The Fiddler’s
Companion
© 1996-2008 Andrew Kuntz
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Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s
Companion work fine in most abc conversion programs. For example, I use
abc2win and abcNavigator 2 with no problems whatsoever with direct
cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s
into the concertina.net converter results in double-spacing. For
concertina.net’s conversion program to work you must remove the spaces
between all the lines of abc notation after pasting, so that they are
single-spaced, with no intervening blank lines. This being done, the F/C
abc’s will convert to standard notation nicely. Or, get a copy of
abcNavigator 2 – its well worth it.
[AK] |
JOAN BEATON’S REEL. Canadian, Reel.
JOAN BOAS TUNE, A. Canadian, March.
JOAN COYNE’S. See “Martin Wynne’s No. 2.”
JOAN MACDONALD.
JOAN SANDERSON. AKA and see "The Cushion Dance." English, Country Dance Tune (3/4 & 6/4 time). G Dorian. Standard tuning. AABCC. The air appears in Playford's Dancing Master of 1686. 'Joan Sanderson' (or John Sanderson, if the participant is male) is a figure in the dance‑game of "The Cushion Dance" (see notes on that tune and the Scottish version called "Babbity Bowster"). The Cushion dance is described by Mrs. Groves: ”The dance is begun by a single person, man or woman, who, taking a cushion in hand, dances about the room, and at the, end of a short time stops and sings: ‘This dance it will no farther go,’ to which the musician answers: ‘I pray you, good sir, why say so?’ ‘Because Joan Sanderson will not come to.’ ‘She must come to whether she will or no,’ returns the musician, and then the dancer lays the cushion before a woman; she kneels and he kisses her, singing ‘Welcome, Joan Sanderson.’ Then she rises, takes up the cushion, and both dance and sing’ Prinkum prankum is a fine dance, and shall we go dance it over again?’ Afterwards the woman takes the cushion and does as the man did.”
***
The dance survived for several hundred years in some areas. Writing of Cornish entertainments, Davies Gilbert reported in 1823 "...at length to French-More (i.e. “Trenchmore”) and the Cushion Dance, and then all the company dance; lord and groom, lady and kitchen-maid, no distinction!" Chappell (Popular Music of the Olden Times), vol. 1, 1859; pg. 287.
X:1
T:Joan
Sanderson
T:Cushion
Dance, The
M:3/4
L:1/8
S:Chappell
– Popular Music of the Olden Times (1859)
Z:AK/Fiddler’s Companion
K:G Dorian
G2d2c2 |
=B3c A2 | G2G2D2 | G6 :|
L:1/8
G4d2 d4c2 |
d3_e d2 c4A2 | B4B2 c3d B2 | A4G2G4 ||
|: A2 | B3cB2 F4F2 | G3AG2 D4D2 | B4B2 c3d B2 | A4G2 G6 :|
JOAN TO THE MAYPOLE. English, Air (2/4 time). G Major. Standard tuning. AB. The tune appears
in Pills to Purge Melancholy (1707
& 1719) under this title and also as the tune to "The
Disappointment" (1707). Chappell (1859) finds this ballad in the Roxburghe
and Douce Collections where it is entitled "May‑day Country Mirth;
or, The Young Lads and Lasses' Innocent Recreation, which is to be prized
before courtly pomp and pastime: to an excellent new tune." In Pepys it is
called "Rural Recreation; or, The Young Men and Maids' Merriment at their
Dancing around a Country May‑pole." The oldest printing is perhaps
1630, and Chappell reports that one of Richard Brathwaite's "Shepherd's
Tales" (1621) is "The Shepherd's
***
Joan to the maypole away let us on,
The time is swift, and will be gone.
There go the lasses away to the green,
Where their beauties may be seen;
Bess, Moll, Kate, Doll,
All the brave lasses have lads to attend ‘em,
Hodge, Nick, Tom, Dick,
Jolly brave dancers, and who can ammend ‘em.
Joan to the maypole away let us on,
The time is swift and must be gone,
There go the lasses away to the Green,
Where their beauties may be seen.
***
X:1
T:Joan to the Maypole
L:1/8
M:2/4
S:Chappell – Popular Music of the Olden Time (1859)
Z:AK/Fiddler’s Companion
K:G
DD/D/|GG/G/ AG/A/|B>B
d>d|e/d/c/B/ d/B/A/G/|A2 DD/D/|
GG/G/ AG/A/|B2 d>d|E/d/c/B/
c/B/A/G/|G2||d<^c|d<D d<^c|
d<D DD/D/|GG/A/ BA/G/|FE e<^d|e<E
E<^d|e<E =DD/D/|
GG/A/ BA/G/|FE||DD/D/|GG/G/
AG/A/|B>B d>d|e/d/c/B/ c/B/A/G/|
A2 DD/D/|GG/G/ AG/A/|B2 dd|e/d/c/B/
c/B/A/G/|G2||
JOANIE’S JIG. American, Jig. D Major. Standard tuning. AABB. Composed by Nancy Martin
of
JOAN'S PLACKET (IS
TORN). AKA and see "Jumping Joan," "Jumping John," "Cock o’ the North [1]"
(Scottish), "Aunty Mary" (Irish).
English, Country Dance Tune (6/8 or 6/4 time): Scottish, Scottish Jig. A Major
(Kennedy, Watson): G Major (Emmerson, Merryweather, Wilson): F Major (Scott).
Standard tuning. One part (Scott): AAB (Emmerson, Kennedy,
***
When I followed a lass who was froward and shy
I stuck to her, stuff
Til I mad her comply.
I took her so lovingly round the waist,
And hugged her tight and held her fast;
When hugged and hauled,
She screamed and squalled.
But, tho' she vowed all that I did was in vain,
I pleased her so well, that she bore it again.
I pleased her so well, that she bore it again.
Hoighty toity, whisking frisking,
Green was her gown upon the grass,
***
Oh, those were the joys of our dancing days,
Oh, those were the joys of our dancing days.
***
Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 84, pg. 161. Kennedy
(Fiddlers Tune Book), vol. 2; pg. 36.
Kerr (Merry Melodies), vol. 2; No.
311 (“Cock of the North”). Kidson (English
Folk Song and Dance), 1915; pg. 32. Merryweather (Merryweather’s Tunes for the English Bagpipe), 1989; pg. 42.
Playford (Dancing Master), 13th ed.,
pg. 30. Scott (English Song Book),
1926; pg. 28. Simpson (British Broadside
Ballad), 1966; pg. 389. Walsh (The
Complete Country Dancing Master), vol. 1, 1731; No. 30. Watson (A Rollick of Recorders or Other Instruments),
1975; No. 9, pg. 10. Wilson (A Companion
to the Ballroom), 1817; pg. 106.
X:1
T:Joan’s Placket
M:6/4
L:1/8
K:A
AB|c4 c2 c3 BA2|B4 B2 B4 ed|c3d e2B4 A2|(A6 A4):|
fg|a4 e2 f4e2|a4 e2 f4e2|a4 e2 c3B
A2|B4 B2 B4 ed|
c4 c2 c3B A2|B4 B2 B4 ed|c3 d e2 B4
A2|(A6 A4)||
JOB IN GETTIN' THERE. AKA ‑ "Jobbin Gettin There." Old‑Time, Breakdown.
JOB OF JOURNEY WORK
[1], THE (“Greim/Mir
Obairaonlae” or “Obair an Aistir”). AKA – “Stone Grinds All.” Irish, Scottish; Set
Dance (cut time or 4/4). D Mixolydian (Roche): D Major (O'Neill): D
Major/Mixolydian (Cranitch, Joyce, Mulvihill, Stanford/Petrie). Standard. AB
(Standord/Petrie): AABB (Cranitch, Joyce, Mulvihill, O’Neill, Roche). Francis
O’Neill (1922) said this set-dance tune was derived from a song air. Samuel
Bayard (1954) published a study of a tune family he called "The Job of
Journeywork," evidently feeling "this long, irregular tune developed
by the eighteenth century Irish dancing masters was somehow archetypical"
(Cowdery, 1990). The second strain of the melody has been the one which has
spawned the most variants, one of many of the "standard building
blocks" (Ó Canainn, 1978) of the Irish melodic tradition. See "Tom Sullivan's" and "Matt Hayes's Polka [2]" for
examples of conjoining phrases based in part on "The Job of
Journeywork." Joyce (1890) states the tune was “a great favourite” in some
of the
***
However, the first printed
appearance of the tune appears to be in James
Aird’s Selection of Scotch, English
Irish and Foreign Airs, vol. 3 (
***
In Irish tradition “Job of
Journeywork” is one of the four tunes called the Traditional Sets (i.e. set
dances), along with “St. Patrick’s Day,” “The Blackbird” and “Garden of
Daisies.”
***
Source for notated version: “A
X:1
T:Job of Journeywork, The [1]
M:C|
L:1/8
R:Set Dance
Z:O'Neill – Music of Ireland (1903), No. 1792
Z:AK/Fiddler’s Companion
K:D
fe|dcAG FGAB|(3=cBA BG A2
{fa}fe|d2{e}dc {e}dcAF|GBAF DEFG|\
(3ABA GA FGEF|DCDE ~F3G|AD {e}(3dcd
cdec|d2{e}dcd2::de|\
(3faf ef gfef|dedc ABde|(3faf ef
gfec|dedc A2 fg|\
agfa gfec|~d3e f2 ec|dcAG
FGAB|(3=cBA BG A2 fe|\
(3ded (3cdc
(3BAG AF|DCDE ~F3G|Ad {e}(3dcd cdec|d2{e}dcd2:|
X:2
T:Job of Journeywork, The
M:C
L:1/8
R:Set Dance
S:Joyce – Ancient Irish Music (1890)
Z:AK/Fiddler’s Companion
K:D
fe | dcAG FGAB | =cBcA cdef | dB=cA BGAF | GBAF DEFG |
ABAF GFEF | D2 DE F2G2 | A2d2 cdef | d2 dd d2 :: de | f2 ef gfef |
d2 dc A2 de | f2 ef gfef | d2 dd d2 cd | eaag f2 ed | dcde f2 ed |
dcAG FGAB | =cBcA cdef | dB=cA BGAF | GBAF DEFG |
ABAF GFEF | D2 DE F2G2 | A2d2 cdef | d2 dd d2 :|
JOB
OF JOURNEY WORK [2], THE. Irish, Set Dance (2/4 time). G
Major. Standard tuning. AABB. O’Neill (1922) says: “This is a variant of
the Long Dance of the same name in O'Neill's Dance Music of Ireland. It differs however in having two bars less
in the second part.” Source
for notated version: copied from James Aird’s Selection of Scotch, English, Irish and Foreign Airs (1782-97)
[O’Neill]. O’Neill (Waifs and Strays of
Gaelic Melody), 1922; No. 84.
X:1
T:Job of Journey Work
M:2/4
L:1/8
S:Aird's Selections 1782-97
Z:Paul Kinder
K:G
g2|dB GB|"tr"d2 dg|dB c/2B/2A/2G/2|A2 GA|
B/2A/2G/2A/2 B/2A/2G/2F/2|E>F GA|de e^d|g2:|
|:d2|gg a/2g/2f/2e/2|dd dB|gg a/2g/2f/2g/2|"tr"e2 dB|
gg a/2g/2f/2e/2|dd dg|dB c/2B/2A/2G/2|"tr"A2 GA|
B/2A/2G/2A/2 B/2A/2G/2F/2|E>F GA|Be e^d|e2:||
JOBE'S QUICKSTEP. American, March. The first part is similar to an untitled reel in
Bayard (1981, No. 84, pg. 52). American
Veteran Fifer, 1902 & 1927; No. 38.
JOCK AND TAM. AKA and see “Lady Susan Montgomery’s
Hornpipe,” “Punchanello(’s Hornpipe),”
“Rusty Gulley [2],” “Three Case Knives,” “< a
href="THRA_THY.htm#THREE_RUSTY_SWORDS">Three Rusty Swords.”
JOCK HALCROW. Scottish, Waltz. Scotland, Orkney Islands. Composed by Jock Halcro, a
fiddler with the Orkney Strathspey and Reel Society. Greentrax
CDTRAX 9009, Pat Shearer - “Scottish Tradition 9: The Fiddler and his Art”
(1993).
JOCK O' HAZELDEAN. Scottish, "Fling" or Air (2/4 time). F Major (Hardings): E Major
(Neil). Standard tuning. AB (Neil): AABB (Hardings). The original melody can be
found in the Leyden MS under the title "The Bony Brow," and an early
version appears in Lady Margaret Wemmyss’ lute manuscript from the 1640’s under
the title “My Lady Binnis Lilt.” The lyrics were substantially reworked (as was
the melody), with additional words, by Sir Walter Scott, adding on to a stanza
accredited to Thomas Pringle. They tell the tale of a young woman forced into
an arranged marriage by her family who elopes on her wedding day with her true
love, Jock O' Halzeldean. It was first published by Scott’s old music teacher,
Alexander Campbell, and was also published in The Songs of Scotland (1854). Scott’s daughters were musical, and
one, Sophia, copied ballad airs into her music book, among them “Jock O’
Hazeldean.” Purser (1992) remarks that her father loved to hear her sing it,
preferring her rendition to Madame Caradori’s, and James Hogg reported that:
***
she would throw up to him as he stood leaning on his crutch and
hanging over her harp as she chaunted to him his favorite old
Border Ballads or his own wild Highland Gatherings…
***
Harding’s All Round Collection, 1905; No. 167, pg. 53. Neil (The Scots Fiddle), 1991; No. 31, pg. 40.
Lochshore CDLDL 1215, Craob Rua - “The More that’s
Said the Less the Better” (1992).
JOCK OF THE GREEN. Scottish. Appears in Henry Playford's 1700 collection of Scottish dance
tunes.
JOCK O' THE SYDE. AKA and see "Derwentwater's
Farewell," "Montrose Lasses,"
"My Dear and Only Love
Take Heed," "Dick o' the
Cow."
JOCK TAMSON'S. AKA and see “My Heather Hills,”
“Road to India.” Scottish (originally),
American; Hornpipe. USA, New England. D Major. Standard. AABB. The name,
believes Don Meade, is from a character in Scottish dialect songs, ultimately
derived from poet Robert Burns and his line—“We’re all Jock Tamson’s weans.”
Cole (1000 Fiddle Tunes), 1940; pg.
108. Miller & Perron (New England
Fiddler’s Repertorie), 1983; No. 137. Ryan’s
Mammoth Collection, 1883; pg. 144.
X:1
T:Jock Tamson’s Hornpipe
L:1/8
M:C|
K:D
Ad|fg fe de dB|A2F2F3E|DF Ad gf ed|cd ef e2Ad|
Fg fe de dB|A2F2F3A|FA df ea ce|d2f2d2:|
|:ef|gf eg fe df|ed cB A2ef|gf eg fe df|e2a2a2ef|
gf
eg fe df|ed ce dc BA|Bd ce df eg|f2d2d2:|
JOCK THE LAIRD’S
BROTHER. AKA and see “Auld Rob Morris.”
JOCK WILSON OF FENTON. English, Rant. D Major. Standard tuning. AABB. Fenton is a village in
North Northumberland, about 3 miles north of Wooler. The tune is a modern
(1970’s) composition by Bryce Anderson, late of the group The Cheviot Ranters
in tribute to their drummer, Jock Wilson. Barry Callaghan (2007) calls it “a
phenomenally good rant tune which is widely played.” Callaghan (Hardcore English), 2007; pg. 39.
X:1
T:Jock Wilson of Fenton
M:4/4
L:1/8
Z:C.G.P
K:D
|:AG|FAd2d2ed|cdefg2ag|fedc
dfaf|gfed cBAG|FAd2d2ed|!
cdefg2ag|fedfefge| f 2d2d2:||
:dc|Bcde fede|fedcB2cB|!
ABcd edcd|edcBABAG|FAd2d2ed|cdef
g2ag|fedf efge |f2d2d2:||
JOCK WILSON'S BALL. Scottish, Pipe Reel. B Minor.
Standard tuning. AAB. “Jenny Nettles”
is perhaps the ancestral tune, however, according to Bobby MacLeod, it was
composed by Pipe Major John McColl of Oban. Source for notated version: Paul
MacDonald (b. 1974, Charlottetown, Queens County, Prince Edward Island)
[Perlman]. Martin (Ceol na Fidhle),
vol. 1, 1991; pg. 44. Perlman (The Fiddle
Music of Prince Edward Island), 1996; pg. 113. Rounder
82161-7032-2, Bill Lamey – “From Cape Breton to Boston and Back: Classic House
Sessions of Traditional Cape Breton Music 1956-1977” (2000).
JOCKEY... See also "Jockie"
JOCKEY [1], THE. AKA and see "Captain Dunn's Hornpipe."
JOCKEY [2], THE. AKA and see "Fourpence Ha'penny Farthing."
JOCKEY AT THE FAIR. AKA and see "Jockey to the
Fair."
JOCKIE BLYTH AND GAY. Scottish, Air (3/4 time). D Major. Standard tuning. AABB. McGibbon (Scots Tunes, Book 1), c. 1762; pg. 20.
X:1
T:Jockie
blyth and gay
M:3/4
L:1/8
R:Air
N:”Slow”
S:McGibbon
– Scots Tunes, Book 1 (c. 1762)
Z:AK/Fiddler’s Companion
K:D
F2
(AF)”tr”(ED) | B3c B2 | (Ad) (AF)”tr”(ED) | E3f G2 | F2 (AF)”tr”(ED) | B3c d2 |
(e>f)(ec)”tr”(BA) | A3B A2 :: c2 (ec)(de) | f3gf2 | (ea)(ec)”tr”(BA) | d3e
(d/e/f) |
B2 (GB)(eB)
| c2 “tr”(BA) d2 | (A>B)(AF)”tr”(ED) | d3e d2 :|
JOCKEY BOY. Old‑Time, Breakdown. USA, southwestern Pa. A tune and tune name
peculiar to the Franklin/Floyd County area of southwestern Va. (Tom Carter
& Blanton Owen, 1976).
JOCKEY CLUB, THE. Scottish, Reel. D Major. Standard tuning. AB.
The melody appears in Robert
Mackintosh's 1793 collection. Glen (The
Glen Collection of Scottish Dance Music), vol. 2, 1895; pg. 9.
X:1
T:Jockey Club, The
M:C|
L:1/8
R:Reel
S:Glen Collection, Vol. 2
(1895)
Z:AK/Fiddler’s Companion
K:D
g | f2 df ecAc|dBAF GEEg|f2 df
ecAc|dBAG FDDg|f2 df ecAc| d/c/B/A/ dF GEEG| FABG Acdf |
geag fdd || A | FADF GBEG | FADF
EA,A,G| FADF GBEg| fdec dDDA | FADF GBEG |
FADF EA,A,G | FABG Acdf | gbag fdd
||
JOCKEY
DRUCKEN BABBLE. Scottish, Air. From the Skene
Collection c. 1615, collected by or for John Skene of Hallyards in Midlothian,
set in tablature for the mandora. "Perhaps it is a wry comment by one of
the jockeys on the way their ancient learning was disregarded. The word
'jockey' is a corruption of 'joculator', a type of travelling minstrel. They
are described in this manuscript extract (quoted by Dauney) from 'Reliquae Divi
Andeae', by one Martine, secretary to the Archbishop of St. Andrews, Archbishop
Sharpe, in the latter part of the 17th century: 'The bards at length
degenerated in degrees into common ballad makers for they gave themselves up to
the making of mystical rhymes and to magic and necromancy. To our fathers'
times and to ours something remained of this ancient order and they are called
by others and by themselves as 'jockies' who go about begging and use still to
recite the sluggornes of most of the true ancient surnames of Scotland; from
old experience and observation, some of them I have discoursed and found to
have reason and discretion. One of them told me there were not above twelve of
them in the whole isle but he remembered the time when they abounded so as at
one time he was one of five that usuallie met at St. Andrews.'
(Williamson)." Flying Fish FF358, Robin
Williamson ‑ "Legacy of the Scottish Harpers."
JOCKEY HAS GOTTEN A
WIFE. AKA - “Jockey has got him a wife.”
AKA and see “Buttered Pease [2]."
Scottish, Country Dance Tune (9/8 time). The melody also appears in the London
stage production Irish Fair (1772).
Neale (A Choice Collection of Country
Dances), Dublin, c. 1726. See also the closely related “Swaggering Jig [1]” and the many
alternate titles contained in that note.
JOCKEY LATIN. AKA and see “Jackie Latin,”
"Jackie Layton."
JOCKEY (LAY) IN THE
HAYLOFT. AKA and see “Jockey Up in the Hayloft.” English, Slip
Jig. England, Northumberland. G Major. Standard tuning. AABBCCDD. G Mixolydian.
Standard. AABB. Bruce & Stokoe (Northumbrian
Minstrelsey), 1882; pg. 147. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 19. Raven (English Country Dance Tunes), 1984; pg.
129.
X:1
T:Jockey Lay Up in the Hay Loft
M:9/8
L:1/8
S:Bruce & Stokoe – Northumbrian
Minstrelsy (1882)
Z:AK/Fiddler’s Companion
K:G
GBG GBG F2D | GBG G2B cAF | GBG GBG F2D | =FGA =f2d cAF :|
|:
B/c/dB A/B/cA B2G | B/c/dB cAd cAF | B/c/dB A/B/cA B2G | =FGA =f2d cAF :|
JOCKEY ROUS'D WITH
LOVE. AKA and see "The Bonny Gray‑ey'd Morn,"
"The Bonny
Grey‑ey'd Morn Begins to Peep." English. Composed by Jeremiah
Clark.
JOCKEY SAID TO JENNY. Scottish, English. England, Northumberland. A border song or tune in triple-time hornpipe meter.
JOCKEY STAYS LANG AT
THE FAIR. English, Jig. England,
Northumberland. C Major (with F's sharped). Standard tuning. AABBCCDD. "A
characteristic specimen of smallpipe variations," says Emmerson (1971) of
this piece. Emmerson (Rantin’ Pipe and
Tremblin’ String” A History of Scottish Dance Music), 1971; pg. 191.
Peacock (Peacock’s Tunes), c.
1805/1980; No. 13, pg. 4. Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 167.
X:1
T:Jockey Stays Lang at the Fair
M:9/8
L:1/8
R:Jig
S:Bruce & Stokoe – Northumbrian Minstrelsy (1882)
Z:AK/Fiddler’s Companion
K:G
e3 ce/f/g/e/ gce|d3 GB/c/d/B/ dBG|e3 ce/f/g/e/ gce|dgf dcB c2G:|
|:e/f/gf e/f/gf edc|dgf dgf dcB|e/f/gf e/f/gf edc|dgf dcB c2G:|
|:c/B/c/d/e/f/ gce c2e|d/c/B/c/d/B/ G B/c/d/B/ dBG|
c/B/c/d/e/f/ gce c2e|dgf dcB c2G:|
|:gce
gce gce|gBd gBd gBd|gce gce gce|dgf dcB c2G:|
JOCKEY/JOCKIE
TO THE FAIR (An Riamanaige/Marcac
Ag An Aonac).
AKA ‑ "Jogging to the Fair." English (originally), Morris Dance
Tune (6/8 time) and March; Irish, Jig or Set Dance; American, Country Dance
(6/8 time). G Major (most versions): A Major (Bacon & Karpeles ‑
Headington): D Major (Bacon‑Longborough). Standard tuning. ABCB (Bacon‑Ascot
Under Wychwood): AAB (Harding): AABB (S. Johnson, Kershaw, Morrison, O'Neill):
AABBB, x4 (Bacon & Mallinson‑ Bledington): ABCBCB' (Karpeles‑Headington):
ABCDCD (Mallinson‑Headington): ABCBCBC (Bacon‑Headington):
AABBA'A'B'B' (Karpeles): ABCBCB (Bacon‑Bampton, Bledington, Longborough):
AAABBAAABBCCCB (Bacon‑Ducklington): ABABCBABCBA (Bacon‑Sherborne).
The melody, dating at least from the mid‑18th century, was a popular tune
throughout
***
Sources for
notated versions: Chicago Police Sergeant James O’Neill, a fiddler originally
from
|
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan
Ng’s Irishtune.info |
X:1
T:Jockey at the Fair
T:Jockey to the Fair
M:6/8
L:1/8
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:G
D | G2A B2c | d2g d2c | BdG GFG |
cBc A2c | d^cd efg | a2f d2g |
fed AB^c | (d3 d2) :: f/g/ | afd afd
| c2c B2d | dgd dgd | c2c B2d |
e2f gfe | d2c B2d | edc B2A | B2G
E2F | G2G GBd | e2f g2e |
dBG A2B | E2F G2A | B2g B2A | (G3
G2) :|
X:2
T:Jockie to the Fair
M:6/8
L:1/8
R:Jig
S:John Rook music manuscript collection
(Waverton, Cumbria, 1840)
K:G
D|G2A B2c|d2g d2c|Bd>G
GFG|(A/B/cB) A2d|d^cd efg|
faf e2g|fed Ad^c|d3 d2::d|afd
afd|c2c B2d|
dgd dgd|c2c B2c|e2f g2f|e2f B2e|e^de
B2A|G2F E2F|
G2G G2B|d3g3|dBG A2B|E2F G2A|B2g
BcA|G3 G2:|
JOCKEY TO THE FAIR [2]. See "Jogging to the Fair." Variation of versions #1 and #2.
JOCKEY UP IN THE
HAYLOFT. See “Jockey (Lay) in the Hayloft.”
JOCKEY WAS THE BLYTHEST/BRAVEST LAD IN A' OUR TOWN. Scottish, Slow Quickstep. A Minor
(Gow): C Minor (Mackintosh). Standard tuning. AABB. Appears in David Young's
McFarlane MS. (1740) in air‑minuet‑jig form, in a 1772 sheet by
Mackintosh, and in the McLean Collection published by James Johnson in Edinburgh
in 1772 (where it is ascribed to Robern McIntosh). Carlin (Gow Collection), 1986; No. 569. Gow (Complete Repository), Part 3, 1806; pg. 13.
X:1
T:Jockey was the Blythest Lad in a’
our Town
M:2/4
L:1/8
S:Gow – 3rd Repository
(1806)
Z:AK/Fiddler’s Companion
K:A Minor
A>B|(c<A) (ce)|(d<B)
A^G|~A3 (B/c/)|E3A|(G<E) DC|D2 EF|(EA) A>^G|A2:|
|:c>d|(ec) c>e|g3e|d>edB|
G3g|ab/c’/ (a/g/)(f/e/)|~f3 g/a/|(g<e) d>c|c2 A>B|
(c<A) (ce)|(d<B) A^G|(A2
~A)B/c/|E3A|(G<E) DC|D2EF|(EA) A^G|A2:|
JOCKEY WENT TO THE
WOOD. Scottish. From the Skene
Collection. "Said to be similar to a Welsh tune quoted by Edward Jones,
called 'Reged' (sic) {Williamson}." Flying Fish
358, Robin Williamson ‑ "Legacy of the Scottish Harpers."
JOCKEY'S AT THE HELM. 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.
JOCKEY'S DANCE. Irish?, Jig. C Major ('A' part) & G Major ('B' part). Standard.
AABB. Harding’s All Round Collection,
1905; No. 59, pg. 18.
JOCKEY'S ESCAPE FROM DUNDEE. AKA and see "Bonny Dundee [3]."
JOCKEY'S FRIENDS ARE ILL TO PLEASE. 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.
JOCKIE'S
FU' (DRUNK) AND JENNIE'S FAIN (EAGER). Scottish. The bawdy title, from the
18th century, appears in the David Young's McFarlane MS. (Vol. 3, No. 36),
1740.
JOCKEY'S HORNPIPE. Old‑Time, Breakdown. USA, Missouri. G Major. Standard. AABB.
Christeson says: "Uncle William Raines told me that he heard this tune
played so often under or near the racetrack stands at the county fairgrounds in
the early days that he called it "Jockey's Hornpipe". True title is
unknown." Uncle William Raines (Morgan County, Missouri; Christeson). R.P.
Christeson (Old Time Fiddlers Repertory,
Vol. 1), 1973; pg. 106.
JOCKIE'S LOST HIS DEARIE. 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.
JOCKEYS TO THE FAIR. See "Jockey to the Fair."
JOCK'S LODGE. Scottish, Reel. A Mixolydian. Standard. AAB. John Glen (1891) finds the earliest version of the tune in print in Robert Bremner's 1757 collection. Bremner (Scots Reels), c. 1757; pg. 93
X:1
T:Jock’s Lodge
M:C
L:1/8
R:Reel
S:Bremner – (Scots Reels), c. 1757
Z:AK/Fiddler’s Companion
K:A Mixolydian
e | “tr”c>Bae cAeA | BGdB G/G/G “tr”B2 | “tr”c>BAe cAeA | dBgB A/A/A “tr”e2 :|