E Minor. Standard tuning (fiddle). AABB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 133, p. 45.

                       


HOUSE OF GLAMIS/GLAMS, THE. AKA and see "Roslyn/Roslin Castle." Scottish, Air (4/4 time). E Minor. Standard tuning (fiddle). AB. The tune is attributed to James Oswald and was first published in 1746 in his Caledonian Pocket Companion under the “Roslin Castle” title. Purser (1992) states that it was a popular tune in the 18th century among pastoral pipers (the Scottish pastoral pipes is a type of soft-toned bagpipe ancestral to the Irish uilleann pipes), but uses it as an example of the confusion that sometimes occurred in that century between the ‘traditional’ and the classical (Oswald was a classically trained musician). Gatherer (Gatherer’s Musical Museum), 1987; p. 29. Purser (Scotland’s Music), 1992; Ex. 1, p. 174. Wood, Songs of Scotland (1848‑49).

                       

HOUSE OF GLENKINDY'S, THE. Scottish, Strathspey. G Major. Standard tuning (fiddle). AB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 166, p. 57.

                       

HOUSE OF GRAY. Scottish, New England; Jig. A Dorian. Standard tuning. AABB. John Glen (1891) finds the earliest printing of the tune in Robert Bremner's 1768 2nd collection (pg. 101). Kerr (Merry Melodies), vol. 4; No. 255, pg. 28. Tolman (Nelson Music Collection), 1969; pg. 2.

X:1

T:House of Gray

M:6/8

L:1/8

R:Jig

B:Kerr – Merry Melodies, vol. 4, No. 255  (c. 1880’s)

K:A Dorian

e|AAA c2e|dBG dBG|AAA c2d|ece ecA|gag f2e|

dBg dBG|AAA cde|dBG A2::B|ccc g2c|ece dBG|

ccc g2c|ece geg|aga g2e|dBg dBG|AAA cde|dBG A2:|

                       

HOUSE OF HAMMILL, THE. Irish, Reel. E Dorian. Standard tuning. ABC.  Composed by County Cavan/Philadelphia fiddle player and composer Ed Reavy (1898-1988). The tune is named for Reavy’s mother’s family, Hamills from County Monaghan, who “had a fondness for music and the traditional way of life” according to Ed’s son Joe Reavy. Though she played no instrument his mother was an excellent lilter who had a repertoire or hundreds of tunes, many of which she passed on to Reavy. Reavy (The Collected Compositions of Ed Reavy), No. 40, pg. 42. Green Linnet SIF1122, Kevin Burke - "Open House" (1992).

X:1

T:House of Hamill, The

M:C

L:1/8

C:Ed Reavy

K:D

D|:EB{c}BA BFAF|EB{c}Bc dAFD|EB{c}BA (3Bcd ef|gfec dAFD|EB{c}BA

BFAF|EB{c}Bc dAFD|EB{c}BA (3Bcd ef|gfec dAFA||BE (3EEE dE (3EEE |

BE (3EEE dAFA|BE (3EEE (3Bcd ef|gfec dAFD|BE (3EEE dE (3EEE|

BE (3EEE dAFA|BAGF GBef|gfec dAFA|| B2 ^GB eBGB|{c}BA^GB ADFA|

B ^GB eBGB|=gfec dAFA| B2 ^GB eBGB|{c}BA^GB ADFA|BA=GF GBbf|

gfec dAFD:|E8|

X:2

T:House of Hamil, The

R:reel

C:Ed Reavy

M:2/2

L:1/8

Z:Joe Reavy

N:Ed's mother was a Hamill and they came from Monaghan. They had

N:a fondness for music and the traditional way of life.

N:Ed learned many tunes from Mom, who as an old-time "lyddler." She played

N:instrument, but she could hold a tune with the best in her region.

K:D

D |: EBBA BFAF | EBBc dAFD | EBBA (3Bcd ef | gfec dAFD | EBBA BFAF |

EBBc dAFD | EBBA (3Bcd ef | gfec dAFA || BE (3EEE dE (3EEE |

BE (3EEE dAFA | BE (3EEE (3Bcd ef | gfec dAFD | BE (3EEE dE (3DEE dAFA |

BAGF GBef | gfec dAfA || B2 ^GB eBGB | BA^GB ADFA | B2 ^GB eBGB |

=gfec dAfA | B2 ^GB eBGB | BA^GB ADFA | BA=GF GBbf | gfecdAFD :||

                       

HOUSE OF INVERCAULD, THE. Scottish, Reel. E Major. Standard. AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 118, pg. 41.

                       

HOUSE OF INVERERUAN, THE. Scottish, Strathspey. D Major. Standard tuning. AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 62, pg. 22.

                       

HOUSE OF LETTERFOURIE, THE. AKA and see "Lassie, Look Behind You/Ye," "Look Behind You," "Lady Anne Gordon's Reel." Scottish, Reel. D Major. Standard tuning. AABB. Composed by William Marshall (1748-1833) and appearing in his First Collection of 1781. A Scottish fiddler and composer, Marshall is most famous for his many fine strathspeys. Marshall worked for much of his life for the Duke of Gordon as the Steward of his Household, and it is fortunate that the Duke was an enthusiastic supporter and patron of Marshall’s music. The House of Letterfourie was designed by the famous Robert Adam and dates from 1773; it is an elegant structure set at the foot of the Hill of Maud near Buckie in Rathven parish. At the time Marshall composed the tune it was the abode of Sir James Gordon (Moyra Cowie, The Life and Times of William Marshall, 1999). The Gows published the melody as "Look Behind You" in their Repository (Part Second, 1802). MacDonald (The Skye Collection), 1887; pg. 39. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 33.

X:1

T:House of Letterfourie, The

M:C|

L:1/8

S:Marshall – 1822 Collection

Z:AK/Fiddler’s Companion

K:D

B|ADFD EB,B,B|ADFD e2 df|gfed eBBd|FD F/G/A d2d:|

F|dg fga beef|dg fga fdec|dBAF EFGB|FD FGA d2 d:|

                       

HOUSE OF MACDONALD, THE. AKA and see “The Massacre of Glencoe [2].” Canadian, Waltz. An adaptation of the song “Massacre at Glen Coe.” Rounder CD 7014, Warren Leard – “Fiddlers of Western Prince Edward Island” (1997).

                       

HOUSE OF NEW, THE. Scottish, Strathspey. C Major. Standard tuning. AAB. Composed by William Marshall (1748-1833). A Scottish fiddler and composer, Marshall is most famous for his many fine strathspeys. Marshall worked for much of his life for the Duke of Gordon as the Steward of his Household, and it is fortunate that the Duke was an enthusiastic supporter and patron of Marshall’s music. The House of Newe (New is the old spelling, but pronounced ‘Nyow’) is a seat of the Forbes family in Strathdon, and once the home of ‘Bombay Jack’ who made his fortune in India. The castle, really a fortified mansion, was torn down in 1950 with the stones recycled for use at Aberdeen University (Moyra Cowie, The Life and Times of William Marshall, 1999). See also note for “Lady Forbes of Newe and Edinglassie.” Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 47. Stewart-Robertson (The Athole Collection), 1884; pg. 81.

X:1

T:House of New, The

M:C|

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:C

E/D/|C<c c2 E<c c2|G<c c2 B>dd>f|e<c c2 B/c/d/B/ cG|AF E/F/G/F/ ECC:|

e/f/|g<ca<c g<c e2|g<ca<c Bd de/f/|g<ca<c g<cc’<c|f/d//d/c/ B/c/d/B/ c<C Ce/f/|

g<ca<c g<c e2|g<ca<c B<d d>f|e/f/g/a/ g2 f/e/d/c/ f2|c/B/A/G/ A/B/c/G/ ECC||

                       


HOUSE OF PARK, THE. Scottish, March. F Major. Standard tuning. AAB. Composed by William Marshall (1748-1833). A Scottish fiddler and composer, Marshall is most famous for his many fine strathspeys. Marshall worked for much of his life for the Duke of Gordon as the Steward of his Household, and it is fortunate that the Duke was an enthusiastic supporter and patron of Marshall’s music. The estate of the House of Park dates from 1536 and was built at Ordiquhill, Banffshire, Scotland. It was the home of Lieutenant Colonel Gordon in the early 19th century, when Marshall composed the tune. Cranford (Jerry Holland: The Second Collection), 2000; No. 167, pg. 63. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 51. Stewart-Robertson (The Athole Collection), 1884; pg. 240.

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:House of Park, The

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:F

B|AB/c/ cA Bc/d/ dB|cAFA G2 GB|AB/c/ cA Bc/d/ df|cAfA F2F:|

f|affa geeg|fdcA G2 Gg|affa geeg|cAfA F2 Ff|

affa geeg|fdcA G2 Gg|afaf gege|fdcA F2F||

                       

HOUSE OF REW, THE. Scottish. This is "The House of New"?? John Glen (1891) finds the earliest printing of the tune in John Riddell's 1782 collection (pg. 45).

                       

HOUSE OF SKENE, THE. Scottish, Slow or “Pastoral” Air (4/4 time). B Flat Major. Standard tuning. AAB. Composed by James Davie (1783‑1857) of Aberdeen, a music‑seller, theatre‑player and teacher. The melody was first printed in the Caledonian Repository, 2nd Series (1850-55). Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 218, pg. 87. Hardie (Caledonian Companion), 1992; pg. 94. Henderson (Flowers of Scottish Melody), 1935.

                       


HOUSE OF THE KIELYS ON THE CLIFF, THE (Tigh Na G-Ceillighe A G-Cloch). Irish, Slow Air (3/4 time). G Major. Standard tuning. AB. Source for notated version: "I copied the (tune) ...about 1873 from a MS. lent me from near Lough Conn, County Mayo" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 311, pgs. 1445‑146.

X:1

T:House of the Kielys on the Cliff

T:Tigh na g-Ceillighe a g-Cloch

M:3/4

L:1/8

N:”Rather slow”

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

Z:AK/Fiddler’s Companion

K:G

GA|Bdegfd|e2 E2 GA|B2 AGA>G|E4 GA|B>cd>edc|

B>GEDGA|B2 A>BA>G|G4||EF|G>ABdef|g2 f>ged|

BABgfd|e4 gf|e>dBABd|e2E2 G>A|B2 ABA>G G4||

                       

HOUSE ON THE CORNER. AKA and see "The Absent-Minded Man."

           

HOUSE ON THE HILL [1], THE (An Teac Air an Cnuic). Irish, Air (6/8 time, "spirited"). G Minor. Standard tuning. AB (O'Neill {1850}): ABC (O'Neill {1915}). O'Neill (O’Neill’s Irish Music), 1915/1987; No. 3, pg. 12. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 427, pg. 75.
X:1

T:House on the Hill, The [1]

M:6/8

L:1/8

S:O’Neill – Music of Ireland (1903), No. 427

Z:AK/Fiddler’s Companion

R:Air

N:”Spirited”

K:Gmin

D|D2G G2G|G2^F D2D|DBB Bcd|c3 cBA|B2B BAG|A2F DE^F|G2F D2D|(D3 D2)||

D|d2d dcB|c2d f2d|c2c cBA|B3 z2 B/c/|d2d dcA|B2G ABc|d2G G2A|G3 z2 G/B/|

A2D D2=E|F=EF D2D|D2G B2c|d3 z2 B/c/|d2d dcB|c2B ABc|d2G AG^F|(G3G2)||

 

HOUSE ON THE HILL [2], THE. AKA and see “Brook (The),” “Martin Mulhaire’s,” “Pat Molloy’s.” Irish, Reel. G Major. Standard tuning. The composition has been credited to New York button accordion player Martin Mulhaire, originally from County Galway, or to Pat Molloy. Claddagh Records, Paul McGrattan - “The Frost Is All Over.” GN1, Joe Thoma ‑ "Up the Track: Traditional Music from Kenmare” (apparently Thoma used to live in a house on a hill up a track on the outskirts of Kenmare, County Kerry). Patty Furlong –“Traditional Irish Music on Button Accordion” (1999. Learned from New Jersey button accordion player John Nolan).

 

HOUSE ON THE HILL [3], THE.

X:1

T:Up the Track

T:The House on the Hill

C:Joe Thoma

M:4/4

L:1/8

R:reel

Z:transcribed by Paul de Grae

K:A

AB | cE ~E2 c3 B | Acec BAFA | cE ~E2 cdcB | Acec B3 d |

cE ~E2 c cB | Acec BAFA | cE ~E2 cdcB | Aced cBAG ||

FD ~D2 DFAF | EGBG ABAG | FD ~D2 DFAF | EGBG A3 G |

FD ~D2 DFAF | EGBG ABAG | F2 EF DFAF | EGBG ABcd ||

~e2 ce aece | dBBA Bcdf | ~e2 ce acec | dBGB ABcd |

~e2 ce aece | dBBA Bcdf | ~e2 ce aece | dBGB A4 ||

                       

HOUSE PARTY, THE. AKA and see “(An) Chóisir,” “The Toormore Slide.” Irish, Slide. Honeybee HB 0004, Cooney & Begley - “Meithal” (appears as “(An) Chóisir”).

X:1

T:The House Party

T:The Toormore Slide (Matt Cranitch's Irish Fiddle Book)

D:"The Night of the Fair", Dan Herlihy, track 1(b)

N:learned from Mikey Duggan of the village of Scartaglen

R:slide

Z:transcribed by Paul de Grae

M:12/8

L:1/8

K:Bm

F2 B BAB d2 e faf|e3 efe c2 e a3|F2 B BAB d2 e faf|

1 e2 d B2 A B3 B2 A:|2 e2 d B2 A B3 d2 e|

|:f3 efe ded c3|BAB dcB A2 F F2 E|F2 B BAB d2 e faf|

1 e2 d B2 A B3 d2 e:|2 e2 d B2 A B3 B3||

           

HOUSE THAT JACK BUILT, THE.  American, Jig. D Major. Standard tuning. AAB. Howe (1000 Jigs and Reels), c. 1867; pg. 72.

X:1

T:House that Jack Built, The

M:6/8

L:1/8

R:Jig

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

Z:AK/Fiddler’s Companion

K:D

A | .A(fe) d2c | Bcd (A2G) | FAd dcd | (^d2e) e2A | .A(fe) d2c | Bcd A2G | (FA)d (ce)g | f2d d2 :|

e | (edc) (cBA) | (d2e f2)a | agf (gBe) | (d3c2)e | (ed).c (cB).A | (d2e f2)a | (agf) (gBc) | e3d2A |

f2d {e}dcd | g2e e2e | (efe) c2A | (f3d2)A | f2d {e}dcd | (g2e) e2e | (cde) (ABc) | (d2f d2) ||

           

HOUSEHOLD BRIGADE. Scottish. The melody was composed as a schottische by Felix Burns. Burns was born in Perth, Scotland, in 1864. A musical prodigy and multi-instrumentalist, his first musical instruments were tin whistle and mouth organ, “graduating” to piano, organ and various brass instruments. His composing career started at an early age and he went on to become one of the most popular composers of his time, although for an unknown reason he often credited his compositions to various pen names such as Leona Lacoste, Alfred Rosslyn, Claud Roslind, and Leon Fabrini. He settled in Carlisle, and died 1920, although not before siring thirteen children. Burns work was much recorded in the early decades of the 20th century by such musicians as Scotland’s Wyper Brothers.

                       

HOUSEKEEPER, THE. AKA and see "Cailin an Ti Mhoir," "The Girl of the (Big) House." Irish, March (6/8 time). D Major. Standard tuning. AB. Also sounds good when played in D Mixolydian. Source for notated version: “From (the Irish collector) Mr. [P.W.] Joyce” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 998, pg. 255.

X:1

T:Housekeeper, The

M:6/8

L:1/8

R:Air

S:Stanford/Petrie – Complete Collection, No. 998  (1905)

Z:AK/Fiddler’s Companion

K:D

({G/A/}G2)E ({G/A/}G2)E|AGE EDD|({G/A/}G2)E ({G/A/}G2)E|AGE EDD|({A/G/}G2)E ({G/A/}G2)E|

AGE EDD|DcA GFE|(FD).D (ED).D||ABA AGF|GAG GFG|ABA cAG|

Add d2e|fed cAG|F<AF GFE|dcA GFE|FDD EDD||

                       


HOUSEMAID [1], THE. AKA and see “Cashel Jig,” “Custom House,” “Darby Gallagher’s [1],” "East at Glendart," “Finley’s Jig,” “Humours of Glendart,” “Julia Clifford’s,” "Shins Around the Fireside [2]," "Tim the Piper." Irish, Jig. D Major (Joyce, Shields/Goodman): G Major (Kennedy). Standard tuning. AABB. The earliest appearance of the tune (best known as “Humours of Glendart” today) in print is in Church of Ireland cleric James Goodman’s mid-19th century music manuscripts. Goodman (1828-1896) was an uilleann piper, and an Irish speaker who collected locally in County Cork and elsewhere in Munster. He also obtained tunes from manuscripts and printed collections. Related to Breathnach’s “The Geese in the Bog [1]” and Levey’s “Saddle the Pony [6].” See note for “Humours of Glendart” for more. Source for notated version: Miss Griffin of Foynes on the Shannon in Limerick, via Pigot [Joyce]. Joyce (Old Irish Folk Music and Songs), 1909; No. 841, pg. 407‑408. Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 58, pg. 15. Shields/Goodman (Tunes of the Munster Pipers), 1998; No. 54, pg. 25.

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:Housemaid [1], The

M:6/8

L:1/8

R:Jig

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

Z:AK/Fiddler’s Companion

K:D

BAF ADD | FDD ADD | BAF ADD | FEE EFA | BAF ADD | FDF ABd |

edB BAF | BEE EFA :||: dfe d2B | AFA A2B | dfe def |

gfe fdB | dfe d2B | AFA ABd | fed BAF | AFE E2z :|

X:2

T:House Maid [1], The

M:6/8

L:1/8

R:Jig

S:James Goodman manuscripts (mid-19th century)

B:Hugh Shields – Tunes of the Munster Pipers, No. 54  (1998)

K:D

(F/A/)|BAF AFD|DFA AFA|BAF AFD|FEE EFA|BAF AFD|

DFA ABc|fdB AFE|FDD D2::A|def/e/ d2B|AFA ABc|

def/e/ d2e|fee edB|def/e/ d2B|AFA ABd|fdB AFE|FDD D2:|

X:1

T:Housemaid [1], The

M:6/8

L:1/8

K:G

Bd|:edB dGG|BGG dGG|edB dGG|BAA ABd|…

 

HOUSEMAID [2], THE. Irish, Jig. G Major. Standard tuning. AB. A different tune than “The Housemaid [1]." Stanford/Petrie (Complete Collection), 1905; No. 957, pg. 244.

X:1

T:Housemaid, The  [2]

M:6/8

L:1/8

R:Jig

S:Stanford/Petrie – Complete Collection, No. 957  (1905)

Z:AK/Fiddler’s Companion

K:G

g|gdB B{c/B/}AB|gdB B2g|gdB B{c/B/}AB|dBA “tr”A2g|gdB B{c/B/}AB|

gdB “tr”B2g|f2d e2B|dBA A2||a|afd {e}dcd|afd {e}dcd|afd {e}dcd|

dBA {B}A^GA|afd {e}dcd|afd {e}dcd|f2d e2B|dBA {B}A^GA||

                       

HOUSEMARTINS, THE. Irish, Reel. A Dorian. Standard tuning. AABBCC. Composed by fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn, south County Armagh. Keegan (The Keegan Tunes), 2002; pg. 42.

                       


HOUSTON SCHOTTISCHE. Old-Time, Bluegrass; Schottische. G Major. Standard tuning. AA'BB'. Source for notated version: Robert Wise [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 66.

                       

HOUSTON SLIDE. Old-Time, Country Rag. C Major. Standard tuning. AA'B. Source for notated version: Prince Albert Hunt [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 66.

                       

HOW ARE YOU KITTY? (Cionnus/Ca Nois Ta Tu A Caitilin?). AKA and see "O'Shannahan's Rambles." Irish, Double Jig. A Major. Standard tuning. AABC (Sweet): AABBCC (O'Neill). O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 890, pg. 165. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 139, pg. 38. Sweet (Fifer’s Delight), 1964/1981; pg. 38.

X:1

T:How Are You Kitty?

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 139

Z:AK/Fiddler’s Companion

K:A

A/F/|EAA cAA|eAA cAA|EAA cBA|dBB B2c|A3 cAA|eAA cBA|

EFA Bcd|cAA A2 :: c/e/ | a3 gfe| cef ecA| EAA cBA| dBB Bce| a3 gfe|

c2f ecA|EFA Bcd|cAA A2 :: c/d/ | e2 a/e/ c2 e/c/ | A2 c/A/ E2z | A3 cBA |

cBB B2 c/d/ |e2 a/e/ c2 e/c/ | A2 c/A/ E2z | A3 Bcd | cAA A2 :|

                       

HOW ARE YOU NOW, MY MAID?  AKA and see “Is the Big Man Within?” Irish, Jig (9/8 time 'A' part & 6/8 time 'B' part). G Major. Standard tuing. AB. Learned by collector P.W. Joyce as a boy in Limerick. Joyce (Old Irish Folk Music and Song), 1909; No. 137, pg. 70.

X:1

T:How are you now, my maid?

M:9/8

L:1/8

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

Z:AK/Fiddler’s Companion

K:G

c|BdB c2A A2c|BGB d2G G2c|Bcd e2A A2g|fef g2G G2||

L:1/8

M:6/8

c|Bcd def|gag g2 d|gfe dBd|e2A A2c|Bcd def|gag g2d|gfe dgd|B2G G2||

                       

HOW CAN I BE SAD ON MY WEDDING-DAY?  Scottish. The tune was used by Allan Ramsay in his ballad opera The Gentle Shepherd published in 1725 (but not performed until later), which predated John Gay's famous Beggar's Opera by three years.

                       


HOW CAN I KEEP MY MAIDENHEAD?  AKA and see “Coll. Montgomery’s Strathspey,” “Colonel Lennox’s Love,” "Lennox Love to Blantyre.” English, Scottish; Reel. England, Northumberland. F Major. Standard tuning. AABB. Composed by James Crockat, about 1723, from the older tune "Lennox Love to Blantyre.” Later called "Braes of Auchtertyre.” Alburger (1983) says: "Although collectors since that time have accepted this claim (presumably because {antiquarian William} Stenhouse stated he had the music 'in the handwriting of James Crockat'), 'Lennox Love' and 'The Braes of Auchtertyre' are not similar. Moreover, no trace of the MS., the missing link, is known, the only reference coming from Stenhouse." Offord (John of the Greeny Cheshire Way), 1985; pg. 81. Seattle (William Vickers), 1987, Part 2; No. 300.

X:1

T:How Can I Keep My Maidenhead?

M:C|
L:1/8

R:Reel

S:William Vickers’ music manuscripts (Northumberland, 1770)

K:F

F/F/F FG A>GFA|G>FGA d>cdf|F/F/F FG A>GFA|G>FGA D/D/D D2:|

|:cdfg a>gfa|gfga f>dff|cdfg agfa|gf g/a/b g2f2:|

                       

HOW CAN I MARRY YOU?  AKA and see "Little Girl of My Heart," "Colleen Bheag Machree."

                       

HOW CAN THE TREE. English, Air (cut time). G Dorian. Standard tuning. ABC. The air appears in W. Barley's New Books of Tabliture (1596), a lute MSS in the University of Cambridge Library, and Giles Earle's Songbook (1626).

***

How can the tree but waste and wither away, t

That hath not sometime comfort of the sunne:

How can the flower but fade and soon decay,

That always is with darke cloudes overrunne.

Is this a life? Nay, death I may it call,

That feeles each paine & knowes noe joye at all.

***

Chappell (Popular Music of the Olden Times), vol. 1, 1859; pgs. 72‑73.

X:1

T:How Can the Tree

L:1/8

M:C|

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

Z:AK/Fiddler’s Companion

K:G Dorian

G8 B6 A2|G4 F4 G4 A4|B2B2 B4 A8|^F4 A4 A4 A4|A4 A4 B4 A4|G4 G4 ^F8||

z4 B4 G2 A4|G12  ^F4|G4 A4 B4 c4|d12 d4|B4 _e4 d6 d2|c4 B4 A4 A4|G16||

z4 G4 c4 c4|c8 z4 c4|d4 A4 B4 B4|A8 z4 f4|B4 c4 d4 _e4|d4 G4 A4 A4|G16||

                       

HOW CAN WE ABSTAIN FROM WHISKY. AKA ‑ "How Shall We Abstain From Whiskey." AKA and see "The Legacy [1]." AKA ‑ "Cia mar is urra' sinn fuireach o'n Dram." Scottish, Jig. G Major. Standard tuning. AAB. "The editor has great pleasure in asserting his country's claim to this melody lately introduced as Irish, under the name of 'The Legacy', supposed new, whereas it has been current in the north for sixty years as the composition of John MacMaurdo of Kintail, since emigrated to America" (Fraser). "The editor has already attempted to rescue this melody from a clain of its being Irish. The author, John MacMurdo or MacRae of Kintail, was one of the most sentimental composers of song ever known in the north, and several others of his will be pointed out in this work. He observes, in the words to this air, that though his wife may sometimes brawl at him for consuming, in convivial excess, his means of supporting her and his young family, he must devote a part of it to social friendship, that often links men closer than chieftainry or relationship" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 61, pg. 21.

X:1

T:How can we abstain from Whisky

T:’Cia mar is urra’ sinn fuireach o’n Dram

M:6/8

L:1/8

R:Jig

S:Fraser Collection   (1874)

Z:AK/Fiddler’s Companion

K:G

(3D/E/F/|G2G GDB,|d2e dBG/F/|G2A B>AB|E2F G2:|

D|BGd g2g|f>ed edB|GBd g2g|fed e2 (3d/e/f/|

g2g gdB|e2e dBG|G2A B>AB|E2F G2||

                       

HOW COLD AND TEMPERATE AM I GROWN. Irish. This air appears in Luke Wadding's (the Bishop of Ferns) A Pious Garland of Godly Songs for the Solace of his Friends and Neighbors in their Afflictions, 1680.

                       

HOW COME?  See "Teche Special."

                       


HOW CRUEL ARE THE TRAITORS. AKA and see "'Twas when the sea was roaring." The air appears in Gay's Beggar's Opera of 1729, however the original song was from Gay's play The What d'ye call it.

                       

HOW DEEP IN LOVE AM I. Irish, Air (3/4 time). F Minor. Standard tuning. AAB. Stanford/Petrie (Complete Collection), 1905; No. 465, pg. 117.

X:1

T:How Deep in Love Am I

M:3/4

L:1/8

R:Air

S:Stanford/Petrie (1905), No. 465

Z:AK/Fiddler’s Companion

K:F Minor

f cB | A2 GF ee | (e2f) f (cB) | A2 GB/>G/ FF | F3 :|

F/e/ ec | B2 {c}ff {=e}gf | f2 c>c ag/f/ | gf/e/ cB {c}ff |

F3 (3a/g/f/ cB | A2 GF e=d | e2 f fcB | A2 G>F FF | F3 ||

                       

HOW DO YOU DO? [1]. AKA ‑ "How D'Ye Do?" English, Morris Dance Tune (6/8 time, 'B' part irregular for 2 measures in Raven's version while Mallinson's 'C' part has two measures of 'slows' {4/4 time}). D Major. Standard tuning. AABBCC (Raven): AABBB (x4), AACCC (x4), AA (Mallinson). From the village of Sherborne, Gloucestershire, in England's Cotswolds. Source for notated version: Cecil Sharpe's (England) MSS [Bacon]. Bacon (The Morris Ring), 1974; pg. 287. Raven (English Country Dance Tunes), 1984; pg. 80. Mallinson (Mally’s Cotswold Morris Book), 1988; No. 36, pg. 24.

 

HOW D'YE DO, SIR? [2]. English, Morris Dance Tune (6/8 and 9/8 time). F Major. Standard tuning. AAB. From the village of Headington, Oxfordshire, in England's Cotswolds. Bacon (The Morris Ring), 1974; pg. 182.

 

HOW D'YE DO? [3]. English, Reel. England, North‑West. G Major. Standard tuning. AAB. Knowles (Northern Frisk), 1988; No. 31.

 

HOW D' YE DO SIR? English, Morris Dance Tune (6/8 time, 'slows' in 9/8 time). G Major. Standard tuning. AAB (x4), AA. From the Headington area of England's Cotswolds. Mallinson (Mally’s Cotswold Morris Book), 1988, vol. 2; No. 66, pg. 31.

                       

HOW DO YOU LIKE HER FOR YOUR WIFE. Irish, Air (2/4 time). B Flat Major (Stanford/Petrie): A Major (Howe, Joyce). Standard tuning. One part. Joyce (1890) unfortunatle discarded the original words to the song as “not worth printing” and instead substituted a lyric written by his brother. Our loss. A note in Stanford/Petrie says “cf ‘Cousin Frog’ No. 647.” Sources for notated versions: (From the Irish collector) Mr. Joyce [Stanford/Petrie]; Joyce himself claims he learned the air in his youth from his father. Howe (1000 Jigs and Reels), c. 1867; pg. 29. Joyce (Ancient Irish Music), 1890; No. 35, pg. 37. Stanford/Petrie (Complete Collection), 1905; No. 532, pg. 134.

X:1

T:How do you like her for your wife
M:2/4
L:1/8

S:Stanford/Petrie (1905), No. 532

Z:AK/Fiddler’s Companion

K:B_

FB BB | AB c2 | d2 ed | d<c f>e | dB BB | AB c2 | f2 fd | e2 dd/e/ |

ff fd | e2 ce | dc BA/G/ | F2 FG/A/ | B2 AB | c2 fe | dB cB | B2B2 ||

                       

HOW FAR TO GOODLAND. AKA and see "Don't Let Your Deal Go Down [2]."

                       

HOW HAPPY ARE. AKA ‑ "Irish Howl." English, Air. John Gay, The Beggar's Opera (1729). Raven (English Country Dance Tunes), 1984; pg 61.

                       

"HOW HAPPY ARE WE (WHO FROM THINKING ARE FREE). AKA ‑ "The Ladies Fine Aires". English, Air. This air, composed by John Barrett and "Sung and acted by Mr. Pack", appears in John Gay's The Beggar's Opera (1729) under the title "When you censure the age." Raven (English Country Dance Tunes), 1984; pg. 59.

                       


HOW HAPPY COULD I BE WITH EITHER. AKA and see "Have you heard of a frolicsome ditty?" "Give ear to a frolicsome ditty," "The Rant," "The City Ramble." English, Air (6/8 time). G Major. Standard tuning. AAB. The air appears in Gay's Beggar's Opera of 1729, however it is a 17th century air to which a number of songs were sung (Kidson, 1922). Howe (1000 Jigs and Reels), c. 1867; pg. 152.

X:1

T:How Happy Could I be with Either

M:6/8

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:G

D | (G>A)G (G>F)E | (F<D)D (G>F)G | (A>G)A B2 (B/c/) | (d>e)d (d>B)G |

(A<FD) E>FG | (A>FD) G3 :| d3 {e/d/c/}d3 {e2f2} | (g>a)g (g>f)e | (f>d)d (g>f)g |

(a>g)a b2 (B/c/) | (d>e)d (d>B)G | (A<F)D E>FG | (AF)D G2 ||

                       

HOW HAPPY THE SOLDIER THAT LIVES ON HIS PAY. AKA and see “Little House Under the Hill.” English, Air. The song was written for William Shield’s opera The Poor Soldier (1783, lyrics by J. O’Keeffe), and quickly proved popular on both sides of the Atlantic. In America, the melody appears in the music manuscript copybook of Henry Livingston, Jr., along with other songs from Shield’s opera.  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. Later it was published in Riley’s Flute Melodies (New York, 1814).

***

How happy the soldier who lives on his pay,

And spends half a crown on six pence a day;

He fears neither justices, warrants nor bums,

But pays all his debts with a roll of the drums.  [Ed.—the last line is a phrase meaning ‘not to pay at all’, for a soldier could not be arrested for debt when on the march]

***

X:1

T:How Happy the Solider

M:6/8

L:1/8

R:Air

S:Henry Livingston’s manuscript copybook, late 18th century

Z:AK/Fiddler’s Companion

K:G

e|dBd GBc|dBc d2e| dBd GBd|cAB c2::d|dcB dcB|dcB d2e|

dcB gfg|ABA c2e|dcB dcB|dcB d2e/e/|dcB gfg|ABA G2:|

                       

HOW IMPERFECT IS EXPRESSION. English, Air (2/4 time). G Major (O’Farrell): C Major (Aird). Standard tuning. AABB. The air appears in several late 18th and early 19th century publication set as a song and as a country dance tune (sometimes with dance directions); In one American publication it is even set as a bassoon duo! (W.W. Jones, The Bassoon Preceptor, New York, c. 1807-10). A c. 1785 English song sheet gives that the tune was “Introduced by Mrs. Abington in the Twelfth Night,” indicating is use as an entre-act piece. Aird (Selection, vol. 3). O’Farrell (Pocket Companion, vol. IV), 1810; pg. 122.

X:1

T:How Imperfect is Expression

M:2/4

L:1/8

R:Air

S:O’Farrell – Pocket Companion, vol. IV (c. 1810)  

Z:AK/Fiddler’s Companion

K:G

G | d3d | edcB | B3B | (cB)AG | G>BB>d | d2 (e>d) | (de/d/) cB | B>G A2 | d3d |

(ed)cB | B2 Bd | (cB)AG | (G>B)(B>d) | d2 e>c | d>B (A>B) | G2 z2 :: A3A |

(BA) A2 | Bd(cB) | “tr”A2G2 | (G>B) (B>d) | d2 ed | (de/d/) (cB) | B2 “tr”A2 |

d2 (d/e/)(f/g/) | edcB | B2 (B/c/)(d/e/) | (cB)(AG) | (G>B) B>d | dg e>c |

d<B “tr”A>B | G2 z2 :|

                       

HOW IS YOUR MOTHER? (Ca Nos Ta Do Matair?). Irish, March (6/8 time). D Major. Standard tuning. AABB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1829, pg. 343.

X:1

T:How is your mother?
M:6/8
L:1/8

R:March

S:O’Neill – Music of Ireland (1903), No. 1829

Z:AK/Fiddler’s Companion

K:D

A | d2d f2f | a2a f2d | g2e f2d | cde ABc | d2d f2f | a2a f2d | g2e f2d | ABc d2 :|

|: A | F2A E2A | F2A d2c | B2d A2d | cde A2G | F2A E2A | F2A d2c | Bed cBc | d3 d2 :|

 

HOW LUCKY WE HAVE LIFE.  Canadian, Jig. Canada, Cape Breton. G Major. Standard tuning. AABB’. Composed by the late Cape Breton fiddler and composer Jerry Holland (1955-2009). Cranford (Jerry Holland: The Second Collection), 2000; No. 296, pg. 105.

                       

HOW MANY MILES TO BOSTON TOWN?  American, Polka. D Major. Standard tuning. AABB’. Composed (in Sliabh Luachra style) by Alstead, New Hampshire, fiddler Randy Miller. Miller (Fiddler’s Throne), 2004; No. 343, pg. 201. RM-1C, Randy Miller – “Lore of the Fingerboard” (1990).

 

HOW MELANCHOLY AM I (Gur Muladach a Ta Mi). Scottish, Slow Air (4/4 time). A Minor. Standard tuning. AB. "This is an air, not alluding to any melancholy event, as it would infer from the translation of the name, but of the same cast with No. 1, passionately descriptive of the listless and languid state of an extravagant lover, whose affections are fixed, and had yet obtained no encouragement to hope for final success. There are words by Mrs. Fraser of Bruiach, formerly mentioned, and mother of Lieutenant‑General Fraser, late second in command in Scotland under Earl Moira,, sung by the editor's progenitor" (Fraser). See also the similarly titled “Och! Mar tha mi” (How sad am I). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 88, pg. 33.

X:1

T:How melancholy am I

T:Gur muladach a ta mi

M:C

L:1/8

R:Air

S:Fraser Collection  (1874)

K:Amin

(c/B/4A/4)|G<E E>^G A2 c>d|e2 e>c edd z/a/|g>ed>e A2 c>d|

e2 d>B cA A c/B/4A/4|G<E E>^G A2 ~c>d|(e2 e>)c edd z/a/|

g>ed>e A2 c>d|e2 d>B cA A||B|c>A G>E A2 c>d|e<a g>f edde|

a>^gac A2 c<d|e2 d<B cAA z/B/|c>AG>E A2 c>d|e<a g>f edd z a/4^g/4a/4b/4|

c’>BA>G e2 d>B|c>de>c dcBc A||

                       

HOW MUCH HAS SHE GOT?  (An Moir Ata Aci?)  AKA and see "The Sprightly Widow." Irish, Double Jig. A Mixolydian (O'Neill/1850): A Minor (O'Neill/1001). Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 70. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1102, pg. 208. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 293, pg. 63.

X:1

T:How Much Has She Got?

M:6/8

L:1/8
R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 293

Z:AK/Fiddler’s Companion

K:A Minor

g|aed cBA|ecA A2g|aed cBA|dBG G2g|aed cBA|def efg|agf gfe|dBG A2:|

|:B|A2a aec|aec ABA|G2g gdB|gdB G2B|A2a aec|def efg|agf gfe|dBG A2:|

                       

HOW PADDY WAS FOOLED (An Nos Do Bi Paidih Meallta). AKA and see “Jenny Jones,” “Sweet Jenny Jones,” “Widow on the Train.” Irish, Air (3/4 time, "playfully"). G Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 160, pg. 28.

X:1

T:How Paddy Was Fooled

M:3/4

L:1/8

R:Air

N:”Playfully”

S:O’Neill – Music of Ireland (1903), No. 160

Z:AK/Fiddler’s Companion

K:G

d2 | g2d2B2 | G2A2B2 | c2a2g2 | f2d2 ef | g2d2B2 | c2d2e2 |

d2c2B2 | A4g2 | g2d2B2 | G2A2B2 | c2a2g2 | f2d2 ef | g2e2B2 |

c2d2e2 | d2g2f2 | g4 || (ga) | b2g2b2 | a2f2a2 | g2e2g2 | f2d2 (ga) |

b2g2b2 | a2f2d2 | g2f2e2 | d4 (ef) | g2d2B2 | G2A2B2 | c2a2g2 |

f2d2 ef | g2d2B2 | c2d2e2 | d2g2f2 | g4 || 

                       

HOW SHALL I FIND HER HOME ROOM?  Irish, Air (2/4 time). A Minor. Standard tuning. AA. Source for notated version: Hugh O'Beirne, professional fiddler from Ballinamore, Co. Leitrim, c. 1846 (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 576, pg. 303.

X:1

T:How Shall I Find Her Home Room?

M:2/4

L:1/8

R:Air

N:”Mod.: Spirited”

S:Joyse – Old Irish Folk Music and Songs (1909), No. 576

Z:AK/Fiddler’s Companion

K:A Minor

A/B/ | cE ED/E/ | G/^F/G/A/ GE | A>G A/B/c/d/ | e3c |

de/f/ ge | dG{A/G/^F/}G e/d | cABG | A3 :|

                       

HOW SAD AM I.  See “Och! Mar tha mi.”

 

HOW SHALL WE ABSTAIN FROM WHISKEY?  See "How Can We Abstain From Whisky?"

                       

HOW SHE GOT UP IN THE MORNING. Scottish, Jig. A Mixolydian. Standard tuning. AABB'. Kerr (Merry Melodies), vol. 3; No. 222, pg. 25.

X:1

T:How She Got Up in the Morning

M:6/8

L:1/8

R:Jig

S:Kerr – Merry Melodies, vol. 3, No. 222 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

(A/G/)|EAA Adc|AEE E2D|E=GG GAB|A=GE E2D|EAA AGA|

BcB d2e|=gdd edB|(A3 A2)::e|eaa aga|bab a2=g|d=gg gfg|

a=ga g2|eaa aga|bab a2=g|ede =gdB|(A3 A2):|

                                                  

HOW SHOULD I YOUR TRUE LOVE KNOW. AKA and see "You'll Think E'er Many Days Ensue." English, Air (4/4 time). A Minor. Standard tuning. The piece is the first of Ophelia's "Mad Songs" in Hamlet (act IV, scene 5). Kines (1964) identifies the tune as traditional, given by Hullah. One part. Kines (Songs From Shakespeare's Plays and Popular Songs of Shakespeare's Time), 1964; pg. 32.

                       

HOW STANDS THE GLASS AROUND. AKA and see "The Duke of Berwick's March," "Why, Soldiers, Why," "Wolfe's Song."

                       


HOW SWEET IN THE WOODLANDS. Northumbrian. Title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrels Budget"), which he published c. 1800.

                       

HOW THE MONEY GOES ("An Nois Ata An Airgiod Caite" or "Mar Caittear an t-Airgead"). Irish, Reel. G Major. Standard tuning. AB (O'Neill/1850 & 1001, Roche): AA'B (O'Neill). O'Neill (Krassen), 1976; pg. 126. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1368, pg. 255. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 620, pg. 112. Roche Collection, 1983, Vol. 1; No. 172, pg. 67.

X:1

T:How the Money Goes

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 620

Z:AK/Fiddler’s Companion

K:G

G2 Bd gdBd|cBAc BGEF|G2 Bd gdBd|ecAF GFED| G2 Bd gdBd|

cBAc BGEF|G2 Bd gdBd|ecAF G2||ef|gbef gedf|gbef g2 ef|gbef gedc|

BGAF G2 ef|gbef gedf|gbef g2 ga|bgaf gfed|egfa g2z2||

                       

HOW WE SPENT THE CHRISTMAS. Irish, Reel. D Major. Standard tuning. AABB’. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 230.

X:1

T:How We Spent the Christams

M:4/4

L:1/8

S:Capt. F. O'Neill

Z:Paul Kinder

R:Reel

K:D

df|eA (3AAA BG (3GGG|(3AGA fe dB (3BBB|eA (3AAA BG (3GGG|Agfe d2:|

|:de|"tr"fdfa "tr"fdfa|eddf dB B2|1"tr"fdfa "tr"fdfa|

edeg d2:|2ABAF ABdf|afef d2||

                       

HOW WILL I GET TO THE BEDCHAMBER. Irish, Air (2/4 time). A Minor. Standard tuning. One part. Source for notated version: “(The Irish collector) Forde” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 791, pg. 198.

X:1

T:How will I get to the bedchamber

M:2/4
L:1/8

R:Air

S:Stanford/Petrie (1905), No. 791

Z:AK/Fiddler’s Companion

K:A Minor

A/B/ | cE ED/E/ | G/^F/G/A/ GE | A>G A/B/c/d/ | e3c | de/f/ ge |

dG {A/G/^F/}Ge/d/ | cABG | A3 ||

                       

HOWARD. American, Reel. A Major. Standard tuning. ABBC. The title may possibly refer to Boston’s famous old Howard Athanæum, a venue which lasted from 1845 to 1953. Originally an upscale opera house (redesigned in 1846 by Isaiah Rogers in the Gothic style after the first structure burned), the Howard lost audiences to the newer Boston Museum and the Boston Theatre, and began presenting variety shows and, in the first decades of the 20th century, burlesque (beloved by Harvard undergraduates for its strip-tease acts). Cole (1000 Fiddle Tunes), 1940; pg. 44. Ryan’s Mammoth Collection, 1883; pg. 71.

X:1

T:Howard

M:C|

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:A

A2 (3cBA (c>e) (a>e) | (f>a (e>a) (d>a) (c>a) | B2 (3dcB d>fb>a | (3gag (3fe^d (3efe (3=dcB |

A2 (3cBA (c>e) (a>e) | (f>a (e>a) (d>a) (c>a) | B2 (3dcB d>fb>a | (3gfe (3dcB A2A2 ||

|: F2 (3GF^E F>Ac>a | g>f^e>g f>g a2 | F2 (3GF^E F>Ac>a | g>f ^e>g f2f2 :|

E2 (3GFE E>Be>G | A2 (3BAG A>ca>c | B2 (3^dcB d>fb>a | (3gag (3egf (3efe (3=dcB ||

                       

HOWARD COTILLION. Old‑Time, Breakdown. USA, N. Ga. Played in 1926 by Mrs. Anita (Sorrells) Wheeler at an Old Fiddler's Contest in Chatanooga, Tenn.

                       

HOWARD’S REEL. Scottish, Reel. A Major. Standard tuning. AABB. Identified by Paul Cranford as a 19th century Scottish reel. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 87, pg. 37.

                       

HOWLET AND THE WEAZEL, THE. AKA – “The Weazle [2].” English, Jig. England, Northumberland. G Major. Standard tuning. AABB. A howlet is another name for an owl. Early publications give the title as “The Weazle” (spelled variously), by which it appears in Johnson’s Choice Collection of 200 Favourite Country Dances, vol. 5 (London, 1750) and publisher John Hinton’s Universal Magazine of Knowledge and Pleasure (London, 1750). It can also be found in James Aird’s Selection of Scotch, English, Irish and Foreign Airs,, vol. 2 (Glasgow, 1785). The jig appears in a few musicians’ manuscripts from the late 18th and early 19th centuries: John Fife (Perthshire, c. 1780), Durham (), and H.S.J. Jackson (Wyresdale, Lancashire, 1823). The title was amended to add “Howlet and…” in Hall & Stafford’s Charleton Memorial Tune Book. Callaghan (Hardcore English), 2007; pg. 60. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 33. Raven (English Country Dance Tunes), 1984; pg. 115. Saydisc SDL-252, Jack Armstrong (1972. Heard after “Linshield Brif” and before “Brown Rigg”). Topic 12Ts239, George Hepple (1974).

X:1

T:Howlet and the Weazel, The

M:6/8

L:1/8

K:G

GAG B2c|ded d2g|f2a A2c|BAB G3|GAG B2c|

ded d2g|f2a A2^c|d3 d3::ded d2b|cdc c2a|BAG dcB|

cDD D3|GAG B2c|ded d2g|dBG cAF|G3 G3:|

X:2

T:Weazle, The [2]

M:6/8

L:1/8

S:Aird, vol. II (1782)

Z:AK/Fiddler’s Companion

K:G

GAG B2c | ded d2g | f2a A2c | BAB G3 | GAG B2c | ded d2g | f2a A2^c | d3 d3 :|

|: ded d2b | cdc c2a | BAG dcB | ADD D3 | GAG B2c | ded d2g | dBG cAF | G3 G3 :|

                       

HOWLING JIG, THE. AKA and see “Austin Barret’s,” “The Blasket Sound Jig,” “Dusty Windowsill,” “Harding’s Jig,” “Harland’s,” “Johnny Harling’s,” “Tim Harding’s.”

                       

HOWLING WIND. AKA and see “Tam Lin.”

                       

HOWSENS NEW. English, Reel. A Major (Kershaw): G Major (Callaghan). Standard tuning. AAB (Kershaw): AABB (Callaghan). Source for notated version:  the music manuscript of Joseph Kershaw, a musician from Slackcote, Saddleworth, North West England who began his entries around the year 1820 [Kershaw]. Callaghan (Hardcore English), 2007; pg. 19. Joseph Kershaw Manuscript, 1993; No. 69.

 

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