The Fiddler’s Companion

_______________________________

JOHAN - JOHN

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, 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]

JOHAN ELIZABETH JAMIESON’S FAVOURITE. Scottish, Reel. Scotland, Shetland Islands. G Major. Standard tuning. AB. Composed by Shetland fiddler and composer Ronnie Jamieson. Miller (Fiddler’s Throne), 2004; No. 181, pg. 115. HRMCD008, Da Fustra – “A Shetland Dance.”

JOHAN PA SNIPPEN. Scandinavian, Schottische. A popular folk melody among the Scandinavian community in northern Wisconsin (Leavy).

JOHN A. CAMERON'S JIG. Canadian, Jig. C Major. Standard tuning. AABB. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 146, pg. 95.

JOHN A. MACDONALD. Canadian, Reel. Canada, Cape Breton. B Flat Major. Standard tuning. AB. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 8.

JOHN ALAN CAMERON’S REEL. Canadian, Reel. Canada, Cape Breton. D Major. Standard tuning. ABB. Composed by the late Cape Breton fiddler Jerry Holland (1955-2009, Inverness, Cape Breton) in honor of Nova Scotia musician John Alan Cameron, a founder of the Cape Breton Symphony (which included an 18 yr. old Holland). Cranford (Jerry Holland’s), 1995; No. 90, pg. 27. Jerry Holland – “Crystal Clear” (2000).

JOHN ALLAN’S JIG. Canadian, Jig. Canada, Cape Breton. Composed by Dan Hugh McEachern. The tune is used by Stan Chapman as a beginning fiddle tune for teaching.

JOHN ALEX FRANCIS MACLELLAN’S REEL. Canadian, Pipe Reel. Canada, Cape Breton. A Dorian. Standard tuning. AABB. Composed by the late Inverness, Cape Breton, fiddler and composer Jerry Holland (1955-2009) in honor of a great old-style Cape Breton fiddler. Cranford (Jerry Holland: The Second Collection), 2000; No. 43, pg. 18. Odyssey ORCS 1051, Jerry Holland – “Fiddler’s Choice” (1998).

JOHN ANDERSON MY JO. Scottish, Air and Country Dance Tune (4/4 time). A Minor. Standard tuning. One part (Howe, O’Farrell): AABB' (Alburger): ABC (Aird). Kidson (1915) asserts the tune comes from "remote antiquity," meaning in this case the 16^th or 17^th century. Mary W. Stuart dates the words and tune to about 1560, and relates that the hero of the ditty was traditionally supposed to "have been the town-piper of Kelso and a very gay dog." Alburger (1983) finds “John Anderson” in the Agnes Hume MS (1704), which includes "the earliest Scottish descriptions of a country dance with music, (in which the tune) in the original is written out completely four times," but Emmerson and others find earlier, prototype, versions in lute manuscripts such as the Rowallan (c. 1612‑28) and Skene (1615‑20). In the 18^th century it was printed in Alexander Stuart's Musick for .. published around the year 1726. “John Anderson” is called for twice as the vehicle for songs in Allan Ramsay's Tea-Table Miscellany (1724), however, many different sets of lyrics were set to it including some famously bawdy songs as well as Robert Burns' famous lyrics, contributed to James Johnson's Scots Musical Museum (vol. iii, 1790). The melody retained its popularity and became a favorite song of the early 19th century, at least in Lowland Scots centers, records Emmerson (1971), who notes it (probably with the Burns lyrics attached) was among those selected by Queen Victoria for John Wilson's recital during her 1842 visit to Taymouth Castle (Wilson was the foremost professional singer of Scots songs of the time).

***

There are reportedly some forty variants of the tune, which can be found in England (e.g. "Pauls' Steeple," "I am the Duke of Norfolk"), in Wales to Welsh words ("Yn Nyfrfryn Clwyd" {The Vale of Clyde}), in Ireland and Scotland with Gaelic and English lyrics ("Cruiskeen Lawn"), in Sweden (see Macfarlane), and in America as "When Johnny Comes Marching Home Again." Cazden (et al, 1982) points out that writers differ greatly on which tunes should be considered related to each other and which should be considered as separate and distinct melodies. William Chappell claimed “John Anderson my jo” as English in provenance in his Popular Music of the Olden Time (1853, Appendix, pg. 770), believing it to be a modification of “Paul’s Steeple/I am the Duke of Norfolk” (see abc X:2, below). John Glen (Early Scottish Melodies, 1900) disputes this and critiques Chappell’s claim which he says is based on the appearance of “Paul’s Steeple” in John Playford’s Dancing Master (1651). Chappell, says Glenn, cannot back-date a tune simply because the title refers to an actual incident a century previous (the steeple of St. Pauls, London, was destroyed by lightning in 1561). Further, Chappell seriously miss-dated the Scottish Skene manuscript, contends Glen, and was “perfunctory and misleading” in his treatment of the Skene and other Scottish manuscripts (see abc X:3, below, for the Skene tune). Glen also is suspicious of Chappell’s allusion to “Cruiskeen Lawn” but wisely leaves it the Irish to defend themselves against English usurpation of that melody.

***

Lyrics to the tune generally depict attempts to entice or a frustrated complaint with the protagonist:

***

John Anderson, my jo, cum in as ze gae by,

And ze sall get a sheip's heid well baken in a pye;

Well baken in a pye, and the haggis in a pat;

John Anderson, my jo, cum in, and ze's get that.

***

From the Merry Muses:

***

John Anderson, my jo John, I wonder what you mean,

Ye’re goin’ on the spree John, and stayin’ oot at e’en.

***

Ye’re going to Lucky Fill the Stoups, ye meet wi’ Cooper Will,

Ye sit and booze like silly gowks, and aye the other gill.

***

David Herd’s collection of Scottish Songs and Heroic Ballads (1776) gives the verse:

***

When I was a wee thing, and just like an elf,

All the meat that e’er I gat, I laid upon the shelf.

The rottens and the mice, they fell into a strife,

They wadnae let my meat alane till I gat a wife.

***

Aird (Selection of Scotch, English, Irish and Foreign Airs), vol. II, 1783; Nos. 167 & 168, pgs. 61-62. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 13, pg. 34. Howe (1000 Jigs and Reels), c. 1867; pg. 122. O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 52.

X:1

T:John Anderson My Jo

M:2/4

L:1/8

S:Aird, vol. II (1782)

Z:AK/Fiddler’s Companion

K:Amin

G | EAAB | c2 cd | BGG>A | G3 A/G/ | EAAB | cBcd | edcd | e3 || f |

edcd | efge | dcBc | d2 cd | ecdB | cABe | EAA^G | A3 || g |

eaab | c’2 c’d’ | bgga | g2 ag | eaab | c’2 ba | bgee | e3 g/f/ |

ecgc | c’cgc | GABc | d2 cd | ecdB | cABe | EAA^G | A3 ||

X:2

T:I am the Duke of Norfolk or Pauls Steeple

M:2/4

L:1/8

B:Playford – Dancing Master (1651)

K:Gmin

B2|B>AG>A|B2B c/B/|AF FF|F2 FF|GG GA|(Bc/B/) AG|d2d2 |d3 c|

BB Bc|d2 cB|cc cc|c2 c(B/c/)|dd cB|AG (Ac)|B2G2|G3||

X:3

T:John Anderson my Jo

M:C
L:1/8

S:Skene Manuscript (1615-1620)

K:Gdor

A2|G2F2G2A2|B6 c2|A2F2F2F2|F6 A2|G2F2G2A2|B6 B2|B2A2B2c2|d8|

d2f2d2c2|B2cd2d4|c3d c2B2|A4 B2c2|d2c2B2A2|G2A2=B2c2|d2G2G2G2|G6||

JOHN ANDERSON'S ELDEST/AULDEST DAUGHTER. Scottish, Quickstep or Slow Air (2/4 time). A Minor. Standard tuning. AABB. The air is un-attributed in the Gow manuscript (1792). It was adapted for the Samuel Arnold’s English popular opera Peeping Tom of Coventry (1784) in the song “Pretty Maud,” and by the composer Andreozzi for the grand march and sacrafice in his oper La Virgine del Sole (1809). Aird (Selection of Scotch, English, Irish and Foreign Airs), vol. 4, 1796; pg. 29. The title perhaps refers to John Anderson (1737-1808), who published two collections (the first of which he dedicated to the gentlemen of the Musical Society of Greenock) in the late 18^th century, although there was also a John Anderson who had a music warehouse in Perth from about 1793 to 1798. Little is known about either. There was also an Anderson who was associated with James Johnson the engraver, afterwards as a partner of the firm of Walker & Anderson, engravers. Carlin (The Gow Collection), 1986; No. 570 (listed as a quickstep). Gow (Third Collection of Niel Gow’s Reels), 3^rd ed., originally 1792; pg. 36. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 60 (there catagorized as a strathspey).

X:1

T:John Anderson’s Auldest Daughter

M:2/4

L:1/8

N:”Slow”

B:Gow – Third Collection of Niel Gows Reels (1792)

Z:AK/Fiddler’s Companion

K:Amin

AB|{A/B/}c>A BG|”tr”E2 G^F|G2 GE|A>B”tr”c>d|e>Bc>A|”tr”E2 A^G|

A2 A>A A2:||:AB|{d}c>B cd|{c/d/}e2 “tr”d>c|BGGB|d2 “tr”c>d|e>B c>A|

”tr”E2 A^G|A2 AE|{E}c2 (c/B/c/).d/|e>Bc>A|”tr”E2 A^G|A2 A>A A2:|

JOHN ANGUS. Scottish, Reel. E Major. Standard tuning. AAB. Stewart-Robertson (The Athole Collection), 1884; pg. 277.

X:1

T:John Angus

L:1/8

M:C|

R:Reel

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

Z:AK/Fiddler’s Companion

K:E

EBGB EBeg|bgfe fcce|EBGB EBeg|bgfg e/e/e e2:|

e/f/g/a/ be gebe|dBfB aBfB|e/f/g/a/ be gebe|cagf e/e/e e2|

e/f/g/a/ be gebe|dBfB aBfB|egfa gbag|f>e f<g e/e/e e2||

JOHN ANGUS BEATON STRATHSPEY. Canadian, Strathspey. Canada; Cape Breton, Prince Edward Island. A Major. Standard tuning. AAB. Composed by Mabou Coal Mines, Cape Breton, fiddler Kinnon Beaton. Source for notated version: Allan MacDonald (b. c. 1950, Bangor, North-East Kings County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 193. Rounder 7011, "The Beatons of Mabou: Scottish Violin Music from Cape Breton" (1978).

JOHN ARSCOTT OF TETCOTT. AKA and see "Difyrrwch Gwyr Dufi." English. England, Devonshire. The tune predates by 75 years the Welsh version "Difyrrwch Gwyr Dufi."

JOHN BAIN'S SISTER'S WEDDING. Scottish, Jig. A Minor. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 287, pg. 31.

X:1

T:John Bain’s Sister’s Wedding

M:6/8

L:1/8

R:Jig

S:Kerr – Merry Melodies, vol. 3, No. 287 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:Amin

JOHN BALTZELL'S REEL. American, Reel. USA, Ohio. OKeh Records 40206 (78 RPM), 1924, John Baltzell {Baltzell was a native of Mt. Vernon, Ohio, as was minstrel Dan Emmett (the composer of "Dixie," who died in 1904). Emmett returned to the town in 1888, poor, and later taught Baltzell to play the fiddle}.

JOHN BARLEYCORN. Old‑Time. Arhoolie C‑334, Kenny Baker ‑ "Masters of the Folk Violin" (1989).

JOHN BARRON’S HIGHLAND. Irish, Highland. John Barron was from Teelin, County Donegal. Bradley/Shaughnessy – “Born for Sport.”

JOHN BARTON. English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABBCC. The melody appears in John Johnson’s Choice Collection of 200 Favourite Country Dances, vol. 5 (London, 1748), and subsequently in David Rutherford’s Compleat Collection of 200 of the Most Celebrated Country Dances (London, 1756), and Charles and Samuel Thompson’s 1757 country dance collection. It can also be found in the music manuscript collections of Northumbrian musician William Vickers (1770, appearing as “John Burton”), and London musician Thomas Hammersley (1790). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 195.

X:1

T:John Barton

M:2/4

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:G

|:d|BG ec|dBgd|BG dB|(3ABA Ad|BG ec|dBge|d>gdB|(3GAG G:|
|:d|g(dd)g|a(dd)g|a>bag|f(dd)f|gfed|edcB|cAdB|(3GAG G:||

JOHN BEGG. Scottish, Strathspey. F Major. Standard tuning. AAB. Composed by Alexander Hall in honor of one John Begg of Lochnagar. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 149, pg. 50.

JOHN BELDEN'S TWO-STEP. Old‑Time, Two‑step (6/8 time). USA; Iowa, Nebraska. G Major. Standard tuning. ABB. John Belden was "one of a trio of fiddlers of considerable local fame in western Iowa years ago. The other two were Frank Sexton and Willis Kirkpatrick" (Christeson). Source for notated version: Bob Walters (Burt County, Nebraska) [Christeson]. R.P. Christeson (Old Time Fiddler’s Repertory, vol. 1), 1973; pg. 146.

JOHN BLESSING'S DELIGHT. AKA and see “The King,” “Miss/Mrs. Monroe’s Jig,” “Mrs. Monroe [1],” “Mrs. Spens Monroe.” Irish, Jig. G Major. Standard tuning. AABB. John Blessing was a latter-20^th century flute player from near Mohill, County Leitrim. The tune however, was first published under the title “Mrs. Spens Munro’s Jig” by Scotsman James Aird, printed in his Selections of Scotch, Irish, English and Foreign Airs, vol. IV (1780-97). Treoir. GTD Heritage Trad. HCD 008, Tommy Peoples - "Traditional Irish Music Played on the Fiddle."

X:1

T:John Blessing's Delight

R:Jig

D:Tommy Peoples: Traditional Irish Music Played on the Fiddle

L:1/8

M:6/8

Z:Transcribed by Ted Hastings

K:G

G3 AGA|Bdd efg|edB AGA|{B}AGF G2:|!

d|gfg efg|fdd {e}dfd|gag aga|bge e2 d|!

gbg efg|agf efg|edB AGA|{B}AGF A2:||

X: 2

T: John Blessing's Delight

S: "Treoir"

M: 6/8

L: 1/8

R: jig

K: G

G2 G AGA | Bdd efg | edB AGA | BGF G2 :|

gag efg | agf efg | edB AGA | BGF G2 :|

JOHN BOWE’S [1]. AKA and see “Dinny O’Brien’s.” Irish, Reel. D Mixolydian. Standard tuning. AABB. The tune was associated by source O’Leary with accordion player John Bowes, and is played as a pair with “John Bowe’s [2]." Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 318, pg. 182.

JOHN BOWE’S [2]. AKA and see “Dinny O’Brien’s Reel [1].” Irish, Reel. D Major/Mixolydian. Standard tuning. AA’BB. The tune was associated by source O’Leary with Birr, County Offaly, B/C accordion player John Bowes, in England since 1965. It was a composition, however, of Paddy O’Brien of Nenagh, named after his father, Dinny. See also the related “Collier’s (Reel).” Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 319, pg. 182.

JOHN BOWE’S [3]. AKA and see “Land of Sunshine.” Irish, Reel. C Major. Standard tuning. AABB. The tune is a Martin Mulhaire composition, originally entitled “Land of Sunshine,” written soon after Mulhaire came to the United States. Source for notated version: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Mulvihill (1^st Collection), 1986; No. 130, pg. 35. Songer (Portland Collection), 1997; pg. 111. Kerry Elkin - “Soir et Matin” (1990). Out of the Blue Productions, “A Band Named Bob” (1994).

JOHN BOWE’S FAVORITE. AKA and see “John Bowe’s.” Inchecronin Records, John Bowe.

JOHN BOWE’S NO. 2. AKA and see “Farewell to Connacht,” “The Maid of Erin.”

JOHN BRADY’S JIG. Irish, Double Jig. D Major. Standard tuning. AABB. Composed by County Offaly flute player John Brady. Green Linnett SIF 1091, Paddy O’Brien - “Stranger at the Gate” (learned from John Brady). Green Linnet SIF 3116, Sharon Shannon – “Each Little Thing.”

X:1

T:John Brady’s Jig

M:6/8

L:1/8

K:D

JOHN BRADY’S (REEL). Irish, Reel. G Major. Standard tuning. AABB. Composed by flute player John Brady of County Offaly. The tune has been recorded by June ni Chormaic as “Father Newman’s Favorite.” John Williams. Joanie Madden – “A Whistle on the Wind.”

X:1

T:John Brady’s

M:C|

L:1/8

Z:Transcribed by Philippe Varlet

K:G
Bc| deed edBA | GB~B2 d2Bd | ea~a2 bagb | agea gedg |
e2ge edBA | GB~B2 d2Bd | ea~a2 gedg | edBA G2 :||
Bc | dG~G2 edBc | dg~g2 fgaf | dg~g2 bgag | ~f3 g ~f3 e I
dG~G2 edBc | dg~g2 fgaf | dg~g2 gedg | edBA G2 :||

JOHN BRENNAN FROM SLIGO (Seán o Braonáin as Sligeach). AKA – “John Brennan’s.” Irish, Reel. D Major. Standard tuning. AAB. A similar tune is printed by Breathnach (CRÉ II, No. 173, pg. 90) as an untitled reel collected from the playing of Co. Galway musician Aggie White (Mrs. Sean Ryan). David Taylor (1992) notes that some musicians prefer to replace the last four bars of the second part of his version, second time round, with the last four bars of the first part. The tune is named for Sligo flute player John Brennan, a regular member of Dublin’s Church Street Club, site of a famous long-lasting session that began in the late 1950’s centered around County Clare fiddler John Kelly (father of fiddlers James and John Kelly, and a member of the famed Castle Ceili band). Sources for notated versions: accordion player Sonny Brogan (County Sligo/Dublin, Ireland) [Breathnach]: The Bridge Ceili Band [Mulvihill]. Breathnach (CRÉ I), 1963; No. 160, pg. 63. Bulmer & Sharpley (Music from Ireland), 1974, vol. 1, No. 10. Miller (Fiddler’s Throne), 2004; No. 182, pg. 116. Mulvihill (1^st Collection), 1986; No. 26, pg. 7. Taylor (Through the Half‑door), 1992; No. 7, pg. 7. Green Linnet GLCD 1184, Patrick Street – “Made in Cork” (1997). Green Linnet SIF 3018, “Molloy/Peoples/Brady” (1978). Shanachie Shan‑79017, John & Phil Cunningham ‑ "Against the Storm" (1980). Shaskeen ‑ "The Joys of Life."

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Brennan’s Fancy

T:Brennan’s

T:John Brennan from Sligo

R:reel

Z:id:hn-reel-111

Z:transcribed by henrik.norbeck@mailbox.swipnet.se

M:C|

L:1/8

K:D

D2FA d2ed|cdBc AF~F2|BAGB A2FA|BAGF EGFE|

D2FA d2ed|cdBc AF~F2|BAGB ABde|faeg fdd2:||

f2df e2de|fedB AF~F2|BAGB A2A|BAGF EFGE|

f2df e2de|fedB AF~F2|BAGB ABde|faeg fdde|

f2df e2de|fedB AF~F2|BAGB A2FA|BAGF EGFE|

D2FA d2ed|cdBc AF~F2|BAGB ABde|faeg fdd2||

JOHN BRENNAN’S FAVORITE. Irish, Reel. G Major. Standard tuning. AABB. The title references County Sligo fiddle player John Brennan. Treoir.

X: 1

T: John Brennan's Favorite

S: "Treoir"

M: 4/4

L: 1/8

R: reel

Z: Transcribed by Bill Black

K: G

DGBG DGBG | G2 Bd edcB | ABcd efge | dcBA G2 :|

g3 e f3 d | efge dcBG | ABcd edge | dcBA G2 :|

JOHN BRENNAN'S REEL. AKA and see “Bennett’s Favorite,” “Great Eastern Reel,” “La Grondeuse [1],” "The Silver Spire."

JOHN BRENNAN’S REEL [2]. AKA and see “The Ashplant [2]," “Coleman’s (Reel) [2]," “Dennis Murphy’s Favourite,” Dicky Sherlock’s Reel,” “Jim Kelly’s [2]," “Maguire’s (Reel),” “Matt Molloy’s [2],” “Night in Ennis,” “Packie Duignan’s Reel,” “Tipperary Fancy.” Irish, Reel.

JOHN BRENNAN’S REEL [3]. AKA and see “John Brennan from Sligo.”

JOHN BROSNAN’S (POLKA). AKA and see “Johnny Leary’s (Polka) [1].” Irish, Polka. Ireland, West Kerry. G Major. Standard tuning. AABB. Brosnan is an accordion player from County Kerry. Mac Amhlaoibh & Durham (An Pota Stóir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), No. 41, pg. 29.

X:1

T:John Brosnan's Polka

B:An Pota Stóir: Set Dance Music of West Kerry

R:polka

N:John's source for this tune was Jer Collins, from

N:the Knocknagoshel area (note on J.B.'s album)

Z:Transcribed by Paul de Grae

M:2/4

L:1/8

K:G

GA/G/ ED|GB d2|ed BG|A/B/A/G/ ED| GA/G/ ED|GB d2|ed BA|G2 G2:|:

JOHN BROSNAN’S (REEL). AKA and see “Fleming’s Reel.” Irish, Reel. A Dorian. Standard tuning. AA’BB’. Brosnan is an accordion player from Kilcummin, between Killarney and Castleisland, County Kerry, who composed the tune in 1974. In addition to playing boxes, Brosnan tunes and repairs them, as well as deals in new instruments. See also the very close “Fleming’s Reel” by Kerry musician Tom Fleming. Reedblock Records JB CD 01 or MC 01, John Brosnan – “The Cook in the Kitchen” (1996). Vinnie Kilduff – “Boys of Bluehill.”

X:1

T:John Brosnan’s

T:Fleming’s Reel

R:reel

S:Session at Fahy's

Z:Transcribed by Jeff Lindqvist

L:1/8

M:C|

K:Bm

FBBA ~B3A:|2 FBBA ~B3c|| |:d2Bc defg|fbbf afeg|fB~B2 FBdf|~e2ce aece|

d2Bc defg|fbbf afeg|~f2ec dcBA|1 FBBA ~B3A:|2 FBBA ~B3c||

X:2
T:John Brosnan's
R:reel
D:Vinnie Kilduff: Boys Of Bluehill
D:Begley & Cooney: Meitheal
Z:id:hn-reel-809

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

L:1/8
K:Bm
FBBA Bcde|f2ef dcBA|FA~A2 FAEA|FA~A2 fAeA|
FBBA Bcde|f2ef dcBA|f2ef dfcf|1 FBBA B2BA:|2 FBBA Bcde||
|:fB~B2 fBde|f2bf afea|fB~B2 fBdf|eA~A2 eAce|
fB~B2 fBde|f2bf afef|~f2ef dfcf|1 FBBA Bcde:|2 FBBA B2BA||

JOHN BROSNAHAN’S. Irish, Reel. D Major. Standard tuning. AABB.

X:1

T:Johnny Brosnahan's Reel (Johnny Bresnahan’s?)

M:4/4

L:1/8

Q:220

S:Maurice O'Keeffe

R:Reel

D:Jackie Daly, Many's a Wild Night, as "Kilfenora Reel"

K:D

JOHN BROWN [1]. American, Reel. USA; New England, Missouri(?). D Major. Standard tuning. AB (Burchenal): AABB (Ford). The first part of this tune is related to the Pennsylvania collected "Twilight" (the second parts differ). Burchenal (American Country Dances, vol. 1), 1918; pg. 60. Ford (Traditional Music in America), 1940; pg. 122.

JOHN BROWN [2]. AKA and see "Miss McLeod's/MacLeod’s Reel [1]," "The Virginia Reel [5]," "Old Mammy Knickerbocker" (Pa.), "N....r in the Woodpile [2]," "(Do You Want to Go to Heaven,) Uncle Joe," "The Enterprise and Boxer." USA, southwestern Pa. G Major. Standard tuning. AB. Not related to version #1. Source for notated version: Henry Bryner (elderly fiddler from Fayette County, Pa., 1944) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 249E, pg. 212.

JOHN BROWN [3]. AKA and see "Faithful Friend." Scottish, Highland Schottische. A Major ('A' & 'B' parts) & A Minor ('C' part). Standard tuning. AABBC. Composition credited to Nugent Godfrey by Kerr. Kerr (Merry Melodies), vol. 1; No. 12, pg. 20.

X:1

T:John Brown [3]

M:C

L:1/8

R:Highland Schottische

C:Nugent Godfrey

B:Kerr – Merry Melodies, vol. 1, pg. 20 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

(c<e) e2 a>f d<f|(c<e) e2 B>c d<B|(c<e) e2 a>f d<f|(e<c) B>c A2 A2:|

K:Amin

(E<A) A>B (3cBA e2|(e<A) A>c B2 z2|(E<A) A>B (3cBA e>d|(c<A) B>E A2A2|

(e<a) a>b (3c’ba e’2|(e<a) a>c’ b2 z2|(e<a) a>b (3c’ba e’>d’|(‘c’<a) b>e a2 a2||

JOHN BROWN'S DREAM. AKA and see “Brownlow’s Dream,” "Brown's Dream," “Brownstream,” “Pretty Little Gal [1],” "Pretty Little Miss [1]," "Herve Brown's Dream," “Johnny Bring the Jug Around the Hill,” "Little Rabbit,” “Red Steer,” “Stillhouse Branch." Old‑Time, Breakdown. USA; southwestern Virginia, western North Carolina. A Major. AEae or Standard tuning. AABBCC (Brody): AABBCCDD (Phillips, Songer). A Galax, Virginia, area standard. One of a family of tunes that includes “Brownstream,” “Herv Brown’s Dream,” “Jimmy Johnson Pass That Jug Around the Hill,” “Little Rabbit” “Pretty Little Girl,” “Pretty Little Miss,” “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. Hobart Smith, of Saltville, Va., also played the tune on the banjo. Tommy Jarrell, of Mt. Airy, North Carolina, suggested that "John Brown's Dream," which he learned from his father, fiddler Ben Jarrell, was derived from "Pretty Little Miss."

***

('B' part vocal) John Brown's dream, the devil is dead.

('C' part vocal) Come on Lula, come on Lula, come on Lula you're hoggin' the bread.

***

John Brown's dream, John Brown's dream, John Brown's dream, the devil is dead.

Come on, Lula, come on Lula, come on Lula, eat your hog and your bread.

( "hog" refers to fatback).

***

Apparently, Walton, West Virginia, fiddler Franklin George is the source for the “Herve (or Harv) Brown’s Dream” title, which he obtained from Jim Farthing, late of S.W. Virginia and West Virginia. There is speculation, though no proof, that the title of the tune was originally “Herve Brown’s Dream,” but the name Herve was supplanted by John because of the notoriety of the famous abolitonist who was hanged at Charles Town, Virginia in 1859 for treason committed in the raid of the U.S. Arsenal at Harper’s Ferry earlier that year. Most commentors agree that the tune has considerable age, and may predate the Harpers Faerry incident in the mid-19^th century. Dwight Diller has said that the West Virginia tune “Jimmy Johnson” was the musical precursor to “John Brown’s Dream,” and opined that “Jimmy Johnson” was the far superior melody. Kentucky fiddler Buddy Thomas knew the tune as “Stillhouse Branch.” Kerry Blech has even heard the title “Brown Stream,” a mondegreen of course (for “Brown’s Dream”). Hobart Smith called his version of the tune “Devil’s Dream” on his Rounder recording (Rounder CD 0032). Sources for notated versions: New Lost City Ramblers [Brody]; Kevin Wimmer [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 148. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 126. Songer (Portland Collection), 1997; pg. 111. County 524, "Da Costa Woltz's Southern Broadcasters: 1927 Recordings" (the fiddler for this band is Ben Jarrell). County 713, Cockerham, Jenkins and Jarrell‑ "Down to the Cider Mill." County CD2702, Tommy Jarrell & Fred Cockerham - “Tommy and Fred: Best Fiddle-Banjo Duets” (1992). County CO-CD-2711, Kirk Sutphin - "Old Roots and New Branches" (1994). Document DOCD-8023, Da Costa Woltz’s Southern Broadcasters (reissue). Folkways FA 2492, New Lost City Ramblers‑ "String Band Instrumentals" (1964). Folkways FTS 31041, New Lost City Ramblers‑ "Across the Great Divide." Kicking Mule 203, Art Rosenbaum‑ "The Art of the Mountain Banjo." Marimac 9038, Dan Gellert & Brad Leftwich - "A Moment in Time." Roane Records RR-101, “Cedar Point String Band” (Franklin George et al. Appears as “Harv Brown’s Dream”). “Silvertone 5183B (78 RPPM), Da Costa Woltz's Southern Broadcasters (1927). Tennvale 003, Pete Parish‑ "Clawhammer Banjo." Tradition Records TLP1007, Hobart Smith ‑ "Instrumental Music of the Southern Appalachians" (1956). PearlMae Muisc 004-2, Jim Taylor – “The Civil War Collection” (1996. Learned from Sheila Adams who had it from Tommy Jarrell and Scot Ainsley).

JOHN BROWN'S LITTLE INDIAN. Southwestern Pa. A version of the ditty known as "Ten Little Indians."

JOHN BROWN'S MARCH [1]. Old‑Time, March (4/4 or cut time). G Major. Standard tuning. AABB (Songer, Welling): AA'AA'BB (Phillips). Sources for notated versions: Pete Sutherland (VT) [Phillips]; Alan Jabbour via Alan Garren [Songer]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 70. Songer (Portland Collection), 1997; pg. 112. Welling (Welling’s Hartford Tune Book), 1976; pg. 2. PearlMae Muisc 004-2, Jim Taylor – “The Civil War Collection” (1996. Learned from banjoist Sheila Adams, who had the tune from Tommy Jarrel and Scott Ansley).

JOHN BROWN'S MARCH [2]. AKA and see "Harper's Ferry." American, March (4/4 time). USA, southwestern Pa. G Major. Standard tuning. AABB. Named presumably after the abolitionist who stormed the United States Arsenal at Harper's Ferry, Virginia, in 1859, and who was hanged for treason. There is some thought Brown’s ‘march’ was his march to the scaffold. Source for notated version: James Taylor (fifer from northern W.Va., southwestern Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 386, pg. 368.

X:1

T:John Brown’s March

T:Harper’s Ferry

M:4/4

L:1/8

K:G

JOHN BROWN POLKA. American, Polka. D Major. Standard tuning. AA’BB’. From the music manuscripts of Setauket, Long Island, painter and fiddler William Sidney Mount, dated August, 1863, “as played by W.S. Mount.” The tune is a polka rendering of the song “John Brown’s Body Lies a-Mouldering in the Grave” (AKA “Battle Hymn of the Republic”).

X:1

T:John Brown’s Polka

M:2/4

L:1/8

R:Polka

S:William Sidney Mount manuscripts, dated August, 1863.

Z:AK/Fiddler’s Companion

K:D

AA F/A/d/e/ | f/g/f/e/ d2 |1 BB/c/ d/c/d/B/ A/B/A/F/ A2 :|2 eeed | c2e2 ||

B/c/B/^A/ B/c/d/e/ | f/>g/f/^e/ fb |1 fbdf | e/d/c/d/ BF :|2 f/g/e/f/ d/e/c/d/ | B2 zA4 ||

JOHN BURTON. See “John Barton.” English. England, Northumberland. One of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript.

JOHN BYRNE’S (JIG). Irish, Jig, Ireland, County Donegal. G Major. Standard tuning. A version of O’Neill’s “Father Fielding’s Favorite.” The County Donegal version comes from James Byrne’s father, John, and was popular among the old generation of Donegal fiddlers, according to Caoimhin Mac Aoidh. “They all, including James consider it an old Glencolmcille jig. Everyone here calls it Port Sheain Ui Bheirn, or John Byrne's Jig. Almost all of us playing it now got it from James."

X:1

T:John Byrne's

T:Father Fielding's Favorite

M:6/8

L:1/8

R:Jig

S:James Byrne and Roisin McRory

Z:Transcribe by Larry Sanger

K:G

BGG fed|cAG FGA|1 BGF G2D:|2 BGFGBd||

gfg afd|cBc dBG|g2b afd|cBc def|gdg fdf|ece gfe|ded BcA|1 BGF GBd:|BFG G2D||

JOHN BYRTH’S. Irish, Reel. Described by Paddy O’Brien as “an old Kilfenora reel.”

X:1

T:John Byrth’s

N:Learned from Paddy O'Brien and Martin Hayes on videotape made by

N:Peter D. at The Plough and the Stars 25th Anniversary Concert,

N:San Francisco

S:San Diego Session Workshop 2000-11-09

Z:Transcribed by John M. O'Hara

M:C|

L:1/8

R:Reel

K:A

efed cAAB | cAeA cAAc | efed cdef | gfge dBGB |]

K:CLydian

~c2ec gcec | ~c2ec dBGB | ~c2ec gcea | afge dBGB |

~c2ec gcec | ~c2ec dBGB | cdef ~g2eg | afge d2 |]

JOHN CAMPBELL REEL ON G, A. Canadian, Reel. Canada, Cape Breton. G Major. Standard tuning. AB. Source for notated version: John Campbell (Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pg. 97. JC 127, John Campbell - “Cape Breton Violinist” (1983).

JOHN CAMPBELL'S. Canadian, Strathspey. Canada, Cape Breton. John Campbell was a famous Cape Breton fiddler of the mid-20th century. Atlantica Music 02 77657 50222 26, Natalie MacMaster - “Atlantic Fiddles” (1994). Canadian Broadcasting Company NMAS 1972, Natalie MacMaster - "Fit as a Fiddle" (1993).

JOHN CAMPBELL’S REEL. Canadian, Reel. Canada, Cape Breton. Composed by Cape Breton fiddler Carl MacKenzie. Atlantica Music 02 77657 50222 26, Carl MacKenzie - “Atlantic Fiddles” (1994). CLM Records, Carl MacKenzie - “Celtic Ceilidh” (1986).

JOHN CAMPBELL REEL ON A, A. Canadian, Reel. Canada, Cape Breton. A Mixolydian (‘A’ part) & A Dorian (‘B’ part). Standard tuning. AABB. Source for notated version: John Campbell (Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music from Cape Breton), 1996; pg. 50. JC 127, John Campbell - “Cape Breton Violinist” (1983. Appears as 3rd of “Four Traditional Reels”).

JOHN CAMPBELL’S TRIP TO PORT TOWNSEND. American, Reel. G Major (‘A’ part) & E Dorian (‘B’ part). Standard tuning. AABB. Composed by Mike Richardson (Seattle, Washington), who told Susan Songer (Portland Collection) the melody was inspired by a series of classes with Cape Breton fiddler John Campbell at Fiddle Tunes in Port Townsend, Washington, in 1988. Songer (Portland Collection), 1997; pg. 112.

JOHN CAREY'S DAUGHTER (Ingean Sean/Seagain Ui Ciarda). Irish, Hornpipe. D Major. Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 211. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1757, pg. 327. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 929, pg. 159.

X:1

T:John Carey’s Daughter

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 929

Z:AK/Fiddler’s Companion

K:D

F>d (3dcd f>d (3dcd|fdcd B2 A>G|FdcB AFGE|F2D2D2:|

d>fed cecA|BdBG FAFD|E>DCD EFGA|F2D2D2:|

JOHN CARTY’S. Irish, Reel. Green Linnet GLCD 1211, Kevin Crawford – “In Good Company” (2001).

JOHN CAWLEY’S. Irish, Reel. G Major. Standard. AAB. Treoir.

X: 1

T: John Cawley's

S: "Treoir"

M: 4/4

L: 1/8

R: reel

Z:Transcribed by Bill Black

K: G

bg g2 gaag | egdg egde | bg g2 gaag | egfa g3 a |

bg g2 gaag | egdg egde | g3 a gedg | egfa g3 ||

JOHN CHARLIE’S LAMENT. Canadian, Waltz or Lament. D Major. Standard tuning (fiddle). AABB. An early composition in the 1960’s by the prolific Cape Breton musician and composer John MacDougall (who is reputed to have written some 25,000 tunes). Cranford (Jerry Holland: The Second Collection), 2000; No. 316, p. 113.

JOHN CHEAP THE CHAPMAN. Scottish, Reel. G Minor. Standard tuning (fiddle). AB (Surenne): AAB (Gow, Kerr, Stewart-Robertson). Composed by Nathaniel Gow (1763-1831), fiddler, composer, music publisher and bandleader. Son of the famous Scots fiddler/composer Niel Gow. A chapman was a hawker or peddlar. Carlin (The Gow Collection), 1986; No. 447. Gow (Complete Collection), Part 2, 1802; p. 13. Henderson (Flowers of Scottish Melody), 1935. Kerr (Merry Melodies), vol. 1; Set 21, No. 6, p. 13. Stewart-Robertson (The Athole Collection", 1884; p. 189. Surenne (Dance Music of Scotland), 1852; p. 35. Culburnie CUL 113D, Alasdair Fraser & Tony MacManus – “Return to Kintail” (1999).

X:1

T:John Cheap, the Chapman

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:Gmin

Gggd BcdB|GggB AFFA|Ggbg a^fg=e|=fcdB AFF||

JOHN CLIFFORD’S (POLKA) [1]. AKA and see “Danny Green’s,” “Darby’s Cross,” “Fleadh cheol polka [2],” “John Egan’s (Polka) [2]," “Scartaglen Polka [2],” “Tripping to the Well.”

JOHN CLIFFORD’S [2]. Irish, Polka. Ireland, Sliabh Luachra region of the Cork-Kerry border. G Major. Standard tuning (fiddle). AABB. John Clifford used to play this tune paired with “Sweeney’s Polka,” according to source O’Leary. Source for notated version: Kerry musician John Clifford via accordion player Johnny O’Leary (Sliabh Luachra region) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 109, p. 63. Gael-Linn CEF132, Johnny O’Leary - “An Calmfhear/The Trooper” (1989).

JOHN CLIFFORD’S [3]. AKA and see “Four Cross Roads (The).” Irish, Polka. D Major. Standard tuning (fiddle). AA’BB. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 339, pp. 191-192. Globestyle Irish CDORBD 085, John & Julia Clifford with Maurice O’Keefe- “The Rushy Mountain” (1994. A reissue CD of Topic recordings from Sliabh Luachra musicians).

JOHN COLE. Old-Time, Breakdown. USA, Kentucky. G Major. Standard tuning (fiddle). ABB’. John Salyer (1882-1952) was the sole source for this tune. Source for notated version: John M. Salyer (Salyersville, Magoffin County, Ky., 1942) [Titon]. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 77, p. 105. Berea College Appalachian Center AC003, “John M. Salyer: Home Recordings, Vol. 2 1941-1942” (1993). Voyager VRCD-354, Hart & Blech – “Build Me a Boat.”

JOHN COLLINS’ FANCY. Irish, Polka. D Major. Standard tuning (fiddle). AABB. John Collins was an accordion player from Cnoc na Gaoithe, near Gneevgullia, west Kerry. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 262, p. 150.

JOHN COLLIN'S JIG. English, Jig. D Dorian. Standard tuning (fiddle). AABB. A modern composition by editor Michael Raven. Raven (English Country Dance Tunes), 1984; p. 202.

JOHN COME KISS ME NOW. English, Scottish; Air and Country Dance Tune (4/4 or cut time). England, Northumberland. G Major (Chappell): F Major (Emmerson, Johnson). Standard tuning (fiddle). One part (Chappell): AB (Emmerson, Johnson). Originally an English tune appearing in the Cuming Manuscript (a fiddle book from Edinburgh, 1723‑4), the McFarlane Manuscript, 1740, (in an experimental air‑jig‑allegro form by William McGibbon), and the Gillespie Manuscript of Perth (1768), the title also appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800. “John Come Kiss Me Now” is structured on an imported Italian 16th century form called "passamezzo moderno" (which involved stock chord progressions) and was the most popular tune in that form in both England and Scotland in the 16th and 17th centuries (Johnson, 1984). John Glen (Early Scottish Melodies, 1900) finds early Scottish tunes under the title “John come kiss me now” in the Blaikie and Margaret Sinkler manuscripts (1692 and 1710, respectively) and, comparing it with the English collector Chappell’s sources, concluded “in all probability the Scottish air was different from the English one.” Glen challenges Chappell’s conclusion that the tune has no Scotch character, and believes its characteristics are as much Scottish as English.

***

Despite the several Scottish appearances, Simpson (in British Broadside Ballads) traces the tune in England to a lute‑tablature mansucript of c. 1570. Both a once-popular French tune known as "(Les) Bouffons/Buffons/Buffens" and the morris dance tune "Shepherd's Hey" equal the first (and sometimes sole) part of "John Come Kiss Me Now.” The French variant was traced by Ward through European manuscripts back to the year 1552. Bayard (“A Miscellany of Tune Notes,” in Studies in Folklore, pg. 157) notes that the tune was part of the Welsh harpers’ tradition under the name “Pen Rhaw” (The Spade Head), but that second strains differ in nearly all sets of the tune he reviewed, and he concludes that the first strain formed the nucleus of the tune with other strains being independently joined. Emmerson (1971) reports that "John Come Kiss Me Now" survives in the second strain of the well‑known country dance jig "New Rigg'd Ship;" reviewing the common‑time version presented by Johnson, however, leads him to say the jig is best described as "a set of the old air." John Glen (Early Scottish Melodies, 1900) says “Stenhouse’s assertion that the second strain of the tune called ‘The New-rigged Ship’ is a mere copy of the second part of ‘John come kiss me now,’ thrown into triple time, is fallacious.

***

Chappell (1859) prints the first strain, which he finds (with fifteen variations) in The Fitzwilliam Virginal Book (c. 1650, therein credited to the famous English composer William Byrd), Robinson's New Citharen Lessons (1609), Airs and Sonnets, and a MS in the British Museum; another 16th century version appears in a MS book of "Airs and Sonnets" at Trinity College, Dublin, accompanied by verses in 16th century Scots. The first strain appears with a second in several more publications, including Playford's Introduction to the Skill of Music (1654), Musick's Delight on the Cithren (1666), A Book of Lessons for the Cithern & Gittern (1652), Apollo's Banquet for the Treble Violin, D’Urfey’s Pills to Purge Melancholy, McGibbon's Scots Tunes (1768), and others. Robin Williamson's version is from Robert Edwards' Music Commonplace Book of 1650. Edwards was minister of Murroes Church in Angus, near Panmure House. Williamson explains that a number of airs were adapted in 16th century to lyrics which satirized the old church, so much so, in fact, that an act of Parliament was passed in 1552 condemning printers of "Ballattis, sangis, blasphematiounis, rymes" whether in Latin or English. The new Church of Scotland was quick to adopt the airs of songs popular at the time for religious purposes, even though many of the original lyrics were bawdy in nature (though what that nature might have been is apparently unknown. Chappell {1859} printed the first four lines but stated that nothing more remained of the original song, at least in English, though, as previously noted, Scots versions do exist). The Church's first publication of these rewritten songs was in "Gude and Godlie Ballatis" (see also "Scots Wha Hae") in which "John Come Kiss Me Now" appears in what (to Williamson’s mind) is a curiously sanitized version:

***

Johne cum kis me now

Johne cum kis me by and by

And mak no mair adow

***

which continues in the Church version:

***

The Lord, Thy God, I am

That Johne dois the call,

Johne representit man

Be grace celestiall etc.

***

Chappell finds several references to the tune in the literature throughout the 17th century, and deduces from these that it was used more as a dance than a song. In Thomas Heywood's A Woman killed with kindness, 1600, the tune is mentioned by Sisley, who says, "I love no dance so well as 'John, come kiss me now;" and in Tis Merry when Gossips Meet (1609), by Samuel Rowlands, can be found "Not an old daunce, but 'John, come kisse me now.'" John Hawkins writes disdainfully of the air in Cromwellian times:

***

...Fidlers and others, hired by the master of the house; such as

in the night season were wont to parade the city and suburbs

under the title of Waits...Half a dozen of fidlers would scrape

"Sellinger's Round," or "John, Come Kiss Me," or "Old Simon

the King" with divisions, till themselves and their audience were

tired, after which as many players on the hautboy would in the

most harsh and discordant tones grate forth "Greensleeves,"

"Yellow Stockings," "Gillean of Croydon," or some such

common dance tune, and the people thought it fine music.

***

Chappell (Popular Music of the Olden Time), vol. 1, 1859; p. 268. Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 2, p. 14. Johnson, Scots Musical Museum, 1792; No. 305. Dorian 90238, The Baltimore Consort – “A Trip to Killburn.” Flying Fish Records, Robin Williamson ‑ "Legacy of the Scottish Harpers." Maggie’s Music MMCD216, Hesperus - “Early American Roots” (1997).

X:1

T:John Come Kiss Me Now

M:2/4

L:1/8
S:Chappell – Popular Music of the Olden Times (1859)

Z:AK/Fiddler’s Companion

K:F

B/A/B/c/ dc/B/ | A/B/c/A/ G>F | F4 ||

X:2

T:John Come Kiss Me Now

M:C

L:1/8

S:Jones – Relicks (1794)

Z:AK/Fiddler’s Companion

K:F
F3G AGAF | B3A BABG | F>G AGAB | cCEG cBAG |

F3G AGAF | B2 B>B BcdB | c3d cBAG | F2 E2 F4 ||

JOHN CONROY’S. AKA and see “Ballinasloe Jig,” “Killaloe Boat.” Irish, Jig. The title comes from Galway born flute player Jack Coen (Bronx, NY), and honors one of his mentors, Johnny Conroy, a flute player from Jack’s home town of Woodford, County Galway. 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).

JOHN CRONIN’S [1]. Irish, Polka. Ireland, Sliabh Luachra. D Major. Standard tuning (fiddle). AABB. The late John Cronin was no relation to the Bronx fiddler Johnny Cronin.

X:1
T:John Cronin's polka [1]
D:The Monks of the Screw
R:polka
M:2/4
L:1/8

e2 e2|fg/f/ ed|Bd AG|FA GE|D2 D2:||

JOHN CRONIN’S [2]. Irish, Polka. Ireland, Sliabh Luachra. D Major. Standard tuning. AABB. The late John Cronin was no relation to the Bronx fiddler Johnny Cronin.

X:1
T:John Cronin's polka [2]
D:The Monks of the Screw
R:polka
M:2/4
L:1/8

FA E2|dB B/c/B/A/|FA BA|B/c/B/A/ GE|ED D2:||

JOHN CUMINE ESQ. OF AUCHREY'S STRATHSPEY. Scottish, Strathspey. B Flat Major. Standard tuning. AAB. Composed by William Christie (c. 1778‑1849) of Cuminestown in Aberdeenshire, "who was a postman, dancing master, and a collector who saved many melodies" (Alburger). Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 103, pg. 168.

JOHN D. BURGESS. Scottish, March (6/8 time). D Major. Standard tuning. AABB'CC'DD'. Composed by George Coburn. In modern session playing the fourth part is sometimes omitted. Martin (Ceol na Fidhle), vol. 1, 1991; pg. 21.

JOHN DAN MACPHERSON’S JIG. Canadian, Jig. Canada; Cape Breton, Prince Edward Island. G Major. Standard tuning. AABB. Dunlay & Reich (1986) note that according to Buddy MacMaster the tune was played in Cape Breton as long ago as the 1830's. Source for notated version: Stephen Toole (1927-1995, Green Road, Queen’s County, Prince Edward Island) [Perlman]; Buddy MacMaster (Cape Breton) [Dunlay & Reich]. Dunlay & Reich (Traditional Celtic Fiddle Music from Cape Breton), 1986; No. 82, pg. 77 (appears as untitled jig). Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 127.

JOHN DOE. AKA and see "MacKenna's Dream," "The Old Vest and Cravat." Irish, Air (4/4 time). Ireland, County Kerry. E Flat Major. Standard tuning. AB. See also “Ir Iomada Yeoman Malluigte do Till a Dogad” and “An Peltan Leanbac.” Source for notated version: “A Kerry tune From Frank Keane” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 738, pg. 185.

X:1

T:John Doe
M:C

L:1/8

N:”Allegretto”

S:Stanford/Petrie (1905), No. 738

Z:AK/Fiddler’s Companion

K:E_

B2 BA G2 Bc | _d2 de d2 gf | ed BA GB AG | E2E2E2 || Bc/d/ | edef g2 fe | ed Bd e3B |

ed ef g2 fe | ed Bd B2 Be | g2 fd ef gf | ed Bc de fg | ed BA GB AG | E2E2E2 ||

JOHN DOHERTY’S HIGHLAND. Irish, Highland. Compass Records 7 4446 2,Oisíin McAuley – “From the Hills of Donegal” (2007. Learned from Dermot McLaughlin).

JOHN DOGHERTY’S (HORNPIPE). Irish, Hornpipe. A Major. Standard tuning. AA’BB. Despite the miss-spelling of the last name, O’Malley sourcesthe tune to Donegal fiddler John Doherty, who recorded it on a tape for New York fiddler Lou Quinn (who copied it for Luke). O’Malley was not sure if Doherty composed it or not. O’Malley (Luke O’Malley’s Collection of Irish Music), 1976; No. 111, pg. 56.

X:1

T:John Dogherty’s

M:C

L:1/8

R:Hornpipe

B:Luke O’Malley’s Collection of Irish Music, No. 111 (1976)

Z:AK/Fiddler’s Companion

K:A

(3CEC A,E (3AcA EA|(3cec (3Ace ae^de|fe^df eG=dc|(3BcB (3AGF EcDB|

(3CEC A,E (3AcA EA|(3cec (3Aceae^de|fe^df eG=dc|1 BEFG A2 ED:|2 BEFG A2A,2||

(3CEA (3CEA (3cBA (3GFE|(3DFA (3DFA dcBA|(3GBe gf edcB|(3Ace (3aec A2A,2:|

JOHN DOHERTY’S (JIG). Irish, Double Jig. Shanachie 34014, James Kelly, Paddy O’Brien & Daithi Sproule – “Traditional Music of Ireland” (1995).

JOHN DOHERTY’S MAZURKA. Irish, Mazurka (3/4 time). G Major (Altan): A Major (Feldman & O’Doherty). Standard tuning. ABCC’. The second part has fourteen measures rather than the standard sixteen, giving the tune a somewhat ‘crooked’ feeling. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. (appears as untitled mazurka). Green Linnet GLCD 1137, Altan – “Island Angel.”

X:1

T:John Doherty's Mazurka

R:mazurka

H:Also played in A, #6

D:Altan: Island Angel

Z:hn‑mazurka‑7

Z:transcribed by henrik.norbeck@mailbox.swipnet.se

M:3/4

L:1/8

K:G

Bc BA GB|d<g dB ce|A2 AG FA|1 G4 DG:|2 G3 D GB||

ed eg (3e^cA|d^c dA fd|ed eg (3e^cA|d^c de =cd|

Bc (3BAG dG|Bc (3BAG dG|FG AB (3cBA|1 G2 d3c:|2 G4||

JOHN DOHERTY'S REEL [1] (Ríl Sheáin Uí Dhochartaigh). AKA and see “All Around the World,” “Cooley’s (Reel) [2],” “The Connemara Rake,” “Doherty’s (Reel) [2],” “Grehan’s,” “Johnny Doherty’s Reel [1],” “Jolly Beggar [2],” “The Knotted Chord [2],” “Maid of Mullaghmore,” “Matt Molloy’s [1],” “The Mistress,” “Mot Malloy,” “Tinker Doherty’s,” “The Wise Maid [1].” Irish, Reel. Ireland, County Donegal. D Major. Standard tuning. AB. John Doherty was a famous fiddler from County Donegal, born into a family of hereditary musicians and travelling tinsmiths in 1900. The family travelled extensively throughout Donegal plying their trade and sharing music with the community; they were said to have had a vast repertoire. Only three brothers, Simey, Mickey and John, were ever recorded, with John the best known.

***

John Doherty (1895-1980)

***

Source for notated version: fiddler Paddy Glackin (Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 149, pg. 70. Gael‑Linn Records CEF 018, John Kelly & Willie Clancy ‑ "Seoda Ceoil I" (1968). Gael-Linn CEF060, “Paddy Glackin.” Green Linnett GLCD 1137, Altan - "Island Angel" (1993). Popcorn Behavior – “Journeywork” (1997).

JOHN DOHERTY'S REEL [2] (Ríl Sheáin Uí Dhochartaigh). Irish, Reel. A Minor ('A' part) & C Major ('B' part). Standard tuning. AB (Black): AA'B (Breathnach). From Donegal fiddler John Doherty. Source for notated version: fiddler James Kelly & accordion player Paddy O'Brien (Ireland) [Breathnach]. Black (Music’s the Very Best Thing), 1996; No. 163, pg. 86. Breathnach (CRÉ III), 1985; No. 177, pg. 80. Shanachie Records 29015, Paddy O'Brien & James Kelly ‑ "Is it yourself?" (1979). Shanachie 34014, James Kelly, Paddy O’Brien & Daithi Sproule – “Traditional Music of Ireland” (1995).

JOHN DOHERTY’S REEL [3]. Irish, Reel. D Major. Standard tuning. AB. From Donegal fiddler John Doherty. Source for notated version: accordion player Paddy O’Brien and fiddler James Kelly [Black]. Black (Music’s the Very Best Thing), 1996; No. 169, pg. 89. Shanachie 29015, Paddy O'Brien & James Kelly ‑ "Is it yourself?" (1979).

X:1

T: John Doherty's (a)

S: J.Kelly - P.O'Brien

Q: 350

R: reel

Z:Transcribed by Bill Black

M: 4/4

L: 1/8

K: C

EAAB cABG | EAAG EGDB, | EAAB cABc | d^cde d=cAG |

EAAB cABG | EAAG EGDB, | EAAB cABc | d2 ge dcda ||

gcec AcGc | gceg aged | gcec AcGc | GAcd ed d2 |

gcec AcGc | gceg aged | c2 gc acgc | edce dcAG ||

JOHN DONALD’S JIG. Canadian, Jig. Canada, Cape Breton. A Major. Standard tuning. AABB. Composed by the late Cape Breton fiddler and composer Jerry Holland (1955-2009). Cranford (Jerry Holland: The Second Collection), 2000; No. 225, pg. 83.

JOHN DONOGHUE’S. AKA and see “Sean Coughlin’s [2].”

JOHN DORE’S FAVOURITE. AKA and see “Dan Patsy’s Slide,” “Paudy Scully’s,” “The Turnip Jig.” Irish, Slide.

JOHN DORY [1]. English, Air (6/4 time). C Major. Standard tuning. One part. This version is set as a canon by Ravenscroft in Deuteromelia (1609). The lyric begins:

***

As it fell on a holy day & upon a holy tide-a

John Dory bought him an ambling nag to Paris for to ride-a;

To Paris for to ride-a.

***

Chappell (1859) believes that by the date 1600 there were already two distinct versions of this Elizabethan air extent, but that the original tune has not been definitely identified, though it could perhaps be this version, which he sees as the more archaic on stylistic grounds. Chappell finds many references to the tune in 17th century literature, including the following from a lampoon by Dryden, indicating its hackneyed status in his time:

***

But Sunderland, Godolphin, Lory,

These will appear such chits in story,

'Twill turn all politics to jest,

To be repeated, like 'John Dory',

When fiddlers sing at feasts.

***

Chappell (Popular Music of the Olden Times), vol. 1, 1859; pg. 93.

X:1

T:John Dory

M:6/4

L:1/8

R:Air

S:Chappell - Popular Music of the Olden Times (1859)

Z:AK/Fiddler's Companion

K:C

c4G2 G4e2|d4 c2c2 B4|c6 G4C2|F4E2 D4D2|C6 C6||

JOHN DORY [2]. English, Air (2/4 time). C Major. Standard tuning. One part. This version of the air Chappell (1859) finds in Musica Antiqua. Chappell (Popular Music of the Olden Times), vol. 1, 1859; pg. 94.

X:1

T:John Dory [2]

L:1/8

M:2/4

S:Music Antiqua

B:Chappell - Popular Music of the Olden Times (1859)

N:A canon.

Z:AK/Fiddler's Companion

K:C

G2 GG|A2G2|A2B2|c4|C4|F2E2|F2G2|C4|c2 cc|c2c2|d2d2|e4|g4|f2g2|f2d2|c4||

JOHN DORY [3]. English, Country Dance Air (6/8 time). C Major. Standard tuning. One part. This version was published by Playford in his Musical Companion of 1686 and in Pills to Purge Melancholy of 1698; Chappell (1859) notes it seems a combination of "John Dory" versions [1] and [2].

X:1

T:John Dory [3]

L:1/8

M:6/8

S:Pills to Purge Melancholy

B:Chappell - Popular Music of the Olden Times (1859)

Z:AK/Fiddler's Companion

K:C

d2c c2B|c3 c2G|F2E D2G|C3 c2E|F2E D2G|(C3 C3)||

JOHN DRURY [1]. AKA and see "Oh! Will You Sit in the Bower?" AKA – “Planxty Drury.” Irish, Air or Planxty (6/8 time, "lively"). D Major. Standard tuning. AB (Cranitch, O'Neill/1850): AAB (Barnes): AABB (Brody, Complete Collection..., O'Neill/Krassen, O’Sullivan, Tubridy). Composed by blind Irish harper Turlough O'Carolan (1670-1738) to celebrate the marriage of John Drury of Kingland, Co. Roscommon, to Elizabeth Goldsmith in 1724, according to Donal O’Sullivan (1958). The last verse of O’Carolan’s song praises those who marry for love, and not money. John was the elder son of Lieutenant Edward Drury of Kingsland, at Lough Gara, near Boyle, County Rosommon, and Elizabeth, daughter of Sir Francis Gore. His bride was the daughter of John Goldsmith, Ballyoughter, County Rosommon, and was the first cousin of renowned author Oliver Goldsmith. They were descendents of English folk from Surrey, including Sir William Drury, Lord Deputy of Ireland in Queen Elizabeth’s reign, and were large landholders in the counties of Roscommon and Carlow. John’s wife, Elizabeth, on the other hand, was from a family of rather modesty means. Unfortunately, the union was cut short by John’s death the next year, in May, 1725, at age 20. He managed to father a daughter with Elizabeth, however, and it was she who inherited all the lands of her father, which thus left the Drury family. The fortunes of the Drurys eclipsed due to mismanagement and litigation, and the next generation was poor (O’Sullivan, 1958). Source for noted version: fiddler Eugene O'Donnell (County Derry, Ireland, and Phila. Pa.) [Brody]. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 68 (appeas as “Jubilee at Eindhoven”, the title of a dance by Philippe Callens set to the tune). Brody (Fiddler’s Fakebook), 1983; pg. 219. Complete Collection of Carolan's Irish Tunes, 1984; No. 42, pg. 46‑47. Cranitch (Irish Fiddle Book), 1996; pg. 100. O'Neill (Krassen), 1976; pg. 243. O'Neill (Music of Ireland: 1850 Selections), 1903/1979; No. 691, pg. 127. O’Sullivan (Carolan: The Life, Times and Music of an Irish Harper), 1958; No. 42. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 39. Claddagh CC18, Derek Bell‑ "Carolan's Receipt." Green Linnet GLCD 1015, Eugene O’Donnell – “Slow Airs and Set Dances” (1978). Green Linnet GLCD 1128, Brendan Mulvihill & Donna Long - “The Morning Dew” (1993). Fretless 200A, Yankee Ingenuity‑ "Kitchen Junket.” Island ILPS9432, The Chieftains - "Bonaparte's Retreat" (1976). June Appal 014, John McCutcheon‑ "The Wind That Shakes the Barley."

X:1

T:Planxty Drury [1]

M:6/8

L:1/8

R:Air

K:D

d2F G2B|ABG FGA|BAG FGE|D3D3:|

JOHN DRURY [2]. Irish, Planxty (3/4 time). G Dorian (O’Sullivan): E Minor (S. Johnson). Standard tuning. One part (S. Johnson): AB (O’Sullivan). Composed by blind Irish harper Turlough O'Carolan (1670-1738). Edward Bunting’s (1773-1843) title for the tune was “Faulte goh Kingsland or Plangsty Kingsland.” O’Sullivan (1958) finds the tune in the Forde manuscripts “John Drury” three separate times; as “Sorry to Part” (from Patrick Carey), “Caitín a Stór” (O’Farrell) and “Caitín mo Stór” (Deasy”). See note for “John Drury [1]” for O’Sullivan’s notes on the subject of the title. Source for notated version: harper Arthur O’Neill [Bunting]. Complete Collection of Carolan's Irish Tunes, 1985; No. 43, pg. 47. S. Johnson (The Kitchen Musician No. 3: Carolan), 1983 (revised 1991, 2001); pg. 14. O’Sullivan (Carolan: The Life, Times and Music of an Irish Harper), 1958; No. 43. O’Sullivan/Bunting (The Bunting Collection of irish Folk Music and Songs), 1927-39; pg 39.

X:1

T:John Drury [2]

M:3/4

L:1/8

R:Air or Planxty

C:O’Carolan (1670-1738)

S:O’Sullivan – Carolan (1958)

K:Gdor

d2G2G2|AGAc d2|c2F2A2|c2F2A2|d2G2G2|AGAc d2|

f2 de f2|”tr”c4 A2||G2g2g2|g2 agfe|f2 gfed|{d}c2A2F2|

G2g2g2|g2 agfe|{g}f2d2e2|{e}f4 e2|d2 Bc d2|c2 AB c2|

f2 de f2|{d}c2A2F2|dcAc d2|{d}c2A2c2|{e}f4 A2||

JOHN DUROCHER'S BREAKDOWN. Canadian, Breakdown. D Major. Standard tuning. AABB. Composed by John Durocher. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 20, pg. 22.

JOHN DWYER OF THE GLEN. AKA and see “John O’Dwyer of the Glen,” “Sean O Duibir an Gleanna.”

JOHN DWYER’S REEL. AKA and see “Martin Connolly’s Reel.” Irish, Reel. G Major. Standard tuning. AABB (Mulvihill): AA’BB’ (Harker/Rafferty). Sources for notated versions: Ann Sheehy (Castleisland, County Kerry) [Mulvihill]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No. 113, pg. 35. Mulvihill (1^st Collection), 1986; No. 202, pg. 55.

X: 1

T: John Dwyer's

R: reel

M: 4/4

L: 1/8

N: Thanks to Philippe Varlet for the ID.

Z: Transcribed by Bill Black

K: G

dB (3BAB GEDE | G2 BG dGBG | B2 BA BedB | AGAB G2 :|

bg (3gfg agef | gfge dBGA | B2 BA BedB | AGAB G2 :|

JOHN EGAN’S (HORNPIPE). Irish, Hornpipe. G Major. Standard tuning. AABB. Flute player John Egan (1903-1989) was born ain Ardleybeg, Ballintogher, County Sligo. His early influences were local Sligo musicians Andy and James Doyle, as well as flute players Brian Luby and John Joe Gardiner, the latter of Corhubber, Ballymote. He learned to play the fiddle as well as the flute. He lived in London for a time before settling in Dublin where he worked as a barman. In 1952 Egan and others established the St. Mary’s Traditional Music Club in Church Street, popularly known as the Church Street Club. Sessions were held every Wednesday until the time of Egan’s death. Sources for notated versions: whistle player Seán Potts (Dublin), via Joe Joyce [Black]; set dance music recorded at Na Píobairí Uilleann, late 1980’s [Taylor]. Black (Music’s the Very Best Thing), 1996; No. 173, pg. 91. Taylor (Music for the Sets: Blue Book), 1995; pg. 19.

X:1

T: John Egan's

S: Seán Potts

Q: 325

R: hornpipe

Z:Transcribed by Bill Black

M: 4/4

L: 1/8

K: G

BGAF GEDG | BG (3Bcd gdBd | cdef gedc | BGGF G2 :|

g3 e d2 Bd | g3 e dgfg | efge dcBA | (3GAG FA G2 :|

JOHN EGAN’S (POLKA) [1]. Irish, Polka. D Major (‘A’ part) & G Major (‘B’ part). Standard tuning. AABB. A modern polka composed in the Sliabh Luachra tradition which has entered use in the West Kerry tradition. John Egan (1903-1989) was one of the founders of the Piper’s Club. Source for notated version: accordion player Jackie Daly (County Cork) [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), Vol. 4, No. 74. Mac Amhlaoibh & Durham (An Pota Stóir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry); pg. 7.

JOHN EGAN’S (POLKA) [2]. AKA and see “Danny Green’s,” “Darby’s Cross,” “Fleadh cheol polka [2],” “John Clifford’s (Polka) [1],” “Scartaglen Polka [2],” “Tripping to the Well.” Irish, Polka. D Major. Standard. AABB. Mallinson (100 Polkas), 1997; No. 94, pg. 37.

JOHN EGAN’S (REEL) [1]. Irish, Reel. D Mixolydian. Standard tuning. AABB. Composed by flute player John Egan (1903-1989), originally from Ballintogher, County Sligo, who removed to Dublin and became one of the founders and regulars at Dublin’s Church Street Club. He was highly influential in the music of that city in his lifetime. Treoir, vol. 34, No. 2, 2002; pg. 27. Cló Iar Chonnachta CICD 165, John Wynne & John McEvoy – “Pride of the West” (2007. Learned by John McEvoy from fiddler Sean Potts).

X:1

T:John Egan’s Reel [1]

M:C

L:1/8

S:Treoir

N:Transcribed by Paddy Ryan

K:D

JOHN EGAN’S (REEL) [2]. Irish, Reel. D Mixolydian. Standard tuning. AB. Composed by John Egan (1903-1989), originally from Ballintogher, County Sligo, who later became one of the founders and regulars at Dublin’s Church Street Club. Treoir, vol. 34, No. 2, 2002; pg. 27.
X:1

T:John Egan’s Reel [2]

M:C

L:1/8

S:Treoir

N:Transcribed by Paddy Ryan

K:D

B2 GB EBGB | A2 FA DAFA | BAGF EFGA | (3Bcd ed Bdef ||

B2 AB G3F | EDEF G2 GA | (3Bcd ef gfed ||

JOHN FENWICK'S THE FLOWER AMANG THEM. Northumbrian. The title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800.

JOHN FINLAY. Reel. Composed by Donald Riddle. BM-91, Buddy MacMaster – “Glencoe Hall.”

JOHN FLEMING'S JIG (Port Sheáin Pléamonn). AKA and see “The Kerry Jig [2],” "Kiss in the Furze [2].” Irish, Single Jig (12/8 time). G Major ('A' part) & E Minor ('B' part). Standard tuning. AB. Breathnach (1985) says Fleming was a piper who died about 1940 in Dublin. Source for notated version: piper Jack Wade, 1967 (Clones, County Monaghan, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 66, pg. 37. Moylan (Dance Music of Willie Clancy), No. 79 (appears as untitled jig). Green Linnet SIF 3005, The Bothy Band - “Old Hag You Have Killed Me” (1981. A reissue of the 1976 Mulligan LP).

JOHN FORBES. Scottish, Strathspey. E Minor. Standard tuning. AAB. Composed by Alexander Walker for solicitor John Forbes of Banff. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 136, pg. 46.

JOHN FRANK (Seán Frank). AKA and see "Colonel McBain's," "Dan Sullivan's Reel," "Brian Boru's March [1]," "General McBean," "The Duke of Clarence Reel," "The Devonshire Reel [1]," "Sporting Molly." Irish, Reel. E Minor. Standard tuning. AB. Breathnach (1963) states that O’Neill’s “Colonel McBain” is a version of this tune, as is Levey’s “Sporting Molly.” See note for “Colonel McBain.” Source for notated version: accordion player Sonny Brogan (County Sligo/Dublin, Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 182, pg. 71. James Keane – “Roll Away the Reel World” (appears as “Seán Frank”).

JOHN GAFFNEY'S FLING. Irish, Fling. Green Linnet SIF‑1105, Patrick Street ‑ "Irish Times" (1989).

JOHN GOW'S COMPLIMENTS TO THE MINSTRELS OF SCOTLAND. Scottish, Slow Air (4/4 time). A Minor. Standard tuning. AB. This melody was composed by John Gow (1764-1826), youngest son of Niel (1727-1807) and elder brother of Nathaniel (176301831). It includes "a rather un‑Scottish passage" in the first two bars‑‑the chromaticism found there evidence of the move of the later Gow family compositions away from the strict confines of the old modes and gapped scales (Collinson, 1966). Purser (1992) is of the opinion that the device, while not particularly tradition, works “not badly at all.” Gow (Sixth Collection of Strathspeys Reels), 1822; pg. 33. Purser (Scotland’s Music), 1992; Ex. 8, pg. 206.

X:1

T:John Gow’s Compliments to the Minstrels of Scotland

M:C

L:1/8

R:Air

N:”Slow”

C:John Gow (1764-1826)

B:Gow – Sixth Collection of Strathspey Reels (1822)

Z:AK/Fiddler’s Companion

K:Amin

c/B/|A(A,C).E A>c .e/(a/^g/=g/|^f/=f/e/d/) {d}c/B/c/d/ cGG {d}c/B/|.A(A,C)E A>c .e/(a/^g/=g/|

^f/=f/e/d/ {d}c/B/c/d/) {c}BAA c/B/|AA,CE A>c e/>^g/ (3a/e/a/|(3=g/e/g/ (3f/d/f/ (3e/c/e/ (3d/B/d/ cGG c/B/|

A(A,CE) A>c .e/(a/^g/=g/|^f/=f/e/d/) {d}c/B/c/d/ {c}BAA||c/B/|(A/c/)e/c/ Ac/B/ A/(a/^g/)a/ Ac/B/|(A/c/)(e/c/) Ae/c/ B/(g/^f/).g/ Gc/B/|

Ac’ {c’d’}e’>c’ {bc’}d’>b c’>a|b>a (^g/a/b/).g/ “tr”a2 Ac/B/|(3A/c/a/ (3a/c/a/ (3F/c/a/ (3a/c/a/ (3E/c/a/ (3a/c/a/ (3^D/c/a/ (3a/c/a/|

(A,/A/c/).A/ (e/A/)(c/A/) BGG c/B/|A(CB,).E ^G,(A|E/)(A/^G/)(B/ A/)(c/B/).d/ cAA||

JOHN GRADY’S DOWNFALL. Irish, Reel. “The Ballroom Reel” is a similar tune. Green Linnet SIF 1020, Brendan Mulvihill - “Flax in Bloom” (learned from James Neary, husband of Eleanor Kane, through Johnny McGreevy and Johnny Cronin).

X:1

T:John Grady's Downfall

M:4/4

L:1/8

R:reel

Z:transcribed by Philippe Varlet

S:Brendan Mulvihill

K:D

DFAc d2Ad|~d2 fd edAc|d2A=c BAGF|EFGE FDCE|

DFAc d2Ad|~d2 fd edAc|d2A=c BAGF|1 EFGE FDDE:|2 EFGE FDD2||

d2fd egfd|g2Bg ec~c2|defd efge|f/g/aeg fedc|

~d3 e fdef|g2bg ec~c2| dAB/c/d AF~F2|1 EFGE FDD2:|2 EFGE FGEF||

JOHN GREER'S TUNE. AKA and see “Banging Breakdown.” Old‑Time.

JOHN GRUMLIE. Scottish, Country Dance Tune (6/8 time). D Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 397, pg. 44. Parlophone Records CE12698, Jimmy Shand (78 RPM).

X:1

T:John Grumlie

M:6/8

L:1/8

R:Jig

S:Kerr – Merry Melodies, vol. 3, No. 397 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

fga gfe | (d3 d2) :: d | f2f d2d | g3 e2e | f2d g2f | f3 e2A | F2A A2B |

A2B d2e | fga gfe | (d3 d2) :|

JOHN HAND'S DREAM. Irish?, Reel. E Minor. Standard tuning. AABB. The title perhaps refers to the same “J. Hand” or Johnny Hand to whom several tunes are attributed to in Ryan’s Mammoth Collection (1883). There is also a James Hand who contributed tunes to that collection. New York musician and writer Don Meade believes the Hands may have been fiddling brothers playing the New England/New York stage circuits in the mid-1800’s. Hardings All-Round Collection, 1905; No. 98, pg. 31.

X:1

T:John Hand’s Dream

M:2/4

L:1/8

R:Reel

S:Harding’s All-Round Collection (1905), No. 98

Z:AK/Fiddler’s Companion

K:Emin

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

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

JOHN HARDIE'S STRATHSPEY. Scottish, Slow Strathspey. G Minor. Standard tuning. AB. Composed by Hector MacAndrew for John Hardie (1886-1966), father and grandfather of Scottish fiddlers Bill and Alastair Hardie. MacAndrew (1903-1980) was born in the village of Fyvie, Aberdeenshire, and became a noted composer, teacher and fiddler, and, in a tradition similar to the Hardie's, his father was also a famous piper and fiddler while his grandfather was taught by a pupil of the great Niel Gow himself. The Albury Quartet was a group which played Scottish traditional music and included Hector MacAndrew and Bill Hardie on fiddles, Andrew Samuel playing cello and Davie Wason on piano. Hardie (Caledonian Companion), 1986; pg. 41.

JOHN HARDY. Old‑Time, Song Tune and Breakdown. A Major. AEae tuning. “John Hardy” is the name of both a song and instrumental tune with numerous variants stylistically, musically, and lyrically. Mike Yates (2002) says that the historical John Hardy, similar to the legendary and better-known John Henry, was an African-American who drove steel for the Shawnee Coal Company in West Virginia. He was hanged for murder in 1894 in McDowell County, West Virginia, soon after which a song gained increasingly popular circulation among both black and white Appalachian singers.

***

An eyewitness, one James Knox Smith, an African-American lawyer of Keystone, McDowell County, was present at John Hardy’s trial and execution. Hardy was "black as a crow, over six feet tall, weighed about two-hundred pounds, and had unusually long arms. He came originally from southeastern Virginia, and had no family. He had formerly been a steel driver and was about forty years old or more." Smith gave this account in 1918:

***

Hardy worked for the Shawnee Coal company, and one pay-day night

he killed a man in a crap game over a dispute of 25 cents. Before the

game began, he lay his pistol on the table saying to it ‘Now I want you

to lay here; and the first nigger that steals money from me, I mean to kill

him.’ About midnight he began to lose, and claimed that one of the negros

had taken 25 cents of his money. The man denied the charge, but gave him

the amount; whereupon he said ‘Don’t you know that I won’t lie to my gun?’

Thereupon he seized his pistol and shot the man dead.

***

Hardy was defended by Judge H.H. Christian, who visited him in jail before the execution and, in the company of a white Baptist minister, brought about a last minute religious conversion. The men gave Hardy a new suit and had him taken to the nearby Tug River where he was baptized. Just prior to the carrying out of his sentence, it was reported, Hardy begged the sheriff’s pardon and advised young men to avoid drinking and gambling.

***

Alan Lomax, in Folk Songs of North America (1960), records:

***

His white captors protected him from a lynch mob that came to

take him out of jail and hang him. When the lynch fever subsided,

Hardy was tried during the July term of the McDowell County

Criminal Court, found guilty and sentenced to be hanged. While

awaiting execution in jail, he is said to have composed this ballad,

which he later sang on the scaffold. He also confessed his sins to

a minister, became very religious, and advised all young men, as

he stood beneath the gallows, to shun liquor, gambling and bad

company. The order for his execution shows that he was hanged

near the courthouse in McDowell County, January 19, 1894. His

ballad appears to have been based upon certain formulae stanzas

from the Anglo-Saxon ballad stock....

***

Columbia 167‑D (78 RPM), 1924, Samantha Bumgarner and Eva Davis (Asheville, N.C.). Folk Legacy FSA‑17, Hobart Smith ‑ "America's Greatest Folk Instrumentalist" (appears as last tune of "Banjo Group 2). Library of Congress (2742-A-2), 1939, H.L. Maxey (Franklin County, Va.). Marimac 9009, John Cohen, Bill Christophersen, Pat Conte ‑ "Old Time Friends" (1987). Musical Traditions, MTCD 321-2, Ted Boyd/Dan Tate (two versions) – “Far on the Mountain, vols. 1&2” (2002). Rounder CD 0394, Buell Kazee. Smithsonian Folkways SF CD 4018, Doc Boggs. Smithsonian Folkways SF CD 40079, Dink Roberts. Yodel-Ay-Hee 05, The Wildcats - "On Our Knees" (1992).

JOHN HAY’S BONNY LASSIE. Scottish, Air (3/4 time). G Major. Standard tuning. AABB. The melody also appears in the Gillespie Manuscript of Perth (1768). McGibbon (Scots Tunes, Book 1), c. 1746; pg. 7.

X:1

T:John Hay’s Bonny Lassie

M:3/4

L:1.8

R:Air

S:McGibbon – Scots Tunes, Book 1 (c. 1746)

Z:AK/Fiddler’s Companion

K:G

G>FG>AB>c | d>edc”tr”(BA) | G2g2 d>c | B2d2 {=f}”tr”e2{d/e/} |

=f3g {f/g/}a2 | “tr”A3 G=FG | A2 =f2 “tr”(e>d) | g2 g>aba | (g>e)(de) g2 |

d>edc”tr”(BA) | G2d2 :: d2 | d>e g2g2 | g3 ab>g | a>_bag=fg | (a2{a/b/}c’2 “tr”(ba) |

g2d2 (ef) | g>fg>a {g/a/}b2 | d>edcBA | G2g2 d>c | B2d2”tr”e2 | {d/e/}=f3g {f/g/}a2 |

JOHN HENRY. Old‑Time, Breakdown. USA; western North Carolina & Virginia. A Mixolydian. AEae tuning. AABB. A Galax, Virginia, area tune. African-American fiddler Joe Thompson played a “John Henry” in GDgd tuning, similar to Kyle Creed and Fred Cockerham’s version. North Georia fiddler Earl Johnson recorded an irregular version of the tune under the title “John Henry Blues.” Source for notated version: Liz Slade (Yorktown, New York) [Kuntz]. Kuntz, Private Collection. Copper Creek CCCD 0193, Bill and Libby Hicks – “South of Nowhere.” Fretless FR 160, The Double Decker String Band ‑ "Sentimental Songs and Old Time Melodies" (1981. Learned from the Williamson Brothers and Curry, and the Skillet Lickers). Rounder CD0421, Bruce Molsky - “Big Hoedown” (1997. Learned from Fred Cockerham of Low Gap, North Carolina).

JOHN HENRY’S [1]. AKA and see “Johnny Watt Henry’s.” Irish, Reel. D Major. Standard tuning. AAB tuning. The title references fiddler John (Johnny) Henry (1922-1997), born at Doocastle, County Sligo, and the brother of Chicago flute player and piper Kevin Henry. See also note for “Johnny Watt Henry’s.” Treoir.

X: 1

T: John Henry's

S: "Treoir"

M: 4/4

L: 1/8

Z: Transcribed by Bill Black.

R: reel

K: D

A2 Ad BFAF | DFAF EDB,D | A2 Ad BAFA | dBAF EDB,D :|

d2 ed fded | d2 fd BdAd | d2 ed fded | dBAF EDB,D |

d2 ed fded | d2 fd BdAd | dfec dBAB | dBAF EDB,D ||

JOHN HENRY’S [2]. AKA and see “Anderson’s.” Irish, Reel. The “John Henry” title is from Charlie Lennon’s “Lucky in Love” album, where Henry is described as a flute player. Charlie Lennon – “Lucky in Love.”

JOHN HOBAN'S POLKA. AKA and see "Seneca Square Dance." Irish, Polka. G Major. Standard tuning. AA'BB'.

JOHN HOWAT(S) REEL. Scottish, Reel. D Major. Standard tuning. AABB (Kerr, Welling): AA’BB’ (Cranford, Songer). A 19th century composition credited to Hugh Dunlop by Kerr. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 130, pg. 53. Kerr (Merry Melodies), vol. 2; No. 173, pg. 20. Songer (Portland Collection), 1997; pg. 113. Welling (Hartford Tunebook), 1976; pg. 17. Breton Books and Records BOC 1HO, Winston “Scotty” Fitzgerald - “Classic Cuts” (reissue of Celtic Records CX 44). Marimac 9012, The Fish Family Dance Band - “Fluke Hits” (1987).

JOHN HOWATS STRATHSPEY. Scottish, Strathspey. D Major. Standard tuning. AABB'. A 19th century composition credited to Hugh Dunlop by Kerr. Kerr (Merry Melodies), vol. 2; No. 172, pg. 20.

JOHN IN THE FOG/MIST. AKA and see “Séan sa Ceo/Cheo.” Shanachie 34014, James Kelly, Paddy O’Brien & Daithi Sproule – “Traditional Music of Ireland” (1995).

JOHN IN THE NEITHER MAINS. Scottish, Scotch Measure. F Major. Standard tuning. AABB’. The tune appears in the 4^th collection of Malcolm MacDonald, dedicated to the Duchess of Breadalbane, with the alternate title “Orchill’s Delight.” MacDonald (A Fourth Collection of Strathspey Reels), 1797; pg. 4.

X:1

T:John in the Neither Mains

M:C

L:1/8

R:Scottish Measure

N:”Slowish”

S:MacDonald – 4^th Collection of Strathspey Reels (1797)

Z:AK/Fiddler’s Companion

K:F

F4 F2 Ac | dcAc d2f2 | c2A2 {B}A2 GF | (A2G2)F2D2 | F4F2 Ac | dcAc d2e2 |

dc.A.c .d.e.f.g | a2 A2 BAGF |1 A2G2F2D2 :|2 A2G2 F4 ||

JOHN J. McPHEE’S REEL. Canadian, Reel. Canada, Prince Edward Island. A Mixolydian/Major. Standard tuning. AABB. The (irregular) ‘B’ part, as Perlman (1996) points out, is from “Jack Tar” while the ‘A’ part he suspects is probably converted from a march tune. Source for notated version: Hughie McPhee, learned from his father John J. (B. 1924, Elmira, Prince Edward Island; now resident of Priest Pond) [Perlman]. Perlman (PEI), 1996; pg. 93.

JOHN JAMES. American?, Jig. G Major. Standard. ABB'. Hardings All-Round, 1905; No. 58, pg. 18.

JOHN JAMESON. Irish, Planxty (6/8 time). D Major. Standard tuning. AB (Notated as having a 'Chorus', so may be a song also). Composed by blind Irish harper Turlough O'Carolan (1670-1738). Complete Collection of Carolan's Irish Tunes, 1984; No. 61, pg. 56.

JOHN JOE GANNON'S HORNPIPE (Cornphíopa Sheán Seosamh Mhig Fhionnáin). AKA and see “Rick’s Rambles.” Irish, Hornpipe. G Major. Standard tuning. AABB. Source for notated version: fiddler Joe Ryan & harmonica player Eddie Clarke (Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 210, pg. 96. Green Linnet Records SIF 1030, Joe Ryan & Eddie Clark ‑ "Crossroads" (1981).

JOHN JOE’S. Canadian, Jig. Canada, Cape Breton. A Major/Mixolydian. Standard tuning. AABB. A “double-tonic” tune composed by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia). Cranford (Brenda Stubbert’s), 1994; No. 95, pg. 35.

JOHN JOE’S JIG [1] (Port Sheáin tSeosaimh). AKA and see "John Mahinney's No. 1." Irish, Jig. D Major. Standard tuning. AA'BB. Source for notated version: whistle player Mary Bergin (Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 23, pg. 12. Bulmer & Sharpley (Music from Ireland), vol. 1, No. 53. Gael‑Linn Records CEF 071, Mary Bergin ‑ "Feadoga Stain" (1979).

JOHN JOE’S (JIG) [2]. Irish, Jig. A Dorian. Standard tuning. AA’BB’. Popularized by the Kilfenora Céilí Band (North Clare) in the 1950’s. Treoir, vol. 39, No. 4, 2007; pg. 29.

X:1

T:John Joe’s (Jig) [2]

M:6/8

L:1/8

R:Jig

K:Ador

GBd dcB|1 ~c3 ~B3:||2 ~c3 c2d||:e2e edc|e3 g3|G2G G2A|

GED DEG|A2A ABc|dBA G3|GBd dcB|1 ~c3 c2d:||2 ~c3 ~B3||

JOHN JONES. Irish, Planxty (3/4 time). A Major. Standard tuning. AABB. Composed by blind Irish harper Turlough O'Carolan (1670-1738). Complete Collection of Carolan's Irish Tunes, 1984; No. 63, pg. 57.

JOHN KEITH LANG. Scottish, Reel. A Major. Standard tuning. AAB.

X:1

T:John Keith Lang

M:4/4

L:1/8

S:Calluna

K:A

A2 ce fcef | cefc e2 ce | f2 fe fgaf | ecef cBBc |

A2 ce fcef | cefc e2 ce | ~f3 e fgaf | e2 ec BAAB :||

A2 af ecef | cBBc e2 ce | f2 fe fgaf | ec efcB Bc |

A2 af ecef | cBBc e2 ce | ~f3 e fgaf | e2 ec BAAB |

A2 af ecef | cBBc e2 ce | ~f3 e fgaf | ec efcB B2 |

A2 ce fcef | cefc e2 ce | f2 fe fgaf | e2 ec BA A2 ||

JOHN KELLY. AKA and see "Planxty Miss Burke." Irish, Planxty (6/8 time). B Flat Major (O’Sullivan): G Major (S. Johnson). Standard tuning. One part (S. Johnson): AB (O’Sullivan). Composed by blind Irish harper Turlough O'Carolan (1670-1738). Edward Bunting (1773-1843) noted this melody in his c. 1800 manuscripts (held at the Library of Queens University, Belfast), albeit under the title “Planxty Miss Burke.” O’Sullivan (1958) finds earlier printings in John Lee’s A Favourite Collection of the so much admired old Irish Tunes (Dublin, 1780), Thompson’s Hibernian Muse (London, c. 1786) and Mullholland’s Collection of Ancient Irish Airs (Belfast, 1810), all under the “John Kelly” title, and concludes Bunting is probably wrong in his “Miss Burke” title for the melody. O’Sullivan believes the tune may have been either for Colonel John Kelly of Skreen, County Roscommon (whose daughter married Sir Ulick Burke, the subject of another Carolan composition), or John Kelly of Castle Kelly or Aghrane Castle, Cloonlyon. The latter also had connections with the bard, for his sister-in-laws were Lady Laetitia Burke and Lady Dillon, the subjects of two other of his compostions. Bunting (The Ancient Music of Ireland), 1840; pg. 43 (appears as “Planxty Miss Burke”). Complete Collection of Carolan's Irish Tunes, 1984; No. 72, pg. 63. S. Johnson (The Kitchen Musician No. 3: Carolan), 1983 (revised 1991, 2001); pg. 12. O’Neill (Music of Ireland), 1903 (appears as “Planxty Miss Burke”). O’Sullivan (Carolan: The Life, Times and Music of an Irish Harper), 1958; No. 72.

X:1

T:John Kelly

M:6/8

L:1/8

R:Air or Planxty

S:O’Sullivan – Carolan (1958)

K:Bb

B2B BcB|A<cz cde|{e}dcB d<fz|{f}edc e<g|f2d {f}edc|

BAG FGA|BDF BDF|G3 G2A||{B/d/}fgf {f}edc|B2F B2F|

gfe dcB|A<cz c3|fd/e/f ge/f/g|fd/e/f ece|{e}dcB {B}AFA|B3 B2z||

JOHN KELLY’S CONCERTINA REEL. Irish, Reel. E Dorian. Standard tuning. AB. Connolly & Martin (Forget Me Not), 2002; pgs. 48-49.

JOHN KELLY’S FAVOURITE (Rogha Sheáin Uí Cheallaigh). Irish, Reel. G Major/Mixolydian. Standard tuning. AABB. Composed by fiddler John Kelly (1912-1989), originally from Rehy West, between Carrigaholt and Kilbaha in west County Clare. Kelly moved to Dublin early in his life and became a mainstay of the Dublin traditional music revival in the mid-20th century. A member of Dublin’s Castle Céilí Band, he also played with Ceoltóirí Laighean (which included his son, fiddler James Kelly). He had definite opinions on the tradition and could be irascible in his grip on ‘pure drop’. Tom Munnelly tells the following story:

***

During the preparations for the O'Riada Memorial concert in the National

Concert Hall in Dublin (ca. 1990?) Paddy Glackin and Donal Lunny were taking

part in the rehearsals. When they finished for the night they headed down

to The Four Seasons pub in Capel Street. This was next door to John Kelly's

little shop, 'The Horseshoe' and John played there most nights in his

post-O' Donoghue's period. When the two lads entered they sat at the bar

and had a pint. As was to be expected, soon old John waved his bow and

indicated that he wanted Paddy to get his fiddle and join in. (And when

John waved his bow at you, in his territory, you did what he requested!).

***

Paddy went to out to his car and brought in his fiddle. Donal went out to

his car and brought in his bouzouki. Paddy sat down and took out his

fiddle. Donal sat down and took out his bouzouki. John stood up, put down

his fiddle and went over to the bar. There he stayed and the session

carried on without him. During a break Paddy went over to the bar and asked

John why he was not playing. John indicated the bouzouuki player and said:

'I will not play with any man that makes buinneach of Irish music!'

***

Translated politely, 'buinneach' means diarrhoea. Old John could curmudgeon

for Ireland, but sometimes he got things right.

***

Breathnach (CRÉ IV), 1996; No. 163, pg. 115.

JOHN KELLY’S (POLKA). Irish, Polka. Shanachie 34014, James Kelly, Paddy O’Brien & Daithi Sproule – “Traditional Music of Ireland” (1995).

JOHN KELLY’S (REEL). AKA and see “Kerry Reel [2],” “The Old Concertina Reel [1].” Irish, Reel. Bulmer & Sharpley (Music from Ireland), vol. 3, No. 10.

JOHN KELLY'S SLIDE [1] (Sleamhnán Sheáin Uí Cheallaigh). AKA and see "Tim Griffin's Slide," "Ab's Slide [2]." Irish, Jig (6/8 time) or Slide (12/8 time). Ireland, Kerry? D Major. Standard tuning. AA'B (Breathnach): AABB (Black, Brody, Mallinson, Taylor, Tubridy): AA’BB’ (Moylan). Fiddle and concertina player John Kelly was born in the district of Rehy West, County Clare, in 1912. Cowdery (1990) remarks he was strongly influenced by other Clare musicians including piper Willie Clancy, and by the traveling piper Johnny Doran. Kelly made Dublin his home in 1945 and by 1959 he had become one of the founding memberrs of Sean O' Riada's group "Ceoltoiri Chualann." After that group broke up in 1969 he and fellow "Ceoltoiri Chualann" alumnus Eamonn de Buitlear formed a similar group, called "Ceoloiri Laighean." The tune is recognizably based on the identifying strain of the ballad "Boyne Water." Sources for notated versions: fiddler John Kelly (Dublin, Ireland) [Breathnach]; accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; set dance music recorded at Na Píobairí Uilleann, mid-1980’s [Taylor]. Black (Music’s the Very Best Thing), 1996; No. 246, pg. 131. Breathnach (CRÉ III), 1985; No. 47, pg. 22. Brody (Fiddler’s Fakebook), 1983; pg. 148. Bulmer & Sharpley (Music from Ireland), 1974, vol. 2, No. 58. Mallinson (Enduring), 1995; No. 71, pg. 29. Moylan (Johnny O’Leary), 1994; No. 287, pg. 166. Mulvihill (1^st Collection), 1986; No. 14 in slide section (appears as untitled tune). Taylor (Music for the Sets: Yellow Book), 1995; pg. 35. Treoir, vol. VII, No. 2. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 28 (appears as “John Kelly’s Jig,” set as a single jig). Vallely (Learn to Play the Tin Whistle with the Armagh Pipes Club), vol. 2; 13. Gael‑Linn Records CEF 018, John Kelly & Willie Clancy ‑ "Seoda Ceoil I" (1968). Island 9379, Chieftains‑ "Chieftains 3." Shanachie 79023, "Chieftains 3" (1982. Learned from Denis Murphy).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

JOHN MACDERMOT. Irish, Planxty or Air (4/4 time, "bold"). A Dorian or Minor ('A' part) & G Major/A Dorian ('B' part). Standard tuning. AAB. Composed by blind Irish harper Turlough O'Carolan (1670-1738). Source for notated version: Miss Ellen Phelan, Cork (Joyce). Complete Collection of Carolan's Irish Tunes, 1984; No. 86, pg. 69. Joyce (Old Irish Folk Music and Songs), 1909; No. 817, pg. 397.

JOHN MACDONALD OF GLENCOE. Scottish, March (2/4 time). A Mixolydian. Standard tuning. AABCCD. Composed by Pipe Major William Lawrie. Martin (Ceol na Fidhle), Vol. 4, 1991; pg. 39. Beltona 78 RPM 2439, Jimmy Shand.

JOHN MACDONALD'S REEL. AKA and see "Johnny MacDonald's Reel," "Lord MacDonald('s Reel) [4]."

JOHN MACDOUGALL. Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AB. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 57.

JOHN MACEACHINN'S BIG TUNE (Porst Mohr Iain Ic Eachinn). AKA ‑ "John Mackay of Skerray's Favourite." Scottish, Reel. A Mixolydian. Standard tuning. AABBCDCDE. "Pipe tune. Probably so named in an ironical sense and usually applied to indifferent performers. May be played as a Reel or Strathspey" (Skye). MacDonald (The Skye Collection), 1887; pg. 42.

X:1

T:John MacEachinn’s Big Tune

T:Porst Mohr Iain Ic Eachinn

M:C

L:1/8

R:Reel

S:MacDonald – Skye Collection (1887)

Z:AK/Fiddler’s Companion

K:A

c2a2 c<cae|=g2 ef G<GdB|a>cc>a c>cec|g2 dB e2A||a|

e2 ae cAAB|d2 =Gd BGGB|e2 Aa cAec|d=GB<B e2A:|

a=gfe g2 e<a|c<c=ge dGGB|=g2 ea cAea|gedB e2A||

JOHN MACFADYEN OF MELFORT. Scottish, March (2/4 time). A Major. Standard tuning. AABB'CCDD'. Composed by John McColl. Martin (Ceol na Fidhle), Vol. 1, 1991; pg. 33.

JOHN MACKAY OF SKERRAY'S FAVOURITE. See "John MacEachinn's Big Tune."

JOHN MACKENZIE'S FANCY. Scottish, Pipe Hornpipe. The hornpipe form on the Scottish great‑pipes is a relatively recent invention of the last thirty or forty years. Temple Records TP021, Battlefield Band ‑ "On the Rise" (1986).

JOHN MAHINNEY'S NO. 1. AKA and see “Gullane Jig,” "John Joe’s Jig,” “The Old Bush (Jig),” “Old Joe’s Jig." Irish, Jig. The tune is called after John Mahinney Barnard of Gneevegullia, who used to play it. He was a friend of Bill "The Weaver" Murphy, father of Denis Murphy and Julia Clifford. Recorded by Seamus Creagh and Aidan Coffey.

JOHN MAHINNEY’S NO. 2. AKA and see “Ducks in the Oats.” Irish, Jig. Ossian OSS-14, John & Julia Clifford – “The Humours of Lisheen.”

JOHN MALCALN REAL. English. England, Northumberland. One of the "missing tunes" from William Vickers' 1770 Northubrian dance tune manuscript. May be "John McAlpin"??

JOHN MARSHALL. Scottish, Strathspey. E Minor. Standard tuning. AAB. Composed by Scots fiddler-composer J. Scott Skinner (1843-1927), in honor aof an Aberdeen violin maker who restored Skinner’s violin. Skinner (Harp and Claymore), 1904; pg. 67.

X:1

T:John Marshall

M:C

L:1/8

R:Strathspey

C:J. Scott Skinner (1843-1927)

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:Emin

B,<E ({F}G>)E B>E ({^d}e>)^c | ({^c}d2) A<d F>A [D2D2] | B,<E ({F}G>)E B>E [ee>]g |

f>e ^d<f g<e eB :| [ee>].f | .g/.f/./e/.g/ .f/.e/.^d/.f/ [ee>]^c | ({^c}d2) A>d F>A [DD>]d |

[ee>]f g/f/e/g/ f/e/^d/f/ e>g | f<c’b>a g<e e>B | [ee>]f g/f/e/g/ f/e/^d/f/ [ee>]^c | ({^c}d2) A>d F>A D<d |

B,<E G>E B>E [ee>]g | .a/.g/.f/.e/ ^d<b g<e e2 ||

JOHN McALPIN(E). Scottish, Strathspey. A Major. Standard tuning. AAB (Stewart-Robertson): AABB (Kerr). The song “The Rattlin’ Bog” (Heigh ho, the rattlin’ bog) is sung to this tune. In Ireland the air is used as a march, a song airs and a Sliabh Luachra polka. Kerr (Merry Melodies), vol. 1; Set 1, No. 3, pg. 3. Stewart-Robertson (The Athole Collection), 1884; pg. 3.

X:1

T:John McAlpin

M:C

L:1/8

S:Strathspey

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

Z:AK/Fiddler’s Companion

K:A

c2 c>B A<FF>A|E>FA>B c<BB>A|c2 cB A<FF>A|E>Ae>c B2A2:|

||d|c>ee>f e>fa>f|e>cc>a e>cB2|c>ee>f e>fa>f|e<cc>A B2A>d|

c<ee>f e>fa>f|e>cc>a e>c B2|(3cde e>f (3efg a>f|(3edc c>A B2A|]

JOHN McAULIFFE’S (SLIDE). Irish, Slide (12/8 time). D Major. Standard tuning. AABB. John McAuliffe was a musician from the County Limerick/Kerry border area. Black (Music’s the Very Best Thing), 1996; No. 330, pg. 176.

X:1

T: John McAuliffe's

S: M. Mulvihill

Q: 375

R: slide

M: 12/8

L: 1/8

K: D

A | dcd e2 d c2 E EFG | BdB BAG F2 D DFA |

dcd e2 d c2 E EFG | ABA GFE D3-D2 :|

e | f2 d d2 c d2 f agf | e2 A A2 c e2 f gfe |

f2 d d2 c d2 f agf | e2 A ABc d3-d2 :|

JOHN McCOLL'S REEL. Scottish, Pipe Reel. A Mixolydian. Standard tuning. AAB. Composed by J. Scott Skinner (1843-1927). Skinner (The Scottish Violinist), pg. 28.

JOHN McFADDEN'S FAVORITE. AKA and see "McFadden's Favorite."

JOHN McGANN. American, Jig. Composed by fiddler Frank Ferrel in honor of a Boston area dance hall musician. Flying Fish FF70572, Frank Ferrel – “Yankee Dreams: Wicked Good Fiddling from New England” (1991).

JOHN McGOVERN’S. AKA and see “Seán McGovern’s Polka.”

JOHN McGRATH’S COMPOSITION. AKA and see “Andy McGann’s No. 2.” Irish, Reel. D Major. Standard tuning. AABB. Composed by New York musician John McGrath, and, according to Luke O’Malley and others, the only composition that can reliably be attributed to him (although there have been claims for others—see “The Providence”). McGrath was originally from Rossport, County Mayo, and played the fiddle until and accident cost him some of his fingers, whereupon he switched to the accordion and mastered the instrument. He was an important Irish music teacher in the Bronx (a contemporary of Michael Coleman’s), and a fixture of the New York Irish music scene until his death in the mid-1950’s. The tune is sometimes called “Andy McGann’s” and has even been mistakenly attributed to that New York fiddler on some albums. Source for notated version: New York fiddler John McGrath (1900-1955, originally from County Mayo) [O’Brien, O’Malley]. O’Brien (Traditional Irish Music). O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1),1976; No. 1, pg. 1. Chonnachta CICD 173, Brian Conway – “Consider the Source” (2008). Smithsonian Folkways SFW CD 40481, Brian Conway – “First Through the Gate” (2002. Learned from New York fiddler Andy McGann).

X:1

T:John McGrath’s Composition

T:Andy McGann's No2

M:4/4

L:1/8

K:D

d ~F3 AGFE|D2FD EDB,D|A,DFA (3Bcd AF| ~E3 D E2FA|

1 d ~F3 AGFE|DEFD EDB,D|A,DFA (3Bcd AF| EA,CE D2FA:|

2 ~d3 B ~c3 A|~B3 d AGFE|D2FA (3Bcd AF|EA,CE D2FA||

d2 fd edfd|~B3 d AGFE|D2FA (3Bcd AF|1 ~E3 D E2FA|

d2 fd edfd|~B3 d AGFE|D FA (3Bcd AF|EA,CE D2FA:|

2 ~E3 D E2de|faba f ~d3| ~B3 d AGFE|D2FA (3Bcd AF|EA,CE D3 ||

X:2
T:John McGrath's Composition
C:John McGrath
B:Irish Folk Dance Music, Jerry O'Brien
R:reel
M:4/4
L:1/8
K:D
Bc|dF (3FEF AF{G}FE|DEFD EB, {D}(3B,A,B,|
(3ABA FA BFAF|EDEF E2 Bc|dF (3FEF AF{G}FE|
DE (3FED EB, (3B,A,B,|(3ABA FA BFAF|
{EF}EDEF D2 Bc||
dF (3FEF AF{G}FE|DEFD EB, {D}(3B,A,B,|
(3ABA FA BFAF|EDEF E2 Bc|
{de}dcde {cd}cBcd|{Bc}BG (3Bcd AF {G}(3FEF|
(3DED FA BFAF|EA,CE D2 (3ABc||
d2 fd edfd|{Bc}BA (3Bcd AF (3FEF|(3DED FA BFAF|
{EF}EDEF E2 Bc|(3ded fd edfd|{Bc}BA (3Bcd AF (3FEF|
(3DED FA BFAF|{EF}EDEF D2 (3ABc||
d2 fd edfe|{Bc}BA (3Bcd AF (3FEF|(3DED FA BFAF|
{EF}EDEF E2 de|fdba gd (3dcd|{Bc}BA (3Bcd AF (3FEF|
(3DED FA (3Bcd AF|EA,CE D2||

JOHN McKENNA’S [1]. AKA and see “The Bird in the Cage,” “Gardiner’s Favourite [1],” “London Lasses [1],” “The Maid in the Rushes.” Irish, Reel. G Major. Standard tuning. AABB. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Breathnach (CRÉ II); No. 170, pg. 89 (appaers as “An Gearrchaile sa Luachair/The Maid in the Rushes”). Moylan (Johnny O’Leary), 1994; No. 243, pgs. 140-141.

JOHN McKENNA’S [2]. AKA and see “The Happy Days of Youth [1].” The tune was recorded by flute player John McKenna (1880-1947) for Decca in 1934 (paired with “Colonel Rogers”), accompanied by Michael Gaffney on banjo; both originally were from County Leitrim. In fact the tunes became so associated with the flute player’s name that they have often simply been referred to as “John McKenna’s” or “McKenna’s Reels.”

JOHN McKENNA’S [3]. AKA and see “Colonel Rogers.”

JOHN McKENNA’S [3]. Irish, Barn Dance. D Major. Standard tuning. AB.

X:1

T:John McKenna's

M:C|

L:1/8

R:barn dance

K:D

AFAd ~f3z|gage cAcd|e2df d2:|2 e2d2 d2ef|| g3e cAcd|e2ef (3gag ef|

gage cAcd|(3.e.f.e (3.d.c.B AGFG| AFAd f2f2|AFAd ~f3z|gage cAcd|e2df d2:||

JOHN McNEIL (CHAMPION HIGHLAND DANCER). Scottish, Strathspey. Composed by self‑taught though masterful fiddler Peter Milne (1824-1908), a native of Aberdeenshire and one of J. Scott Skinner's teachers.

JOHN McNEILL’S HIGHLAND FLING. Scottish, Pipe Strathspey. A Major. Standard tuning. AAB. Composed by J. Scott Skinner (1842-1927), probably honoring a champion highland dancer of the Victorian era, John McNeil (or McNeill). Skinner, in addition to being a renowned fiddler and composer, was a dancing master as well in his youth, working first in the Strathdon area as a dancing teacher. In 1862 at a Highland Gathering at Bray near Dublin he won several prizes for dancing, including first prize for Sword Dancing where he beat the famous dancer, John McNeill of Edinburgh, whom he much admired. Skinner, then aged 19, did this while playing the fiddle and dancing at the same time. In his autobiography My Life and Adventures, Skinner relates that he “honestly believed (the prize) should have gone to McNeill,” and says that in token of this sentiment he offered the dancer the cash prize of three guineas. McNeill replied, Skinner says, “Ye’re the best man that I’ve seen come out of the North,” after which they shared a dram together. Donald R Mackenzie, Professor of Dancing, Stirling, Scotland wrote in 1910 that some of the best “Highland step-dancers” of his time were John MacNeil, and William MacLennan ( the world famous piper and dancer): “The characteristic dancing styles of these two men were truly Highland, artistic and without any affectation.” Skinner (Harp and Claymore), 1904; pg. 48.

JOHN McNEIL('S REEL). AKA and see “Betty’s Fancy [2],” "Big John McNeil(l)/McNeal,” “John McNeilis." Scottish (Originally), Irish, Canadian; Reel or Strathspey. Ireland, County Donegal. A Major. Standard tuning. AB. The title undoubtedly honors a champion highland dancer of the Victorian era, John McNeil. Donald R Mackenzie, Professor of Dancing, Stirling, Scotland wrote in 1910 that some of the best “Highland step-dancers” of his time were John MacNeil, and William MacLennan ( the world famous piper and dancer): “The characteristic dancing styles of these two men were truly Highland, artistic and without any affectation.” (See also note for “John McNeill’s Highland Fling” for more on McNeil).

***

“John McNeil” was composed by self‑taught albeit masterful fiddler Peter Milne (1824-1908), a native of Aberdeenshire and one of J. Scott Skinner's teachers. Milne earned a living teaching and playing in theaters until his opium addiction (he had originally taken laudanum in London for rheumatism) reduced him to busking on ferry‑boats plowing the Forth of Firth. The completion of the Forth Bridge (c. 1890) deprived him of even this livelihood, and he died destitute in an insane asylum. As "Big John McNeil" the melody is quite popular with Canadian and New England fiddlers. John McNeil was a champion Highland dancer in Edinburgh at the turn of the century. The tune is well-known in County Donegal where the first part is played in the upper octave on the fiddle for "reversing" purposes, according to fiddler Caoimhin Mac Aoidh. Alternate local Donegal names for the melody include “Betty’s Fancy” and “John McNeilis” (the latter is a Donegal adaptation of the name McNeil). See also the similar “Lord Ramsay’s Reel [4].” Source for notated version: Danny O’Donnell (County Donegal), who was familiar with Scottish music in the Donegal tradition but who also worked in Scotland [Feldman & O’Doherty]. Hunter (Fiddle Music of Scotland), 1988; No. 237. Feldman & O’Doherty (The Northern Fiddler), pg. 187. Martin (Ceol na Fidhle, vol. 3), 1988; pg. 46. Olympic 6151, Angus Cameron ‑ "Scottish Traditional Fiddle Music" (1978). Battlefield Band – “Battlefield Band” (appears as part of set which includes “Inverness Gathering” and “Marquis of Huntley's Strathspey”).

X:1

T:John McNeil's Reel

B:Feldman & O'Doherty, The Northern Fiddler

S:Danny O'Donnell

M:4/4

L:1/8

K:A

A,2 CE FECE|AECE FECE|A,2 CE FECE|FCEC B,DCB,|

A,2 CE FECE|A/A/ECE FECE|B,DCE DFE=G|FA=GB cAAf||

eAfA eAcf|eAfA e2 (3agf|eAfA eAce|dfca B2 cd|

eAfA eAcd|eAfA e2 fg|1agag fedc|BAGF EDCB,:|

2 agag fece|fagb a2 [ac]2||

X:2

T:John MacNeill’s Reel

L:1/8

M:4/4

K:A

A,2 CE FECE|AECE FEDC|B,DCE DFEG|FAGB cA A||f|

eAfA e/f/g|agag fedc|BAGF EDCB,||

JOHN MHOSEY McGINLEY'S REEL. AKA and see "The Heathery Cruach ."

JOHN MITCHELL (Sean Micil). Irish, Air (4/4 time). G Major ('A' part) & E Minor ('B' part). Standard tuning. AB. Source for notated version: Chicago piper and flute player John Ennis, originally from County Kildare, who was also a policeman and sometime journalist. He became president of the Chicago Irish Music Club after Francis O’Neill [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 95, pg. 17.

X:1

T:John Mitchell

M:C

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 95

Z:AK/Fiddler’s Companion

K:G

(3EFG | A2 A>B d2e2 | G3B A2 GE | D2 D>E G2G2 | G6 ||

Bd | e2 e>e d2g2 | B3A G2 AB | c3d cBAG | E6 ||

JOHN MOORE. Irish, Planxty ('A' and 'B' parts in cut time, 'C' part in jig time). C Mixolydian. Standard tuning. ABC. Composed by Turlough O'Carolan. Complete Collection of Carolan's Irish Tunes, 1984; No. 103, pg. 78.

JOHN MORRIS AND SALLY RANKIN. Canadian, Pipe Reel (cut time). Canada, Cape Breton. A Dorian. Standard tuning. AABB. Composed by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton). The late John Morris Rankin was a fiddler, composer and piano player; member of the Cape Breton troupe The Rankin Family. Cranford (Brenda Stubbert’s), 1994; No. 10, pg. 4.

JOHN MORRIS RANKIN [1]. Canadian, Jig. Canada, Cape Breton. G Major. Standard tuning. AABB’. Composed by the late Inverness, Cape Breton, fiddler Jerry Holland (1955-2009) in honor of the late fiddler, composer and piano player John Morris Rankin, for many years a star of the troupe The Rankin Family until a tragic automobile accident took his life. Cranford (Jerry Holland: The Second Collection), 2000; No. 294, pg. 105. Odyssey ORCS 1051, Jerry Holland – “Fiddler’s Choice” (1998).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

JOHN MORRIS RANKIN [2]. Canadian, Reel. Canada, Cape Breton. D Major. Standard tuning. AABBCC. Composed by Cape Breton fiddler Dougie MacDonald. Cranford (Jerry Holland: The Second Collection), 2000; No. 111, pg. 43. Jerry Holland – “Sesson with Jerry Holland” (1990).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

JOHN MORRIS RANKIN [3] REEL. Canadian, Reel. Canada, Cape Breton. A Mixolydian. Standard tuning. Composed by fiddler Donnie Leblanc. WMT002, Wendy MacIsaac – “That’s What You Get” (1997?).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

JOHN MORRISON, ASSYNT HOUSE. Scottish (originally), Canadian; Reel. Canada; Prince Edward Island, Cape Breton. A Dorian. Standard tuning. ABCDEF (Cranford, Little, Martin): AABBCCDDEEFF (Perlman). The tune was composed in the 20th century by the Scottish Pipe Major Peter MacLeod. Sources for notated versions: Little got many of his tunes from Cape Breton style fiddler Harvey Tolman (Nelson, N.H.) [Little]; Buddy MacMaster (Cape Breton), Peter Chaisson, Sr. (North-East Kings County, PEI) and Carl & Jackie Webster (Cardigan, Central Kings County, PEI) [Perlman]; Winston Fitzgerald (1014-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; NO. 53, pg. 22. John Wilson’s Collection of Highland Bagpipe Music, vol. 1, 1937. Little (Scottish and Cape Breton Fiddle Music in New Hampshire), 1984; pgs. 34‑35. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 11. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 106. BM-91, Buddy MacMaster – “Glencoe Hall.”

JOHN MY LOVER. AKA "Johnny Lover," "Johnny Lover's Gone"??? In repertiore of J.P. Nestor and Norman Edmonds (Galax, Va.), c. 1927.

JOHN NAUGHTON’S FAVORITE. AKA and see “Jim Conroy’s Reel,” “Jack Coen’s Reel.” Irish, Reel. A Dorian. Standard tuning. AABB. Treoir.

X: 1

T: John Naughton's Favorite

S: "Treoir"

M: 4/4

L: 1/8

R: reel

Z: Transcribed by Bill Black

K: Ador

ABAG EGDE | G2 BG dGBG | ABAG E>G D2 | Beed BA A2 |

ABAG EGDE | G2 BG dGBG | ABAG E>G D2 | gedB BA A2 :|

ageg a2 ba | gede g2 bg | ageg a2 ga | bgga bg g2 |

bg g2 afef | gedB BABd | egfa g3 d | gedB BA A2 :|

JOHN NAUGHTON’S (JIG). AKA and see "The Ball (Humours) of Ballynafeidh," "The Banks of Lough Gowna," "The Clare Jig," "Delaney's Drummers," “The Jug of Brown Ale,” "The Kitten and the Frog," "Kitty in the Fog," “The Mug of Brown Ale [2],” “Old Man Dillon,” "One Bottle More [2]," "Paddy in London [2],” "Paddy O'Brien's (Jig) [3],” “The Raffle Jig,” "The Rambler from Clare [1]," "The Stonecutter's Jig," "Tom Billy's {Jig} [1]," “Winter Apples [2],” "Young Tom Ennis." Irish, Jig. Ireland, County Clare. G Dorian. A version of “Old Man Dillon.” John Naughton is an elderly, well-regarded concertina player from Feakle, County Clare. Having learned the instrument in his youth he stopped playing for many decades and only with some prompting returned to the instrument to revive the tunes that he remembered. Quite a few are interesting variants of ‘standard’ versions of tunes. Mary MacNamara - “Traditional Music from East Clare.” Gearóid O’hAllmhuráin - “Traditional Music from Clare and Beyond.” Green Linnet GLCD 1127, “Martin Hayes” (1993). Green Linnett GLCD 1181, Martin Hayes & Dennis Cahill - “The Lonesome Touch” (1997).

X:1

T:John Naughton's Jig

M:6/8

L:1/8

Q:120

R:jig

D:G. O'hAllmhuráin, Traditional Music from Clare and Beyond

K:Gdor

DGG GAc|dfd cAG|{B}AFF ~F3|FAG FDC|

DGG GAc|def g2g|{a}gfd cAc |1 dGG G2F :|2 dGG G2f||

{g}fde f2g|fde fcB|AFF CFF|FAG F/2E/2DC|1 fde f2g|fde fdc|

=BGG {A}GA=B|ced c2f :|2 DGG GAc|def g2g|{a}gfd cAc|dGG G3||

JOHN NAUGHTON’S (REEL). AKA and see “Eddie Moloney’s [4].” Irish, Reel. D Dorian. Standard tuning. Green Linnett GLCD 1181, Martin Hayes & Dennis Cahill - “The Lonesome Touch” (1997). Tara Records 4008, “Josephine Marsh” (1996).

JOHN NEWGRANT COME HOME WITH A PAIN IN HIS HEAD. American, Jig. D Major. Standard tuning. AB. Bayard (1944) believes this tune to be from Irish tradition, although he could not trace it. He believes the name may come from a fiddler's rhyme attached to the tune, a fairly common folk process. Source for notated version: Mrs. Sarah Armstrong, (Derry, Pennsylvania, 1943) [Bayard]. Bayard (Hill Country Tunes), 1944; No. 94.

JOHN NUGENT. Irish, Planxty (6/8 time). D Minor. Standard tuning. AB. Composed by blind Irish harper Turlough O'Carolan (1670-1738). Complete Collection of Carolan's Irish Tunes, 1984; No. 107, pg. 80.

JOHN O’ BADENYOND. AKA – “John of Bandenyon.” AKA and see "Johnny From Gandsey." See “Cape Breton Wedding Reel,” “MacIssac’s Reel,” "Old Time Wedding Reel [1].” Scottish, Strathspey. G Dorian (Skye, McGlashan): A Minor (O’Farrell). Standard tuning. AB (McGlashan): AAB (MacDonald): AABB (O’Farrell). This tune, originally a strathspey, is played as a reel on Cape Breton Island, where it often goes by the name of its order in the “Old Time Wedding Reel” medley. Dunlay and Greenberg suggest it may be related to “Tha Duthrachd Mo Chridhe Dhuit”(You Have My Heart’s Love) in MacDonald’s Gesto Collection, taken originally from Alexander Campbell’s collection Albyn’s Anthology (1816-18). The Episcopal minister of Langside, Aberdeenshire, John Skinner (1721-1807) wrote verses to the melody and referred to “John of Badenyon” as a pipe tune; his lyrics appear in The Songs of Scotland (1877) and The Scots Musical Museum (1771). In the aftermath of the Jacobite rebellion, Rev. Skinner was willing to sign an oath of allegiance to the crown; despite this, however, his church was wrecked by the Duke of Cumberland’s troops, and he himself was imprisoned for half a year in Aberdeen for preaching to a gathering of more than four people. It is included, along with other Scots songs and dance melodies, in the music manuscripts of Setauket, Long Island, painter and fiddler William Sydney Mount (1807-1868). Mount played a good amount of music for dancing and his own pleasure, and had access to both printed and local sources. MacDonald (The Skye Collection), 1887; pg. 148. Johnson (Scots Musical Museum), vol. 3, 1787‑1803; No. 285. McGlashan (A Collection of Reels), c. 1786; pg. 23. O’Farrell (Pocket Companion, vol. IV), c. 1810; pg. 147. Celtic SCX 58, Elmer Briand - “And His Cape Breton Fiddle.” Rounder Records, Willie Kennedy – “Cape Breton Violin.” (Ashley) MacIsaac & (Dave) MacIsaac – “Fiddle Music 101.”

X:1

T:John of Bandenyond (sic)

M:C|

L:1/8

R:Strathspey

S:McGlashan – Reels (c. 1786)

Z:AK/Fiddler’s Companion

K:Gmin

g>df>c d>Bc>G|B>FG>D B3c|d>Bc>G B>FB>D|C<C D>F G3||

B>FG>D B3c|d>Gc>G B>FB>D|C<C D>F G3||

X:2

T:John of Badenyon

M:C

L:1/8

R:Air

S:The William Sydney Mount music manuscripts (c. 1840’s)

Z:AK/Fiddler’s Companion

K:Amin

a>e g>d e>c d>A | c>G A>E c3d | e>c d>A c>G c>E | D<D E>G A3 || g |

a>g e>g a>g e>a | g>e d>e g3d {g} | a>g e>g a>g e>d | A<A c>d e3g |

a>e g>d e>c d>A | c>G A>E c3d | e>c d>A c>G c>E | D<D E>G A3 ||

JOHN OCHILTREE. Scottish. An anonymous variation sonata appearing in David Young's McFarlane Manuscript (1740, vol. 2, No. 9) in air‑gavotta‑minuet‑jig form.

JOHN O'CONNOR (Sean O Conchubhair). AKA and see “Planxty Connor,” “Planxty Mrs. O’Conor.” Irish, Planxty (6/8 time). G Major. Standard tuning. AB+Chorus (Complete Collection, O’Sullivan): AABBCC (O’Farrell). One of the more popular compositions by the blind Irish harper Turlough O'Carolan (1670-1738). It appears in Burk Thumoth’s Twelve English and Twelve Irish Airs (c. 1745-50, No. 42, under the corrupted title “Planks of Connaught”), however, the earliest printing is in John and William Neale’s untitled publication of Carolan’s melodies, printed in Dublin around 1742, wherein it is called simply “Jigg” (the 1742 date is now the established date for this publication, not 1721, due to dating of the watermarks on its paper—see Donal O’Sullivan, pg. 335, appendix to the 2001 edition). The tune is included in the MacLean-Clephane Manuscript of 1816, compiled by young sisters Anna-Jane and Margaret Maclean-Clephane of Mull, brought to light by modern harper Keith Sanger. The version in this manuscript has several (3) extra parts, of which one is a variant of O’Sullivan’s “Chorus” section (the last four bars are different), and one which appears to be a fiddler’s variation (see pg. 346, Appendix to the 2001 edition of O’Sullivan’s Carolan: The Life Times and Music of an Irish Harper).

***

Arthur O’Neill (1734-1818), a blind harper who played at the Belfast Harp Festival and who was one of the last of the old itinerant harpers, mentions the tune in his memoirs. As a young man he toured Ireland several times and related his meetings with other famous harpers, of whom he says about one:

***

I met my namesake Peggy O’Neill. She was past child-bearing when I did

meet her. She played decently on the harp. If fame don’t tell lies of her, it

mentioned that she was uncommon fond of playing all Carolan’s planxties,

such as ‘Planxty Connor’, ‘Planxty Reilly’, and about twenty-eight other

planxties, which poor Peggy always set to music on her instrument on a C flat.

***

Harper O’Neill also records the following anecdote that mentions the tune in his Memoirs (Chapter 1):

***

On Christmas Day Thady was to play at the Roman Catholic Chapel of Navan,

and a humorous fellow in Navan took Thady to a public house and promised to

give him a gallon of whiskey if he rattled up “Planxty Connor” at the time of

the Elevation, which Thady promised to do. Accordingly, when Mass commenced

on Christmas morning Thady as usual played some sacred airs until the Elevation,

and for the sake of the whiskey and [to] be as good as his word he lilted up

“Planxty Connor”. The priest, who was a good judge of music, knew the tune

but at that solemn stage of the ceremony he could not speak to Thady. But to

show his disapprobation he stampled violently on the altar—so much so that the

people exclaimed in Irish ‘Dar Dhia, tá an sagart a’ damhsa!’, that is ‘By God,

the priest is dancing!’ However, after playing ‘Planxty [Connor]’ for some short

time he resumed his usual tunes. But when Mass was over Thady was severely reproved

and dismissed.

***

Words to the tune (which Donal O’Sullivan says fit the melody so perfectly “that there is not the slightest doubt that they together form one song”) were noted by Patrick Lynch from Blind Billy O’Malley, a piper from Louisborough, and go:

***

Sin chugaibh é ‘nuas le fánaidh,

Seán Ó Conchubhair anuas as Fáilghidh,

‘gCluin sibh mé, ‘chailíní, cumhdaighidh bhur staiphíní,

Is gear go bhfuighe sibh bhur sáith dhe!

A chailíní dílse na páirte,

Coinnighidh bhur gcroidhe go sáste,

Tiocfa sé ‘rist a’ tiacht na Féil’ Brighde.

Agus gheóbhaidh sé míle fáilte.

***

Cho:

Is múinte ‘s is caoidheamhail é, stuama ‘s is saoidhemhail,

An t-óigfhear a ndéantar pléaráca;

Ólaidh a shláinte le fionta na Spáinne,

Is go bráth ná déanaigh deármad! [O’Sullivan, 1958]

***

Donal O’Sullivan (1958) says it is clear from manuscript copies of the poem indicate John O’Connor “was one of the O’Connors of Offaly and that he was a young bachelor at the timeit was composed.” However, O’Sullivan was not able to trace his identity. The melody was employed (along with other Irish tunes) by the English popular composer William Shields for use in the finale of his 1782 opera The Poor Soldier. Source for notated versions: the Irish collector Edward Bunting, who noted it from harper Denis Hempson [O’Sullivan]. Complete Collection of Carolan's Irish Tunes, 1984; No. 114, pg. 84. Johnson (A Further Collection of Dances, Marches, Minuetts and Duetts of the Latter 18^th Century), 1998; pg. 3. O’Farrell (Pocket Companion, vol. 1), c. 1805; pg. 57 (appears as “Planxty Connor”). O’Sullivan (Carolan: The Life and Times of an Irish Harper), 1958; No. 114, pg. 162. Columbia 35612, "The Chieftains" (1978). Maggie's Music MM‑107, "Music in the Great Hall" (1992). Shanachie 79013, Derek Bell - "Carolan's Receipt" (1987).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Planxty Connor

M:6/8

L:1/8

R:Air

S:O’Farrell – Pocket Companion, vol. 1 (c. 1805)

Z:AK/Fiddler’s Companion

K:G

JOHN O'DWYER OF THE GLEN [1] (Seán Ó Duibhir a’ Ghleanna). AKA and see "Sean O Duibir an Gleanna [1]." Irish, Slow Air (3/4 time). D Major or A Mixolydian (O’Neill): D Minor (Stanford/Petrie): G Major (O’Farrell). Standard tuning. AB (Stanford/Petrie): AAB (O’Neill): AABB (O’Farrell). O’Neill states: “Versions (of the song) are almost as numerous as the singers of this fine old air," and he says it was very popular in Munster in a variety of forms and titles. According to (the sometimes very unreliable professor) Grattan Flood (1906), the song commemorates the Glen of Aherlow, which hid for a time the brave Anglo‑Irish lord James, Earl of Desmond, after his defeat in September, 1600, at the hands of Captain Greame and the Irish. One version of the melody can be found in Bunting’s Ancient Irish Airs of 1796 (a collection of 66 airs, mostly collected from performers at the Belfast Harp Festival of 1792). A translation of the lyrics goes:

***

After Aughrim's great disaster

When our foe, in sooth, was master

It was you who first plunged in and swam

The Shannon's boiling flood

And through Sliabh Bloom's dark passes

You led your Gallowglasses

Although the hungry Saxon wolves

Were howling for your blood.

And as we crossed Tipperary

We rived the Clan O Leary

And a creacht we drove before us

As our horseman onward came

With our spears and swords we gored them

As through flood and fire we bore them

Still Seán Ó Duibhir a Ghleanna

You were worsted in the game.

***

Long, long we kept the hillside

Our couch hard by the rillside

The sturdy knotted oaken boughs

Our curtain overhead.

The summer sun we laughed at

The winter snow we scoffed at

And trusted to our long bright swords

To win us daily bread.

Till the Dutchman's troops came round us

In steel and fire they bound us

They blazed the woods and mountains

Tills the very clouds were flame

Yet our sharpened swords cut through them

To their very hearts we hewed them

Still Seán Ó Duibhir a Ghleanna

You were worsted in the game.

***

Here's a health to yours and my king

The sovereign of our liking

And to Sarsfield, underneath whose flag

We'll cast once more a chance

For the morning dawn will wing us

Across the seas and bring us

To take a stand and wield a brand

Amongst the sons of France.

And as we part in sorrow

Still, Sea/n O/ Dibhir, a chara

Our prayer is "God Save Ireland"

And pour blessings on her name.

May her sons be true when needed

May they never fail, as we did

For Sea/n O/ Duibhir a Ghleanna

You were worsted in the game.

***

Sources for notated versions: “From an old Kerry MS” [Stanford/Petrie]; fiddler Michael G. Enright, a native of County Limerick [O’Neill]. O’Farrell (National Irish Music for the Union Pipes), 1804; pg. 21 (appears as “Shaun O’Dhier o glanna. Or John Dwyer of Glinn”). O'Neill (Music of Ireland: 1850 Melodies), 1903; No. 35, pg. 7. Stanford/Petrie (Complete Collection), 1905; No. 736, pg. 184.

X:1

T:John O’Dwyer of the Glen [1]

M:C

L:1/8

R:Air

N:”Slow and with expression”

S:O’Neill – Music of Ireland (1903), No.35

Z:AK/Fiddler’s Companion

K:D

|| A/B/ | cA/B/ c/d/e/f/ g2 ef/g/ | a>bc’b a>g f/>A/ B/4c/4d/4e/4 |

f>agf f{g/f/}e e{f/d/}c | d>cAA A3 d/e/ | f>eea g e2c | d>cde f<e a>g |

f>ded c>A AG/F/ | G>BAA A3 ||

X:1

T:John Dwyre of the Glyn

M:3/4
L:1/8

N:”From and old Kerry M.S.”

S:Stanford/Petrie (1905), No. 736

Z:AK/Fiddler’s Companion

K:Dmin

D/E/ F/4G/4A/4B/4c/4d/4e/4 | f>a g/f/e/d/ fe | d>e f/e/d/c/ fA | c>d e/d/c/A/ c/A/G/E/ |

G2 EG AA | A4 || AB | cA c/d/e/f/ gg | a>b c’/b/a/g/ ae | fg a/g/f/e/ f/e/d/c/ |

d2 de f/4d/4e/4c/4d/4c/4A/4G/4 | A4 D/4E/4F/4G/4A/4B/4c/4d/4e/4 |

f>a g/f/e/d/ fe | d>e f/e/d/c/ fA | c>d e/d/c/A/ c/A/G/E/ | G2 EG AA | A4 ||

JOHN O'DWYER OF THE GLEN [2] (Seán Ua Duibir An Gleanna). Irish, Slow Air (3/4 time). G Major. Standard tuning. AAB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 36, pg. 7.

X:1

T:John O’Dwyer of the Glen [2]

M:3/4

L:1/8

N:”Slow and with expression”

S:O’Neill – Music of Ireland (1903), No. 36

Z:AK/Fiddler’s Companion

K:G

d/c/ | B>A B>d c<A | {F}G>F GA B<G | BG AG FD | C>D G>G G :|

|| D | GG G/A/B/c/ dd | e>f e>d ed | cd d/c/B/A/ B/A/G/F/ | {A}G>F DD D d/c/ |

B>A Bd c<A | {F}G>F GA B<G | B>G A>G F<D | CD G>G G ||

JOHN O'DWYER OF THE GLENS [3] (Seagan/Seán Ua Duibir an Gleanna). Irish, Set Dance (4/4 time). D Major. Standard tuning. AABB (O’Neill): AA’BB (Mitchell). The 'B' part is twice as long as the 'A'. Each strain is only six bars long in O’Neill’s setting. The melody is listed in O’Keeffe and O’Brien’s Handbook of Irish Dances among favorite set dances (O’Neill). Sources for notated versions: fiddler Edward Cronin, a Tipperary man from Limerick Junction “who alone knew it in this style” [O’Neill]. piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Mitchell (Dance Music of Willie Clancy) 1993; No. 89, pg. 80. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 967, pg. 166.

X:1

T:John O’Dwyer of the Glens [3]

M:C

L:1/8

R:Set Dance

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 967

Z:AK/Fiddler’s Companion

K:D

JOHN OF BADENYON. See “John O’ Badenyond.”

JOHN OF PARIS. AKA – “Jean de Paris.” AKA and see "Ninety‑Five." Scottish, English, Jig and Morris Dance Tune. G Major (Harding's, Kennedy, Raven, Sumner, Wade): A Major (Kerr). Standard tuning. AAB (Kerr): AABB (Hardings, Sumner): AA'BA' (Kennedy, Raven, Wade). “Jean de Paris” is the title of a French comic opera with music by François Adrien Boieldieu (1775-1834), first performed in Paris in 1812, and it is possible that this tune has some connection with the opera. The melody has been used for a single step dance in the North‑West England morris dance tradition where it is popular under the title “Ninety-Five.” Revealing that alternate title, this is sung by morris dancers:

***

The girls go by and they wink one eye,

It's will you marry me? No, not I;

I'm ninety-five, I'm ninety five,

And to stay single I'll contrive.

***

The tune is contained in the 19^th 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. Source for notated version: the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Hardings All-Round Collection, 1905; No. 131, pg. 41. The Joseph Kershaw Manuscript, 1993; No. 52 (appears as “Jean de Paris”). Kennedy (Fiddlers Tune Book), vol. 2, 1954; pg. 44. Kerr (Merry Melodies), vol. 1; No. 3, pg. 27. Raven (English Country Dance Tunes), 1984; pg. 100. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 68. Wade (Mally’s North West Morris Book), 1988; pg. 30. Cottey Light Industries CLI-903, Dexter et al - "Over the Water" (1993. The tune appears as "95").

X:1

T:John of Paris

T:Ninety-Five

L:1/8

M:6/8

K:G

A2B A2B|A2d d2c:|2 B2G G2F|Eed cBA|B2G G2||B|d2c Bcd|

e2f g2a|b2a gfe|d2c Bcd|e2e ecA|d2d dBG|c2A B2G|FGF D2||

JOHN OF PARIS – NEW WAY. English, Jig. D Major. Standard tuning. AABBAA. Gibbons set the tune in the key of ‘F’ major in his manuscript. Source for notated version: the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 68.

X:1

T:John of Paris – New Way

M:6/8

L:1/8

R:Jig

S:Joshua Gibbons ms. (1823-26)

K:F

A/B/|…

JOHN OF THE GREENY CHESHIRE WAY. English, Old Hornpipe (3/2 time). A Mixolydian. The melody was published by Daniel Wright in his Extraordinary Collection of Pleasant and Merry Humours (1713). The title was printed as “John of the Green, ye Cheshire Way,” but looks at first glance like ‘Greeny’ instead of the separate words. An excerpt from this old-style hornpipe tune appears in John Offord's article "Lancashire and Cheshire Hornpipes" (English Dance and Song, Summer 1990, 52{2}). There are several tunes with the title “Jack of the Green,” “John of the Green,” “Jack on the Green” etc. Offord (John of the Greeny Cheshire Way), 1985.

JOHN O'GROAT'S HOUSE (Taigh Iain Ghròt). AKA and see “Johnny Groat’s (House).” Scottish, Reel. C Major. Standard tuning. AAB. Hunter (1988) notes that John O'Groats is a village on the north coast of Caithness, and 'John O'Groat's house' is mentioned in early 17th century chronicles. The family held lands in Canisbay from the 15th century onwards, and at some point there were eight families bearing this name. They would meet annually to feast until "disputes over precedence arose," which were settled by one "John O'Groat who built a house with an octagonal room and table so that all were 'head of the table'" (I believe this story was also told of one of the Irish O’Neills, featuring the line “Where O’Neill sits is the head of the table”—AK). This tune and "North Side of the Grampians" "form a medley, so popular on the north side of the Grampians as to rival any now current, being in sterling dancing style" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 195, pg. 81. Hunter (Fiddle Music of Scotland), 1988; No. 189.

X:1

T:John O’Groat’s House

T:Taigh Iain Ghròt

M:C|

L:1/8

R:Reel

S:Fraser Collection (1874)

Z:AK/Fiddler’s Companion

K:C

Gc~cd e2 dc|B<Gdc BcdB|Gc~cd e2 dc|GcBc dB c2:|

ecBc GcEc|GEFD B,G, C2||

JOHN O’GROAT’S JIG. Scottish, Jig. See note for “John O’Groat’s House” for info.

X:1

T:John O'Groats Jig

B:Kohlers Violin Repository - slightly adapted

C:John Bain, Wick

Z:Nigel Gatherer

M:6/8

L:1/8

O:Scottish

R:Jig

K:Dm

FGA DFA|dfd ecA|Bgf ed^c|dDD D2:|

dfa afd|gbg ecA|Bgf ed^c|dDD D2:|

JOHN O'NEILL'S REEL ("Seisd Séan Uí Niall" or "Cor Ceagain Uí Neill"). AKA and see “The Shepherd’s Daughter [1],” “The Shepherd’s Flock.” Irish, Reel. D Major. Standard tuning. AAB. O'Neill (Krassen), 1976; pg. 108. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1265, pg. 238. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 533, pg. 99.

X:1

T:John O’Neill’s Reel

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1903), No. 533

Z:AK/Fiddler’s Companion

K:D

A|BcBA FAAc|B>E {G}(3EDE FEFA|BcBA FAAB|ABde fdd:|e|f2fd e2ed|

Fgfd edBd|fgfe dedB|ABde fdde|f2 fd e2 ed|fgfd edBd|f>a {b}(3aga bgaf|edeg fdd||

JOHN O'REILLY [1] (Sean O Raighilligh). AKA and see "Planxty O'Reilly." Irish, Planxty (6/8 time). D Major. Standard tuning. AABBCCDD. The tune is attributed to blind Irish harper Turlough O'Carolan (1670-1738), thought Donal O’Sullivan, in his definitive work on the bard could find no incontrovertable evidence of its origin. Complete Collection of Carolan's Irish Tunes, 1984; No.140, pg. 98‑99. Shanachie 79013, Derek Bell - "Carolan's Receipt" (1987).

JOHN O'REILLY [2]. Irish, Planxty (6/8 time). A Major (Complete Collection): F Major. (Kerr). Standard tuning. AB (Complete Collection): AABB (Kerr). Composed by blind Irish harper Turlough O'Carolan (1670-1738). Complete Collection of Carolan's Irish Tunes, 1984; No. 141, pg. 99.

JOHN O’REILLY [3]. Irish, Air (whole time). A Minor. Standard tuning. One part. Source for notated version: “From Mr. MacDowell, March 1859” [Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 351, pg. 89.

X:1

T:John O’Reilly [3]

M:C

L:1/8

R:Air

B:Stanford/Petrie, No. 351 (1905)

Z:AK/Fiddler’s Companion

K:Amin

a6 (3e^f^g|a3b age z/d/|(c3 e) (eB) A(^G/A/)|B^cd>c A2A2|A6:||

JOHN O'REILLY THE ACTIVE (Sean Ua Ragallaig Clisteac). AKA and see "Oh! Think Not My Spirits Are Always As Light." Irish, Air or Planxty (6/8 time). G Major ('A' part) & G Mixolydian ('B' part). Standard tuning. AAB (O'Neill/Krassen): AABB (Levey, O'Neill/1850). Composed by blind Irish harper Turlough O'Carolan (1670-1738), according to collector and Chicago flute player Francis O’Neill. Thomas Moore used the melody as the vehicle for his song “Oh! Think not my spirits are always as light,” published in Irish Melodies, Vol. 1 (1808).

***

Oh! think not my spirits are always as light,
And as free from a pang as they seem to you now,
Nor expect that the heart-beaming smile of to-night,
Will return with to-morrow to brighten my brow.
No; life is a waste of wearisome hours
Which seldom the rose of enjoyment adorns;
And the heart that is soonest awake to the flowers,
Is always the first to be touch'd by the thorns.
But send round the bowl, and be happy a while,
May we never meet worse, in our pilgrimage here,
Than the tear that enjoyment may gild with a smile,
And the smile that compassion can turn to a tear.

***

Levey (Dance Music of Ireland, 2^nd Collection), 1873; No. 3, pg. 2. O'Neill (Krassen), 1976; pg. 232. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 645, pg. 116. Poodle Records Cassette PRC 001, The Dougals Gunn Ensemble – “Irish & Italian Music: Carolan and Corelli.”

X:1

T:John O’Reilly the Active

M:6/8

L:1/8

R:Air

S:O’Neill – Music of Ireland (1903), No. 645

Z:AK/Fiddler’s Companion

K:G

DGG GFG | c>AG F2 G/A/ | c<Ad c<Ad | G>AG G2 :|

cde =fef | ecB A2 B/c/ | dcd d/e/=fe/d/ | cAG G2 :|

JOHN O’SHEA’S MARCH. Irish, March (2/4 time). G Major. Standard tuning. One part. “Recorded in Ireland, 1972" (Mulvihill). Mulvihill (1^st Collection), 1986; No. 1, pg. 103.

JOHN P. BLESSING’S FAVOURITE. AKA and see “Charlie Harris’ [2],” “The Night of the Fun [4],” “O’Connell’s Reel [2].” Irish, Reel. D Major. Standard. AA’BB’. Treoir.

X: 1

T: John P.Blessing's Favorite

S: Treoir

M: 4/4

L: 1/8

Q: 350

R: reel

Z: Transcribed by Bill Black

K: D

dB | AFDF EFDB, | AFAB e2 dB | AFDF EF D2 |1 AFAB d2 :|2 AFAB d4 ||

defd efdB | AFAB e2 fe | defd efdB | AFAB d3 A |

defd efdB | AFAB e2 fe | df f2 afbf |1 afef d3 A :|2 afef d4 ||

JOHN PATERSON'S MAN GOES FOREMOST. AKA and see "New Market."

JOHN PATERSON'S MARE (GOES FOREMOST/FOREWORT). AKA and see “The Black and the Brown,” “The Black and the Grey,” "The Horseman's Port," "The Black and the Brown [2]" (Northumberland), “New Market [1].” Scottish, Jig and Air. F Major. Standard tuning. One part. There are several assertions about the provenance of this melody. It is often claimed as Irish, however, it has also been suggested that “John Patterson’s Mare” has Ayrshire origins. Paul Roberts [Tradtunes 01/29/2008] believes it may have been a descendant of “Jack Warrel’s Hornpipe” from Marsden’s volume Lancashire Hornpipes (1705). Marsden’s printing is a fiddle version of the tune (with 14 variations!), he points out, but has every appearance of having originally been a bagpipe piece (e.g. the majority of the melody spans the range of the 9 note chanter). Cowdery (1990) finds "John Paterson's Mare” in Highland Piper Donald MacLeod’s bagpipe collection (in a 6 ½ variation set), and is of the opinion that it is a conscious adaptation in jig time of the melody "The Cameronian Rant.” Other writers have noted that the tune straddles meters, and has been recorded as being known in the form of a reel on the island of Whalsay, in the Shetlands, for example (see “Black and the Brown”). [The 1999 note to the song lyrics at Digital Tradition supplied the following information] Chambers (1862) as described the song as "a rough ballad descriptive of the confused horse-race which used to take place at all country bridals long ago, between the home of the bride's father and that of her husband.” The lyrics begin:

***

The black and the brown
Cam nearest the town,
But Paterson's mare she came foremost;
The dun and the gray
Kept farthest away,
But Paterson's mare she came foremost.
Fy, whip her in, whip her out,
Six shillings in a clout,
O'er the kirk-style and away wi' her!

***

A previous title for the tune was, according to Hogg, “She's yours, she's yours, she's nae mair ours,” who says it was always played at the taking away of the bride. Similarly, Henderson Berwick (1856), 106, indicates it was a bridal tune and gives the lines:

***

She's yours! She's yours!

She's nae mair ours—

Owre the Kirk-style

And away wi' her!

***

As "John Peterson's Mare" the tune was in the repertoire of John Stickle (1875-1957), an influential Shetland fiddler from Unst, who was recorded in the field by Patrick Shuldham-Shaw. In 1983 singer/guitarist Martin Carthy adapted Stickle's version for a song called "Fable of the Wings" (Topic 12TS431). Highland bagpipers have taken to the tune, found fairly frequently in bagpiper repertoire. Gatherer (Gatherer’s Musical Museum), 1987; pg. 16. Hamilton's Universal Tunebook (Glasgow) {includes a set of variations, at "gallop‑time"}.

JOHN PEEL. AKA ‑ "Do you Know (Ken) John Peel," “D’ye Ken John Peel?” English, Scottish; Country Dance, Morris Dance Tune and Air (4/4 or 2/4 time). F Major (Raven): G Major (Sweet, Wade): A Major (Kerr). Standard tuning. One part (Raven, Sweet, Wade): AABB (Kerr). One of the most famous English folk songs and airs. Walker (1924) says that this border tune is “English enough” despite close proximity to the Scottish lowlands, and was originally known as “Where will bonnie Annie lie?” or “Whar wad our Guidman lie,” found in several Scottish manuscripts, including Oswald’s Caledonian Pocket Companion for the Flute, vol. II (c. 1750). This ancestral Scottish tune is itself predated by a Playford melody called “Red House” (see also the major-key Welsh dance version “Ty Coch Caerdydd/Red House of Cardiff”). Kidson (Groves) dates “John Peel” to shortly before the middle of the 19^th century, and agrees that it was sung to a version of “Bonnie Annie” and believes it had a long traditional popularity before it ever was seen in print (c. 1870-1880). The John Peel of the title was a Cumberland farmer and well-known huntsman of the nearby hills who kept a pack of fox hounds. Words to the tune were written by John Woodcock Graves, a fellow Cumbrian, on the occasion of a meeting at Graves’s house at Caldbeek one night when Peel came over on some hunting matter. The grandmother of Graves’s children was singing a child to sleep with a version of the “Bonnie Annie/Whar wad Bonnie Annie lie” tune and Graves was inspired to write a song to it in honor of Peel. He finished it before Peel left and jokingly remarked “By Jove, Peel, you’ll be sung when we are both run to earth.” Peel died in 1854 at age 78 (Kidson). Descendents of his pack of fell hounds are claimed as hounds of the Blencathra Hunt in the Cumberland Feels, whose members are remarkable as they hunt still entirely on foot. The melody is employed as the vehicle for a polka step in the North-West (England) morris dance tradition. The song begins:

***

Do ye ken John Peel with his coat so grey?

Do ye ken John Peel at the break of day?

Do ye ken John Peel when he's far, far away

With his hounds and his horn in the morning.

Chorus:

Twas the sound of his horn brought me from my bed

And the cry of his hounds has me oftimes led

For Peel's view holloa would wake the dead

Or a fox from his lair in the morning

***

Anne Geddes Gilchrist traced the vicissitudes of the tune in an article in Journal of the English Folk Dance and Song Society, 1941. She gives essentially the information found in Kidson’s remarks, but also cited the Welsh dance version of c. 1896 (referenced above). Further, she remarked that after Peel’s death the Graves son was locally known, albeit only the third part of ancestral airs being retained in tradition (being ‘droned over monotnously’). Around the year 1868, writes Gilchrist, an organist, William Metcalfe of Carlisle, tracked down the original first strain and published it. His version achieved some popularity and, for many years, both strains were sung. However, by the latter 20^th century the first strain had been forgotten again, and only the familiar chorus melody remains.

***

The melody (as “D’yer Ken John Peel?) was the march past of The Border Regiment (named in 1881 from the amalgamation of the 55^th Westmoreland with the 24^th Cumberland). “The 1^st battalion,” writes David Murray (in Music of the Scottish Regiments, Edinburgh, 1994, pg. 205), “coupled ‘John Peel’ with ‘The French 34^th’, the regiment which had been routed by the British 34^th at Arroyo dos Molinos in Spain in 1811. Its band, drums, drum major’s staff and music had been captured complete and intact, and thenceforth the 34^th had march past to the march of ‘The French 34^th’. The 2^nd battalion of The Border Regiment coupled ‘John Peel’ with ‘The Lass o’ Gowrie.’”

***

Kerr (Merry Melodies), vol. 3; No. 387, pg. 43. Raven (English Country Dance Tunes), 1984; pg. 150. Sweet (Fifer’s Delight), 1964/1981; pg. 15. Wade (Mally’s North West Morris Book), 1988; pg. 15 (appears as “D’ye Ken John Peel?”).

X:1

T:John Peel

M:2/4

L:1/8

R:March

S:Kerr – Merry Melodies, vol. 3, No. 387

Z:AK/Fiddler’s Companion

K:A

JOHN PEEL GALOP. Scottish, Galop (2/4 time). D Major (‘A’ and ‘B’ parts) & G Major (‘C’ part). Standard tuning. AA’BB’CC’. The famous air (though not until the third part) arranged for dancing The Galop. Kerr (Merry Melodies), vol. 4; No. 398, pg. 43.

X:1

T:John Peel

M:2/4

L:1/8

R:Galop

S:Kerr – Merry Melodies, vol. 4, No. 398

Z:AK/Fiddler’s Companion

K:D

|:eA/A/ AA|fA/A/ AA|gefd|ecAz|dcBA|GFED|1 ABcd|e2a2:|2 Acfe|dz [Fd]z||

K:G

G2G2|G2B>c|:d2d2|B2 B>c|d2d2|B2 A>B|c2c2|A2 A>B|c>dc>B|

A2 B>A|G2G2|g2 g>f|e2e2|d2 c>B|e2 c>A|G2F2|(A4|1 G2) B>c:|2 GGGz||

JOHN PELLERINE’S STRATHSPEY. Canadian, Strathspey. Canada, Cape Breton. D Major. Standard tuning. ABB’. Composed by fiddler Jerry Holland (Inverness, Cape Breton) for a fiddling and step-dancing friend from Inverness. Cranford (Jerry Holland’s), 1995; No. 111, pg. 32. Odyssey ORCS 1051, Jerry Holland – “Fiddler’s Choice” (1999).

JOHN PETERSON'S MARE. See "John Paterson's Mare."

JOHN PEYTON. Irish, Planxty (2/4 time). G Major. Standard tuning. One part. The tune is attributed to blind Irish harper Turlough O'Carolan (1670-1738), thought Donal O’Sullivan, in his definitive work on the bard could find no incontrovertable evidence of its origin. Complete Collection of Carolan's Irish Tunes, 1984; No. 149, pg. 103.

JOHN POTTS’S REEL (Ríl Sheáin Potts). Irish, Reel. G Major. Standard tuning. AABB. Source Potts was a piper from County Wexford who spent most of his life in Dublin, where he taught Brendan Breathnach to play the pipes. Breathnach dedicated the first volume of Ceol Rince na hÉireann to him. Source for notated version: piper John Potts (1871-1956), from the Jack Wade (County Monaghan) collection [Breathnach]. Breathnach (CRE IV), 1996; No. 188, pg. 87.

JOHN QUINN’S [1]. AKA and see "Delahanty's Hornpipe," “Delahunty’s Hornpipe,” "The Home Brew," “The Iron Gate,” "The Road to Boyle,” "Sonny Murray's," "Wicklow Hornpipe.” Irish, Hornpipe. RTE CD174, “The Sliabh Luachra Fiddle Master Padraig O’Keeffe.”

JOHN R. FRASER. Canadian, Strathspey. Canada, Cape Breton. A Dorian. Standard tuning. AAB. See note for “Fiddling After One-Hundred.” Source for notated version: John ‘Rory’ Fraser via Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia) [Cranford]. Cranford (Brenda Stubbert’s), 1994; No. 19, pg. 8.

JOHN RAWL JAMIESON. AKA and see “Going Back to Kentucky.” Old‑Time, Breakdown. USA, Ky. G Major. Rounder 0032, Buddy Thomas (northeastern Ky.) ‑ "Kitty Puss: Old‑Time Fiddle Music From Kentucky"

JOHN REID'S FAVOURITE. AKA and see "Gilbert Clancy’s Reel” (Gilibeart Mhac Fhiannchadha), “Seán Reid’s Reel.”

JOHN RILEY THE SHEPHERD. Old-Time. Standard tuning. County CO-CD-2729, Art Stamper – “Goodbye Girls I’m Going to Boston” (2000).

JOHN ROARTY’S. Irish, Reel. C Major. Standard tuning. AB. Composed by County Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988) in honor of John Roarty, a fiddler who kept an Irish bar in West Philadelphia in the 1930's. Reavy (The Collected Compositions of Ed Reavy), No. 59, pg. 65.

X:1

T:John Roarty's

R:reel

C:Ed Reavy

M:2/2

L:1/8

Z:Joe Reavy

N:John had a taproom in West Philadelphia in the thirties. Ed on occasion

N:played there for John and his friends. John himself played the fiddle at

N:the Philadelphia dance halls (29th and Market Sts.) back in the twenties.

K:C

EGAB cGAG | EGAB c2 AG | EGABcGAc | d2 ed ^cde^f |

geceabag | ecgcabag | ed^ce d=cAG ||

JOHN ROBINSON. Old-Time, Breakdown. A Major. Standard tuning. AABB. The 'C' notes are variously rendered anywhere between a 'C' natural and a 'C' sharp. Source for notated version: Bruce Greene [Phillips]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 127.

JOHN ROCHE'S FAVOURITE. AKA and see “Blue Bonnets,” “Frank Roche’s Favorite,” “Here Awa’,” “Lady Ann Hope [1],” “Tiger Hornpipe,” “The Woodford Fling [1].” Irish, Fling. G Major. Standard tuning. AB. Either the father or the brother of Frank Roche, who compiled the collection. Roche Collection, 1983, vol. 2; No. 285, pg. 35.

JOHN ROY LYALL. Scottish, Slow Air (4/4 time). E Flat Major. Standard tuning. AAB. Composed by Eddie Edmond, a band-leader based in northeast Scotland. John Roy Lyall is his late father-in-law. Martin (Ceol na Fidhle), vol. 1, 1991; pg. 12. RC2000, George Wilson – “Royal Circus” (2000).

JOHN ROY STEWART/STUART. AKA and see "Raza's Reel." Scottish, Strathspey. F Major. Standard tuning. AB (Surenne): AAB (Athole, Gow, Honeyman, Skye): AABB' (Kerr): ABCD (Glen, McGlashan): AABCD (Skinner). Composed by Alexander McGlashan (1740‑1797), who was nicknamed 'King' for his attention to extravagant apparel. Hardie (1992) says he has the "two‑fold distinction" of having taught violin to Nathaniel Gow and employing him as a cellist in his dance band. John Glen (1891) finds the tune first in print in McGlashan's collection. John Roy Stewart was a Jacobite agent and a descendant of "The Wolf of Badenoch;" he was the last person to be knighted by the Old Pretender. Paul Stewart Cranford suggests this tune was perhaps the progenitor of the “Maud Miller”/”Julia Delaney” tune family in Ireland. Glen (The Glen Collection of Scottish Dance Music), 1891, vol. 1; pg. 22. Gow (Complete Repository), Part 1, 1799; pg. 26. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 25. Hardie (Caledonian Companion), 1992; pg. 58. Kerr (Merry Melodies), vol. 2; No. 183, pg. 21. MacDonald (The Skye Collection), 1887; pg. 150. McGlashan (Collection of Strathspey Reels), c. 1780/81; pg. 30 (appears as “John Roy Stewart’s Reel”). Skinner (Harp and Claymore), 1904; pg. 122. Stewart-Robertson (The Athole Collection), 1884; pg. 208. Surenne (Dance Music of Scotland), 1852; pgs. 130-131.

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

X:1

T:John Roy Stewart

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:F

~c>df>g a>fg>a|~f>c d/c/B/A/ f>c cf/g/|a>fg>e f>de>c|A<d d<^c d2d||

X:2

T:John Roy Stewart

S:Petrie's Second Collection of Strathspey Reels and Country Dances &c.

Z:Steve Wyrick <sjwyrick'at'astound'dot'net>, 6/11/04

N:Petrie's Second Collection, page 19

% Gore's Index is unclear on this tune, but it appears

% in several sources published around this time

L:1/8

M:C

R:Strathspey

K:F

c>df>g a>fg<a|f<cc>A f<cc>f|c>df>g a<fg>a| d<gTg>f d2 d>f|

c>df>g a<fg>a|f<cc>A f<cf<g|a<fg<a F>GA<F|.D<dTd>c d3 |]

JOHN RYAN'S POLKA. AKA and see “Keadue Polka,” “Ryan’s Polka.” “Sean Ryan’s Polka.” Irish, Polka. D Major. Standard tuning. AABB. The title appears under the “John” title, but is more popularly known under the “Sean Ryan’s” moniker. It is frequently paired with “Dennis Murphy’s Polka,” after the influential Planxty recording on the album “Cold Blow the Rainy Night” (it should be noted that the tune “The 42 Pound Cheque” was played in the middle of the set, although it has not survived in the popularly played set). Brody (Fiddler’s Fakebook), 1983; pg. 150. Polydor 2382 397, Planxty‑ "Planxty Collection." Shanachie 79011, Planxty‑ "Cold Blow the Rainy Night." Shanachie 79012, Planxty ‑ "The Planxty Collection" (1974).

X:1

T:John Ryan's Polka

M:2/4

L:1/16

R:polka

K:D

d2d2 BcdB|A2F2 A2F2|d2d2 BcdB|A2F2 E2D2|

d2d2 BcdB|A2F2 A2 de|f2d2 e2c2|d4 d4:|

f2d2 d2 ef|g2f2 e2 de|f2d2 a2d2|fedf abag|

f2d2 d2 ef|g2f2 e2 de|f2d2 e2c2|d4 d4:|

JOHN SANDERSON. AKA and see "The Old Cushion Dance," "Joan Sanderson."

JOHN SHARP’S HORNPIPE. AKA and see “John Sharp’s Tune,” “Sharp’s Hornpipe.” Old-Time, Breakdown. A Major. Standard tuning. AABB. AKA "John Sharp's Reel"?? John Sharp’s band, the Kentucky Wildcats, was a popular Cumberland Plateau string band in the 1920's and 1930's. Sharp, born in 1894, recorded this tune and others in 1949 on a home disk cutter purchased by his neighbor, the decorated World War I veteran Alvin York, according to Susan Songer (Portland Collection). The melody is a variant of “Miller’s Reel [1].” Source for notated version: Pete Sutherland (Vermont) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 127 appears as “John Sharp’s Tune”). Songer (Portland Collection), 1997; pg. 113. County Records, John Sharp Band - “Five Miles Out of Town--Traditional Music from the Cumberland Plateau, vol. 2.”

JOHN SHARP'S REEL. Old‑Time, Breakdown. D Major ('A' part) & A Major ('B' part). Marimac 9009, Chad Crumm ‑ "Old Time Friends" (1987).

JOHN SHARP'S TUNE. AKA and see “John Sharp’s Hornpipe.”

JOHN SHORT’S TUNE. Old-Time, Polka. D Major. Standard tuning. AABB. Vigortone Records, The Ill-Mo Boys – “Laugh and Grow Fat” (learned from fiddler Erwin Thompson, Godfrey, Illinois).

X:1
T:John Short's Tune
M:C
L:1/8

JOHN SIMI’S. AKA and see “The McConnell’s Highland.” Irish, Highland. Ireland, County Donegal. G Major. Standard. AAB. A popular highland in County Donegal, the title refers to the renowned fiddler John Doherty—Simi is the Doherty family nickname. It was recorded by Doherty for CCE as simply “Highland Schottische.” Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 81 (middle tune).

X:1

T:John Simi’s

T:The McConnell's Highland

S:Paul O'Shaughnessy

Z:Juergen.Gier@post.rwth-aachen.de

M:C|

L:1/8

K:G

faaf gabg|afdf edBg|faaf gabg|af (3efe d2dg|\

faaf gabg|afdf edBG|B2Bd A2Ag|fa (3efe d2|]

JOHN SIMON MACDONALD. Great Meadow Music CD 2008, Bob McQuillen and Friends – “Old New England” (1996).

JOHN SLATTERY’S REEL. AKA and see “Jackie Daly’s Reel [3].” Irish, Reel. E Minor (‘A” part) & C Major (‘B’ part). Standard tuning. AB. Source for notated version: fiddler Paddy O’Sullivan (Sr.), Ardfert, County Kerry, 1966, who had learned it from a local musician named in the title [Breathnach]. Breathnach (CRÉ V), 1999; No. 198, pg. 95.

JOHN SMITH'S HORNPIPE. American, Hornpipe. B Flat Major. Standard tuning. AABB. Ford (Traditional Music in America), 1940; pg. 117.

JOHN SPENCE OF UYEASOUND. Scottish, Reel. Scotland, Shetland Islands. A Major. Standard tuning. AABB. Martin & Hughes (Ho-ro-gheallaidh), 1990; pg. 29.

JOHN STENSON'S NO. 1 Irish, Reel. Green Linnet GLCD 3009, Kevin Burke - "If the Cap Fits" (1978. John Stenson, a County Sligo accordion player, was the first person Burke heard playing these tunes and, having no other name, they were awarded to Stenson).

JOHN STENSON’S NO. 2. AKA and see “The Glass of Beer,” “Listowel Lasses,” “McFadden’s [2].” Irish, Reel. A Major. Standard tuning. AABB. A more complex version is in Breatnach’s CRÉ V (1999), under the title “The Bright May Moon” (No. 121, pgs. 62-63). Songer (Portland Collection), 1997; pg. 114. Green Linnet GLCD 3009, Kevin Burke - "If the Cap Fits" (1978. John Stenson, a County Sligo accordion player, was the first person Burke heard playing these tunes and, having no other name, they were awarded to Stenson).

X:1

T:John Stetson's #2

M:C

L:1/8

K:A

ABcA B2 Bc | ABcA BAFA | d2 dc dfed | cABc A2 :|

edcd edcd | edcA BAFA | d2 dc dfed | cABc A2 :|

JOHN STEPHAN OF CHANCE INN. Scottish, Strathspey. F Major. Standard tuning. AB. Composed by Angus Fitchet. Martin (Ceol na Fidhle, vol. 3), 1988; pg. 2.

JOHN STEWART [1]. AKA and see “Spey in Spate.” Irish, Reel. Ireland, Donegal. Gael-Linn CEFCD 153, Paddy Glackin – “Rabharta Ceoil.” Nimbus NI 5320, Tommy Peoples - “Fiddle Sticks: Irish Traditional Music from Donegal” (1991).

JOHN STEWART [2]. Scottish, Reel. C Major. Standard tuning. AB. Surenne (Dance Music of Scotland), 1852; pg. 66.

X:1

T:John Stewart [2]

M:C

L:1/8

R:Reel

S:Surenne – Dance Music of Scotland, pg. 66 (1852)

Z:AK/Fiddler’s Companion

K:C

FDdc BGAB | cdcA GECE | FDGE C<CC || f | ecgc Gcec | fedc Bcdf | ecgc Gcec |

Fdgf eccf | ecgc Gceg | fadc Bcdf | ecdB cAGE | FdDB cCC ||

JOHN THE BLACKSMITH (Sean An Gaba). Irish, Double Jig (6/8 time). D Major. Standard tuning. AABB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 875, pg. 162.

X:1

T:John the Blacksmith

M:6/8

L:1/8

R:Jig

S:O’Neill – Music of Ireland (1903), No. 875

Z:AK/Fiddler’s Companion

K:D

|: g | fed c2A | ecc c2g | fed c2A | fdd d2e | fed c2A | ccc g2e | faf {f}g2e | fdd d2 :|

JOHN THE SHEPHERD OF GLENGARRY (Iain an Cibeir). Scottish, Air (3/8 time). G Minor. Standard tuning. AABB'. "This air the editor has heard to be the composition of Neil Kennedy, fox‑hunter to Glengarry, formerly mentioned, who took the part of a young girl, to whom the shepherd had promised marriage, yet forsook her, and, in her name, holds up his character in a very detestable point of view" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 50, pg. 18.

X:1

T:John the Shepherd of Glengarry

T:Iain an Cibeir

M:3/8

L:1/8

R:Air

S:Fraser Collection (1874)

Z:AK/Fiddler’s Companion

K:G Minor

(3B/A/G/|F<D B,|C<D B|F<D ~F|G>A(3B/A/G/|F<D B,|C<DF|DG^F G2:|

|:B/c|d<GB|(cc)f|dG>B|c2 d/e/|d>cB|A<dG|1 F<D^F|G2:|2 DBA|G2||

JOHN THE SON DARBY. Irish, Air (2/4 time). B Flat Major. Standard tuning. One part. Source for notated version: “From P. Coneely, 1849, Rosmore” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 742, pg. 186.

X:1

T:John the son Darby
M:2/4

L:1/8

N:”Gaily”

S:Stanford/Petrie (1905), No. 742

Z:AK/Fiddler’s Companion

K:B_

G2 F>d | e>f ge | d2 fd | ed cB | G2 F>d | edcB | GF BG | (FG) Bd | c2 B ||

JOHN THOMPSON'S WALLET. American, March (6/8 time). D Major. Standard tuning. AB. Source for notated version: Frank St. Clair (fifer from (elderly fiddler from Greene County, Pa., 1960; learned from his father) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 554, pg. 493.

JOHN TURNER’S LAMENT FOR THE DEATH OF HIS WIFE. Scottish, Slow Air (whole time). D Major. Standard tuning. AABB. Composed by Dr. John Turner; musician, composer, performer, teacher and director of the Jink and Diddle School of Scottish Fiddling, held yearly in Valle Crucis, North Carolina. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 4. Turner (Melodies in the Scottish Style), 1984.

JOHN WALKER’S JIG. Canadian, Jig. Canada, Cape Breton. D Mixolydian. Standard tuning. AABB. Source for notated version: Cape Breton Irish-style fiddler John Walker (born c. 1885) via Robert Stubbert via his daughter, Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia) [Cranford]. Cranford (Brenda Stubbert’s), 1994; No. 106, pg. 38.

JOHN WALSH’S [1]. AKA and see “The Newmarket Polka [1],” “Walshe’s Polka [2].” Irish, Polka. G Major (Moylan): A Major (Mallinson). Standard tuning. AABB. John Walsh is from near Kanturk, County Cork, and has composed several slides and polkas that have entered tradition. In 1999 he was described (by Jackie Daly via Paul de Grae) as being in his 60’s, and as being a nice, quiet, shy man. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Mallinson (100 Polkas), 1997; No. 64, pg. 24. Moylan (Johnny O’Leary), 1994; No. 260, pg. 149.

JOHN WALSH’S [2]. Irish, Polka. G Major. Standard tuning. AABBCCDD. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 261, pgs. 149-150.

JOHN WEIR’S. Irish, Reel. A Dorian. Standard tuning. AABB. Similarities to Martin Hayes’ “Maghera Mountain.”

X:1

T:John Weir's

R:reel

D:Sin É, 7a

Z:Jeff Lindqvist

M:C|

L:1/8

K:Ador

a3g||egdB cAAG|EA A/A/G ABcd|g/g/e dB cAdc|B~G3 DGBd|

g/g/e dB cAAG|~E3A AB{d}BA|GA B/c/d gedB|(3cBc Bc Aa{b}ag|

egdB cAAG|E2GB AB c/c/d|egdB cAdc|B~G3 DGBg|

egdB cAAG|EA A/A/G AB{d}BA|GA B/c/d gedB|(3cBc Bc A2BA||

GABd ~g2fg|a/a/^g ab a=geg|f~a3 bfaf|d~f3 gfed|

cA A/A/G ABcA|BGGF G2AB|c/c/A ae gedB|(3cBc Bc A2 A/A/F|

GABd ~g2fg|ga2b ageg|f~a3 bfaf|d~f3 gfed|

ceBc Ad c/c/A|BG{A}GF G2AB|c/c/A ae gedB|(3cBc Bc Aa2g||

"2nd time:"

egdB cAAG|EA2A ABcd|g/g/e dB cAdc|B~G3 DGBg|

egdB cAAG|EDEG AcBA|GA B/c/d gedB|(3cBc Bc AB c/c/d|

ecdB cAAG|EDEG ABcd|egdB cAdc|^ABGB DGBg|

egdB cAAG|EDEG AcBA|G2 B/c/d gedB|(3cBc cB AcBA||

G2 B/c/d ~g2fg|a^gab a=geg|f~a3 bfaf|d~f3 gfed|

cA A/A/G AdcA|BG{A}GF G2AB|cAae gedB|(3cBc Bc AcBA|

GA B/c/d ~g2fg|a^gab a=geg|fa a/a/a abaf|^cdfa gfed|

ceBc Ad c/B/A|BG{A}GF G3A-|Acea gedB|(3cBc Bc A2z2||

JOHN WHELAN’S (REEL) [1]. Irish, Reel. G Dorian. Standard tuning. AA’BB. Treoir.

X: 1

T: John Whelan's

S: "Treoir"

M: 4/4

L: 1/8

R: reel

Z: Transcribed by Bill Black

K: Gdor

BGAF GFDC | DGGF GFDC | BGBd fdcB | AFFE FAdc |

BGAF GFDC | DGG^F G3 A | BD D2 AD D2 |1 dcBA G4 :|2 dcBA G3 ||

Bdfd gfdc | BdcB AF F2 | BGag fc c2 | dcBA G3 :|

JOHN WHELAN’S (REEL) [2]. AKA and see “Morse Avenue.” Irish, Reel.

JOHN WHETTON QUADRILLE. American, Quadrille. G Major. In the repertory of Arizona fiddler Kenner C. Kartchner, who said of it: "First tune I ever played, 1898."

JOHN WHITE (Sean Ban). Irish, Air (3/4 time). A Major. Standard tuning. AB. Source for notated version: Mrs. Cantwell [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 315, pg. 55.

X:1

T:John White

M:3/4

L:1/8

R:Air

N:”With expression”

S:O’Neill – Music from Ireland (1903), No. 315

Z:AK/Fiddler’s Companion

K:A

EG|A2c2A2|GAcded|dc A2 EG|G4 EG|A2c2A2|GAcded|dc A2A2|A4||

cd|ef g2f2|e2c2d2|e2A2 EG|G4 EG|A2c2A2|GAcded|dc A2A2|A4||

AA F/A/d/e/ | f/g/f/e/ d2 |1 BB/c/ d/c/d/B/ A/B/A/F/ A2 :|2 eeed | c2e2 ||

"Sellinger's Round," or "John, Come Kiss Me," or "Old Simon

K:G

May her sons be true when needed

T:John O’Reilly the Active

She's yours! She's yours!

JOHNENA’S FINE MINCEMEAT PIE. Canadian, Reel. Canada, Cape Breton. B Flat Major. Standard tuning. AAB. Cranford (Jerry Holland: The Second Collection), 2000; No. 61, pg. 25. Jerry Holland – “Crystal Clear” (2000).