The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

JOHNN - JOHNS

 

 

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]

 

 

 

JOHNNIE... See "Johnny..."

           

JOHNNY ALLEN'S REEL (Cor Seagain Mic Ailin). AKA and see “Sean McGlynn’s Fancy,” “The Tinkerman’s Wife.” AKA – “Bean Tinc’earea.” Irish, Reel. D Mixolydian. Standard tuning. AB. Peter Wood (The Living Note: the Heartbeat of Irish Music, 1996) gives that Johnny Allen was a legendary fiddle player from "beyond Feakle (Co. Clare), and he's still talked about even though nobody can remember directly playing with him." Gearóid Ó hAllmhuráin (1999) says the tune was collected by O’Neill during a trip to East Clare in 1906, where, in the Sliabh Aughty area, he had several tunes from fiddler Johnny Allen, a dance musician and contemporary of Pat Canny and a blind fiddler named Paddy MacNamara. The latter taught music in the region in the early part of the 20th century. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 774, pg. 135. Billy McComiskey & Sean McGlynn (et al) – “The Big Squeeze.”

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Johnny Allen's

M:4/4

L:1/8

R:reel

Z:transcribed by Caroline Foty

K:D

|: A3B AGFE|D=ccB cBAG|A3B AGFE|DGGF G2FG|A3B AGFE|Dddc defg|

afge fdec|dBAF G2FG :|

|: Adeg fdec|A~d3 AddB|Adeg fdec|dBAF G2FG|Adeg fdec|Addc defg|

afge fdec|dBAF G2FG :|

X:2
T:Bean Tinc\'eara
T:Johnny Allen's
R:reel
H:Also played as a two-part tune, without the middle part.
D:Liam O'Flynn
Z:id:hn-reel-516

Z:<http://home.swipnet.se/hnorbeck/abc.htm> 
M:C|
K:Dmix
~A3B AGFE|DccB cedc|A2BG AGFE|DG~G2 DG~G2|
AGBG AGFG|Add^c defg|afge fded|dcAF G2FG:|
|:Addc AGFG|Addg fdec|Addc AGFG|DG~G2 DG~G2|
Addc AGFG|Adde ~f3g|afge fded|dcAF G2FG:|
|:~A3g fded|dcAB cedc|~A3g fded|dcAF G2FG|
~A3g fded|dcAB cdeg|afge fded|dcAF G2FG:|
"variations"
~A3B AGFE|DccB cdcB|~A3B AGFA|DGGF G2FG|
~A3B AGFG|Adde ~f3g|afge fde^c|d=cAF G2FG|
~A3B AGFA|DccB cedc|AcBG AGFG|DGGF G2FG|
AcBG AGFG|Adde fefg|afge fde^c|d=cAF G2FG||
|:Addc AGFG|Adde fdec|Addc AGFG|DGGF G2FG|
Addc AGFG|Add^c defg|afge fde^c|d=cAF G2FG:|
~A3g fdec|Ad~d2 AGFG|~A3g fde^c|d=cAF G2FG|
~A3g fdec|Add^c defg|f2e^c d2=cA|dBcA G2FG|
~A3g fdec|Ad~d2 Addc|~A3g fde^c|d=cAF G2FG|
~A3g fde^c|d^cde fefg|(3agf ge fde^c|d=cAF G2FG||

           

JOHNNY ARMSTRONG. AKA and see "Tod(d)lin’ Hame," "Bacach," "Robie Donua Gorach," "The Wagoner's Lad," "Clinch Mountain," "The Cuckoo [5]," "Rye Whiskey [1]," "Jack of Diamonds [1]," "The Drunken Hiccups [1]." English, Waltz. G Major. Standard. One part. The tune has had long and various lives as a song and instrumental tune in the British Isles and Amercica. Raven (English Country Dance Tunes), 1984; pg. 134.

           

JOHNNY ARMSTRONG'S FAREWELL. Scottish. Probably the same as "Johnny Armstrong" printed by Raven, and similar to "Johnny Armstrong's Dance," appearing in Stenhouse's collection (though in a simpler and perhaps earlier form). The melody is a variant of the tune family that includes "The Old Head of Denis," "Rock Island Line," "Kennet's Dream," and numerous other ballads, hymns and airs. It was later used by Robert Burns in Johnson’s Scots Musicial Museum for Child 169 "Johnny Armstrong" the ditty "Todlin Hame" (Cazden, et al, 1982).

           

JOHNNY BLEVIN'S TUNE. American, Two‑Step (6/8 time). USA, Arizona. D Major. Standard tuning. AABB. Kartchner learned the tune from fiddler Johnny Blevins, "who used to spell us at Holbrook dances, 1902‑8." Source for notated version: Kenner C. Kartchner (Arizona) [Shumway]. Shumway (Frontier Fiddler), 1990; pg. 268.

           


JOHNNY BOOGER. AKA ‑ "Boogerman"? Old‑Time. USA, Cumberland Plateau region of Tenn./Ky. County 786, Clyde Davenport (Ky.) ‑ "Gettin Upstairs: Traditional Music From the Cumberland Plateau, vol. 1."

           

JOHNNY BOOKER. Old‑Time. The tune is known as a banjo piece and stems from the minstrel era. Gene Winnans mentions an African-American banjo player named Gus Cannon, who worked medicine shows from 1914 to 1929. Cannon's first two tunes (learned in "strumming style") were "Old John Booker You Call That Gone" and "It Ain't Gonna Rain No More," learned from "Old Man Saul" Russell, who "just played around the house fro his own amusement."  The musical West Virginia Hammons family had members who played this tune, as did Tygart Valley banjo players (Gerald Milnes, 1999). Marimac 9000, Dan Gellert and Shoofly ‑ "Forked Deer" (1986. Learned from the New Lost City Ramblers).

           

JOHNNY BOX. AKA and see “The Hayden Fancy,” “Mary Ann,” “O’Connor’s (Polka).” Irish, Polka. Breathnach (CRÉ IV); No. 90 (appears as untitled polka).

 

JOHNNY BOYLE’S JIG [1]. Irish, Double Jig. Ireland, County Donegal. A popular jig in County Donegal, recorded by the band Altan. Caoimhin Mac Aoidh remarks that Boyle, a talented fiddler, was from the townland of Braade, between Carrick and Glencolmcille, County Donegal, and is still remembered fondly in the locale. His neighbors were the O'Gara's (whose descendants own and manage a pub in Kilcar, Donegal, sketched in the Northern Fiddler) and Boyle himself would have been a contemporary of the late Paddy O'Gara's father who learned his tunes from Paddy Mhosai McGinley (older brother of the famed John Mhosai). VIR 41381, Altan – “Blackwater.”

X:1

T:Johnny Boyle's

R:jig

D:Altan: Blackwater

Z:hn-jig-336

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

M:6/8

L:1/8

K:G

DEG BAG|BdB BAG|c2e dBG|cBc AGE|

DEG BAG|BdB BAB|def gdB|1 cAF GFE:|2 cAF G2g||

|:~b3 ~g3|dgb bag|~a3 ~f3|dfa aga|

~b3 gag|dgb bag|~a3 ~f3|1 dfa g2a:|2 dfa g2f||

~e3 edB|edB gdB|edc BAG|cBc AGE|

DEG BAG|BdB BAB|def gdB|cAF GFE||

 

JOHNNY BOYLE’S JIG [2]. AKA and see “Con Cassidy’s (Jig) [1]." Irish, Jig. G Major. Standard tuning. AA’BB’.

X:1

T:Johnny Boyle’s Jig [2]

T:Con Cassidy’s [1]

M:6/8

L:1/8

K:G

g2 f efg|d2 B BAB|c2 A ABc|B2 G GBd|

g2 f efg|d2 B BdB|Aag fef|1g2 g def:|2 g3 g2 a|:

b2 g gfg|b2 g gfg|a2 f fef|a2 f dga|

b2 g gfg|b2 g gfg|eag fef|1 g3 g2 a:|2 g2 g def|

           

JOHNNY, BRING THE JUG AROUND THE HILL. AKA and see “Jimmy Johnson Pass that Jug Around the Hill.” Old‑Time, Breakdown. USA; Missouri, Nebraska, West Virginia. A Major. Standard tuning or AEae. ABCC. A member of the widespread “John Brown’s Dream”/”Little Rabbit” family of tunes that apparently originated in the Blue Ridge region of Appalachia and became widespread. The tune was one of  ‘100 essential Missouri tunes’ listed by Missouri fiddler Charlie Walden. Also in repertoire of Missouri fiddler Cryil Stinnett. It was recorded in 1929 by West Virginia fiddler Clark Kessinger. See note for “Jimmy Johnson Pass that Jug Around the Hill.” Bill Stepp and John Salyer called the tune Old Hen Cackle. Source for notated version: Bob Walters (Burt County, Nebraska) [Christeson]. R.P. Christeson (Old Time Fiddler’s Repertory, vol. 1), 1973; pg. 13. Document DOCD-8010, Clark Kessinger.

X:1

T:Johnny Bring the Jug (Around the Hill)

M:2/4

L:1/16

Q:122

S:Cyril Stinnett

R:Reel

A:Missouri

B:transcribed in OTFR as tune #16

N:Taken from the playing of Cyril Stinnett and Dwight Lamb

H:Cyril mentioned this tune as having been played by Casey Jones, a

H:Missouri and Iowa fiddler of great renown, under the then common title

H:of 'Far from Home."  Cyril said that people later got to calling it

H:"Johnny Bring the Jug (Around the Hill).

Z:B. Shull, trans.; R.P. LaVaque, ABCs

K:A

Ac|(ef)ec (BA)cf|e(cB)A B-[c2e2][ce]|(ef)ec (BA)cf|e(cB)G A2Ac|!

(ef)ec (BA)cf|e(cB)A B-[c2e2][ce]|(ef)ec (BA)cf|e(cB)G A2:|!

|:([EA][FA]| [A2A2])A(c BA)c(B|Ac)B(A cB)AF|(EF)Ac (BA)c(B|Ac)BA [F2A2][E2A2]|!

[(FA][A2A2)](c  BA)cB|(Ac)BA [c2e2][ce][ce]|(ef)ec (BA)cf|1e(cBG) A2:|2e(cBG)

A3|!

|:(e|f2)a2 a3(a|b2)a2 (ab)a(e|f2)a2 (ab)(af)|e2[c2e2] [c3e3]e-|!

f2a2 a3(a|b2)a2 (ab)a(e|f2)g2 (ab)(af)|1e2[c2e2] [c3e3]:|2e2[c2e2] [c2e2]|!

           

JOHNNIE BROOD DA PRISON DOOR. AKA and see "Jack Brood (Down) da Prison."

           

JOHNNY BROSNAN’S. See “John Brosnan’s.”

           

JOHNNY BY GOLLY! Irish, Hornpipe. D Major. Standard tuning. AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black in memory of the late Johnny McGreevey of Chicago. Black (Music’s the Very Best Thing), 1996; No. 30, pg. 14.

X:1

T: Johnny by Golly!

C: © B.Black

Q: 300

R: hornpipe

M: 4/4

L: 1/8

K: D

E | DB,DE FEFG | AF (3ABc defd | egfe dBAB | dF (3FEF ECA,C |

DB,DE FEFG | AF (3ABc de f2 | egfe dBFB | AGEC D3 :|

A | BABd cAce | dBcA Bcde | fabf aece | dAFA B2 FA |

BF (3FFF cA (3AAA | dcde fbaf | ecAc dBFB | AGEC D3 :|

           

JOHNNY CAN'T DANCE (Petit Jean Peut Pas Danser). Cajun, Two-Step (4/4 time). USA, southwestern Louisiana. A Major. Standard tuning. AABB. The tune devolved into Cajun repertoire, maintains Leopold Francois (referenced by Raymond Francois, 1990), via "folk processing" from an elementary school song book piece called "The Rabbit Stole a Pumpkin." Source for notated version: Aldus Roger (La.) [Francois]. Francois (Yé Yaille Chère!), 1990; pg. 389. La Louisiane Records LL-LP107, Aldus Roger.

           

JOHNNY COAKLEY. The elderly Maine fiddler Dunham was Henry Ford's champion fiddler in the 1920's.

***

Mellie Dunham. Photograph courtesy of David Sanderson, Maine

**

Victor 20537 (78 RPM), Mellie Dunham, 1926 (appears as one of tune in "Medley of Reels").

 

JOHNNY, COCK THY BEAVER. AKA and see "Cock Up Thy Beaver."

 

JOHNNY COME ALONG. Old-Time, Breakdown. USA, Kentucky. G Major. Standard tuning. ABB (Titon): AABB (Phillips). “Johnny Come Along” is a tune whose only source is Clyde Davenport. The tune is mistakenly printed in the Phillips Collection of American Fiddle Tunes, Vol. 1 (1994, pg. 87) under the title “Five Miles Out of Town.” Source for notated versions: Clyde Davenport (Monticello, Wayne County, Ky.), who learned the tune from his father, Will Davenport [Phillips, Titon]. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 126. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 78, pg. 106.

 

JOHNNY COPE [1] (Seanin Ua Copa). AKA and see "Fye to the Coals in the Morning," "General Coope." Scottish (originally), Canadian; Reel, Hornpipe or March: American, March (2/4) or Polka. Canada, Prince Edward Island. G Mixolydian/Minor (Aird, Gatherer, Johnson, O'Neill/1915): A Dorian (Cranford, Plain Brown): A Minor (Johnson/2003, O’Farrell): B Minor (Miller & Perron). Standard tuning. AB (Bayard): AABB (Johnson/2003, Miller & Perron, O'Neill/1850, Perlman, Plain Brown, Roche, Winstock): AABBCCDD (Aird, Gatherer, O’Farrell): AABB'CCDDEEFFAABB' (Johnson). The tune is still played by Scottish regiments as their reveille. It is a satirical melody which commemorates the 1745 Jacobite rebellion when Sir John Cope (d. 1760) and the English were defeated by the Scots under Bonnie Prince Charlie at the Battle of Prestonpans, on the 22nd of September, 1745. In 1745, when Prince Charles landed in the highlands, Sir John was commander in chief in Scotland and he bravely resolved to march into the Highlands to oppose him. Cope was ill-prepared and outnumbered however, and soon retreated in the face of opposition in order to regroup. The rebels meanwhile secured Edinburgh and when they learned that Cope was marching to the city’s relief they marched to meet him. Both armies neared each other at Prestonpans late in the day, separated by marshy ground, and it was resolved to wait until the next day to begin hostilities. During the night however, Prince Charlie was appraised by one of his troops that a passage or ford was to be had through the marshy ground and the rebels resolved to filter through at night and take the English forces by surprise in the morning.  This was effected and the surprise was complete. Half awake and utterly bewildered, Cope’s troops could make no effective resistance, and in a few minutes were in headlong flight. Only one round of ammunition was fired, and not one bayonet was stained with blood. Few except the cavalry made good their escape, the whole of the infantry being either killed or take prisoners. A later court of inquiry was convened to look into the debacle, though the result was that the common troops were blamed for the rout and Cope and all his officers were exonerated. Recently, some historians have concluded that Cope was in fact not to blame for the defeat, and is undeserved of the scorn accorded him by the famous song.

***

The song lyrics and perhaps the music (the song is sung to the first two parts of the instrumental version) were written by Adam Skirving, an extremely literate East Lothian cultivator whose fields were tramped by the passage of the armies on the day of the battle. [There is a story that one of Cope’s English officers took offense to Skirving’s verses and desired to challenge him to a duel; Skiriving’s comment on hearing the threat was "Let him come up here. If I can fecht him, I will. If not, I'll rin awa' just like he did."] Johnson (1983) notes the tune was unknown prior to 1750, but Bayard (1981) identifies "Johnny Cope" as a version of the older tune "Fye to the Coals in the Morning." The tune appears with variations by an anonymous but skilled local composer in the Gillespie Manuscript of Perth in 1768, and also in the McLean and Trotter manuscripts. A song by the title “Johnny Cope” is found in James Oswald’s Caledonian Pocket Companion, published in London in 1760 with the alternate title “John Cope Trode the North Riding” (the North Riding is a section of Yorkshire). It appears in O’Farrell’s, Vol. III (1810-20), pg. 51. O'Neill reports that a footnote in Wood's Songs of Scotland states that this old air originally consisted of one strain which was subsequently elaborated by the addition of a chorus or burden of a silly song; adapted to it was the first strain repeated an octave higher. Bayard (1981) agrees with Graham, and notes (similarly with Wood) that the first part was the original strain added to in the second strain in instrumental versions by one melody, and in vocal versions usually by a strain resembling the Scots tune "Balquhidder Lasses." O'Neill snidely suggests that although it was "claimed as Scotch, is in the Irish style and known all over Ireland;" the veracity of this is highly questionable for the tune closely follows "passamezzo antico" form, which was a particular style of stock chord progression imported from 16th century Italy and popular in England and Scotland in the 16th and 17th centuries. Bayard (1981) sees some resemblance between the first part of "Johnny Cope" and the second of the American tunes "Tennessee Wagoner," "Keep Off the Grass," and "Mississippi Sawyer;" he wonders if they are derivations. Similarly he sees resemblance between the second strain and the American collections of "Paddy on the Handcar." He also sees some resemblance between a "simple, fundamental strain" of Cope and some elaborated Irish hornpipe tunes, notably "The Groves" and "The Drunken Sailor" (they use the "Balquhidder" strain version plus some added parts). There is a legend that has been collected among Protestant Irish and fifers in Pennsylvania (Bayard, 1981) that has (falsely) the person of Johnny Cope as a drummer boy in the Orange Irish forces who falls asleep on his watch on the very night of a surprise attack by the Catholic army. He was awakened just in time to sound the alarm by some birds pecking at some crumbs scattered on his drumhead--Bayard astutely points out that this story parallels the legend of the Capitoline geese, whose cackling awakened the Roman sentries in time to repel an ancient attack. As late as the mid‑twentieth century these lyrics, based on the Scots words, were to be heard in American folk tradition sung to the tune:

***

Hey Johnnie Cope, are ye wakin' yet,

And are ye're drums a‑beatin' yet? (Bayard)

The Scots chorus goes:

Hey Johnie Cope are ye wauking yet,
Or are ye sleeping I would wit;

O haste ye get up for the drums do beat,
Of fye Cope rise in the morning.     (Robert Burns)

***

Paul Stewart Cranford wrote about Cape Breton versions of “Johnnie Cope” for Cape Breton’s Magazine in the 1980’s—there are three common settings played by musicians on the island. He identified a pipe setting in the key of B Minor and a six-part G Minor setting first recorded on a 78 RPM by Margaree fiddler Angus Allan Gillis that proved influential among older Cape Breton fiddlers and is still the most often heard. A third version, in A Dorian, is from the playing of Mary MacDonald. MacDonald’s daughter, Mary Jessie MacDonald, a piano player now living in Boston, contributed two extra turns to the tune, and this ‘enhanced’ version is proving popular with younger Cape Breton fiddlers. MacDonald’s setting is somewhat similar to the Scottish ten-part setting in Keith Norman MacDonald’s Gesto Collection (1895).

***

Beethoven arranged the melody for string quartet to accompany a vocal version of the tune around 1800. The tune is still used as a reville by Highland regimental pipers today. Aird’s and O’Farrell’s versions are identical, save for the key change. Sources for notated versions: McLean Collection (1772, pg. 23) [Johnson]; The Repository of Scots and Irish Airs (1799) [O'Neill]; Hiram Horner (fifer from Westmoreland and Fayette Counties, Pa., 1960) [Bayard]; Mary MacDonald (Cape Breton) [Cranford]; a c. 1847 music manuscript by Ellis Knowles, a musician from Radcliffe, Lancashire, England [Plain Brown]; Dr. John Turner, director of the Jink and Diddle School of Scottish Fiddling, held yearly in Valle Crucis, North Carolina [Johnson/2003]. Aird (Selection of Scotch, English, Irish and Foreign Airs), vol. II, 1785; No. 52, pg. 19. Bayard (Dance to the Fiddle), 1981; No. 396, pg. 378. Buchan (101 Scottish Songs). Cranford (Cape Breton’s Magazine), c. 1980’s. Gatherer (Gatherer’s Musical Museum), 1987; pg. 14. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 38, pg. 97. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 2. Johnson (A Further Collection of Dances, Marches, Minuetts and Duetts of the Latter 18th Century), 1998; pg. 6. Kohler's Violin Repository (1881‑1885). MacDonald (The Gesto Collection). Miller & Perron (101 Polkas), 1978; No. 42. O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 51. Oxford Song Book, volume 2. Plain Brown Tune Book, 1997; pg. 43. Winstock (Songs and Music of the Redcoats), 1970. Rounder CD 11661-7033-2, Natalie MacMaster – “My Roots Are Showing” (2000).

X:1

T:Johnny Cope [1]

Z:transcribed by Henrik Norbeck

M:2/4

L:1/8

K:Am

E | A>A cd | eA AA | G>G GB | dd BG |

cc dd | eg BB/B/ | Ae/e/ dB/B/ | A2 A:|

|: z | cc/c/ cc/c/ | ce g>c | Bc d>d | Bc d>d |

cc dd | eg B>B | Ae/e/ dB/B/ | A2 A:|

X:2

T:Johnny Cope [1]

M:C

L:1/8

S:Aird, vol. II (1785)

Z:AK/Fiddler’s Companion

K:Amin

E2 | A4 ABcd | e2 A2 A2 GE | G4 GABc | d2G2 BAGE | A4 ABcd |

E2A2 BAGE | G2 g2 edcB | A4 A2 :: AB | c3d c2G2 | (cd)(ef) g4 |

B2G2d2G2 | Bcde {e}d2 cB | cBcd efga | gedc B2 AB | G2 g2 edcB |

A4 A2 :: eg | a4 a2 (ga) | b2a2 a2 ge | dega g3a | b2ab g2eg | a4 a2ga |

b2a4 ge | g2d2 edcB | A4 A2 :: E2 | AGAB cBcd | e2A2 BAGE |

GFGA B2 ge | dedc B2 AG | cBcd efga | gedc B2 AB | G2g2 edcB | A4 A2 :|

X:3

T:Johnny Cope [1]

M:4/4

L:1/8

S:Doug MacPhee, piano

R:march

N:play slowly

B:Cape Breton's Magazine no. 43 (1980s)

Z:Paul S. Cranford

K:Ador

A4 A2 Bd|e2 eg B2 AB|G4 G2 Bc|d2 g2 B2 AG|

c2 cc d2 dd|e2 (3efg B2 AG|1AB g2 e2 dB|A4 A2 GE:|2 A2 eg e2 dB|A4 A2||

eg|a4 a2 ga|b2 a2 a2 ge|g2 d2 g2 dg|b2 a2 a2 ge|

a4 a2 ga|b2 gb a2 ge|d2 Bd e2 gB|A4 A2:||

G2|E<AAB ABcd|edcB A2 Ac|B2 AB GABc|

dcBA G2 (3GAB|c2 cc d2 (3ddd|e2 g2 B2 AG|

1A<Be<g e2 dB|A4 A2:|2 AAA<g e2 dB|A4 A2||

eg|aga<b agab|c'bag a2 ef|gdg<b gdg<b|dgbg a2 eg|

aga<b agab|c'bag a2 ge|d2 Bd e2 gB|A4 A2:||

AB|cGE<G c>Bc<d|e<cgc B2 AB|GEG>E GABc|

dcBA G2 AB|cGE<G cBcd|e<cgc B2 AG|AB g2 e2 dB|A4 A2:||

F2|EA,>CA, EA,A>A,|E<A,CA EA,A>A,|D<G,B,G, DG,GG,|

D<G,B,A, G,B,AG|E<A,CA, EA,AF|E<A,CA, EA,A>E|FDFe d<BgB|A4 A2:||

AB|cBcd edc<e|gfg<a gedc|B<GdG B<GdG|cdef gfed|

c<Gcd edce|gfga gedc|1B<Gd>G edBG|A4 A2:|2 Bdgd edBG|A4 A2||

X:4
T:Johnny Cope
M:C
L:1/8
Q:288
S:San Francisco Scottish Fiddlers Newsletter June 1997
N:From the playing of Buddy MacMaster
A:Cape Breton
Z:Steve Wyrick 10-22-01
K:Ador
AG|:"Am"{E}A4AB cd|e2A2{A}BA GE|"G"{E}G4GA Bc|{c}d2G2BA GE|!
"Am"{E}A4AB cd|{d}e2A2{A}B2AB|"G"G2gf ed cB|1"Am"A4A3G:|2"Am"A4A2B2||!
P:Var. I
|:"C"c3dc2C2|cd efg4|"G"B2AGG2d2|Bc dcB2AG|"Am"A2c2"G"B2d2|!
"Am"c2e2"G"B2AG|"Em"E2gf ed cB|1"Am"A2-A3A AB:|2"Am"A4Ad^cB||!
P:Var. II
"Am"A2E2AB cd|"C"ed cB "G"dc BA|G2D2GA Bc|dB gd cB AG|"A"A2GF "E"ED^CB,|"A"A,B, ^CDE2DC|!
"D"D2F2"E"ED ^CB,|"A"A,4A,d ^cB|"Am"A2E2AB cd|ed cB "G"dc BA|"G"G2D2GA Bc|!
"G"dB gd cB AG|"A"{G}A2GF "E"ED ^CB,|"A"A,B, ^CDE2DC|"D"D2F2"E"ED^CB,|"A"{B,}A,4A2z2||!
P:Var. III
|:"Am"a4a2ga|{a}b2a2{a}ba ge|"G"{e}g4g2ga|{a}b2agg2b2|"Am"a4a2ga|!
"G"{a}b2g2"A"a2e2|1"D"f2df "E"ed ^cB|"A"{D}A4A4:|2"D"F2DF "E"ED^CB,|"A"A,4A,d ^cB||!
P:Var. IV
|:"Am"AE AB A Bcd|"C"ef ed cB Ac|"G"BG dG eG dG|"G"Bd gd cB AG|"Am"cd cB AGAB|!
"Am"AB cd ed eB|df ga "Em"ge dB|1"Am"A4Ae^cB:|2"Am"A4A2e2||
P: Var. V
"A"a3/2e/2 a/2^c'3/2 a3/2e/2 a/2c'3/2|"A"E3/2A/2 ^c3/2a/2 ^c'3/2a/2
e3/2f/2|"G"g3/2d/2 g/2b3/2 g3/2d/2g/2b3/2|"G"D3/2G/2 B3/2g/2 b3/2d/2 g3/2B/2|!
"C"e3/2c/2 e/2g3/2 "G"d3/2B/2 d/2g3/2|"Am"c3/2A/2 c/2g3/2 "G"d3/2B/2
d/2g3/2|"C"e3/2c/2 "G"d3/2B/2 "Am"c3/2A/2 "Em"B3/2G/2|"Am"{G}A4A2e2:||

 

JOHNNY COPE [2]. Irish, Hornpipe. A Dorian (Bayard, Breathnach, Moylan, Perlman, Roche): A Mixolydian (O'Neill/1850). Standard tuning. ABBCC'CC'DD'EE' (Moylan): AABBCCDD'EEFF (O'Neill/1915): AABB'CC'DEEFF (Breathnach): AA'BBCC'DDEE'FF (Taylor). Breathnach (1985) remarks this hornpipe was borrowed from Scotland, and is sometimes called "General Coope" in Ireland. A set of variations printed in Kohler's Violin Repository (Edinburgh, late 19th century) has been suggested as the source for Padraig O'Keeffe's version of the tune, as well as the G Minor hornpipe "Drunken Sailor." O'Keeffe, a famous fiddler from the Sliabh Luachra region of the Cork/Kerry border in the early-mid 20th century, is often credited with devising the variations, however. Interestingly, Caoimhin Mac Aoidh, who has edited over 1,000 tunes in manuscript form written by O'Keeffe, says that the Kerry master's written version was only a two-part tune. Rather than finding variations in Kohler's or other books, it is thought by Sliabh Luachra fiddlers that O'Keeffe either wrote the variations or attached bits of other tunes to round out his version. Paul de Grae writes: "Seamus Ennis learned the six-part 'Johnny Cope from Padraig, and I believe it was from Seamus that Liam O'Flynn got it.  Julia Clifford also learned it from Padraig." Alan Ward writes:

***

Of those we visited [in Sliabh Luachra in 1976] the only other local

musician with a version was Joe Conway who played the standard

march as a 'quadrille polka' and also the last two parts of Padraig's

version as a barn dance which he named 'The Doon Roses'.  Several

of Padraig's pupils had not heard of it when we asked them, and in

fact Julia may be the only one still playing it regularly.

***

An interesting alternative to O'Keeffe's source for the tune is suggested from a story told by piper Tim Britton, confirmed by Paddy O'Brien, related to him by a Knock-na-Gree pub owner, Dan Connell. O'Keeffe, the tale goes, learned his six-part hornpipe "Johnny Cope" from his uncle Cal Callaghan, the source for many tunes in O'Keeffe's repertoire.  Callaghan lived for several decades in a Scottish community in southern Ohio, USA, before returning to Ireland, and brought back several tunes learned from Scots neighbors, which he passed on to his nephew, "Johnny Cope" among them.

***

O’Neill (1915) notes: “A footnote in Wood’s Songs of Scotland states that this old air originally consisted of one strain. The chorus or burden of a silly song, adapted to it was the first strain repeated an octave higher. The simple air although claimed as Scotch is in the Irish style and known all over Ireland. The (setting printed by O’Neill) without the harmonization was copied from The Repository of Scots and Irish Airs (1799).”

***

Sources for notated versions: ; fiddler Seán Keane (Ireland) [Breathnach]; accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border), who identified his rendition as fiddler Padraig O’Keeffe’s version [Moylan]; Julia Clifford (Sliabh Luachra, County Kerry), who also learned her version directly from O’Keeffe [Treoir]; Peter Chaisson, Jr. (B. 1942, Bear River, North-East Kings County, Prince Edward Island) [Perlman]. Breathnach (CRÉ III), 1985; No. 208, pg. 95. O'Neill (1915 ed.), 1987; No. 112, pg. 63. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 1812, pg. 340. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 85. Roche Collection, 1983, Vol. 3; No. 202, pg. 78 and No. 196, 2nd tune, 4th figure. Treoir, Vol. 7, No. 3. Taylor (Where’s the Crack?), 1989; pgs. 26‑27. Gael‑Linn Records CEF 069, Séan Keane ‑ "An Fhidil II" (1980). RTE CD174, “The Sliabh Luachra Fiddle Master Padraig O’Keeffe” (recorded by Seamus Ennis in 1949). Shanachie 79011, Planxty – “Cold Blow the Rainy Night.” Tara 2006, “Noel Hill and Tony Linnane” (1979. Hill learned the tune from Tony MacMahon and Liam O'Flynn). Topic 12T311, John & Julia Clifford - “The Humours of Lisheen.”

X:1

T:Johnny Cope [2]

M:4/4

L:1/8

C:Traditional

S:Padraig O'Keeffe

R:Hornpipe

N:Recorded by Seamus Ennis, January 29, 194

D:From RTE 174 "The Sliabh Luachra Fiddle Master

K:ADor

d2{ed}B || A2AB A2Bd | efed B2AG | EG{A}GE GABd | {e}dBGA {d}BAGB |

A2AB A2 (3Bcd | e2A2 {d}BAG2 | (3efg fa gedB |1 {d}BAAB AGEG :||2 {d}BAAB A2AB ||

c2{d}cB c2G2 | cdef gedB | cBAc e4 | cdec dB{d}BG |

cBcd c2G2 | cdef gedg | ea{b}ag ed{e}dB | A2A2 A2AB :||

c2cB ABAG | ABcd (3efg dc | BG~G2 dG~G2 | (3Bcd ec dB{d}BG |

c2cB ABAG | ABcd efed | ea{b}ag ed{e}dB |1  A2AB A2AB :||2 A2AB A2 (3Bcd||

ea~a2 a2ga | b2a2 {b}aged | eg{a}ge gaba | gaba {b}aged |

ea~a2 a2ga | b2a2  {b}aged | d2ef {a}gedB | {d}BAAB A2Bd :||

e4 edBd | efaf {a}fedB | d4 dBAB |  d2fd edBd |

e4 {a}fedf | efaf {a}fedB | ABdf eBdB |1 A2AB A2Bd :||2 A2AB A2 fg ||

a2e2 ef~f2 | a2e2 ea~a2 | f2d2 ~d3e | f2d2 d2 fg |

a2e2 {a}fedf | efaf {a}fedB |  ABdf efdB |1 {d}BAAB A2 fg :||2 {d}BAAB AGEG ||

X:2

T:Johnny Cope [2]

M:C|

L:1/8

R:March

S:O’Neill – O’Neill’s Irish Music (1915)

Z:AK/Fiddler’s Companion

K:G Minor

G2 (G/A/B/c/) dG (A/G/)(F/D/) | F2 (F/G/A/B/) cF (A/G/)(F/D/) | G2 G/A/B/c/ dG AF/G/ | Ff d/c/B/A/ G2G2 :|

|: B2 BB, (B/c/)(d/e/) f2 | A(G/F/) Fc (A/B/)(c/B/) A(G/^F/) | GBAc Bd A(G/F/) | Ff d/c/B/A/ G2G2 :|

|: GG, G/A/B/c/ d/c/B/A/ c/B/A/G/ | FC F/G/A/B/ c/A/f/c/ B/A/G/F/ | G(F/E/) D/C/B,/A,/ G,/A,/B,/C/ D(C/B,/) |

CE D/C/B,/A,/ G,2 G,2 :: g2 “tr”gf/g/ ag a/g/f/d/ | f2 ~fg ag/f/ fa | g2 “tr”gf/g/ a^fgd |1 e(c/e/) d/c/B/A/ G2G2 :|2

E(C/E/) D/C/B,/A,/ G,2 G,2 |: G/^F/G/A/ G/A/B/c/ d/e/d/c/ B/A/B/G/ | A/F/c/F/ d/F/c/F/ A/c/f/c/ B/A/G/F/ |

B/c/B/A/ G/^F/G/D/ G/A/B/c/ d/c/d/B/ | c/d/f/g/ f/d/c/A/ G2G2 :: g/d/g/b/ g/d/g/b/ G/B/d/g/ b/g/d/B/ |

f/c/f/a/ f/c/f/a/ F/A/c/f/ a/f/c/A/ | d/B/d/f/ c/A/c/^f/ B/G/B/d/ c/A/c/e/ | d/B/c/A/ B/G/A/^F/ G2 G,2 :|

 


JOHNNY COPE [3]. Old‑Time, Breakdown. USA, West Virginia. A Mixolydian. Standard tuning. AABB (Phillips, Songer): AA'BB' (Krassen). Krassen says Franklin George probably learned this tune from his grandfather, William Washington George, and that the original title was not remembered. The tune bears some resemblance to an "obscure piping version" of "Johnny Cope." According to Alan Feldman, the ‘B’ part of the F. George tune has some phrases which are reminiscent of the last part of the Irish 6-part tune, as well as some affinity to Scottish versions. General Johnny Cope led the English forces routed by the Scots at the battle of Prestonpans, prior to their subsequent defeart at Culloden. Sources for notated versions: W. Frank George (Bluefield, W.Va.) [Krassen]; Joe Herrmann with the Critton Hollow String Band (W.Va.) [Phillips]. Krassen (Masters of Old Time Fiddling), 1983; pg. 108‑109. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 126. Songer (Portland Collection), 1997; pg. 114. Flying Fish 355, Critton Hollow String Band ‑ "By and By" (1985). Folkways FTS 31009, Ken Perlman ‑ "Clawhammer Banjo and Fingerstyle Guitar Solos."

           

JOHNNY COURT THE WIDDER. Old-Time, Breakdown. D Minor. GDad tuning. This ditty is sung to the tune:
***

For seven long years, Johnny court the Widder,

For seven long years, and then he didn’t get her.
***

From fiddler Roy Bennett, Battle Town, Kentucky; via Bruce Greene. Sugar Hill SH/PS 1134, Metamore (Sutherland, Dalglish & Larson) – “Great Road” (1987).

           

JOHNNY COX. AKA - “Johnny of Cockalie.” Irish, Air (2/4 time). B Flat Major. Standard tuning. One part. Source for notated version: “From E. Clements Esq.” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 743, pg. 186.

X:1

T:Johnny Cox
M:2/4

L:1/8

N:”Andante con spirito”

S:Stanford/Petrie (1905), No. 743

Z:AK/Fiddler’s Companion

K:B_

F | BBB F/G/ | _AA G z/F/ | F/G/ B/c/ dc/B/ | c3 .F/.F/ | Bd/d/ ef |

e/d/ c/B/ GF/G/ | B/B/B DF/G/ | _A2 G z/G/ | F/G/ B/c/ dc/B/ | B3 ||

           

JOHNNY CRONIN’S FANCY. See “Johnny Cronin’s Reel.”

           

JOHNNY CRONIN’S REEL. AKA and see “Cronin’s Reel [1],” “Johnny Cronin’s Fancy,” “Kitty O’Neill [4].” Irish, Reel. G Major. Standard tuning. AABBCC. The tune was either composed or popularized by the late Gneevguilla, County Kerry, fiddler Johnny Cronin (who lived for some many years in the Bronx, New York), who passed away in 1991. Paddy Ryan, writing in Treoir, says the tune is often paired in sessions with “Johnny Cronin’s” after the influential recording of the set on a 1973 Comhaltas EP recording of Portroe, Tipperary, accordion player Paddy O’Brien with Séamus Connolly of Killaloe, called “The Banks of the Shannon.” A simpler version of the reel, says Ryan, is O’Neill’s “Kitty O’Neill,” associated with Johnny’s brother, Paddy Cronin. New York accordion player Jim Coogan relates this story about Cronin:

***

I was with Denis - Jackie Riordan - Joe Mills and Frank Wearity (they are all

gone now) one Sunday afternoon when in comes Johnny Cornin (rip) with a full

load of booze taken on. Johnny, naturally, was broke and was trying to borrow

money and was hard after Denis (knowing he would get it) who shouted down at

him (Denis was a big man) in the lovely sing song Kerry accent:Ooooo - who takes a

fit of working everry six months - vants a five dollar bill from me? How do oo intend to

pay me back?”

***

Another Cronin story Jim tells is this:

***

Joe Burke told me in Milwaukee that when Johnny got his settlement from the injury

he received while working construction (somewhere around 8 grand) he hired a cab for

the day and took Joe up to Alexander's Department store and went in and got outfitted

out - from underwear - shoes - socks pants shirt -jacket etc. - he put them on in the dressing

room - pulled off the price tags off and went to the cashier and paid for what was on his

back - then told cashier – “If ye know of some poor soul can use the clothes I left in the

dressing - give them to him...”

***

They then went to all the Irish bars in the Bronx and John would leave money

for everyone he owed in an envelope as he knew they would be frequenting -

Joe said that after they were all done and John paid the cab he had less than

$1,000  left - which probably lasted him about a week.

***

Joel Shimberg remembered this tale:

***

Danny Collins told me (years ago, so details may be a bit hazy) that a bunch of Chicago

guys got a bit of the wet devil in them once and telegraphed Johnny Cronin that Paddy

Cronin (who I think was visiting in Chicago at the time) had died and that the funeral

would be in three days. He said that Johnny had returned from Boston and had told Danny

"It was a long trip up there, and do you know, the son of a bitch wasn't even dead!"

***

Black (Music’s the Very Best Thing), 1996; No. 266, pg. 143. Bulmer & Sharpley (Music from Ireland), 1976, vol. 4, No. 40. Mallinson (Enduring), 1995; No. 3, pg. 2 (appears as “Johnny Cronin’s Fancy”). Miller (Fiddler’s Throne), 2004; No. 183, pg. 116. Mulvihill (1st Collection), 1986; No. 37, pg. 10 (appears as “Cronin’s Reel”). Treoir, vol. 35, No. 3, 2003; pg. 28. Vallely (Armagh Pipers Club Play 50 Reels), 1982; No. 23, pg. 13.

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T: Johnny Cronin's

Q: 350

R: reel

Z:Transcribed by Bill Black

M: 4/4

L: 1/8

K: G

EF | G2 FG EGDE | GFGA Bcdg | eB B2 edBA | GBAG EGDE |

G2 FG EGDE | GFGA Bcdg | eB B2 dBAF | GBAF G2 :|

Ac | Bdd^c d2 d=c | Bd d2 efgd | Bd d2 dBGB | cABG FGAc |

Bdd^c d2 d=c | Bd d2 efga | bgaf gedB | cBAG FG :|

Ac | BGGF G2 DG | BG G2 Bdgd | BG G2 GBAB | cABG FGAc |

BGGF G2 DG | BG G2 Bdga | bgaf gedB | cBAG FG :|

X:2

T:Johnny Cronin’s

M:4/4

L:1/8

R:Reel

S: Treoir, vol. 35, No. 3, 2003; pg. 27.

Z:AK/Fiddler’s Companion

K:G

F | G2 FG EFDE | GFGA Bd d2 | eB ~B2 eBdB | GBAG EDB,D |

G2 FG EFDE | G3A Bd d2 | eB ~B2 dBAF | GBAF G3 :: A | Bdd^c d3=c |

Bd d2 efgd | Bdd^c dBGB | cBAG FGAc | Bdd^c d3=c | Bd d2 efga | bgaf gedB |

cBAG FG A :: c | BGGF G3A | BG G2 Bdgd | BGGF G2 AB | cBAG FGAc |

BGGF G3A | BG G2 Bdga | bgaf gedB | cBAG FG A :|

                                   

JOHNNY DENNEHY’S. AKA and see “Chalk Sunday,” “Pretty Jane,” “The White Pony.” Irish, Jig. A Major. Standard tuning. AABB. Máire O’Keefe remarks that the jig comes from the playing of Maurice O'Keeffe who had it from John Dennehy, a fiddler from the Farranfore area whose playing was greatly influenced by Tom Billy Murphy the travelling music teacher of Sliabh Luarchra (Cork/Kerry). The tune appears to be a version of Joyce’s "Chalk Sunday.” See also “Bill Collins”/”Dan Collin's Father’s Jig.” Gael-Linn CEF 176, Jackie Daly - “Many’s a Wild Night.”

X:1

T:Johnny Dennehy's

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

M:6/8

L:1/8

R:jig

Z:Paul de Grae

K:A

E | A2 B cBc | Ace a2 f | ecA BAF | BcB BAF |

A2 B cBc | Ace a2 f | ecA BAB | cAA A2 :||

||: f | ece a2 f | ece a2 f | ecA BAF | BcB BAF |

A2 B cBc | Ace a2 f | ecA BAB | cAA A2 :||

                       

JOHNNY DHU. AKA and see "The Beggar Man," “Gilderoy [2],” "The Little Beggarman," "The Red Haired Boy."

 

JOHNNY DOHERTY’S MARCH.  AKA and see “Doherty’s March,” “Irish, March. D Dorian: A Dorian. Standard tuning. AABB. Played by Donegal fiddler John Doherty on his album “Bundle and Go” as an untitled march.

X:1
T:Johnny Doherty's March
S:Bohola
D:Shanachie 78048 track 2a
N:played with hornpipe-like bounce
M:C

L:1/8
K:DDor
FE | D2 A2 A2 GE | G2 AB cAdD | D2 A2 A2 GE | cEGE CDEC |
D2 A2 A2 GE | G2 AB cAdA | cAGA cdAG | E2 D2 D2 ::
FG | A2 d2 d2 cA | G2 AB cAdD | D2 d2 d2 cA | (3GAc AG EGFE |

D2 d2 d2 cA | G2 AB cAdA | cAGA cdAG | E2 D2 D2 :|**

 

JOHNNY DOHERTY'S REEL [1]. AKA and see “All Around the World,” “Cooley’s (Reel) [2],” “The Connemara Rake,” “Doherty’s (Reel) [2],” “Grehan’s,” “John Doherty’s Reel [1],” “Jolly Beggar [2],” “The Knotted Chord [2]," “Matt Molloy’s [1],” “The Mistress,” “Mot Malloy,” “Tinker Doherty’s,” “The Wise Maid [1].”

 

JOHNNY DOHERTY’S REEL [2]. AKA and see "Docherty's Reel,” “Doherty’s Reel [1],” “The Gweebarra (Bridge) Reel,” “The Killarney Boys of Pleasure,” "The New Fashioned Habit."

 


JOHNNY DOHERTY’S YELLOW TINKER. AKA and see “The Jolly Tinker [2],” “The Tinker’s Occupation.” Irish, Reel. Chicago fiddler Liz Carroll recorded the tune under this title. Donegal fiddler John Doherty (1895-1980) was never called ‘Johnny’ by his intimates, and preferred to be called John. Shanachie 34013, Liz Carroll - “A Friend Indeed.”

                       

JOHNNY, DON'T COME HOME DRUNK. AKA – “John, John, Don’t You Come Home Drunk,” "Johnny Don't Get Drunk," “Johnny, Johnny, Don’t Get Drunk,” "Don't Come Home Drunk, Johnny," "Jimmy Don't Come Home Drunk." Old‑Time, Breakdown. USA; Kentucky, Missouri, Nebraska. D Major. Standard tuning. AB (Silberberg): AABB (most versions). The melody is known as a Missouri tune and is one of  ‘100 essential Missouri tunes’ listed by Missouri fiddler Charlie Walden. Some see similarities between this tune and the Irish reel “Miss Mona(g)han(‘s Reel).” Jeff Titon (2001) believes the tune may have been derived from a temperance song. Source Owen Chapman (b. 1919) said he thought he might have learned it after hearing it played on the radio. Sources for notated versions: Bob Walters (Burt County, Nebraska) [Christeson]; Art Stamper (Ky.) [Phillips]; Stuart Williams [Songer]; Owen “Snake” Chapman (Whitesburg, Letcher County, Ky., 1990) [Titon]; Carthy Sisco [Silberberg]. R.P. Christeson (Old Time Fiddler’s Repertory, vol. 1), 1973; pg. 62. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 74. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 76 (appears as “Johnny Don’t Get Drunk”). Songer (Porland Collection), 1997; pg. 115 (appears as “Johnny, Johnny, Don’t Get Drunk”). Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 79, pg. 107 (appears as “Johnny Don’t Get Drunk”). County 727, John Ashby – “John Ashby and the Free State Ramblers: Old Virginia Fiddling” (1970). County 779 & County CD2712, Art Stamper (Ky.) - "The Lost Fiddler" (c. 1982). June Appal 0067, Snake Chapman - "Seedtime on the Cumberland" (1992). Missouri State Old Time Fiddlers' Association 001, Pete McMahan ‑ "Ozark Mountain Waltz" (1987). Missouri State Old Time Fiddlers' Association, Cyril Stinnett (1912-1986) - "Plain Old Time Fiddling."

                       

JOHNNY, DON'T GET DRUNK. See "Johnny, Don't Come Home Drunk."

                       

JOHNNY DOYLE [1] (Seanin Ua Dobail). AKA and see “I’d range the world over with my own Johnny Doyle,” “I’d cross the world over with you, Johnny Doyle.” Irish, Air (2/4 time). A Minor. Standard tuning. Petrie gives this variant under the title “I’d range the world over with my own Johnny Doyle.” Source for notated version: “From (the Irish collector) Mr. Joyce” [Stanford/Petrie]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 476, pg. 83.

X:1

T:Johnny Doyle [1]

T:I’d range the world over with my own Johnny Doyle (Stanford/Petrie)

M:2/4

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 476

Z:AK/Fiddler’s Companion

K:Amin

ed|cA AG|E2 DF|EA AA|A2 AE|AB cd|ed ce|dB {d}cA|G3E|

AB cd|ed ce|dB {d}cA|G2 ed|cA AG|AG ED|EA AA|A2||

 

JOHNNY DOYLE [2]. Irish, Air (4/4 time). A Minor. Standard tuning. One part. .” Petrie gives the following, somewhat garbled, words:

***

There’s one thing between I think it amiss,

He goes to meeting and I go to mass;

I’ll go to Mass along with ...and think it no toil,

For I’d range the world over with my own Johnny Boyle.

***

Stanford/Petrie (Complete Collection), 1905; No. 630, pg. 158.

X:1

T:Johnny Doyle [2]

M:C

L:1/8

R:Air

S:Stanford/Petrie (1905), No. 630

Z:AK/Fiddler’s Companion

K:F

A | d2 CA G>E DE | G2 AB A4 | e2 af g>e dc | d2 cA G4 | e2 af ge dc |

d2 cA G2 (3ABc | d2 cA G>E DE | G2 A>B A4 ||

                       

JOHNNIE FAA. AKA and see "Lady Cassilis’/Callilles Lilt." Scottish, Slow Air (4/4 time). G Mixolydian (Johnson, Purser): A Major (Gow). Standard tuning. ABB (Johnson, Purser): AABB (Gow). The name Faa, a variant of Faw, was the name of the leading gypsy family of old Scotland. Unfortunately for the Faa's, gypsys were periodically declared persona non grata in that country and were formally expelled several times, including in 1609 and again in 1611. Though this meant they usually removed themselves to the hinterlands, Willa Faa and three others were hung in that latter year for the crime of having been found abiding in the realm. Things did not get better soon, for in 1624 Captain Johnnie Faa and seven others were hung for the same infraction. A popular ballad (collected as well in England, Ireland and America), "Johnnie Faa" variants usually tell the story of the elopement of the gypsy with one Lady Cassilis.

***

The populariser of the melody, an Italian named Francesco Barsanti, married a Scotswoman and absorbed much of the musical tradition of his wife's country. Even though the piece had been previously published in the Skene Mandora Book of c. 1620 (as "Lady Cassilles Lilt"), Johnson (1983) believes it unlikely Barsanti knew about that source; rather, as Glen (Early Scottish Melodies) suggests, he probably notated the tune from folk tradition or perhaps learned it from his wife. Emmerson (1971) notes William Glen (d. 1824) used the tune as the vehicle for his song "Waes me for Prince Charlie" (which parenthetically was requested by Queen Victoria in 1842 as one of the songs to be included in a recital she attended by singer John Wilson, a celebrated interpreter of the time of Scots songs). Purser (1992) gives that the refrain of the tune was borrowed and made famous by Byron--'Nae mare I'll gang a-rovin, a-rovin in the nicht.' Source for notated version: Francesco Barsanti (c. 1690‑1772) from his Old Scot Tunes (1742, pg. 6) [Johnson]. Gow (Complete Repository), Part 4, 1817; pg. 11. Johnson (Scottish Fiddle Music in the 18th Century), 1983; No. 16, pg. 41. Purser (Scotland’s Music), 1992; Example 17, pg. 124.

X:1

T:Johnny Faa

M:C

L:1/8

S:Gow – 4th Repository  (1817)

Z:AK/Fiddler’s Companion

K:A

E2 ~EF A2 (c/B/A/G/)|{G}F>EFA B3c|E2 EF A(cBA)|F3E E4:|

|:B2 Bc e3f|ecBA A>B (A/B/c)|B2 B>c e2 f>e|(d2c2)B2A2|

B2 B>c e2 f>e|(dc)(BA) AB {AB}c2|E2 ~EF A(cBA)|F3E E4:|

                       

JOHNNY, FILL UP THE BOWL (Lion Suas An Cupan A Seanin). AKA and see "Johnny, I Hardly Knew You/Ye." Irish, Air (6/8 time, "spirited"). A Minor. Standard tuning (fiddle). O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 468, p. 82.

X:1

T:Johnny, Fill Up the Bowl

M:6/8

L:1/8

R:Air

N:”Spirited”

S:O’Neill – Music of Ireland (1903), No. 468

Z:AK/Fiddler’s Companion

K:Amin

A/G/|E2A A2B|c2B c2A|(G3 G2)E|(G3 G2)A|E2A A2B|c2B c2d|(e3 e2)c|(e3 e2) c/d/|

e2e edc|d2d d2B|c2c cBA|B2B B2 c/d/|e2z d2z|c2z B2z|EAA A2^G|(A3 A2)||

                       

JOHNNY FROM GANDSEY. AKA and see "John o' Badenyond." Irish, Scottish; Reel. A Minor. Standard tuning (fiddle). AB. Joyce's version was collected from his own experience as it was a favourite reel learned in his childhood in Limerick in the early 19th century. Bayard (1981) believes it may have been derived from the older tune "Logan Water." See also Arty McGlynn’s tune “Lead the Knave,” remarkably similar. Joyce (Old Irish Folk Music and Songs), 1909; No. 21, pp. 13‑14.

X:1

T:Johnny from Gandsey

M:C

L:1/8

R:Reel

S:Joyce – Old Irish Folk Music and Songs  (1909)

Z:AK/Fiddler’s Companion

K:Amin

AG|E2A2 AcBA|GEDE G2G2|EA A2 cAGE|GAcd e2a2|agea aged|

cAGA c3d|efed dcAG|EDEG A3||a|agea agea|age^f g2 gg|aged dcA^F|

GAcd e2a2|agea aged|cAGA cBcd|efed dcAG|EDEG A2||

                       

JOHNNY GALBRAITH. Scottish, Strathspey. C Major. Standard tuning (fiddle). AABBCCDD'. MacDonald (The Skye Collection), 1887; p. 160.

X:1

T:Johnny Galbraith

M:C

L:1/8
R:Strathspey

S:MacDonald – Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:C

G,|C<C~E>G c>GA>c|G<E c<e f/e/d/c/ d<e|C<C ~E>G c>G A<c|f/e/d/c/ A/c/G/E/ Gcc:|

|:e|g>e c>G A<A a2|g>c’e>g c<e G2|g>e c<G A<A a2|(a/g/)f/e/ (f/e/)d/c/ G<c c>e:|

|:C>GE>c G<ge<c|D>AF>A D>gd>B|C>GE>c G<ge<c|(f/e/)d/c/ (A/c/)G/E/ Gcc<e:|

|:C>ge>c (3Gce (3gec|D>fd>B (3GBd (3fdB|(C>ge>c (3Gce (3gec| (f/e/)d/c/ (A/c/)G/E/ G<cc<e:|

C>ge>c (3Gce (3gec|D>fd>B (3GBd (3fdB|C>ge>c (3Gce (3gec| (3gec (3fdB (3ecA (3dBG||

                       

JOHNNY GET YOUR GUN [1]. Scottish, Hornpipe. A Major. Standard tuning (fiddle). AABB. The tune appears to be related to the numerous tunes known in the United States by a number of titles such as “High Betty Martin” or “Tip Toe Fine.” Kerr (Merry Melodies), vol. 4; No. 271, p. 29.

X:1

T:Johnny Get Your Gun [1]

M:C|

L:1/8

R:Hornpipe

S:Kerr – Merry Melodies, vol. 4, No. 271  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

AcBA F2E2|F2EE F2EE|AcBA F2 EE|F2G2A2z2:|

|:ABcd e2e2|fedc BdcB|ABcd e2e2|fedc B2E2|ABcd e2e2|

fedc BdcB|AcBA F2EE|F2G2A2z2:|

 

JOHNNY GET YOUR GUN [2]. Old‑Time. A fiddle tune in the repertoire of L.D. Snipes, Georgia long‑bow fiddler.

                       

JOHNNY GET YOUR HAIR CUT. AKA and see "Granny Will Your Dog Bite?" "Chippy/Gippy/Hippie Get Your Hair Cut." American, Reel. D Major. Standard tuning (fiddle). AABC. Samuel Bayard (1944) reported that the first part of this tune (unaccompanied by any other strain) was sung in southwestern Pennsylvania to the ditties:

***

Johnny get your hair cut, hair cut, hair cut,

Johnny get your hair cut, just like me!

***

and

***

Granny will your dog bite, etc.‑‑No, child, no!

***

Joel Shimberg reports that West Virginia fiddler Melvin Wine sang a similar snatch of verse to the tune, “Gippy get your hair cut short like mine.” Bayard: “These little refrains are current all over the country, often to entirely different strains of music. In Pennsylvania a playparty song was also sung to this melodic fragment‑‑a set is in Bayard Coll., No. 245; and other sets of this strain, associated with differing secvond parts, are Bayard, Nos. 104, 309. This is the only version known to the editor which is furnished with a third part. It well be noticed that the third section appears to be more modern than the others, and is distinctly inferior‑‑something which can frequently be observed in extra sections arbitrarily tacked onto traditional instrumental airs. The player was rather proud of knowing a set containing three parts instead of the normal two: this attitude is likewise often encountered in similar circumstances. The first part of (this tune), with notes about the various little jingles with which the strain has been associated is in Sandburg, 'The American Songbag' (edition of 1927), p. 158; and a version of the same strain, with a different second part attached, is in Linscott, p. 85" (Bayard, 1944). Some Appalachian fiddler believe “Johnny Get Your Hair Cut” and “Granny Will Your Dog Bite” are different tunes. Source for notated version: Mrs. Sarah Armstrong (Derry, Pa., 1943) [Bayard]. Bayard (Hill Country Tunes), 1944; No. 71.

                       

JOHNNY GHABHA. Irish, Polka. D Major. Standard tuning (fiddle). AABB. Mallinson (100 Polkas), 1997; No. 50, p. 19.

                       

JOHNNY GOING TO CEILI. Irish, Reel. Ciaran Carson mentions the tune in his book Last Night’s Fun (1996), played in a set with “The Long Slender Sally” and “The Gosson that Beat His Father,” obtained from flute player Cathal McConnell “of Ballanaleck on the shores of Lough Erne.” Carson thought McConnell had the set from the late John Maguire, father of fiddle ‘maestro’ Sean McGuire [sic].

           

JOHNNY GORMAN’S. See “The Beauty Spot.” Irish, Reel.

                       

JOHNNY GORMAN’S (POLKA).  Irish, Polka. Gorman was an itinerant professional uilleann piper originally from Derrylahon, County Roscommon, who was nicknamed ‘Jack the Piper’. He was quite influential on his circuit of Counties Mayo, Sligo, Roscommon and Leitrim, teaching and playing until his tragic death outside Drumshambo, County Leitrim, in 1917. Esteemed Sligo fiddler Michael Coleman was one who was greatly influenced by him, and it is said that Coleman incorporated the piper’s ornamentation into his fiddle playing. Cló Iar-Chonnachta CICD 167, Peter Horan & Gerry Harrington – “The Merry Love to Play” (2007. Learned from a recording of Sligo fiddler Michael Coleman).

 

JOHNNY GROAT'S (HOUSE). AKA and see “John O’Groat’s House.” Scottish, Reel. C Major. Standard tuning (fiddle). AAB (Athole): AABB' (Kerr). Probably composed by Capt. Simon Fraser. Kerr (Merry Melodies), vol. 3; No. 124, p. 15. Stewart-Robertson (The Athole Collection), 1884; p. 73.

X:1

T:Tigh Iain Ghròit

T:Johnny Groat’s House

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:C

Gccd e2dc|BGdc BcdB|Bccd e2dc|GcBc dB~c2:|

gfeg fagf|ecgc Bcdf|gfeg fagf|gefd BG ~c2|gfeg fagf|

ecgc Bcdf|ecBc BcEc|GEFD B,G,C2||

 

JOHNNY HALL. Irish, Air (4/4 time). G Major. Standard tuning (fiddle). AB. Source for notated version: “Co. Tyrone, from Lord Dunraven {Mr. Stephen de Vere}” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 747, p. 187.

X:1

T:Johnny Hall
M:C

L:1/8

N:”Con Spirito”

S:Stanford/Petrie (1905), No. 747

Z:AK/Fiddler’s Companion

K:G

GA | {G/A/}BA GE D2 EG | A2 AG A<d z2 | {G/A/}BA GE D2 EF | G6 || zc |

{c}BA Bc d2 dd | (AB) GE c2 (Bc) | (AB) GE D2 (EG) | A2 (AG) (A<d) z2 |

{G/A/}BA GE D2 EF | G6 ||

 

JOHNNY HAMLIN'S BREAKDOWN. Canadian, Breakdown. D Major. Standard tuning (fiddle). AABB. Composed by Johnny Hamlin. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 21, p. 23.

           

JOHNNY HARLING’S. AKA and see “Austin Barret’s,” “The Blasket Sound Jig,” “Dusty Windowsill,” “Harding’s Jig,” “Harland’s,” “The Howling Jig,” “Tim Harding’s.” Johnny Harling is a tin-whistle player from Chicago.

           

JOHNNY HAS GONE TO FRANCE. AKA and see "Johnny's Gone to France."

           

JOHNNY HAND'S. American, Jig. G Major. Standard tuning (fiddle). AABB. Composed by J. Hand himself as the initials “J.H.” are printed with the tune in Ryan’s Mammoth Collection. New York City researcher, writer and musician Don Meade believes James and John Hand may have been brothers (or perhaps father-son) and fiddlers from Boston, Massachusetts, in the mid-19th century. There are several tunes attributed to the Hands in Ryan’s. Cole (1000 Fiddle Tunes), 1940; p. 69. Ryan’s Mammoth Collection, 1883; p. 100.

X:1

T:Johnny Hand’s

M:6/8

L:1/8

R:Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

(3D/E/F/ | G2g edc | Bce dBG | EAA ABA | EAA ABA | G2g edc |

Bce dBG | DGG ({A}G)FG | DEF G2 :: d | g2g agf | eag fed |

gfg eag | fef g2a | bag agf | gfg e2d | Bce dBG | AEF G2 :|

           

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


           

JOHNNY HENRY’S.  AKA and see “Johnny Watt Henry’s.”

 

JOHNNY I DO LOVE YOU. AKA and see “Johnnie I Do Miss You!”

           

JOHNNIE I DO MISS YOU! AKA and see “Johnny I Do Love You.” Irish, Polka. Ireland, West Kerry. D Major (Black, Mallinson, Sullivan): G Major (Mac Amhlaoibh). Standard. AAB (Black, Sullivan): AABB (Mac Amhlaoibh): AABB’ (Mallinson). Black (Music’s the Very Best Thing), 1996; No. 204, pg. 109. Mac Amhlaoibh & Durham (An Pota Stóir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), No. 48, pg. 32 (appears as “Gan Ainm” {untitled}). Mallinson (100 Polkas), 1997; No. 86, pg. 33. Sullivan (Session Tunes), vol. 2; No. 16, pg. 7.

X:1

T: Johnny I Do Miss You!

S: De Danaan

Q: 300

R: polka

Z:Transcribed by Bill Black

M: 2/4

L: 1/8

K: D

d>B | AF ED | F2 A,2 | FB AF | E3 B |

AF ED | F2 A,F | G2 FE | D2 :|

E2 | FA A/B/A/G/ | FA AE | FA Bc | d3 A |

FA A/B/A/G/ | FA d>e | fe ed | e3 A |

FA A/B/A/G/ | FA AE | FA Bc | d2 cB |

AF ED | F2 A,2 | GA/G/ FE | D2 :|

                       

JOHNNY I HARDLY KNEW YE. AKA and see “When Johnny Comes Marching Home.” Irish, American; March (6/8 time). C Major. Standard tuning. One part. O’Neill (1922) notes: “Classed as a street ballad in Halliday Sparling's Irish Minstrelsy, London 1887, the editor adds, in a note on page 366,

***

Johnny I Hardly Knew Ye ! This favorite old song is here

for the first time given complete. It dates from the beginning

of the present century (19th), when Irish regiments were so

extensively raised for the East India service.

***

This spirited air almost forgotten in Ireland blossomed into new popularity during the American Civil War, and, after its arrangement by a master hand - Patrick Sarsfield Gilmore - it became a great favorite with military and volunteer bands. Parodies on the original song such as ‘When Johnny comes marching home again’, ‘Johnny fill up the bowl’ etc., were sung to it by the Union soldiers. After the manner of the "Loobeens" and occupational songs of olden days in Ireland, additional verses were improvised, some possibly crude, yet always mirth-provoking, and well-calculated to keep up their spirits on the march, or relieve the monotony of camp life. The circumstance of its arrangement as above stated no doubt led Adair FitzGerald to refer to it in his Stories of Famous Songs in qualified words:

***

When Johnny comes marching home again, said to have been

composed by the celebrated Patrick S. Gilmore.

***

The latter, a native of Dublin quite probably had memorized the tune in his youth. The original, it may be observed, included a refrain of four lines not found in the parodies.”

***

O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 69.

X:1

T:Johnny I Hardly Knew Ye

M:6/8

L:1/8

S:Capt. F. O'Neill

Z:Paul Kinder

R:March

K:C

A/2G/2|E2 A A2 B|c2 B c2 A|G3-G2 E|G3-G2 A|E2 A A2 B|c2 B c2 d|

e3-e2 c|e3-e2 c/2d/2|e2 e edc|d2 d dcB|c2 c cBA|B2 B GBd|

e2 e d2 d|c2 c BAG|EAA A2 ^G|A3-A2 B|c2 E EGE|G2 E EGE|

AGA c2 d|e3-e2 c/2d/2|ege d2 B|cBA B2 ^G|EAA A2 ^G|A3-A2||

                                               

JOHNNY IN THE NETHER MAINS. Scottish, "Slow" Reel. F Major. Standard tuning. AB (Hunter): AABB (Carlin/Gow). This kind of title form was inherited by American fiddlers; witness "Billy in the Lowground," and in fact, Alan Jabbour sees similarities between the two tunes. Carlin (Gow Collection), 1986; No. 260. Gow (Complete Repository), Book 2, 1802; pg. 2. Hunter (Fiddle Music of Scotland), 1988; No. 321. The Scottish Country Dance Book, 1930‑57, Book 19, No. 1.

X:1

T:Johnny in the Nether Mains

M:C

L:1/8

R:Slow Reel

S:Gow – 2nd Repository (1802)

Z:AK/Fiddler’s Companion

K:F

C|F4 ~F2A>c|(dc)(Ac) d2f2|c2A2 {B}A2GF|(A2G2)F2D2|F4 ~F2Ac|dcAc d2e2|

f3g fgab|A2g2 f3:|

|:c|f3g fedc|d2c2 {B}A4|f3g (af)(ga)|~d4 c2de|(fd)(gf) (ec)(fe)|(dc)(Ac) (de)(fg)|

a3A BAGF|A2G2F3:|

           

JOHNNY INCHIN' ALONG. Old‑Time. Gennett 7049 (78 RPM), Doc Roberts.

           

JOHNNY IS SO LONG AT THE FAIR. AKA and see "Johnny's So Long at the Fair," "Fasten the Leggin'."

           

JOHNNY JIGAMY. Scottish, Air (4/4 time). A song went to this tune, going in part:

***

'Guid claret best keeps oot the cauld

Makes a man baith gash and bold...'

***

X:1

T:Johnnie Jigamy

S:Greig-Duncan Collection Vol.7

Z:Nigel Gatherer

M:4/4

L:1/8

K:Amix

A<AA>B A>B e2|d>eg>B A<G E2|G<GG>A G>A B2|D>EG>A B<A A2:|]

A<aa>g b>a a2|g>ab>g a>g e2|g>ag>e d>e g2|G<GG>A B>A A2:|]

           

JOHNNY JOE CHAISSON’S REEL. Canadian, Reel. Canada, Prince Edward Island. A Major. Standard tuning. AABB. Perlman (1996) believes the tune is locally composed on Prince Edward Island. Source for notated version: Johnny Joe & Foncey Chaisson (1918 & 1929, Souris, North-East Kings County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 100.

           

JOHNNY JOE LEM’S JIG. Canadian, Jig. Canada, Prince Edward Island. A Major. Standard tuning. AA’BB. A Kings County, Prince Edward Island, tune. Source for notated version: Johnny Joe and Foncey Chaisson (b. 1918 & 1929, Souris, North-East Kings County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 139.

           

JOHNNY, JOHNNY, DON’T GET DRUNK. AKA and see “Johnny, Don’t Come Home Drunk.”

           

JOHNNIE KARO. AKA and see "Karo"?  Old‑Time, Breakdown. USA, S.W. Va. In the repertiore of Russell County, Va. fiddler Cowan Powers 1877‑1952?, and recorded by him with his family band for OKeh Records in September, 1927 (unissued).

           

JOHNNIE KNOCKED OVER HIS UNCLE. Scottish, Hornpipe. G Major ('A' part) & D Major ('B' part). Standard tuning. AB. Composition credited to D. Williams by Kerr. Kerr (Merry Melodies), vol. 1; No. 23, pg. 45.

X:1

T:Johnnie Knocked Over his Uncle

M:C

L:1/8

R:Hornpipe

C:D. Williams

B:Kerr – Merry Melodies, vol. 1, pg. 45  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

Bdgb agfe|agfe edBG|ecAF cAFD|GFGB D2 (dc)|

Bdgb agfe|Agfe ed^cd|fedc BAGF|G2B2G2 z2||

K:D

Adcd Be^de|bgec (de) f2|Adcd Be^de|efed (ce) a2|

Adcd Be^de|bgec defa|gfed cABc|d2f2d2z2||

           


JOHNNY/JOHNNIE LAD. Scottish, Reel. E Minor. Standard tuning. AAB (Athole, Kerr): AABB (Honeyman, Kohler). Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 15. Kerr (Merry Melodies), vol. 1; Set 15, No. 6, pg. 10. Laybourn (Kohler’s Violin Repository), 1881-1885. Stewart-Robertson (The Athole Collection), 1884; pg. 249. Olympic 6151, The Angus Strathspey and Reel Society ‑ "Scottish Traditional Fiddle Music" (1978).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

X:1

T:Johnnie Lad

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:Emin

d|B2 BG A2 Ad|B2 Bd efgd|B2 BG A2Ad|BAB^d e2 eB:|

B|efge fddf|efge f2 df|efge afge|dBB^d e2 eB|

efge fddf|efga f2 df|efge afge|dBBd efgd||

X:2

T:Johnny Lad

M:C|

L:1/8

R:Reel

B:Kohler’s Violin Repository (Edinburgh, 1881-1885)

Z:AK/Fiddler’s Companion

K:G

d|B2 BG A2 Ad|(BA)Bd (ef)gd|B2 BG A2 Ad|(BA)Bd e2 e:|
|:B|(ef)ge (af)df|(ef)ge f2 ed|(ef)ge (af)df|(ed)Bd e2e:||

                       

JOHNNY LEARY’S (JIG). Irish, Jig. Shanachie 78030, Danú – “Think Before You Think” (2000. Learned from the playing of Aidan Coffey).

                       

JOHNNY LEARY’S (POLKA) [1]. AKA and see “John Brosnan’s (Polka).” Irish, Polka. Ireland, West Kerry. G Major. Standard tuning. AABB. Named for west Kerry accordion player Johnny O’Leary (Gneevgullia, Kerry). Mac Amhlaoibh & Durham (An Pota Stóir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), No. 29, pg. 24 (appears as “Gan Ainm” {untitled}). Globestyle Irish CDORBD 085, Jackie Daly - “The Rushy Mountain” (1994. Reissue of Topic recordings).

 

JOHNNY LEARY’S (POLKA) [2]. AKA and see “Bridgie Con Matt’s Favourite.” Irish, Polka. G Major.

 

JOHNNY LEARY’S (POLKA) [3]. AKA – “Julia Clifford’s Polka.” Irish, Polka. D Major. Standard tuning. AABB. Black (Music’s the Very Best Thing), 1996; No. 205, pg. 110.

X:1

T:Johnny Leary's [3]

D:Julia and Billy Clifford, "Ceol as Sliabh Luachra"

R:polka

M:2/4

L:1/8

K:D

f/e/d/c/ e/d/c/B/|Af dc/d/|cA GE|BA FD|

f/e/d/c/ e/d/c/B/|Af dB|cA GE|FD D2:|

|:FA de|f/e/d/c/ BA|GB E>F|GA BA|

FA de|f/e/d/c/ BA|GB E>F|ED D2:|

X:2

T: Johnny Leary's [3]

S: De Danaan

Q: 300

R: polka

Z:Transcribed by Bill Black

M: 2/4

L: 1/8

K: D

B/c/ | f2 ge | f2 ge | fd ed | e/f/e/d/ BA |

f2 ge | f2 ge | fd e/f/e/c/ | df d :|

B |: AF AB | Af af | ef/e/ ef/e/ | dA B/c/d/B/ |

AF AB | Af af | ef gb | ef/e/ dB :|

 

JOHNNY LEARY’S (POLKA) [4]. AKA and see “Bridgie Con Matt’s Favourite,” “Willie Doherty’s.” Irish, Polka. D Major. Standard tuning. AA’BB. Mallinson (100 Polkas), 1997; No. 87, pg. 34.

           

[See other titles under the spelling “Johnny O’Leary”, below.]

 

JOHNNY LEARY’S (SLIDE).The Worn Torn Petticoat.” Irish, Slide (12/8 time). A Dorian. Standard tuning. AAB. Named for west Kerry accordion player Johnny O’Leary (Gneevgullia, Kerry). However, Paul de Grae points out it is the “Worn Torn Petticoat” that appears as No. 82 in Moylan’s Johnny O’Leary of Sliabh Luachra (1994). Mulvihill (1st Collection), 1986; No. 1, pg. 115.

           

JOHNNY LOUGHRAN’S. AKA and see “Over the Bridge to Peggy [2].” Irish, Reel. C Major. Standard tuning. A similar version is played in County Donegal in D Major. Compass 7 4287 2, Cathal McConnell – “Long Expectant Comes at Last” (2000. Learned from Pomeroy, County Tyrone, fiddle player Johnny Loughran).

           

JOHNNY LOVER. See "John Lover's Gone."

           

JOHNNY LOVES MOLLY (Tá Seáinín i ngrá le Mailí). Irish, Slip Jig. D Major. Standard tuning. AABB. Breathnach’s note states the melody was written down in a manuscript by William Joseph King between 1860 and 1880. Breathnach (CRÉ IV), 1996; No. 41, pg. 21.

           

JOHNNIE MACCLEJOHN. Irish, Reel. D Major. Standard tuning. AAB (Mallinson): AABB (Sullivan). Mallinson (Enduring), 1995; No. 23, pg. 9. Sullivan (Session Tunes), vol. 2; No. 11, pg. 5.

           

JOHNNY MACDONALD'S REEL. AKA and see "John MacDonald's Reel," "Lord MacDonald's Reel." Scottish, Reel. Flying Fish FF299, Battlefield Band ‑ "There's A Buzz" (1982).

           

JOHNNY MADE A WEDDING O’T. Scottish, Reel. G Mixolydian. Standard tuning. AAB. Source for notated version: an 1845-47 music manuscript by Ellis Knowles, a musician from Radcliffe, Lancashire, England [Plain Brown]. Gow (Complete Repository), Part 4, 1817; pg. 30. Plain Brown Tune Book, 1997; pg. 19 (appears as “Johnny Make a Wedding”).

X:1

T:Johnny made a Wedding o’t

M:C|

L:1/8

R:Reel

S:Gow – 4th Repository  (1817)

Z:AK/Fiddler’s Companion

K:G

(c|B)GdG BGGB|A=FcF AFFc|BGdG BGGg|egdg BGG:|

g|bgaf g(dd)e|=fdc>B AFFg|(b/a/g) (a/g/f) gddg|(e/f/g) (f/g/a) gGGg|

(b/a/g) (a/g/f) gdd>e|=f>dc>_B AFFA|GBAc Bdce|dgfa gGG||

           

JOHNNY MAKE A WEDDING. See “Johnny Made a Wedding O’t.”

           


JOHNNY/JOHNNIE McGILL/MACGILL. AKA and see "Come Under My Plaidie," "The Black Rogue [1]," "An Rogaire Dubh," "Before I Was Married," "Billy O'Rourke's Jig [1]." Scottish & Irish, Jig: American, March. USA, southwestern Pa. G Major (Aird, Bayard, Carlin, Howe, Johnson {1992 & 2003}, Skye): F Major (Alburger, Athole, Gow, Sharp, Skye): E Flat Major (Emmerson, Johnson). Standard tuning. AB (Emmerson, Johnson): AAB (Sharp): AABB (Aird, Alburger, Athole, Bayard, Carlin, Gow, Howe, Johnson, Skye). "A splendid jig tune" says Collinson (1966). It is generally accepted to have been the composition of Ayrshire musician John McGill (c. 1707‑1760), from Girvin. Besides being a fiddler, he has also been described (by Robert Riddell of Glenriddell, 1794, with whom his name is said to have been associated) as the town piper, and, elsewhere, a violincello player. What is certain is that he was a dancing master in Girvan in 1752 as there is a MS of country dance and reel instructions for his pupils (Alburger, 1983). The tune was used by Burns for his song "Tibbie Dunbar" ("O, Wilt thou go wi' me, sweet Tibbie Dunbar"), and by Hector Macneil of near Roslin, Midlothian, for "Come Under My Plaidie." John Glen (1891) finds the first appearance of the tune in print in Joshua Campbell's 1778 collection (pg. 31). Bayard (1981) called the tune a "fifer's favorite" as well as a popular song and dance tune in slow and quick versions. The tune is properly categorized as a Scotch jig, as its phrases are punctuated in the manner of a Scottish Measure (see Emmerson, 1971, pg. 159). The melody is close to the Irish jig “Battering Ram.” Sources for notated versions: Hiram Horner (fifer from Westmoreland and Fayette Counties, Pa., 1944) [Bayard]; Dr. John Turner, director of the Jink and Diddle School of Scottish Fiddling, held yearly in Valle Crucis, North Carolina [Johnson/2003]. Aird (Selections of Scotch, English, Irish and Foreign Airs), vol. II, 1785; No. 119, pg. 44. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 88, pgs. 141‑142. American Veteran Fifer, 1902 & 1927; No. 98. Bayard (Dance to the Fiddle), 1981; No. 635, pgs. 540‑550. Carlin (Master Collection), 1984; No. 168, pg. 98. Cole (1000 Fiddle Tunes), 1940; pg. 71. Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 83, pg. 160. Gow (Complete Repository), Part 1, 1799; pg. 28. Graham, 1908; pg. 269. Howe (1000 Jigs and Reels), c. 1867; pg. 120. Johnson (Scots Musical Museum), vol. 3, 1787‑1803; No. 207. S. Johnson (The Kitchen Musician's No. 10: Airs & Melodies of Scotland's Past), vol. 10, 1992 (revised 2001); pg. 6. S. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 2. McGlashan (Collection of Scots Measures), c. 1780; pg. 33 (appears as “Johnny McGill”). MacDonald (The Skye Collection), 1887; pg. 175. Stewart-Robertson (The Athole Collection), 1884; pg. 141. Fiddletree F2580, John Turner ‑ "Fiddling Rogues and Rascals, vol. 1" (1981).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

X:1

T:Johnny MacGill

M:6/8

L:1/8

R:Jig

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

Z:AK/Fiddler’s Companion

K:F

f|cAA AGF|cAA A2f|cAA AGA|FDD D2f|cAA AGF|cAA AGF|

G3 AGA|FDD D2:|

|:c|f3 g3|afd dAF|f3 g3|afd d2 f/g/|afa geg|fde f2d|cAF G2A|FDD D2:|

X:2

T:Johnny Macgill (sic)

M:6/8

L:1/8

S:Aird, vol. II (1785)           

Z:AK/Fiddler’s Companion

K:G

g | dBB BAG | dBB B2g | dBB BAB | GEE E2g | dBB BAG |

dBB BAG | A3 BAB | GEE E2 :: f | g3 aga | bge dBG |

g3 aga | bge ega | bgb afa | geg g2e | dBB BAB | GEE E2 :|

           

JOHNNY McGOOHAN’S. Irish, Reel. G Major. Standard tuning. AA’BB’. Composed by County Cavan/Philadelphia fiddle player and composer Ed Reavy (1898-1988) in honor of appreciative friends and Irish music affectionados, Johnny and Katie McGoohan. Reavy (The Collected Compositions of Ed Reavy), No. 9, pg. 9.

X:1

T:Johnny McGoohan's

M:2/2

L:1/8

C:Ed Reavy

S:The Collected Compositions of Ed Reavy

R:Reel

N:Good musicians need good listeners, and two

N:of the best listeners where Johnny and his wife Katey. Johnny would

N:be waiting on his front porch hours before "the fellows" were

N:expected on an evening for a session of music; and no matter how

N:long they played, it was never too late for a few more tunes at

N:the McGoohans. Tea and skohn did not mean (as it usually does) that

N:the fiddling would stop. As Johnny would put it, "We'll have a bite

N:to eat and be back at it for a few more before the night is done."

N:And Katey would never disagree.

Z:Joseph Reavy

K:G

DF | G2 Bd gdBG | DGBd cAFA | G2 Bd gdBd | cBAG FADF | GABd gfaf |

gedB A2 Bc | (3dcB (3cBA BGAF |1 ACB,A, G,A,B,D:|2 G2 Ac BGGA ||

B2 GA Bdef | gfga gedc | B2 GA B2eB | dBAG EGGA | B2 GA Bdef |

gfe^c d2 ef |gbag fagf |1 e^cAF G2 GA :|2 e^cAF G2 ||

           

JOHNNY McGREEVEY’S FAVORITE. AKA and see “The Corn Boy.” Irish, Reel. D Dorian. Standard tuning. AA’BB. The tune is called “The Corn Boy” in Luke O’Malley’s collection.

X:1

T:Johnny McGreevey’s Favorite

R:Reel

Z:Adrian Scahill

M:4/4

L:1/8

K:D Dorian

DEF^F d2cA|GEED E^FGB|Adde d^cAB |(3cBA GE EDCE|\

DEF^F d2cA|GEED E^FGB|Adde d^cAB |1 (3cBA GE EDCE:|2 (3cBA GE EDD^g||\

a=ged (3B^cd ed|=c3d egg2|aged (3B^cd ed|cAGE EDDg|\

ed (3e^fg age^c|d^cAB =cAGE|FGEG FGAB|(3cBA GE EDD2:||

                       

JOHNNY McILJOHN’S [1]. Irish, Reel. D Major. Standard tuning. AABB. A variant of  The Silver Spear.” According to the Boys of the Lough (“Recorded Live, 1975”) the tune is sourced to Leitrim musician Tommy Maguire, who had it from his father John Maguire, known as Johnny McIljohn. “He lilted the tune regularly at country house ceilidhs so his nam became associated with the tune.” 

X:1
T:Johnny McIljohn's No.1
S:Sessions, records
Z:Nigel Gatherer
M:4/4
L:1/8
K:D
FA A2 BAFA | BAFA Bd d2 | FA A2 BAFA | BdAF E2 D2 :|
f3 e  d3 A | BAFA BAFA  | f3 e  d3 A | BdAF E2 D2 :|

                       

JOHNNY McILJOHN’S [2]. Irish, Reel. G Major. Standard tuning. AAB.

X:1
T:Johnny McIljohn's No.2
D:Boys of the Lough, Welcoming Paddy Home
Z:Nigel Gatherer
M:4/4
L:1/8

R:Reel
K:G
G2 GF GBdB | G2 BG A2 GE | G2 GF GABd | egdB AcBA :|
GB B2 GBdB | GBdB  A2 GE | GB B2 GBdB | egdB A2 BA |
GB B2 GBdB | GBdB  A2 GE | G2 GF GABd | egdB AcBA |]

                       

JOHNNY MHOSAI'S REEL (Ril Sheain Mhosai). AKA and see “The Ladies of Tullybardee,” “The Monaghan Switch,” “Monaghan Twig [1].” Irish, Reel. The title refers to John Mhosai McGinley. Green Linnet GLCD 3090, Mairead Ni Mhaonaigh & Frankie Kennedy - "Ceol Aduaidh" (learned from the fiddling of the late John Doherty).

           

JOHNNY MICK DINNY’S. AKA and see “Art O’Keeffe’s [2],” “Biddy Crowley’s Ball,” “My Love in the Morning.” Irish, Slide (12/8 time). Ireland, Sliabh Luachra region of the Cork-Kerry border. A Dorian. Standard tuning. AB. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region) [Moylan]. Breathnach (CRÉ I); No. 57, pg. 25 (appears as “Mo Ghrasa Ar Maidin/My Love in the Morning”). Moylan (Johnny O’Leary’s), 1994; No. 95, pgs. 54-55. Topic 12T311, John and Julia Clifford - “The Humours of Lisheen” (appears as “Biddy Crowley’s Ball”). Topic 12T357, Johnny O’Leary - “Music for the Set” (1977. Appears as “Art O’Keeffe’s”).

           

JOHNNY MICKEY BARRY’S. See “Johnny Mickey’s.”

           

JOHNNY MICKEY'S. AKA – “Johnny Mickey Barry’s.” AKA and see “Polca an dreoillín,” “Tourniore Lasses,” “The Wren.” Irish, Polka. A Major. Standard tuning. AABB. David Taylor (1992) remarks that the tune was named after Johnny Mickey Barry, a renowned concertina player from the Sliabh Luachra area. Recorded in a set with the tune “Salmon Tails” by the Oyster Band. Mallinson (100 Polkas), 1997; No. 37, pg. 14 (appears as “Johnny Mickey Barry’s”). Taylor (Half‑door), 1992; No. 70, pg. 50. Shaskeen ‑ "Shaskeen Live."

X:1
T:Johnny Mickey Barry's
M:2/4
L:1/8
R:polka
Z:Neil Brookes/Si Garbutt
K:G
GBDE|G-G/ A/G e|dBAG|d/e/d/B/ AG|
GBDE|G-G/ A/G e|dBAG/A/|BGG2:|
Bd B/c/d|eg2e|dBAG|d/e/d/B/ AG|
Bd B/c/d|eg2e|dBAG/A/|BGG2|
Bd B/c/d|eg2e|dBAG|d/e/d/B/ AG|
GBDE|G-G/ A/G e|dBAG/A/|BGG2||

           


JOHNNY MICKY'S SLIDE (Sleamhnán Sheáinín Mhicí). Irish, Slide. D Major. Standard tuning. AABB. Source for notated version: fiddler Seamus Creagh & accordion player Jackie Daly (County Cork, Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 43, pg. 21. Mallinson (Enduring), 1995; No. 68, pg. 28. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 31. Vallely (Learn to Play the Fiddle with the Armagh Pipers Club), 25. Gael‑Linn Records ‑ "Jackie Daly & Seamus Creagh" (1977).

X:1

T:Johnny Micky’s Slide

M:12/8

L:1/8

R:Slide

K:D

E|FAF F2E D3 D2E|FAF F2D E3 E2F|GFG B2G FEF A2F|EDE F2E D3 D2:|

|:F|ABd A2F A3 A2F|ABd A2F G3 G2D|GFG B2G FEF A2F|EDE F2E D3 D2:|

           

JOHNNY MORGAN. American, Reel and Air. E Major. Standard tuning. AABB. Sounds like a tin‑pan alley tune. Ford (Traditional Music in America), 1940; pg. 101 (verses on pg. 404). Voyager VRCD 342, Rodney Miller – “Rodney Miller’s All-Round Collection of Jigs, Reels and Country Airs.”

           

JOHNNY MUISE’S REEL. Canadian, Reel. Canada, Cape Breton. A Major. Standard tuning. AABB. Composed by fiddler Jerry Holland (Inverness, Cape Breton). The tune has some currency in modern Cape Breton sessions. Johnny Muise was originally from the Inverness, Cape Breton, area, and had a reputation as the best ‘bones’ or clappers player on the island. The Muise household in Roslindale, Boston, where they removed to for many years, was a hub of expatriate Cape Breton music. Janine Randall, who runs the Ceilidh Trail School of Celtic Music, is Johnny’s daughter. Cranford (Jerry Holland’s), 1995; No. 23, pg. 7. Fiddlesticks cass., Jerry Holland - “Fathers and Sons” (1992). Green Linnet, Jerry Holland - “The Fiddlesticks Collection” (1995). Roger Landes – “Dragon Reels.”

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

X:1

T:Johnny Muise’s Reel

M:C|
L:1/8

R:Reel

C:Jerry Holland

K:A

af|ec c/c/c ecAB|c2 (Bc) BAFB|AEE/E/E ABcA|dfaf edcd|!

ec c/c/c BcAB|(Bc)(Bc) BAFB|AE E/E/E ABcA|BABc A2:||!

cd|ea a/a/a a2ga|baga fedf|ec c/c/c acec|fedc Bcdf|!

ea a/a/a/ a2ga|baga fedf|ec c/c/c acec|BdcB A2:||!

                       

JOHNNY MURPHY’S SLIDE. Irish, Slide (12/8 time). G Major. Standard tuning. AABB. Cranitch (Irish Fiddle Book), 1996; No. 23, pg. 134. Cranitch (Irish Session Tunes: Red Book), 2000; 23.

           

JOHNNY NELSON'S FAVORITE. American, Reel or Breakdown. USA, North Dakota. A Major ('A' part) & D Major ('B' part). Standard tuning. AABB. Composed by Johnny Nelson, one of the fiddling Nelson brothers who homesteaded near Grinnell, North Dakota, and who had reputations as dance fiddlers in Northwestern North Dakota in the early 20th century. Pancerzewski (The Pleasures of Home), 1988; pg. 16.

           

JOHNNIE NITTLE. AKA and see "Jenny Nettles [1]."

           

JOHNNY OF COCKALIE. AKA and see “Johnny Cox.”

           

JOHNNY O’LEARY’S [1]. AKA and see “As I went out upon the Ice,” “Glen Cottage Polka [2]," "Green Cottage [2]." Irish, Polka.

JOHNNY O’LEARY’S [2]. Irish, Polka. G Major. Standard tuning. AABB. Taylor (Music for the Sets: Blue Book), 1995; pg. 9

 

JOHNNY O’LEARY’S [3] (Polca Sheáin Uí Laoghaire).  Irish, Polka. D Major. Standard tuning. AB. Source for notated version: melodeon player Denis O’Keeffe (Rathmore, County Kerry) [Breathnach]. Breathnach (CRÉ V), 1999; No. 99, pg. 50. Gael-Linn CEFC 123, Brendan Begley – “Sean Choirce.”

           

[See other titles under the spelling “Johnny Leary”, above]

 

JOHNNY O'SHEA (Seanin Ua Seagda). Irish, Slip Jig. E Minor. Standard tuning. AABB. Levey (1873) gives the direction that the tune should be played “Piperly,” leading to the speculation that this piece was a staple of the uilleann piper’s repertoire and/or that Johnny O’Shea was a famous piper. This appears confirmed by its appearance in O’Farrell’s volume Collection of National Music for the Union Pipes (1804), where it is identical to O’Neill’s printing, save that O’Farrell (mistakenly) prints it the key of one flat. Levey (Dance Music of Ireland, 2nd Collection), 1873; No. 59, pg. 26. O’Farrell (National Irish Music for the Union Pipes), 1804; pg. 35 (appears as “Shauneen o Shea or Johnny O Shea”). O'Neill (Krassen), 1976; pg. 87. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 1173, pg. 221.

X:1

T:Johnny O’Shea

M:9/8

L:1/8

R:Slip Jig

S:O’Neill – Music of Ireland (1903), No. 1173

Z:AK/Fiddler’s Companion

K:G Dorian

d | efe edB BAG | efe edB efg | e/f/ge edB BAG | dBA AB^d e2 :|

|: e | gag gdB BAG | gbg gdB gab | bag agf edB | dBA AB^d e2 :|

                       

JOHNNY, PASS THE JUG. Rounder 0437, Jess Silvey  – “Traditional Fiddle Music of the Ozarks, vol. 3: Down in the Border Counties.”

                       

JOHNNIE PEARSON. English, Hornpipe. England, Northumberland. D Major. Standard tuning. AABB. Composed by Robert Whinham (1814-1893), a musician, teacher, composer, dancing master and fiddler, originally from Morpeth. Source for notated version: an unattributed 19th century manuscript in the Beamish Museum [Dixon]. Dixon (Remember Me), 1995; pg. 30.

 

JOHNNY PEYTON. Irish, Air (2/4 time). G Mixolydian. Standard tuning. One part. Source for notated version: Hugh O'Beirne, professional fiddler from Ballinamore, Co. Leitrim, 1846. Joyce (Old Irish Folk Music and Songs), 1909; No. 618, pg. 317.

           


JOHNNY PRINGLE. AKA and see "Miss Burnet's Reel," "Miss Jane Stewart('s Strathspey—Pittyvaich) [1]" (Marshall's titles), "Miss Jane Campbell's Strathspey." Scottish; Strathspey or Medley. G Major. Standard tuning. AAB (Athole, Gow, Skye): AABB' (Kerr). One of the first tunes composed by William Marshall, who titled it in his First Collection (1781) "Miss Burnet's Reel," but retitled it for his 1822 collection "Miss Jane Stewart's Strathspey--Pittyvaich." It was called "Miss Jane Campbell's Strathspey" by John Pringle for whom authorship was claimed when the tune was published in 1801. Perhaps in honor of Pringle it was titled "Johnny Pringle" when the Gow's included it in Repository (Part Third, 1806), though they declined to credit either Marshall or Pringle. Carlin (The Gow Collection), 1986; No. 383 (listed as a medley). Gow (Complete Repository), Part 3, 1806; pg. 15. Kerr (Merry Melodies), vol. 2; No. 108, pg. 14. MacDonald (The Skye Collection), 1887; pg. 88 (listed as a strathspey). Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 42 (appears as "Miss Jane Stewart's Strathspey ‑ Pittyvaich"). Stewart-Robertson (The Athole Collection), 1884; pg. 160.

X:1

T:Johnnie Pringle

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:G

D<GG<g d<G B2|D<GG<g d<GB<g|d<GG<g d<G B2|c>AB>G A>GE>A:|

G<g g>a b/a/g/f/ g2|e>fg>a b>ga>b|e>fg>e d<Bc>d|e<g d>B A>GE>A|

G<g g>a b/a/g/f/ g2|e>fg>a b>ga>b|g>be>g d>gB>g|c>aB>g A>GE>A|| 

                       

JOHNNIE QUEEN'S CLOG. American, Clog. A Major. Standard tuning. AABB. Johnny Queen was a famous 19th century clog dancer. Edward Le Roy Rice, in his book Monarchs of Minstrelsy (New York, 1911), gives this brief bio:

***

Queen and West constituted one of the great song and dance teams in minstrelsy.

They formed a partnership about 1868, which was terminated by the death of Mr.

Queen. Together they played several prominent minstrel engagements, and later

went to Harrigan and Hart’s in New York, where Mr. West remained, all told,

about twenty-two years.  Mr. Queen was an exceptionally clever black-face

comedian, while Mr. West, in addition to his ability as a dancer and comedian,

was proficient on the banjo. John Queen made his first appearance as a clog

dancer in Boston with Morris Bros., Pell and Trowbridge’s Minstrels. While with

that company, he, in conjunction with R.M. Carroll, did the first double clog dance

ever seen in minstrelsy.  William West began his theatrical career in 1857 as a black-

face performer, and until about 1863 played mostly with circuses. His firs minstrel

engagement was with Duprez and Green. Subsequently he played with Hooley at

the Novelty Theatre in Brooklyn; with the San Franciso’s in New York, and with

Bryant’s, Wood’s, and Morris Brothers.  Mr. West’s last stage appearance was

about 1901. John Queen (McQueeny) was born in St. Albans, Vt., November 19,

1843; he died in New York, February 11, 1884. William West (Cox) was born in

Leicester, England, May 3, 1837. (pg. 135).

***

Douglas Gilbert (1891-1948) mentions Queen in his volume entitled American Vaudeville: Its Life and Times (Dover Publications, New York, 1940). In this passage Gilbert talks about the various and numerous contests between performers in the mid-latter 19th century, who competed usually for silver cups—a winner aided his booking time:

***

Most popular and most numerous were the clog-dancing contests: Lancashire clog,

American clog, hornpipe clog, trick clog, pedestal clog, and statue clog. Dancing was

judged according to time, style, and execution, and separate judges checked each

feature. It was the habit of some judges to go beneath the stage and listed to the beat. 

Sand jig dancing was judged in the same manner. Possibly clog did not originate in

America, but America made it its own, and our performers were unbeatable. A clog

dancer named Queen electrified the English music halls when he went abroad for a

tour in the eighties. They found his triples, rolls, and nerve steps uncanny, refused to

believe he accomplished them unaided by tricks, and caused him no end of embarrassment

by demanding to see his shoes. Queen stopped all that by making his entrance in slippers

and passing around his shoes for the audience to examine, as proof that he used no

clappers or other Yankee gadgets. When the shoes were returned he put them on in

full view of the audience and went into his act.  (pg. 24).

***

Cole (1000 Fiddle Tunes), 1940; pg. 120. Ford (Traditional Music in America), 1940; pg. 89 (appears as "Johnny Queen's Clog"). Ryan’s Mammoth Collection, 1883; pg. 159. White’s Unique Collection, 1896; No. 148, pg. 26.

X:1

T:Johnnie Queen’s Clog

M:C|

L:1/8

R:Clog

S:White’s Unique Collection (1896), No. 148

Z:AK/Fiddler’s Companion

K:A

f2 | (e>.c)(A>.f) e>cA>f | e>cA>a e>cA>c | d>BG>d c>AE>c | (3Bcd (3efg a>ec>f |

e>cA>f e>cA>f | e>cA>a e>cA>c | d>BG>d c>AE>c | (3Bcd (3efg a2 :: (e>.a) |

(c’>.b)(a>.c’) b>ag>b | a>gf>a e>cA>a | c’>ba>c’ b>ag>e | (3fga (3bc’^d’ e’2 (e>a) |

c’>ba>c’ b>ag>b | (a>g) (3fga e>cA>a | c’>ba>c’ b>ag>e | (3fga Bc^d e2 :|

                       

JOHNNY REIDY. AKA and see "Touch Me If You Dare [2]."

                       

JOHNNY REIDY’S SLIDE. Irish, Slide (12/8). E Dorian. Standard tuning. AABB. From the playing of banjo and accordion player Sean O Driscoll, originally from Blarney, who lived in Minneapolis and lately in County Cork. Sean O’Driscoll – "Sticking Out A Mile.”

X: 1

T: Johnny Reidy's Slide

S: S. O Driscoll

M: 12/8

L: 1/8

Q: 350

Z: Transcribed by Bill Black

R: slide

K: Edor

ed | Bee e2 f e2 d B2 A | B2 c dBA B2 c dBA |

Bee e2 f e2 d B2 c | def a2 f e3-e :|

fa | b3 b2 a b2 a f2 e | d2 f fef d2 f agf |

b3 b2 a b2 a f2 e | def a2 f e3-e :|

                       

JOHNNIE SEÁN THE RAKE. AKA and see "The Old Slipper Shoe."

                       

JOHNNY SHOOTING IN THE GLEN. AKA and see "The Barrow Castle," "Belles of Tipperary [2]" "The Blea‑berry Blossom," "Connacht Lasses," "The Connacht Star," "The Dandy Girl/Lass/Lasses," "The Four Courts of Dublin," "Green Fields to America," "Lamont's Reel,” "Jackson's Welcome to Cork [1]," “Kerry Star,” “Lamont’s,” “Mel Roddy’s Tune” (northeast Kings County, PEI), “Miss Mona(g)han(‘s Reel),” "O'Connell in Clare," “Shannon’s Shores,” "Stormy Weather," "The White‑haired Piper.”

                       

JOHNNY SPILLANE’S FAVOURITE. AKA – “Julia Clifford’s.” Irish, Polka. D Major. Standard tuning. AABB’.

X:1

T:Johnny Spillane’s Favourite

R:polka

M:2/4

L:1/8

K:D

Ad f/e/d/c/|dF A>d|cE G/B/G/B/|AD DF|

Ad f/e/d/c/|dF A>d|cA GE|ED D2:|

|:ad d/e/d/B/|cb b>c'|bc c/B/c/B/|Aa a/b/a/f/|

ad d/e/d/B/|cb b>c'|bc cB/c/|1 ed d/e/f/g/:|2 ed d>B||

 

JOHNNIE STEELE. AKA and see "The Auld Brig of Ayr," "Bob Steele," "The New Brig o' Dee," "The Miller o' Dervil," "Benholm Castle." Scottish, Strathspey. D Major. Standard tuning. AB (Hunter): AAB (Skinner). Composed originally by James Barnett (1847‑1898) of Kirkwall, though developed by others under a variety of titles. Source for notated version: Köhler’s Violin Repository [Skinner]. Hunter (Fiddle Music of Scotland), 1988; No. 102. Köhler, Violin Repository, Book II (1881‑1885). Skinner (Harp and Claymore), 1904; pg. 82.

X:1

T:Johnie (sic) Steele

M:C

L:1/8

R:Strathspey

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:D

A, | D<D F>A d>c .d.f | D<D F<D E<B,B,>E | D<D F>A d>cd>A | (3Bcd (3ABG F<DD :|

A | (d>ef>).g (a>ba>).d | (c>de>).f (g>ag>)e | d>ef>g a>ba>f | (3.g.f.e (3b.a.g f<dd>g |

(3fdf (3afd (3gfg (3efg | (3fdf (3ece (3dcB (3AB=c | BGB (3dcB (3Afe (3dcB | (3ABA (3GFE F<DD ||

 

JOHNNY STOLE A HAM. AKA and see "Out of the Wilderness," "The Old Grey Mare (Came Tearing Out of the Wilderness)," "The White Horse [2]." Old‑Time, Breakdown. A Major. Standard. ABB. Bayard (1981) gives this as one instance where a fiddle tune developed out of a popular song to become "traditional." Ford (Traditional Music in America), 1940; pg. 85.

 


JOHN(N)IE SULLIVAN'S. Canadian, Reel. Canada; Cape Breton, Prince Edward Island. E Dorian. Standard. AAB. This tune is frequently started by playing the second turn first, note Dunlay & Reich. Burt Feintuch (2004) says the tune is well-known in local Mabou, Cape Breton, tradition. Sources for notated versions: The Five MacDonald Fiddlers (Cape Breton) [Dunlay and Reich]; Bill Lamey (Cape Breton) [Dunlay & Greenberg]; Emmett Hughes (b. 1921, Dromore, Queens County, Prince Edward Island) [Perlman]. Dunlay & Greenberg (Traditional Celtic Violin Music from Cape Breton), 1996; pg. 88. Dunlay and Reich (Traditional Celtic Fiddle Music from Cape Breton), 1986; pg. 58. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 109. Celestial Entertainment CECS001, Brenda Stubbert (Cape Breton)- “In Jig Time!” (1995). Celtic 48, The Five MacDonald Fiddlers‑ "Scottish Reels, Jigs and Strathspeys.” Marquis ERA 181, David Greenberg - “Bach Meets Cape Breton” (1996). Rounder 7009, Doug MacPhee‑ "Cape Breton Piano" (1977. Appears as "Traditonal Reel"). Shanachie 14002, Bill Lamey‑ "Classic Recordings" (1979. Not listed but appears after "Warlock's Strathspey"). SA93130, Donny LeBlanc - “Rosining Up the Bow” (1993). Smithsonian Folkways Records, SFW CD 40507, The Beaton Family of Mabou – “Cape Breton Fiddle and Piano Music” (2004). Tartan Tapes CDTT1004, Karen Steven – “Heat the Hoose” (1998).

 

JOHNNY THE BLACKSMITH [1]. Bluegrass, Breakdown. USA. A Major. Standard tuning. AABB. Source for notated versions: Kenny Baker [Phillips, Silberberg]. Brody (Fiddler’s Fakebook), 1983; pg. 149. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 126. Silberberg (93 Fiddle Tunes I Didn’t Learn at the Tractor Tavern), County 730, Kenny Baker‑ "Baker's Dozen."

 

JOHNNY THE BLACKSMITH [2]. Unrelated to above. Front Hall 010, Fennigs All Stars‑ "The Hammered Dulcimer Strikes Again."

 

JOHNNY THE JUMPER (Seaganin an Leimeadoir). Irish, Double Jig. A Dorian. Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 74. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1107, pg. 208. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 297, pg. 64.

X:1

T:Johnny the Jumper

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 297

Z:AK/Fiddler’s Companion

K:Ador

g/f/|:eAA cBA|eAA fga|eAA c2e|dBG Bcd|eAA cBA|eAA B2A|GBG gfg|dBG Bcd:|

|:cBA a^ga|cBA Bcd|cBA gfg|dBG Bcd|cBA a^ga|cBA B2A|GBG gfg|dBG Bcd:|

 

JOHNNY THE TAILOR’S FANCY. AKA and see “Quarry Cross Slide [1].” Irish, Slide (12/8 time). Ireland, Sliabh Luachra region of the Cork-Kerry border. G Major. Standard. AA’BB’. Source for notated version: Scartaglen musician John Bresnihan via accordion player Johnny O’Leary (Sliabh Luachra region) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 102, pg. 60. Gael-Linn CEF 132, Johnny O’Leary - “An Calmfhear/The Trooper” (1989. Appears as first tune of “Sleamhnain Chrosaire an Chaireil” {The Quarry Cross Slides}).

 

JOHNNY WAGGONER. AKA and see "Wagoner [1]," “Wagner’s Hornpipe,” "Tennessee Wagoner" and related tunes. Canadian, Breakdown. C Major. Standard tuning. AABB. Perlman (1996) suggests the tune was introduced to Prince Edward Island fiddlers by the Maritime radio and TV performer Don Messer. Source for notated version: Angus McPhee (b. c. 1920, Mt. Stewart, Queen’s County, Prince Edward Island) [Perlman]. Messer (Way Down East), 1948; No. 1. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 1, pg. 4. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 120.

X:1

T:Johnny Wagoner's Breakdown

R:Reel

M:2/4

L:1/16

Z:Transcribed by Bruce Osborne

K:C

gf|e[c2e2][ce] [c2e2][c2e2]|cdef gedc|[GB][G2B2][GB] [G2B2][G2B2]|GABc d2gf|

e[c2e2][ce] [c2e2][c2e2]|cdef gfeg|fgab aged|[c2e2][ce][ce] [c2e2]:|

|:GF|E[C2E2][CE] [C2E2][C2E2]|EGAB cdcB|A[F2A2][FA] [F2A2][F2A2]|FGAB cBAG|

E[C2E2][CE] [C2E2][C2E2]|EGAB cdeg|fgab aged|[c2e2][ce][ce] [c2e2]:|

 

JOHNNY WALK ALONG WITH YOUR PAPER COLLAR ON. See "Walk Along John [1]."

 

JOHNNIE WALKER. Scottish. Composed by J. Scott Skinner, presumably after the famous Scotch whisky; it was the last piece he published (1924).

 

JOHNNY WARD’S. Irish, Reel. D Major. Standard tuning. AAB.

X:1

T:Johnny Ward's

R:Reel

S:Fisher Street

D:Fisher Street: Out in the Night

Z:Adrian Scahill

M:4/4

L:1/8

K:D

A2FD AFDF|E2 CE A,3F|A2FD A,DFA|decd BdcB:||\

BEE2 BdcB|A2FD A,DFA|BEE2 Bdce|decd BdcA|\

BEE2 BdcB|A2FD A,DFA|BEE2 Bdce|decd BdcB||

 

JOHNNY WATT HENRY’S. AKA and see “John Henry’s [1].” AKA – “Johnny Henry’s.” Irish, Reel. D Major. Standard tuning. AAB. The title references fiddler John (or Johnny) Henry (1922-1997), born at Doocastle, County Sligo, brother of Chicago flute player and piper Kevin Henry. His father was called Batt Henry, entitling the son to be called Watt Henry, according to Finbar Boyle, who knew him. According to his brother Kevin (in his notes to his CD), Johnny was born with albinism, which resulted in his remaining rather home-bound, but giving him time to practice the fiddle. On Matt Molloy’s CD it is recorded that Johnny was blind, and Boyle confirms that he was nearly so, keeping his house in darkness because light did not matter. Johnny’s mentor was fiddler Pat Kelleher, a contemporary and school-boy with Michael Coleman. A picture of John Henry is on the cover of Reg Hall’s “’Round the House and Mind the Dresser.” There is a section of Henry’s tunes in Bernard Flaherty’s book Trip to Sligo. Source for notated version: flute player Colm O’Donnell (b. 1962, outside Aclare, County Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 17 (appears as “Unknown”). Coleman Center CD CC004, Seamus O’Donnell – “The Mountain Road” (1999. Various artists. “A Compilation of tunes popular in South Sligo.”  Appears as “Johnny Henry’s”). Green Linnett SIF3041, Matt Molloy - “Stony Steps” (appears as “Johnny Watt Henry’s Favourite,” paired with “Handsome Sally [1]”).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Johnny Watt Henry’s

M:C|

L:1/8

K:D

A2~A2 B2AF|DFAF EDB,D|A2~A2 B2AB|dBAF EDB,D:|

d2fd edfd|d2fd BdAB|d2fd edfe|dBAF EDB,D|

d2fd edfd|d2fd BdAd|fdec d2AB|dBAF EDB,D||

 


JOHNNY WHEN YOU DIE [1]. AKA and see “The Ballina Lass,” “Come into the Room, I Want You,” "Gearrchailiu Chontae Mhuigheo," “Girls of County Mayo,” “The Hag’s (Reel),” “The Mayo Lasses,” “The Old Maid(s) of Galway,” “Paddy’s Gone to France,” “Turf House Reel,”  West Mabou Reel.”Irish, Reel. G Major/A Dorian. Standard tuning. AB. A set of words is sung to this tune. The tonality shifts between the two keys. Source O’Leary usually paired this tune with “Anything for John Joe” and referred to them jointly as “The Sliabh Luachra Reels.” See also the similar tunes “The Mayo Lasses” and the Cape Breton “West Mabou Reel” (attributed to Dan {Domhnull Iain an Táillear} Beaton {1856-1919}). Paul de Grae reports that the melody was called by his late friend fiddler Paddy O'Sullivan of north Kerry "Into the room, I want you," and explains that fiddlers were often paid with drink (for playing at house dances, etc.). O’Sullivan’s title refers to an invitation into the "room" or parlour to be given a mug of porter. See also the related first part of “Over the Moor to Peggy.” Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border), recorded in recital at Na Piobairi Uilleann, March, 1987 [Moylan]. Moylan (Johnny O’Leary), 1994; No. 165, pg. 95. Claddagh CC5, Denis Murphy & Julia Clifford - “The Star Above the Garter.” Globestyle Irish CDORBD 085, The Kerry Fiddle Trio - “The Rushy Mountain” (1994. Reissue of Topic recordings). Topic 12T309, Padraig O’Keeffe, Denis Murphy & Julia Clifford - “Kerry Fiddles.”

X:1

T:Johnny When You Die [1]

M:C

L:1/8

K:G

e/f/edB eBdB|ABGA BA A2|e/f/edB eBdB|…

 

JOHNNY WHEN YOU DIE [2]. AKA and see “The Keel Row.” Irish, Reel. A Major. Standard tuning. AB. The words to “Johnny When You Die” are sung to this melody as well. O’Neill (1922) remarks: “The (tune) is a variant of ‘Well May the Keel Row’, a North of England song tune. It is not listed in Glen's Analytical Table of Old Scotch Dance tunes. As ‘Jenny's Frolics’ it appears in Vol. 2 Paul Alday's A Pocket Volume of Airs, Duets, Songs, Marches etc., Dublin c. 1800.” Source for notated version: the Rice Walsh manuscript, a collection of music from the repertoire of Jeremiah Breen, a blind fiddler from North Kerry, notated by his student [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 267.

X:1

T:Johnny When You Die [2]

M:4/4

L:1/8

S:Rice-Walsh manuscript

Z:Paul Kinder

R:Reel

K:A

c2 Ac d2 Bd|c2 Ac BEEB|c2 Ac d2 Bd|cABG A2 A2|

c2 Ac d2 dd|c2 Ac BEEB|c2 Ac d2 Bd|cABG A2 A2||

ceeg f2 ed|c2 Ac BEEB|ceeg f2 ed|cABG A2 A2|

ceeg f2 ed|c2 Ac BEEB|cdeg f2 ef|g2 fg afed||

           

JOHNNY WILL/WON’T YOU MARRY ME?  AKA - “Love Won’t You Marry Me?” AKA and see "The Braes of Mar [1]," “Some Say the Devil’s Dead.” Scottish, Strathspey; Irish, Barn Dance (4/4 time). G Major. Standard tuning. AB. Ireland, western Ireland. Used for the dances the Highland Fling and the Shottische. Robin Morton (1976) says that in Ireland the tune has been "straightened out," losing its dotted note accents "as is often the case with strathspeys. It is particularly popular in the West for a dance called 'the Fling.'" Kerr (Merry Melodies), vol. 4, No. 8. Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 12. Philo 1042, Boys of the Lough ‑ "The Piper's Broken Finger" (1976).

X:1

T:Johnny Will You Marry Me?

M:4/4

L:1/8

K:G

D2 DE GABA|GEED cEGE|D2 DE GABc|dedB A2 GE|D2 DE GABA|

GEED cEGE|D2 DE GABc|dedB A2G2||d2 dc Bc d2|e2 ed cd e2|

d2 dc BcdB|GABG A2 GB|d2 dc Bc d2|e2 ed cd e2|d2 dc BcdB|GABG A2G2||

X:2
T:Johnny Will You Marry Me
D:Boys of the Lough
N:Aka "Johnny Won't You Marry Me" (Kerr's Merry Melodies)
N:Descended from "Braes of Mar"?
Z:Nigel Gatherer
M:4/4
L:1/8
K:G
GE | D2 DE GABA | GE (3EEE cEGE | D2 DE GABc | dedB A2 :|
z2 | BddB  GBdB | e2 ed    cdec | BddB  GABc | dedB A2 :|

           

JOHNNY WILL YOUR DOG BITE? Old‑Time, Breakdown. USA, central Alabama. The title appears in a list of "forgotten" tunes compiled by W.E.G. of Verbena (Chilton County, Alabama) in the Union Banner of September 19th, 1921. It is perhaps to be another version of "Granny, Will Your Dog Bite? [1]."

                       

JOHNNY WILMOT. Canadian, Reel. Canada, Cape Breton Island. A version of “The Fermoy Lasses,” from the playing of Cape Breton fiddler Johnny Wilmot (1916-1993). Compass 7 4287 2, Cathal McConnell – “Long Expectant Comes at Last” (2000).

                       

JOHNNY WILMOT’S FIDDLES. Canadian, Reel. Canada, Cape Breton. E Minor. The tune can be found in “Elmer Briand’s Collection” and Alister MacGillivray’s Cape Breton Fiddler. Paul Cranford (1994) relates that the tune was composed by Elmer Briand for his friend and fellow-musician Johnny Wilmot (1916-1993), who had earlier composed “Elmer Briand’s Favorite.” Briand’s composition reflects the first phrase of Wilmot’s tune but alters the development. Culburnie Records CUL 121D, Alasdair Fraser & Natalie Haas – “Fire and Grace” (2004).

                       

JOHNNY WILMOT’S JIG. Canadian, Jig. Canada, Cape Breton. G Major. Standard tuning. Composed by Cape Breton fiddler Johnny Wilmot (1916-1993).

X:1

T:Johnny Wilmot's Jig

M:6/8

L:1/8

C:Johnny Wilmot

R:Jig

K:G

g| dBB BAB| GEE EGE| DB,D GAB| cBc A2 g|!

 dBB BAB| GEE EGE|  DB,D GAB| cBA G3:|!

c| Bdg gdB|ceg gec|Bdg gdB| cBc A2 c|!

|1 Bdg gdB| ceg gfe| dcB AGA| BGG G:|!

|2 Bdg Bdg|ceg ceg|dcB AGA|BGG G:|

                       

JOHNNY WITH THE QUEER THING (Seanin/Seaganin Leis An Rud Greannmar). AKA and see "Sailor On The Rock." Irish, Reel. D Major. Standard tuning. AB. O’Neill (1922) compares the first part of this tune with that of “Arkansas Traveller.” O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1294, pg. 243. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 559, pg. 103. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 238-b.

X:1

T:Johnny with the Queer Thing

M:C|

L:1/8

R:Reel

S:O'Neill – Dance Music of Ireland: 1001 Gems (1907), No. 559

Z:AK/Fiddler’s Companion

R:Reel

K:D

dfed BcdB|AD (3FED FAAB|defe B2dB|ABdf gfef|

dfed BcdB|AD (3FED FAA2|dfed B2dB|ABdf "tr"e2d2||faag fddf|gfga beeg|

faaf gedB|ABdf "tr"e2d2|faag fddf|gfga bgeg|agfe dcBc|ABde gfef||

           

JOHNNY WON’T YOU MARRY ME. AKA and see “The Braes of Mar [1],” “Johnny Will You Marry Me?” “Lord MacDonald’s [1],” “Love Won’t You Marry Me?” “Sir Alexander McDonald’s Reel.”

           

JOHNNIE’S BIRTHDAY. English, Hornpipe. England, Northumberland. G Major. Standard tuning. AABBCCDDEE. Attributed (by Tommy Breckons) to Robert Whinham (1814-1893), a musician, teacher, composer, dancing master and fiddler, originally from Morpeth. Source for notated version: an un-attributed 19th century manuscript in Tommy Breckon’s collection [Dixon]. Dixon (Remember Me), 1995; pg. 30.

 

JOHNNY'S DOWN THE RIVER. American, Country Dance Tune (4/4 time). D Major. Standard tuning. AA’BB. Shaw (Cowboy Dances), 1943; pg. 381.

X:1

T:Johnny’s Down the River

L:1/8

M:4/4

S:Shaw – Cowboy Dances  (1943)

Z:AK/Fiddler’s Companion

K:D

F2F2A3F|G2A6|F2F2A3F|E8|F2F2A3F|G2G2 B3B|A2F2F2E2|D6 z2:|D6 z2||

d4A4|BA G2 A4|BG E2 FG A2|DE F2 EC A,2|d4A4|BA G2 A4|BG E2 FG A2| cd e2 d4:|

           

JOHNNY'S FAVORITE WALTZ. American, Waltz. USA, southwestern Pa. D Major. Standard tuning. AA'BB. Sources for notated versions: Walter Neal (fiddler from Armstrong County, Pa., 1948) and Edgar Work (fiddler from Indiana County, Pa., 1949) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 651A‑B, pg. 569.

           

JOHNNY'S FRIENDS ARE NE’ER PLEASED. Scottish, Reel. G Major. Standard tuning. AB. Gow (Complete Repository), Part 4, 1817; pgs. 30-31. Surenne (Dance Music of Scotland), 1852; pg. 20.

X:1

T:Johnny’s friends are ne’er pleased           

M:C|

L:1/8

R:Reel

S:Gow – 4th Repository  (1817)

Z:AK/Fiddler’s Companion

K:G

F|G3g BG (B2|B)EB>A GEEF|G3g B<G B2|AEA>G FDDF|~G3g BG (B2|B)EB>A GEEF|

~GFGA GAB^c|dABG FDD||g|(e/f/g) dg BG (B2|B)EB>A GEEg|(e/f/g) dg B<G B2|

AEAG FDDg|(e/f/g) dg BG (B2|B)EB>A GEEg|egdg cgBg|Ad AG FDD||

           

JOHNNY'S GONE TO FRANCE [1]. English, New England; Reel. E Aeolian (Em). Standard tuning. AABB. Brody (Fiddler’s Fakebook), 1983; pg. 149. Kennedy (Fiddlers Tune Book), vol. 2, 1954; pg. 17. Raven (English Country Dance Tunes), 1984; pg. 159. Front Hall 03, Dudley Laufman‑ "Swinging on a Gate."

 

JOHNNY'S GONE TO FRANCE [2] (Ata Seanin/Seaganin Imtigte Go Fraince/Frainnc).  AKA and see “The Sun Behind Glenties.” Irish, Reel. G Major. Standard tuning. AB (O'Neill/1001): AA'B (O'Neill/Krassen): AABB (Cole). Cole (1000 Fiddle Tunes), 1940; pg. 18. O'Neill (Krassen), 1976; pg. 138 (appears as "Johnny Has Gone to France"). O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1437, pg. 266. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 674, pg. 120. Ryan’s Mammoth Collection, 1883; pg. 41.

X:1

T:Johnny’s Gone to France [2]

T:Johnny Has Gone to France

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 674

Z:AK/Fiddler’s Companion

K:G

g2 fg dcAc|dBcA FGAF|dg{a}(3gfg dcA^c|dBcA dBcA|g2 fg dcAc|

dBcA FGAF|dg{a}(3gfg dcA^c|dBcA BG G2||dg{a}(3gfg gbag|fdcA FGAF|

dg{a}(3gfg gbag|fdcA AG G2|g2 dg gbag|fdcA defg|(3aba ag fgag|fdcA AG G2||

 

JOHNNY'S GONE TO FRANCE [3] (Tá Seáinín bailithe leis chun na France). AKA and see “Mayo Lasses.” Irish, Reel. E Dorian ('A' part) & D Major ('B' part). Standard tuning. ABB. Some similarities to version #1. Breathnach says it is closely related to “Jenny picking Cockles.” Source for notated version: accordion player Bobby Gardiner (County Clare, Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; Nop. 204, pg. 90. Comhaltas Ceoltoiri Eireann CL21, "The Best of Bobby Gardiner" (1981).

 

JOHNNY'S GREY BREEKS [1]. Scottish, March. C Major (Carlin, Hardings, McGlashan): D Major (O’Farrell). Standard tuning. AAB (McGlashan): AABB (Carlin, Hardings, O’Farrell). Breeks = pants ('britches'). This was the original air to which the poet Robert Burns set his song "The Bonnie Lass O' Ballochmyle," though it has since been supplanted in some collections by a more modern one by William Jackson. It may be that the title refers to a soldier in the 90th Light Infantry, the Perthshire Volunteers, raised in 1794 and who, because the rank and file wore light grey pantaloons with their traditional red coats, were dubbed the “Perthshire Grey Breeks.” Carlin (Master Collection), 1984; No. 186, pg. 107. Hardings All Round Collection, 1905; No. 22, pg. 7. McGlashan (Collection of Scots Measures), 177?; pg. 3. O’Farrell (Pocket Companion, vol. II), c. 1806; pg. 129.

X:1

T:Johnny’s Gray Breeckes (sic) [1]

M:C

L:1/8

R:March

B:McGlashan – Collection of Scots Measures   (177?)

Z:AK/Fiddler’s Companion

K:C

c>d|e4 d3c|A4c4|E2DC D2E2|c2G4 c>d|e2de gedc|A4c4|E2DC D2E2| c2 A4:|

||c2|G3A c2d2|e4 d2c2|dcde gage|e2d4 eg|a2a2 bage|gega g2ed|

c2A4c2|GFGA cBcd|e4 d2c2|dcde gage|e2d4 eg|ac’/a/ ga/g/ eg/e/ de/d/| c3a gede|c2 A4||

 

JOHNNY’S GREY BREEKS [2]. AKA and see “Bhíosa lá I bport láirge,” "The Dainty Besom Maker," “Forgive the muse that slumbered,” "The Gimlet," “I’d  mourn the hopes that leave me,” "The Old Lea Rigg," "Little Mary Cullinan," "Little Sheila Connellan,” “Maureen from Giberland,” “Port Láirge,” “The Rose Tree [1]," “The Rose Tree in Full Bearing."

                       

JOHNNY'S JIG. Canadian, Jig. G Major. Standard tuning. AABB. Composed by John Fraser. Perlman (1996) identifies this as a Cape Breton tune (??). Source for notated version: Connie Gallant (b. early 1920's, St. Charles, North-East Kings County, Prince Edward Island; now resident of Naufrage) [Perlman]. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 152, pg. 101. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 123.

                       

JOHNNY’S LOVER’S GONE. See “John Lover’s Gone.”

                       


JOHNNIE'S MADE A WADDIN'/WEDDING O'T. Scottish, Reel. G Mixolydian. Standard tuning. AB (Surenne): AAB (Athole, McGlashan, Skye): AABB' (Kerr). The tonality cleverly shifts between major and minor. John Glen (1891) finds the tune earliest in print in Joshua Campbell's 1778 collection (pg. 6), although J. Murdoch Henderson (1935) cites the tune in Neil Stewart’s 1762 collection. Henderson (Flowers of Scottish Melody), 1935. Kerr (Merry Melodies), Vol. 3; No. 42, pg. 7. MacDonald (The Skye Collection), 1887; pg. 131. McGlashan (A Collection of Reels), c. 1786; pg. 18 (appears as “Johnny’s made a Wadding O’it”). Stewart-Robertson (The Athole Collection), 1884; pg. 190. Surenne (Dance Music of Scotland), 1852; pg. 136.

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

X:1

T:Johnnie’s Made a Waddin’ O’t

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:G

c|BGdG BGG_B|A=FcF AFFA|BGdG BGGg|egdg BGG:|

g|bgaf gdde|~=fdc_B AFFg|bgaf gdd=f|eg^fa gGGg|bgaf gdde|

=fdc_B AFFA|G_BAc Bdc_e|dg^fa gGG|| 

 

JOHNNIE’S MADE THE FIRE ON. English, Hornpipe. England, Northumberland. D Major. Standard tuning (fiddle). AABBCC’. . Composed by Robert Whinham (1814-1893), a musician, teacher, composer, dancing master and fiddler, originally from Morpeth. A two-part version of the tune appears in the Alnwick Pipers’ Society Collection of Locally Composed Music, under the title “Jamie’s Made the Fire On.” Source for notated version: an unattributed 19th century manuscript in the Beamish Museum [Dixon]. Dixon (Remember Me), 1995; p. 30.

 

JOHNNY’S REEL. Canadian, Reel. Canada, Prince Edward Island. D Major. Standard tuning (fiddle). AA’BB’. Composed by Archie Steward (b. 1917), Milltown Cross, South Kings County, Prince Edward Island, for his son. Source for notated version: Archie Stewart [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; p. 74.

 

JOHNNY'S SO LONG AT THE FAIR [1]. AKA and see “Oh Dear! What can the Matter be?” English, Morris Dance Tune (6/8 time) and Air. G Major. Standard tuning (fiddle). One Part (Mallinson): AB (Bacon). A morris jig collected in the Bampton, Oxfordshire, area of England's Cotswolds. Bacon (The Morris Ring), 1974; p. 40. Mallinson (Mally’s Cotswold Morris Book), 1988, vol. 2; No. 10, p. 6. Topic TSCD607, Walter & Daisy Bulwer – “English Country Music” (2000. Originally recorded 1962).

 

JOHNNY IS SO LONG AT THE FAIR [2]. AKA and see "Fasten the Legging."

 

JOHNNY'S TRIP TO FRANCE. Scottish, March (4/4 time). A Dorian. Standard tuning (fiddle). AABB'. O’Neill (1922) says: “The above fine marching tune tho' manifestly in the Irish style is probably of Scotch origin because it comes from the subconscious memory of the writer who associated in Chicago nearly 50 years ago, with such noted Highland pipers as McLean, Cant, and Monroe. Of the four distinct tunes named after Lochiel the Jacobite hero to be found in old printed collections, I find that one specially arranged for the Highland bagpipe is a variant of "Johnny's Trip to France"; dreamily remembered by the editor since early manhood.” Gatherer (Gatherer’s Musical Museum), 1987; p. 11. O'Neill (Waifs and Strays of Gaelic Melody), 1922; No. 77.

X:1

T:Johnny's Trip to France

M:4/4

L:1/8

S:Capt. F. O'Neill

Z:Paul Kinder

R:March

K:G

gf | e2 A2 A2 Bd | edef "tr"gedB | G2 GA BAGA | B2 d2 d2 "tr"gf |

e2 A2 A2 Bd | edef "tr"gedB | G2 GA BAGA | "tr"B2 A2 A2 :|

|: Bd | e2 a2 a2 ga | b2 ab a2 "tr"gf | edef gfga | bc'ba g2 ed |

1e2 a2 a2 ga | b2 ab a2 "tr"gf | edef gag"tr"d | B2 A2 A2 :|

2a2 gf g2 fg | edef "tr"gedB | G2 GA BAGA | "tr"B2 A2 A2 ||

 

JOHNNY'S WEDDING ("Banais Seanin" or "Posad Seaganin"). AKA and see “Colonel McBain’s,” “Devonshire Reel [1],” “The Smoky House [1],” “Sporting Molly.” Irish, Reel. G Dorian. Standard. AA'B. “Colonel McBain” is a closely related tune. O'Neill (Krassen), 1976; pg. 99. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1216. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 493, pg. 94. Green Linnet GLCD 1127, “Martin Hayes” (1993).

X:1

T:Johnny’s Wedding

M:C|

L:1/8
R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 493

Z:AK/Fiddler’s Companion

K:Gmin

GA | BGdG BGGB | AFcF AFFA |1 BGdG BGGB | AF (3D=E^F G2 :|2 GBAc Bdce |

dg^fa g2 || ga | bgag fdd=e | fdcB AFFA | bgag fddc | dg^fa g2 ga | bgag fdd=e |

fdcB AFFA | GBAc Bdce | dg^fa g2 ||

 

JOHNNY'S WELCOME HOME ("Failte Seanin A Baile" or "Failte a Baile Seaganin"). Irish, Reel. A Major. Standard. AB. O'Neill (Krassen), 1976; pg. 123. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1346, pg. 251. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 601, pg. 109.

X:1

T:Johnny’s Welcome Home

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 601

Z:AK/Fiddler’s Companion

K:A

AE {F}(3EDE cE {F}(3EDE | GFEF GFED | (3EFG AB cded |

cBcd e2 fg | abaf gbfe | dBGB ABcd | (3efg ed cABG | AGEG A2 ea ||

{b}agea {b}agea | {b}agef g2 fg | agbg aged | {d}cBcd e2 fg | abaf gbge |

dBGB ABcd | (3efg ed cABG | AGEG AdcB ||

 

JOHNNY’S WELCOME TO HEAVEN. Irish, Reel. G Major. Standard. AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black in memory of the late Kerry fiddler Johnny Cronin, who died in February, 1991. Black (Music’s the Very Best Thing), 1996; No. 29, pg. 14.

X:1

T: Johnny's Welcome to Heaven

C: © B.Black

Q: 350

R: reel

M: 4/4

L: 1/8

K: G

A | BAGA BcdB | cABG EB,DE | G2 dG eGdG | gedB AcBA |

BAGA BcdB | cABG EB,DE | GABd gdBc | dBcA G3 :|

B | dg (3gfg eafa | gdBd eB (3BAB | eBBA GABd | egfg e3 B |

dg (3gfg eafa | gdBd edBA | GABd gdBc | dBcA G3 :|

 

JOHN'S GOT A WOODEN LEG. Old‑Time. USA, Alabama. In the repertoire of Alabama's Johnson Family Band, c. 1950.

 

JOHN'S LOVER IS GONE. AKA and see "John Lover's Gone," "Johnny Lover," "Poor Johnny's Gone To (the) War," "Tommy Love."

 


JOHNSON BOYS. Old‑Time, Song and Fiddle Tune. USA; North Carolina, Virginia, Arkansas. D Major. Standard. AB. Paul Clayton identifies this as an old courting song, comic in nature. Some see similarity with the Gows’ tune “Welcome Whiskey Back Again.” Warner (1984) says, "This is a dance tune for the fiddle and banjo ‑ one of the oldest in the mountains. The words are incidental." The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

***

I hear them Johnson boys a‑coming,

Singing and a‑hollering and shooting off their guns,

All the other fellers scared as the devil,

Johnson boys has got 'em on the run,

Johnson boys has got 'em on the run.

***

Johnson boys went to the mountain,

They didn't reckon long to stay,

Met up with some high‑borned ladies,

Didn't get back till the break of day,

Didn't get back till the break of day.  (Warner)

***

Sources for notated versions: banjoist Frank Proffitt (North Carolina), who learned the tune "from his father's picking and picked up verses from prople on Beech Mountain, friends from Virginia, and others here and there" [Warner]; Jack Aldrich [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 76. Warner (Traditional American Folk Songs), 1984; pgs. 303‑304. Document 8040, “The Hill Billies/Al Hopkins and His Buckle Busters: Complete Recorded Works in Chronological Order, vol. 2” (reissue). June Appal 0067, Whitetop Mountain Band - "Seedtime on the Cumberland" (1992). Marimac 9038, Dan Gellert & Brad Leftwich - "A Moment in Time." Rounder CD0403, The Freight Hoppers - “Where’d You Come From, Where’d You Go?” Tradition TLP 1007, Boone Reid ‑ "Instrumental Music of the Southern Appalachians" (1956).

 

JOHNSON CITY RAG. A variant of "Jawbone" and "Jordon is a Hard Road to Travel." Old‑Time. USA, east Tenn. The melody is a reworking by east Tennessee’s Roane County Ramblers of “Jordan is (am) a Hard Road to Travel,” named for Johnson City, Tennessee, where the band recorded. Columbia 15498-D (78 RPM), James McCarroll and the Roane County Ramblers (1929). County 403, The Roane County Ramblers. County 501, The Roane County Ramblers. County 507, The Roane County Ramblers ‑ "Old Time Fiddle Classics." County CO-CD-3530, The Roane County Ramblers (2004).

 

JOHNSON GAL(S).  Old‑Time, Breakdown. USA; Arkansas, Mississippi. G Major. Standard tuning. ABC (Kuntz): AABBCC (Phillips). The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. A tune by this name was in the repertoire of fiddler Archibald Alexander Shaw (Harnet County, N.C., located in the Sandhills section between the coastal plain and the piedmont), though Evelyn Shaw states it was not played in other parts of the state but was unique to Shaw's area (OTH).

***

Johnson Gals, dressed so fine,

(or: See those girls, dressed so fine,)

Ain't got Jesus on their minds.

***

No matter where in the world I go,

(or: Don't care where in the world I go,)

I can't get around for the calico.

***

Oh my Lordy, can't you see,

 Can't get to heaven with a fool like me.

***

Wanna get to heaven, yes I do,

I wanna get to heaven with the Johnson crew.

***
Oh my lady, can't you see?
You never get to Heaven if you do like me.

***
Want to go to Heaven, want to go straight
Want to walk through that pearly gate.

***
Source for notated version: Allan Block, who learned it from the 1920's string band Mississippi's Leake County Revelers [Kuntz]; Wil Gilmer with the Leake County Revelers (Miss.) [Phillips]. Ford (Traditional Music in America), 1940; pg. 34. Kuntz (Ragged But Right), 1987; pg. 325‑326. Phillips (Traditional American Fiddle Tunes, vol.1), 1994; pg. 128. Columbia 15149 (78 RPM), The Leake County Revelers (1927). Living Folk LFR‑104, Allan Block‑ "Alive and Well and Fiddling."

X:1

T:Johnson Gals

M:2/4

L:1/8

B:Kuntz – Ragged but Right

K:G

[B/g/]e/d/B/ G/A/B/A/|B/G/A/G/ [GB]>(g|g/)e/d/B/ G/A/B/G/|[G/B/]G/A/D/ G2:|

|:D/E/G/A/ BB|B/G/A/G/ [G2B2]|D/E/G/A/ BB|B/G/A/D/ G2|D/E/G/A/ BB|

B/G/A/G/ [G2B2]|D/E/G/A/ BB/A/|B<A G2|| g/a/g/e/ d/e/g|a>a aa|a/b/a/g/ a/g/e|

a>a a(a|a/)b/a/g/ a/g/e/g/|b2 g2|a/b/a/g/ a/g/e| a>a a(a|a)d’ ef|b2 g2||

 

JOHNSON'S ALMAINE. AKA and see "Gathering Peascods."

 

JOHNSON’S GIRL. Old-Time, Breakdown. G Major. From the African-American stringband of Lusk, Gribble & York.

 

JOHNSON'S IMPEACHMENT. American, Reel. USA, southwestern Pa. A Major. Standard tuning. ABCC'. Bayard (1981) identifies this as an American composition, based (at least in the first part) on "Hell on the Potomac" or "Wake Up Susan [1]". He also suggests it may be a recombination of other (Irish) elements, perhaps or not the work of his source's teacher Browning. Source for notated version: Walter Neal (fiddler from Pa., 1952; learned from Abel Browning) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 227, pg. 185.

 

JOHNSON’S JIG. Irish, Jig. D Major. Standard tuning. AABB.

X:1

T:Johnson's Jig

R:Jig

C:Trad

S:Siobhan Kelly

M:6/8

L:1/8

K:D

|:G2B dBG|BAB dBA|G2B dBG|AGA BGE|

G2e dBG|BAB def|gfe dBG|AGA BGE:|

|:gag fgf|efe def|gfg efg|aga bge|

gag fgf|efe def|gfe dBG|AGA BGE:|

 

JOHNSON'S OLD GRAY MULE. Old‑Time, Song Tune. USA, north Georgia. A comic song. Kuntz (Ragged But Right), 1987; pg. 223-224. Starday SLP 235, Curly Fox (1963). Rounder 1032, Georgian Yellow Hammers ‑ "The Moonshine Hollow Band" (1979. Orig. rec. 1927).

 

JOHNSON'S RAG. American, Country Rag.  USA, Central Pa. In  the repertory of Buffalo Valley, Pa., dance fiddler Ralph Sauers.

 

JOHNSON'S REEL [1]. Scottish, Strathspey. E Major. Standard. AABB'. Composed by William Marshall (1748-1833). John Glen (1891) finds the earliest printing of the tune in Marshall's 1781 collection (pg. 10). Moyra Cowie (1999) thinks the title may refer to a servant in Gordon Castle, where Marshall was employed as Steward of the Household. Marshall, Fiddlecase Edition, 1978; 1781 Collection, pg. 10.

X:1

T:Johnston’s (sic) Reel [1]

M:C|

L:1/8

R:Strathspey

S:Marshall – 1781 Collection

Z:AK/Fiddler’s Companion

K:E

E>BG>B E>Be>g|b<g f>e f>cc>e|E>BG>B E>Be>g|b>gf>g e/e/e e2:|

(e/f/g/a/ b>)e g>eb>e|d<B f>B a>Bf>B|1 (e/f/g/a/ b>)e g>eb>e|c>ag>f e/e/e e2:|2

e>gf>a g>ba>g|(f>ef>)g e/e/e e2||

 


JOHNSON'S REEL [2] (Ríl Mhic Eoin). AKA and see "Jackson's Reel," "The Dublin Reel," "The Dublin Lasses [3]," "The Twister," "Athens," "Victor Wild," "The Clogher Reel," "The Union Reel," "The Westmeath Hunt," "The Twelve Locks," "The Shuffle Reel," "Miss Daly's Reel." Irish, Reel. A Dorian. Standard tuning. AAB. The tune is close to "Jackson's Reel," attributed to the 18th century piper Walter Jackson. Source for notated version: accordion player Sonny Brogan (County Sligo/Dublin, Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 201, pg. 78.

 

JOHNSON’S REEL [3].  AKA and see “Ivy Leaf [1].”

 

JOHNSON'S ROAD. American, Jig. G Major. Standard tuning. AABB. Source for notated version: Lawrence Older [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 368. 

 

JOHNSTON’S HORNPIPE. AKA and see “Brown Paper Hornpipe.”

 

JOHNSTON'S STRATHSPEY. AKA and see "Johnson's Reel [1]."

 


JOHNSTOWN GALS. Old‑Time, Breakdown. USA, Pennsylvania. G Major. Standard tuning. AB. See Bayard's note for "Buffalo Gals [1]." Bayard thinks this tune is derivative of "Buffalo Gals." Johnstown in a town in western Pennsylvania, the scene of the famous flood. Source for notated version: Mrs. Sarah Armstrong, (near) Derry, Westmoreland County, Pennsylvania, November 18, 1943 [Bayard]. Bayard (Dance to the Fiddle), 1944; No. 1B.

 

JOHNSTOWN REEL. AKA and see "The Rose of Castletown," "Buachailli na Locha," "Boys of the Lough." Irish, Reel. D Major. Standard tuning. AB. O'Neill (O’Neill’s Irish Music), 1915; No. 304, pg. 151.

X:1

T:Johnstown Reel

M:C

L:1/8

R:Reel

S:O’Neill – O’Neill’s Irish Music (1915)

Z:AK/Fiddler’s Companion

K:D

dB | AD (3FED FAAB | defd efdB | AF (3FEF dBAF | EDEF E2 dB | AD (3FED FAAB |

defd efdB | AF (3FEF dBAF | EDEF D2 || fg | a2 ag fgfe | defd efdB | ADFA dBAF |

EDEF E2 fg | (3aba ge fgec | defd efdB | ADFA dBAF | EDEF D2 ||

 

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