The Fiddler’s Companion

© 1996-2007 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 concertina.net’s incredibly handy “ABC Convert-A-Matic” at

http://www.concertina.net/tunes_convert.html

 

 

[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. AABB. Knowles (Northern Frisk), 1988; No. 2.

                       

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

                       

JIGG POLTAGUE [1]. English, Slip Jig. A Mixolydian. Standard. 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. 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. 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. 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 “Leg of the Duck [2]. Irish, Jig. G Major. Standard. 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). 

                       

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 and see “The Hills of Clogher.” Irish, Reel. Ireland, County Sligo. D Major. Standard. AA'BB'. 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. 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. 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. 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. 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:D Mixolydian

|: 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. 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. 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. AABB. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 78.

           

JIM KELLY’S BANJO.