The Fiddler’s
Companion
© 1996-2007 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] |
HUN HAYDN. English, Dance
Tune (2/4 time). C Major. Standard tuning. AABB. It refers no doubt to the German composer Franz Joseph
Haydn, who was in residence in
HUNDRED AND ONE
FAREWELLS TO HIM, A (Beannacht Agus
Ceud Leis).
Irish, Air (3/4 time). A Minor. Standard tuning. One part. Source for notated
version: "William Elliott Hudson, a well‑known Irish patriot and
scholar of the last century" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 506, pg. 276.
HUNDRED PIPERS (An A', An 'A), THE/A. AKA - “One Hundred Pipers,”
"Wi' a Hundred Pipers." AKA and see "Durham Reel," “The Hair Fell Off
My Coconut.” Scottish (originally), English, Canadian, American; Jig or
Waltz.
***
Musically, it is an example of the
form Scotch Jig, or a jig in Scotch measure rhythm (see Emmerson, 1971, pg.
159), however
***
Source for notated verison: Hiram
Horner (fifer from Westmoreland and
X:1
T:Hundred Pipers, A
L:1/8
M:6/8
K:A
c2E EFE|F2A A2f|e2c cBA|BcB BAB|c2E EFE|F2A A2f|
e2c BcB|1 A3 A2B:|2 A3 c2d||: e2e ece|f2a agf|e2c cBA|
BcB Bcd|e2e ece|f2a agf|e2c BcB|A3 A2B:|
X: 2
T: Hundred Pipers
S: J. O'Brien: "Irish Folk Dance
Music"
M: 6/8
L: 1/8
Q: 325
Z: Transcribed by Bill Black
R: jig
K: A
B | c2
c2
B | c2 e ece | f2 a agf | e2 c cBA | BcB BAB |
c2
e ece | f2 a agf | e2 c BAB | A3 A2 :|
HUNDRED YEARS SINCE, A. Scottish, Reel. E Flat Major. Standard. AAB. Composed by James
Porteons, son of the editor of the Skye
Collection, Keith MacDonald. MacDonald (The
Skye Collection), 1887; pg. 130.
X:1
T:Hundred Years Since, A
M:C|
L:1/8
R:Reel
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:E_
C|B,G,B,C E2 (EG)|FEFG FECE|B,G,B,C
EFGc|BGFG E2E:|
d|edcB c2 ce|BGFE FECB|(ed)cB
(cd)ef|(gf)ed e2 ef|(gf)ed e2 ef|
(gf)ed (ed)cB|(AG)FE FECE|B,G,B,C
EFGc|BGFG E2E||
HUNG MY JAWBONE ON THE
FENCE. Old‑Time. The tune was
recorded by the Library of Congress by musicologist/folklorist Vance Randolph
from
HUNG-OVER CHURCH
ORGANIST, THE. Canadian, Jig.
HUNGARIAN HAT, THE. English, Set Dance (3/4 time). E Minor. Standard tuning. AAB. A modern composition by editor Michael
Raven. Raven (English Country Dance Tunes),
1984; pg. 204.
HUNGARIAN WALTZ. AKA and see "Drink Your
Tea, Love," "Grand
Duke Nicholas." English, Waltz (3/8 time).
***
The 'Hungarian Waltz' having also been danced,
the hostess calls up the
show the foreign guests
what a Scotch reel is
like. The men put their hands on their hips
and tread it out briskly. While they stand aside
and rest 'The Hanovarian Dance' is called.
***
Source for notated versions: the
Hardy MS [Trim]; a c. 1837-1840 MS by Shropshire musician John Moore [Ashman];
the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of
Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Ashman (The Ironbridge Hornpipe), 1991; No. 36,
pg. 12. Sumner (
HUNGRY ARMY, THE. English, Jig. G Major. Standard. AABB. A
modern composition by editor Michael Raven. Raven (English Country Dance Tunes), 1984; pg. 197.
HUNGRY ROCKS [1], THE. AKA and see “Lucy Farr’s Jig.” Irish, Jig. E Minor.
Standard. ABC. Songer (
HUNGRY ROCK [2], THE. Irish, Jig. E Dorian. Standard. AABBCC.
Composed by Liam Kelly.
X:1
T:The Hungry Rock
C:Liam Kelly
R:Jig
M:6/8
L:1/8
K:Edor
|: GEB GEB | ~F3 dAf | GEB GEG | EFD E2 D |
GEB GEB | ~F3 dAf | agf edB | ABd E2D :|
|: AFE A (3Bcd | efe dAB | AFE A (3Bcd | efg fed |
AFE A (3Bcd | efe dAB | agf edB | A (3Bcd edf :|
|: GEF GFG | EFE GFE | FEF GFG | BGE cEd |
GEF
GFG | EFE GFE | ABG EcA | dAf gfe :|
HUNKY DORY. Old‑Time, Breakdown.
HUNNELL'S DOUBLE DRAG. AKA and see "Oho,
Oho, I've Found You Out" (
HUNSDON HOUSE. English, Country Dance Tune (6/8 time). C Major (Barnes, Karpeles,
Raven, Sharp): D Major (Fleming‑Williams). Standard
tuning. ABB (Karpeles & Raven): AABBBB (Barnes, Fleming‑Williams,
Sharp). The melody dates to 1665, although the Hertforshire house is much
older, having begun as a brick tower in 1447 by Sir William Oldhall. King Henry
VIII purchased Hunsdon House in 1525 and for the next decade greatly expanded
the structure into a Tudor house of palatial proportions. Henry’s children
largely resided in the home, Edward (whose portrait, with the house in the
backgroud, appears below), and Princess Mary and Elizabeth. It is said that
Mary taught her younger sister Elizabeth how to play cards at Hunsdon House.
When Mary became Queen she presented the house and the Lordship of Hunsdon to
her maternal cousin, Henry Carey, in 1559, but it went into decline into the
next century. Rebuilt in the early 19th century it was, by Victorian
times, again in a ruinous state, and was yet again rebuilt in 1860 by the
Calverts, albeit with horrible Victorianisms. Resoration work was completed in
modern times in 1983, which revealed as much of the 15th century
brickwork as possible, yet it is but a quarter of the size of Henry VIII’s
Tudor mansion and is probably based on one of its wings. Barnes (English Country Dance Tunes), 1986.
Fleming‑Williams & Shaw (English
Dance Airs; Popular Selection, Book 1), 1965; pg. 5. Karpeles &
Schofield (A Selection of 100 English
Folk Dance Airs), 1951; pg. 15. Raven (English
Country Dance Tunes), 1984; pg. 26. Sharp (Country Dance Tunes), 1909/1994; pg. 29.
***
|
Portrait of Prince Edward VI, 1546, with Hunsdon House in background
at left. (Brittanica.com) |
Detail of Hunsdon House from portrait at right. (Brittanica.com) |
***
X:1
T:Hunsdon House
M:6/8
L:1/8
S:Sharp – Country Dance Tunes (1909)
Z:AK/Fiddler’s Companion
K:C
C2G E2A | GE2 D2C | c2e dB2 | A3 G3
|
C2G E2A | GE2 D2C | c2e dB2 | A3 G2z
||
|: g2=f eB2 | c2B Ade | f2e d B2 |
A3 G AB |
c2B AE2 | F2E DAB | cde f2e | d3 c2 z :|
HUNT [1], THE ("An Seilg" or "An Fiadac"). AKA and see "Galtee Hunt [1]," “Mount Pheobus Hunt,” “The Mountfamous Hunt.” Irish, Set Dance
(cut time). G Major/Mixolydian. Standard. AB (Stanford/Petrie): AABB (most
versions). The 'B' part, at twelve measures, is longer than the eight-measure
'A' part. See also the related hornpipe “Prize for the Ladies.” Sources for
notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare)
[Mitchell]; “From John Dolan--Glensheen--(via the Irish collector) Mr. Joyce”
[Stanford/Petrie]. Jordan (Whistle &
Sing), 1975; 42. Mallinson (Enduring),
1995; No. 99, pg. 42. Mitchell (Dance
Music of Willie Clancy), 1993; No. 84, pg. 77. O'Neill (Krassen), 1976; pg.
224. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1799, pg. 337.
O'Neill (Dance Music of
X:1
T:Hunt, The [1]
M:C|
L:1/8
R:Set Dance
S:O’Neill –
Dance Music of
Z:AK/Fiddler’s Companion
K:G
D2|GABG AGEG|c2 ce dcBA|GABA
GEDG|EAAG AcBA|
GABG AGEG|c2 ce dcBA|GABA GEDE|G2 GG
G2:|
|:D2|GABc d2 de|=f2 f2 f2 ed|e2e2
efge|d2 de d2 cB|
cBcd edcB|A2 AB A2G2|g2 g2 gedB|A2
AB A2 GE|
GABG AGEG|c2 ce dcBA|GABA GEDE|G2 GG
G2:|
HUNT [2], THE (An Seilg). Irish, Set Dance (cut time). G Mixolydian. Standard tuning. AABB. Very similar to version #1. Source
for notated version: Cronin [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1800, pg. 337.
X:1
T:Hunt, The [2]
M:C|
L:1/8
R:Set Dance
S:O’Neill –
Music of
Z:AK/Fiddler’s Companion
K:G
D2 | GABG AGEG | c2 ce dcBA | GABA
GEDE | EAAG AcBA |
GABG AGEG | c2 ce dcBA | GABA GEDE |
G2 GG G2 :|
|: D2 | GABc d2 de | =f2 f2 f2 ed | e2 e2 efge | d2 de d2 cB |
cBcd edcB | A2 AB A2 G2 | g2 g2 gedB | A2 AB A2 GE |
GABG AGEG | c2 ce dcBA | GABA GEDE | G2 GG G2:|
HUNT, THE
[3]. Irish. The tune is attributed by Goodman to the 18th
century gentleman-piper
HUNT IN THE BOG. Irish, Reel. D Major. Standard
tuning. AB. Treoir.
X: 1
T: Hut in the Bog
S: Treoir
M: 4/4
L: 1/8
Q: 350
Z: Transcribed by Bill Black
R: reel
K: D
A | dcdA BdAF | E2 eg fdec | dcdA BdAF | GBAG FD
D2 |
dcdA BdAF | E2 eg fdec | defd cdec | dBAG FD D2
||
fddc dfaf | gfga bgeg | fddc dfaf | gbeg fdde |
fddc
dfaf | gfga bgef | gagf gbaf | (3gag fg egfe ||
HUNT IS UP (WHEN THE COCK HE CROWS), THE.
English, Scottish; Air and Dance Tune (4/4, 6/4 and 6/8 times). G Major
(Merryweather): C Major (Emmerson/Pickering, Kines, Chappell/Pickering).
Standard. One part (Emmerson/Pickering, Kines, Chappell/Pickering): AABBCCDDEE
(Merryweather). This old English tune, one of the most popular of the early
ballads, a dance tune and reville, was mentioned by Shakespeare in "Romeo
and Juliet" (act III, scene 5). Its age is attested to, not only through
its appearence in old music manuscripts, but also by mention in literature. The
English collector Chappell (1859) notes that one John Hugan was arrested in
London in 1537 for singing with a "crowd" or fyddyl (fiddle) a
political song to a tune with this title, while in 1565 William Pickering paid
for a licence to print the ballad. Emmerson (1971) finds an even earlier
reference to the melody in
***
Now who shall play 'The day it daws',
Or 'Hunt's up when the cock he craws'?
Or who can for our kirk-town cause
Stand us in stead?
On bagpipes now nobody blaws
Sin’ Habbie’s dead.
***
By
the end of the 16th century, says Chappell, the tune became known as "Peascod Time" after a ballad sung to
it, and under this title "it was appropriated for two very important and
popular ballads--'The Lady's Fall' and '
X:1
T:Hunt is Up, The
M:6/4
L:1/8
N:Lyrics begin: The hunt is up, the hunt is up, and it is well nigh day;
N:And
Harry our King is gone hunting to bring his deer to bay.
S:Chappell - Popular
Music of the Olden Times
Z:AK/Fiddler's
Companion
K:C
C2|C4 D2 E3F G2|c4 G2 E3F G2|A4 G2 F4 E2|(D6 D4)
E2|
F4
G2 A3G F2|c4 _B2 A3G F2|G3F E2 D3C B,2|C6||
HUNT OF THE HOUND AND
THE HARE, THE. Irish, Set Piece.
HUNT THE
HUNT THE CAT. Irish, Single Jig. D Dorian. Standard. AABB. O'Sullivan
(1983) points out this tune is a variant of Bunting's "Whish, Cat from Under the
Table." Roche Collection,
1983, Vol. 3; No. 114, pg. 35.
HUNT THE FOX. AKA and see "Hey My Nancy/Nanny."
American (?), Slip Jig. D Mixolydian. Standard. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 68. Ryan’s Mammoth Collection, 1883; pg. 98.
HUNT THE HARE [1]. English, Country Dance Tune (cut time).
HUNT THE HARE [2]. English, Jig. See "Hunting the
Hare."
HUNT THE SQUIRREL [1]. AKA and see "The Geud
Man of Ballangigh." English, Scottish, Irish, American; Country Dance
Tune (6/8 time).
***
Among the rest (of the dances), I observed one, which I think, they call
Hunt the Squirrel, in which while the Woman flies the Man
pursues
her; but as soon as she turns, he runs away, and she is obliged to follow.
The Moral of this Dance does, I think, very aptly recommend Modesty
and Discretion to the Female Sex. But as the best Institutions are
Abuses are crept into this Entertainment. I was amazed to see my
Girl handed by, and handing young fellows with so much Familiarity;
and I could not have thought it had been in the Child.
***
The sense of the dance Hunt the
Squirrel and its mimicking of pursuing a quarry is probably why the name was
used euphemistically to describe the rather odious amusements of some 18th
century
***
The author of English Folk-Song and Dance found the melody in
the repertoire of fiddler William Tilbury (who lived at Pitch Place, midway
between Churt and Thursley in Surrey), who, in his young days, used to play the
fiddle at village dances. He derived his repertoire from an uncle, Fiddler
Hammond, who had been the village fiddler before him and who died around 1870.
The conclusion was that this and similar country dance tunes survived in the
tradition (at least in southwest Surry) well into the second half of the 19th
century. American sources are nearly the same in both tune and dance figure as
English sources, report Van Cleef and Keller (1980); it appears in Cushing
Wells' German flute MS (Norwich, Connecticut, 1789) and in Clement Weeks' dance
MS (Greenland, New Hampshire, 1783). The tune is not to be confused with other
popular melodies of the period, "Hunt the Hare" and "Hunting the
Hare." Barnes (English Country Dance
Tunes), 1986. Fleming‑Williams & Shaw (English Dance Airs; Popular Selection, Book 1), 1965; pg. 10. Johnson (Twenty‑Eight
Country Dances as Done at the New
X:1
T:Hunt the Squirrel [1]
M:6/8
L:1/8
S:Sharp – Country Dance Tunes (1909)
Z:AK/Fiddler’s Companion
K:A
Ae2 e2f | e3 c3 | ABc B2A | ABc B2 A
| Ae2 e2f| e3 c3 | ABc B2A | (A3 A2) z :|
|: d2e fed | d2e fed | d2e f2g | (a3
a2) g/f/ | e c2 e c2 | e c2 e3 | ABc B2A | (A3 A2) z :|
X:2
T:Hunt the Squirrel [1]
M:6/8
L:1/8
S:Stanford/Petrie (1905), No. 487
Z:AK/Fiddler’s Companion
K:F
F2c c2d | c3A3 | FGA G2F | FGA G2F |
F (c2c2)d | c3A3 | FGA G2F F2F F2z ||
B2c dcB | B2c dcB | Bc d2e | f3 f2
e/d/ | cA2 cA2 | cA2 c3 | FTGA G2F | F F2 F2z ||
HUNT THE SQUIRREL [2]. AKA ‑ "Hunting the Squirrel." English, Morris Dance Tune
(4/4 time). G Major. Standard tuning. AABB (x4), AA.
The tune was collected in the
HUNT THE SQUIRREL [3]. English, Jig. D Major. Standard tuning.
AA'BB'. Carlin (Master Collection),
1984; No. 21, pg. 25.
HUNT THE SQUIRREL [4]. English, Country Dance Tune (2/2 time). G Major. Standard
tuning. AB. Sharp (Country Dance
Tunes), 1909/1994; pg. 11.
X:1
T:Hunt the Squirrel [4]
M:2/2
L:1/8
S:Sharp – Country Dance Tunes (1909)
Z:AK/Fiddler’s Companion
K:G
(3DEF| G>BA>F G2D2 |
G>Bd>e d2 B2 | G>Bd>e d2 B>A | G>BA>F G2 (3DEF |
G>BA>F G2 D2 | G>Bd>e d2
B2 | G>Bd>e d2 B>A | G>BA>F G2 || z2 |
e>f g2 e>f g2 | e>fg>a
g2 e2 | d>ed>c d2 B>A | G>BA>F G4 |
e>f g2 e>f g2 | e>fg>a
g2 e2 | d>ed>c d2 B>A | G>BA>F G2 ||
HUNT THE SQUIRREL [5]. English, Country Dance Tune (4/4 time). G Major. Standard
tuning. AB. This tune was played by English musician John Locke,
X:1
T:Hunt the Squirrel [5]
M:2/2
L:1/8
S:John Locke (1909)
K:G
d2 B<d c>BA>F | G2 g>f
e>dB>c | d2 F>G A>Bc>d | e>dB>c A2 Bc |
d2 B>d c>BA>F | G2 g>f
e>dB>c | d2 F>G A>Bc>d | e2G2G2 || B>c |
d2g2d2g2 | dgbg dgbg | d2g2 d2 g>a
| b>ag>e d>cB>c | d2 B>d c>BA>F |
G2 g>f e>dB>c | d2 F>G
A>Bc>d | e2F2 G4 ||
HUNT THE WEASEL. English, Slip Jig.
HUNTER IN HIS CAREER, THE. AKA and see "Basse's Career," "Mr. Basse, His Career," "The Falconer's Hunting."
English, Country Dance Tune (4/4 time). F Major. Standard
tuning. AAB. The air appears in the Gordon
Lute Book (Straloch MS) of 1627. As with many popular airs, several songs
to it were written in the 17th century. The tune is alluded to in Walton's
"Angler," according to Chappell (1859), where Piscator says:
***
I'll promise you I'll sing a song that was lately made at
my request by Mr. William Basse, one that made the
choice songs of 'The Hunter in his Career', and 'Tom
of Bedlam', and many others of note.
***
Chappell (Popular Music of the Olden Time), vol. 1, 1859; pg. 198. Raven (English Country Dance Tunes), 1984; pg.
11.
X:1
T:Hunter in his Career, The
T:Basse’s Career
M:C|
L:1/8
S:Chappell – Popular Music of the Olden Times (1859)
Z:AK/Fiddler’s Companion
K:F
f4 c2B2 A4G2F2 | E2D2E2F2 G4 A2B2 | c4F2G2 A4G3F | F8 :|
|| A4G2F2 E6F2 | G4 F2E2 D4 E2F2 | G4 C2D2 E4 D3C | C8 |
A4G2F2
B4A2G2 | c4 B2c2 d4 A2B2 | c4 F2G2 A4 G3F | F8 ||
HUNTER’S CABIN. See “Road
to Cashel.”
HUNTER'S CHORUS. AKA and see "Huntsman's Chorus."