The Fiddler’s Companion

© 1996-2009 Andrew Kuntz







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’s incredibly handy “ABC Convert-A-Matic” at 


**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 converter results in double-spacing. For’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 Lancashire Jigs, Hornpipes, Joaks etc. (c. 1730). Huckle and Buff, also called huckle-my-buff  and huckle-my-butt, was a hot drink made with beer, egg and brandy. The term is mentioned in many manuscripts from the early 18th century. One such interesting record is that of the trial of one John Cooper, a homosexual, who was mugged and robbed in London in 1732 after a night of drinking, and who sought redress through the courts. A witness at the trial, Margaret Holder, gave this testimony:


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 4 o'Clock the Prisoner said he would go home, for his

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.

I believe the Prisoner is an honest Man; but the Prosecutor and Kitt

Sandford too, use to come to my Cellar with such sort of People.


Offord (John of the Greeny Cheshire Way).


T:Huckle and Buff





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|\


[COMMENT5] [COMMENT6]                                       

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 Tennessee) {originally recorded for Brunswick, 1927}.


T:Huckleberry Blues





S:Cyril Stinnett



Z:B. Shull, trans., R.P. LaVaque, ABCs


(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.


T:Huggerth the Puss




S:Kerr – Merry Melodies, vol. 4, No. 236  (c. 1880’s)

Z:AK/Fiddler’s Companion



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|



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.


T:Hugh Dunlop [1]




S:Kerr – Merry Melodies, vol. 3, No. 11  (c. 1880’s)

Z:AK/Fiddler’s Companion


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.


T:Hugh Dunlop [2]




S:Kerr – Merry Melodies, vol. 3, No. 336  (c. 1880’s)

Z:AK/Fiddler’s Companion


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, Co. Kerry, Ireland), long a resident of Boston, Massachusetts [Miller & Perron]. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 3, No. 45. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 75.


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.


T:Hugh Gilmour’s Lament for Niel Gow



R:Slow Air

C:Hugh Gilmour

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

Z:AK/Fiddler’s Companion


{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.


T:Hugh McArdle’s Fancy




S:O’Neill – Music of Ireland (1903), No. 1680

Z:AK/Fiddler’s Companion


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.


T:Hugh O’Neill’s Lament




S:O’Neill – Music of Ireland (1903), No. 68

Z:AK/Fiddler’s Companion


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, Canada, Cape Breton. Composed by Cape Breton fiddler Andrea Beaton, of the famous musical Beaton family of Mabou (she is Kinnon and Betty Lou Beaton’s daughter, and niece of Buddy MacMaster). Rounder Records 7052, Buddy MacMaster – “The Cape Breton Tradition” (2003). 


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.”


T:Hughie Rory MacKinnon



Z:Toby Rider


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. Canada; Cape Breton, Prince Edward Island. G Major. Standard tuning. AABB’ (Songer):  AA’BB’ (Perlman). Composed by the late Cape Breton fiddler Johnny Wilmot (1916-1993) for his friend Hughie Shorty MacDonald. Wilmot was from Northside, Cape Breton, a largely Irish community, and his core repertoire was Irish, learned from local and recorded sources such as Coleman, Morrison, Killoran, Gillespie and others. However, the Scots influence was great on the island and he learned many Scots tunes in order to play for dances and events outside his community. Wilmot was interviewed for Cape Breton Magazine several decades ago and related how he learned from older players as a young adolescent: "I never took any lessons. What we had to do was—we heard a fellow, you know. There were lots of players around. When we heard a tune, a fellow playing a tune, we could get it off him. We'd listen to it. We wouldn't ask him for it. We would memorize it. Then we'd go and play it." Ken Perlman (1996) states that on Prince Edward Island the tune is played mostly in Kings County, but that a close relative is played on the other side of the island in Prince County under the title “The Dragger.” “Hughie Shorty” is a mainstay of the Cape Breton fiddle repertoire. The melody has similarities to William Marshall’s reel “Lochrynach.” Sources for notated versions: Buddy Longaphie (b. 1950, originally from Souris, North-East Kings County, Prince Edward Island) [Perlman]; Jon Singleton (Seattle) & Chris Roe [Songer]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 64. Songer (Portland Collection), 1997; pg. 102. Avocet Records 104, Cathie Whitesides - “Hometown Cafe” (1993). Breton Books and Music 002, Johnny Wilmot - “Another Side of Cape Breton; Great Traditional Music from the Northside” (reissue). Culburnie Records CUL 121D, Alasdair Fraser & Natalie Haas – “Fire and Grace” (2004).


T:Hughie Shorty’s




C:Johnny Wilmot


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 County Leitrim who played in the Dublin Metropolitan Garda Ceili Band, with whom he recorded a few 78 RPM records in the 1930’s [Philippe Varlet]. The tune was popularized by the band Stockton’s Wing, who also played a jig version of the tune. Source for notated version: New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No. 131, pg. 40. Kitty Hayes – “A Touch of Clare.”

See also listing at:

Alan Ng’s


T:Hughie Travers’ No. 1





|: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


T:Hughie Travers No. 2


Z:Adrian Scahill




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||


T:Hughie Travers (No. 2)





A2eA BAeA|AdBG AGEG|A2eA (3B^cd ea|gedB GBdB|\


Bded gedB|GBAB GEDd|Bded gfgb|abaf (3gfg ed|\



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.


T:Hughie's Cap



C:Ed Reavy


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


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 Ireland), 1903; No. 909. O’Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 382, pg. 77.


T:Huish the Cat



R:Single Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 382

Z:AK/Fiddler’s Companion


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 Kentucky Fiddle Tunes), 2001; No. 64, pg. 94.


HULIE THE BED WILL FA’. See note for “Kilt thy coat, Maggie.”


HULIGAN JIG. AKA and see "Hullichan Jig."


HULL DOCK MARCH.  English, March (cut time). D Major. Standard tuning. AABB. Hull is a large port town at the junction of the Hull and Humber Rivers in Yorkshire’s East Riding, and was at one time the third largest port in England. The first dock at Hull was built in 1778, making the loading and unloading of ships much easier, as prior to the completion of the structure all such activity took place by means of lighters while ships anchored in the Humber. A second dock was added in 1809 and was called the Humber Dock, and it is this that the title of the march probably commemorates. Gibbons 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. 11.


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 (New England Fiddlers Repertoire), 1983; No. 8. Raven (English Country Dance Tunes), 1984; pg. 108 (appears as "Huligan Jig"). Smithsonian Folkways SFW CD 40126, Rodney Miller – “Choose Your Partners: Contra Dance & Square Dance Music of New Hampshire” (1999).







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:


It would shock my New England friends to hear an old Colorado

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."


T:Hull’s Victory




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.


T:Hum the Hummer



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


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:

X: 1

T:Hume Caftle





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



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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