The
Fiddler’s Companion
© 1996-2008 Andrew Kuntz
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Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s
Companion work fine in most abc conversion programs. For example, I use
abc2win and abcNavigator 2 with no problems whatsoever with direct cut-and-pasting.
However, due to an anomaly of the html, pasting the abc’s into the
concertina.net converter results in double-spacing. For concertina.net’s
conversion program to work you must remove the spaces between all the lines
of abc notation, 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] |
P. E. I. HORNPIPE, THE. Canadian, Hornpipe. D Major. Standard tuning.
AABB. Composed by John Durocher. Messer (Anthology
of Favorite Fiddle Tunes), 1980; No. 120, pg. 75.
P. J. CONLON'S. AKA and see “Lilies of the
Field,” "The Ballinafad Reel
[1]." Irish, Reel. D Major. Standard tuning. AAB. P.J. Conlon was an
accomplished melodeon player who recorded in the "golden age" of
Irish recording, in
X:1
T:Lillies in the Field, The
T:P.J. Conlon's
R:reel
D:Bobby Gardiner: His Master's Choice
D:Terry Bingham
Z:id:hn-reel-504
Z:transcribed
by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:D %GRK:7077BB20
Addc ~A3B|~c3d ecdc|Addc ~A3B|cAGE EDD2:|
d2fd Adfd|(3Bcd ef g2fe|d2fd Adfd|eaag eddc|
d2fd Adfd|(3Bcd ef g2fg|afge fdcd|eaag eddc||
P. J. CONWAY’S SLIDE. Irish, Slide (12/8 time). Composed by
P. J. HERNON’S. Irish, Reel. G Major. Standard. AABB. Source for notated version:
X:1
T: P.J. Hernon's
S: C. O'Donnell
Q: 350
R: reel
Z:Transcribed by Bill Black
M: 4/8
L: 1/8
K: G
GFGB d2 gd | edBe dBAB | GFGB dedB | ABGE DGBA |
GFGB d2 gd | gdBA GABd | eged Bded | gedB AGED :|
degb abge | dBAB GABd | g2 ag gedg | eaag a2 ga |
bg
g2 abge | dBAB GABd | egde Bdef | gedB AGED :|
P. J. MacNAMARA’S. Irish. Green Linnet GLCD 1127, “Martin Hayes”
(1993).
P.J. McCOMISKEY’S. Irish, Reel. Composed by Leslie
Harris, named for button accordion player Billy McComiskey’s oldest son
Patrick. Patty Furlong –“Traditional Irish Music on
Button Accordion” (1999).
P. J. MOLONEY’S
(HORNPIPE).
AKA and see “Sean Ryan’s
(Hornpipe) [6].” Irish, Hornpipe. G Major. Standard. AABB. Composed by
P. JOE HAYES'. Irish, Reel. A Major. Standard. AABB. Source for notated version: P.
Joe Hayes, a fiddler and sometime leader of the Tull Ceili band, via the band
Shaskeen (
P. M. DONALD MACLEAN
OF LEWIS. Scottish, March (6/8 time). A
Minor. Standard. AABCCDD’. Composed by Pipe Major Donald MacLeod. Martin (Ceol na Fidhle, vol. 3), 1988; pg. 19.
P. M. JIMMY PRYDE. Scottish. Traditional. Green Linnet SIF‑1094,
Capercaillie ‑ "Sidewaulk" (1989).
P. M. SAM SCOTT. Scottish, March (6/8 time). D Major. Standard. AABB’CCDD’. Composed by
Pipe Major Peter MacLeod. Martin (Ceol na
Fidhle), Vol. 3, 1988; pg. 45.
PA KEANE’S. Irish, Polka. D Major. Standard. AABBCCDD. A two-part version is called
“Many’s a Wild Night.” Source for
notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the
Cork-Kerry border) [Moylan]. Moylan (Johnny
O’Leary), 1994; No. 205, pgs. 118-119.
X:1
T:Pa Kean's
M:2/4
L:1/8
R:Polka
B:Johnny O'Leary of Sliabh Luachra
K:D
|:Ad cB | AF DE/D/ | GF/G/ BA | FA DE/D/ | Ad cB |
D2
D2 :|\
|:dc/d/ fa | ge ed/e/ | A/B/c/d/ eg
| fd dA | dA/d/ fa | ge e/f/e/d | cB
ba | d2 d2 :|\
|:A3/2G/ AF | FE EB/c/ |d3/2c/ dB |
c2 c/d/c/B/ | Ad fe/c/ | Ac ec/B/ |
AB/c/ df | e2 e2 :|\
|:a^g ag/f/ | e^d ec | Bc/B/ AF | E2
E2 | e^d/e/ fe | cA FA | EF A3/2B/|
A2
A2 :|
PA PADDY O’SULLIVAN’S. Irish, Polka.
X:1
T:Pa Paddy O'Sullivan's
D:The Night of the Fair, Dan
Herlihy, track 3(b)
N:The second polka comes from the
concertina playing of the
N:late Pa Paddy O'Sullivan from
Scartaglen [note by Dan Herlihy]
R:polka
Z:transcribed by Paul de Grae
M:2/4
L:1/8
K:D
F2 FE|FA Bd|A>B AD|FE ED|
DF FE|FA Bd|A>B AF|ED D2:|
|:d>e dc|BA Bd|A>B AD|FE ED|
d>e dc|BA Bd|A>B AF|ED D2:|
PACHELBEL’S FROLICS. Irish, Air. The notes to Iver’s album states the original tune was
published as an untitled hornpipe in Kohler's
Violin Repository (1881-1885), in the key of ‘C’. Seamus Egan learned it
from a tape of the late Cape Breton fiddler John Morris Rankin and transposed
it to the key of D and Ivers arranged it further to make the resemblance to
“Pachelbel's Canon” more obvious. Cape Breton fiddler’s know it as “Kohler’s
Hornpipe.”
X:1
T:Pachelbel's Frolics
R:air
S:Eileen Ivers (first album)
M:2/2
L:1/8
Q:80
K:D
dcde fefg|~a3b agfd|~B3c ~d3B|ABGA
F2DF|
GFGA BABc|dcde fga2|gfed (3Bcd ef|1
gedc d3A:|2 gedc d2fg||
~a2fa dafa|~a2ea caea|~f2df
Bfdf|AGAB =cAFD|
GFGA BABc|dcde fga2|gfed (3Bcd ef|1
gedc d2fg:|2 gedc d3A||
PACIFIC SLOPE [1]. American, Old‑Time; Breakdown, Reel or Hornpipe.
X:1
T:Pacific Slope [1]
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:A
(3E/F/G/ | .A{B}(A/G/) (A/c/)
(3e/f/g/ | .a{b}(a/g/) a/e/c/A/ | f/d/B/A/ G/A/B/c/ | d/B/c/A/ G/E/F/G/ |
.A{B}(A/G/) (A/c/) (3e/f/g/ |
.a{b}(a/g/) a/e/c/A/ | f/d/B/A/ G/A/B/d/ | c/A/B/G/ A :: (c/d/) |
.e{g}a e/c/A/c/ | .d{a}b B/c/d/B/ |
g/b/e/g/ b/e/g/b/ | a/c’/e/a/ c’/e/a/c’/ | e’c’ ae |
f/d/B/f/ e/c/A/c/ | .B(g/f/)
e/d/B/G/ | A/a/e/c/ A :|
PACIFIC SLOPE REEL [2]. Canadian, Reel.
PACKIE DOLAN’S. AKA and see “The Boys of
Ballinahinch,” “Mullin’s Fancy,” “The Strawberry Blossom [1].”
PACKIE DUIGNAN’S REEL. AKA and see “The Ashplant [2],” “A Night in Ennis.”
PACKIE SWEENEY'S REEL. AKA and see “The Bragan Lasses.”
Irish, Reel. Ireland, Co.
PACKINGTON'S
POUND. AKA ‑ "The Cut
Purse." English, Country Dance Tune (3/4 time). A Minor (Johnson, Raven,
Watson): G Dorian (Chappell). Standard tuning. AAB (Johnson, Raven, Watson):
AABBC (Chappell). The air appears in the Fitzwilliam
Virginal Book, Barley's New Book of
Tabliture (1596), Friesche Lust‑Hof
(1621), Select Ayres (1659), 180 Loyal Songs (1685), Playford's Pleasant Musical Companion (1687), and
John Gay's Beggar's Opera (1729,
where it appears as "Thus gamesters united in friendship are found",
Air XLIII). Chappell (1859) and Kidson (1922) believe the tune takes its name
from Sir John Packington (1549-1625, "lusty Packington"), one of
Queen Elizabeth’s Privy Councilors, whom she had knighted. Packington wagered
(for the sum of £3,000) that he could swim down the
***
Sir John Packington was a Gentleman of no meane
family, and of forme and feature, no
waies disabled, for he was a brave Gentleman,
and a very fine Courtier; and for the time
which he stayed there, which was not hasting,
very high in her [Queen Elizabeth I] grace,
but he came in and went out, through
disasidutie, drew the curtaine betweene himselfe and
the light of her Grace, and then Death
overwhelmed the remnant, and utterly deprived him
of recovery, and they say of him that had hee
brought lesse to her Court than he did, he
might have carried away more than he brought,
for he had a time on it, but an ill husband of
opportunitie.
***
The air was
originally composed as a courante and is often credited to the Elizabethan
composer Michael Praetorius (1571-1621). It was popular for over two hundred
years, and numerous ballads were written to it. Claude Simpson (1966) says,
“This is the most popular single tune associated with ballads before 1700.”
Chappell (Popular Music of the Olden
Times), vol. 1, 1859; pg. 259. Johnson (The
Kitchen Musician No. 14: Songs, Airs and Dances of the 18th Century),
1997; pg. 14. Raven (English Country
Dance Tunes), 1984; pg. 10 & 63. Watson (A Rollick of Recorders or Other Instruments), 1975; No. 10, pg. 11.
Harmonia Mundi 907101, The King's Noyse - "The
King's Delight: 17c. Ballads for Voice and Violin Band" (1992).
X:1
T:Packington’s
Pound
M:3/4
L:1/8
S:Chappell
– Popular Music of the Olden Times
Z:AK/Fiddler’s Companion
K:G Dorian
G3 ^FG2 | A2^F2D2 | G3^FG2 | A4A2 | B3cd2 | c2A2F2 | G2B2A2 | G6 :|
|: d2f2e2 | d6 | d2f2e2 | d6 | defd aa | d2f2e2 | defd e2 | d6 :|
|| d3cd2 | c2A2F2 | G3^FG2 | A2^F2D2 | d3cd2 | c2A2F2 | G2B2A2 | G6 ||
PACKY’S PLACE. Irish, Jig. G Major. Standard tuning. AABB. Composed by County
Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988). Packy Clerkin was
the son of the family who still ran the neighboring farm to the Reavys in
X: 1
T:Packy's Place
R:jig
C:Ed Reavy
M:6/8
L:1/8
Z:Joe Reavy
N:Owned by Ed's favorite neighbors, the Clerkins.
N:Their son Packy was running the farm when we made
N:our visit there in '69.
K:G
f | gdB GFG | ABG FED | gdB GFG | Ad^c def | gdB agf | bag faf | gdB cAF | GAG G2 :||
A
| B^cd def | gfe d=cB | BGB dBG | cBc ABc | BGB def | gdB ecA | fdB cAF | GAG
G2 :||
PADAÍ BHILLÍ NA RÓPAÍ'S
PADDEREEN MARE, THE. Irish, Air (4/4 time). C Major (?). Standard
tuning. One part. "I.e. the priest's mare: 'Paidirin', a prayer, a
'Pater'" (Joyce). Source for notated version: Hugh O'Beirne, a
professional fiddler from Ballinamore, Co. Leitrim, c. 1846 (Joyce). Joyce (Old Irish Folk Music and Songs), 1909;
No. 578, pg. 303.
PADDIES EVERMORE (Na Padruig Go Brat). Irish, Air or March (6/8 time, "with
spirit"). D Major. Standard tuning. One part. O’Neill (1913) calls this a
“splendid martial air.” O'Neill (Music of
Ireland: 1850 Melodies), 1979; No. 262, pg. 45.
X:1
T:Paddies Evermore
M:6/8
L:1/8
R:Air
N:”With spirit”
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:D
A/G/ | F A2 d2f | e2c A2G | F2A d2d
| d3 z2g | {a}f2e f2g |
a2f d2f | e2d c2B | A3 z2 g | {g}f2e
f2g | a2f d2f | e2c A2F |
G3 z2A | B2B Bcd |e2c A2G | FA2 d2d
| d3 z2g | f2e f2g |
A2f d2f | e2c A2F | G3 z2A | B2B g2f
| e2c A2 G| F A2 d2d | d3 z2 ||
PADDINGTON POUND. English, Air (4/4 time). F
Major. Standard tuning. AB. An Elizabethan lute and dance melody. It is
mentioned in a traditional English folksong called “The Maypole”:
***
“Begin,” says Harry,
“Ay, ay,” says Mary,
Let’s lead up Paddington-pound,
“Oh, no,” says Hugh,
“Oh, no,” says Sue,
Let’s dance St. Ledger (Sellinger’s) round.
Then every lad did take
His hat off to his lass;
And every maid did curtsey, curtsey,
Curtsey on the grass.
***
Geoghegan (Compleat Tutor for the Pastoral or New Bagpipe), c. 1745-46; pg.
33. Dorian Records, Various artists – “
X:1
T:Paddington Pound
M:C
L:1/8
S:Geoghegan – Compleat Tutor for the Pastoral or New Bagpipe (c. 1745-46)
Z:AK/Fiddler’s Companion
K:F
c2 | cBAG F2f2 | f2f2e3d | c2 BA
BdcB | AG e4 c2 | f2 ag fedc | =BGAB cdef |
g=Bcf e2d2 | c6 || g2 | gfed c2b2 |
ag a2 agfe | dgba gfef | d2d2 ^c4 | dfed gbag |
A2c2d2g2 | f4e4 | d6c2 | faga fgef |
decd B2G2 | gbab gafg | efde c2B2 | Ac f2 dfeg | f6 ||
PADDLE YOUR OWN CANOE. English. A quadrille tune. Topic 12TS283, Ned
Pearson. Topic TSCD 669, Ned Pearson (et al) – “Ranting and Reeling: Dance
Music of the north of
PADDOCK, THE. Scottish, Hornpipe. G Major. Standard tuning.
AA’AA’BB. Kerr (Merry Melodies), vol.
4; No. 297, pg. 31.
X:1
T:Paddock, The
M:C|
L:1/8
R:Hornpipe
S:Kerr –Merry Melodies, vol. 4, No. 297
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
D2|G2 (Bc) dBGB|dBge dBGB|cBcd
edcB|AGFE D2D2|G2(Bc) dBGB|
dBge dBGB|cedc
BAGF|A2G2G2::(FE)|D2(FG) AFDF|ABcB dcBA|
G2(Bc) dBGB|dgfg agfe|dgfg egfg|dgfg
egfg|dgdB dcAF|A2G2G2:|