The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

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JOA - JOG

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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. Canada, Cape Breton. The tune was composed by Cape Breton fiddler Kinnon Beaton, and has gathered some currency among modern Cape Breton fiddlers. Beaton (The Beaton Collection). Smithsonian Folkways Records, SFW CD 40507, The Beaton Family of Mabou – “Cape Breton Fiddle and Piano Music” (2004). 

                       

JOAN BOAS TUNE, A. Canadian, March. Canada, Cape Breton. Burt Feintuch (2004) identifies Joan MacDonald Boes as “a composer and pianist from Inverness County, perhaps best know for her strathspey ‘The Sweetness of Mary’.”Smithsonian Folkways Records, SFW CD 40507, The Beaton Family of Mabou – “Cape Breton Fiddle and Piano Music” (2004). 

 

JOAN COYNE’S. See “Martin Wynne’s No. 2.”

 


JOAN MACDONALD. Cape Breton. Shanachie 14001, "The Early Recordings of Angus Chisholm" (Cape Breton).

                       

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 :|

M:6/4

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 Holiday, reduced in apt measures to Hobbinall's Galliard, or John (Joan) to the Maypole."  Chappell (Popular Music of the Olden Time), Vol. 2, 1859; pgs. 100‑101.

***

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 Vancouver, Washington. Danny Hathaway writes to say the jig was composed for his wife, Joan Hathaway, who played piano and whistle in various bands with the Martins. Songer (Portland Collection), 1997; pg. 110.

                       


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, Wilson): AABBAAB'B' (Merryweather). In conventional usage the word placket is a slit at the top of a skirt or petticoat which makes it easier for the wearer to put it on and take off. The word also refers to petticoats themselves and aprons, and also for women in general. In the political ballad song, Joan's placket has been "rent and torn." The earliest mention of the piece was in Samuel Pepys' diary for June, 1667, but it has been rumored that a trumpet version of the tune was played at the execution of Mary Queen of Scots in 1587. Chappell (1859) cites the Rev. G.R. Greig's Family History of England and Miss Strickland's Mary Stuart (which also says the tune was "sung, with appropriate words, to brutalize the rabble at the burning of witch") as reporting the tale but the story has never been substantiated, and Kidson (1915), for one, scoffs at it. He does think the tune originally a trumpet tune, by reason of its structure, which had the odd fortune to "have been used in defiance or ridicule". Kidson and Winstock both cite Pepys who recorded that it was played in derision by the Dutch whose fleet sailed up the Medway in 1667, burned the English men‑o‑war lying there, and towed off the Royal Charles (which the English had deserted) with a Dutch trumpeter playing the tune from the captured vessel. The wit is apparent when ‘placket’ is taken in the sense of a woman--the Dutch have stolen her from under the noses of the English. Political lampoons thereafter were attached to the melody. It appeared in the 1686 edition of Playford's "Dancing Master" and in all subsequent editions, as well as the ballad operas of Achilles, The Bays' Opera, and Colley Cibber's Love in a Riddle (which was translated {or stolen, as Scott asserts} by Bickerstaff to "Love in a Village" in the early 18th century). In Loyal Songs (1685 & 1694) it is entitled "The Plot cram'd into Jone's Placket." At some point the tune was transformed into the Scottish "Cock of the North" (though Emmerson {1971} thinks the English tune a version of the Scotch one), which is very similar, if not nearly identical in some versions. The phrases of the tune are punctuated in the manner of the Scotch Measure, though, since it is in 6/8 time, the form is called a 'Scotch Jig'.

***

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. USA, Tennessee. Charles Wolfe thinks the title derives from a Tennessee expression, "He's a job in gettin' there," meaning one who is slow. County 542, Crook Brothers (1928) ‑ "Nashville: the Early String Bands, Vol. 2."

                       


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 Munster counties twenty or thirty years before he first published his volume in 1873.

***

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 (Glasgow, c. 1795). Robert Burns used the tune for one of his songs appearing in the Scots Musical Museum (vol. V, Edinburth, 1788, No. 480), entitled “Here’s His Health in Water.” The great east Clare fiddle stylist Paddy Canny's recording of the tune has been called the standard for modern settings and was used as the theme for the radio program of the same name in Ireland.  Some similarity has been noted between “Job of Journeywork” and a tune printed by Stanford in his Irish Melodies (1894) called “The Little Red Fox.” The versions printed by Howe and Joyce are virtually identical. The melody is called “Stone Grinds All” in Connecticut fifer Giles Gibb’s (1760-1780) music manuscript book.

***

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 Munster dance. From (the Irish collector) Mr. Joyce” [Stanford/Petrie]; Joyce himself learned it from “hearing it constantly played by pipers and fiddlers” [Joyce]. Cotter (Traditional Irish Tin Whistle Tutor), 1989; 87. Cranitch (The Irish Fiddle Book), 1996; No. 92, pg. 163. Howe (1000 Jigs and Reels), c. 1867; pg. 20. Joyce (Ancient Irish Music), 1890; No. 37, pgs. 38-39. Mulvihill (1st Collection), 1986; No. 1, pg. 109. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 394, pg. 188. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1792, pg. 336. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 966, pg. 166. Reavy (The Music of Corktown). Roche Collection, 1983, vol. 2; No. 271, pg. 29. Stanford/Petrie (Complete Collection), 1905; No. 892, pg. 226. Columbia Legacy CK 48693, "The Best of the Chieftains" (1992). Gael-Linn CEF 045, “Paddy Keenan” (1975).

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 loved her father so…I shall never forget the looks of affection

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 England and served several functions, including dancing and marching. Morris dance versions are wide-spread and numerous and have been collected from the villages Adderbury, Ascot‑Under Wychwood, Bampton, Bledington, Brackley, Ducklington, Headinton, Longborough, and Sherborne areas of England's Cotswolds. In the north, the title appeared in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800. One version of the tune was used as a march in the British army during the Revolutionary War period (Winstock). The word ‘jockey’ is Scots in origin and derives from the word ‘joculator’, which by the 17th century meant an itinerant minstrel. See also the derivative set dance “The Hurling Boys.”

***

Sources for notated versions: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]; contained in the 19th century Joseph Kershaw Manuscript—Kershaw was a fiddle player who lived in the remote area of Slackcote, Saddleworth, North West England, who compiled his manuscript from 1820 onwards, according to Jamie Knowles [Kershaw]. Aird (Selections), vol. 2, 1782; No. 5, pg. 2. Bacon (The Morris Ring), 1974; pgs. 16, 25, 54, 94, 104, 108, 136, 193, 264 & 291. Harding's All‑Round Collection, 1905; No. 53, pg. 16. S. Johnson (The Kitchen Musician No. 6: Jigs), 1982 (revised 1989, 2001); pg. 3. S. Johnson (Twenty‑Eight Country Dances as Done at the New Boston Fair), vol. 8, 1988; pg. 6. The Joseph Kershaw Manuscript, 1993; No. 47. Karpeles (A Selection of 100 English Folk Dance Airs), 1951; pgs. 34 & 38. Mallinson (Mally’s Cotswold Morris Book), 1988, vol. 2; No's. 1 and 2 (Short and Long versions), pg. 3. Mallinson (Mally’s Cotswold Morris Book), 1988, vol. 1; No. 34, pg. 23. Morrison (Twenty-Four Early American Country Dances, Cotillions & Reels, for the Year 1976), 1976; pg. 29. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1796, pg. 336 (appears as "The Jockey At the Fair"). O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 969, pg. 166 (appears as "The Jockey at the Fair"). Raven (English Country Dance Tunes), 1984; pg. 79. Roche Collection, 1983, vol. 2; No. 277, pg. 32 (appears as "Jockey at the Fair"). EMI/Harvest 7243 8 29861 2 6, Ashley Hutchings et al - "Son of Morris On" (1976/1994).

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 Ireland (1796)

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 :|