The Fiddler’s
Companion
© 1996-2010 Andrew Kuntz
_______________________________
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JOI - JOY |
Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s Companion
work fine in most abc conversion programs. For example, I use abc2win and
abcNavigator 2 with no problems whatsoever with direct cut-and-pasting.
However, due to an anomaly of the html, pasting the abc’s into the
concertina.net converter results in double-spacing. For concertina.net’s
conversion program to work you must remove the spaces between all the lines
of abc notation after pasting, so that they are single-spaced, with no
intervening blank lines. This being done, the F/C abc’s will convert to
standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth
it. [AK] |
JOICE'S HORNPIPE. AKA and see (?).
T:Joice’s Hornpipe
M:2/4
L:1/8
R:Hornpipe
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
EA c/B/A/B/ | cAA :: e | ec ae | d/c/B/A/ Be | ec ae | f/a/g/b/ ae |
fa ec | d/c/B/A/ Be | EA c/B/A/B/ | cAA :|
JOINER'S JIG, THE. English, Jig.
JOINTURE, THE. Irish, Air. One of the supposed seven or eight
hundred compositions of the ancient harper Thomas O’Connellan (see note for “The Breach of Aughrim”).
JOKE ON THE PUPPY, THE. AKA and see "Rye Straw [1]," "The Unfortunate Pup." Old‑Time,
Breakdown.
JOLI À LA CALIFORNIA.
AKA and see “Champs de Bluets.” French-Canadian, Reel. In the repertoire
of fiddler Yvon Mimeault (b. 1928, Mont-Louis, Gaspé), leaned perhaps from the
playing of Elmo Leblanc, but named in memory of Yvon’s friends from the
Festival of Fiddle Tunes, California. Yvon Mimeault – “Y etait temps!/It’s About Time.”
JOLIE BASSETTE. Cajun/Creole. A Cajun/Creole standard. Arhoolie
CD445, Alphonse “Bois Sec” Ardoin with Canray Fontenot - “La Musique Creole.”
JOL(I)E BLONDE (Pretty
Blonde). AKA
and see "Ma Blonde Est Partie,"
"Jole Blon." Cajun, Waltz. USA, Louisiana. A
Major. Standard tuning. AA(Vocal)B(Vocal)B(Vocal)A. The quintessential Cajun
song, sometimes known as the "Cajun National Anthem." "La Fille d' la Veuve" (as sung
by Shirley Bergeron) may be an older version of "Jolie Blonde,"
states Raymond Francois (1990). Related songs include Amede Breaux's "Ma
Blonde Est Parti," Elton "Bee" Cormier's "Reine de Mon Coeur" and Iry
LeJeune's "La Fille d' la Veuve." Source for notated version: Varise
Connor, Preston Manuel & Raymond Francois (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 177-179. Bluebird 2003 (78 RPM), Hackberry Ramblers, 1936.
JOLIE CATIN [1] (Pretty Doll). AKA and see "Choupique Two-Step." Cajun.
See related tune "Choupique Two-Step." Recorded by Alphonse
"Bois Sec" Ardoin.
JOLIE CATIN [2] (Pretty Doll). AKA and see "Eunice Two-Step." Cajun, Two-Step.
USA, Louisiana. A Major. Standard tuning. AA(Vocal)BBA(Vocal)BBA(Vocal)B. From
Iry LeJeune, and not related to version #1. Amede Ardoin was the first to
record this song. Related songs, according to Raymond Francois (1990), are
Moise Robin's "'Tit Ardoin
Two-Step," Austin Pitre's "Bayou Teche Two-Step,"
Alphonse "Bois Sec" Ardoin's "Chere Ici, Chere La Bas,"
and J.W. Pelsia and Nathan Menard's "Cypress Inn Special," among
others. Source for notated version: Iry LeJeune (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 180-182. Goldband Records
GB-LP7741, Iry LeJeune.
JOLIE FILLE. See "Jolie Catin [2]."
JOLIES JOUES ROSES (Pretty Rosy Cheeks). AKA – “Chere Joues Roses.” Cajun, Waltz. USA,
southwestern Louisiana. A Mixolydian. Standard tuning.
AABA(Vocal)AAAABA(Vocal)A. A related song is Dewey Balfa's "Cheres Joues Roses." The song
was recorded by Austin Pitre in the 1970's, though Raymond Francois (1990)
believes the tune is older. Source for notated version: Austin Pitre (La.)
[Francois]. Francois (Yé Yaille, Chère!),
1990; pgs. 183-184. Swallow Records SW-LP6041, Austin
Pitre. Swallow Records CD, “The Balfa Brothers Play Traditional Cajun Music.”
JOLLITY, THE. English, Jig. England, Northumberland. D
Major. Standard tuning. AABB. Seattle (William
Vickers), 1987, Part 2; No. 240.
JOLLY BANGER [1], THE (An Buailteoir Meidhreach). AKA and see "Largo's Fairy Dance," "The Fairy Reel [1]," "Daunse ny Farishyn." G Major.
Standard tuning. AA'BB'. A version of “The Fairy Reel” which Breathnach thought
was “far better than the basic form.” Source for notated version: piper Willie Clancy
(Miltown Malbay, County Clare, Ireland), who had the tune from his father, who
had it from legendary piper Garret Barry [Breathnach]. Breathnach (CRE III), 1985; No. 156, pg. 73. Gael‑Linn Records CEF 018, John Kelly & Willie
Clancy ‑ "Seoda Ceoil I" (1968).
JOLLY BANGER [2], THE. AKA and
see “Old Tipperary.” Irish, Jig. G
Major. Standard tuning. See also the related “Leitrim Jig [1].”
X:1
T:The Jolly Banger
T:Old
Tipperary
R:Jig
Z:Gerry Strong
M:6/8
L:1/8
K:G
d|:cAF ~G3|ABA ~G3|cAG GFG|ADE FGd|cAF ~G3|ABA
GBd|fdd edd|1fdd cAd:|2fdd cAF|
|:GBd ~g3|gaf ~g3|dgg dgg|a2 g fga|bag agf|gfe f2 e|dcA d2 e|1fed
cAF:|2fed cAd||"Last Time"fed cAF|G3||
JOLLY BEGGAR [1], THE. Irish, Double Jig. G Major. Standard tuning.
AABB’CC. Mulvihill (1st
Collection), 1986; No. 52, pg. 76.
JOLLY BEGGAR [2]. 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],” “Johnny Doherty’s Reel [1],”
“The Knotted Chord [2],” “Matt Molloy’s [1],” “The Mistress,” “Mot Malloy,” “Tinker Doherty,” “The Wise Maid [1].” Irish, Reel. Shanachie 79009, "Planxty." Shanachie 79012,
Planxty ‑ "The Planxty Collection" (1974).
JOLLY BEGGAR [3], THE. Scottish, Strathspey. G Major. Standard
tuning. AA’BB’. Kerr (Merry Melodies),
vol. 4; No. 107, pg. 14.
X:1
T:Jolly Beggar, The [3]
M:C
L:1/8
R:Strathspey
B:Kerr – Merry Melodies, vol.
4, No. 197 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
D|G>AB>c d<B A>B|G<g
g>a f2 e>d|g>ba>g e>fg>e|d<B G>B A3D|
G>AB>c d<B A>B|G<g
g>a f2 e>d|g>ba>g e>fg>e|d<B B>A G3||
B|e>fg>e
f>^dB>B|e>fg>e f3B|g>ba>g e>fg>e|d<B G>B A3B|
e>fg>e
f>^dB>B|e>fg>e f3d|g>ba>g e>fg>e|d<B A>B G3:||
JOLLY BEGGARMAN, THE (An Deircteoir Sugac). Irish, Air (3/4 time,
"gaily"). D Major. Standard tuning. AB.
***
It´s of a jolly beggarman come tripping o´er the plain
He came unto a farmers door a lodging for to gain
The farmer´s daughter she came down and viewed him cheek and chin
She says "He is a handsome man I pray you take him in"
We´ll go no more a roving, a roving in the night,
We´ll go no more a roving let the moon shine so bright,
We´ll go no more a roving
***
He would not lie within the barn nor yet within the byre
But he would in the corner lie down by the kitchen fire.
Oh, then the beggar´s bed was made of good clean sheets and hay,
And down beside the kitchen fire the jolly baggar lay
***
Chorus
***
The farmer´s daughter she got up to bolt the kitchen door
And there she saw the beggar standing naked on the floor.
He took the daughter in his arms and to the bed he ran.
"Kind sir" she says, "be easy now, you´ll waken our good
man"
***
Chorus
***
"Now you are no beggar you are some gentleman
For you have stolen my maiden‑head and I´m quite undone."
"I am no Lord I am no Squire of beggars I be one
And beggars they be robbers all so you are quite undone."
***
Chorus
***
She took the bed in both her hand and threw it at the wall
Says: "Go you with the beggar man, my maiden‑head and
all."
***
O'Neill (Music of Ireland: 1850
Melodies), 1903/1979; No. 364, pg. 63.
X:1
T:Jolly Beggarman, The
M:3/4
L:1/8
R:Air
N:”Gaily”
S:O’Neill – Music of Ireland (1903), No. 364
Z:AK/Fiddler’s Companion
K:D
fe|d3c A2|A2G2A2|c3A G2|A4 fe|d3 c
A2|A2GB2c2|d3 e d2|d2f2e2|d3c A2|
A2G2A2|c3A G2|A2 f2e2|d3c
A2|A2B2c2|(d6|d4)||fg|a4b2|g4 a2|f2e2d2|c2d2e2|
a4b2|g4
a2|f2e2d2|e2f2g2|(a4b2|g4a2|f2e2d2| c2d2e2 | f2e2d2 | c2A2c2 | (d6 | d4) ||
JOLLY BLACKSMITH. Old‑Time. A version of "Flop‑Eared Mule" by
JOLLY BUTCHERS, THE. AKA and see "The Tailor's Twist." Scottish, Hornpipe.
D Major. Standard tuning. AABB. Source for notated version: Katie Taylor
[Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1974, vol. 3, No. 76. Kerr (Merry Melodies), vol. 3; No. 320, pg.
35. Shanachie SHA 34008, “Andy McGann & Paddy
Reynolds” (1977).
X:1
T:Jolly Butchers, The
M:C
L:1/8
R:Hornpipe
S:Kerr – Merry Melodies, vol. 3, No. 320
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
(FE)|DA,FD AFdA|Bged cbag|fedc
Bged|(3cdc (3BcB AGFE|DA,FD AFdA|
Bged cbag|fedc Bgec|dcdc
d2::(fg)|a^gaf def=g|Afdd d2(ef)|gfge cdef|
(3gag (3fgf egfe|dfec dDFA|Bged
cbag|fedc Bgec|dcdc d2:|
JOLLY CLAM-DIGGER'S, THE. AKA and see "The Blackthorn Stick [4]," “Brightest Eyes,” "Clear the Road," "Inch of Garth," "The Irishman's Blackthorn Stick,"
"The Rising Sun [2]," "An
Sean‑draighnean," “Strone Johnny.”
Irish, Reel. D Major. Standard. AB. A version of “The Rising Sun” family of
tunes, although with a different ‘B’ part. Michael Coleman famously recorded
the tune as “The Blackthorn Stick.” De Dannan (first
album).
X:1
T:Jolly Clamdiggers, The
R:reel
E:7.5
M:C|
L:1/8
K:D
d2 FB AFEF|D2dc BABc|dF~F2 dFAF|GBAG
FDFA|\
d2 FB AFEF|D2dc BABc|dF~F2 dFAF|GBAF
D2 z2||*
d2 fd egfd|A2 (3cBA eAcA|defg ~a3
f|afeg fddc|\
d2 fd egfd|A2 (3cBA eAcA|defg ~a3
f|afeg fd ~d2||**
JOLLY CLAM-DIGGER'S
[2], THE. Irish, Reel. D Major. Standard
tuning. AABB. Cole (1000 Fiddle Tunes),
1940; pg. 15. Kerr (Merry Melodies),
Vol. 2; No. 299, pg. 33. Ryan’s Mammoth
Collection, 1883; pg. 38.
X:1
T:Jolly Clan-Diggers [2]
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:D
(3A/B/c/ | dF/G/ A(3d/e/f/ |
g/f/e/d/ f/d/B/c/ | dF/G/ AA/B/ | A/F/E/G/ F/D/D/A/ |
dF/G/ A(3d/e/f/ | g/f/e/d/ f/d/B/c/
| dF/G/ Ad/e/ | f/a/e/f/ d :: (3e/f/g/ | a/f/b/f/ a/f/d/f/ |
g/f/e/d/ (c/d/)(3e/f/g/ | a/f/b/f/
a/f/d/f/ | a/b/a/g/ (f/d/)(3e/f/g/ | a/f/b/f/ a/f/d/f/ |
g/f/e/d/ f/d/B/c/ | dF/G/ Ad/e/ |
f/a/e/f/ d :|
JOLLY COMPANIONS [1], THE (Na compaich ag òl). AKA ‑ "Jolly Companions,
Every One" (?). Scottish, Jig. E Flat Major. Standard tuning. AABB. "This
is another Highland bacchanallian air. It was communicated without the name to
the editor by his friend, Alexander Leslie, Esq., but the editor's father
struck up a great many excellent sentimental verses to it by John MacMurdo of
Kintail, formerly mentioned" (Fraser). The title appears in Henry Robson's
list of popular Northumbrian song and dance tunes ("The Northern
Minstrel's Budget"), which he published c. 1800 (may be version #2).
Fraser (The Airs and Melodies Peculiar to
the Highlands of Scotland and the Isles), 1874; No. 184, pg. 75.
X:1
T:Jolly Companions, The [1]
T:Na compaich ag òl
M:6/8
L:1/8
R:Jig
S:Fraser Collection
Z:AK/Fiddler’s Companion
K:Eb
E2E F2F | B2B (G>FG) | E2E FGB | c>(B/G/=B/) c3 | E2E F2F | B2B (G>FG)| e2d cBG | G^FG c3 :|
|:B|e2B e2B|e2B cBG| e2B e2B| c>(B/G/=B/) c3|B>cd
e>ge|d>cB c>BG| Bcd e(f/e/)(d/c/) | BG=B [E3c3] :|
JOLLY COMPANIONS [2]. AKA and see "Lillibulero."
Scottish, Jig. A Major. Standard. AABB. Kerr (Merry Melodies), vol. 3; No. 213, pg. 25.
X:1
T:Jolly Companions [2]
M:6/8
L:1/8
R:Jig
S:Kerr – Merry Melodies, vol. 3, No. 213 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
ABA c2c|BcB d2d|ceA d2c|BAG A3:|
|:a2e f2e|a2e f2e|efg agf|edc B2e|
fed cde|edc Bcd|ecA d2c|BAG A3:|
JOLLY COOPER, THE. English, Country Dance Tune (6/8 time). G
Major. Standard. AABB. The tune dates to at least 1713. Barnes (English Country Dance Tunes), 1986.
JOLLY COPPERSMITH. A German march which became popular around 1900. The tune was played by
Indiana fiddler John W. Summers.
JOLLY CORKONIAN, THE (An Corcaigeac Sugac). AKA and see “Boys of Tandragree,” “Braes of Glenorchy [2],” "Hills of Glenorchy [1],” “The House of Clonelphin,” “Joe Kennedy’s,” “Mrs. Martin’s Favourite,” “Paddy O’Carroll’s [2],” “Pat Burke’s,” “Rollicking Boys of Tandaragee.”
Irish, Double Jig. D Major/Mixolydian: D Dorian (O’Neill/1001). Standard. AABB.
O’Neill (Irish Folk Music) identifies
it as “the original of the march the Scotch call ‘The Hills of Glenorchy’” but
in fact it appears first in print in Scottish collections. An early setting
appears as “Braes of Glenorchy” in Alexander Mackay’s collection of c. 1805.
Source for notated version: John Carey, a native of Limerick [O’Neill]. O'Neill
(Krassen), 1976; pg. 29. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 822, pg. 153. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 87, pg. 30. Ryan’s Mammoth Collection, 1883; pg. 92.
X:1
T:Jolly Corkonian, The
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No. 87
Z:AK/Fiddler’s Companion
K:Ddor
c/B/|AFD DED|AGA cBA|GEC CDC|EDC
EFG|AFD DED|AGA cde|dcA GEC|DED D2:|
|:A|ded dcA|dcd fed|cdc cBA|GAB
cGE|ded dcA|def fed|cBA GEC|DED D2:|
JOL(L)Y DAY NOW DAWIS. See "Day Daws/Dawns."
JOLLY DOGS. American, English; Polka A Major (Ford): D Major (Plain Brown).
Standard. AABB. Ellis Knowles piece is more elaborate that the rather simple
version noted by Ford, and includes some introductory bars and and extra part. Source
for notated version: No. 2 in the music manuscript book of Ellis Knowles, a
muscian from Lancashire, England, c. 1847 [Plain Brown]. Ford (Traditional Music in America), 1940; pg.
81. Plain Brown Tune Book, 1997; pg. 9.
JOLLY FIDDLER'S REEL. Canadian, Reel. A Major. Standard tuning. AABB. Source for notated
version: Adirondack Mountain region (New York) fiddler Vic Kibler learned it
from a recording by Canadian fiddler Bill Guest [Bohrer/Kibler]. Bohrer (Vic Kibler), 1992; No. 24, pg. 24.
X:1
T:Jolly Fiddler’s Reel
M:2/4
L:1/8
R:Reel
K:A
A,C/E/ F/E/C/E/|A/E/G/E/
F/E/C/E/|=G,B,/D/ E/D/B,/D/|=G/D/F/D/ E/D/B,/G,/|
A,C/E/ F/E/C/E/|A/E/G/E/
F/D/E|E/F/G/A/ B/d/c/B/|A/c/B/c/ A2:|
|:a/g/a/e/ fe|a/g/a/e/ fe|=g/f/g/f/
g/f/e/f/|g/f/g/f/ ee/e/|a/g/a/e/ fe|a/g/a/e/ fe|
E/F/G/A/ B/d/c/B/|A/c/B/c/ A2:|
JOLLY FOXHUNTER'S, THE. AKA and see "The Foxhunter's Jig."
JOLLY GENTLEMAN'S
FROLICK. AKA and see "Have You Heard of a
Frolicsome Ditty."
JOLLY JIG. French‑Canadian. Point Records P‑229,
Gerard Joyal ‑ "Canadian Jigs and Reels."
JOLLY JOKER, THE (An Magaire Greannmar). Irish, Double Jig. D Major.
Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 53. O'Neill (Music of
Ireland: 1850 Melodies), 1903/1979; No. 1014, pg. 189. O'Neill (Dance
Music of Ireland: 1001 Gems),
1907/1986; No. 229, pg. 52.
X:1
T:Jolly Joker, The
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
229
Z:AK/Fiddler’s Companion
K:D
D>dd dFG|ABG FGE|D>dd dFA|GBA
GFE|D>dd F>dd|E>dd D>dd|fdB AGF|EBA GFE:|
|:FEF DzD|DFA AGE|FEF D3|fdB Bcd|FEF
DzD|DFA AGF|G>BG F>AF|E>BA GFE:|
JOLLY JOURNEYMAN, THE (An Fear-Aonlae Sugac). Irish, Reel. G Major. Standard
tuning. AAB. O'Neill (Krassen), 1976; pg. 102. O'Neill (Music of Ireland:
1850 Melodies), 1903/1979; No. 1239, pg. 233.
X:1
T:Jolly Journeyman, The
M:C|
L:1/8
R:Reel
S:O’Neill – Music of Ireland
(1903), No. 1239
Z:AK/Fiddler’s Companion
K:G
G2 (BG) ABcA | eBcA eBcA | G2 (BG)
ABcA | eBcA BG G2 :|
g2 (fg) agfd | eBcA eBcA | g2 (fg)
agfd | eBcA (BG) G2 |
g2 (fg) agfd | eBcA eBcA | G2 (BG)
ABcA | eBcA BG G2 ||
JOLLY LAD, THE. Australian, Reel. D Major. Standard tuning.
AABB. An Irish-style tune composed by Peter Holmes.
X:1
T:The Jolly Lad
R:reel
C:Peter Holmes
Z:Andrew Le Blanc
P:2
M:4/4
L:1/8
Q:100
K:D
||:FB ~B2 dB ~B2| FcAB FEDC| B,F ~F2
DFAF| EDCA FEDC| B,B ~B2 dB ~B2| FB
AB FEDC| B,A,B,C DEFA|BAFA B4:|
|:Bf ~f2 edcA| BcdB ABcA| Bf ~f2
edcA| FAdA EAcA|Bf ~f2 edcA| FBAB FEDC|
B,A,B,C DEFA| BAFA B4:||
JOLLY LEMMANE (DAWIS
IT NOT DAY). Scottish. This ancient dance (tune)
mentioned in the text "Colkelbie's Sow" is perhaps the same as "Day Daws/Dawns."
JOLLY LITTLE BOY, THE (An Buacaillin Sugac). Irish, Hornpipe. D Major. Standard
tuning. AABB. Source for notated version: Chicago fiddler Edward Cronin,
originally from County Tipperary. Cronin was a weaver, machinest, and sometimes
journalist who had a storehouse of tunes committed to memory. He was one of
O’Neill’s chief informants, and a man “whose boast it was that he never forgave
or forgot an injury” [O’Neill]. O'Neill (Krassen), 1976; pg. 201. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 1716, pg. 319.
X:1
T:Jolly Little Boy, The
M:2/4
L:1/8
R:Hornpipe
S:O’Neill – Music of Ireland
(1903), No. 1716
Z:AK/Fiddler’s Companion
K:D
(3A/B/c/ | d/c/d/A/ G/F/E/D/ |
G/E/F/D/ E/D/B,/A,/ | D/F/E/G/ F/A/G/B/ |
A/d/c/e/ d/f/e/g/ | f/d/A/F/
G/F/E/D/ | D/E/F/D/ E/D/B,/A,/ | D/F/E/G/ F/A/G/B/ |
A/d/c/e/ d2/ :: (3A/B/c/ | d/c/d/f/
e/d/B/A/ | d/f/a/f/ g/f/g/e/ | d/c/d/f/ e/c/A/c/ |
B/A/G/B/ A(3A/B/c/ | d/c/d/f/ e/d/B/A/
| d/f/af/ g/f/g/e/ | a/f/g/e/ f/d/e/c/ | A/g/f/e/ d2 :|
JOLLY MERCHANT. AKA and see "The Merry
Merchant [2]."
JOLLY MORTALS. English, Slip Jig. A Major. Standard tuning. AABB.
The melody is unique to London publisher Charles and Samuel Thompson’s 1765
country dance collection. Thompson (Compleat Collection of 200
Favourite Country Dances, vol. 2), 1765; No. 105.
X:1
T:Jolly Mortals, The
M:9/8
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:A
Ace ecA “tr”f2B|Ace ecA “tr”B2E|Ace ecA agf|{a}gfe|Bc^d {d}e3:|
|:egb
bge dcB|cea aed “tr”cBA|Bcd cea dcB|{d}cBA EFG A3:||
JOLLY NIGHT, THE. English, Jig. G Major. Standard tuning. AABB.
The melody is unique to London publisher Charles and Samuel Thompson’s 1765
country dance collection. Thompson (Compleat Collection of 200
Favourite Country Dances, vol. 2), 1765; No. 118.
X:118
T:Jolly Night, The
M:6/8
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:G
gdB GGG|AAA cBA|gdB GGG|cBA “tr”B3|gdB GGG|AAA cBA|Bdg fge|dAF D3:|
|:dAF
DDD|GFE FFF|FGA ABc|BdB A2d|gdB GGG|AAA cBA|Bdg edc|BcA G3:||
JOLLY OLD MAN (An Sean Duine Sugac). AKA and see "Brisk Young Lad(‘s),"
"Brisk Irish Lad,"
"Bung Your Eye," "Mary the Maid," "There came a young man."
Irish, Double Jig. A Dorian. Standard tuning. AAB. The title comes from the
Chicago collector, Captain Francis O’Neill O'Neill, who had the untitled tune
from Jimmy O’Brien, a County Mayo piper who spent a few months in Chicago in
the 1870’s. O’Neill describes him as “a neat, tasty Irish piper of the Connacht
school of close players, and though his Union pipes were small, they were sweet
and musical.” The ‘jolly old man’ of the title was the elderly father of a family
of flute playing sons, who tried his best to dance a certain jig step to
O’Brien’s piping. “He appealed to the piper, in strident tones, ‘Single it,
single it; I can’t double with the other foot.’ This concession granted, he
continued for a time, amidst great applause.” O’Neill named the tune in honor
of Mr. Maloney, the elderly dancer. (O’Neill, IFM, pg. 20). The alternate
title “Bung Your Eye” comes from Aird’s Selection of Scotch, English, Irish and
Foreign Airs (1782), but the earliest appearance of the tune appears to be
as the air to the song "There cam’ a young man to my Daddie’s door”
published by Herd in 1769. In Scotland the tune is popular as a pipe jig under
the titles “The Big Headed Man” (Fear a’ Chinn Mhòir),” “The Bride’s Jig,”
"Brisk Young Lad('s),"
“Fear an Dùin-Mhòr” (He of the Big Fort),” “Lord
Dunmore‘s Jig,” “The Man with the Big Head,” “There Came a Braw Lad to My
Daddy’s Door,” “There Came a Young Man,” “There was a Young Man,” “Traverse
the Rough Hills,” “Travelling the Rugged Country” (Shiulbhail na Garbhlich).
Source for notated version: County Mayo piper Jimmy O’Brien (c. 1870’s)
[O’Neill]. O’Neill (O’Neill’s Irish Music),
1915/1987; No. 161, pg. 90. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 895, pg. 166. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 142, pg. 38. Ryan’s Mammoth Collection, 1883; pg.
106.
X:1
T:Jolly Old
Man, The
M:6/8
L:1/8
R:Jig
S:O’Neill –
Dance Music of Ireland: 1001 Gems
(1907), No. 142
Z:AK/Fiddler’s Companion
K:Amix
E|AGA
c2d|edc BcA|GFG B2c|dge dBG|AGA c2d|edc Bcd|ecA ABG|A3 A2:|
|:e|aga
b2a|age edB|GAB d2d|dge dBG|1 aga b2a|age edB|
A2A ABG|A3
A2:|2 AGA c2d|edc Bcd|ecA ABG|A3 A2||
JOLLY OLD WIFE, THE. AKA and see “The Geese in Bog [1],” “The Three Little Drummers [1].”
Irish, Double Jig. Ireland, County Donegal. Collected by Padraig Mac Aodh
O’Neill in 1905 from Herbert Hughes, published in The Journal of the Irish Folk Song Society (1905) with the notation
that it was one of the most popular Donegal dance tunes (Caoimhin Mac Aoidh,
1994). The “Geese in the Bog” is an alternate title, and the name of several
different jigs.
JOLLY OLD WOMAN. AKA and see "The
Humours of Bandon."
JOLLY PEDLAR [1], THE (An Ceannuidhe Sugach). Irish, Air ("spirited",
2/4 time). E Minor. Standard tuning. One part. Joyce (Old Irish Folk Music and Song: The
Pigot Collection), 1909; No. 720, pg. 359.
JOLLY PEDLAR [2], THE (An Ceannuighe/Ceannaidhe Sugach). AKA ‑ "An Ceannuighe
Sugach" (Cany‑Soogagh). Irish, Air (3/8 time). G Major. Standard
tuning. One part. Learned by Joyce as a child in Limerick (c. 1840’s).
***
I am a young pedlar that rambles this nation o'er,
From seaport to seaport and market towns galore,
Among jolly comrades I spend my money free,
And the brave Canny Soogagh is noted in each counterie.
(Joyce)
***
Joyce (Old Irish Folk Music and Song), 1909; No. 95, pg. 49.
X:1
T:Jolly Pedlar, The [2]
M:3/4
L:1/8
R:Air
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:G
d|gdB|BAA|BdB|A2G|G2
D/E/|GAG|GBd|efg|fdc|B2 c/A/|AGG|GBd|efg|
fdB|g2 f/a/|gdB|BAA|BdB|A2G|G2||
JOLLY PEDLAR [3], THE (An Ceannaidhe Sugach). Irish, Air (2/4 time). C Minor.
Standard tuning. One part. There are some small similarities between this piece
and version #1. Source for notated version: recorded by Bunting in 1802 from
one Kate Martin (County Cavan) [Bunting]. O'Sullivan/Bunting, 1983; No. 5, pgs.
7-8.
JOLLY PEDLER'S [4], THE. AKA and see “Blithesome Bridal,” “Come fy, Let’s A’ to the
Bridal,” "Come to the Bridal,"
“I’m the Boy for
Bewitching Them,” “Let us
waa to the wedding.” Irish, Slip Jig. G Major. Standard tuning. AB. Cole (1000 Fiddle Tunes), 1940; pg. 74. Ryan’s Mammoth Collection, 1883; pg.
105.
X:1
T:Jolly Pedler’s, The [4]
M:9/8
L:1/8
R:Jig
S:Ryan’s Mammoth Collection
(1883)
Z:AK/Fiddler’s Companion
K:G
G | GAG Gge dBG | (A2G) ABd (e2g) |
GAG Gge dBG | ABc BAG (E2G) |
GAG Gge dBG | (A2G) ABd (e2g) | GAG
Gge dBG | ABc BAG E2 || g |
gdg gag fed | edB gab (a2f) | gab
abg fed | ege dBG (A2G) | GAG Gge dBG |
(A2G) ABd (e2g2) | GAG Gge dBG | ABc
BAG E2 ||
JOLLY PIGEONS, THE. Irish, Reel. Related to “The Merry Days of Easter [2]."
Ó Briain (The Golden Eagle), 1988;
pg. 71.
JOLLY
PLOWMAN/PLOUGHMAN [1] ("An Treabaire
Sugac" or "An toireamh sugach"). AKA
and see "Jack the Jolly
Ploughboy," "Low-back(ed)
Car [2],” "Smiling Nannette," "The Brave Irish Boy,"
"To Rodney we will go." Irish, Air (4/4 time). A Major. Standard
tuning. AAB. The melody is closely related to the English tune "The Nutting Girl." See note for
"Jack the Jolly Ploughboy." O'Neill (Music of Ireland: 1850
Melodies), 1979; No. 386, pg. 67.
X:1
T:Jolly Plowman, The [1]
M:C
L:1/8
R:Air
N:”Moderate”
S:O’Neill – Music of Ireland (1903), No. 386
Z:AK/Fiddler’s Companion
K:A
E|A2 c>A d<BAG|Ace>e e2
c>e|edBd dcAc|dBAG A2 z:|
||e|e>dcd eagf|e>dcd e2
a>a|a2 fa a g2 e|gfed eg/f/ e/d/c/B/|
A2 c>A dBAG|Ac e2 e2 c>e|edBd
dcAc|dBAG A2||
JOLLY PLOWMAN [2], THE. Scottish, Reel. A Major. Standard tuning.
AABB. John Glen (1891) finds the earliest printing of the tune in Robert Bremner's 1757 collection.
Bremner (Scots Reels), c. 1757; pg.
89.
X:1
T:Jolly Plowman [2]
M:C
L:1/8
R:Reel
S:Bremner – Scots Reels (c. 1757)
Z:AK/Fiddler’s Companion
K:A
d | c(ee)c dc”tr”BA | ce e/e/e a2 ea | “tr”fefa gbBd | ceaf “tr”e2A :|
|: (f/g/) | (a/g/f/e/) ac d>c B(f/g/ | a)fec efge | (a/g/f/e/) (f/e/d/c) dc “tr”B2 | ceAa “tr”e2A :|
JOLLY ROBIN. AKA and see “Lovely Robbie,” “Sleepy Maggy/Maggie.” Scottish,
Reel. The melody appears in the Drummond
Castle Manuscript (1734), in the possession of the Earl of Ancaster at
JOLLY SAILOR. AKA and see “Rakes of Mallow.”
JOLLY SEVEN, THE ("An Moirseisior Sugac" or "An
Seachtar Súgach"). AKA and see “Around the World [1],”
“The Cavan Reel,” “The Gravel Walk(s),” “The Highlandman that
Kissed his Grannie [1],” “Jenny
Tie Your Bonnet,” “Miss Kelly,”
“Miss Percy’s Reel,” “Stenson’s No. 1,” “The Tailor’s Thimble [2].” Irish, Reel.
C Major ('A' part) & A Dorian ('B' part). Standard tuning. AB (O'Neill/1850
& 1001): ABB (Breathnach): AABB (Cole): AA'BB' (O'Neill/Krassen). A variant
of the large “Highlandman” family. Source for notated version: accordion player
Paddy O'Brien and fiddler James Kelly [Breathnach]. Breathnach (CRÉ III), 1985; No. 163, pg. 75. Cole (1000 Fiddle Tunes), 1940; pg. 27.
O'Neill (Krassen), 1976; pg. 144. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1466, pg. 271. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 697, pg. 123.
Ryan’s Mammoth Collection, 1883; pg.
53. Shanachie Records 29015, Paddy O'Brien & James
Kelly ‑ "Is it yourself?" (1979). Shanachie 34014, James Kelly,
Paddy O’Brien & Daithi Sproule – “Traditional Music of
X:1
T:Jolly Seven, The
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
R:Reel
K:C
c2 ec gcec | c2 ec dBGB|c2 ec gcec |
af{a}ge dBGB | c2 ec gcec | c2 ec dBGB |
cBAG ABcd | eaed cA A2 || ceAe ceAe
| ceAe dBGB | ceAe ceAe | af{a}ge dBGB |
ceAe ceAe | ceAe dBGB | cBAG ABcd |
eaed cA A2 ||
JOLLY SHEPHERDS, THE. Scottish,
X:1
T:Jolly Shepherds, The
M:C
L:1/8
R:
S:Kerr – Merry Melodies, vol. 2, No. 216
Z:AK/Fiddler’s Companion
K:E Minor
e>f | g>fe>f e>dB>A |
(B<d)d>e d2 e>f | g>fe>f e>dB>A | (B<e)f>g e2g>e
| d>eg>a b2 a>g |
a>ga>b d2 g>a |
b>ag>f e>dB>A | B2e2e2 || G>A | B2d2 d>cB>A | B2e2
e>fg>a |
b>ag>f e>dB>A | B2e2e2
G>A | B2d2 d>cB>A | B2e2 e>fg>a | b>ag>f e>dB>A |
B2e2e2 ||
JOLLY TARS. Scottish, Hornpipe. F Major. Standard tuning. AA’BB. Kerr (Merry Melodies), vol. 4, c. 1880’s; No.
303, pg. 32.
X:1
T:Jolly Tars
M:C|
L:1/8
R:Hornpipe
S:Kerr – Merry Melodies, vol. 4, No. 303
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:F
(cB)|AFAc dBdf|eceg f2 (fe)|dfed
café|dcBA G2| AFAc dBdf|
eceg f2 (fe)|dbag
fede|g2f2f2::(gf)|eceg b2 (ag)|fcfa c’2 (ba)|g^fga bag=f|
e2c2c2(cB)|AFAc dBdf|eceg f2
(fe)|dbag fede|g2f2f2:|
JOLLY TINKER [1], THE. Irish, Hornpipe. G Major. Standard tuning.
AABB. Roche Collection, 1927/1983,
vol. 2; No. 224, pg. 15.
X:1
T:Jolly Tinker [1]
M:C|
L:1/8
R:Hornpipe
S:Roche (vol. 2, 1927; No. 244)
Z:AK/Fiddler’s Companion
K:G
G2 AG FGAc | B3 dB ecAF | G2 AG FGAc
| BGAF GFED | G2 AG FGAc |
B2 dB ecAF | G2 AG FGAc | BcAF G2Az
:: Bd d2 ed d2 | egfa gedc | Bd d2 ed d2 |
ABcA GFED | Bd d2 edd2 | egfa g2 ga
| ((3bag af) gfed |1 egfa gedc :|2 egfa gedB ||
JOLLY TINKER [2], THE (An Stanadoir Sugac). AKA and see “Johnny Doherty’s Yellow
Tinker,” “Timpan Reel,” “The Tinker’s Occupation.” Irish,
Reel. A Mixolydian (O'Neill): A Dorian (Harker/Rafferty, Kerr, McNulty).
Standard tuning. ABCD (Kerr): ABCDE (Harker/Rafferty): AA'BBCCDDE (O'Neill/1850
& 1001): AA'BBCCDEDE (McNulty): ABBCDDEE' (O'Neill/Krassen). The tune was a
showcase for Donegal fiddler John
Doherty (1895-1980) {see “Johnny Doherty’s Yellow Tinker”}. Variants are
Cathal Hayden’s “Donegal Tinker,” and
“The Tinker’s Occupation.” See also “Round
the World [2]” and “Beamish’s Goat.”
Source for notated version: New Jersey flute player Mike Rafferty, born in
Ballinakill, Co. Galway, in 1926 [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No. 20, pg. 7. Kerr (Merry Melodies), vol. 1; No. 5, pg. 34.
Lyth (Bowing Styles in Irish Fiddle
Playing, vol. 1), 1981; 67, 68. McNulty (Dance Music of Ireland), 1965; pg. 9. O'Neill (Krassen), 1976; pg.
158. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1535, pg.
283. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 751, pg. 131. Mulligan LUN027, Martin O'Connor - “The Connaughtman's
Rambles.” RCA 09026-60916-2, The Chieftains - "An Irish Evening"
(1991). Shanachie 79093, Paddy Glackin & Robbie Hannan – “The Whirlwind”
(1995). Yazoo Records, Paddy Killoran –
“The Wheels of the World, vol. 2.”
See also listings at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Jolly Tinker, The [2]
S:Paul O'Shaughnessy
Z:Juergen.Gier@post.rwth-aachen.de
M:C|
L:1/8
K:DMix
Addc AGFG|Addc AcGc|Addc AdcA|GECE
~G2FG:|\
AD (3DDD ADBD|AD (3DDD ADFG|AD (3DDD
ABcA|GECE GEFG|\
AD (3DDD ADBD|AD (3DDD ADFG|A^GAB
cBcA|GECE GAB^c|:\
d^cde cA (3AAA|dA (3AAA afge|~d3e
^cAAB|1^cdef g2fe:|2^cdef gefg|:\
ad (3ddd adbd|ad (3ddd adfg|ad (3ddd
bdad|gece gefg|\
ad (3ddd adbd|ad (3ddd adfg|abag
eaed|^cdef g2fg:|
"Var. 4th part"ad (3ddd
adbd|ad (3ddd bd (3ddd|ad (3ddd bdad|\
gece g2fg|ad (3ddd adbd|addf
adfg|abag eaed|^cdea gfec|]
X:2
T:The Jolly Tinker [2]
L:1/8
M:C|
Z:transcribed by Henrik Norbeck
K:A Dorian
~A3B ~G3B|A2af gedB|~A3B ~G3B|1 dBGB
dedB:|2 dBGB d2 (3Bcd||
edef g2fg|edef gedg|edeg ~a3b|a2bg
aged|
edef ~g3a|bgaf gedg|edeg ~a3b|c'abg
aged||
eaag ed (3Bcd|eaag egdg|eaag efge|dBGB
d2 (3Bcd|
eaag eaag|eaag egdg|eaag efge|dBGB
d2 (3Bcd||
edgd ed (3Bcd|edgd egdg|edgd
efge|dBGB d2 (3Bcd|
edgd edgd|edgd egdg|edgd efge|dBGB
dgfg||
eA~A2 ed (3Bcd|edef g2fg|1 eA~A2
efge|dBGB dgfg:|2 eaag efge|dBGB dedB||
T:The Jolly Tinker
M:4/4
L:1/8
S:Brian Conway
Z:AK/Fiddler’s Companion
K:A Dorian
B|:~A3B~G3B|A2 B(d g)edB|A2 ({c}B)A GAB(d|1 ({e}d))BGB d3B:|2
({e}d))BGB d2 Bd||:e^de(f g2)ef|gea(f ({a}ge)dg|(e^d)eg a2 eg|agb(g ({b}a))ged:|
|:e(a({b}a))g edBd|e(a({b}a))g (3ege d2|e(a({b}a))g eage|dBGB d2 Bd:||
e(dg)(d e)(dB)d|edgd e2 Bd|edgd eage|dBGB d2Bd|edgd edBd|edgd e2Bd|
e^de(f ({a}g)fge|dBGB d2||Bd|eA (3AAA e(dB)d|ede(f g2)fg|eA (3AA(A e)age|
dBGB d2Bd|eA(3AAA edBd|ede(f g2)eg|e(a({b}a))g e(age)|dBGB d3||
JOLLY TINKER'S [3], THE. American (?), Reel. A Dorian. Standard tuning.
AABB. New York musician, writer and researcher Don Meade points out this
version differs from O’Neill’s “Jolly Tinker” in that O’Neill prints the second
part of the Ryan/Cole version first, and the Ryan/Cole first part is not
included at all. Cole (1000 Fiddle Tunes),
1940; pg. 14. Giblin (Collection of
Traditional Irish Dance Music), 1928; 35. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants),
1997; No. 79, pg. 20. Ryan’s Mammoth
Collection, 1883; pg. 36.
X:1
T:Jolly Tinker’s, The [3]
M:C|
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:Ador
gf | eAAg edBd | eAAf g2 fg | eAAg edBd | dBGB d2 Bd | eAAg edBd |
eAAf e2 dB | dega bfge |1 dBGB d2 :|2 dBGB d2 BG |: A2AB G2 GB |
A2Bd e2 dB | A2 AB G2 GB | dBGB d2 BG | A2AB G2 GB |
A2 Bd e2dB | A2AB G2GB |1 dBGB dgfg :|2 dBGB d2 gf ||
JOLLY WAGONER REEL. AKA and see "Wagoner."
JOLLY WEAVER, THE. AKA ‑ "An Figeadoir Sugac."
AKA and see "Tim the Market Man."
Irish, Reel. A Dorian (O'Neill/Krassen): A Minor (O'Neill/1850). Standard
tuning. AB (O'Neill/1850): AA'B (O'Neill/Krassen). Source for notated version:
Tom McFadden [O’Neill]. O'Neill (Krassen), 1976; pg. 143. O'Neill (Music of
Ireland: 1850 Melodies), 1903/1979; No. 1459, pg. 270.
X:1
T:Jolly Weaver, The
M:2/4
L:1/8
R:Reel
S:O’Neill – Music of Ireland (1903),
No. 1459
Z:AK/Fiddler’s Companion
K:Amin
A>AGE (3AcA GE | (3AcA GE G2
(3EFG | A A2c BGGB | AddB {d}ccec |
A>AGE (3AcA GE | (3AcA GE G2
(3EFG | A A2c BGGB | Ad{e}dB c2 (cd) ||
e e2 d ef g2 | GAGE G2 EG | A A2c
BGGc | Ad{e}dB c2 (cd) |
(3efg ed ef g2 | GAGE G2 (3EFG | A
A2c BGGc | (Ad{e}dB) c2 z2 ||
JOLLY YOUNG WATERMAN, THE (An Og-badoir Greannmar). AKA ‑
"An Og‑Badoir Greannmar." Irish, Air (6/8 time,
"cheerfully"). D Major. Standard tuning. AB. O'Neill (Music of
Ireland: 1850 Melodies), 1903/1979; No. 530, pg. 92.
X:1
T:Jolly Young Waterman, The
M:6/8
L:1/8
R:Air
N:”Cheerfully”
S:O’Neill – Music of Ireland
(1903), No. 530
Z:AK/Fiddler’s Companion
K:D
(f/g/) | (a>bg (f>ge) | (dc).d
(ec).A | (A>BA) (Adc) | (Bgf) e2 (f/g/) | (a>bg) (f>ge) |
dcd ecA | ABc deg | fge d2 || d | (dg).b
.b(ag) | (df).a .a(fd) |
(dg).b .b(ag) | (d2f) (afd) | (gab)
(bag) | (fga) (afd) | (Bgf) (edc) | d3 d2 ||
JON
ANDERSON. See “John Anderson My Jo.”
JON VESTAFE. Norwegian, Slatt. This traditional hardingfele piece was played in 1901
by the Tinn, Telemark district, Norway, fiddler Knut Dahle for the Norwegian
composer Evard Greig, an urbanite unfamiliar with the tradition. Greig later
transcribed the piece for piano.
JONATHAN WILD'S. English, Jig. D Minor. Standard tuning. AABB. A modern composition by
editor Michael Raven. Jonathan Wild was the 18th century London thief-catcher
who turned criminal, and was eventually hanged himself. Raven (English Country Dance Tunes), 1984; pg.
202.
JONES COUNTY. Old‑Time, Breakdown.
***
Down in Jones County,
Gone a whole week to see my love
Down in
Fair you will and goodbye too,
Down in Jones County;
Fair you well and goodbye too,
Down in
***
See also the related “Little Home to Go to [1].” Source
for notated version: Charles Long (Clarke County, Mississippi) [Rankin].
Rankin, 1985; Notes for "Great Big Yam Potatoes.” Mississippi
Department of Archives and History AH‑002, Charles Long ‑
"Great Big Yam Potates: Anglo‑American Fiddle Music from
Mississippi" (1985).
JONES HORNPIPE. Welsh, Hornpipe. G Major. Standard tuning. AB. This piece was first
published in Edward Jones' "New set of Favourite Country Dances."
Mellor (1935) belives the "Llanover
Reel" was derived from this tune. Mellor (Welsh Dance Tunes), 1935; pg. 3.
JONES WALTZ, THE. Old-Time, Waltz. Rounder
0529, Dwight Lamb – “Hell Agin the Barn Door” (2005. Learned from Lena Hughes,
who had the tune from her father).
JONESBOROUGH. English (?), Waltz. A Major.
Standard tuning. AABB. Kennedy (Fiddler’s
Tune-Book: Slip Jigs and Waltzes), 1999; No. 137, pg. 34.
JONGLE A MOI (Think of Me). Cajun, Two-Step (4/4 time). D Major. Standard
tuning. One part. A good tune for learning drones. Source for notated version:
J.B. Fusilier (La.) [Francois]. Francois (Yé
Yaille, Chère!), 1990; pgs. 390-391. Goldband
Records GB-LP7738, J.B. Fusilier. Chanterelle – “Soiree chez nous.”
X:1
T:Jordan’s
Hornpipe
M:2/4
L:1/8
R:Hornpipe
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:G
dD/G/ BA | A2 G ::
d | g/f/g/a/ g/d/B/d/ | g/a/b/g/ a/g/e/g/ | {b}a/g/a/b/ a/g/e/f/ |
g/a/b/g/ ed/f/ | g/f/g/a/ g/d/B/d/ | g/a/b/g/
a/g/e/f/ | {a}g/f/g/a/ g/e/d/B/ | B/A/F/A/ G :|
JORDIE JIG.
JORDAN IS (AM) A HARD ROAD TO TRAVEL.
AKA and see "T'Other
Side of Jordan,"
"Other
Side of Jordan."
Old‑Timey, Breakdown; American, Polka. USA, Va. G Major (Christeson,
Ford, Silberberg): C Major (Miller & Perron). Standard tuning. AB
(Silberberg): AABB (Christeson, Ford, Miller & Perron). The title is from
the words of minstrel Dan Emmett's (Ohio) song. Bayard (1981) prints two tunes
("It Thundered In the East" and an untitled hornpipe; Nos. 88 &
89, pg. 54) that strongly resemble this song. He thinks they all may have been
descended from some older traditional tune. See also "Jawbone" in Krassen, 1973. Sources for
notated versions: Cy Kines (Fauquier County, Va.) [Christeson]; Greg Canote
(Seattle) [Silberberg]. R.P. Christeson (Old
Time Fiddlers Repertory, vol. 1), 1973; pg. 90. Ford (Traditional Music in America), 1940; pg. 82 (appears as
"T'Other Side of Jordan"). Miller & Perron (101 Polkas), 1978; No. 61. Silberberg (Tunes I Learned at
Tractor Tavern), 2002; pg. 77.
JORDIE JIG, THE. AKA – “Geordie Jig.” AKA and see “The Muckin’ o’ Geordie’s Byre.”
JORN'S VRENGIA (Jorn's Intricacy). Norwegian, Lydarslatter (listening tunes).
Norway, Valdres. These listening pieces for the hardanger fiddle demand a high
degree of technical proficiency, and the speleman (hardanger fiddle master) who
can play them is rendered a high degree of esteem.
JORUM, THE. AKA – “Joram,” “Jorram.” Scottish. G Major.
Standard tuning. AAB. A
X:1
T:The Joram.
M:C
L:1/8
B:Complete Tutor Violin (c. 1815)
Z:Dr. Evan Jones [Ed.]
K:G
U:T=!trill!
g |:: dGBG EA-A>c | BGBd (e/f/a) (Tf/e) | dGBG FA-A>B | EGFA G2 G :|| d | [B2g2] (f>g) afed | .g-.g Tf>g {fg}a2 d2|
dgfg afed | (e/f/g) (f/g/a) g2 (g>d) | [Bg]g fg {fg}afed | ggfg a2 d2 | dgfg afed | egfa gbeg |]
JOSEFIN’S WALTZE. See “Josefin’s Baptism Waltz.”
JOSEFIN’S BAPTISM
WALTZ. AKA – “Josefin’s Dopvals,”
“Josephine’s Waltz.” Irish, Waltz. F Major. Standard tuning. Composed by guitar
and bouzouki player Roger Tallroth of the Swedish band Väsen. Culburnie Records CUL 121D, Alasdair Fraser & Natalie
Haas – “Fire and Grace” (2004). Kells Music 9507, Dervish - “At the End of the
Day.” Swallowtail – “After the Dance.”
X:1
T:Josefin's Baptism Waltz
C:Roger Tallroth
R:waltz
D:Dervish, "At the End of the
Day". : Väsen - "Essence" (1993).
M:3/4
L:1/4
K:F
CFG|AcB|AGF|C2D|B,>B,B,|DFE|D3|C3|
CFG|AcB|AGF|C2D|B,>B,B,|CEF|G3‑|1
G3:|2 GAB||
|:cAc|f2e|d3|c3|Bdc|BAG|A>BA|GAB|
cAc|f2e|d3|c3|Bdc|BAG|A>BA|GAB|
AGF|E2F|F3|B,CB,|A,CF|EDE|F3‑|1
FAB:|2 F3||
X:2
T:Josefin's Waltz
M:3/4
L:1/4
D:Dervish, "At the End of the
Day"
K:G
DGA|Bdc|BAG|D2E|C3|EGF|E3|D3
|DGA|Bdc|BAG|D2E|C3|CEG|A3|1 A3:|2
ABc||
dBd|g2f|e3|d3|ced|cGA|B>cB|ABc|
dBd|g2f|e3|d3|ced|cBA|B>cB|ABc|
BAG|F2G|G3|CDC|B,DG|FEF|(G3|1
G)Bc:|2 G3||
X:
3
T:Josefins Dopvals
M:3/4
L:1/8
C:Roger Talroth
S:Väsen
R:Vals
O:Swedish
K:F
"F"C2F2G2|A2c2B2|A2G2F2|C4D2|"Bb"B,3B,B,2|D2F2E2|D6|"C"C6|"F"C2F2G2|A2c
2B2|A2G2F2|C4D2|"Bb"B,3B,B,2|"(F)"C2E2F2|1"C"G6-|G6:|2"C"G6-|G2||!
|:A2B2|"F"c2A2c2|f4e2|"Bb"d6|"F"c6|"Bb"B2d2c2|B2A2G2|"F"A3BA2|"C"G2A2B2|
"F"c2A2c2|f4e2|"Bb"d6|"F"c6|"Bb"B2d2c2|!B2A2G2|"F"A3BA2|"C"G2A2B2|
"F"A2G2F2|"C"E4F2|"Bb"F6|B,2C2B,2|"F"A,2C2F2|"C"E3DE2|"F"F6-|F2:|
JOSEPH AND MARGARET
CHAISSON. Canadian, Waltz. Canada, Prince
Edward Island. A Major. Standard tuning. AABB’. Composed by Bear River, Kings
County, PEI, fiddler Peter Chaisson, Jr. (b. 1942). Source for notated version:
Johnny Joe & Foncey Chaisson (b. 1918 & 1929, Souris, North-East Kings
County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 175.
JOSEPH BANK. Irish. Green Linnet GLCD 1128, Brendan
Mulvihill & Donna Long - “The Morning Dew” (1993).
JOSEPH BOUCHARD’S REEL. French-Canadian, Reel. A Minor. Standard tuning. AA’BB’CC’. Bouchard is
an outstanding button accordion player from Québec. Source for notated version:
fiddler Dawson Girdwood (
JOSEPH HUME. Scottish, Strathspey. F Major. Standard tuning. AABB'. Joseph Hume
(1777-1855) was born in Montrose,
X:1
T:Joseph Hume
M:C
L:1/8
R:Strathspey
S:Kerr – Merry Melodies, vol. 3, No. 153
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:F
E/|F<F F>G A>G
F<f|F<F F>G A/G/F/E/ D>E|F<F F>G A<F f>c|d<f c>A
B/A/G/F/ (DD/):|
|:E/|F<f f>g a>g
f>c|A<f f>a g>ab>g|1 a<f e<g f<d c<f|d<f c>A
B/A/G/F/ (DD/):|2
(3agf (3efg (3ged (3cde|f<a
c>A B/A/G/F/ (DD/)||
JOSEPH MACDONALD'S JIG. Scottish, Jig. This traditional bagpipe jig is named for a 18th century
music compiler.
JOSEPH WON THE COATED
FIDDLE. Old‑Time, Breakdown. USA,
Missouri. D Major. Standard tuning. AABB. The tune was one of ‘100 essential Missouri tunes’ listed by
Missouri fiddler Charlie Walden. Source for notated version: Cyril Stinnett
(Oregon, Missouri) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; pg. 65.
JOSEPHINE. English, Country Dance Tune (4/4 time). G Major. Standard tuning. AABB’.
A dance and tune composed by Naomi Alexander. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 67.
JOSEPHINE KEEGAN’S. Irish, Reel. G Major. Standard tuning. AB. The tune was recorded by the
all-woman Irish group Macalla as “Connie (O’)Connell’s” and by Kevin Griffin
(on the Ossian compilation "Farewell to Lissycasey") as “Josephine
Keegan’s.” O’Connell thought his version may have come from the playing of
fiddler Lad O’Beirne. The tune appears to be a reel version of melodic material
that appears in several South-West Donegal highlands, some of which are quite
similar, says Mick Brown, in both the keys of G and A. “It seems to be a
version of the old Scottish tune known in Ireland as "The Moneymusk" (best known in A)”,
states Brown, “An elaborate version was played in Teelin (in G), where it was
particularly associated with Jimmy Lyons.” Green
Linnet SIF 3085, Four Men and a Dog – “Barking Mad.”
X:1
T:Josephine Keegan’s
T:Connie (O’)Connell’s
R:Reel
S:Terry Bingham, Comber,Down
(Concertina)
D:Session tape - Cushendall 1993
Z:Bernie Stocks
M:4/4
L:1/8
K:G
d2BG dGBG | dcBc ADD2 | d2BG dBGB |
cBAg fage | d2BG dGBG | dcBc ADD2 |\
d2BG dBGB | cBAB cdef || gdBd edBd |
g3b agef | gdBd edBG |\
cBAB cdef | gdBd edBd | g3b agef |
gefd ecdB | cBAg fage ||
X: 2
T: Josephine Keegan's
S: "Barking Mad" - 4 Men and a Dog
Z: transcribed by B.Black
M: 4/4
L: 1/8
K: G
E | DGBG dGBG | cBcd efga | bg (3gfg agef | gedB
AGEG |
DGBG dGBG | cBcd efga | bg (3gfg ageg | dBAB G3
:|
g/a/ | bg (3gfg agef | gedB AGEG | DB, (3B,A,B,
DEGA | Bdgb ageg |
bg
(3gfg agef | gedB AGEG | DB, (3B,A,B, DEGA | dBAB G3 :|
JOSEPHINE'S WALTZ. AKA and see "Valse de Josephine."
JOSEPH’S FROLICK. English (?), Jig. D Major. Standard tuning. AABB. Aird (Selection of Scotch, English, Irish and Foreign Airs), vol. II, 1785; No. 42, pg. 16.
X:1
T:Joseph’s Frolick
M:6/8
L:1/8
R:Jig
S:Aird, vol. II (1785)
Z:AK/Fiddler’s Companion
K:D
F/G/ | A3 Bdc | BAG FGA | Bcd AGF | GEE EFG | A3 Bdc |
BAG FGA | Bcd cBc | dDD D2 :: d/e/ | fef def | ede cde | dcB ABc |
GEE
E2 f/g/ | agf bag | fed cBA | (B/c/d)B (c/d/e)c | dDD D2 :|
JOSH AND I. Old-Time, Breakdown. D Major. Standard tuning. AABB. Source for notated
version: Clark Kessinger (1896-1975, Kanawha County, W.Va.) [Phillips].
Phillips (Traditional American Fiddle
Tunes, vol. 1), 1994; pg. 128.
JOSH CAMPBELL'S HORNPIPE. Scottish, Hornpipe. A Mixolydian. Standard tuning. AABBCC'DD. Composed
by Scottish born highland piper Ian Crane, now living in West Valley City,
Utah. Crane states the tune was supposed to have been the first in a series
named after friends, though upon reflection says, "I don't know why I
named it after him, because we never did get along very well." Cook (Night in the Kitchen Collection), 1996;
pg. 31.
JOSH FINE WALTZ. Old‑Time, Waltz. The tune was recorded for the Library of
Congress by musicologist/folklorist Vance Randolph from Ozark Mountain fiddlers
in the early 1940's.
JOSHUA GRAY. AKA and see "The Swallow's
Tail Reel," "The Steeple
Chase [1]," "Take your Hand
Away," "The Pigeon
on the Gate [1]," "The
Pride of the Ball," "McKenna's Reel," "The Queen's Wedding," "Mollie's Bonnet," "Molloy's Night Cap," "The Family Estate," "The Village Reel," "Miss Wright's Reel," "The Girl with the Handsome Face."
JOSIE GIRL. AKA – “Josie Gal.” Old-Time, Breakdown. G Major. Standard tuning. AABB.
From the repertoire of Charlie Acuff, learned from his grandfather.
Similarities to “Barlow Knife.”
See also listing at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources |
(((♫)))
Charlie Acuff (b. 1919) “The Josie Girl” |
JOSIE MACARTHUR'S JIG. Canadian, Jig. Canada, Cape Breton. C Major. Standard tuning. AA'BB'.
Composed by Cape Breton piano player and accompanist Margaret MacPhee (b. 1913,
Broad Cove Banks, Inverness County). Cook (Night
in the Kitchen Collection), 1996; pg. 39.
JOSIE MACARTHUR’S
STRATHSPEY. AKA and see “Angus
Ranald/Ronald’s Big Tune Strathspey.”
JOSIE McDERMOTT'S
REEL [1] (Ríl Sheosaimh Mhic Dhiarmada). AKA and see “Trip to Birmingham.” Irish, Reel. G
Major. Standard tuning. AABB. Composed by flute player Josie McDermott. Source
for notated version: flutist Matt Molloy (Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 169, pg. 77. Mulligan Records LUN 004, "Matt Molloy" (1976).
JOSIE McDERMOTT'S [2]. AKA and see “Fox on the Prowl.”
JOSIE McDERMOTT’S REEL
[3].
AKA and see “Darby’s
Farewell to London.” Irish, Reel. G Major. Standard tuning. AABB. Composed
by flute player Josie McDermott. Source for notated version: fiddler Brendan
Mulvihill (Baltimore, MD) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 66, pg. 17.
JOSIE SHUCK HER PANTS
DOWN. Old‑Time. The title appears
in a list of traditional
JOSIE-O. Standard tuning. County CO-CD-2729, Art Stamper
– “Goodbye Girls, I’m Going to
JOUR D'ETE. French, Scottish (2/4 time). G Major. Standard tuning. AA'BB'. Composed
by Frederic Paris. Stevens (Massif
Central), vol.1, 1987; No. 12.
JOURNEY BY TRAIN. Irish. A composition of fiddle player Joe Liddy, at one time associated
with the Kincora Ceili Band and a member of the Bellhavel Trio (with his
brother Tom on accordion and piper Ned O’Gorman).
JOURNEY TO THE MOON. Canadian. Composed by Sarnia,
southwestern Ontario, fiddler John(ny) Durocher (1934-1989); one of several
tunes he composed in honor of the c. 60’s-70’s space program. Durocher was born
the youngest of sixteen children, to a modest family of few resources. He quit
school in his young teens to help make family ends meet and remained a factory
worker for most of his life, not even possessing a drivers license. John came
to fiddling when he found a broken fiddle in the trash one day and asked the
owner for permission to retrieve it; with some repair work he had his first
instrument. A few lessons from a local teacher (which served to teach him how
to read and write music), were all the formal music education John received. He
was a prolific composer of fiddle tunes, however, and named them for sports and
current events, family and friends and topics of his day, explains Ritchie.
Durocher’s music was picked up by radio fiddler Don Messer, who included many
of his tunes in his broadcasts and printed collections, helping Durocher to
become quite influential in the Ontario scene for his over 400 compositions.
[For more see Ron Ritchie, “John Durocher: A Gifted Composer,” Fiddler Magazine, vol. 12, No. 2, Summer
2005, pgs. 25-27].
JOVIAL BEGGARS, THE. AKA and see "The
Jovial Crew," "May Hill,"
"Restoration of King
Charles," "Twenty Ninth
of May." English, Country Dance Tune (6/8 time). B Flat Major.
Standard. AABB. The tune appears under this title in the second part of the
1698 edition of The English Dancing
Master. Barnes (English Country Dance
Tunes) 1986.
JOVIAL CREW, THE. AKA and see "Twenty Ninth of May", "May Hill," "Restoration of King Charles," "The Jovial Beggars." The tune appears under this name in Apollo's Banquet for the Treble Violin. That the tune was used early for dances is attested to by a reference in Roxburghe Ballads (7, pgs. 342-44):
***
The Piper he stuck up and Merrily he did
play,
The shakeing of the sheets, and eke the
Irish hay
Then up with Aley, Aley, Up with Priss and
Prue;
In came wanton Willy, amongst the jovial crew.
***
To a merry Scotch tune, or Up with Aley,
Aley, & c.
***
JOVIAL DANCERS, THE.
English, Jig. A Major. Standard tuning. AABB. The melody is unique to
London publisher Charles and Samuel Thompson’s 1765 country dance collection.
Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2),
1765; No. 96.
X:1
T:Jovial Dancers, The
M:6/8
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:A
e|{d}cBA faf|ecA A2e|(f/g/a)f ecA|(G/A/B)B B2e|{d}cBA faf|
ecA A2f|(g/a/b)g af^d|e(G/A/B) E2::E|EGB gbg|af^d eBG|
EGB
gbg|af^d e2c|=dfc dBd|cec dBd|cea cdB|A2 [A,A] [A,2A2]:||
JOVIAL FELLOW, THE.
English, Country Dance Tune (whole time). C Major. Standard tuning.
AABB. The melody is unique to Charles and Samuel Thompson’s Compleat
Collection, vol. 3 (London, 1773). Thompson (Compleat Collection
of 200 Favourite Country Dances, vol. 3), 1773; No. 132.
X:1
T:Jovial Fellow, The
M:C
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:C
G|cGEG
F(B/c/d)F|E(A/B/c)E D[B,B][G.G]G|cGEG F(B/c/d)F|EcDB c3:|
|:A|G/G/G BG dBfd|gedc BdBG|c/c/c ec ge c’a|gfed c3:||
JOVIAL JOURNALIST, THE. Canadian, Reel. Canada, Cape Breton. Composed
by fiddler, composer, compiler and editor Paul Stewart Cranford – who is also a
lighthouse keeper! – for a member of his family. Odyssey
ORCS 1051, Jerry Holland – “Fiddler’s Choice” (1998).
JOVIAL TINKER. AKA and see “Tom
a Bedlam.”
JOY AMONG THE DARKIES. Old‑Time, Breakdown. USA, Missouri. D Major. Standard tuning.
AABB. Source for notated version: African-American fiddler Bill Katon {or
Caton} (Tebbetts, Missouri) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; pg. 66‑67.
JOY BE WITH YOU (Lutgair Leatsa). Irish, March (6/8 time). Ireland, Connaught. C
Major (Stanford/Petrie): D Major (O’Neill). Standard tuning. AB
(Stanford/Petrie): AABB (O’Neill). Petrie (1855) remarks this is “an ancient
Connaught March for ‘breaking up.’” Source for notated version: Chicago Police
Sergeant James O’Neill, a fiddler originally from County Down and Francis
O’Neill’s collaborator [O’Neill]. O'Neill (Krassen), 1976; pg. 41. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 910, pg. 169. Stanford/Petrie (Complete Collection), 1905; No. 995, pg.
254.
X:1
T:Joy Be With You
M:6/8
L:1/8
R:March
S:O’Neill – Music of Ireland
(1903), No. 910.
Z:AK/Fiddler’s Companion
K:D
f2B ABd | f2B ABd | f2a e2f | dBA
ABd | f2B ABd | fdB ABd | f2a e2f | dBA ABd :|
|: faa eaa | fdB ABd | faa eff | dBA
ABd | faa eaa | faa eaa | fga bge | fdB ABd :|
JOY GAE WI’ MY LOVE. AKA – “Joy gae wee my love,” “Joy be wi’ my love.” Scottish, Jig. A
Mixolydian. Standard tuning. AABB. "A very old Highland tune" (Gow).
John Glen (1891) finds the earliest printing of the tune in Neil Stewart's 1761 collection (pg. 24).
However, it appears earlier in the McFarlan manuscript of c. 1740 under the
same title. See also the possible Northumbrian descendent “Felton Lonnin.” Carlin (Gow Collection), 1986; No. 337. Gow (Complete Repository), Part 2, 1802; pg. 5.
X:1
T:Joy gae wi’ my Love
M:6/8
L:1/8
R:Jig
S:Gow – 2nd Repository (1802)
Z:AK/Fiddler’s Companion
K:A
=g|(g<f)A (Ae)A|(ed)B
Bd=g|(g<f)A (Ae)A|(e<d)A (Ae)=g|(g<f)A (A<e)A|
(ed)B Bd=g|(gf)d (fe)B|d2A A2::
=g|f>=ga aeg | f>ed Bd=g | f>=ga aeg |
f>=ga aAg | f>=ga aeg |
f>ed Bd=g | (gf)d (fe)B|d2A A2 :|
X:2
T:Joy be wi’ my love
M:6/8
L:1/8
S:McFarlan MS (c. 1740)
K:A Mix
f2B BdB|c2A Ace|fdf ece|d2B
Bde:||f>ga ede|”tr”c2A Ace|fga ece|
d2B Bde|fga ede|”tr”c2A Ace|fdf
ece|d2B Bde||
JOY GO DOWN YE LANE
WE(/WI' YE). Northumbrian. One of the
"missing tunes" from Vickers' 1770 manuscript.
JOY GO WITH MY LOVE. See "Joy Gae Wee My Love."
JOY(S) OF MY LIFE, THE (Lutgair Mo Beata). AKA and see "The Boys from the Lough," “Corovoth Jig,” “Donnybrook Fair [1],” "Humors of Donnybrook,"
"The Joys of Life," “The Joys of
Youth [2],” “Oh! Irishmen Never
Forget,” “Our Own Little Isle.”
Irish, Double Jig. G Major. Standard tuning. AAB (O'Neill/1915, Taylor): AABB
(O'Neill/Krassen): AABB' (O'Neill/1850 & 1001). O’Neill found this as an unnamed and unpublished tune, and said
it was a favorite with his contemporary Chicago musicians Delaney, Early and
McFadden. In Irish Folk Music he
says: “A German bandmaster from Troy, New York, ws so pleased with its rhythm
that it fills a favorite place in his repertoire. To impress a German leader
favorably iss high honor indeed for an Irish jig.” David Taylor (1992) notes
that his is the modern version of the tune, and that other printed sources have
a different variation of the final four bars. Mulvihill (1st
Collection), 1987; No. 21, pg. 123 (appears as “The Joys of Youth”). O'Neill (O’Neill’s Irish Music), 1915/1987; No.
138, pg. 80. O'Neill (Krassen), 1976; pg. 26. O'Neill (Music of Ireland:
1850 Melodies), 1903/1979; No. 808, pg. 150. O'Neill (Dance Music of
X:1
T:Joy of My Life, The
T:Donnybrook Fair
R:Jig
M:6/8
L:1/8
K:G
|:D|~G3 AGA|Bee dBA|~B3 GAB|AGE E2D|
~G3 AGA|Bee dBA|BAB GAB|AGF G2::
f|gfe fed|ege dBA|Bee dBA|Bee e2 f|
~g3 fed|ege dBA|BAB GAB|AGF G2 :|
JOY OF THE DANCE. AKA and see "Quadrille Joyeux."
JOY RAG. Old‑Time. Carryon Records 002, "Ace
Weems & the Fat Meat Boys."
JOY TO GREAT CAESAR. AKA and see "Farinell's
Ground," "The King's
Health [1]," "The Loyal
Health." English, Scottish, Irish; Air (3/4 time). D Minor. Standard
tuning. ABCCD. "'By
X:1
T:Joy to Great Caesar
M:3/4
L:1/8
R:Air
S:Joyce – Old Irish Folk Music and Songs, No. 727 (1909)
Z:AK/Fiddler’s Companion
K:D Minor
A|d2 d3e|c2 c3A|d2 d2(3def|e2e2A2|f2
f3g|e2e2 fg|aefdec|
d2 d3||e|fedfdf|edcece|fedfdf|gfgeg|
agfafa|gfefge|aefdec|d2
d3::A|d2D2d2|c2C2c2|
d2D2f2|e2C2e2|e2C2e2|dcdfed|c2
ABcA|d2D2d2|
c2 ABcA|d2D2f2|e2
cdec|fefagf|gfgabg|aefdec|
d2 d3::e|fe/f/ dfdf|ec/e/
cece|fe/f/dfdf|
g/a/g/f/ egeg|a/b/a/g/fafa|gfgabg|aefdec|d2
d3||
JOYCEAN GREETING, THE. AKA and see “Speic Seoigheach.”
JOYCE'S JIG. Irish, Jig. E Dorian. Standard tuning. AABBCC. Carlin (Master Collection), 1984; No. 245, pg.
142.
JOYEUSES QUEBECOISES, LES. AKA and see "Joys
of Québec."
JOYFUL DAYS IS COMING. AKA and see "Durham Old
Woman." English, Jig (9/8 time).
JOYFUL HOUR, THE. Irish, Reel. F Major. Standard tuning. AAB. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 234
X:1
T:Joyful Hour, The
M:4/4
L:1/8
S:Capt. F. O'Neill
Z:Paul Kinder
R:Reel
K:F
ABAG FGAB|cdcA BdcB|ABAG FGAg|f"tr"de^c Ad d2:||
defg a"tr"fg"tr"e|f"tr"dcA FGAc|defg a"tr"fg"tr"e|f"tr"de"tr"^c Ad d2|
defg a2 g"tr"e|(3fga g"tr"e f2 df|a"tr"fg"tr"e abag|
f"tr"de"tr"^c
Ad d2||
JOYOUS WALTZ. AKA ‑ "La Valse Joyeuse."
French‑Canadian, Waltz. D Major. Standard tuning. AA'BCD. Composed by
Willy Ringuette, according to Jean Carignan, who recorded it for both the
JOYS OF (MY) LIFE, THE. See “Boys
from the Lough,” “Corovoth Jig,” “Donnybrook Fair [1],” "Humors of Donnybrook," “Joy of My Life,” “Oh! Irishmen Never Forget,” “Our Own Little Isle.”
JOYS OF MABOU COAL
MINES REEL. Canadian, Reel.
JOYS OF QUÉBEC (Les Joyeuses Quebecoises). French‑Canadian, Reel or
Polka. A Major. Standard tuning. AA'BB' (Brody): AA'BB'C (Phillips). The reel
is said to be the composition of influential Saint-Sauveur, Québec, fiddler
Fortunat Malouin, who recorded in the 1920's for the Starr and Columbia lables.
The third section is rarely played. Sources for notated versions: Yankee
Ingenuity (Mass.) [Brody]; Pete Sutherland (Vermont) [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 150.
Miller & Perron (101 Polkas),
1978; No. 77. Phillips (Traditional
American Fiddle Tunes), vol. 1, 1994; pg. 128. Arhoolie
C‑334, Joe Cormier (Cape Breton/Mass.) ‑ "Masters of the Folk
Violin" (1989). Fretless 200A, Yankee Ingenuity‑ "Kitchen
Junket" (1977). Gusto 104, Jerry Rivers‑ "30 Fiddler's Greatest
Hits."
JOYS OF SUMMER, THE (Taitneam Na Samrad). AKA and see "All Through the Night [1]."
Irish, Air (4/4 time). B Flat Major. Standard tuning. AB. This is the famous
Welsh air known most familiarly as "All Through the Night.” Source for
notated version: Chicago Police Sergeant James O’Neill, a fiddler originally
from County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 230, pg. 40.
X:1
T:Joys of Summer, The
M:C
L:1/8
R:Air
N:”Moderate”
S:O’Neill – Music of Ireland (1903), No. 230
Z:AK/Fiddler’s Companion
K:B_
F2|B3A G2 AB|c3 B A2F2|G4 A4|B4
z2F2|B3A G2 AB|c3B A2F2|G4 A4|B6||
d2|e2d2e2f2|g2f2e2
zd|e2d2c2B2|d2c2B2A2|B3A G2 AB|c3B A2F2|G4 A4|B6||
JOYS OF WEDLOCK [1], THE. AKA and see "The New Married Couple." Irish
(originally), Canadian, American; Double Jig. Ireland, Limerick. Canada;
Maritimes. G Major. Standard tuning. AABB. Learned by Irish collector P.W.
Joyce as a child in Co. Limerick during the 1840’s. The earliest appearance of
the tune in print is in
X:1
T:Joys of Wedlock
M:6/8
L:1/8
R:Jig
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:G
D|G>AG GBd|gfe d2c|Bdg dBG|FAA
A2B|G>AG GBd|gfe d2c|B3 cAF|AGG G2:|
c|Bdg dBG|Bdg d2c|Bdg dBG|FAA
A2c|Bdg dcB|c/B/c/d/e/g/ d2c|B3 cAF|AGG G2:|
JOYS OF WEDLOCK [2], THE. Irish. A floating title. DeVille, No. 43.
Joyce (Old Irish Folk Music and Song),
1909, No. 200 (appears as "Fire On the Mountains").
JOYS OF YOUTH [1], THE. AKA and see “Colonel Rogers,” “Happy Days of Youth,”
“John McKenna’s,” “McKenna’s [1] (Reels),” “Seán McKenna’s [1].” Irish, Reel. G
Major. Standard tuning. AB. Source for notated version: Gus Collins (Bronx, New
York) [Mulvihill]. Mulvihill (1st
Collection), 1986; No. 116, pg. 31.
JOYS OF YOUTH [2], THE. AKA and see "The Boys from the Lough," “Corovoth Jig,” “Donnybrook Fair [1],” "Humors of Donnybrook,"
“The Joy(s) of My Life,” "The Joys of Life,"
“Oh! Irishmen Never Forget,” “Our Own Little Isle.” Irish, Jig. G
Major. Standard tuning. AABB. Mulvihill (1st
Collection), 1986; No. 21, pg. 123.
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