The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

JIG - JM

[COMMENT3] 

[COMMENT4] 

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]

 

 

 

[COMMENT5] [COMMENT6] JIG.  Many writers, notably Grove, regard the jig as only a form borrowed from the Italians in the latter half of the 17th century. In fact, Flood (1906) states there is “ample evidence of its existence in Ireland in the middle of the 16th century, at least in 1550.” He quotes a letter from Sir Henry Sydney to Queen Elizabeth in 1569, where the author enthusiastically reports the dancing of Irish Jigs by Anglo-Irish ladies of Galway whom he said were “very beautiful, magnificently dressed, and first-class dancers” (pg. 160). Pulver (1923) concurs that the form is native to Britain, but rather than Irish, he believes the dance to be English in origin, basing his reasoning in part on the probable Norse origin for the word ‘jig’ (and its transmittal through Anglo-Saxon lines), and the fact that English printings of collections containing the form predate Scottish and Irish ones. In point of fact the form is the same as the Galliard, whose place it took, and Pulver notes the tripping rhythm—dotted-crotchet, quaver, crotchet—“probably came spontaneously to the first dancer who felt genuinely happy.” Emmerson (1972) regards the assertion that the Italian Giga (which is in the rhythm of consecutive triplets like the Irish double jig) derived from the Irish jig as plausible, and notes that Irish harpers were known in Italy and other parts of Europe in the 13th century. He does not support Pulver’s conclusion that England was the well-spring of the form, however, and states: “In the light of what we know of the spirit of Irish music, even as early as Giraldus’s reference in the 12th century, I can see no reason to entertain the idea that the jig came to Ireland from England.”

***

Flood believes the Irish Jig a native form named for the “geige,” or fiddle. Pulver points out that many dance forms were named for accompanying instruments, such as the Hornpipe, Musette, Loure, Tambourin and others and so this is a seductive theory; however, he concludes: “very little etymological research will be necessary to prove that the one had very little to do with the other (in the case of the jig); that where the noun ‘Gigue’ or ‘Giga’ was used to mean the instrument, the dance-sense was not applied’ while those dialects that used the verb ‘Giguer’, meaning ‘to dance’, did not have the noun at all.” Today in Québec the term ‘gigue’ is still applied to any tune which is played for step dancing regardless of metre.

***

Medieval references to the Jig in both England and the continent invariably meant the instrument, but before the close of the 16th century the word was being used in England to refer to a type of ridiculous ballad (Pulver is certain the word then wandered to the Continent where it also entered lexicon as a dance term). This piece, sometimes rhymed, was sung by the clown who followed it with a dance, which was always performed to music by the Pipe and Tabor, and thus the connection between the ballad and the dance was strong. References in the literature of the period bear this out. Beaumont, writing about 1600, says: "A Jig shall be clapped at, and every rhyme praised and applauded," and Joshua Sylvester, in his translation of "G. de Saluste du Bartas, his devine weeks and workes" (1605), writes:

***

If neere unto some Eleusinian Spring,

Som sportfull Jig som wanton shepherd sing,

The ravisht Fountaine falls to daunce and bound.

***

In the ballad context Shakespeare mentions the jig three times; in "Love's Labour's Lost" he says "but to jig off a tune at the tongue's end, Canary to it with your feet..."; and in "Hamlet" it is written twice, "O God! your only jig-maker" and "He's for a Jigg or a tale of bawdry." By these references Pulver makes his case for the modern jig being originally derived from the dance of the mountebank after his ballad.

***

Lady Nevell's Virginal Book (1591) was the first work to contain the word as the name of a dance piece, with a tune named "Galliard Gygge," composed by the famous English musician William Byrd. Soon after, the word appears in other tune collections and in literature, as when Beaumont and Fletcher in Knight of the Burning Pestle (IV,1) make the citizen's wife say: "George, I will have him dance fading; fading is a fine Jig, I'll assure you."

***

The Jig ever was a triple time dance, whether in 3/8, 3/4, 6/8, 12/8 or 6/4, and, since it had the same spirit and rhythm as the older Galliard, replaced it seamlessly though for a while the two were employed together. Barnaby Rich (1581), for example, wrote: "the dances in vogue were measures, galliards jigs, etc."  Several collections of music in the first decade of the 17th century contain Jigs, printed sometimes alongside Galliards--Thomas Robinson's School of Musicke (1603) and Thomas Ford's Musicke of Sundrie Kindes (1607), are two such. There are tunes labeled Jigs in duple time in the Fitzwilliam Virginal Book and other publications, however, these titles recorded rather the spirit or character of the Jig rather that the actuality of the dance, for they were instrumental compositions meant for listening.

***

The 17th century, and especially during the reign of the two Stuarts, saw the peak popularity of the form. Playford prints numerous examples of the Jig, which increasingly was played as an instrumental as well as for country dancing. Pulver states: "Before the Stuart regime ended the Jig was so popular as a dance that no entertainment or other occasion when many assembled, closed without a Jig. The form began a decline with the Hanoverian kings, and, by the early decades of the next century it had devolved to the final movement of the classical Suite form. 

***

Scotland was the first country, according to Pulver, to embrace the English Jig, though the earliest reference he finds is by Thomas Morley (1597) who says: "And I boldy affirme, that look which he bee who enioyne him to make but a Scottish Iygge, he will grossly erre in the true nature and qualitie of it." Shakespeare mentions the Scotch Jig in Much Ado About Nothing (1599).

***

Pulver finds no musical examples of an Irish Jig until the second half of the 17th century (notwithstanding their mention in Henry Sydney's letter to Queen Elizabeth). The Irish, though, if they had no hand in fashioning the form, adopted it with a fervor, so much so that the Jig today is known popularly as the 'Irish Jig'. Indeed, the Irish have composed a large and extremely fine body of Jig literature (which was first composed and performed on the pipes, the fiddle being a late usurper of that popular pastoral instrument). An account of a Jig performed in Ireland was given by Lady Morgan in her Patriotic Sketches of Ireland (1807):

***

In the centre of the field...a distaff is fixed in the earth,

on which is placed a large flat cake; this cake is the

signal of pleasure and becomes the reward of talent

...At a little distance from this standard of revelry is

placed its chief agent, the piper, who is always seated

on the ground, with a hole dug near him, into which

the contributions of the assembly are dropt...At the

end of each Jig the piper is paid by the young man

who dances it, and who endeavours to enhance the

value of the gift by first bestowing it on his fair

partner; and although a penny a Jig is esteemed very

good pay, yet the gallantry or ostentation of the

contributor...sometimes trebles the sum which the

piper usually receives.

***

O’Neill (1922) differentiates the single jig from the double: “The Single Jig, like the Double Jig, is in six eight time, but differs from the latter chiefly in having at most but one triplet in each bar. More ancient that the Double Jig, the dance steps of the Single Jig are more light and graceful.”

***

In North America the term ‘jig’ has often been used generically, especially by older fiddlers who would call any dances—reels, jigs, hornpipes etc.—as jig dances. The term was especially used for a solo-type step-dance. An interesting quote on dancing appears in Joseph Doddridge’s Notes on the Settlement and Indian Wars of the Western Parts of Virginia and Pennsylvania from 1763 tto 1783 (New York: J. Munsels, 1876). The writer, born in 1769, describes a wedding on the southwestern Pennsylvania frontier:

***

After dinner the dancing commenced, and generally lasted till the next morning. The figures of the dances were three and four handed reels, or square sets, and jigs. The commencement was always a square four, which was followed by what was called jigging it off; that is, two of the four would single out for a jig, and were follwed by the remaining couple. The jigs were often accompanied with what was called cutting out; that is, when either of the parties became tired of the dance, on intimation, the place was supplied by some one of the company without any interruption of the dance. In this way a dance was often continued till the musician was heartily tired of his situation. Toward the latter part of the night, if any of the company, through weariness, attempted to conceal themselves for the purpose of sleeping, they were hunted up, paraded on the floor, and the fiddler ordered to play ‘Hang on till to-morrow morning.’ (pg. 155)

***

Modern tempos to play jigs as an accompaniment for Scottish Country Dancing range from 110-126 bpm. On Cape Breton, dance jigs are played in the 120-126 range.

 

JIG AN DA THUISTIUN. AKA and see "Mall Rua," "Moll Roe (in the Morning)."

 

JIG AWAY THE DONKEY. Irish, Reel. A Mixolydian. Standard. AABB. The tune was played in a set with “The Piper on Horseback” by northern Irish musicians Frankie Kennedy and Mairead Ni Mhaonaigh on tour in America in the mid-1970’s.

X:1
T:Mick Hoy's
T:Jig away the Donkey
T:Fair Haired Lass, The
R:reel
H:Also in Ador, #669. See also #769
Z:id:hn-reel-558

Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|

L:1/8
K:Amix
ea~a2 eg~g2|ea~a2 ABcd|ea~a2 efge|afge d2cd:|
|:eA~A2 efgf|eA~A2 BAGB|ABcd efge|afge d2cd:|

 

JIG BARBOTTE. French Canadian, Jig. Point Records P‑229, Sid Plamador ‑ "Canadian Jigs and Reels."

 

JIG DU BAS-CANADA, LA. AKA and see “Gigue simple,” “(La) grande gigue simple,” “Red River Jig.”

 

JIG DUTCHMAN’S CORNER. American, Schottische. G Major. Standard. AA’BB. Howe (1000 Jigs and Reels), c. 1867; pg. 53.

X:1

T:Jig Dutchman’s Corner

M:2/4

L:1/8

R:Schottische

S:Howe – 1000 Jigs and Reels (1867)

Z:AK/Fiddler’s Companion

K:A

Gc/G/ B/G/A/G/ | G/B/c/e/ d/B/A/G/ | G(c/G/) B/G/A/G/ |1 A/f/{a}g/e/ d/B/A/G/ :|2

g/b/g/e/ d/B/A/G/ |: B/d/c/e/ d/f/e/g/ | f/a/g/e/ d/B/A/G/ | B/d/c/e/ d/f/e/g/ |

{a}g/f/g/e/ d/B/A/G/ | A/a/a/g/ e/d/B/G/ | c/B/c/e/ d/B/A/G/ | A/a/a/g/ e/d/B/G/ | B/G/B/e/ d/B/A/G/ :|

 

JIG FOR WILLIE, A. Irish, Jig. G Major (‘A’ part) & G Minor) ‘B’ part). Standard. AABB. Composed by Falmouth, Massachusetts, writer and musician Bill Black, for fiddler Willie Kelly (Dumont, N.J.). Black (Music’s the Very Best Thing), 1996; No. 40, pg. 20.

X:1

T: A Jig for Willie

C: © B.Black

Q: 300

R: jig

M: 6/8

L: 1/8

K: G

E/2F/2 | GFG AGA | BAB e2 f | g2 e dBG | AdB GED |

GEE BEE | dBd e2 f | gdB cBA | GEE E2 :|

K: Gdor

A | BGG dGG | AFF cFF | Bcd cAc | BGG G2 A |

dgg bgg | cff afc | BGB AFA | BGG G2 :|

 

JIG FROM WEST CLARE. Irish, Jig. G Major. Standard. AABB. Source for notated version: Eugene O'Donnell (County Derry/Phila., Pa.). Miller & Perron (Irish Traditional Fiddle Music), 1977; Vol. 2, No. 49.

 

JIG NA MIRE (The Mad Jig). Irish, Jig. Ireland, County Donegal. G Major. Standard. AABBCC. The title is an ‘inside joke’ regarding a deceased friend of the source. Lia Luachra (appears in the "B-4-C" set). Emer Mayock – “Merry Bits of Timber” (Appears as part of "The Mad Jigs" set)

X:1

T:Jig na Mire

T:The Mad Jig

M:6/8

L:1/8

C:John Mosey McGinley

S:James Byrne

R:Jig

N:Named by Mickey Golly

D:The Road to Glenlough

Z:Nice to drone D string in the A section.

K:G

|:B,CD B,CD|B,CD ECE|B,CD B,CD| BAG ECE|\

B,CD B,CD|B,CD ECE|B,CD B,CD|BAG EDC::\

Ddd AFD|DBc ECE|Ddd B2B|GFG ECE|\

Ddd AFD|DBc ECE|Ddd B2B|GFG ECE::\

Daa afd|efg ge^c|daa afd|gfg efg|\

agf gfe|fed e/2f/2ed| ^cec BdB|ABA GEC:|*

 

JIG OF CLONMORE, THE. Irish, Jig. G Major. Standard. AAB.

X:1

T:The Jig of Clonmore

L:1/8

M:6/8

Z:Transcribed by Juergen Gier

K:G

GED ~D3|GEG c2e|dBG GAB|AGE ~E3|\

GED ~D3|GEG c2e|dBG GAB|AGF G3:|\

gdB GBd|gdB c2e|dBG GAB|AGE ~E3|\

gdB GBd|gdB c2e|dBG GAB|AGF G2d|\

gdd edd|gdB c2e|dBG GAB|AGE ~E3|\

GED ~D3|GEG c2e|dBG GAB|AGF G3|]

 

JIG OF PORT FLEADH, THE.  Irish, Jig. G Major (originally composed in A Major). Standard. AABB. Composed by County Tipperary fiddler Sean Ryan (d. 1985). Source for notated version: Bronx flutist Jack Coen, originally from Woodford, County Galway, via New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No. 246, pg. 76. Ryan (Hidden Ireland), 9. Celtic Crossings CD0299-02, Gearóid Ó hAllmhuráin & Patrick Ourceau – “Tracin” (1999. Learned from East Galway/Bronx, N.Y., flute player Jack Coen). Jack & Jimmy Coen – “Traditional Irish Music on Flute and Guitar” (2001).

X:1

T:Jig of Port Fleadh, The

R:Jig

S:Mike Rafferty from Jack Coen

C:Sean Ryan

N:Posted to the woodenflute mailing list April 2003

Z:lesl

M:6/8

L:1/8

K:G

~G2A|:B2G AGE|DBD GBd|gzd edB|edB AGA|

B2G AGE|DBD GBd|g{a}gd edB|1 cAF ~GGA:|2 cAF G3||

|:~g2e fed|edB GBd|gze (3fga f|gfe def|

~g2e fed|edB GBd|gdB ecA|DEF G3:|

                       


JIG OF SLURS. Scottish (originally), Irish; Jig. Ireland, County Donegal. D Major ('A' and 'B' parts) & G Major ('C' and 'D' parts). Standard. AABBCCDD. Composed by the great Highland bagpiper Pipe Major G. S. MacLennan (1883-1927), who knew a good composition when it occurred to him. He wrote in 1910:

***

My Jig o' Slurs I'm extremely proud of, not of course as a tune with a

fine melody but for its grand execution. I do not know of a tune which

is nearly as difficult or requires such a nimble finger to play. The person

who can play it through two or three times without missing a slur has no

cause to be ashamed of his fingers.

***

The melody is played on the bagpipes with a series of roles, with the title "Jig o' Slurs" descriptive of its almost nonstop series of these rolls separating two melody notes. The tune has been a staple of Scottish music sessions, and many Irish as well, so much so that it occasionally has been called, with just a little derision, the “Jar of Slugs.” It is often paired in sessions with “The Atholl Highlanders.” Words have been written the tune by Andy Hunter for a song called “Up and Awa’ Wi’ the Laverock” (the laverock is a skylark), referencing the holiday of an angler. The refrain, set to the fourth part of the tune, goes:

***

Up and awa' and awa' wi' the laverock              
Up and awa' and awa' in the mornin'
Up and awa' and awa' wi' the laverock
Up and awa' tae the hills wi' me.

***

Martin (Ceol na Fidhle), Vol. 1, 1991; pg. 42. Nimbus NI 5320, Ciaran Tourish et al - “Fiddle Sticks: Irish Traditional Music from Donegal” (1991). Plant Life Records PLR‑017, "The Tannahill Weavers" (1979). Wild Asparagus 003, Wild Asparagus - "Tone Roads" (1990). Janet Russell & Christine Kydd – “Dancin’ Chantin’” (song, “Up and Awa’ Wi’ the Laverock”). 

X:1

T:Jig of Slurs

L:1/8

M:6/8

K:D

Add dcd|Bdd Add|Bdd Add|Bee edB|Add dcd|Bdd Add|Bdd cde|fdd dcB:|

|:A2f fef|aff fed|Bee ede|~f3 edB|A2f fef|aff fed|Bdd cde|1 fdd dcB:|2 fdd d3||

K:G

|:G2g gfg|agf gdB|G2g gfg|agf ~g3|G2g gfg|agf gdB|Bee efg|fed edB:|

|:GBB Bdd|dee edB|GBB Bdd|dee e2d|GBB Bdd|dee edB|~e3 efg|fed edB:|

                       

JIG POLTHOGUE. AKA and see "The Humors of Ballymanus."

                       

JIG RUNRIG. Scottish, Jig. A modern composition by Fergie MacDonald. Fergies Collection (1998). The Nineties Collection. Aly Bain & Phil Cunningham – “The Pearl” (1994. Learned by Phil Cunningham when Fergie MacDonald played it over the phone to him in 1992).

                       

JIGG. English, Jig. England, North‑West. A Minor. Standard tuning. AABB. Knowles (Northern Frisk), 1988; No. 2.

                       

JIGG ASHLING, A. English, Jig. G Major. Standard tuning. AABB. Raven (English Country Dance Tunes),1984; pg. 128.

                       

JIGG POLTAGUE [1]. English, Slip Jig. A Mixolydian. Standard tuning. AABB. Huntington (William Litten’s), 1977; pg. 32.

 

JIG POLTHOGUE [2]. English, Slip Jig. C Major. Howe, Musician's Omnibus, No. 2, pg. 104.

 

JIGGING FOR ME. English. England, Northumberland. Title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800.

 

JIGGS ON PARADE. AKA and see "Tom Brown's Burletta." American, Jig. USA, southwestern Pa. G Major: D Major. Standard tuning. AABB. A fife tune from Pennsylvania. Bayard begs comparison with a slow Scottish marching tune in Aird's "Selection" (1782; vol. 2, No. 3) called "The Dundee Volunteer's March." Source for notated version: Hiram Horner (fifer from Westmoreland and Fayette Counties, Pa., 1961) [Bayard]. American Veteran Fifer; No. 30 (appears as "Tom Brown's Burletta"). Bayard (Dance to the Fiddle), 1981; No. 473, pg. 446.

                       

JIGUE TENFANT. French‑Canadian, Jig. The piece comes from Montreal fiddler Jean Carignan's mentor, fiddler Joseph Allard, who learned it from his father. The name is probably a corruption of "petit enfant" or "ton 'enfant," becoming "t'enfant" in casual speech. Folkways FG 3532, Alan Mills and Jean Carignan ‑ "Songs, Fiddle Tunes and a Folk‑Tale from Canada."

                       

JILLY NEARY'S FAVOURITE. AKA and see “Anderson’s Reel [3]," "The Flowers of Redhill [1]," "Don't be Foolish," "The Hod Carrier,” “Wild Irishman [6]."

 

JILT, THE. AKA and see “Fair Rosalind.”

                       

JIM AND JUDY'S WEDDING. AKA and see "Judy and Jim's Wedding."

                       

JIM ANDERSON’S DELIGHT. Scottish, Jig. A Major. Standard tuning. AAB. Composed by the late Shetland composer, pianist and piano-accordion player Ronnie Cooper (d. 1982), of Lerwick, a self-taught musician. Martin & Hughes (Ho-ro-gheallaidh), 1990; pg. 50.

                       

JIM BEE WAGONER. 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. Probably one of the many "Wagoner" title variations.


                       

JIM BOULTON'S FANCY (Roga Seamuis Bouilton/Boultoin). Irish, Hornpipe. A Major. Standard tuning. AABB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1756, pg. 327. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 928, pg. 159.

X:1

T:Jim Boulton’s Fancy

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 928

Z:AK/Fiddler’s Companion

K:A

E2|ABcA BcdB|cdec A2 Bc|defe dcBA|GABG EFGE|

ABcA BcdB|cdec defg|agae fdBG|A2A2A2:|

|:cd|ecec a2 cd|ecec A2 Bc|defe dcBA|GABG EFGE|

ABcA BcdB|cdec defg|agae fdBG|A2A2A2:|

                       

JIM CANN'S BARN DANCE. English, Jig. D Major. Standard tuning. AA'BB'. Carlin (Master Collection), 1984; No. 19, pg. 24.

                          

JIM CARROLL. Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AA’BB’. Composed by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia). Cranford (Brenda Stubbert’s), 1994; No. 105, pg. 37. Brenda Stubbert - “Tamerack ‘er Down” (1985).

                       

JIM CLARK'S HORNPIPE. AKA and see "Clark's Hornpipe [1]," "Ivy Leaf Hornpipe," "Morpeth's Hornpipe/Rant ." Irish, Hornpipe. D Major. Standard tuning. AABB. The 'A' part is similar to "Harry Cooper" and "The Land League;" see Bayard's note for "Harry Cooper." The tune is popular among Midwest fiddlers, and was one of  ‘100 essential Missouri tunes’ listed by Missouri fiddler Charlie Walden. Edward Le Roy Rice, in his book ‘’’Monarchs of Minstrelsy’’’ (New York, 1911), has this entry on the Jim Clark of the title:

***

JIMMY CLARK was one of the best jig dancers in the country, and equally proficient in the

manipulation of the banjo, and an all-round good general performer. He was with Kelly and

Leon’s Minstrels in New York, also with the Duprez and Benedict Company. December, 1872,

Welch, Clark and Hart’s Minstrels began a brief career. Mr. Clark had not appeared professionally

for some years. Prior to his death he was employed in the manufacturing of the banjo. Jimmy

Clark died in New York City, February 27, 1880; age 40 years.   (pg. 142).

***

Cole (1000 Fiddle Tunes), 1940; pg. 91. Ryan’s Mammoth Collection, 1883; pg. MSOTFA 106, Bob Walters – “Drunken Waggoner.”

X:1

T:Jim Clark’s Hornpipe

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

(3A/B/c/ | .d(A/G/ F/D/F/A/ | B /G/B/d/ c/A/c/e/ | f/d/g/e/ a/f/e/d/ | .c.e e/g/f/e/ | .d(A/G/ F/D/F/A/ |

B /G/B/d/ c/A/c/e/ | d/b/a/g/ f/g/e/c/ | dfd :: (3e/f/g/ | .a(f/d/) A/d/f/a/ | .g(e/c/) A/c/e/g/ |

f/a/f/d/ B/g/e/d/ | c/e/d/B/ A/g/f/e/ | .d(A/G/) F/D/F/A/ | B/G/B/d/ c/A/c/e/ | d/b/a/g/ f/e/d/c/ | dfd :|

                       

JIM COLEMAN'S [1]. AKA and see “Dan Backus’ Favorite,” “Liverpool Jack’s,” “Miss Guinness [2],” “Miss McGuiness [3],” “Take Your Choice,” “Terence’s Ramble.” Irish, Reel.

 

JIM COLEMAN’S [2]. AKA and see “Jack O’Neill’s Fancy,” “Sweeney’s Hornpipe,” “The Sweep’s Hornpipe [2].” Irish, Hornpipe. Source for notated version: outspoken flute player Seamus Tansey, originally from County Sligo [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1974, vol. 2, No. 47. Green Linnet SIF 3002, Kevin Burke & Jackie Daly – “Eavesdropper” (1981). Green Linnett SIF1035, Brian Conway & Tony De Marco - "The Apple in Winter" (1981).

                       

JIM COLEMAN’S (REEL).  Irish, Reel. Shanachie 34014, James Kelly, Paddy O’Brien & Daithi Sproule – “Traditional Music of Ireland” (1995).

 

JIM CONROY’S JIG. AKA and see “Jack Coen’s (Jig) [2],” “Leg of the Duck [2],” “Pride of the West.” Irish, Jig. G Major. Standard tuning. AABB. Jim Conroy was a flute player from Woodford, east County Galway, and a mentor of flutist Jack Coen (Bronx, N.Y.). Source for notated version: Jim Conroy, via New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No. 248, pg. 76. Green Linnet SIF 3067, Jack and Charlie Coen – “The Branch Line” (1992. Reissue of Topic 12TS337). Topic 12TS337, Jack and Charlie Coen – “The Branch Line” (1977).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Leg of the Duck [2]

M:6/8

L:1/8

R:Jig

K:G

DGG GAG|FEF Ddc|~B3 GBd|cAG FEF|DGG GAG|

FEF DBc|ded cAF|AGF G3:||:dgg def|dgg cBc|dgg def|

GFG ABc|def ~g3|agf g2e|fed cAF|AGF G3:|                                                                                                                                                     

 

JIM CONROY’S REEL.  AKA and see “Jack Coen’s Reel,” “John Naughton’s Favorite.” Irish, Reel. G Major. Standard tuning. AABB. Source for notated version: Jim Conroy, via New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No. 34, pg. 11.

 

JIM CONWAY’S FLING. Irish, Fling. G Major. Standard tuning. AABB. Source for notated version: the late Jim Conway (father of New York fiddlers Brian and Rose), of County Tyrone and the Bronx [Black]. Black (Music’s the Very Best Thing), 1996; No. 199, pg. 106.

X:1

T: Jim Conway's Fling

S: B. Conway

Q: 300

R: hornpipe

M: 4/4

L: 1/8

K: G

G2 GD EDGD | GBdB A2 A2 | G2 GD EDGD | EGDB, A,2 G,2 :|

gabg d2 d2 | gabg e4 | gbeg dgBg | AGAB G2 G2 :|

                       

JIM CROW. Old‑Time, Breakdown and Song Tune. D Major. Standard tuning. ABC. A song popularized on the minstrel stage of the mid-19th century.  Dave Evans remarks on the similarity of the title "Jim Crow" to "John Crow," a folk name for a buzzard, and suggests that the "Jim Crow" song and dance is perhaps derived from the slave dance "The Buzzard Lope" (see Parish, Slave Songs of the Georgia Sea Islands, 1942). See also “Jump Jim Crow.”

***

Come, listen all you gals and boys,

I'm just from Tuckyhoe.

I'm goin' to sing a little song,

My name's Jim Crow. (Ford)

***

Turn about and twist about,

And do jes' so

An' every time you turn about

you jump Jim Crow.  (Scarborough, On the Trail)

***

Ford (Traditional Music in America), 1940; pg. 83 (additional lyrics on pg. 424).

                       


JIM DONAGHUE'S REEL. AKA – “Jim Donoghue’s.” AKA and see “The Hills of Clogher.” Irish, Reel. Ireland, County Sligo. D Major. Standard tuning. AA'BB'. The second strain closely resembles the second part of Sheila Coyle’s,” while both parts resemble the third part of “Jackson’s Reel [3].” Source for notated version: conical {"Clarke's"} whistle player Jim Donoghue (1910-1990, Drimacoo, Monasteraden, Co. Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 179. Coleman Center CD CC004, James McDonagh & Seamus Quinn – “The Mountain Road” (1999. Various artists. “A Compilation of tunes popular in South Sligo”).

X: 1

T:Jim Donoghue's
R:reel
M:4/4
L:1/8
N:Posted to the woodenflute mailing list December 2001
Z:Rachel Marsh
K:D
~A3F BF ~F2|BFAF EFDE|AF ~F2 BFAF|EDEF D2 F|
AF  ~F2 BF ~F2|AF~F2 ABde|fgfe dBAF|EDEF D3z:|
|:dffe ~f3e|dfed BAFA|Beed e2de|fedf edBA|
dffe ~f3e|dfed BAFB|ABde fdAF|1 EDEF DEFA:|2 EDEF ~D3z||

                                   

JIM DONNELLY’S. Irish, Hornpipe. G Major. Standard tuning. AABB’. Treoir.

X: 1

T: Jim Donnelly's

S: Treoir

M: 4/4

L: 1/8

Q: 325

R: hornpipe

Z: Transcribed by Bill Black

K: G

(3DEF | GA (3BcB ABcd | eaaa g2 ed | (3cBA BG AB (3cBA | GABG AGED |

GA (3BcB ABcd | eaaa g2 ed | (3cBA BG AB (3cBA | GEDE G2 :|

z2 |: DGGG BGGB | dBcB d4 | (3Bcd BG AB (3cBA | GABG AGED |

GA (3BcB ABcd | eaaa g2 ed | (3cBA BG AB (3cBA |1 GABG AGED :|2 GEDE G4 ||

                       

JIM DRONEY’S. Irish, Jig. G Major. Standard tuning. AABB. Source for notated version: concertina player Chris Droney (County Clare) [Black]. Black (Music’s the Very Best Thing), 1996; No. 309, pg. 165. Chris Droney - “The Fertile Rock.”

X:1

T: Jim Droney's

S: Chris Droney

Q: 325

R: jig

M: 6/8

L: 1/8

K: G

D | GAB D2 E | GAB AGE | GAB D2 E | GAG GED |

GAB D2 E | GAB d2 e | dBB AGA | BGF G2 :|

e | dBB dBB | dBB A2 e | dBB dBA | GAG GED |

dBB dBB | dBB A2 e | dBB AGA | BGF G2 :|

           

JIM ERWIN’S. Irish, Hornpipe. G Major. Standard tuning. AABB. Composed by County Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988). Named for Reavy’s friend Jim Erwin of New York, a talented stepdancer and dance instructor. Reavy (The Collected Compositions of Ed Reavy), No. 104, pg. 117.

X: 1

T:Jim Erwin's

R:Hornpipe

C:Ed Reavy

M:4/4

L:1/8

Z:Joe Reavy

N:To Ed's friend, Jim Erwin, a talented dancer and dance instructor

N:from New York. This is one of Ed's most popular hornpipes.

K:G

Bc | dBGB dgfg | ecAG FGAB | cBAG BGFG | (3ABA (3GFE ECB,C |

DB,G,B, DGFG | ECA,C EGAB | cAFA DAFA | G2 FA G2 :||

|: Bc | d^cdf gdcd | eA^ce agfe | dgBd ceAc | BdGB ADFA |

d^cdf gdcd | eA^ce agfg | bgdB Afag | fecA G2 :||

           

JIM KEEFFE'S POLKA [1] (Polca Shéamuis Uí Caoimh). AKA and see “Jimmy Doyle’s (Polka) [3], “Kerry No. 3.” Irish, Polka. D Mixolydian. Standard tuning. AABB. Source for notated version: fiddler Seamus Creagh & accordion player Jackie Daly (Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 64, pg. 33. Taylor (Where’s the Crack?), 1989; pg. 29. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 35. Gael‑Linn Records CEF 057, "Jackie Daly & Seamus Creagh" (1977). Globestyle Irish CDORBD 085, Jackie Daly - “The Rushy Mountain” (1994. Reissue of Topic recordings).

X:1

T:Jim Keeffe’s Polka [1]

M:2/4

L:1/8

R:Polka

K:Dmix

|: A | d2 e>d | cA A2 | dAd ef | g2 fe | d2 e>d | cA A2 | f/g/a ge | d2d :|

|: e | f>e fd | g>f ge | f>e fa | ge ce | f>e fd | g>b ge | fa ge | d2 d :|

 

JIM KEEFFE'S (POLKA) [2]. AKA – “Jim Keefe’s.” AKA and see “Colm Danagher’s,” “Michael Murphy’s Slide,” “Rachael Finch’s Fancy,” “Siobhán Hurl’s.” Irish, Polka. A Mixolydian. Standard tuning. AABB. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Mallinson (100 Polkas), 1997; No. 21, pg. 9. Moylan (Johnnny O’Leary), 1994; No. 188, pg. 109.

 

JIM KEEFFE’S (POLKA) [3]. AKA and see “Tuar Mór Polka [3]." Irish, Polka.

 

JIM KEEFFE’S (POLKA) [4]. AKA and see “Din Tarrant’s [6],” O’Keeffe’s (Polka) [1],” “Mert Plunkett’s.”

           

JIM KELLY'S [1]. Irish(‑American?), Jig. D Major. Standard tuning. AA'BB'. Named for the source. Source for notated version: banjo player Jim Kelly (Newtonville, Mass.) [Miller & Perron]. Miller and Perron (Irish Traditional Fiddle Music), 1977; vol.1, No. 60 (with one 'B' part variation).

 

JIM KELLY’S [2]. AKA and see “The Ashplant [2]," “Coleman’s (Reel) [2],"  Dennis Murphy’s Favourite,” Dicky Sherlock’s Reel,” “John Brennan’s Reel [2],” “Maguire’s (Reel),” “Matt Molloy’s [2],” “Night in Ennis,” “Packie Duignan’s Reel,” “Tipperary Fancy.” Irish, Reel. D Major. Standard tuning. AABB. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 78.

           

JIM KELLY’S BANJO. Irish, Jig. D Major. Standard tuning. AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black. Black (Music’s the Very Best Thing), 1996; No. 103.

X:1

T: Jimmy Kelly's Banjo

C: © B. Black

Q: 300

R: jig

M: 6/8

L: 1/8

K: D

D | A,DF DFA | dcd efg | afd gec | dBA FBA |

A,DF DFA | dcd efg | aba gec | edc d2 :|

e | a^ga =gec | edc def | gab a2 f | gdB A2 e |

afd gec | Ace f2 g | aba gec | edc d2 :|

           

JIM KELLY'S FAVOURITE. English, Reel. A Dorian. Standard tuning. AA'BB'. A modern composition by Ian McGrady. Knowles (Northern Frisk), 1988; No. 133.

           

JIM KEEFFE’S. Irish, Polka. A Major. Standard tuning. AABB. Mallinson (100 Polkas), 1997; No. 21, pg. 9.

                       

JIM KEEFFE’S NO. 1. Irish, Polka. D Major. Standard tuning. AABB. Mallinson (100 Polkas), 1997; No. 20, pg. 9.

           

JIM KENNEDY'S FAVORITE (Roga Seamus Uí Ceinneidig). AKA and see "The Bundle of Straw," “The Corry Boys,” "Follow me to Carlow," "The Hare's Foot," “The Hare’s Paw,” “Kennedy’s Favourite,” “Kennedy’s Reel,” "The Lowlands of Scotland," "The Silvermines [1],” "The Tralee Lasses." Irish, Reel. E Minor. Standard tuning. AA'B. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1296, pg. 243. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 561, pg. 104.

See also listing at:

Alan Ng’s Irishtune.info

X:1

T:Jim Kennedy’s Favorite

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 561

Z:AK/Fiddler’s Companion

K:E Minor

(3GGG GA BE E2|BedE BEEF|GFGA BAB^d|1 (3efg f^d edeg:|2 (3efg f^d e2||

ef|(3gag (3fgf edB^c|d2 ed Bd d2|(3gag (3fgf edB^d|(3efg f^d e2 ef|(3gag (3fgf edB^c|

d2 ed Bd d2|bgaf gfe^d|(3efg f^d e2g2||

           

JIM McBRIDE’S. Irish, Jig. G Major. Standard tuning. AA’BB’.

X:1

T:Jim McBride's

R:jig

H:From and named after Paul O'Shaughnessy's maternal grandfather.

D:Paul McGrattan and Paul O'Shaughnessy, "Within a Mile of Dublin"

Z:Jeff Myers

M:6/8

L:1/8

K:G

E2 A AGA|Bcd e2 f|~g3 ege|dBG BAG|

EAA AGA|Bcd e2 f|gfe dBG|1 BAG A2 G:|2 BAG Ace||

aea aea|aea b2 a|~g3 ege|dBG Bcd

|1 aea aea|aea b2 a|gfe dBG|BAG Ace

:|2 EFG A2 A| Bcd e2 f|gfe dBG|BAG A2 G||

                       

JIM McCORMAC’S. Irish, Reel. G Major. Standard tuning. ABCD.

X: 1
T: Jim McCormick's
M: 4/4
L: 1/8
R: Reel
K: G
gB B/d/B gbaf|gB B/d/B dBAB|gB B/d/B gbag|fdeB dBAB|
gB B/d/B gbaf|gB B/d/B dBAB|g2 gf gbag|fdeB dBAB||
GB B/d/B GBAB|GB B/d/B dBAB|GB B/d/B G2 e/f/g|fdeB dBAB|
GB B/d/B GBAB|GB B/d/B dBAB|g2 gf gbag|fdeB dBAB||
a2fd adfd|a2 fd edBd|a2fd adfd|e/f/g fd edBd|
a2fd adfd|a2 fd edBd|g2 gf gbag|fdeB dBAB||
g2gf gdBd|gfgd BABd|g2 gf gbag|fdeB dBAB|
g2gf gdBd|gfgd BABd|g2 gf gbag|fdeB dBAB||

                       

JIM McKENNA’S. AKA and see “Jackson’s Reel [3].” Irish, Reel. D Major. Standard tuning. ABC. Mulvihill (1st Collection), 1986; No. 219, pg. 59.

           

JIM McKILLOP’S. AKA and see “Maeve’s Reel,” “The Stage Reel.”

           


JIM MOORE'S FANCY (Roga Seamuis Ui Morda). AKA and see “Flowers of Michigan,” “Morning Cheer.” Irish, Reel. A Mixolydian (O'Neill/Krassen): A Dorian (O'Neill/1001): A Major (O'Neill/1850). Standard tuning. AB. Source for notated version: Francis O'Neill learned the tune from a young Limerick man named James Moore in Chicago during the winter of  1875. Moore, a flute player without an instrument, lived in a cold boarding-house across the street from O'Neill and often availed himself of O'Neill's hospitality, ensconcing himself on a "cozy seat on the woodbox back of our kitchen stove" while borrowing O'Neill's flute to play on. Moore, complained a frustrated O'Neill, often did not remember the names of the tunes he played ("a very common failing") and was lost track of when he moved to New York in the spring [O'Neill, Irish Folk Music]. Edward Cronin, a Tipperary fiddler, was the only other man O'Neill once wrote he heard playing a variant of the melody. In Waifs and Strays of Gaelic Melody O’Neill prints a variant called “Morning Cheer,” reprinted from the Rice-Walsh manuscript from north Kerry. O'Neill (Krassen), 1976; pg. 102. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1236, pg. 233. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 510, pg. 96.

X:1

T:Jim Moore’s Fancy

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 510

Z:AK/Fiddler’s Companion

K:A Dorian

ABAG ABcd | efed ef g2 | G2 BG dGBG | AcBA GEDG | ABAG ABcd |

efed efg2 | afgf egfa | gedB BA A2 || a2 bg a2 bg | ac’ba geef | g2 af g2af |

gbaf gfed | agbg agbg | ac’ba geef | gfed (3efg fa | gedB BA A2 ||

 

JIM MULLIN’S HORNPIPE. AKA and see “Spellan’s Fiddle.”

 

JIM O’CONNOR’S. Irish, Jig. G Major. Standard. AABB. Treoir. Green Linnet GLCD  1211, Kevin Crawford – “In Good Company” (2001. Learned in 1973 in a short session in Aggie Cleary’s Pub in Miltown Malbay during Willie Clancy Week, with Jim O’Connor on flute, Tony Linnane on fiddle and Alec Finn on Bouzouki).

X: 1

T: Jim O'Connor's

S: "Treoir"

M: 6/8

L: 1/8

R: jig

Z: Transcribed by Bill Black

K: G

GFG AGA | B2 g gdB | GAB c3 | BGE EDE |

GFG AGA | B2 g gdB | cBA Bc/d/B | AGF G3 :|

gfg efg | eag fed | gfg efg | afd d2 f |

gfe dgf | gfe edB | cBA Bc/d/B | AGF G3 :|

                       

JIM O’KEEFE’S. AKA and see “Din Tarrant’s [6].” Irish, Polka.

                       

JIM SEERY'S. AKA and see "The Red-Haired Lass," "The Kildoney Lasses." Irish, Reel. “Greig’s Pipes” is a related tune. Bulmer & Sharpley (Music from Ireland), Vol. 2, No. 14.

           

JIM SHANK(S). Old‑Time, Breakdown. A southern Kentucky tune in the repertoire of fiddler Bruce Greene. See also the similar tune “Henry Richmond.” Kerry Blech suspects the title may have derived from a mishearing of ‘Gin Seng’. New Timey 2003, Ken Bloom and Harry Bollick – “That Banjo from Hell: Fiddle Tunes & Uncivil Songs of Conflict.”

           

JIM THE FIDDLE MAKER.  Canadian, Reel. D Major. Standard. AB. Composed by Maritime fiddler Ivan Hicks in 1980. Silberberg (93 Fiddle Tunes I Didn’t Learn at the Tractor Tavern), 2004; pg. 22.

           

JIM TWEEDY’S SEALEGS. New Zealand. The tune was composed in 1953 and honors the late Jim Tweedy of Hastings, New Zealand.

                       

JIM WARD’S FANCY. AKA and see “Jimmy Ward’s Jig.”

           

JIM WHEELER. American, Scottische. C Major. Standard. ABC. Learned by Arizona fiddler Kenner C. Kartchner from Wheeler in Williams (Arizona?), 1903 ("a good one").

           

JIMMIE JINKS. American, Reel. A Major ('A' part) & E Major ('B' part). Standard. AABB. Ford (Traditional Music in America), 1940; pg. 97.

 

JIMMIE McKIERNAN'S. Irish, Reel. Source for notated version: fiddler Jimmie McKiernan (County Leitrim) [Breathnach]. Breathnach (CRÉ II), 1976; No. 162 (appears as "Gan anim"). Shanachie 79018, De Dannan - "Star Spangled Molly" (appears after hornpipe "Hey Jude").

X:1

T:Jimmie McKiernan's

M:4/4

L:1/8

R:reel

Z:Barney

K:G

GB ~B2 GB dB|GB ~B2 A2 FD|GB ~B2 GB dB|cG BG A4:||

~E2 BE ~E2 BE|~E2 BE A2 FD|~E2 BE ~E2 BE|cE BE A4:||

dG ~G2 dG ~G2|dG ~G2  A2 FD|dG ~G2 dG ~G2|cD BD A4|

dG ~G2 dG ~G2|dG ~G2  AF DB,|C2 EG D2 FA|c2 Bc d4||

~e2 Be ~e2 Be|~e2 Be fe df|~e2 Be ~e2 Be|fA eA d4:||

GB ~B2 GB dB|GB ~B2 A2 FD|GB ~B2 GB dB|cG BG A4:||

~E2 BE ~E2 BE|~E2 BE A2 FD|~E2 BE ~E2 BE|cE BE A4:||

dG ~G2 dG ~G2|dG ~G2  A2 FD|dG ~G2 dG ~G2|cD BD A4|

dG ~G2 dG ~G2|dG ~G2  AF DB,|C2 EG D2 FA|c2 Bc d4||

~e2 Be ~e2 Be|~e2 Be fe df|~e2 Be ~e2 Be|fA eA d4:||

 

JIMMIE WHEELER’S BIRDIE. See “Wheeler’s Birdie.”

 


JIMMY ALLEN. AKA and see “Jamie Allen,” “Reel of Tullochgorum.” English, Scottish, American, Polka or March. England, Northumberland. USA, New England. G Major. Standard tuning. AABB. Northumbrian musician Jamie Allen (1734-1810) was a famous small pipes player whose name is associated with this tune. Allen’s father Will (1704-1779) was perhaps a pipemaker and was River Warden of the Coquet. His wife, Jimmy’s mother, was a gypsy, and the elder Allen associated much with her folk. Son Jimmy (or Jamie) was the subject of two biographies, largely fanciful, and it is hard to determine the facts of his life. It is said he was at various times piper to the Duchess of Northumberland, enlisted in the army, and a fugitive from justice. At any rate, he was highly regarded by his contemporaries as a musician and is thought to have played the Northumbrian smallpipes, Border pipes, and Union (uilleann) pipes. English/Scottish versions are found under the “Jamie” title, American appear often as “Jimmy.” The melody is popular in English sessions in modern times, although considered to be somewhat of a ‘beginner’s tune’. Miller & Perron (101 Polkas), 1978; No. 52. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 63.

X:1

T:Jimmy Allen

T:Jamie Allen

L:1/8

M:C

K:G

|:GA|B2G2G2A2|B4 G2AB|c2A2A2B2|c4 B2A2|G2g2g2e2|d4 B3c|d2d2 cBA2|G4 g2:|

|:BA|G2g2g3f|e2d2c2B2|A2a2a3g|f2d2e2f2|g3ag2e2|d4B3c|d2d2 cBA2|G4 G2:|

           

JIMMY AND EDDIE. Canadian, Reel. Canada, Cape Breton. A Major. Standard tuning. AAB. Composed by the late Cape Breton fiddler Jerry Holland. Cranford (Jerry Holland: The Second Collection), 2000; No. 5, pg. 2.

           

JIMMY ARTHUR’S. Old-Time, Breakdown. USA, Kentucky. A variant of “Folding Down the Sheets” and “Winding Sheep” from Kentucky fiddler Roger Cooper.

                       

JIMMY AT THE HELM. AKA and see "All Hands Upon Deck." Shetland, Whalsay and Fetlar districts. Cooke thinks the tune may also be known by either title in Northumbria.

                       

JIMMY, DON'T COME HOME DRUNK. See "Johnny, Don't Come Home Drunk."

                       

JIMMY DOYLE'S (POLKA) [1]. AKA and see “Din Tarrant’s [6]," “The Gneevgullia,” “Jimmy Doyle’s No. 1,” “Jimmy Doyle’s Favourite (Polka).” Irish, Polka. Ireland, Sliabh Luachra region of the Cork-Kerry border. G Major. Standard tuning. AABB. Sources for notated versions: accordion player Johnny O’Leary (Sliabh Luachra region), recorded in recital at Na Píobairí Uilleann, February, 1981 [Moylan]; set dance music recorded at Na Píobairí Uilleann in the 1980’s [Taylor]. Breathnach (CRÉ III), 1985; No. 74, pg. 36 (appears untitled). Ceol, vol. 5, No. 1 (appears untitled). Mallinson (100 Polkas), 1997; No. 88, pg. 34 (appears as “Jimmy Doyle’s Favourite”). Miller & Perron (101 Polkas), 1978; No. 9 (appears as “Jimmy Doyle’s Favorite”). Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 131. Moylan (Johnny O’Leary), 1994; No. 51, pgs. 30-31. Taylor (Music for the Sets: Yellow Book), 1995; pg. 12 (appears as “Jimmy Doyle’s Favourite”). Treoir. RTE CD174, “The Sliabh Luachra Fiddle Master Padraig O’Keeffe.”

X: 1

T: Jimmy Doyle's Favorite

T: Jimmy Doyle’s (Polka) [1]

S: Treoir

M: 2/4

L: 1/8

Q: 275

Z: Transcribed by Bill Black

R: polka

K: G

Bd de | dB B/A/B/c/ | d>B A>B | dB G>A |

Bd de | dB B/A/B/c/ | dG BA | AG G2 :|

dg (3gfg | fe (3ede | ed (3dcd | ed B2 |

dg (3gfg | fe e/f/g/e/ | dB BA | AG G2 :|

 

JIMMY DOYLE’S (POLKA) [2]. AKA and see “Doyle’s (Polka).” Irish, Polka. Ireland, Sliabh Luachra region of the Cork-Kerry border. D Major. Standard tuning. ABB. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 69, pgs. 39-40. Topic 12T357 Johnny O’Leary - “Music for the Set” (1977).

 

JIMMY DOYLE’S (POLKA) [3]. AKA and see “Jim Keeffe’s Polka [1]," “Kerry No. 3.” Irish, Polka. D Major. Standard tuning. ABB. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 249, pgs. 143-144.

 

JIMMY DOYLE’S FAVOURITE (JIG). Irish, Jig. D Major. Standard. AABB. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 259, pg. 148.

 

JIMMY DOYLE’S FAVOURITE (POLKA). See “Jimmy Doyle’s (Polka) [1]."

 

JIMMY DOYLE’S (SLIDE). AKA and see “Dan Patsy’s Slide,” “John Dore’s Favourite,” “Paudy Scully’s,” “Tournafulla Slide,” “Turnip Jig.” Irish, Slide (12/8 time). Ireland, Sliabh Luachra region of the Cork-Kerry border. D Major. Standard tuning. AABB. A popular Sliabh Luachra slide that goes by a variety of titles, usually (as is the case with many slides and polkas) called after the particular musician’s source for the tune. Source for notated version: accordion player Patsy Cronin (Shrone, County Kerry) via accordion player Johnny O’Leary (Sliabh Luachra region) {O’Leary said of Cronin: “He was four or five miles away from me and he played tunes I never heard of”} [Moylan]. Moylan (Johnny O’Leary), 1994; No. 108, pgs. 62-63. Gael-Linn CEF132, Johnny O’Leary - “An Calmfhear/The Trooper” (1989).

 

JIMMY GIBLIN'S REEL (Ríl Shéamais Uí Ghibealláin). Irish, Reel. D Major. Standard tuning. AABB. Source for notated version: fiddler Johnny McGreevy (Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 118, pg. 58. Green Linnet Records SIF 1023, Joe Shannon & Johnny McGreevey ‑ "The Noonday Feast" (1980).

X: 1

T: Jimmy Giblin's

S: Treoir

M: 4/4

L: 1/8

Q: 350

R: reel

Z: Transcribed by Bill Black

K: D

A |: DFAB d2 ef | g2 fg edBd | DFAB dfed | dBAF E2 D2 :|

faaf d2 df | g2 fg edBd | faaf d2 df | g2 fg e2 eg |

faaf d2 df | g2 fg edBd | DFAB dfed | dBAF E2 D2 ||


 

JIMMY GUIRY. AKA and see "Tea in the Morning."

                       

JIMMY HENDRICKSON'S WALTZ. American, Waltz. USA, North Dakota. F Major. Standard tuning. AB. Composed by fiddler and cowpuncher Jimmy Hendrickson (b. 1896), and learned by Pancerzewski about 1917. Pancerzewski (Pleasures of Home), 1988; pg. 20.

                       

JIMMY HOGAN’S. Irish, Jig. G Major. Standard tuning. AABB. Composed by Falmouth, Massachusetts, writer and musician Bill Black.

X: 1

T: Jimmy Hogan's

M: 6/8

L: 1/8

Q: 325

R: jig

C: © B. Black

K: G

D | GBd B2 B | GBd cBA | GBd gfg | eag fed |

GBd B2 B | GBd cBA | Bdg fdc | AGF G2 :|

d | ede fdf | gdc BAG | BGG dGG | edB d2 d |

ede fdf | gab gfe | dcB Adc | AGF G2 :|

                       

JIMMY HOLMES' FAVORITE. AKA and see “Courting them All,” “Rachel Rae.” Scottish, Reel. D Major. Standard tuning. AB. A version of the famous Scots tune “Rachel Rae.” Cole (1000 Fiddle Tunes), 1940; pg. 46. Ryan’s Mammoth Collection, 1883; pg. 73.

X:1

T:Jimmy Holmes’ Favorite

M:C|

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

D2 FA d2 AA | d2 fd e2 cA | d2 Ad BAGF | E2 AG (F<D) D2 | D2 FA d2 AA |

d2 fd e2 cA | d2 Ad BAGF | E2 AG (F<D) D2 || d2 df a2 fd | g2 bg e2 cA |

d2df a2fd | egfe (f<d)d2 | d2df a2fd | (g<b) (g<b) e2(cA) | d2Ad BAGF | E2AG (F<D) D2 ||

                       

JIMMY IN THE SWAMP. Old‑Time, Breakdown. USA; eastern Kentucky, Nebraska. G Major. Standard tuning. AABB. West Virginia fiddler Wilson Douglas stated that regionally (i.e. eastern Kentucky/West Virginia/southern Ohio) influential fiddler Ed Haley played this tune. John Hartford notes that R.P. Christeson’s source, Uncle Bob Walters’ family moved to Iowa from Kentucky in the mid-1800's and that both Walters’ father and grandfather were fiddled. His implication is that this musical family brought the tune to the mid-west from eastern Kentucky. Source for notated version: Bob Walters (Burt County, Nebraska) [Christeson, Phillips]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; pg. 86. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 124. Rounder CD0392, John Hartford - “Wild Hog in the Brush and a Bunch of Others You Might Not Have Heard” (1996).

X:1

T:Jimmy in the Swamp

M:1/2

L:1/8

Q:220

S:John Hartford's "Wild Hog in the Redbrush" transcribed by Llarry Brandon

K:G

GE |:"G"DEGA BAGA| Bded ef .g2|DEGA BAGA|BAGB"D" AGEG|!

"G" DEGA BAGA|Bded  efga|bgag efge|1"D"dBAF "G"G2 GE:|2dBAF G2 z2| !

|"Em"|:{d}e4 B4| efed B2 gf|"G"e2 .E2 EFGA|BAGB AGE2|!

"Em"{d}e4 B4 | efed B2 gf|"G"e2 .E2 EFGA|"D"BGAF"G" G4 :|

 

JIMMY JOHNSON. Old‑Time, Breakdown. USA; Virginia, West Virginia. A Major. AEae tuning. AAB. A common West Virginia tune, and elsewhere, under different titles. In the repertiore of W.Va. fiddlers Melvin Wine and Ernie Carpenter (who learned it from his father Shelt Carpenter). Source for notated version: Glen Smith (Galax, Va.) [Phillips] {who learned the tune from Johnny Johnson}. Phillips (Traditional American Fiddle Music, vol. 1), 1994; pg. 125. Augusta Heritage Records 003, Ernie Carpenter ‑ "Elk River Blues: Traditional Tunes From Braxton County, W.Va." Marimac AHS #2, Melvin Wine‑‑"Hannah at the Springhouse." Marimac AHS #3, Glen Smith – “Say Old Man” (1990). Rounder 1504/1505, Burl Hammons – “The Hammons Family: The Traditions of a West Virginia Family and Their Friends” (featuring Maggie Hammons Parker beating straws to Burl’s fiddling).

 

JIMMY JOHNSON PASS THAT JUG AROUND THE HILL. AKA and see “Johnny, Bring the Jug Around the Hill.” Old-Time, Breakdown. One of a family of tunes that includes ,” “Brownstream,” Herve Brown’s Dream,” “John Brown's Dream,” “Little Rabbit Pretty Little Gal [1],” “Stillhouse Branch” “Table Mountain Road” and others. The tune family is a common a popular one in the Blue Ridge Mountains, where it probably originated but has since been disseminated. West Virginia fiddler Clark Kessinger recorded the tune in 1929 as “Johnny Bring the Jug ‘Round the Hill.” Sometimes lyrics were sung, such as:

***

Jimmy Johnson bring your jug round the hill.

If you can’t bring the jug bring the whole damn still,

If you can’t bring the jug bring a ten dollar bill.

***

Document DOCD-8010, Clark Kessinger.

           

JIMMY KELLY’S BANJO. Irish, Jig. D Major. Standard tuning. AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black, in honor of a Boston musician Kelly died in January, 2001. Kelly was a “banjo/box/fiddle/piano player, plectrum maker, storyteller, and all-around great person,” says Black, and a unique character active in the Boston Irish music community. Black (Music’s the Very Best Thing), 1996; No. 103, pg. 53.

X:1

T: Jimmy Kelly's Banjo

C: © B. Black

Q: 300

R: jig

M: 6/8

L: 1/8

K: D

D | A,DF DFA | dcd efg | afd gec | dBA FBA |

A,DF DFA | dcd efg | aba gec | edc d2 :|

e | a^ga =gec | edc def | gab a2 f | gdB A2 e |

afd gec | Ace f2 g | aba gec | edc d2 :

           


JIMMY KING. AKA and see "N....r Jim." Old‑Time, Breakdown. USA, southwestern Pa. G Major. Standard tuning. AB. The piece sounds like a minstrel tune to Bayard (1981), although he could not find a version in that repertory, and also, very distantly, to some Scottish airs. Source for notated version: Edward King (Greene County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 151B, pg. 86.

           

JIMMY LINN'S HORNPIPE. American, Hornpipe. B Flat Major. Standard. AABB. "Can be used as a Clog" (Cole). Composed credited to a "J.L." in Cole's 1000, presumably the self-same Jimmy Linn (about whom nothing is known). The tune was recorded by Cape Breton fiddler Winston Fitzgerald. Cole (1000 Fiddle Tunes), 1940; pg. 92. Ryan’s Mammoth Collection, 1883; pg. 125. John Campbell – “Timeless” (1999). Rounder CD 11661-7033-2, Natalie MacMaster – “My Roots are Showing” (2000). Richard Wood – “Fire Dance” (Wood is a fiddler from P.E.I.).

X:1

T:Jimmy Linn’s Hornpipe

M:

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:B_

(dc) | B>bf>dg>ec>A | B>dF>B D>FB>F | B>dg>f e>dc>B | (3ABc (3BAG (3FGF (3EDC |

B,?Fd>B g>ec>A | B>dF>B D>FB>F | E>gf>e d>Bc>A | B2b2B2 :: (ga) | b>Bd>f gBe>g |

(3fgf (3edc B>AG>F | E>Gc>d e>dc>B | (3ABc (3BAG F2 (fa) | b>Bd>f g>Be>g |

f>Bd>f e>FA>c | B>gf>e d>Bc>A | B2b2B2 :|

 

JIMMY LYON'S. Irish, Highland. Ireland, southwest Donegal. A Major. Standard. AB. The tune is named after a late, great fiddler from the Teelin, southwest Donegal, area. Green Linnet SIF‑1109, Altan ‑ "The Red Crow" (1990). Smithsonian Folkways SFW CD 40481, Brian Conway – “First Through the Gate” (2002).

X:1

T:Jimmy Lyon’s

M:4/4

L:1/8

R:Highland

K:A

(3EFG||Aaga eAcA|FAdc BEGB|Aaga eAcA|FAGB cA E2|\

Aaga eAcA|FAdc BEGB|Aaga eAcA|FAGB c/Aa/gf||\

ecce fdde|dBBf geef|(3efe ce fdfa|(3gfe (3dcB (3Ace \

(3agf|ecce fdde|dB^df geef|(3efe ce fdfa|gbeg aecB||

           

JIMMY MACKINNON OF SMELT BROOK. Canadian, Jig. Canada, Cape Breton. G Major. Standard. AABB’. Composed by Cape Breton fiddler Winston Fitzgerald (1914-1987). Cranford (Winston Fitzgerald), 1997; No. 203, pg. 79.

           

JIMMY McGREEVY’S. Irish, Reel. D Major. Standard. AABBCC. Composed by Falmouth, Massachusetts, musician and writer Bill Black, dedicated to Dublin accordion player McGreevy. Black (Music’s the Very Best Thing), 1996; No. 207, pg. 111.

X:1

T: Jimmy McGreevy's

C: © B.Black

Q: 350

R: reel

M: 4/4

L: 1/8

K: D

A | dBAF ABBF | ABde fafe | dBAF ABAF | BdAF E3 A |

dBAF ABBF | ABde fdef | gfeg fedf | ecAc d3 :|

D | B,F (3FEF CE (3EDE | DFAd BAFD | B,F (3FEF A,E (3EDE |

DB,A,B, D3 D | B,F (3FEF CE (3EDE | DFAd BAFA | BAGB AFDF |

EDCE D3 :|

e | af (3fef bf (3fef | afed effg | af (3fef bafe | defd e2 fg |

af (3fef bf (3fef | afed edBc | dBAF ABAF | EDCE D3 :|

           

JIMMY McHUGH’S. Irish, Jig. Outlet SOLP 1044, Josephine Keegan - “Irish Traditional Music.”

           

JIMMY McKINNON/MACKINNON OF SMELT BROOK. AKA and see “Scotch Cove Jig.” Canadian, Jig. Canada; Cape Breton, Prince Edward Island. G Major. Standard tuning. AABB. Composed by Cape Breton fiddler Winston “Scotty” Fitzgerald. Source for notated version: Joseph Doucette (b. 1910, Deblois Road, West Prince County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 123. Welling (Welling’s Hartford Tune Book), 1976; pg. 25 (appears as 1st tune of “Scotch Cove Medley”). Breton Books and Records BOC 1HO, Winston “Scotty” Fitzgerald - “Classic Cuts” (reissue of Celtic Records CX44).

           

JIMMY MEEHAN’S. Irish, Polka. Ireland, County Donegal. From the playing of fiddler Danny Meehan’s father, named for him. Bowhand 001CD, Danny Meehan – “The Navvy on the Shore” (2000).

                       

JIMMY MO MHILE STHOIR. AKA and see “Jimmy of a Thousand Welcomes.”


                       


JIMMY O'BRIEN'S JIG (Port Seumus Uí Briain). AKA and see “Copey’s Jigg,” “Cossey’s Jig,” “Maid in the Meadow [1].” Irish, Double Jig. G Major (O’Neill): A Major (Moylan). Standard tuning. AB (Moylan): AABBCC (O’Neill): AABBCCDD (Connolly & Martin). The great compiler Francis O’Neill learned this tune from County Mayo piper James O’Brien, who visited Chicago (where O’Neill worked in the police department) in 1876. O’Neill describes him as “a neat, tasty Irish piper of the Connacht school of close players, and though his Union pipes were small, they were sweet and musical...One of his peculiarities—and an unpleasant one, occasionally—was a habit of stopping the music in order to indulge in conversation. He could not be induced to play a tune in full, when under the influence of stimulants, as his loquacity was uncontrollable, and he never hesitated under such conditions to express a passing sentiment. Amiable and harmless at all times, he died at a comparatively early age in Chicago, a victim to conviviality, his only weakness.”

***

O’Neill states that the jig was unknown among Chicago musicians prior to O’Brien, even by musicians from Mayo, somewhat surprising given its long history in Ireland. The original title apparently was “Cossey’s Jig” (“Copey’s Jig”) attributed to the 18th century Irish gentleman-composer Walker “Piper” Jackson in Clinton’s Gems of Ireland (London, 1841). O’Neill said he found a version of “Copey’s Jigg” in “an extremely rare volume of Irish music called The Bee, but undated.” “Cossey’s Jig” appears in Jackson’s Celebrated Irish Tunes (1774), published in Dublin and republished in 1790. The ‘A’ part of the tune is similar to “Greenfields of America [1].”

***

Fiddler Séamus Connolly says the first two parts of the tune were played by Newtown, Nenagh, County Tipperary fiddler Dinny O’Brien (father of the famous accordion player Paddy O’Brien), and were a favourite of his, although he had no name for the tune. The same two parts of the tune Connolly found on an OKeh  78 RPM recording of fiddler James Morrison under the title “Mist on the Meadow.”

***

Sources for notated versions: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; Jimmy O’Brien (County Mayo) [O’Neill]. Connolly & Martin (Forget Me Not), 2002; pgs. 46-47. Moylan (Johnny O’Leary), 1994; No. 214, pg. 123. O'Neill (Krassen), 1976; pg. 49. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 991, pg. 184. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 206, pg. 48. O’Neill (Waifs and Strays of Gaelic Melody), 196.

X:1

T:Jimmy O’Brien’s Jig

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 206

Z:AK/Fiddler’s Companion

K:G

B | c3 BdB | AGA BGE |DEG GAB|AGA BGE|cec BdB|AGA BGE|DEG AGA| BGG G2 :|

|: d | gfe dBd | edc Bcd | gfe dBd | ecA A2d | gfe dBd | edc Bcd | DEG AGA | BGG G2 :|

|:D|GBd GBd|FAA FAA | GBd GBd | eAA A2D | GBd GBd | FAA FAA | DEG AGA|BGG G2 :|

                       

JIMMY O'BRIEN'S REEL. Irish, Reel. G Major. Standard tuning. AAB. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 304.

X:1

T:Jimmy O'Brien's Reel

M:4/4

L:1/8

S:Capt. F. O'Neill

Z:Paul Kinder

R:Reel

K:G

AB|:cAAB cAAG|F2 G2 A2 AB|cAAB cAAG|F2 GE FD D2:||

fefg a2 "tr"ag|FA ~A2 FA ~A2| fefg a2 "tr"ag|BABc d2-d2|

fefg a2 "tr"ag|FA ~A2 FA ~A2|fde^c dfec|d2- dc d2 z2||

                       

JIMMY OF A THOUSAND WELCOMES (Jimmy Mo Mhile Stor). Irish, Air (3/4 time). G Major (O Canainn, Russell): A Major (Roche). Standard tuning. One part (Roche, Russell): ABB’ (O Canainn). The song was sung in Irish and well and English (which sounds quite stilted). The last verse in English goes:

***

I’ll go to the woods and stay there the rest of my days,

Where no mortal I’ll suffer my soul to tease,

With the wild rowans with red berries drooping o’er

I’ll wait for my true love, sweet Jimmy, mo mhile stor.

Clare tin whistle player Micho Russell’s mother’s version went:

I will let my hair grow long and I will let up a beard.

I will sleep in my bed, cold, with a quilt made of my old trousers,

And if I don’t get this girl from the mountain

I will leave this girl altogether.

***

Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 87, pg. 75. Roche Collection, 1983, vol. 1; No. 15, pg. 11. Russell (The Piper’s Chair), 1989, pg. 25. Clo Iar-Chonnachta Records CICD 079, Eilin Ni Bheaglaoich – “Mile Dath/A Cloak of Many Colors.” Clo Iar-Chonnachta Records CICD 150, Cait Ni Ailiosa (1894-1977) - “Maidin Bhog Alainn” (recorded c. 1960). Gael Linn Records, Jimmy Crowley – “Jimmy mo Mhile Stor.” The Chieftains – “Tears of Stone” (featuring the Rankins). RTE MC124, Kathleen Brennan-Grant – “A Job of Journeywork” (fiddle solo).

           

JIMMY O’ THE BU’S POLKA.  Scottish, Polka. Scotland, Orkney Islands. D Major. Standard tuning. AABB’. An un-named tune, called after its source. Source for notated version: Len Wilson (b. 1938, Stomness, Orkney), as played by Jimmy Sinclair (Bu of Hoy) c. 1920’s [Martin]. Martin (Traditional Scottish Fiddling), 2002; pg. 101.

 

JIMMY ON THE MOOR. Irish, Reel. Composed by guitarist Dennis Cahill. Green Linnett GLCD 1181, Martin Hayes & Dennis Cahill - “The Lonesome Touch” (1997).

                       

JIMMY O’REILLY’S.  Irish, Reel. Green Linnet GLCD  1211, Kevin Crawford – “In Good Company” (2001. Learned from Dublin piper Declan Masterson).

 

JIMMY OSSINGTON. AKA and see “No Corn on Tigert/Tygart [2],” “Snakewinder.”

                       

JIMMY RITCHIE OF DELGATIE. Shetland, Reel. A Major. Standard tuning. AABB. "The man who kept Delgatie Castle in repair. A man of many trades who could always be relied on to find a solution to most problems. 1950 was one of the years when the Islesburgh Band played at the Clan Hay Gathering at Dalgatie Castle and the tune was composed (by Tom Anderson) at that time" (Anderson). Anderson (Ringing Strings), 1983; pg. 47.

                       

JIMMY SHENK. See “Jim Shank.” Old-Time, Breakdown.

                       

JIMMY SUTTON. AKA – “Old Jimmy Sutton.” Old-Time, Breakdown. A Mixolydian. AEae tuning. AB. In the repertoire of Ozark fiddler Vester Jones, but the song also has currency with Blue Ridge regional musicians such as Fred Cockerham. As “Old Jimmy Sutton” the song/tune was in the repertoire of Grayson & Whitter who recorded it in the early 20th century (played in the key of G). These verses have been collected (sometimes a bleat or ‘Baaa’ is voiced at the end of the line):

***

Get out a rock as big as a button

Kill Jimmy Sutton as dead as mutton.

***

I like Sal and she likes chicken.

I'll keep Sal, all the time pickin'.

***

Sheep met a billy-goat going to pasture.

Sheep said "Goat, can't you go a little faster?"

***

Sheep fell down and skinned his chin

And, great God almighty, how the billy-goat grinned.

***

I like Sal and she likes mutton

And I hate to lose to old Jimmy Sutton.

***

If you can't dance that, you can't dance nothin'

And I wouldn't give a chaw to the old Jimmie Sutton    (sometimes used as a chorus)

***

Bill took the gun, Bill went a huntin'

BAM! went the gun and down fell a mutton.

***

Some of the verses are floating. Stacy Phillips points out that the lines

***

Sheep met a billy-goat going to pasture.

Sheep said "Goat, can't you go a little faster?

***

were sung by Tommy Duncan on Texas fiddler Bob Wills' version of “Sally Goodin,” and

were followed by

***

Sheep fell down, goat rolled over,

Goat got up with a mouth full of clover.

***

Source for notated version: Judy Hyman (Ithica, N.Y.) [Phillips]. Phillips (Traditional American Fiddle Tunes), 1994; pg. 125. Folkways FS-3811, Vester Jones. Vester Ward – “Traditional Music From Grayson & Carrol Counties."

           

JIMMY THE CREELMAKER. AKA and see "Tie the Ribbons [1]," "Big Pat's (Dandy) Reel," "Trim the Bonnet," "The Pigeon House," "The Dandy Reel," "The Hills of Clady," "The Clady Reel," "Salamanca [3]," "O'Connell's Trip to Parliament [2]."

           


JIMMY THE TAILOR. AKA and see "An Ghaoth Aniar Andeas," "Coffee and Tea [2]," "Aineen's Double," "The Cherry Grove Jig," "Banish Misfortune (or Mary of Inistuick) [2],” "Bacach na Cleithe."

                       

JIMMY WARD'S JIG (Port Jimmy Mhic an Bhaird). AKA – “Jim Ward’s Fancy,” “Jim Ward’s Jig.” AKA and see "An Chéad Phunnann" (The First Sheaf). Irish, Double Jig. D Mixolydian : G Mixolyian. Standard tuning. AA'BB'. The alternate title, "An Chéad Phunann" (The First Sheaf), appears in Breathnach’s Tacar Port, 1961 [5]. The Kilfenora Ceili Band was co-founded in 1927 by banjo-player Jimmy Ward and his brother Tom, who played the fiddle. They first broadcast on the radio in 1932. Ward, from Kilfenora, originally played whistle, flute and piccolo from the 1920’s to the 1940’s, but started playing banjo in the mid-1940’s and it became his main instrument. He was with the Kilfenora when the won the All-Ireland three years in a row, 1954-1956. Near the end of his life he lived in Miltown Malbay and ran a small shop. He died in the early 1970’s after he lost control of his car on the Inagh road and hit a bridge; he never recovered from his injuries. The jig is occasionally played in the key of D (Lunasa), although more commonly heard in G (Danu). Mallinson (100 Evergreen Irish Session Tunes) attributes the jig that bears his name to Jimmy Ward himself. Others believe that the tune was not composed by Ward, but was associated with him. Source for notated version: fiddler Bobby Casey (County Clare, Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 2, pg. 3. Treoir, vol. 38, No. 2, 2006; pg. 30. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 32. Brick Mixing Music, Garry Shannon – “Punctured” (2006). Comhaltas Ceoltoiri Eireann CL17, Bobby Casey ‑ "Ceol an Chlair vol. 1." Gael Linn Records, Willie Clancy – “Seoda Ceoil” (1968). Shanachie 79064, Matt Molloy – “Heathery Breeze” (1999).

X:1

T:Jimmy Ward’s Jig

M:6/8

L:1/8

R:Jig

K:G

E|~G3 G2B|AGE GED|~G3 AGE|GED DB,D|~G3 G2B|AGE GAB|cBA BGE|DED D2:|

|:B|c2A BAG|ABA AGE|c2A BGE|EDE GAB|cBA BAG|ABA ABc|dcA AGE|DED D2:|

X:2

T:Port Sheamuis Mhic a Bhaird

T:Jim Ward's Fancy

C:Trad.

R:Jig

M:6/8

K:G

|:~G3 GAB|AGE GED|~G3 AGE|GED D2E|

~G3 GAB|AGE GAB|c2A BGE|DED D2B:|

|:c2A BAG|ABA AGE|c2A BGE|EDE GAB|

c2A BAG|ABA ABc|dcA AGE|1 DED D2B:|2 DED D2z||

           

JIMMY'S FAVORITE JIG. Canadian, American; Jig. USA, New England. Canada; Ontario, Québec, Prince Edward Island. G Major. Standard tuning. AABB (Jarman, Sannella): AABB’ (Perlman): AA’B’B’ (Begin/Girdwood): AA'BB'A" (Begin/Bruneau). Composed by Manitoba fiddler Andy Dejarlis (despite Perlman’s assignation of the tune’s provenance to the Canadian Maritimes). Sources for notated versions: button accordion player Philippe Bruneau (Quebec) [Begin]; Sterling Baker (b. Mid-1940's, Morell, North-East Kings County, Prince Edward Island; now resides in Montague) [Perlman]; fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]. Begin (Fiddle Music in the Ottawa Valley: Dawson Girdwood), 1985; No. 44, pg. 53. Begin (Philippe Bruneau), 1993; No. 26, pg. 40. Jarman (Jim Magill's Square Dance Tunes); No. or pg. 12. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 124. Sannella, Balance and Swing (CDSS). F&W Records 1, "F&W String Band."

X:1

T:Jimmy’s Favorite Jig

M:6/8

L:1/8

R:Jig

S:Caremelle Begin – from a transcription of Ontario fiddler Dawson Girdwood

K:G

g3 |faf def|[B3g3] [Bg](ef)||

|:(g2b) gdB|GAG GAB|cdc ({d/}c)BA|E3 E2 g|fgf ({f/g/}f)ed|

afa (f/4g/4f/4g/4 fe)|1 dcd edc|B2 B def:|2 dcd d(ef)|g3 g z (3D/E/F/||

|:G2 G GDB,|GDB, GDB,|(G/A/G/F/)G GAB|c3 ({c/d/}c)BA|

[F2A2] [FA] [FA][EA]D|(F/G/F/E/)D FED|DFA cAF|1 GBA DFG:|2 G3 Gef||

                       

JIMMY'S RETURN (Fillead Seamusin). Irish, Reel. B Minor. Standard tuning. AB (O'Neill/1850): AA'BB' (O'Neill/Krassen). O'Neill (Krassen), 1976; pg. 140. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 1444, pg. 268.

X:1

T:Jimmy’s Return

M:C|

L:1/8

R:Reel

S:O’Neill – Music of Ireland (1903), No. 1444

Z:AK/Fiddler’s Companion

K:Bmin

e | f2 Bc dBfB | cAec aecA | f2 Bc dBfB | cAec dBBe | f2 Bc dBfB |

cAec aecA | BcdB cdea | fdec dB B || c | Bbfd BcdB | cAec aecA |

Bbfd BcdB | cAec dBBc | Bbfd BcdB | cAcA aecA | Baga fgef | dfec dB B ||

                       

JIM’S JIG. American, Jig. G Major. Standard tuning. AABB. Composed by Jim Bell of Portland, Oregon. Songer (Portland Collection), 1997; pg. 110.

                       

JIM'S POLKA. Canadian, Polka. G Major ('A' part) & C Major ('B' part). Standard tuning. ABB. Composed by Don Messer. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 102, pg. 65.

                       

JIM'S RED CAR. Irish, Double Jig. Ireland, County Sligo. G Major. Standard tuning. AABB'. Source for notated version: flute player James Murray (b. 1947, Ougham, outside Tubbercurry, Co. Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 167.

                       

JIMTOWN GALS. AKA and see "Buffalo Gals."

                       

JINGLE AT THE WINDOW. AKA and see “Stranger in the Neighborhood.” Old-Time. D Major. From the playing of Mel Durham. The Indian Creek Delta Boys called the tune “Stranger in the Neighborhood.”

           

JINGLIN' JOHNNIE. AKA and see "The New Highland Laddie [1]," "Kate Dalrymple." Scottish, Country Dance Tune (cut time). A Major. Standard tuning. ABCD. Stewart-Robertson (The Atholl Collection), 1884; pg. 144.

X:1

T:Jinglin Johnnie

T:Kate Dalrymple

M:C|

L:1/8

R:Country Dance

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

Z:AK/Fiddler’s Companion

K:A

E | A2(Ac) B2(Bc) | A2(Ac) B2(Bc) | A2 (ag) (fe)dc | B2e2c2 (AE) | A2(Ac) B2(Bc) |

A2(Ac) B2(Bc) | A2(ag) (fe)dc | B2e2c2A || c | e2 (ef) edcd | e2a2e2 (cd) | e2(ef) edcd |

e2 (ag) fedc | d2(fd) c2(ec) | B2(Bc) d2(cB) | A2(ag) fedc | B2e2c2A || E |

AEAc BEGB | AEAc BEGB| A2(ag) fedc | B2(ed) (dc)BA | AEAc BEGB |

AEAc BEGB | A2(ag) fedc | BAGB ABcd || e^def ecAc | e2(af) ecAc | e^def ecAc |

e2(ag) fedc|d2(bd) c2(ac) | B2(Bc) d2(cB) | A2(ag) fedc | B2e2c2A ||

           

JINKIN’ MERMAID, THE.  Irish, Reel. Ireland, County Donegal. C Major. Standard tuning. AABB. Composed by fiddler Dinny McLaughlin, from the Inishowen area of County Donegal. The tune takes its name from a float of Noah’s Ark, sponsored by Ballymagan Celtic, for a St. Patrick’s Day parade. The float featured jinkin’ (jumping) mermaids. Fiddler Magazine, Winter 2008/09, vol. 15, No. 4; pg. 10.

           


JINNY IN THE LOWLANDS [1]. AKA and see "Billy/Billie in the Low Ground [1]." American, Breakdown. USA, western Pennsylvania. C Major. Standard. AB. "This is the air known elsewhere in western Pennsylvania and in southern regions as "Billy in the Lowlands (Low Grounds)". Mr. Martin's version resembles one recorded in Kentucky (Jean Thomas, "Devil's Ditties," p. 130), but differs from all known to the editor in its lack of division into two equal parts. Its slight rhythmic irregularity (the bar in 6/4 time) is probably due to corruption. Such irregularities are fairly frequent in versions played by western Pennsylvania folk musicians... Both in the South and in western Pennsylvania the fiddlers give this name to another tune, which may possibly be cognate, but has distinct features of its own (See Bayard, 1944; No. 5) {Bayard, 1944}. Sources for notated versions: Emery Martin (Dunbar, Pennsylvania, 1943; learned from his father) [Bayard, 1944]; Irvin Yaugher (Fayette County, Pa., 1946; learned from his great‑uncle Uriah) [Bayard, 1981]. Bayard (Hill Country Tunes), 1944; No. 4. Bayard (Dance to the Fiddle), 1981; No. 234B, pg. 193.

 

JINNY IN THE LOWLANDS [2]. AKA and see "Sweet Ellen/Ellum."

 

JINNY IN THE LOWLANDS [3]. AKA and see "Paddy on the Tunrpike." Old‑Time, Breakdown. USA, southwestern Pa. A Dorian. Standard tuning. AB (irregular rhythms). Levi Hall (Fayette County, Pa., 1944; "learned from Butt Cutter Bryner") [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 347G, pg. 337.

 

JINNY NETTLES. AKA and see "Jenny Nettles [2].”

 

JINNY O JINNY MY TOES ARE SORE. AKA and see "O Dear Mother My Toes Are Sore [1]." American, Jig. USA, southerwestern Pa. A Dorian. Standard tuning. AB. See note for "O Dear Mother My Toes Are Sore" (both versions). Sources for notated versions: Edinger (Pa., 1954) and Finnefrock (Pa., 1954) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 452G‑H, pgs. 433‑444.

 

JINNY PUT THE KETTLE ON. AKA ‑ "Polly Put the Kettle On," "Molly Put the Kettle On." Tune (and title, presumably) learned by Hobart Smith from black fiddler Jim Spencer.

 

JINRIKISHA. See related tune "Constitution Hornpipe." American, Hornpipe. D Major. Standard tuning. AABB. A jinrikisha is “a light two-wheeled hooded vehicle, drawn by one or more men. Shortened colloq. To rickshaw” [Oxford Dictionary]. 'A' part is the same as that of "Constitution Hornpipe" and an untitled Pennsylvania collected reel in F major in Bayard (Dance to the Fiddle), 1981, No. 138, pg. 75. Cole (1000 Fiddle Tunes), 1940; pg. 92. Ryan’s Mammoth Collection, 1883; pg. 125.

X:1

T:Jinrikisha

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

(3A/B/c/ | .d.d d/A/d/f/ | .e.e e/A/c/e/ | f/e/d/c/ d/f/a/f/ | e/d/c/B/ .A(B/c/) |

.d.d d/A/d/f/ | .e.e e/A/c/e/ | f/a/f/d/ e/g/e/c/ | dfd :: f/g/ |

a/d/F/A/ d/F/A/d/ | B/d/G/B/ d/G/B/G/ | A/d/F/A/ d/A/F/A/ | G/A/F/G/ .E(F/G/) |

A/d/F/A/ d/F/A/d/ | B/d/G/B/ d/G/B/G/ | F/A/d/A/ B/g/e/c/ | dfd :|

 

JIRROCK'S HORNPIPE. AKA and see "Durrock's Hornpipe."

 

J'M'EN VAS CHANTANT RIANT. French, Bourree a 2 Temps (2/4 time). G Minor. Standard tuning. AA'BB. From central France. Stevens (Massif Central), 1988; No. 89.

                       

J'M'ENNUIE PAS D' TOI (Not Lonesome Anymore). Cajun, Waltz. USA, southwestern Louisiana. A Major. Standard tuning. AA(Vocal)AABAA(Vocal)A. The song was composed by Johnnie Allan (John A. Guillot). Source for notated version: Aldus Roger & Phillip Alleman (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 385-386. La Louisiane Records LL-LP114, Aldus Roger.

 

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