The Fiddler’s
Companion
© 1996-2009 Andrew Kuntz
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Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s
Companion work fine in most abc conversion programs. For example, I use
abc2win and abcNavigator 2 with no problems whatsoever with direct
cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s
into the concertina.net converter results in double-spacing. For
concertina.net’s conversion program to work you must remove the spaces
between all the lines of abc notation after pasting, so that they are
single-spaced, with no intervening blank lines. This being done, the F/C
abc’s will convert to standard notation nicely. Or, get a copy of
abcNavigator 2 – its well worth it.
[AK] |
HUCKLE
AND BUFF. English, “Old” Hornpipe (3/2 time).
F Major. Standard tuning. AABB. The melody appears in Walsh’s
***
I keep the Night-
Cellar, the Prisoner came in about 10 at Night, and
staid till 2 in the
morning, and then the Prosecutor came in, and sat
down by him, and said,
"Your Servant, Sir; have you any Company
belonging to you, for
I don't love much Company?" Then they had 3
Pints of Huckle and Buff, as we call it, that's Gin and Ale made
hot;
and so about
Mother would be up,
and he might get in without his Father's Knowledge;
and the Prosecutor
said, "If you go, I'll go too"; so the Prisoner went up
first, and the Prosecutor staid to change a
Shilling, and went out after him.
***
Offord (John of the
Greeny
X:1
T:Huckle and Buff
B:Walsh
M:3/2
L:1/8
K:F
fgag f2 F2 f3 f| gaba g2 G2 g3 g |agab agfe dcBA| BAGF G2 e2 f4::\
ABcd cAfd cAGF|ABcd cagf gedc|ABcd cAfd cAGF|EFGA GEcA GEDC|
fgag f2 F2 f3 f|\
gaba g2 G2 g3 g|agab agfe dcBA|BAGF G2 e2 f3 _e| dfdB dfbf dfdB|\
AcAF
Acfc AcAF| EGEC EGcG EGEC|EFGA G2 ^B2 c4:|
HUCKLEBERRY BLUES. AKA and see "East
Tennessee Blues." Old-Time, Country Blues/Rag. D Major. Standard
tuning. Old Homestead OHCS 191, "Dykes Magic City
Trio" (eastern
X:1
T:Huckleberry Blues
M:2/4
L:1/16
Q:122
C:Trad.
S:Cyril Stinnett
R:Reel
A:
Z:B. Shull, trans.,
R.P. LaVaque, ABCs
K:D
(af|:a)a2(f a2)af|dfa(b b)(af)e|(dcd)(A
B2)BA|GAB(e e)(dB)G|!
A(BA)(G FD)FA|(dcd)(e fe)gf|1 ecA(g g)(fe)c|eca2
a2(af):|2
ecA(f f)cec|[d8f8]|]z6 ([d2f2]|[fa])[f3a3]
[fa])b[f2a2]|[d8f8]|
d2d(B de)(dB)|A6 F-E-|! -D(EF)G Ad2(e|f)df(a
a)(ba)f|ecA(g g)(fe)c|
eca2 a2(a-f-|!-aa2(f ab)a(e|f2)f(e fa)(fe)|d2B(d
de)(dB)|A6 (F-E-|!
-D)(EF)G
Ad2(e|f)df(a a)(ba)f|ecA(f f)cec| [d8f8]|!
HUDSON BARN [1]. AKA and see "Dance to Your Daddy." English,
Country Dance Tune (3/4 time). G Major. Standard tuning. AABB. Barnes (English Country Dance Tunes), 1986.
HUDSON BARN [2]. English, Country Dance Tune (3/4
time). A Minor. Standard tuning. AAB. A minor‑key variation of version
#1. Barnes (English Country Dance Tunes),
1986.
HUDSON BAY BREAKDOWN, THE.
Canadian, Breakdown. C Major. Standard tuning. AABB. Composed by John Durocher.
Hudson Bay takes its name from the great English explorer Henry Hudson, who
“discovered” it in the year 1610. Hudson had hoped the huge bay was a route to
the Orient, but had his hopes dashed some months later when he found an
unbroken shore on the other side. His crew mutinied and set him and his son
adrift in a small boat among the ice flows. They were never heard from again.
Messer (Anthology of Favorite Fiddle
Tunes), 1980; No. 15, pg. 16.
HUG THE BUNDLE. Irish, Single Jig. The tune comes from a transcription of the playing
of Co. Westmeath piper Joe Kilmurray (Ballallen, Ballinacarrigy). Drumlin Records BMNCD2, Brian McNamara – “Fort of the
Jewels” (2004).
HUGGAD DE GADDA FREE A
MONY. See “Chudgad a’gadaidhe
fríd a’mónaidh.”
HUGGERTH THE PUSS. Irish, Double Jig. F Major. Standard tuning. AABBC. Related to the “Gold Ring [1]” family of tunes. Kerr (Merry Melodies), vol. 4; No. 236, pg.
26.
X:1
T:Huggerth the Puss
M:6/8
L:1/8
R:Jig
S:Kerr – Merry Melodies, vol. 4, No. 236
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:F
d|cAG GDG|cAG (G2A)|cAG GDG|cAF
(F2d)|cAG GDG|GDG GDG|
FGA fed|cAF F2::(3A/B/c/|d2A d2A|cAG
(G2A)|d2e fed|cAF F2(3A/B/c/|
d2A d2A|cAF G2A|FGA fed|cAF
F2::e|g2e f2d|cAG G2e|g2e f2d|
cAF F2e|g2e f2d|gag f2d|gfe fed|cAG
(G2A)|BBB BdB|AAA AcA|
GGG GFG|cAG G2A|BBB BdB|AAA AcA|FGA
fed|cAF F2:|
HUGH DUNLOP [1]. Scottish, Strathspey. D Major. Standard tuning. AB. Hugh Dunlop’s name
is attached as composer to a few tunes in the Kerr’s collections, such as “Rob
Ralston’s Strathspey,” “Bob Simms” and “John Howat.” Kerr (Merry Melodies), vol. 3; No. 11, pg. 4.
X:1
T:Hugh Dunlop [1]
M:C
L:1/8
R:Strathspey
S:Kerr – Merry Melodies, vol. 3, No. 11
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
F|A,>DF>A
d>BA>F|F>AD>A G<E E>F|A,>DF>A d>BA>F|A>dF>d
F<D DF|
A,>DF>A
d>BA>F|F>AD>A G<E E>F|(3FGA (3DEF (3GAB (3AGF|(3GFG (3EAG
F<D D||
B|(A<d) (de/f/)
g>ag>e|a>ef>d e>dc>A|(A<d) (de/f/) g>ag>e|f<a
e>f d2 (d<f)|
A<d) (de/f/)
g>ag>e|a>ef>d e>dc>A|(3fdf (3ece (3dcB (3AGF|(3GFG (3EAG
F<D D||
HUGH DUNLOP [2]. Scottish, Hornpipe. D Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 336, pg.
36.
X:1
T:Hugh Dunlop [2]
M:C
L:1/8
R:Hornpipe
S:Kerr – Merry Melodies, vol. 3, No. 336
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
A2|Adcd Adfd|eAfA gAfA|Aagf
edcd|edcB A2 (AB)|Adcd Adfd|
eAfA gAfA|agfe
dbag|f2d2d2:|(fg)|agaf dafd|gfed dcBA|ceAe ceAe|
ABcd efge|agaf dafd|gfed dcBA|FAdA
Bgec|d2d2d2:|
HUGH GILLESPIE'S. AKA and see "Dowd's No. 9,"
"O'Dowd's No. 9," "Jackson's No. 9," "The Cow with the Crooked Horn,"
"Summer in Ireland." Irish,
Reel. D Major. Standard tuning. AABB'. Hugh Gillespie was a fiddler from
Donegal who played and recorded in the United States for much of his career,
settling in Boston, Massachusetts. Along with contemporaries and fellow
expatriates Michael Coleman, James Morrison and Paddy Killoran, Gillespie (who
was much influenced by Coleman) was one of the most influential fiddlers of his
generation. The tune is better known as “Dowd’s/O’Dowd’s No. 9,” attributed to
Sligo fiddler John O’Dowd. Source for notated version: fiddler Paddy Cronin (b.
1925,
HUGH GILMOUR’S LAMENT FOR NIEL
GOW. Scottish, Slow Air (whole time). G Minor.
Standard tuning. AABB. Composed by Hugh Gilmour. Gow (Fifth Collection of
Strathspey Reels), 1809; pg. 6.
X:1
T:Hugh Gilmour’s Lament for Niel Gow
M:C
L:1/8
R:Slow Air
C:Hugh Gilmour
B:Gow – Fifth Collection of
Strathspey Reels (1809)
Z:AK/Fiddler’s Companion
K:Gmin
{ED^C}D2|[D2B2] “tr”[CA]>G G^FG A/B/|~c>dcB (BA) (G=F)|~BABc d>=e fB|A>c (B/A/)(G/F/) F3D|
[D2B2] [CA]>G (G^F)G
A/B/|~c>dc [CB] [CB]A (G=F)|”tr”B>cd=e ~f>g fB|A>c (B/A/)(G/F/)
{F}G2:|
|:(d=e/^f/)|~g>a gf
(ed)(cB)|~c>d cB (BA)(GF)|”tr”B>ABc dcd^f|~ga/b/ b/a/g/^f/ “tr”g2 g/a/|
(bg) (a^f) ~ga/b/ dB|~c2d c[CB]
[CB]A(G=F)|”tr”B>c d=e ~f>g fB|A>c (B/A/)(G/^F/) {F}G2:|
HUGH KELLY. AKA and see “Fly Not Yet.”
Irish, Planxty (6/8 time). D Major. Standard tuning. One part. Composed by
blind Irish harper Turlough O'Carolan (1670-1738) for Hugh Kelly of
Ballyforan, although whom this might be is not known as the name is so common.
Donal O’Sullivan believes this Hugh Kelly was actually the son of Hugh Kelly of
Ballyforan (1656-1689). Sir Thomas Moore used the melody for his song “Fly Not
Yet,” published in his Irish Minstrelsy, vol. 1 (1806). A song by
William Shield in his opera Robin Hood
(1784) has an initial four bars that are similar to “Hugh Kelly.” Complete Collection of Carolan's Irish Tunes, 1984; No. 71, pg. 62.
HUGH MACDONALD. Canadian, Jig. Canada, Cape Breton. A Major. Standard tuning. AABB.
Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976).
Cameron (Trip to Windsor), 1994; pg.
43.
HUGH MACKENZIE’S JIG. Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AABB’.
Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976).
Cameron (Trip to Windsor), 1944; pg.
55.
HUGH McARDLE'S FANCY
(Roga Aed Mic Arduil). Irish, Hornpipe. G Major. Standard tuning. AABB. Source for notated
version: Chicago Police Sergeant James O’Neill, a fiddler originally from
County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Krassen),
1976; pg. 192. O'Neill (Music of Ireland:
1850 Melodies), 1903/1979; No. 1680, pg. 312.
X:1
T:Hugh McArdle’s Fancy
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Music of Ireland (1903), No. 1680
Z:AK/Fiddler’s Companion
K:G
B>c | d>ed>B g>fg>d |
b2 b>a g>fg>e | d>^cd>g B>GB>d | A>^GA>B A2 B>c |
d>ed>B g>fg>d | b2
b>a g>fg>e | d>gf>e d>cB>A | G2 G2 G2 :: A>B |
c>Bc>A F>AD>F |
G>AB>c d>fd>B | c>Bc>A B>AB>G | (3ABG (3FGE D2 A>B |
c>Bc>A F>AD>F |
G>AB>c d>fd>B | c>de>f a>ge>c | d2 d2 d2 :|
HUGH O'DONNELL. AKA and see "Planxty
Hugh O'Donnell."
HUGH O'NEILL'S LAMENT (Caoine Aeda Ui Niall). Irish, Slow Air (4/4 time). D
Minor. Standard tuning. AB. Source for notated version: identified as “another
of those fine melodies from the North of Ireland” contributed by fiddler
Chicago Police Sergeant James O’Neill, a fiddler originally from Ulster
[O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 68,
pg. 12.
X:1
T:Hugh O’Neill’s Lament
M:C
L:1/8
R:Air
N:”Slow”
S:O’Neill – Music of Ireland (1903),
No. 68
Z:AK/Fiddler’s Companion
K:Dmin
A>G | F2 F>E EDDE | FGA^F G2
FG | Ad^cd B2 A>G | F2 ED C2 DE |
F2 GA D2 de | f2 ed c2 AG | ^FGFG Adde | =fde>d d2 || z d/e/ |
f>fed eAAG | FcED C2 DE | F2 F>G Ade^c | d2 BA GcED |
C2 DE Fddc | .A>.AGE FDE>D | (D4 D2) ||
HUGH SMITH’S FAREWELL.
Irish, Reel. A Minor. Standard tuning. AABB. Composed by Falmouth,
Massachusetts, writer and musician Bill Black.
X: 1
T: Hugh Smith's Farewell
C: © B. Black
M: 4/4
L: 1/8
R: reel
N: “Hugh Smith, originally from Cavan, was head
of CCE North America
N: and fought a long hard struggle against a
terrible illness. I had
N: composed this tune to cheer him up a little,
but unfortunately
N: never had the chance to get it to him before
he passed away. His
N: brother Tony performed this tune at the 1999
CCE North American
N: Convention, and everyone is sure that Hugh
would have liked it.
N: Ar dheis DŽ a raibh a h-anam.”
K: Am
E | A3 B c2 BA | GEEA GEEF | GFGA B3 A | G2 BG
dGBG |
A3 B c2 BA | edcB AGEF | GFGA Bdge | dBGB A3 :|
e | a^gab a=ged | eaag ea a2 | gfga gedB | G2 BG
ABde |
a^gab a=ged | eaag eaab | g3 f efge | dBGB A3 :|
HUGHENA CAMPBELL’S. Canadian, March. Canada, Cape Breton. Composed
by Cape Breton fiddler Wendy MacIsaac in honor of her grandmother. WS 031703, Wendy MacIsaac – “Timeline” (2003).
HUGHIE AND JANET’S
MARCH.
Canadian, March,
HUGHIE JIM PAUL’S REEL. Canadian, Reel. Canada; Cape Breton, Prince Edward Island. A Major.
Standard tuning. AABB. Composed by Cape Breton musician Joan MacDonald Boes.
She was born in Foot Cape, Inverness County, and played piano with the
Detroit-based Five MacDonald Fiddlers. Source for notated version: Kenny
Chaisson (b. 1947, Bear River, North-East Kings County, Prince Edward Island;
now resident of Rollo Bay) [Perlman]. Cranford (Jerry Holland: The Second
Collection), 2000; No. 4, pg. 2. Harp String House (Horo Gheallaidh,
vol. 2/Session Tunes for Scottish Fiddlers). Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 91. Jerry Holland – “Master Cape Breton Fiddler” (1982).
See also listings at: Alan Snyder’s Cape Breton Fiddle Recording
Index Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
HUGHIE JOHNNY ANGUS OF
WEST MABOU. Canadian, Strathspey. Canada, Cape
Breton. G Major. Standard tuning. AAB. Traditional. Source for notated version:
fiddler/guitarist Dave MacIssac (Halifax, Nova Scotia) via Jerry Holland
(Inverness, Cape Breton). Cranford (Jerry
Holland’s), 1995; No. 174, pg. 49.
HUGHIE RORY MACKINNON (Eoghann Ruairidh). Canadian, Strathspey. Canada, Cape Breton. A
Mixolydian. Standard or ADae tunings. AABB. Source for notated version: The
Beaton family (Mabou Coal Mines, Cape Breton, Nova Scotia) [Dunlay and Reich];
Donald Angus Beaton & Dinnon Beaton (Mabou Coal Mines) and Mary MacDonald
[Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music from Cape Breton), 1996; pg. 33
(two versions). Dunlay and Reich (Traditional
Celtic Fiddle Music from Cape Breton), 1986; pg. 32. JAD -1, Jackie Dunn - “Dunn to a T” (1995). Rounder 7011,
"The Beatons of Mabou: Scottish Violin Music from Cape Breton"
(1978). WRC1-5263, Brenda Stubbert - “Tammerack ‘er Down.”
X:1
T:Hughie Rory MacKinnon
M:4/4
L:1/8
Z:Toby Rider
K:Amix
f| (ed)(c<A) e>cA>c| B<dg>e d>BG>f|
(ed)(c>A) e>c A<c| B>A B<G A/2A/2AA:|!
g|(fe)(a>f) e>cA>c|
B<dg>e d>BG>g| f>e a<f e>c A<c| B>A B<G A
(A>g)|!
(f<e)(a>f) e>cA>c|
(B<d)(g>e) d>BG>f| e>dc>A e>c A<c| B>A B<G A2 A||
HUGHIE SHORTY’S REEL. Canadian, Reel.
X:1
T:Hughie Shorty’s
R:Reel
M:4/4
L:1/8
C:Johnny Wilmot
K:G
G3B cABA|GABd g3f|ecc2 dBB2|cAAB
AGEF|\
GABd cABA|GABd g3f|ecc2 dBB2|cAFA
G4:||\
g3f gbag|e3c egfe|dBB2 gBB2|1 cAAG
ABcd|g3f gbag|e3c egfe|
dBB2 gBB2|cAFA G4:|2 cAAB AGFG| ECEG
DB,DE|GABd g3f|
ecc2 dBB2|cAFA G4||
HUGHIE TRAVERS’ NO. 1. Irish,
Reel. G Major. Standard tuning. AA’BB’. Hughie Travers was a flute player from
See also listing at: Alan Ng’s Irishtune.info |
X:1
T:Hughie Travers’ No. 1
M:4/4
L:1/8
R:Reel
K:G
|:Bc|dBBA B2GB|dBGB AGED|GABd
g2ga|gedB A2Bc|
dBBA B2GB|dBGB AGED|GABd g2ga|gedB
G2:|
A2|Bdd2 edBd|edgd edBA|Bdef
g2ga|gedB A2GA|
Bdd2 edd2|edgd edBA|Bdef g2ga|gedB
A2Bc|
dBBA B2GB|dBGB AGED|GABd g2ga|gedB
G2||
HUGHIE TRAVERS’ NO. 2. Irish, Reel. G Major. Standard
tuning. AA’BB’.
See also listings at: Alan Ng’s Irishtune.info |
X:1
T:Hughie Travers No. 2
R:Reel
Z:Adrian Scahill
M:4/4
L:1/8
K:G
A2dA eAdB|AcBG AGEG|1 A2dA eAdg|gedB
GBdB:|2 c3A B3c|dBAG EFGB|\
(3Bcd ef gedB|GBAF GED2|1 (3Bcd ef
g3b|a3f gfed:|2 c3A B3c|dBAG EFG2||
X:2
T:Hughie Travers (No. 2)
R:Reel
M:4/4
L:1/8
K:G
A2eA BAeA|AdBG AGEG|A2eA (3B^cd
ea|gedB GBdB|\
A2eA BAeA|AdBG AGED|+cC+dcA (3BAG
dB|GBAG EDED||\
Bded gedB|GBAB GEDd|Bded gfgb|abaf (3gfg
ed|\
Bdea gedB|GBAB GEDB|cdcA (3BAG
dB|GBAG EDEG||
HUGHIE’S CAP. Irish, Reel. D Minor (‘A’ part) & D Dorian (‘B’ part). Standard
tuning. AA’BB’. Composed by County Cavan/Philadelphia fiddler and composer Ed
Reavy (1898-1988). Hughie, according to a story by Reavy, was an easygoing
character who could look particularly menacing when he wore a particular cap,
and when intimidation was needed apparently Hughie was the man to call. Reavy (The Collected Compositions of Ed Reavy),
No. 26, pg. 27.
X:1
T:Hughie's Cap
M:2/2
L:1/8
C:Ed Reavy
R:Reel
N:A favorite story of Ed's tells of Hughie, an easygoing
N:sort who had a fierce look when he wore a certain cap. Friends would
N:take Hughie along whenever a fight was anticipated. One look from
N:Hughie and his cap would silence the most quarrelsome bullies. One
N:night, as it would happen, Hughie's friends found themselves in the
N:worst sort of mix and quickly looked for Hughie's help. But Hughie,
N:alas, had ventured out this time without his menacing capeen. "Oh God,"
N:one exclaimed, "somebody go fetch Hughie's cap, or there'll be hell to
N:pay for all of us this night!"
Z:Joe Reavy
K:F
FG | A2 de fedc | AF (3FEF DGGB | A2 de f2 df | ec (3c=Bc agfe | A2 de fedc |
AGFE FDEC | A,DDE FGAd |1 cAGE F2 :|2 cAGE FGA=B || c2 AF A=BcA |
d2 =BG =Bcdf | ec(3cBc agfe | fagf dcA=B | c2 AF A=BcA | d2 =BG =Bcdf |
ec (3c=Bc agfe |1 fdcA FGA=B :|2 fdcA F2 :||
HUIS AN CAT. AKA and see “Bímid ag Ól [1],”
"Hish the Cat," “Hush the Cat,” “Whip the Cat from Under
the Table,” “Jackson’s
Humours of Panteen.”
HUISH THE CAT (Huis/Uis an Cat). AKA and see “Bímid ag Ól [1],” “Drive the cat from under
the table,” "Hush the Cat from Under the Table,"
“Jackson’s Humours of
Panteen,” "Whip
the Cat from Under the Table." Irish, Single Jig. C Major. Standard
tuning. AABB. “Huish the Cat” is the title Bunting gave in his third
collection. See also “Where’s the Cat”
and the double jig “Bimid ag Ól.” O’Neill (Music
of
X:1
T:Huish the Cat
M:6/8
L:1/8
R:Single Jig
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:C
G>AG c2e|d<dA c2e|G>AG
c2d|ecA A2c|G>AG c2e|d<dA c2e|g>fe f2d|ecA A2G:|
|:gfe f2d|edc f2d|gfe f2d|ecA
A2G|gfe f2d|edc f2d|G>AG f2d|ecA A2G:|
HUISH THE CAT FROM THE
BACON. AKA and
see “Hush the Cat from the Bacon.”
HULDY IN THE SINKHOLE.
Old-Time, Breakdown. USA, Kentucky. A Major. AEae tuning. AB. Jeff Titon (2001)
identifies the tune as closely related to “Jenny in the Cotton Patch,” and
that the ‘A’ part is also a variant of the ‘B’ part of Clyde Davenport’s “Little Boy,
Where’d You Get Your Britches?” Source for notated version: Birch Patrick
(Salyersville, Magoffin County, Ky., 1977) [Titon]. Titon (Old-Time
HULIE THE BED WILL FA’. See note for “Kilt thy coat, Maggie.”
HULIGAN JIG. AKA and see "Hullichan Jig."
HULLICHAN JIG. AKA and see "Huligan Jig," "The Marchioness," "The Guard House," "Chelmsford Races," "Soldier's Dance." English, Jig. G
Major. Standard tuning. AABB. Kennedy (Fiddlers
Tune Book), vol. 2, 1954; pg. 38. Kerr (Merry
Melodies), vol. 1; pg. 28 (7th tune, untitled). Miller & Perron (
X:1
T:Hullichan
R:Jig
L:1/8
M:6/8
K:G
GAG BGB|ded dBG|cBc ege|dBG A2D|GAG BGB|ded B2g|fed cBA|G3 G3:|
|:ded
Bcd|ece e2e|fgf def|gBd gfe|ded Bcd|ede gfe|ded cBA|G3 G3:|
HULLICHAN REEL. AKA and see “Reel o’ Tulloch.”
HULL'S FOURTH
DRAGOON MARCH. English, March (4/4 time). England, Yorkshire. G Major. Standard
tuning. AABBCD. There is a town called Hull (formerly Kingston-on-Hull) in
Yorkshire which takes its name from the adjacent river. 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. 106,
pg. 60.
HULL'S VICTORY [1]
(Buaid Mic Uill).
New England; Hornpipe and reel. USA; Maine, New Hampshire, New York. F Major
(Brody, Burchenal, Cole, Ford, Linscott, Miller & Perron, Phillips, Sweet,
White): D Major (O'Neill, Shaw, Sweet). Standard tuning. One part (Burchenal):
AABB (most versions): AA'BB (Phillips). This title commemorates Hull's victory
off the coast of Nova Scotia in the War of 1812. An American hero, Captain
Isaac Hull was commander of the frigate USS Constitution ('Old Ironsides'),
which engaged the British frigate HMS Guerriere under Captain Richard Dacre in
fierce combat in the Gulf of St. Lawrence, about 750 miles out of Boston. The
battle lasted 55 minutes and left 101 dead. With the Guerriere dismasted and
smashed beyond salvage, Captain Dacre struck his colors and surrendered to
Hull’s boarding party. The
Constitution, heavier and more solidly built, suffered little damage and only
14 casualties. The impact of the clash, however, was to shock the British
Admiralty and hearten America and the fledgling American Navy in the dark days
of the War of 1812.
***
“Constitution vs. Guerriere” by Thomas Birch. United States Naval
Academy Museum
***
The melody is similar to an old
English drinking song and a Scottish dance tune, according to Bronner (1987),
and started life as a ballad, though soon entered enduring popular tradition as
a dance tune, which he maintains is one of the earliest contra dance melodies
composed in America. Paul Wells, of the Center for Popular Music/Middle
Tennessee State University, has found an untitled version in a fife manuscript
begun in 1807 (which may or may not date the tune, which may have been entered
later). It can be found in Elias Howe's 1842 Musician's Companion, Part 1. Burchenal (1918) prints a New England
contra dance of the same name as the tune, and Linscott (1939) confirms both
the tune and dance's popularity in the region. The title appears in a list of
traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist
Vance Randolph, published in 1954. The title appears in a list of Maine fiddler
Mellie Dunham's repertoire and was recorded by him in the 1920's or early
1930's. The elderly Dunham was Henry Ford's champion fiddler in the late
1920's.
***
There is a New England dance of the
same name, to which this tune was the accompaniment, that travelled far beyond
the orders of the region. Lloyd Shaw, in his book Cowboy Dances (1943), writes:
***
Rancher ask me if I ever danced Hell’s Victory. From his description
I was sure of the dance and told him it was Hull’s Victory, not Hell’s—
Hull’s Victory with his famous ship The Constitution. “No, no!” he
says, “it’s Hell’s
Victory! Called it that ever since I was
a boy!”
***
Source for notated version: Willie
Woodward (Bristol, N.H.) [Linscott, 1939]. Brody (Fiddler’s Fakebook), 1983; pg. 137. Bronner (Old Time Music Makers of New York State), 1987. Burchenal (American Country Dances, Vol. 1), 1918;
pg. 30. Cole (1000 Fiddle Tunes),
1940; pg. 103. Ford (Traditional Music of
America), 1940; pg. 74. Linscott (Folk
Songs of Old New England), 1939; pg. 97. Miller & Perron (New England Fiddler’s Repertoire), 1983;
No. 140. O'Neill (Krassen), 1976; pg. 198. O'Neill (1850), 1979; No. 1702, pg.
316. Phillips (Traditional American
Fiddle Tunes, Vol. 1), 1994; pg. 115. Ryan’s
Mammoth Collection, 1883; pg. 140. Shaw (Cowboy Dances), 1943; pg. 388.
Sweet (Fifer’s Delight), 1964/1981;
pg. 80 (two versions). White's Unique
Collection, 1896; No. 110, pg. 20. Alcazar Dance
Series FR 203, Rodney and Randy Miller‑ "New England Chestnuts, Vol.
I" (1980). Jonathan Edwards Memorial Foundation JEMF‑105, Mellie
Dunham's Orchestra ‑ "New England Traditional Fiddling" (1978).
Kicking Mule 216, Strathspey‑ "New England Contra Dance Music."
X:1
T:Hull’s
Victory
M:C|
L:1/8
K:F
fc fa fc
fg|ag fe f2AB|c2cd c2cB|AB GA F2c2|
fc fa fc
fa|g2g2g2ag|fe dc =Bc dB|c2e2c2c2:|
|:fe fg ag
fe|d2B2B2ef|g^f ga ba g=f|e2c2c2 (3cde|
fc fa fc
fa|gc gb gc gb|ag fa gf eg|f2a2f2c2:|
HULL'S VICTORY [2]. American; Reel. USA, Maine. D
Major. Standard tuning. AB (Bronner): AABB' (Phillips). A variation of version
#1. The source for this version, Alanson Mellen Dunham, was a Maine fiddler who
won Henry Ford's national old‑time fiddler's contest in 1925, and was
subsequently promoted by him in recordings and concerts all over the country.
***
Mellie Dunham. Photograph courtesy of David Sanderson, Maine
***
Source for notated version: Mellie
Dunham, 1926 (Norway, Maine) [Bronner]. Bronner (Old Time Music Makers of New York State), 1987; No. 8, pg. 39.
Phillips (Traditional Music of America),
vol. 1, 1994; pg. 115. Victor 40131 (78 RPM), Mellie
Dunham, 1926.
HUM THE HUMMER. English, Jig. D Major. Standard tuning. AABB.
The melody is unique to London publisher Charles and Samuel Thompson’s 1765
country dance collection. Thompson (Compleat Collection of 200
Favourite Country Dances, vol. 2), 1765; No. 82.
X:1
T:Hum the Hummer
M:6/8
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:D
A|dAF BGE|AFD d2e|fdB ecA|(d3 d2) F/G/|AFD BGE|cAF g2f|ecA ^GEG|(A3
A2):|
|:c|ecA
dfd|BdB GGf|gec fF^A|(B3 B2) c|dBF GEd|eBe cBA|dAF BGA|(D3 D2):||
HUMANSVILLE. Old-time, Breakdown. USA, Missouri. C Major. Standard tuning. AA’BB’.
The title refers to a place-name from the Ozarks, the town of Humansville, Polk
County, Missouri. Similarities to the Kentucky “Fun’s All Over,” and “Hold Old
Baldy While I Dance with Josie,” and Nebraska fiddler Bob Walters’ “Padgett.” Source
for notated version: Fred Stoneking (b. 1933, Missouri), learned from Dean
Johnston, who may have learned it from Shorty Pruitt, a resident of Humansville
[Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Tunes),
2008; pg. 138. Rounder CD 0381, Fred Stoneking – “Saddle
Old Spike” (1996). Rounder 0436, Earl Ball – “Traditional Fiddle Music of the
Ozarks, vol. 2: On the Springfield Plain” (Ball is a resident of Humansville
and learned the tune from his grandfather Bishop).
HUME CASTLE. Scottish, Reel. G Major. Standard tuning. John Glen (1891) finds the
earliest printing in Daniel Dow's c. 1775
collection (pg. 20). A tune called
“Hume Castle” also appears in the Thomas Calvert Collection of 1799. Calvert
was a musician from Kelso, Scotland (near Hume), and a note with the
collection states that Calvert supplied “a variety of music and instruments,
instruments lent out, tun’d and repaired.” Hume Castle was once the seat of the Hume/Home family, and the original
structure dates from the 13th century. The medieval building was
destroyed by Cromwell's artillery in 1651. In 1794 the Earl of Marchmont built
a new castle on the same foundations, however, it appears that it was never
completed (or only meant for show) and remained only a shell that may be seen
today from Marchmont and other points in the border region between Scotland and
England. The castle site commands exquisite views and was used as a lookout and
beacon station from the Napoleonic Wars through World War II.
Hume
Castle: http://www.m-j-s.net/mj/photo/
X: 1
T:Hume Caftle
M:4/4
L:1/8
Q:90
R:Reel
B:Thomas Calvert Collection - Page 9
Z:Transcribed by Philip Whittaker
H:Hume Castle - 6 miles North of Kelso was rebuilt as a folly by the
H:Earl of Marchmont in 1794 - five years before the publication of this
H:collection
K:G
c|BG (3Bcd) ~B2 Bd | egdg BAAc | BGGc Bddg | e/2d/2c/2B/2 Ad BGG ||
c|Bddg egdg | BddB cAAc | Bddg egdg | Bgdg BGGc |
Bddg egdg | BddB cAAc |
Bdgb afdg | e/2d/2c/2B/2 Ad BGG ||
HUMMING BIRD. Irish, Waltz. A Major ('A' part) & D Major ('B' part). Standard
tuning. AAB. Roche Collection, 1983,
vol. 3; No. 163, pg. 56.
HUMMINGBIRD REEL. AKA and see "Whip(ping) the Devil
Around the Stump," "Chasing the Devil
Around the Stump." American, Reel. A Major. Standard tuning. AA'BBCC'.
See also the low part of “Coming
Down from Denver.” Source for notated version: Bartow Riley [Phillips].
Phillips (Traditional American Fiddle
Tunes), vol. 1, 1994; pg. 115.
HUMMINGBIRD WALTZ. American, Waltz. A Major. Standard tuning. AA'BB'. Source for notated
version: Clarence Tate [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 268.
_______________________________
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