The Fiddler’s Companion

© 1996-2010 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 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]

 

 

 

PARADE OF STARS. Irish, Reel. D Mixolydian. Standard tuning (fiddle). AABB. Composed by banjo player Peter Fitzgerald, originally from County Meath and late of Baltimore. Black (Music’s the Very Best Thing), 1996; No. 243, p. 130.

X:1

T: Parade of Stars

C: Peter Fitzgerald

Q: 350

R: reel

Z:Transcribed by Bill Black

M: 4/4

L: 1/8

K: Dmix

afdc Addc | Adfd AdcB | c2 Gc A2 GA | c2 GA cdeg |

afdc Addc | Adfd fgaf | e2 fd c2 Gc | A2 AG Ad d2 :|

ad d2 fd d2 | dAGE FD D2 | DGFD ADFA | c2 ec Gceg |

abaf ge e2 | afdB cABG | A2 fd e2 eg | fdAG Ad d2 :|

        

PARASOTT HORNPIPE. AKA and see “Parisott’s.”

        

PARCEL OF ROGUES. Scottish, Air. D Minor. Standard tuning. AABB. Robert Burns fashioned famous words to the tune, and his song is published in Johnson’s Scots Musical Museum. Bayard (1981) thought the melody a version of “Boyne Water [1].” McGibbon (Scots Tunes, book II), c. 1746; pg. 54. Steeleye Span – “Parcel of Rogues.”

X:1

T:Parcel of Rogues

S:Learned from Paul Tebble, Edinburgh

Z:Nigel Gatherer

M:4/4

L:1/8

K:Bm

FA|BcAF B2 c2|dBAF D2 EF|GFED E2 FA|B3 A F2:|]

de|fgfe d2 cB|AFED A2 Bc|d2 cd e2 de|f3 d B2 de|

faef d2 cB|AFED d2 cB|AFED E2 FA|B3 A F2|]

X:2

T:A Parcel of Rogues in a nation

M:C

L:1/8

R:Air

N:”Slow”

S:McGibbon – Scots Tunes, book II, pg. 54 (c. 1746)

Z:AK/Fiddler’s Companion

K:D Minor

(Ac) | d>e (cA) d3e | (fd)(c<A) F2 GA | (BA)(GF) G2 (A>c) | “tr”d4A2 :|

|: fg | a>bag f2 “tr”(e>d) | cA “tr”(G>F) c2 (de) | f2 ed g2 f>g | “tr”a4d2 f>g |

ac’ga f>g f(e/d/) | (cA) “tr”(G>F) f2 (ac) | (BA)”tr”(G>F) G2 (Ac) | “tr”d4A2 :|

        

PARESIS. AKA and see “The Sailor’s Return [1].” American, Reel. F Major. Standard tuning (fiddle). AAB. Paul Cranford (1997) finds the tune related to Robert MacIntosh’s 18th century strathspey “Lady Dalrymple.” It was a favorite of fiddlers Angus Chisholm and Winston Fitzgerald, as well as many other fiddlers of their generation on Cape Breton. O’Neill prints a reel version under the title “The Sailor’s Return.” Paresis refers to, among other things, the debilitating end-stage of syphilis. Brooks McNamara, writing in his book the New York Concert Saloon: The Devil’s Own Nights (2002), says that the anxiety about gay bars being sources for disease transmission was even more pronounced in the latter 1800’s than it is today, although there was little that was publicly written about the issue. 

***

The scanty evidence that remains suggests that at least a few of the gay saloons—for example,

“Paresis Hall” at 392 Bowery—may have had shows, probably mostly presented by customers.

But we know little about them. In an 1899 investigation, for example, we are told only that

at Paresis Hall, “they had promised to give a show, as they call it, and it seems that the thing

fell through.” And in the same report, that customers “get up and sings as women, and dance.”  (p. 79)

***

Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 165, p. 65. The Harding Collection. Rounder CD 11661-7033-2, Natalie MacMaster – “My Roots Are Showing” (2000).

X:1

T:Paresis

R:Reel

L:1/8

M:C|

C:Sandy's MacIntyre's Book

K:Gm

A2|:{A}BAGF DGGB|AFcF dFcF|BAGF DGGA|BdcA BG G2 :|

{A}B2 g2 g2 ga|bga^f gdBG|F2 f2 f2 fg|afg=e fcAF|

G2 g2 g2 ga|bga^f g2d=e|=f2fd cAGF|DGGA G2||

{A}B2 g2 g2 ab|bga^f gdBG|CFA,F CFA,F|f=efg afcA|

{F}G2 g2 g2 ab|bga^f G2d=e|=f=e=fd cAGF|DGGA G2|]

 

PARIS WALTZ. Old‑Time, Waltz. USA, Tenn. D Major. Standard. AAB. Composed by Arthur Smith, named for the town of Paris, Tennessee. Sources for notated versions: Howard Forrester and Dwight Lubiniecki [Phillips]; Floyd Engstrom [Silberberg]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 292. Silberberg (93 Fiddle Tunes I Didn’t Learn at the Tractor Tavern), 2004; pg. 35.

See also listing at:

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

 

PARISH GIRL [1], THE. AKA and see "The Blarney Pilgrim." Irish, Double Jig. D Mixolydian. Standard. ABC. Petrie notes the tune was “set about 1800 by Daniel McHourigan.” Stanford/Petrie (Complete Collection), 1905; No. 593, pg. 149.

X:1

T:Parish Girl, The [1]

M:6/8

L:1/8

S:Stanford Petrie – Complete Collection (593)

Z:AK/Fiddler’s Companion

K:D

DED DEG | A2G ABc | BAG AGE | GEA GED | DED DEG |

A2G ABc | BAG BGE | GED D3 || ded dBG | AGA BGE |

ded dBG | AGA G3 | g2e dBG | AGA BGE | B2G AGE | GED D3 ||
A2D B2D | A2D ABc | BAG AGE | GEA GED | A2D B2D |

A2D ABc | BAG AGE | GED D3 ||

 

PARISH GIRL [2], THE. AKA and see "Ruaig an Mí‑ádh" (Banish Misfortune [1]), “The Bag of Meal,” "The Little Bag of Meal," "Humors of Mullina(a)fauna [1]," "Nancy Hynes," "Round the Carthouse." Irish, Jig. Best known as “Banish Misfortune.”

 

PARISH HORNPIPE. American, Hornpipe. B Flat Major. Standard tuning. AABB. Howe prints the tune with dance directions in his section of ‘Contra Dances’. Howe (1000 Jigs and Reels), c. 1867; pg. 90.

X:1

T:Parish Hornpipe

M:2/4

L:1/8

R:Hornpipe

S:Howe – 1000 Jigs and Reels (c. 1867)

Z:AK/Fiddler’s Companion

K:B_

d/c/ | BF/B/ D/B/F/B/ | G/B/F/B/ D/B/F/B/ | (c/=B/)(c/d/) e/d/c/_B/ | (A/f/)(=e/g/) f/_e/d/c/ |

BF/B/ D/B/F/B/ | G/B/F/B/ D/B/F/B/ | (a/g/)(f/e/) (d/c/)(B/A/) | Bd/c/ B :: f | b/f/d/f/ g/f/d/f/ |

b/f/d/f/ g/f/d/f/ | b/a/g/f/ e/d/c/B/ | A/B/c/d/ cf | b/f/d/f/ g/f/d/f/ | =e/f/g/a/ b/g/e/g/ |

f/=e/f/g/ f/_e/d/c/ | Bd/c/ B :|

 

PARISH OF DALMAILING. Scottish, Strathspey. E Flat Major. Standard tuning. AB. Composed by James Porteous. MacDonald (The Skye Collection), 1887; pg. 130.

X:1

T:Parish of Dalmailing

L:1/8

M:C

S:MacDonald – Skye Collection

Z:AK/Fiddler’s Companion

K:E_

B,|E>FEe B<G F>E|D<F F>E D<FF<G|E>FEe B<G F>E|D<B, C>D E>FE<B,|

E>FEe B<G F>E|D>F F>E D<F F>G|E>FEe B<G F>E|D<B, C>E E2E||

e/f/|geBG eBGE|c<A F>E D(FF)e/f/|geBG eBGE|c<A F>E (E2 E)c/d/|

eEdE cEBE|D<F F>E D(FF)G/F/|EB,CE B,Eec|B<G F>G E2E||

                       

PARISH OF KNOCKMORE.  Irish, Air. Coleman Music Center CHC 009, fiddler Kevin McHugh (b. 1925, Foxford, Co. Mayo) – “The Coleman Archive, vol. 2: The Home Place” (2005. Various artists).

 

PARISOTT'S. AKA and see "Madam Parisott's Hornpipe," "Whiskey Barrel." AKA – “Parasott.” English, American; Hornpipe. C Major (Cole, Ryan): D Major (Harding): G Major (O’Neill). Standard tuning. AABB. The tune was published in America by George P. Knauff under the title "Whiskey Barrel" in his Virginia Reels, volume I (Baltimore, 1839). Originally "Madam Parisott's Hornpipe," by the middle of the nineteenth century the title had typically been abbreviated to "Parisott Hornpipe." Source for notated version: copied from Wilson’s Companion to the Ballroom (1816) [O’Neill]. Cole (1000 Fiddle Tunes), 1940; pg. 110. Hardings All Round Collection, 1905; No. 42, pg. 12. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 330. Ryan’s Mammoth Collection, 1883; pg. 146 (appears as “Parasott”).

X:1

T:Parisot's Hornpipe

M:4/4

L:1/8

S:Wilson's Companion to the Ballroom 1816

Z:Paul Kinder

R:Hornpipe

K:G

B>A|G>FG>A B>AB>G|c>dc>B A2 B>A|G>FG>A B>AB>G|A>GF>E D2 B>A|

G>FG>A B>AB>G|c>dc>B A2 d>c|B>dG>B A>cF>A|G2 G2 G2:|

|:A>G|F>GE>F D2 c>B|A>BG>A F2 d>c|cAed cAed|cBcB cAGF|

G>FG>A B>AB>G|c>dc>B A2 d>c|B>dG>B A>cF>A|G2 G2 G2:||

                       

PARK. English, Jig. England, Northumberland. D Major. Standard tuning. AABB. Hall & Stafford, 1974; pg. 1. Raven (English Country Dance Tunes), 1984; pg. 116.

X:1

T:Park

M:6/8

L:1/8

R:Jig

K:D

A|d2d dfd|B2B BdB|ABA AGF|GEE E2A|d2d dfd|

B2B BdB|ABA GFE|FDD D2::A|Ade fed|Bef gfe|

Ade fed|efd cBA|Ade fed|Bef gfe|fed edc|d3 d2:|

                       

PARK HOTEL.  English, Polka. Composed by Don Mackay of the Leeds Band, c. 1970’s, named for a pub in the Hyde Park area of Leeds.

                       


PARK ON SUNDAY, THE. Irish, Jig. D Major. Standard tuning. AABB. Composed by Falmouth, Massachusetts, musician Bill Black to commemorate the testimonial day of accordion player Joe Madden, in New York’s Gaelic Park, in February, 1992. Black (Music’s the Very Best Thing), 1996; No. 152, pg. 80.

X:1

T: The Park on Sunday

C: © B. Black

Q: 325

R: jig

M: 6/8

L: 1/8

K: D

A | dcd AFD | EDC DEF | GAB ABc | dAF E2 A |

dcd efg | fed Bcd | AFD GAB | AFE D2 :|

e | agf gec | dcd BAF | GAB ABc | def e2 f |

afd ecA | BGB ABc | dAF GAB | AFE D2 :|

                       

PARKER'S FANCY. Irish, Reel. G Major. Standard tuning. AABB. Carlin (Master Collection), 1984; No. 227, pg. 132.

                                               

PARKERS HOUMURS. English. England, Northumberland. One of the "missing tunes" of William Vickers' 1770 Northumbrian dance manuscript.

                                

PARKERSBURG LANDING. AKA and see  California Dance,” “California Hornpipe,” "Limber Neck Blues,"  Mamie Pott’s Schottische,” "Mason‑Dixon Schottische," "Nightingale (Clog) [2]," “Rustic Dance—Scottische [3],” “Rustic Hornpipe.” Old‑Time, Schottische. USA, Ky. C Major. Standard tuning. A favorite tune of blind eastern Kentucky fiddler Ed Haley (1885‑1951), who knew the melody by the above title, which may possibly reflect the locale in which Haley learned the tune (i.e. around Parkersburg, West Virginia). Haley lived in the Catlettsburg-Ashland area of Boyd County, KY, from at least 1920 until his death in 1951 [Brandon Kirk]. Mississippi musicians Narmour and Smith recorded the tune as "Limber Neck Blues" and a variant was recorded by Mount Vernon, Ohio, fiddler John Baltzell as “Kenion Clog.” Rounder 1010, Ed Hayley - "Parkersburg Landing" (1976).

                       

PARKS OF DUNLOP, THE. Scottish. John Glen (1891) finds the earliest appearance of this tune in print in John Riddell's 1766 collection (pg. 30).

                       

PARKS OF FOCHABERS, THE. AKA and see "The Parks of Kilburn." Scottish, Reel. F Major. Standard tuning. AB (Surenne): AABB (Gow). Carlin (The Gow Collection), 1986; No. 426. Gow (Complete Repository), Part 3, 1806; pg. 30. Stewart-Robertson (The Athole Collection), 1884; pg. 227. Surenne (Dance Music of Scotland), 1852; pg. 44.

X:1

T:Parks of Fochabers, The

L:1/8

M:C|

R:Reel

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

Z:AK/Fiddler’s Companion

K:F

c|A/B/c cf a/g/f/e/ fd|cAdA BGGB|A/B/c cf a/g/f/e/ fd|c>AB>G F/F/F ~F:|

|:c|A/B/c Fc dBfd|cAaf gGG>B|A/B/c Fc dBfd|cAB>G F/F/F ~F:|

                                

PARKS OF KILBURN(IE), THE. AKA and see "The Parks of Fochabers." English, Scottish; Reel. England, Northumberland. F Major. Standard tuning. AABB. John Glen (1891) finds the earliest printing of this tune in Robert Bremner's 1757 collection. Bremner (Scots Reels), 1757; pg. 3. Glen (The Glen Collection of Scottish Dance Music), vol. 1, 1891; pg. 12. Seattle (William Vickers), 1987, Part 3; No. 492.

X:1

T:Parks of Kilburnie, The

M:C

L:1/8

R:Reel

S:Glen Collection, vol. 1  (1891)

Z:AK/Fiddler’s Companion

K:F

F|A/B/c cf a/g/f/e/ fd|cAdA BGGB|A/B/c cf a/g/f/e/ fd|cABG F/F/F F:|

|:c|A/B/c F>c dBfd|cAaf gGGc|A/B/c Fc dBfd|cABG F/F/F F:|

                       

PARKS OF YESTER, THE. Scottish, English; Jig (9/8 time). England, Northumberland. D Major (Gow): G Major (Bruce & Stokoe, Peacock). Standard tuning. AB (Gow): AABB (Peacock, Stokoe & Bruce). The title probably refers to the grounds at Yester House, Haddingtonshire. Yester is the name of a parish originally known as St Bothans or St. Bathans. Yester is the ancient name of the of the Marquis of Tweeddale’s estate, and appears to be derived from the Cambro British word Ystrad or Yestred, signifying a strath or vale. This describes the terrain, which forms a strath on the banks of a stream called Gifford water, a tributary of the Tyne. The Gows dedicated their Third Collection (1792) to the Marquis of Tweeddale, resident of Yester House, which was built by James Smith in the early years of the 18th century. The Saloon by architects William, John and Robert Adam, was described by painter Gavin Hamilton as “the finest room at least in Scotland.” Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 162. Carlin (The Gow Collection), 1986; No. 369. Gow (Third Collection of Niel Gow’s Reels), 1792; pg. 1 (3rd ed.). Peacock (Peacock’s Tunes), c. 1805/1980; No. 36, pg. 15.

X:1

T:Parks o’ Yester, The

M:9/8

L:1/8

R:Jig

S:Bruce & Stokoe – Northumbrian Minstrelsy  (1882)

Z:AK/Fiddler’s Companion

K:G

d|BGG dBB eAA|BGG dBB g2d|BGG dBB eAA|BGG dBB g2d|

BGG dBB ecA|BGG dBd g2d|BGG dcB ecA|BGG dBd g2:|

|:d|g3 dcB ecA|g3 dBd g2d|e>fg dcB ecA|BGG dBd g2:|

X:2

T:Parks of Yester, The

M:9/8

L:1/8

R:Jig

B:Gow – 3rd Collection of Niel Gow’s Reels, pg. 1, 3rd ed.  (orig. 1792)

Z:AK/Fiddler’s Companion

K:D

A|.F.D.D AFF BEE|FDD AFF “tr”d2A|FD AFF BEE|FDD AFF “tr”d2A|
FDD AGF BGE|FDD AFA “tr”d2A|FDD AGF BGE|FDD AFA d2||A|

“tr”d3 AGF BGE|d3 AFA d2A|”tr”B>cd {B}AGF BGE|FDD AFA “tr”d2A|

“tr”d3 AGF BGE|(e/d/B/c/).d AFA d2A|”tr”B>cd {B}AGF BGE|FDD AFA d2||

                       

PARLALOW. German, Country Dance Tune (4/4 time). G Major. Standard tuning. AABB. Labeled “a German Tune” in James Aird’s Selection of Scotch, English, Irish and Foreign Airs, vol. II (Glasgow, 1785). Aird (Selection of Scotch, English, Irish and Foreign Airs), vol. II, 1785; No. 75, pg. 28.

X:1

T:Parlalow

M:C

L:1/8

S:Aird, vol. II (1785)

Z:AK/Fiddler’s Companion

K:G

G | GBBd d>cBd | cB AG/F/ G3D | GBBd cB Ag |

f/a/f/d/ e/g/e/^c/ (d2 d) :: d | gf/a/ ef/g/ fe/f/ d2 | ed/e/ cd/e/ dc/d/ B2 |

cBAG FE/D/ Gc | B/d/B/G/ A/c/A/F/ G2G :|

                       


PARLEZ-NOUS A BOIRE. Cajun, Reel. USA, southwest Louisiana. G Mixolydian (Greenblatt): A Mixolydian (Francois). Standard tuning. AA'BB' (Greenblatt): Francois gives acomplicated account of the Balfa's breaks and vocals. An old Cajun drinking song. Source for notated version: Balfa Brothers (La.) [Francois]. Francois (Ye Yaille, Chère!), 1990; pgs. 242-243. Greenblatt, 1985; pg. 27. Arhoolie C‑334, Michael Doucet ‑ "Masters of the Folk Violin." Swallow Records SW-LP6011, the Balfa Brothers.

 

PARLOUR REEL. Scottish, Reel. D Major. Standard tuning. AAB. Kerr (Merry Melodies), vol. 4; No. 69, pg. 10.

X:1

T:Parlour Reel

M:C|

L:1/8

R:Reel

S:Kerr – Merry Melodies, vol. 4, No. 69  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

(3ABc | dBcA BGFE | DGFD (EB,)B,2 | DEFA (3Bcd (ed) | cABc d2 :||

(3ABc | dcBc dfed | cBAB cedc | dcBc dfed | ceAc d2 (3ABc |

defa gfed | cdef ecAc | dfed cedc | BABc d2 ||

 

PARLÚS PHEAIT. AKA and see “Pat’s Parlour.”

 

PARNELL AND IRELAND. Irish, Jig. D Major. Standard tuning. AABB. Composed by one Tom Doyle (credited in Ryan’s Mammoth) in honor of the great Irish nationalist Charles Stewart Parnell (1846-1891), who urged tenants not to pay rent in protest of oppression at the hands of landlords. His career was ruined by scandal after it was revealed he was having an affair with a married woman. Cole (1000 Fiddle Tunes), 1940; pg. 71. Ryan’s Mammoth Collection, 1883; pg. 102.

X:1

T:Parnell and Ireland

M:6/8

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

A | fed fga | fed fga | bc’d’ afd | feee e2A | fed fga | fed fga |

bc’d’ afd | edd d2 :: A | afa geg | fdf ecA | afa baf |

fee e2A | afa geg | fdf ecA | dcd eag | fdd d2 :|

        

PARNELL’S MARCH.  The tune was recorded by piper Joe McKenna under the title “Rowsome’s Jig(s),” referring to his teacher, Leo Rowsome. Harry Bradley informs the tune has a long association with the uilleann pipes, having been included in Tadhg Crowley’s 1936 pipe tutor (“published the same year as Leo Rowsome’s tutor; there hadn’t been a tutor for the pipes in over a hundred years and all of a sudden two fall out of the hat in the same year!”). He believes Crowley may have borrowed heavily from Highland Bagpipe repertoire, and thinks “Parnell’s March” may have had a pipe band association. Sol Foster (Ir-trad 12/15/05) notices the tune has a strong resemblance to Newfoundland fiddler Rufus Guinchard’s tune “Uncle Manual Milks the Cow.” Foster says the title was invented by Guinchard, and that the tune “was just a nameless one floating around the northwest portion of Newfoundland in the early 1900’s.” Topic TSCD 669, Willy Taylor, Joe Hutton & Will Atkinson (et al) – “Ranting and Reeling: Dance Music of the north of England” (1998. Atkinson {b. 1908} of Crookham, Northumberland, was an harmonica player, Taylor a fiddler and Hutton a Northumbrian small-piper).

X:1

T:Parnell’s March

M:12/8

L:1/8

N:more or less as played in north Kerry

Z:lesl, adapted PdG

K:G

d2c|BGd BGD d3 d2c|BGD B2c ded d2c|BcB BGd edc BAG|ABA d^cd Ad^c c2=c|

BGD BGD ded d2B|c2B c2e ~g3 gfe|d2B GAB c2A FGA|{B}A3 G2F G3:||

|:g2f|e3 c2B c2e gfe|d3 ded B3B2c|d3 d^cd ed=c BAG|ABA d^cd Ad^c d2=c|

BGD BGD ded dcB|~c2B c2e ~g3 gfe|d2B GAB c2A FGA|{B}A2G G2F G3:||

                       

PARNELL'S REEL. AKA and see “Bunch of Keys,” “Corporal Casey [2]," “Corporal Casey’s Fancy,” “Curly Haired Laddie,” "The Four-Hand Reel,” “The Five Mile Chase [1]," “Lady Gardner’s,” “The Wild Fire Chase,” “Yellow Haired Laddie [1]." Irish, Reel. G Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 7. Ryan’s Mammoth Collection, 1883; pg. 26.

X:1

T:Parnell’s Reel

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

(3D/E/F/ | GB/G/ d/G/B/G/ | F/D/A/D/ B/D/A/D/ | GB/G/ d/G/B/d/ | e/g/f/a/ g/e/d/B/ |

GB/G/ d/G/B/G/ | F/D/A/D/ B/D/A/D/ | GB/G/ d/G/B/d/ | e/g/f/a/ gg :: g/d/B/d/ e/d/B/d/ |

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

e/f/e/d/ e/d/B/d/ |1 e/g/f/a/ gg :|2 e/g/f/a/ g/e/d/B/ ||

                       

PARO LOU LOUP PETIOTE. French, Bourree (3/8 time). G Mixolydian/C Major. Standard tuning. AABB. From the Auvergne Province of central France. Stevens (Massif Central), vol. 1, 1987; No. 41.

                       

PARODY. Old‑Time, Breakdown. USA; Iowa, Nebraska. Christeson's informant says this tune was often used by fiddlers as a substitute when requested to play "Devil's Dream [1]". Another version, from Pennsylvania, is printed by Bayard (1981, No. 426, pg. 405) where it appears as an untitled schottische. A Major. Standard tuning. AABB. Source for notated version: Bob Walters (Burt County, Nebraska) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 1), 1973; No. 13, pg. 11.

                       

PAROWAN GALLOP. D Major. Standard tuning. AB. Source for notated version: Warren Argo [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 116.

                       

PARRY SOUND, THE. Canadian, Reel. G Major. Standard tuning. AA'BB. Source for notated version: Attwood O’Connor (b. 1923, Milltown Cross, South Kings County, Prince Edward Island) [Perlman]. Jarman (Jim Magill's Square Dance Tunes); No. or pg. 16. Messer (Way Down East), 1948; No. 33. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 534, pg. 34. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 158. Sannella, Balance and Swing (CDSS). Apex AL 1613, “The Best of Don Messer and his Islanders, Vol. 6." F&W Records 1, "F&W String Band." Front Hall 010, Bill Spence and Fennig's All Stars‑‑"The Hammered Dulcimer Strikes Again." Voyager VRCD 342, Rodney Miller – “Rodney Miller’s All-Round Collection of Jigs, Reels and Country Airs.”

X:1

T:Parry Sound Reel

R:Reel

M:2/4

L:1/16

Z:Transcribed by Bruce Osborne

K:G

Bc|d2b2 a2g2|d4-dcBA|G2B2 d2f2|a4 e4|

e2c'2 c'2e2|f6e2|dedc B2^A2|B6Bc|

d2b2 a2g2|d4-dcBA|G2B2 d2f2|a4 e4|

e2c'2 c'2e2|f6e2|dedc A2B2|G6:|

|:Bc|d2G2 B2Bc|d2G2 B2G2|FGAB cBcd|ed^ce d=cB=c|

d2G2 B2Bc|d2G2 B2G2|FGAB cAFA|G2B2 G2:|

 

PARRY'S HORNPIPE. American, Hornpipe. B Flat Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 88. Ryan’s Mammoth Collection, 1883; pg. 122.

X:1

T:Parry’s Hornpipe

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:Bb

b/f/ | dd d/e/c/A/ | BBB(d/e/) | f/=e/f/d/ g/f/_e/d/ | c/d/e/c/ B/A/G/F/ | dd d/f/e/g/ |

fff(b/a/) | g/f/e/d/ c/B/A/c/ | BBB :: (c/d/) | e/d/e/d/ .e(c/d/) | e/d/c/B/ B/A/G/F/ |

f/=e/f/e/ .f(g/a/) | b/a/g/f/ _e/d/c/B/ | g/f/e/d/ e/g/b/g/ | f/e/d/c/ d/f/b/g/ | f/b/a/g/ f/e/d/c/ | BBB :|

 

PARRY’S MARCH.  English, March (4/4 time). G Major. Standard tuningC. Source for notated version: the music manuscript book of James Findlay, dated 1841. Findlay was originally from Penpont, Dumfriesshire, Scotland, but emigrated with his brothers to Australia, where he settled on a farm in the Upper Murray at Towong Upper. His manuscript was found in an old sea chest at the family homestead by his grand-daughter, Ada Findlay.

X:1

T:Parry’s March

M:C
L:1/8

R:March

S:the music manuscript of James Findlay (1841)

Z:AK/Fiddler’s Companion

K:G

d>d|g4 d3B|G2 G>G GGAB|c4B4|A2 A>A A2 d>d|g4 d2B2|a4 f2d2|

g2 (ag) fed^c|d2 d>d d2::d>d|d4 f>f d>d|g4 b>b g>g|c’>c’ b>b a>a g>g|

f>f e>e d>d c>c|B4 dcBA|G2e2d2c2|B3c dcBA|G2 g>g g2:|

K:Emin

B|B3A GGAB|c2A2F2D2|G4 A2B2|^cd ^de A2c2|

B2a2 ggab|.c’2 .a2 .f2 .d2|g2a b3a|1 g2 e>e e3:|2 g2 e>e e>d e>f||

 

PARSLEY GIRLS, THE. Old‑Time; Breakdown and song. USA; Oklahoma, Kansas, Missouri. A Major. AEac# tuning. AABB. Source for notated version: the Collins Family (Oklahoma) [Thede]. Thede relates that Billy Parsley was an engineer on the railroad in Douglas County, Missouri, at the turn of the 20th century. Parsley, it seems, was reknowned for his tall tales and yarns as well as for his ability to dispose of tobacco juices "without moving any part of the anatomy except the lips and tongue." Notwithstanding these convivial talents, he was a man of "rugged and violent nature," who was not particularly enamoured of the young men who hung about his house seeking the company of his numerous daughters. However, when he was on his runs it was an occassion for merriment at home and "his house would be responding to music, song, and dance." Out of these gatherings came a folk processed song, "The Parsley Girls."

***

Oh them girls of Old Bill Parsly, I‑de I‑de I‑de,

Oh them girls of Old Bill Parsley, I‑de I‑de I‑de;

Girls in the cook house, boys in the parlor, I‑de I‑de‑de die‑de.

Oh Boys in the cook house, girls in the parlor

Oh them girls of Bill Parsley.

***

Thede (The Fiddle Book), 1967; pgs. 93‑95.

 

PARSON ADAMS.  English, Jig. G Major. Standard tuning. AABB. “Parson Adams” first appeared in R. Baldwin’s periodical The London Magazine, or The Gentleman’s Monthly Inelligencer of 1753. It subsequently was printed in John Johnson’s 200 Favourite Country Dances, vol. 7 (1756) and Charles and Samuel Thompson’s 1757 country dance collection. The title probably refers to a character in Henry Fielding’s novel Joseph Andrews (1741). Parson Adams is the middle-aged comic hero who is idealistic and free from affectation. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 69.

X:1

T:Parson Adams

M:6/8

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:G

g3 agf|gdc Bcd|efg dcB|ABG AFD|gfg agf|gdc Bcd|efg afd|ge^c d3:|
|:d3 ed^c|dAF DFA|=cBc a2c|{d}”tr”c3 B3|gfg agf|gdc Bcd|efg dBG|cAF G3:||

 

PARSON AMONG THE PEAS, THE. English, Country Dance Tune (6/8 time). G Major. Standard tuning. AAB. The air appears in Thomas D'Urdey's Pills to Purge Melancholy, 1719‑20. Watson (A Rollick of Recorders or Other Instruments), 1975; No. 2, pgs. 2‑3.

 

PARSON AND DOROTHY. AKA and see "The Shepherd's Daughter [2] ."

 

PARSON BOASTS OF MILD ALE, THE (Moleann an Ministert an Minleanna). Irish, Air (9/8 time, "gaily"). G Major (O'Neill/1915: G Minor (O'Neill/1850). Standard tuning. AB. The air to the song ”The Parson Boasts of Mild Ales” was arranged for violin, ‘cello and piano by Haydn in 1803 (Hob XXX1b/61). Researcher Paul de Grae finds the song itself was composed by Alexander Boswell (1775-1822), son of Dr Johnson’s biographer, and the author of the Scots songs “Jenny’s Bawbee” and “Jenny Dang the Weaver,” to an older air whose provenance is unknown. Paul quotes James Cuthbert Hadden, in his book George Thomson: The Friend of Burns : His Life and Correspondence (1898, 220-221), who writes:

***

The next air sent to Boswell is that of "We'll make a bed in the barn," which Thomson thinks would

 be "a famous vehicle for a drinking-song, the description of a harvest home, or kirn, or any rural

merry-making that may have come under your observation." He feels sure that, furnished as it is

with Haydn's symphonies and accompaniments, Boswell will be "perfectly charmed" with it. But

Boswell is not charmed. He does not think much of the air; "it is vulgar, although the author of

The Creation might draw harmony from any source." The nationality of the air is uncertain, and

so, "as few people sing more than one stanza," Boswell sends "an English, an Irish, and a Scotch

stanza, which your vivacious friends may take ad libitum." He must add that "the measure is most

execrably cramp and creates a troublesome change of accent." If it were not so he would "send

some other words of a more general nature, not so peculiarly fitted for topers." The song is that

beginning, "The parson boasts of mild ale," which Thomson prints, without the Scotch stanza, in

the first volume of his Irish collection [in 1814].

***

O'Neill (O’Neill’s Irish Music), 1915/1987; No. 15, pg. 17. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 384, pg. 67.

X:1

T:Parson Boasts of Mild Ale, The

M:9/8

L:1/8

R:Air

N:”Gaily”

S:O’Neill – Music of Ireland (1903), No. 384

Z:AK/Fiddler’s Companion

K:Gmin

G2D B,A,B, G,2 D|G2G GAB cA^F|GAB AG^F G2 D/E/|=FGF FCB, A,B,C|

G2 D B,A,B, G,2D|G2G GAB cAF|BAG AG^F G2 G/A/|BAG DGF ^G2||c|B2B B2d fdB|

A2F FcB ABc|BAG G2D G2G|dBG GAG Bcd|B2B BBd f2B|A2F FcB ABc|

BAG G2 D/D/ G2 G/A/|BAG DG^F G2||

X:2
T: The Parson Boasts of Mild Ale
M:9/8
L:1/8
S:Fleischmann, Sources of Irish Traditional Music, no. 5413
K:Bb
D|G2G GAB D2D|F2F cAF A/c3/2A|GGG GAB D2D|
G2G dBG B/d3/2 c|B2B B2d f2B|A2F FcB ABc|
BAG G2D G2G|dBG GAG B/d3/2 ||:c|B2B BBd f2B|
A2F FcB ABc|BAG G2 D/D/G2G|dBG GAG B/d3/2 z:||

 

PARSON IN BOOTS, THE.  AKA – “The Parson in his Boots.” AKA and see "Bounce Upon Bess," "Come All You Good Fellows," “Irish Lilt [5],” "Kissing and Drinking," "Larry O'Lashem," “Mopsy’s Tune;the old way, “Murphy Delany,” “Paddy’s Dream,” "Paddy's Trip from Dublin," “The Priest and/in his Boots [1].” “Rocking the Cradle [2],” "There Are Sounds of Mirth," "The Tivoli."  Scottish, Jig. D Major. Standard tuning. AABB. The melody appears under this title in the 1770 music manuscript collection of Northumbrian musician William Vickers, about whom, unfortunately, nothing is known. See note for “Priest and/in his Boots [1]” for extensive Irish history/titles. Kennedy (Traditional Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 150, pg. 36.

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Parson in Boots, The

M:6/8

L:1/8

R:Jig

S:William Vickers’ 1770 music manuscript (Northumberland)

K:D

e2e e2e|efd cBA|d2d fed|cAc e3|e2e e2e|efd cBA|

d2g faf|gec d2::e/f/4g/4|a2f g2e|f2d cBA|d2d fed|

cAc e2 f/g/|a2f g2e|afd cBA|d2g faf|gec d2:|

 

PARSON IN/ON HIS BOOTS. AKA and see “Miser [1],” “Murphy Delaney.” Scottish, Jig. G Major. Standard tuning. AABB. John Glen (1891) finds the earliest appearance of this tune in print in Robert Bremner's 1757 collection, while other early printing can be found in the 1768 Gillespie Manuscript of Perth and James Aird’s collection. Though the “Priest in his Boots” (and related tunes) are listed as alternates, the main similarities between the tunes appears to be the title. Bremner (A Collection of Scots Reels), 1757; pg. 15 (appears as “The Parson & his Boots). Carlin (The Gow Collection), 1986; No. 454. Gow (Complete Repository), Book 2, 1802; pg. 15.

X:1

T:Parson in Boots, The

M:6/8

L:1/8

R:Jig

S:Gow – 2nd Repository  (1802)

Z:AK/Fiddler’s Companion

K:G

~G3 G2c|B2G (B/c/d)B|G3 Bcd|EFG AFD|~G3 G2c|B2G (B/c/d)B|gfe dcB|ABG FED:|

|:B>cd ded|ded dcB|c>de efe|efe edc|B>cd ded|ded def|gfe dcB|ABG FED:|

        

PARSON IN THE SUDS [1].  AKA and see “England’s Glory,” “May Day [5].” English, Reel. The melody appears in print under this title in Aird’s Selections of Scotch, English, Irish and Foreign Airs, vol. 1 (1782, pg. 47), It can also be found in the music manuscripts of Joseph Barnes (1762, Carlisle, Cumbria) and William Clarke (Feltwell, Norfolk, 1858), and, as “May Day,” in H.S.J. Jackson’s 1823 Lancashire ms. See also the tune under the title “England’s Glory” in the John Clare (1793-1864) music manuscript.

X:1

T:Parson in the Suds [1]

M:C|
L:1/8

R:Reel

S:John Clare manuscripts

K:G

d|gfgd cBAG|FGAB cAAf|gfgd cBAG|DGAc BGG:|

|:z2|DGBG DGBG|DGBG cAAB|DGBG DGBG|dedB BGGB|

DGBG DGBG|DGBG cAAB|cdef gedc|BdAc BGG:|

 

PARSON IN THE SUDS [2].  AKA and see “Devil in a Bush,” “Kincaldrum(‘s Reel).” English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABB. The tune appears in print in J. Johnson’s Choice Collection of 200 Favourite Country Dances, vol. 6 (1751) and in David Rutherford’s Compleat Collection of 200 Country Dances both Old and New, vol. 1 (1756). The melody appears in the music manuscript collections of John Rook (Cumbria, 1842) and Rev. Robert Harrison (Brampton, Cumbria, 1820).

X:1

T:Parson in the Sudds [sic]  [2]

M:2/4

L:1/8

S:John Rook music manuscript (1842, Cumbria)

K:G

f|g2 dc|B2 AG|FGAB|cAAf|g2 dc|B2 AG|FGAB|BGG:|

|:B|DGBG|AGBG|DGBG|cAAB|(cd)(ef)|gdcB|cAdc|BGG:|

 

PARSON OF ELTHAM, THE. English, Country Dance Tune (6/4 time). F Major. Standard tuning (fiddle). AABA. Knowles (A Northern Lass), 1995; p. 18.

        

PARSON UPON DOROTHY.  AKA – “The Shepherd’s Daughter.” English, Country Dance Tune (2/2 time). G Minor. Standard tuning (fiddle). AABBCC. “Parson Upon Dorothy” first appears in the second edition of John Playford’s Dancing Master (London, 1652). The melody was retained in all subsequent editions of the long-running Dancing Master series, through the 18th, published in 1728 by John Young. It also appears in Walsh’s Compleat Country Dancing Master (London, 1718, and later editions of 1731 and 1754), and is the vehicle for songs in several ballad operas, including John Gay’s Polly (1729), Ebenezer Forrest’s Momus Turn’d Fabulist, or Vulcan’s Wedding, and George Lillo’s Silvia (1731). It was also included by London musician Thomas Hammersley in his c. 1790 music manuscript collection. Barlow (Complete Country Dance Tunes from Playford’s Dancing Master), 1985; No. 107, p. 37. Barnes (English Country Dance Tunes, vol. 2), 2005; p. 99. Wildgoose Records WGS 304CD, Belshazzar’s Feast – “John Playford’s Secret Ball” (2001).

X:1

T:Parson Upon Dorothy

M:C|

L:1/8

S:John Playford – 2nd edition of the Dancing Master (1652)

K:Gmin

D2|G3G ABcA|B3c B2d2|c2B2 ABcA|B4 B2:|

|:d2|c2B2|ABcA|B3c B2d2|c2B2 ABcA|B4 B2:|

|:d2|c3B A2c2|B3A G2B2|A2G2G2F2|G4:|

 


PARSON'S FAREWELL, THE. English, Country Dance Tune (2/2 time). D Minor. Standard tuning. ABB. The tune was first published under this title by John Playford in the first edition of his The English Dancing Master (1651), however, the melody clearly predates Playford. Sam Bayard (in his article “A Miscellany of Tune Notes”) found an earlier version of the melody in the Skene Manuscript (c. 1615, No. 14) under the title “Ostend.” Early versions also appear in Adriaen Valerius Nederlandtsche Gedenck-Clanck (1626, as “La Boree”), the Starter’s Friesche Lust-Hof (1621), and the Thysius Lute book (c. 1600); the first two works refer to the tune as a bourrée. It has been sourced to France, where, for example, it appears in a lute collection by Nicolas Vallet entitled Secret des Muses (1615), as “Bouree d’avignon.” The late 17th century Philidor Collection also contains the melody with the same title. As “La Bouree” it was included in Michael Praetorius’s Terpsichore (1612), and as “Stil, stile en reys” (Hush, hush a moment) in Jacob van Eyck’s Der Fluyten Lust-hof. The title in the van Eyck volume refers to a song by Jan Starter which appears in his aforementioned Friesche Lust-Hof, although it had earlier been published in Boudewijn Hansen Wellens’ ‘t Vermaeck der Jeught (1616)—both volumes give “De nieuwe Laboré” (The New Bourrée) as the vehicle for the song. Barnes (English Country Dance Tunes), 1986. Fleming‑Williams & Shaw (English Dance Airs; Popular Selection, Book 1), 1965; pg. 6. Johnson (The Kitchen Musician No. 14: Songs, Airs and Dances of the 18th Century), 1997; pg. 13. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 13. Raven (English Country Dance Tunes), 1984; pg. 22 & 37. Sharp (Country Dance Tunes), 1909/1994; pg. 18. Dorian 90238, The Baltimore Consort – “A Trip to Killburn.” Maggie’s Music MMCD216, Hesperus - “Early American Roots” (1997).

X:1

T:Parson’s Farewell, The

L:1/8

M:C|

B:Playford’s Dancing Master

Z:AK/Fiddler’s Companion

K:Dmin

F2d2d2 ef|g2c2 c3c|de f2 e2 d2|1 c2A2 A4:|2 a2 a4||

a2|f4 f2 a2|f4 f2a2|fg a2 fg a2|g2e2 e4|ef g2 ef g2|f2 d2 defg|a2 gf ed e2|d6||

X:2

T:Sil, stile en reys

M:C

L:1/8

S:Jacob van Eyck – Der Fluyten Lust-hof

K:C

d4 d2ef|g2c2c2A2|defg e2d2|^c2A2 A4:|

|:a4f2f2|f2a2f2f2|fga2 fga2|g2c2c2g2|ef g2 efg2|defg a2 gf|e2d2d2^c2|d8:|

        

PARSOU. French, Valse (3/4 time). C Major. Standard tuning. AA'BB. Traditional tune from central France. Stevens (Massif Central), vol. 1, 1987; No. 68.

        

PARTHENIA [1]. AKA and see "Fain I Would." English, Country Dance Tune (cut time). G Dorian. Standard tuning. AABB. Barnes (English Country Dance Tunes), 1986.

 

PARTHENIA [2]. English, Air (6/4 time). D Major. Standard tuning. AAB. This is the older air for the song "Parthenia," found in Musick's Delight on the Cithren (1666). Chappell (Popular Music of the Olden Times), vol. 1, 1859; pg. 295.

X:1

T:Parthenia [2]

M:6/4

L:1/8

S:Chappell – Popular Music of the Olden Time (1859)

Z:AK/Fiddler’s Companion

K:D

A,2 | D4E2 F4G2 | A6B6 | A3G F2 E4F2 | G6 F4 :|

F2 | E2D2C2 D4E2 | (E6 E4)F2 | E2D2C2 D4E2 | (A6 A4)F2 |

E2D2C2 B,6C2 | D4E2 F4B2 | A2B2F2 E4D2 | (D6 D6) ||

        

PARTI DE LANCIER [1] (Part of a Lancer's). French Canadian, Jig. C Major. Standard tuning. AABB. Originally part of a Lancers set, as the title says (see note for "Lancers"). Source for notated version: Graham Townsend (Toronto, Canada) [Hinds]. Hinds/Hebert (Grumbling Old Woman), 1981; pg. 21. Rounder 7007, Graham Townsend ‑ "Classics of Scottish, Irish, and French Canadian Fiddling."

 

PARTIE DE LANCIER [2]. AKA and see "Bridal Festival Quadrille." From the repertoire of French-Canadian button accordion player Philippe Bruneau.

 

PARTIE DE LANCIER [3]. French-Canadian, Jig. A Minor (‘A’ part), C Major (‘B’ part) and F Major (‘C’ part). Standard tuning. AA'BB'CC'A"A"'B"B"'C"C"'. The third part of a Lancer’s set in Québec. Hart & Sandell note the tune is also called “The Bridal Festival Quadrille,” “6/8 Gallant” or “Am-C-F,” and that it is sometimes played in the key of B Minor. Source for notated version: French-Canadian button accordion player Philippe Bruneau (Quebec) [Begin]. Begin (Philippe Bruneau), 1993; No. 24, pg. 37. Hart & Sandell (Dance ce Soir), 2001; No. 33, pgs. 62-63 (a reprint of Begin’s version).

 

PARTIE DE LANCIER [4]. French-Canadian, Jig. G Major. Standard tuning. AABB’. From the title, part of a Lancer’s set.

X:1

T:Partie de Lancier [4]

M:6/8

L:1/8

K:G

Bc|d^cd ed^c|d2B G2B|A2F D2c|BGE DBc|d^cd ed^c|d2B G2B|A2D cBA|G4:||Bc|

d ^cd ed^c|dBG DBc|d^cd edB|cAF D2A|cBc d^cd|f5 e|ded cBA|1 BGE D:||2 G4||

 

PARTIE DE LANCIER [5]. French-Canadian, Jig. D Major. Standard tuning. AABB’CC.

X:1

T:Partie de Lancier  [5]

M:6/8

L:1/8

K:D

FBc dcB|FBc dcB|FBc dcB|f5f|cff cff|cff f2f|fgf edc|B6 :|| A3 FAd|f5 f | f2e d2e | B6 | B2c dcB |

AFA f3 | AAA ABc |1 d6 :||2 d3 =c3 || B2B GAG | e^de d3 | BAB dBd |  =cAF DFA | =c=c=c =cBA |

f5 e| ded =cBA | BGE D3 | B2B GAG | e^de d3 | BAB dBd | =c5 d | eee e^de | ddd dcd | fed =cBA | G6:||

        

PARTI DE SARATOGA. French-Canadian, Reel. D Major. Standard tuning. AABB.

X:1

T:Parti de Saratoga

M:4/4

L:1/8

K:D

FG|A3BA2F2|A2d2f4|e2g2B2c2|edcBA2FG|!A3BA2F2|A2d2f4|e2g2B2c2|d6:||!

fg|ab ag fgaf|defd ecAc|e2g2B2c2|edcBA2fg|!abag fgaf|defd ecAc|e2g2B2c2|d6:||

                       

PARTIE DE SET DE VALCARTIER. French-Canadian, Jig. D Major. Standard tuning. AA’BB’CC. Guy Bouchard remarks that a Valcartier set is made up of 6 figures and that this tune is usually played for the second figure. A story about the tune goes that two fiddlers played this jig with different ‘B’ parts, and so as not to provoke ire among either of them they played the two ‘B’ parts one after another, and the tune was picked up that way by others. Bouchard identifies this tune as coming from the Valcartier area above Québec City, home to a large Irish-descended community that has retained Irish influences in their music. Remon & Bouchard, vol. 2, 1997; No. 12.

        

PARTIDA, LA (The Parting). Venezula, Waltz. E Minor. Standard tuning. AA’BB’. Composed by F.M. Alvarez. Mathiesen (Waltz Book III), pg. 44. Green Linnet SIF1122, Kevin Burke - "Open House" (1992). Varrick VR‑038, Yankee Ingenuity ‑ "Heatin' Up the Hall" (1989). Mary Lea – “Gypsy Wine.” Gayle Tapper – “Here the Tides Flow.”

X:1

T:La Partida
R:Trad. Venezuelan
C:F.M. Alvarez
Z:Gerry Strong
M:3/4
L:1/8
K:Em
BcB _B=B|:g3 BgB|g3 BgB|g2f =f^f2-|fBc B_B=B|
f3 BfB|f3 bag|f2e _e=e2-|eBc B_B=B|
e3 _e=e=f|e3 dcB|B2A ^GA2-|AcB AGF|
~E3 FGA|~B3 AFG|~E2~G2~B2|1 eBc B_B=B:|2 ez3B2|
|:baB baB|baB baB|agB agB|agB agB|
gfB gfB|gfB gfB|feB feB|feB feB|
edB edB|edB edB|B2A ^GA2-|AcB AGF|
~E3 FGA|~B3 AFG|~E2~G2~B2|1 ez3B2:|2 e2z4|

        

PARTING, THE. Irish, Slow Air. G Major. Standard tuning. AAB. Composed by County Leitrim fiddler Charlie Lennon.

X:1
T:The Parting
C:Charlie Lennon
M:C|
L:1/8
Q:175
R:Slow air
D:Don't know of a recording of this tune.
Z:Paul Cranford's Site (posted to Scots-L by John Erdman)
K:G
D2|GFGA B2 g2|f2 a2 g2 B2|c2 ecB2 dB|cBAG d>A D2|
E2 FG FGA2|B2 g2f2 B2|c2 Bc d3d|d6:|
d2|g4 g2 (3gab|a3g f2 B2|e2 E2 d2B2|cBAG d>A D2|
E2 FG FG A2|B2 g2 e2 B2| c2 Bc d3 d|d6 d2|
b3 a g2 (3gab|a3 g f2 B2|e2 E2 d2 B2|cBAG d>A D2|
E2 FG AGFE|D2 g2 e2 B2|c2 Bcd3 d|d6||

                       


PARTING GLASS [1], THE (Deoc An Doruis). AKA and see "Good Night All Round," "Good Night and Joy Be With Ye A'." Irish, Slow Air (4/4 time) or March (2/4 time). A Minor (Roche): A Mixolydian (O'Neill {1850}): G Minor (O'Neill {1915}). Standard tuning. AB. A beautiful air and song, sometimes played in modern times for farewells, funerals or other occasions of loss. Although it has nothing to do with the title of this tune, which originally referred to the end of a convivial gathering, there is another, more macabre, meaning the title phrase carries. “The Parting Glass” or “Parting Cup” referred to an execution custom in 18th century England. On the way to the gallows at London’s Tyburn, the condemned would be allowed to stop at taverns along the way for what might be a number of “parting cups”—the opportunity was ample, for it was a two-hour trip from the prison in the gallows cart. The unfortunate would often share a drink with the hangman, again by custom. Combined with the fact that there was much drinking at Newgate Prison (also customary for the times), many condemned prisoners met their makers completely and thoroughly inebriated!

***

O'Neill (O’Neill’s Irish Music), 1915/1987; No. 35, pg. 25. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 58, pg. 10. Roche Collection, 1982, vol. 1; No. 20, pg. 12.

X:1

T:Parting Glass, The [1]

M:C

L:1/8

R:Air

S:O’Neill’s Irish Music (1915)

Z:AK/Fiddler’s Companion

K:Gmin

d>c | B2 A>B G2 GA | BcdB c2 Bc | d2 g>=e f_edc | B2 G2 F2 d>c | B2 A>B G2 GA |

BcdB c2 B>c | d2 g>e fedc | B2G2G2 || d>e | fefg fedc | d2g2g2 a>g | fedc BABc |

d2 F2F2 d>c | B2 A>B G2 GA | BcdB c2 B>c | d2 g>e fedc | B2G2G2 ||

 

PARTING GLASS [2], THE. Scottish, Irish; Air (2/4 time) or March. E Minor. Standard tuning (fiddle). AB. The song “The Parting Glass” was popularised in the 1960’s by Irish balladeer Tommy Makem, although both as a discrete tune and a descended of (Scottish) airs, it appears to have been considerably older. Scottish antecedents can be traced to the Skene Manuscript of the early 17th century. Song versions have been printed on songsheets and can be found in the Bodleian Library. The version in abc notation below is a march-time setting.  The American shape-note hymns “Clamanda,” printed in The Sacred Harp and other shape-note hymnals, and “Social Band” in Southern Harmony, are both similar in parts. “Clamanda,” given below, is printed in Jackson’s Spiritual Folk-Songs of Early America (1953), wherein he states that the English folk-song “Just as the Tide was a-Flowing” has an almost identical tune, as does an Christmas carol beginning “Come all ye faithful Christians, That dwell within this land…” GN1, Joe Thoma ‑ "Up the Track: Traditional Music from Kenmare."

X:1

T:The Parting Glass [2]

S:Na Fili

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

R:March

M:2/4

L:1/8

K:Emin

~G3F|E2EF|~G3B|A2GA|B2B2|BAGA|B2D2|D2BA|\

~G3F|E2EF|~G3B|A2GA|B2e2|dBAB|G2E2|E2Bc||\

~d3e|d2Bd|edBc|d2ed|c2B2|A2GA|B2D2|D2BA|\

~G3F|E2EF|~G3B|A2GA|B2e2|dBAB|G2E2|E4|]

X:2

T:Clamanda

M:4/4

L;1/8

R:Shape-Note Hymn Air

S:Jackson – Spiritual Folk-Songs of Early America (1953)

Z:AK/Fiddler’s Companion

K:G

B4 | G2E2E2D2 | (GA) B2 A4 | (G3A) B2 (Bc) | d2 (BA) G2E2 |1 E4 :|2 E8 |: z4 B4 |

d2d2d2B2 | d2 (de) d4 | A4 B2e2 | e2 (fe) d2A2 | B4B4 | G2E2E2D2 | (GA)B2 A4 |

(G3A) B2 (Bc) | d2 (BA) G2E2 | E8 ||

        

PARTING KISS, THE. Scottish, Country Dance Tune (4/4 time). G Major. Standard tuning (fiddle). AB. Aird (Selection of Scotch, English, Irish and Foreign Airs), vol. II, 1782; No. 187, pg. 69.

X:1

T:Parting Kiss, The

M:C

L:1/8

S:Aird, Vol. II (1782)

Z:AK/Fiddler’s Companion

K:G

B3c A3B | G2 G2 AFED | D2d2 d3B | B2 AB G2 z2 | B2 Bc A2 AB |

G2G2 AFED | D2d2 d3c | B2 AB G2 G2 || GABc d2d2 | A2 Ac B2B2 |

B2B2 Bgfe | {e}d2 {d}c2 {c}B4 | GABc d2d2 | AGAc B2B2 | d2E2 AcBA | G2F2 E2 z2 ||

                       

PARTING LOVERS, THE. English, Country Dance Tune (6/8 time). G Major. Standard tuning. AABB. Published before 1730 (according to Raven, though Barnes dates it to 1776) but popular in Jane Austen's day (according to Richard Carlin). Apted Book of Country Dances. Barnes (English Country Dance Tunes), 1986. Carlin (English Concertina), 1977; pg. 20. Raven (English Country Dance Tunes), 1984; pg. 29.

                       

PARTING OF FRIENDS, THE (Sgaruint na gCompanach). AKA and see "Conchubhar Mhac Coireibhe," "A Chailini, an bhfaca sibh Seoirse." Irish, Air. E Dorian. Standard tuning. AB. Considered to be an ancient melody, it is often played by harpers when the audience is about to depart, according to Paddy Moloney of the Chieftains, who got this information from Edward Bunting (1773-1843). Bunting also said: "...it is popular opinion that it was composed while the Irish groaned under the oppression of the Danes and were forced to conceal themselves in caverns and other sequestered places." O'Sullivan (1983) remarks that the tune is a variant of "Conchubhar Mhac Coireibhe" (Conor Macareavy) as printed in Bunting's 1796 collection (No. 25). The title is also associated with O’Carolan’s “Lament for Charles MacCabe.” Green Linnett SIF 3041, Matt Molloy - “Stony Steps.” RCA 09026-61490-2, The Chieftains - "The Celtic Harp" (1993).

X:1

T:Parting of Friends, The

R:slow air

L:1/8

M:3/4

Q:1/4=80

K:Edor

B2 d | e3f/e/ de/f/ | g3g/ fzf/ | e2f/e/ de/f/ g2a/b/ | a/f3 e2f/e/ dB/ |e2 e2 e2f/e/ dB/ |

e2e B2d | f2g {fgfgfg}f2e2 | e8 ||B2 B | e4{a}ef/e/ dB/A/ | Bf3 e2f/e/ d>A |

BE4 E/F/ |G4A//G//F// G//A//B//c// | d4c/d/ BB/A/ |F3 F//E//D// E3 F//E//D// | EF2 FE/D/ E//F//E//D//E//F//D// | E8 ||

 

PARTING WALTZ. AKA and see "Valse de Separation."

 

PARTRIDGE, THE.  English, Country Dance Tune (cut time). G Major. Standard tuning (fiddle). AABB. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 162.

X:162

T:Partridge, The

M:C|

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:G

g2g2 dg g2|face dBAG|g2g2 gbag|faA^c d2 D2:|

|:{e}d2 cB cfad|{d}c2 BA BdgB|cBAG Fedc|BdDF G2 G,2:||

 

PARTY IN THE CATSKILLS. Canadian, Reel. Canada, Cape Breton. F Major. Standard tuning (fiddle). AABB’. Composed by the late Cape Breton fiddler and composer Jerry Holland (1955-2009). Cranford (Jerry Holland: The Second Collection), 2000; No. 174, p. 65.

 

PAS DE DEUX A ELIA. See "Two-Step des Perrodins."

 

PAS DE DEUX BABINEAUX. See "Hathaway Two-Step."

 

PAS D'ETE. French, Country Dance Tune (2/4 time). G Major. Standard tuning (fiddle). AABB. Stevens (Massif Central), 1987, vol. 1; No. 125.

X:1
T:Pas d'Été
R:Scottish???
M:2/4
O:France
S:Mel Stevens: Massif Central Tune Book No1 (Dragonfly 1987).

F:Posted to Tradtunes 6/25/05
Z:Si Garbutt
K:G
d2d2 B2B2|G2G2 E2AB|c2A2 A2BA\
|1GFGA B2G2:|2GFGA G4::
DGBG DFAF|DGBG DFAF|DFAB cBAG\
|1FGAc B2G2:|2FGAFG4:|

X:2
T:le Pas d'\'Ete
R:Schottische
M:C
%%ID:000006d8
O:France
Z:Richard Robinson <URL:http://www.leeds.ac.uk/music/Info/RRTuneBk/contact.html>
F: http://www.leeds.ac.uk/music/Info/RRTuneBk/gettune/000006d8.abc

F:Posted to Tradtunes 6/25/05
K:G
d2d2B2B2|G2G2E4|c2BAB2AG\
|1FGAcB2G2:|2FGAFG4::
DGBG DFAF|DGBG DFAF|DGAB cBAG\
|1FGAcB2G2:|2FGAFG4:|

 

PASCHAL'S. Irish, Slip Jig. E Minor. Standard tuning (fiddle). AABB. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; p. 85. Outlet Records SOLP 1010, Na Fili (The Poets) ‑ "Farewell to Connacht."

 

PASS ABOUT THE FLAGON. See "Pass 'Round the Flagon."

 

PASS AROUND THE BOTTLE. Old‑Time, Breakdown. USA, Mississippi. C Major. Standard tuning (fiddle). Recorded in 1939 for the Library of Congress by Herbert Halpert from the playing of Tishomingo County, Mississippi, fiddler W.E. Claunch. Probably a variant of "Pass Around the Bottle and We'll All Take a Dram." See also similar title "Pass the Bottle Boys." The Skillet Lickers (in the configuration of Gid Tanner and Clayton McMichen on fiddles, Riley Pucket on guitar and vocals, and Fate Norris on banjo) recorded the song in Atlanta on April 17th, 1926, one of eight sides for Columbia records. Wayne W. Daniel (in his book Pickin’ on Peachtree: A History of Country Music in Atlanta, Georgia, 1990) opines: “The output from this historic recording session makes for a rather unimpressive list of what even there were long-familiar tunes and songs: “Hand Me Down My Walking Cane,” “Bully of the Town,” “Pass Around the Bottle and We’ll All Take a Drink,” “Alabama Jubilee,” “Watermelon on the Vine,” “Don’t You Hear Jerusalem Moan,” “Ya Gotta Quit Kickin’ My Dog Aroun’,” and “Turkey in the Straw.””

 

PASS OF BALLATER, THE. Scottish, Strathspey. C Minor. Standard tuning (fiddle). AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 74, p. 26.

 


PASS OF KILICRANKIE/KELECRANKIE, THE. AKA and see "Miss Lucy Campbell." Scottish, Strathspey. A Major. Standard tuning (fiddle). AABB. John Glen (1891) finds the earliest appearance of the tune in print in Alexander McGlashan's 1780 collection (p. 18). McGlashan (Collection of Strathspey Reels), c. 1780/81; p. 18.

X:1

T:Pass of Kelecrankie, The

M:C

L:1/8

R:Strathspey

S:McGlashan – Strathspey Reels  (c. 1780-81)

Z:AK/Fiddler’s Companion

K:A
e|c>AE>A c>AE>e|e>cA>c d>BBd|c>A A/A/A e>Af>A|a/g/f/e/ a>e cAA:|

|:g|a>ef>e a>ef>e|fbb>a g>ff>g|a>ef>e a>ef>e|c/d/e B>c CAA:|

 

PASS ROUND/ABOUT THE FLAGON (Ho! cuir a nall am bodach). Scottish, Slow Strathspey. G Dorian. Standard tuning (fiddle). AAB. This "is the air of a most sentimental bacchanalian song by John MacMurdo or MacRae, of Kintail, formerly mentioned as having emigrated to America. It is well known, though the music of it has not till now been communicated; it is extreme.y difficult to give this air the expression which a sprightly singer imparts to it, when the sentiments echo and invigorate the strain of the air" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 207, p. 85. Stewart-Robertson (The Athole Collection), 1884; p. 197.

X:1

T:Pass About the Flagon

L:1/8

M:C

R:Slow Strathspey

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

Z:AK/Fiddler’s Companion

K:Gmin

D2 G<G F>D =E<C|D2 B<B c>B A<c|d<d c>B A>GF>G|A<cA<d c>A G2:|

D<G G>=E F>_ED>C|D<B ~B>d c>BA>G|A<f d>^c d>DF>G|A<cA<d c>A G2|

D<G G>=E F>_ED>C|D<B B>d c>BA>G|f>=ed>^c d>DF>G|A<c A<d c>A G2||

 

PASS THE BOTTLE BOYS. Old‑Time. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. See also similar title "Pass Around the Bottle."

 

PASSAGE À BROSSARD, DE.  French-Canadian,   A traditional tune in the repertoire of Gaspésie fiddler Yvon Mimeault (b. 1928, Mont-Louis), learned from fiddler Hermas Réhel, of Brossard, Gaspé, who often played it when Mimeault visited. Yvon Mimeault – “Y’ était temps!/It’s About Time.”

 

PASSAIC HORNPIPE. AKA and see "Trafalgar Hornpipe." American, Hornpipe. A Major. Standard tuning. AABB. John Hartford and Stacy Phillips both note the first strain is the same as "Brilliancy." Cole (1000 Fiddle Tunes), 1940; pg. 93. Ryan’s Mammoth Collection, 1883; pg. 127.

X:1

T:Passaic Hornpipe

M:C|

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:A

(cB) | AEAc ecea | fdfa ecAc | dBfe dcBA | GABc B2E2 | AEAc ecea | fdfa ecAc |

dfed cBAG | A2c2A2 :: (ED) | CAGA cAGA | FAEA DACA | FDFA dcBA |

GABG E2 (ED) | FDFA dcBA | GEGB edcB | Aagf edcB | A2c2A2 :|

 

PASSANT PAR BOISFORT. French, Bourree a Deux Temps (2/4 time). G Major. Standard tuning. AABB. Composed by Frederic Paris. Stevens (Massif Central), Vol. 1, 1987; No. 95.

 

PASSING FANCY, THE. Irish, Reel. G Major. Standard tuning. AA’BB’.  Composed by County Cavan/Philadelphia fiddle player and composer Ed Reavy (1898-1988). Reavy (The Collected Compositions of Ed Reavy), No. 51, pg. 53.

X:1

T:The Passing Fancy

R:Reel

C:Ed Reavy

M:2/2

L:1/8

Z:Joe Reavy

N:Only the great tunes survive. But in our time we also welcome

N:the charming lift of a passing fancy. The first fresh strains of a

N:well-wrought tune make us all a little bit better for the hearing of it.

K:G

DF | G2 Bd cAFA | GBAG FDB,D | G2 Bd (3cBA FA | defd cAFA |

G2 Bd (3cBA FA | GBAG FEFA | GBAc (3B^cd eg |1 fdcA BGGF :|2

fdcA BGGf  || gfeg fedf | gfga bgef | gfeg fedf | ecAG FGAf | g2 eg fedf |

gfga bgeg | (3bag (3agf agfg |1 ecAc BGGf :|2 ecAF G2 ||

 

PASSION FLOWER HORNPIPE. American, Hornpipe. G Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 113. Ryan’s Mammoth Collection, 1883; pg. Rounder 7011, "The Beatons of Mabou: Scottish Violin Music from Cape Breton" (1978).

X:1

T:Passion Flower

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

(3d/e/f/ | g(dg) B/g/d/g/ | b/g/f/g/ e/c’/a/f/ | g(d/g/) B/g/d/g/ e/c/B/c/ .A(3d/e/f/ |

g(d/g/) B/g/d/g/ | b/g/f/g/ e(d/c/) | B/g/e/c/ B/d/A/c/ | BGG :: g/a/ | b/g/f/g/ e/f/g/a/ |

b/g/f/g/ e(f/g/) | a/f/g/e/ d/e/f/g/ | a/f/g/e/ d(e/f/) | g/f/g/d/ e/^d/e/B/ | c/d/e/f/ g(d/c/) |

B/g/e/c/ B/c/A/c/ | BGG :|

 

PAST ONE O'CLOCK. AKA and see "I am asleep and don't waken me [2]." Irish, Air (3/4 time). A Major. Standard tuning (fiddle). AABBCCDD. O’Farrell marks the tune “slow” and says the tune is Irish. The air first appears in Burk Thumoth’s 1785 collection (pg. 30-31). As “Past one o’clock, on a cold and frosty morning” it appears in several English ballad operas, sometimes with a burden in Irish, finds Bruce Olson. O’Farrell (Pocket Companion, vol. 1), c. 1805; pp. 68-69.

X:1

T:Past One O’Clock

M:3/4

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:A

AF | E2F2A2 | A3Bc2 | “tr”B2 dc BA | F4 E2 | F2A2A2 | c2e2f2 {e/d/} | c4 BA/B/ | A4 :|

|: ef | g4 fe | f2 af ec | e2f2 a>b | a2e2c2 | b2 agfe | f2a2a2 | fe dc BA | A2F2E2 |

gf gb gb | fe fa fa | fedcBA | A2F2E2 | F2A2A2 | c2e2f2 | c4 B2 | {A/B/} A4 :|

|: ABc | dcdfdf | cBcece | BcdcBA | F4 E>F | E2F2G2 | c>d e2f2 | {e/d/} c4B2 |

{A/B/} A4 :: ef | gfgage | f2 af ec | (3efe f2 ab | a2e2c2 | gbagfe | fafecB |

A>BcA BF | A2F2E2 | gfgbgb | fefafa | fedcBA | A2F2 E>F | E2F2A2 |

c2e2 (3fed | c4 BA/B/ | A4 :|

 

PASTIME OF THE MEN OF CORWEN, THE. AKA and see “Divyrwch Gwyr Corwen.”

        

PASTIME ON THE LEVEE. American, Hornpipe or Schottische. E Minor. Standard tuning (fiddle). One part. Howe identifies this tune as a “Negro Jig,” whose source was “Jimmy Norton, the Boss Jig Player.” Norton was presumably a band-leader or principal instrumentalist in the Boston, Massachusetts, area in the mid-19th century. Howe (1000 Jigs and Reels), c. 1867; p. 49.

X:1

T:Pastime on the Levee

M:C

L:1/8

S:Howe – 1000 Jigs and Reels (c. 1867)

Z:AK/Fiddler’s Companion

K:Emin

E>FG>A B>cA>c | B>cA>c B>AG>F | E>FG>A B>cA>c | B>ee>^d e>BA>F |

E>FG>A B>cA>c | B>cA>c B>AG>F | E>FG>A B>cA>c | B>ee>^d e2 zB |

e>^de>f e>=dB>^c | d>^cd>e d>BA>F | e>^de>f e>=dB>^c | d>BA>G E3B |

e>^de>f e>=dB>^c | d>^cd>e d>BA>F | g>ef>^d e>=dc>A |1 B>GA>F E>DB,>B, ||

                       

PASTIME WITH GOOD COMPANY. English, Air (cut time). G Dorian (Chappell): E Minor (Kines). Standard tuning (fiddle). One part (Kines): ABC (Chappell). The song was composed by King Henry VIII, claims Chappell (1859) who reports the song was found in a early 16th century manuscript at the British Museum. Kines (1964) thinks the tune not to be too chararcteristic of that period, but that "the verses seem quite consistent with what we know of Henry's philosophy." Chappell (Popular Music of the Olden Times), vol. 1, 1859; pp. 42‑43. Kines (Songs From Shakespeare's Plays and Popular Songs of Shakespeare's Time), 1964; p. 71. Flying Fish FF‑407, Robin Williamson ‑ "Winter's Turning" (1986).

 

PAT AND AL’S JIG.  Irish-American, Jig. A Major. Standard tuning (fiddle). AAB. Composed by Chicago Irish-style fiddler Liz Carroll. Cranford (Jerry Holland: The Second Collection), 2000; No. 234, p. 86. 

                       


PAT BEIRNE'S FAVOURITE (Rogha Pheait Uí Bheirn). AKA and see “Buttermilk Mary [3],” “Coleman’s Favourite,” “The Frolicksome Dame,” “A Health to the Ladies,” "The Irish Miller," “Irishman’s Heart to the Ladies,” “Irishman’s Love [1],” “The Móinín Jig,” “The Mountain Road [2],” “The Mountainy Boy,” “The Night of the Wedding,” “O’Mahony’s Jig,” “Over the Callows,” “Paddy Clancy’s,” “The Queenstown Jig,” "Saddle the Pony [2]" (Roche), “Sweet Biddy Daly,” “To the Ladies.” Irish, Double Jig. G Major. Standard tuning. AB. Pat Beirne was a famous Irish musician who influenced many other traditional musicians in latter 19th century Ireland. He is not to be confused with the Scots fiddler Pate (Patrick or Patie) Birnie of Kinghorn who was born around 1635, of whom it is said "also gained fame for having...run all the way home to Kinghorn from the Battle of Bothwell Bridge, a distance which must be all of 70 miles!" (Collinson, 1966). O’Neill also prints part of the tune as “Fond of the Ladies,” although the second part is different. Source for notated version: fiddler Patrick Kelly, 1966 (Cree, Co. Clare, Ireland) [Breathnach]. Breathnach (CRE II), 1976; No. 24, pg. 14.

 

PAT BOYLE OF GLENCOLUMKILL. Irish, Reel. D Major. Standard tuning. AB. Composed by County Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988). Pat Boyle was a fiddler who came to Corktown, Pennsylvania, early in the 20th century and encouraged young Irish musicians who settled there. Boyle was a great influence on Reavy. Reavy (The Collected Compositions of Ed Reavy), No. 57, pg. 63.

X:1

T:Pat Boyle of Glencolumkill

R:reel

C:Ed Reavy

M:2/2

L:1/8

Z:Joe Reavy

N:Ed met many fiddlers through the years, but Pat was special. He came to

N:Corktown early in the century and encouraged young Irish musicians

N:who settled there. Some of Ed's best compositions were inspired by the

N:playing of Pat Boyle.

K:D

DEFG A=cBd | =cAG=F EC (3CBC | DE^FG A=cBd | =cAGE (3DED D^C |

DEFG A=cBd | =cAG=F EC (3CB,C | DE^FG A=cBd | =cAGE (3DED DA |

def^g (3aga fd | cdef g2 ec | def^g (3aga fd | cA=GE FDDc | def^g (3aga fd |

cdef g2 Bc | dfe=g fdcA | GBAG (3FGF (3EFE ||

 

PAT BURKE’S. AKA and see “Boys of Tandragee,” “The Jolly Corkonian,” “Rollicking Boys of Tandaragee.” Irish, Jig. D Dorian. Standard tuning (fiddle). AABB. Jackie Daly (et al) – “Doolin Point” (2002).

X:1
T:Pat Burke's
S:Dave Glenn
Z:Jerome Colburn
M:6/8
K:DDor
G | AGA D2 A | AGA c2 A | AGE C2 D | EDC DEG |

AGA D2 A | AGA cde | dcA GEG | ADD D2 :|
G | Add ded | cde gec | d2 c BAG | A2 B cAG |

Add ded | cde gec | dcA GEG | ADD D2 :|**

 

PAT CANNEY’S. Irish, Reel. Green Linnett GLCD 1155, Martin Hayes - “Under the Moon” (1995).

 

PAT CARNEY'S REEL. AKA and see “Braes of Glendochart/Glendochert,” "Joe Tanzy's Reel," “Mr. Menzies of Culdare('s Reel),” “Paddy Murphy’s Wife [1].” Irish, Reel. D Major. Standard tuning (fiddle). AABB. O’Neill prints the tune as “Paddy Murphy’s Wife.” Cole (1000 Fiddle Tunes), 1940; p. 30. Ryan’s Mammoth Collection, 1883; p. 55. A & M 79602 2000-2, Ashley MacIsaac - “Close to the Floor” (1992).

X;1

T:Joe Tanzy's

T:Pat Carney's

T:The Braes of Glendochart/Glendochert

T:Mr Menzies of Culdares

B:Cole's 1000 Fiddle Tunes

Z:Nigel Gatherer

M:4/4

L:1/8

K:D

G|(3FED AF BGAF|EG=cG ECCE|(3FED AF BGAF|Dddc dDDG|

(3FED AF BGAF|EG=cG ECCE|(3FED AF BGAF|Dddc dDD:|]

g|fada fdad|eg=cg ecgc|fada fdgd|(3Bcd AG FDDg|

fada fdad|eg=cg ecgc|afge fdec|dBAG FDD:|]

 

PAT CLARK’S. Irish, Reel. D Major. Standard tuning. AA’BB’.  Composed by County Cavan/Philadelphia fiddle player and composer Ed Reavy (1898-1988) in honor of a County Cavan friend who taught him the rudiments of fiddle playing and who encouraged him musically (by getting Reavy to enlist in the local Cootehill fife and drum corps!). Clark died in 1969. Reavy (The Collected Compositions of Ed Reavy), No. 43, pg. 45.

X: 1

T:Pat Clark's

R:Reel

C:Ed Reavy

M:2/2

L:1/8

Z:Joe Reavy

N:Ed learned some of the basics of fiddle playing from this

N:old Cavan friend who died in 1969 (just a short time after our visit

N:there). It was also through Pat that Ed (and his brother George)

N:joined the local fife and drum corps in Cootehill. The tunes he

N:learned stimulated an interest in the old marches. Pat also taught

N:him a few traditional tunes that he himself had mastered on the fiddle.

K:D

D2 (3FED FAAc | defd  gbeg | fedf ecAF | GBAG EDCE | D2 (3FED FAAc |

defd gbeg | fedf edce |1 dBAF DA,G,A, :|2 dBAF D3 g || fedf ecAF |

GBAF GEEF | DFAF EGBG | FAdf e2 fg | afbf gfec | defd AGFA |

(3GGG BG (3FFF AF |1 EDCE D3 g :|2 EDCE DA,G,A, ||

        

PAT 'EM ON THE BACK. Old-Time, Breakdown. G Major. Standard tuning. ABC. The accompaniment to the 'A' part begins on a D7 chord. Source for notated version: Owen “Snake” Chapman [Phillips]. Phillips (Traditonal American Fiddle Tunes), Vol. 1, 1994; pg. 181.

        

PAT ENRIGHT’S POLKA. Irish, Polka. Ireland, North Limerick. G Major. Standard tuning. AABB. Source for notated version: a recording by the late Bronx, N.Y., fiddler Martin Mulvihill, originally from County Limerick [Black]. Black (Music’s the Very Best Thing), 1996; No. 147, pg. 77.

X:1

T: Pat Enright's Polka

S: M. Mulvihill

Z: transcribed by B.Black

Q: 300

R: polka

M: 2/4

L: 1/8

K: G

D2 D2 | EG G2 | A2 AG | EG Ad | D2 D2 | EG Ge | dB AB/2A/2 | G4 :|

d2 Bd | e2 ge | dB AG | EG AB | d2 Bd | e2 ge | dB AB/2A/2 | G4 |

d2 Bd | e2 ge | dB AG | EG AB | D2 D2 | EG Ge | dB AB/2A/2 | G4 :|

                       

PAT FAGAN. English, Jig. C Major. Standard tuning. AAB. The piece sounds like a popular or music hall air of the time. Source for notated version: a c. 1847 music manuscript by Ellis Knowles, a musician from Radcliffe, Lancashire, England [Plain Brown]. Plain Brown Tune Book, 1997; pg. 16.

                       


PAT GALVIN’S HORNPIPE. AKA and see “Daniel O’Connell, the Home Ruler,” “Frank McCollum’s [2],” "The Hangman's Noose,” “The Home Ruler,” "McCollum's Hornpipe," "Sean Ryan's (Hornpipe) [1]."

                       

PAT HEALY’S HORNPIPE. Irish, Hornpipe. G Major. Standard tuing. AABB. O’Neill’s source, John Kelly, was originally from County Roscommon and was “a fiddler of phenomenal execution.” Source for notated version: John Kelly (San Francisco) [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 310.

X:1

T:Pat. Healy's Hornpipe

M:4/4

L:1/8

S:John Kelly, San Francisco

Z:Paul Kinder

R:Hornpipe

K:G

sdBs|cBAc BAGA|Bdef g2 safs|gedB cdef|gedB A2 sdBs|

cBAc BAGA|Bdef g2 (3agf|gedB cBAc|B2 G2 G2:|

|:(3def|gbaf gdBd|gbaf g2 (3agf|gedB cdef|gedB A2 dB|

cBAc BAGA|Bdef g2 safs|gedB cBAc|B2 G2 G2:||

                       

PAT HORGAN’S [1]. AKA and see “Andy Boyle’s,” “Cathy’s Favourite,” “Kerry Polka [3],”  Séamus Cussen’s [2].” Irish, Polka.

 

PAT HORGAN’S [2]. AKA – “Pat Hogan’s Two.” AKA and see “The Derryveeney,” “Kerry Polka [4]," “McElroy’s Fancy.” Irish, Polka. E Dorian. Standard tuning. AABB. Mulligan LUN 027, Martin O’Connor – “The Connachtman’s Ramble” (1979).

X:1
T:McElroy's Fancy
T:Pat Hogan's Two
R:polka
D:Martin O'Connor: The Connachtman's Rambles
Z:id:hn-polka-114

Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:2/4
L:1/8
K:Edor
B>c BA|FA D2|B>c BA|Be ed|B>c BA|FA D>E|FD AF|E2 E2:|
|:Be ed/e/|fe dA|Be ed/e/|fe d2|Be ed/e/|fe dB|AF dF|FE E2:|

                       

PAT IN HIS GLORY. Irish, Jig. G Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 63. Ryan’s Mammoth Collection, 1883; pg. 93.

X:1

T:Pat in His Glory

M:6/8

L:1/8

R:Jig

S:Ryan’s Mammoth Collection (1883)

S:AK/Fiddler’s Companion

K:G

D | GBd g2d  | ed^c d2B | cBA BAG | AB^c d2D | GBd g2d | ed^c d2B |

ded fef | edc d2 :: B | dBA B2G | dcA B2G | def gfe | dcB A2B |

c2e efg | B2d dBG | Aag {g}fef | gba g2 :|

                       

PAT—JOE’S SLIDE. Irish, Slide.

X:1

T:Pat-Joe's Slide

S:Donal Murphy (accordion) & John Larkin (banjo), c.1990

R:slide

M:12/8

Z:Transcribed by Paul de Grae

L:1/8

K:Ador

e2 d|:c2 B A2 G E2 A A2 G|E2 A A2 B c2 e dcB|

c2 B A2 G E2 A A2 B|c2 e dcB A3 A2 B:|

cBc dcd e2 a a2 g|e2 d e2 f g3 g2 B|cBc dcd e2 a a2 g|

e=fe d2 B {d}B2 A A2 B|cBc dcd e2 a a2 g|

e2 d e2 f g3 g3|a2 b a2 g efg d3|efg f2 e a2 g e2 d||

        

PAT KILLED THE RAT. AKA and see "Over the Hills and Far Away."

        

PAT LYONS’. AKA and see “The Nightingale [6]," “O’Dowd’s (Jig),” “Sean Ryan’s Jig.”

        

PAT LYONS’ (REEL).  Irish, Reel. Composed by County Tipperary fiddler Seán Ryan (d. 1985). Seen also the related “Teetotaler(‘s Reel).” Ryan (The Hidden Ireland), 34.

 

PAT MACMAHON’S. Irish, Reel. D Major. Standard tuning. AABB. Source for notated version: from a manuscript collection compiled by Mike Reynolds [Black]. Black (Music’s the Very Best Thing), 1996; No. 125, pg. 65.

X:1

T: Pat McMahon's

S: Jimmy Hogan

Z: transcribed by B.Black

Q: 350

R: reel

M: 4/4

L: 1/8

K: D

dB | AD (3FED AD (3FED | AD (3FED A2 GF | EG (3GFG GAGF | EG G2 GABd |

AD (3FED AD (3FED | AD (3FED A2 FG | AGAB cded | cAGE D2 :|

FG | Adcd d2 cd | eaag efge | A2 GA AGFG | (3ABA GF EFGE |

Adcd d2 cd | eaag efge | a2 ge dfed | cAGE D2 :|

        

PAT McKENNA’S.  Irish, Jig. E Dorian. Standard tuning. AABB. Composed by County Tyrone fiddler Pat McKenna in 1964. Cló Iar-Chonnachta CICD 173, Brian Conway – “Consider the Source” (2008).

X:1

T: Pat McKenna's

M: 6/8

L: 1/8

R: jig

K: Emin

|:D|EFE {A} EDB,|EDE GAB|edB {c} BAF|dAF AGF|

((3EFG) F EDB,|EDE GAB|edB AFA|dAF E2:|

|:d|efe {a} edB|baf edB|A2d AFA|dAF AGF|

EB,E {A} EB,E|DA,D {A}DA,D|DA,D dAF|EFD E2:|

 

PAT McNICHOLAS’. AKA and see “Babes in the Woods [1],” “Din Tarrant’s,” “Girl with the Blue Dress On [1],” “Tony Lowe’s Polka [1].” Irish, Polka. “Tony Lowe’s Polka” is a related tune. Bulmer & Sharpley (Music from Ireland), 1974, vol. 3, No. 84.

        

PAT McNULTY'S FANCY. Irish, Reel. A Major. Standard tuning. AABB. Composed by Irish piper Pat McNulty, who lives in Glasgow, Scotland. McNulty advocates tunes be played at a slower tempo than is currently fashionable, that slow airs and marches not be diminished in the repertoire, and that attention should be refocused on the "leisured individualistic interpretation" of melodies rather than the present "band" focus in Irish traditional music. McNulty (Dance Music of Ireland), 1965; pg. 13.

        

PAT MOLLOY’S.  AKA and see “Brook (The),” “House on the Hill (2) (The),”  “Martin Mulhaire’s (3).”

        

PAT MURPHY THE PIPER. Irish, March (9/8 time). D Major. Standard tuning. AB. Roche Collection, 1982, vol. 2; No. 337, pg. 59.

                       

PAT O’BRIENS. Irish, Jig. G Major. Standard tuning. AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black. Pat O’Brien is a box player.

X: 1

T: Pat O'Brien's

M: 6/8

L: 1/8

R: jig

C: © B. Black

N: “Dedicated to one of the "stroke oars" of our Cape Cod

N: session scene!”

K: G

D | GFG BcB | BAB AGE | GBd ege | edB gdB |

GFG B2 d | c2 A BGE | DGB dBd | cAF G2 :|

d | edB ABd | gfg afd | g2 b age | edB AGA |

BGG cAA | d^cd efg | DGB dBd | cAF G2 :|

                       

PAT ON PARADE. Irish, March (4/4 time). D Major. Standard tuning. AB. O’Neill (1922) says: “This March or Hornpipe tune noted from memory may be worthy of preservation, but when or where it as acquired the writer is unable to state. Suggestion supplied the name.” O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 74.

X:1

T:Pat on Parade

M:4/4

L:1/8

S:Capt. F. O'Neill

Z:Paul Kinder

R:March

K:D

(3ABc|d2 dd d2 ef|gece d2 ef|gfgb afdf|edcB ABcA|

dfef d2 ef|gece d2 ef|gfgb afef|d2 dd d2||

ef|gfga b2 ag|fefg a2 fe|dcde f2 ed|eaab agfe|

d2 dd d2 ef|gece d2 ef|gfgb afef|d2 dd d2||

                       

PAT THE BUDGIE. Canadian, Reel. C Major. Standard tuning (fiddle). AABBCC (Phillips): AA’BB’CC’ (Songer). Composed by the late Ontario fiddler Graham Townsend (copyright 1961), and named for a real budgie who used to perch on his fiddle bow. Occasionally seen attributed to Canadian fiddler Don Messer. Source for notated version: Becky Tracy [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; p. 181. Songer (Portland Collection), 1997; p. 157. Green Linnett 3085, Four Men and a Dog - “Barking Mad” (1991). RC2000, George Wilson – “Royal Circus” (2000).

X:1

T:Pat the Budgie

M:C

L:1/8

R:Reel

K:C

C2 CE G2 GE|FEFA d3c|BcBA G2 AB|cBcd ecGE|CG,CE G2 GE|

FDFA d3c|BcBA G2 AB|1 c3B cGED:|2 c3B c2e2||

F2 fefg a2|gage c2 Bc|dedB G2 AB|c3B cdeg|f2 fefg a2|

gage c2 Bc|dedB G2 AB|1 c3B c2 de:|2 c>B c6||

                       

PAT THE FOWLER. AKA and see "Ladies' Pantalettes," "The Green Pantaloons," "The Ladies/Ladys Pantaloo(n)s," "Leonard's Reel," "The Grey Frieze Breeches," "The Boatman's Reel."

                       


PAT TUOH(E)Y'S REEL ("Seisd Padraic Ui Toicig," "Cor Padraig Ui Tuata" or "Rogha Phádraig Uí Thuathaigh"). AKA ‑ "Patsy Twohey's/Tuoh(e)y's Favourite." AKA and see “Coillte Críona,” “Gleanntán Reel [5].” Irish, Reel. E Dorian (Miller & Perron, Mulvihill, O'Neill/1850): E Minor (Breathnach, O'Neill/Krassen). Standard tuning (fiddle). AB (Breathnach): AA'B (Mulvihill, O'Neill): AA’BB’ (Miller & Perron). The title "Patsy Tuohy's" is also used for another tune, a jig. Breathnach (1963) states that O’Neill prints two settings, and that the one given in Waifs and Strays of Gaelic Melody (1922, No. 309) is a special setting taken from a manuscript of Patrick J. Tuohey’s (1865-1923, also spelled Touhey) who was a gifted Irish piper living in Chicago. Captain Francis O’Neill called him “the genial wizard of the Irish (uilleann) pipes.” Oddly enough, says Breathnach, the first part is faulty and the second belongs with “Jenny’s Wedding.” Tuohey emigrated from County Galway at the age of four and was raised in South Boston before making a name for himself on the vaudeville stage and touring all over the United States. The piper became a star of vaudeville theatres in New York and other cities with large Irish immigrant populations, and he combined authentic Irish music with stage burlesques and some American tunes thrown in as well. During one appearance, at the St. Louis World’s Fair in 1904, he happened to be seen by the famous Irish tenor, John McCormack, who also performed at the fair. McCormack, however, became so incensed over Tuohey’s and other Irish vaudeville antics that he left in a “well-publicised huff” and did not return to the United States for another five years (Ó hAllmhuráin, 1998). Tuohey again shared the bill with McCormack at the New Orleans fair of 1911, and once more the two star performers clashed over Tuohey's insistence on doing his famed paddywhackery routine called 'Mike and Pat', and, while the routine was popular with audiences it was offensive caricature in McCormack's eyes.

***

Patsy and Mae Tuohey around 1900 (NPU).

***

In addition to being a virtuoso piper, Tuohey had other talents: at a Gaelic League Function of 1901 in Springfield, Massachusetts, he regaled the dancers with what was probably the turn of the century equivalent of Riverdance, replete with theatrical flourishes and crowd-pleasing decoration. Tuohey was one of the first Irish musicians to recognize the potential of the new recording technology, and waxed the reels “Miss McLeod’s Reel” and “The Flogging Reel” on a cylinder around the turn of the century. Continuing to experiment with the commercial possibilities of wax cylinder recordings, by 1901 he was selling tunes at a dozen for $10. See also the related “Kiltycreen” and “Turnisky Lasses.”
***

Sources for notated versions: piper Seán Potts (1871-1956, Ireland) [Breathnach]; Tommy Potts (1912-1988, Dublin, Ireland) [Miller & Perron]; the Bridge Ceili Band (New York) [Mulvihill]. Breathnach (CRÉ I), 1963; No. 178, p. 70. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 3, No. 36 (appears as “Waltham Flute Tune”). Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; p. 96. Mulvihill (1st Collection), 1986; No. 14, p. 4. O'Neill (Music of Ireland: 1850 Melodies), 1903; No. 1340, pg. 250. O'Neill (Krassen), 1976; p. 122. O'Neill (Dance Music of Ireland: 1001 Gems), 1907; No. 595, p. 109. Drumlin Records BMNCD2, Brian McNamara – “Fort of the Jewels” (2004). Gael-Linn CEF060, “Paddy Glackin.” Shanachie 34014, James Kelly, Paddy O’Brien & Daithi Sproule – “Traditional Music of Ireland” (1995).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Pat Tuohey’s Reel

R:reel

H:Also played single

D:Paddy Glackin: Ceol ar an bhFidil le Paddy Glackin

Z:id:hn-reel-171

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

M:C|

L:1/8

K:Edor  

BE~E2 BAFA|D2FD ADFA|BE~E2 BAFA|Bdeg feed|1 BE~E2 BAFA|

DEED ADFA|B2~E2 BAFA|Bdeg feed:|2 BEdE cEBE|AD (3FED ADFA|

BE~E2 FAFA|Bdeg feed||:e2ge gege|degf agfg|e2ge Bege|

defa geed|e2ge Bege|defg a2ga|bgaf gfed|Bdeg feed:|

“Variations of 1st part:”

BEdE cEBE|AD (3FED ADFA|BE~E2 BAFA|Bdeg feed|

(3Bcd cA BE~E2|AD (3FED A,DFA|BE~E2 BAFA|Bdeg feed|

~E3D EGBG|AD (3FED dAFA|BE~E2 BAFA|Bdeg feed|

BEdE cEBE|AD (3FED ADFA|BE~E2 BAFA|Bdeg feed||

X:2

T:Pat Tuohy's

S:Trad, arr. Paddy O'Brien

R:Reel

M:C|

L:1/8

K:EDor

A2|BE~E2 BAFE|~D2FD ADFA|BE~E2 BAFA|Bdeg fded|\

BE~E2 BAFE|~D2FD ADFA|BE~E2 BAFA|Bdeg fe e|]\

d|~e2 ge Bege|defg agfg|~e2 ge Bege|defa geed|\

~e2 ge Bege|defg ~a2 ga|bgaf gfed|Bdeg fe e2|]

                                               

PAT WARD'S JIG. AKA and see "The Highlander's Kneebuckle [1]," "Leather Buttons," "A Galway Reel." Irish, Slide or Single Jig (12/8 time). D Major. Standard tuning (fiddle). AA’BB’. Treoir. Compass Records 7 4446 2,Oisíin McAuley – “From the Hills of Donegal” (2007).

X: 1

T: Pat Ward's

S: Treoir

M: 12/8

L: 1/8

Q: 375

R: slide

Z: Transcribed by Bill Black.

K: D

A2 G | FED A2 D B2 D A2 D | F2 A A2 F E3 E2 G |

FED A2 D B2 D A2 D |1 Bcd e2 c d2 B :|2 Bcd e2 c d3 dcB ||

A2 d f2 d e2 d f2 d | A2 d f2 d e3 d2 f |

A2 d f2 d e2 d e2 f | g2 f e2 d B3 A2 F |

A2 d f2 d e2 d f2 d | A2 d f2 d e3 e2 f |

gfe fed fed cBA |1 Bcd edc d3 d2 B :|2 Bcd edc d3 d3 ||

                       

PAT WILMOT’S.  Canadian, Reel. Canada, Cape Breton. Composed by John E. Wilmot. WMT002, Wendy MacIsaac – “That’s What You Get” (1997?).

                       

PATASSA TWO-STEP. Cajun, Two-Step (4/4 time). USA, Louisiana. D Major. Standard. AABB. The song was named by Ambrose Thibodeaux for a place just south of Eunice, Louisiana. According to Raymond Francois (1990), the name patassa derives from a Choctaw Indian word meaning sunfish or perch. Source for notated version: Ambrose Thibodeaux (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pg. 244. La Louisiane Records LL-112, Ambrose Thibodeaux.

        

PATE BAILLIE'S JIG. Scottish, Jig. E Minor. Standard. AABBC. Pate Baillie (1774‑1841) lived in Loanhead, Midlothian, and was a mason (though his nick‑name was "the fiddling tinker") and musician. He published a collection of tunes in 1825, though this tune does not appear in it; it is not known if he was the composer. Kerr (Merry Melodies), Vol. 1; No. 27, pg. 33.

        

PATE SIMMON'S SCHOTTISCHE. Old-Time, Schottische. USA, Missouri. Missouri State Old Time Fiddlers' Association, Casey Jones (1910-1967) - "Rocky Road to Jordan."

        

PATEROLLER [1]. AKA and see “Salt Creek,” “Salt River [2].” Hobart Smith called the tune “Pateroller,” although this is not the tune that usually goes by the name of “Pateroller,” “The Pateroller Song,” or “Run, N….r, Run” and variants.

                       

PATEROLLER (SONG) [2], THE.  AKA and see "Run, Johnny/N...r/Smoke/Boy, Run." Old Time, Breakdown and Song Tune. G Major. Standard tuning. AABB. The song is reported to be about pre‑Civil War times when plantation owners hired men to patrol for runaway slaves or slaves out after curfew without a pass. See also related tune "Rattlesnake Bit the Baby."

***

A Ride for Liberty: The Fugitive Slaves. Eastman Johnson, 1862.

***

Source for notated version: Pete Sutherland [Phillips]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 181. Tradition TLP 1007, Hobart Smith ‑ "Instrumental Music of the Southern Appalachians" (1956).

        

PATEROLLER IN A PEAR TREE. Old-Time, Breakdown. USA, North Carolina. From North Carolina banjo player Gaither Carleton (Doc Watson’s father-in-law). Rounder CD 0371, Mac Bendord and the Woodshed All-Stars - “Willow” (1996).

        

PATEROLLER'LL CATCH YOU. AKA ‑ "Pateroller Song." AKA and see "Run, N....r, Run," "Run, Boy, Run" and variations. In the repertiore of the John Lusk Band, an African-American string band from Cumberland Plateau region of Ky./Tenn.


        

PATHA GAL DO VAHER. AKA and see "Your Mother's Fair Pet."

                       

PATHWAY TO THE WELL. AKA and see “Killavil Jig [2]," “Limerick Roses,” “Master Crowley’s Favorite.” Irish, Jig. D Major. Standard tuning. AABB. Luke O’Malley (1976) says that this tune was the great dance teacher John McKenna’s favorite tune to use when teaching the steps to the jig. A very young O’Malley played the accordion for McKenna for his dances. The title “Master Crowley’s Favorite” comes from the first recording of the tune, by fiddler Hugh Gillespie on a 78 RPM disc. Philippe Varlet also finds a version by Sligo fiddler Michael Coleman, recorded on a hard-to-find World Broadcast record made in 1944, the second tune in a medley entitled “James O’Beirne’s” (a reference to fellow-New York fiddler James “Lad” O’Beirne). A few years later Paddy Killoran recorded the melody under the title “Limerick Roses.” Leitrim fiddler Seamus Horan played the tune with Packie Duignan on their Topic LP, but not having a name simply called it “Your Jig.” Given all the above, Varlet concludes the connection of the tune with Sligo region fiddlers is strong. The tune bears a strong resemblance to “Cherish the Ladies,” and shares some melodic material while retaining an independent character. Source for notated version: John McKenna [O’Malley]. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 89, pg. 45.

X: 1

T: Pathway to the Well

M: 6/8

L: 1/8

Q: 325

S: Luke O'Malley vol 1

Z: Transcribed by Bill Black

R: jig

K: D

F | DFF AFF | BFF AFE | DFF dFF | EDE GFE |

DFF AFF | BFF ABc | dcd e/f/ge | fdd d2 :|

|: B | Add fdd | add fdd | A2 g {a}gfg | ede gfe |

|1 Add fdd | add e/f/ge | fed cAG | Add d2 :|

|2 def gfg | a/b/ag e/f/ge | fed cAG | Add d2 ||

                                

PATIENCE QUADRILLE. English, Quadrille (in 5 parts). Composed by Sir Arthur Sullivan. Standard.

Figure 1: D and A Major. One part.

Figure 2: G Major  AB (x4).

Figure 3: D and G Major. AAB.

Figure 5: D, G, and A Major. ABCD, ABCD, AB.

Hinds/Hebert (Grumbling Old Woman), 1981; pgs. 37‑39. Figures 1,2 & 5 recorded by Fireside String Band.

        

PATINS BLANCS, LES. French, Valse (3/4 time). D Mixolydian. Standard tuning. AAB. Composed by Ph. Prieur. Stevens (Massif Central), 1988; No.57.

        

PATINS DE PAULINE, LES (Pauline’s Skates). French-Canadian, Jig. G Major. Standard tuning. AABB. Composed by Quebec singer and guitarist André Marchand, who told Susan Songer (Portland Collection) that it was in memory of the long skating excursions on Joliette’s Assumption River, “which he shared with a charming companion.” Fiddler Pascal Gemme (Genticorum) says the tune is popular in Montréal sessions Songer (Portland Collection), 1997; pg. 158. Green Linnett SIF3042, La Bottine Souriante - “Chic & Swell” (1982).

X:1

T:Patins de Pauline, Les

M:6/8

L:1/8

R:Jig

C:André Marchand

S:Transrcibed by fiddler Pascal Gemme (of the group Genticorum) http://tradquebec.over-blog.com/archive-1-2007.html

K:G

GAB GED|GAB GED|FGF E2D|FDF E2D|GAB GED|

GAB GED|FGF EFE|DEF G2D::GAB GDB,|CDE DB,G,|

ECA, B,A,A,|ECB, A,2D|GAB GDB,|CDE DB,G,|ECA, B,A,A,|DEF G2D||

        

PATOKA WALTZ. American, Waltz. USA, Indiana. Named for a river in southern Indiana.

X:1

T:Patoka Waltz

M:3/4

L:1/8

Q:200

C:Ken Smelser

S:Ken Smelser - Paoli, Indiana

R:waltz

H:Rec. by Paul Tyler, 1980

Z:P. Tyler

K:G

B,2C2|[B,4D4] [G,2D2]|[_B6E6]|D2G2 B2|d3^c de|

d2A2 B2|c3B cd|c2G2 A2|B2 B,2C2|

[B,4D4] [G,2D2]|[_B6E6]|D2G2 B2|d3^c de|

d2A2 B2|c2F2 A2|G3G G2|G2||

K:D

A2d2|f3g- fe|d4 {Bd}B2|A2D2 G2|F3E- DB,|

A,2C2 E2|G3F-G^G|A2D2 E2|F2 A2d2|

f3g- fe|d4 {Bd}B2|A2D2 G2|F3E- DB,|

A,2C2 EF|G2B,2 C2|D3-E D2|=C3D "DC"C2||

        

PATRICK CONDON'S VISION. AKA and see "Evening Was Waning," "Little Stack of Barley [1]," "Little Mary Cassidy," “Stack(s) of Barley.”

        

PATRICK COUNTY BLUES. AKA and see "Rochester Schottische [1]." Old‑Time, Schottische. The title given to the tune by J.W. “Babe” Spangler or Meadows of Dan, Virginia, who first recorded it in 1929. County 201, The Old Virginia Fiddlers ‑ "Rare Recordings 1948‑49." Okeh 45387 (78 RPM), The Old Virginia Fiddlers.

        

PATRICK CROUGH. Scottish. Glen (1891) finds the tune first in print in Robert Bremner's 2nd collection, 1768 (pg. 112).

        

PATRICK FLEMING. Irish. This air was published in 1680 in Luke Wadding's (the Bishop of Ferns) A Pious Garland of Godly Songs for the Solace of His Friends and Neighbors in their Affictions.

                       

PATRICK GLENNIE'S. Scottish, Reel. B Flat Major. Standard tuning (fiddle). AABB'. Composed by A. Troup of Crathie. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 53, p. 19.

                       

PATRICK KEANE’S REEL. Irish, Reel. G Major. Standard tuning (fiddle). AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black in memory of the later Patrick Keane of Aughnish, County Clare (d. 11/95). Black (Music’s the Very Best Thing), 1996; No. 302, p. 162.

X:1

T: Patrick Keane's Reel

C: © B.Black

Q: 350

R: reel

M: 4/4

L: 1/8

K: G

A | BGDE G3 A | BdAB GABd | edef gage | dedB A2 GA |

BGDE G3 A | BdAB GFED | B,EEF GABe | dBAB G3 :|

d | edBd efgf | edBA GBAF | G2 Bd gdBd | edeg a2 ga |

bg g2 efgf | edBA GABc | Bd d2 gbge | dBAB G3 :|

                       

PATRICK KELLY. Irish, Planxty (6/8 time). G Mixolydian. Standard tuning (fiddle). AB. Composed by blind Irish harper Turlough O'Carolan (1670-1738). Complete Collection of Carolan's Irish Tunes, 1984; No. 74, p. 64.


                                               

PATRICK KELLY’S REEL. AKA and see “The Fiddler is Drunk,” “The Foxhunter’s (Reel) [1].”      

                       

PATRICK KELLY’S (SLIDE). Irish, Slide (12/8 time). G Major. Standard tuning (fiddle). AABB’. Treoir.

X: 1

T: Patrick Kelly's

S: "Treoir"

M: 12/8

L: 1/8

R: slide

Z: Transcribed by Bill Black.

K: G

B/A/ | GED GBA GED G2 A | GED GAB dBA B2 A |

GED GAB def g2 a | bag ege dBG A2 :|

B/c/ | d3 edB def gfg | d3 edB dBG A2 B/c/ |

dcd edB def g2 a |1 bag efg/e/ dBG A2 :||2 bag ege dBG AGE ||

                       

PATRICK O'DONOVAN THE PIPER. Irish, Jig. G Major. Standard tuning (fiddle). AB. Source for notated version: "Paddy Conneely, the Galway piper," via collector William Forde (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 468, pp. 260‑261.

X:1

T:Patrick O’Donovan the Piper

M:6/8

L:1/8

R:Jig

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

Z:AK/Fiddler’s Companion

K:G

G/A/ | Bd/c/B/A/ BG G/A/ | Bde/f/ g2 a/g/ | fdc B/A/G A/B/ | {d}dcB A2 g/e/ | dG{B}A/G/ GG G/A/ |

Bd(3e/f/d/ {d}gg a/g/ | g/f/d c/A/ dcA | {G/B/}AGG G2 || B/c/ | dd/e/f/g/ aa b/a/ | gf/d/e/d/ d2 f/g/ |

Af/e/d/c/ B/A/G A/B/ | {B}dcB A2 g/e/ | dG{B}A/F/ GGG/A/ | Bd(3e/f/d/ {d}g2 a/g/ | g/f/d c/A/ dcA | AGG G2 ||

 

PATRICK O’NIEL.  English, Jig (9/8 time). C Major. Standard tuning (fiddle). AB. The melody appears in the music manuscript copybook of fiddler John Burks, dated 1821, attributed to “Goulding 1822” (a photocopy is in the possession of the ed.). Burks also attributes another tune to Goulding, “King George’s Welcome to Ireland.” Unfortunately, nothing is known of Burks, or to whom Goulding may refer, although there was a music publisher named Goulding in England in the early 19th century. Burks may have been from the north of England.

X:1

T:Patrick O’Niel (sic)

M:9/8

L:1/8

S:John Burks’ music manuscript copybook, dated 1821

N:”By Goulding 1822.”

K:C

G|c2c cde GAB|c2c cde GAB|c2d e2f g2e|agf edc BAG|c2c cde GAB|

c2c cde GAB|c2d e2f g2e|agf efd c2||z|d2 d de^f gab|d2d de^f g2e|

d2d de^f gab|a2g ^fef g2=f|e2 e fga gfe|d2d efg fed|{c}BAB GAB c2||

                       

PATRICK SARSFIELD. Irish, Air (4/4 time). G Dorian. Standard tuning. One part. Sarsfield was a general in the army of James in the wars with the forces of William of Orange. He led the ‘flight of the Wild Geese’ to the Continent after their defeat. Stanford/Petrie (Complete Collection), 1905; No. 310, p. 77.

                       

PATRICK SHEEHAN. AKA and see "The River Roe."

        

PATRICK STREET POLKA. Irish, Polka. A Major. Standard tuning (fiddle). AABB. Black (Music’s the Very Best Thing), 1996; No. 367.

X:1

T: Patrick Street Polka

S: "Patrick Street"

Q: 300

R: polka

Z:Transcribed by Bill Black

M: 2/4

L: 1/8

K: A

E2 Ec | BA Bc | E2 Ec | BA F2 |

E2 Ec | BA Bc | E2 e>c | BA A2 :|

ce B>c | BA FE | ce B>c | BA A2 |

ce B>c | BA FA | E2 e>c | BA A2 :|

        

PATRICK TIMMON'S JIG. Canadian, Jig. Canada, Cape Breton, Nova Scotia. G Major. Standard tuning (fiddle). AA'BB'. Composed by Cheticamp, Cape Breton, fiddler Donny LeBlanc. Cook (Night in the Kitchen Collection), 1996; p. 33.

                       

PATRICK'S DAY. AKA and see "St. Patrick's Day (in the Morning)." Irish, Set Dance (6/8 time). G Major. Standard tuning. AABB. The title was recorded by the Belfast Northern Star of July 15, 1792, as having been played in competition by one of ten Irish harp masters at the last great convocation of ancient Irish harpers, the Belfast Harp Festival, held that week. The harper’s name was Patrick Quin (1745?-18??), according to Edward Bunting’s introduction to his 1840 collection Ancient Irish Music. He says: “It is worthy of remark, that Quin was the only harper at the Belfast Meeting who attempted to play ‘Patrick’s Day’, of which he was very proud, having set, or, as he expressed it, ‘fixed it’ for the harp.” Little is known of Quin, who was originally from County Armagh, save that he was blind and played both the fiddle and the harp. Supposedly he received so many accolades on his playing at a Carolan commemoration in Dublin in 1809 that he gave up the fiddle altogether (Heymann, 1992), setting his fiddle pieces for the harp.

***

Seán Donnelly finds reference to the dance in Lady Morgan’s The Book of the Boudoir (2 vols., London, 1829), II, p. 231, referring to dancing on St. Patrick’s Day in Dublin Castle in the early 1800’s:

***

This is the only occasion on which country dances are performed at the Irish court. The ball on Patrick’s night is always opened by the lively dance of “Patrick’s day.” The dowagers of both sexes then come into play; and “the Irish trot” of many a veteran belle, recalls the good old times of the Rutland Court: when French quadrilles were “undreamed of in philosophy” of the dancing of that noted epoch.

***

Heymann (Legacy of the 1792 Belfast Harp Festival), 1992; pgs. 29-30. Roche Collection, 1982, vol. 3; No. 191, pg. 67.

        

PATRICK'S HILL. English, Reel. A Major. Standard tuning. AABB. Huntington's (William Litten's), 1977; pg. 22.

        

PATRICK'S NIGHT. Irish, Reel. G Major. Standard tuning (fiddle). AABB. Composed by Paddy O'Brien of Newtown, Nenagh, County Tipperary. Source for notated version: flute player Harry McGowan (b. 1937, Carrowmore, County Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; p. 156 (appears as bottom “Unknown” tune). Green Linnett GLCD 1087, Seamus Connolly - "Notes From My Mind" (1988).

X:1
T:Patrick’s Night
M:4/4
L:1/8
C:Paddy O'Brien
S:Dan Cummins and Bev Buchannan
R:reel
K:G
BG~G2AGEF|GABd egge|dB~B2 gedB|~A2GB AGEG|
BG~G2AGEF|GABd egge|dB~B2 gedB|1AGAB G3A:|2AGAB G4||

~g3a gedB|GB~B2 GABd|~g2 fa gedg|eA (3Bcd eaaf|gbaf gfge|
dB~B2 eBdB|GABd gedB|1AGAB G4:|2AGAB G3A||

        

PATRICK’S POT.  AKA and see “Carrickfergus [4].” Irish, Jig. C Major. Standard tuning (fiddle). AABB. St. Patrick’s Pot was a never-emptying can; popularly, it was the ever-filled tumbler of spirits. A tune by this name appears in Haverty’s One Hundred Irish Airs (New York, 1858), although it may not be the same as the jig “Carrickfergus [4].” Cape Breton fiddle Donald MacLellan recorded the jig on 78 ROM disc as “Carrickfergus.” Burchenal (Rinnci na h-Éireann), 1925; p. 133.

X: 1

T: PATRICK'S POT

R: jig

Z: 2006 John Chambers <jc@trillian.mit.edu>

B: "Rinnci na h-\'Eireann" Elizabeth Burchenal, ed. G.Schirmer (1925) p.133

M: 6/8

L: 1/8

Q: 3/8=126

K: C

|: "C"(c2e) (c2e) | "C"cdc BAG |  "F"A2c "G7"B2d | "C"(c2e) "G"d2G \

|  "C"(c2e) (c2e) | "C"cdc BAG | "Dm"Afe "G7"dcB | "C"c3 c3 :|

|: "C"(GAG) (E2c) | "C"(GAG) (E2c) | "Dm"(ABc)     (ded) | "G7"(fed) (cAG) \

|  "C"(GAG) (E2c) | "C"(GAG) (E2c) | "Dm"(Afe) "G7"(dcB) | "C"c3 c3 :|

 

PATRICK’S REEL.  Irish, Reel. Composed by County Tipperary fiddler Seán Ryan (d. 1985). Ryan (The Hidden Ireland), 36.

 

PATRIOT, THE. American?, Reel. C Major. Standard tuning (fiddle). AABB'. Hardings All Round Collection, 1905; No. 90, p. 90.

X:1

T:Patriot, The

M:2/4

L:1/8

R:Reel

S:Harding’s All Round Collection (1905), No. 90

Z:AK/Fiddler’s Companion

K:C

G|c/B/c/G/ E/G/E/G/|c/B/c/G/ E/G/E/G/|f/e/f/d/ e/d/e/c/|d/^c/d/e/ dG/G/|

c/B/c/G/ E/G/E/G/|c/B/c/G/ E/G/E/G/|f/e/f/d/ e/d/B/A/|Gcc:|

|:e/f/|g/e/g/e/ g/e/g/e/|a/f/a/f/ de/f/|1 g/e/g/e/ a/f/d/c/|BGG:|2 g/a/g/e/ c/e/d/B/|ccc||

        

PATRONELLA. See "Petronella."

        

PAT’S PARLOUR (Parlús Pheait). AKA and see “Green Jerseys.” Irish, Canadian; Jig. Canada, Cape Breton. D Major. Standard tuning (fiddle). AABB. A traditional tune listed by Kerr in his Irish jig section. Breathnach styles it a single jig in 12/8 time. A cognate piece, he finds, is a jig printed by Kerr (Fourth Collection) called “The Auld Inn.” Breathnach (CRE IV), 1996; No. 60, p. 31. Cranford (Jerry Holland’s), 1995; No. 238, p. 69. Kerr (Merry Melodies), vol. 4; No. 206, p. 23. WMT002, Wendy MacIsaac – “That’s What You Get” (1998?).

.......................         

PATSY BAKER. AKA and see “The Branch Line.” Irish, Polka. G Major. Standard tuning (fiddle). AA’BB’. Mallinson (100 Polkas), 1997; No. 85, p. 33.

                       


PATSY CAMPBELL. Irish, Reel. The tune is sometimes credited to whistle player Micho Russell of Doolin, County Clare. Bulmer & Sharpley (Music from Ireland), 1974, vol. 3, No. 23. Rounder 3006, Boys of the Lough ‑ "Second Album" (1974).

        

PATSY GEARY’S. AKA and see “Kimmel’s (Jig) [1],” “Micky Callaghan's Jig,” “The Yellow Rose.” Irish, Jig. The tune is that of the familiar American song “Yellow Rose of Texas,” set in 6/8 (or 12/8) time. Green Linnet SIF 3011, Bothy Band – “1975.”

        

PATSY HANLEY’S. Irish, Reel. D Major. Standard tuning (fiddle). AABB. The tune is named for Kerry flute player Patsy Hanley, who composed it in the key of C Major, although it is heard in D also. Black (Music’s the Very Best Thing), 1996; No. 318, p. 170.

X:1

T: Patsy Hanley's

S: J.O'Sullivan - Kelly Bros.

Q: 350

R: reel

M: 4/4

L: 1/8

K: D

AF F2 E3 F | DEFD E3 B | AF F2 A3 B | defd efeB |

AF F2 E3 F | DEFD E3 B | AF F2 A3 B | defe d4 :|

f2 df efde | f3 e fa a2 | fd d2 efdB | ABdf efde |

f2 df efde | f3 e fa a2 | bf f2 afdB | ABdf ef d2 :|

        

PATSY MACK. AKA and see "Dinny Mescal's Slide," "Micko Doyle's Jig." See also the closely related “Old Favourite.”

        

PATSY McCANN'S. AKA and see "The Far Away Wedding [2]," “Kitty Lie Over,” “Paddy’s Return [1],” “What’ll I do if the Kettle Boils Over [2],” “Young Tim Murphy.”  Irish, Jig. D Major. Standard tuning. AABB. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 2, No. 53. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 32.

        

PATSY MACDONALD’S REEL. Canadian, Reel. Canada, Cape Breton Island. E Minor. Standard tuning (fiddle). AABB. Composed by Poplar Point, Central Kings County, Prince Edward Island, fiddler Jimmy Banks (b. 1904). Source for notated version: Jimmy Banks [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; p. 112.

        

PATSY TUOHY'S [1]. Irish, Jig. Ireland, County Sligo. D Major. Standard tuning (fiddle). AA'B. Source for notated version: fiddler Johnny Henry (b. 1922, Cloonlairn, Doocastle, Co. Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; p. 147.

 

PATSY TOUHEY'S (REEL) [2]. AKA and see “Coillte Críona,” “Gleanntán Reel [5],” "Pat Touhey's Reel."

 

PATSY TWOHEY'S FAVORITE. AKA and see "Pat Touhey's Reel."

        

PATTE DU MOUTON (Leg of Mutton).  French-Canadian, Reel. A version of “Paddy on the Turnpike [2].” Smithsonian Folkways Records SFW 40116, “Mademoiselle, voulez-vous danser?” (1999. Larry Riendeau. Various artists).

 

PATTERN DAY, THE. Irish, Double Jig. A Major. Standard tuning. AABB. Paul de Grae remarks the a ‘pattern day’ in Ireland refers to the custom of gathering at a holy well or similar place associated with a local saint. The term ‘pattern’ is a dialect for ‘patron’ as in patron saint. Pattern days are local holidays and times of socializing, music making and dancing in pubs. Another set of this tune from southwestern Pa. was sent to Bayard (1981, No. 459, pgs. 440‑441) and appears as an untitled fife march. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 169, pg. 68. The Darby Collection. Roche Collection, 1982, vol. 1; No. 124, pg. 51. Celtic CX59, Winston Fitzgerald (appears as first tune of the medley “Salute to Boston,” paired with John Campbell’s “Panelmine Jig”). Rounder Records 7057, Jerry Holland – “Parlor Music” (2005).

        

PATTEROLLER SONG. See "Pateroller." 

        

PATTERSON’S GENERAL STORE.  Canadian, Reel. Canada, Cape Breton. D Major. Standard tuning. AAB. Composed by the late Cape Breton fiddler Jerry Holland (1955-2009). Cranford (Jerry Holland: The Second Collection), 2000; No. 133, pg. 50.

 

PATTERSON’S HORNPIPE. American, Hornpipe. An adaptation of the Scots tune “The Cairding O’t,” from an American manuscript begun by Robert Bolling (1738-1775), whose family continued the collection as a family tradition. Gourd Music 110, Barry Phillips – “World Turned Upside Down” (1992).

        

PATTEY'S WHIM. Northumbrian. One of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript.

        

PATTIE'S WALTZ. American, Waltz. D Major. Standard tuning. AA'BA'. Source for notated version: Argel Walker [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 293.

        

PATTY ON THE TURNPIKE. See "Paddy On the Turnpike." Old‑Time, Breakdown. USA, Pennsylvania. G Major. Standard tuning. AABB. See Bayard's note for "Paddy On the Turnpike" for more on this tune and tune family. Source for notated version: Mrs. Sarah Armstrong, (near) Derry, Pennsylvania, November 18, 1943 [Bayard]. Bayard (Dance to the Fiddle), 1944; No. 31B.

        


PATTY'S DELIGHT. English, Jig. Enngland, Northumberland. G Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 2; No. 324.

        

PAUDEEN McCARTHY.  Perhaps the earliest recording is from 1904 by violinist Charles D’Alamaine, born in 1871 in England, who died in 1943. D’Alamaine immigrated to the United States in 1888, and by 1890 had established himself as “instructor on violin” in Evanston, Illinois; by 1910 he had removed to Yonkers, and in 1920 was a chiropractor in New York City (info. from Paul Gifford).

 

PAUDEEN O'RAFFERTY. See "Paddy O'Rafferty."     

                       

PAUDY SCULLY’S. AKA and see “Dan Patsy’s Slide,” “Jimmy Doyle’s (Slide),” “John Dore’s Favourite,” “The Tournafulla Slide,” “The Turnip Jig.” Irish, Slide. Cork button accordion player Jackie Daly’s title, named for his source,  flute player Paudy Scully, born in Newmarket, 1954, and one-time member of the band Monks of the Screw. Jackie Daly – “Music of Sliabh Luachra.”

 

PAUL HA’PENNY. AKA and see “Moll Halfpenny/Ha’Penny,” “Molly MacAlpine.” 

        

PAUL LANDERS’. AKA and see “Din Tarrant’s [3]," “The Gneevgullia Polka [3],” “The Lonesome Road to Dingle [1].”

        


PAUL MAC’S. Canadian, Hornpipe. Canada, Cape Breton. G Major. Standard tuning. AABB’. Composed by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia). Cranford (Brenda Stubbert’s), 1994; No. 72, pg. 26. Brenda Stubbert - “House Sessions” (1992).

        

PAUL MAC’S REEL.  Canadian, Reel. Canada, Cape Breton. D Major. Standard tuning. AABB. Composed by the late Cape Breton fiddler and composer Jerry Holland (1955-2009). Cranford (Jerry Holland: The Second Collection), 2000; No. 131, pg. 50.

 

PAUL MONTEGUE’S REEL. AKA and see “Tommy Peoples’ (Reel) [1],” “Frankie Kennedy’s,” “Jackie Daly’s,” “Jenny Nettles Fancy.” Irish, Reel. See note for “Jenny Nettles Fancy.” Eileen Ivers – “Cherish the Ladies.”

        

PAUL O’SHANOUGHESSEY’S. Irish, Reel. D Major. Standard tuning. AA’BB’.
X:1

T:Paul O'Shanoughessy's

M:4/4

L:1/8

S:Siobháne Peoples

R:reel

Z:Barney

K:D

g2|:fd (3 edc d=c AB|=c2 Bd cA GE|D2 (3FED AD FD|EG AB =cd eg|

fd (3 ddd AB =cA|d2 Bd AG FE|D2 (3FED (3EFG AB|

1 =cA GE ED D2:|2 =cA GE ED Dg|| fd dc de fg|aA ce de fg|e=c cB cd ef|g=c ~c2 ef ge|

f2 ec d=c AB|=c2 Bd cA GE|D2 (3FED EG AB|1 =cA GE ED D2:|2 =cA GE D4||

        

PAUL PRY. AKA and see “No Place Like Home.” English, Air (6/8 time). G Major. Standard tuning. AABBCC. Kennedy (Traditional Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 151, pg. 37.

 

PAUL RYAN’S DREAM. Irish, Jig. B Dorian. Standard tuning. AB. From the playing of Donegal fiddler Danny O’Donnell. The title probably refers to New York Irish multi-instrumentalist Paul Ryan, according to Jim Coogan, who played viola along with several other instruments. Ryan apparently played viola on some of the last records New York/Sligo fiddler Paddy Killoran made, for the Dublin label, playing an octave below. (According to Philippe Varlet the label was founded by Killoran and Paddy Noonan, along with James O’Neill). He also journeyed with Killoran in 1932 to Ireland to attend the International Eucharistic Convention (see note for “Congress Reel”). O’Donnell visited the United States and played with Killoran and Hugh Gillespie, and may have learned the tune through them.

X:1
T:Paul Ryan's Dream
R:double jig
S:Danny O'Donnell
D:Danny O'Donnell, The Donegal Fiddler
Z:Larry Sanger--transcription is an attempt to combine ornamentation from
Z:several passes through the tune
M:6/8

L:1/8
K:Bdor
B/c/|:dfd BdB|[FB]Bd fdB|cec AcA|EAc edc|
~d3 BdB|FBd fdB|{a}fef afe|1 fdB B2c:|2 fdB Bdf||
bfb fdB|[FB]Bd fdB|{ab}aga ecA|EAc ece|
bfb fdB|FBd fdB|fdB cBA|1 FBB Bdf:|2 FBB B2c||

                       

PAUL YOUNG. Old-Time, Breakdown. A Dorian. Standard tuning. AA'BB'. Source for notated version: Kerry Blech (Seattle, Washington) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 182. 

        

PAULINE CONNEELY’S. Irish, Reel. D Major. Standard tuning. AABB’. Green Linnet SIF 1159, “Trian 2.”

X:1

T:Pauline Conneely’s

R:Reel

D:Trian II

Z:Adrian Scahill

M:4/4

L:1/8

K:D

A,2EA, G,B,DG|FDD2 ADFD|EDCA, G,B,DG|FDAD BDA+DE+|\

A,2EA, G,B,DG|FDD2 ADFA|BcAG (3FED CE|DFAD GFDF:||\

cAA2 EDCA|cAA Bcdc|dGGF GEDe|dGG2 BcdB|\

cAA2 EDC+DF+|EDCB, A,CEA|BDAD (3GFG ED|1 CEAB cABd:|2 CEAB cAA2||

                       

PAUL’S FAVORITE PROGRAM.  Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AA’BB’. A “double tonic” composition by the late Cape Breton fiddler and composer Jerry Holland (1955-2009). Cranford (Jerry Holland: The Second Collection), 2000; No. 276, pg. 99.

 

PAUL’S PIPES. Canadian, Pipe Reel. Canada, Cape Breton. A Mixolydian/Dorian. Standard tuning. AAB. Composed by the late fiddler and composer Jerry Holland (1955-2009, Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 27, pg. 8.

        

PAUL'S STEEPLE. AKA ‑ "I am the Duke of Norfolk/York,” “St. Paul’s Steeple." English, Country Dance Tune (cut time). G Dorian. Standard tuning. AB. The air was published by John Playford (1623-1686) in the first edition of his English Dancing Master (1650‑95), and later in his Division Violist (1685). Chappell (1859) reports the steeple of Old St. Paul's, London, was set on fire by lightning and burnt down in June, 1561, and that within seven days a ballad was entered on the subject at the Stationers' Company. The melody is part of a large tune family which includes the Scottish song "John Anderson, My Jo," the Irish "Cruiskeen Lawn," the American "When Johnny Comes Marching Home Again," and the Welsh "Yn Nyffryn Clwyd" (The Vale of Clyde). In addition it is a relative of "Godesses" and "Quodling's Delight," all of which, according to John M. Ward, can be considered descants over the ground known as 'passamezzo antico'. As the vehicle for the song “The Little Man and Little Maid” the tune appears in The Edinburgh Musical Miscellany, printed in that city in 1793 by Grant and Moir.

***

The steeple of St. Paul’s was proverbial in its time for its height. In Vulgaria, printed by Wynkin de Worde in 1530, it is remarked: “Poules Steple is a mighty great thing, and so hye that unneth [hardly] a man may discerne the wether cocke, the tip is unneth perceived.” Lodge, in his Wounds of Civil War, makes a clown talk of the ‘Paul’s Steeple of honour’, meaning in the highest point that can be attained.

***

Chappell (Popular Music of the Olden Time), vol. 1, 1859; pp. 282‑283. Raven (English Country Dance Tunes), 1984; p. 44.

X:1

T:Paul’s Steeple

M:C|

L:1/8

S:Chappell – Popular Music of the Olden Times (1856)

Z:AK/Fiddler’s Companion

K:G Dorian

G2G2G2G2 B6 cB | A2F2F2F2 F6 F2 | G2G2G2A2 B6c2 | d2d2d2d2 d6 ||

c2 | B2B2B2B2 B6B2 | c2c2c2c2 c6c2 | d4 c2B2A2G2 A4 | =B2G2G2G2 G8 ||

        

PAUL'S WHARF. English, Country Dance Tune (6/4 time). D Major/Mixolydian. Standard tuning (fiddle). AAB (Johnson): ABCD (Chappell). The air was published in the Fitzwilliam Virginal Book and John Playford's (1623-1686) first edition of his English Dancing Master (1650‑1). Chappell credits it to Giles Barnaby and explains that Paul's Wharf was (even at the time he was writing) one of the public places for taking water, near St. Paul's Cathedral. In The Prices of Fares and Passages to be paide to Watermen, printed by John Cawood, Chappell finds:

***

Item, that no Whyry manne, with a pare of ores, take for his fare from

Pawles Wharfe, Queen hithe, Parishe Garden, of the blacke Fryers to

Westminster, or White hall, or lyke distance to and fro, above iijd.

***

Chappell (Popular Music of the Olden Time), vol. 1, 1859; pgs. 266‑267. Johnson (The Kitchen Musician No. 14: Songs, Airs and Dances of the 18th Century), 1997; pg. 11. Raven (English Country Dance Tunes), 1984; pg. 46.

X:1

T:Paul’s Wharf

M:6/4

L:1/8

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

Z:AK/Fiddler’s Companion

K:D Mixolydian

f2 d4 e2B2^c2 | d2G2F2 E4g2 | f2d4 e2B2^c2 | d2F2E2 D6 ||

fed=fed ed^cB c2 | d2 GFED ^CAB^cde | f2 d4 B2 e2B2^c2 | d2 AF E2 D6 ||

FG A2 F2 GA B4 | G2 Bc d2 ^cd e2 ^c2 | de f2 d2 e2 B2 ^c2 | d2 F2 E2 D6 ||

ZAFD AF G2 B4 | AFDA dB ^c2 e4 | d2f2d2e2 Bd^cA | d2 FD E2 D6 ||

        


PAUSTEEN FAWN, THE. Irish, Jig. D Major. Standard tuning (fiddle). AABB. The title is a corruption of the Irish Gaelic “An Páistín Fionn” (The Fairhaired Boy). The melody is played as a song air as well as a jig. New York City researcher, writer and musician Don Meade says the jig version is nowadays often called “Statia Donnelly’s.” Cole (1000 Fiddle Tunes), 1940; p. 68. Ryan’s Mammoth Collection, 1883; p. 99.

X:1

T:Pausteen Fawn, The

M:6/8

L:1/8

R:Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K: D

A | dec dcd | efg f2d | ecA GFG | ABc A2G | Adc dcd | efg fed |

ecA GFE | DFA d2 :: E | FAB cAA | BGG cAG | FAB cBc |

Adc d2D | FAB cBc | Ade fed | ecA GFE | FDD D2 :|

        

PAUV' "HOBO" (Poor Hobo). Cajun, Two-Step (? 8/8 meter). USA, Louisiana. A Major. Standard tuning (fiddle). One part. Related songs, according to Raymond Francois (1990), are Leo Soileau's "Chere Lisa" and Merlin Fontenot's "Pauvre Clochard." Source for notated verison: Gervais Quibodeaux, Austin Pitre (La.) [Francois]. Francois (Yé Yaille Chère!), 1990; pp. 245-247. La Louisiane Records LL-119, Ambrose Thibodeaux. Swallow Records SW-LP6041, Austin Pitre.

        

PAUVRE CLOCHARD. See "Pauv' 'Hobo.'"

        

PAVILLION, THE. English, Air or Country Dance Tune (6/8 time). G Major. Standard tuning (fiddle). AB. Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 100b, p. 41.

        

PAY AS YOU GO. Scottish, Strathspey. A Dorian. Standard tuning (fiddle). AABB'. Kerr (Merry Melodies), vol. 2; No. 61, p. 9. Stewart-Robertson (The Athole Collection), 1884; p. 49.

X:1

T:Pay As You Go

M:C|

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:Aminor

A|E<A A>B c/B/A/^G/ A2|E<A A>c B>Gd>B|E<A A>B c/B/A/^G/ A<^f|g>be>g d<GB<G:|

|:a<A c>B A>E A2|c>BA>e c<Ae<A|1 a<A c>B A<E A2|g>be>g d<gB<G:|2

g<be<g d>gB>g|e>gd>g B<Gd<B||

        

PAY THE GIRL HER FOURPENCE (Diol Do'n Cailina Tuistiun). AKA and see “Give the Girl Her Fourpence.” Irish, Reel. E Minor. Standard tuning. AABB. A reel-time version of “Molly from Longford [1],” set as both a jig and reel. The title is a sexually suggestive one, says Breathnach. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/; No. 804, p. 139. Shanachie SH-78010, Solas - "Sunny Spells and Scattered Showers" (1997).

X:1

T:Pay the Girl her Fourpence

R:Reel

M:C|

L:1/8

S:O’Neill - Dance Music of Ireland (1907), No. 804

Z:AK/Fiddler’s Companion

K:G

fe|dB ~B2 dBGB|dcAd g2 fe|dcBc dBGf|gefd egfe|

dB ~B2 dBGB|dedB dfga|bagb afdf|gefd e2:|:ef|

g2 bg fgaf|gefd edBd|g2 bg f2 af|(3gfe fd e3 f|

gaba fgaf|(3gfe fd edBd|~g3 e fefg|afdf e2:|

                       

PAY THE RECKONING (Íoc an Reicneáil). AKA and see "Bobbing for Eels," “The Bottle of Punch,” “The Bowl of Punch,” "The Butchers of Bristol [1]", “Dairymaid [6]," "Fishing for Eels," “The Glens of Mayo,” "The Humours of Milltown [2]," "Jackson's Bottle of Brandy," “Jackson’s Jug of Punch,” “The Jug of Punch [5],” "The Old Man's Jig,” “Sligo Bay,” “Tommy Peoples’ Jig.” Irish, Double Jig. G Major. Standard tuning. AABB. Breathnach (1963) remarks that the tune was called “Jackson’s Bottle of Punch” in a music broadsheet published in about 1785 by Eliz. Rhames, although Breathnach thinks it unlikely to be a composition of the 18th century gentleman composer Walker ‘Piper’ Jackson, of the townland of Lisdaun, parish of Ballingarry, Aughrim, County Limerick. Breathnach took the name for the tune by its title in O’Farrell’s c. 1811 Pocket Companion for the Irish or Union Pipes (“Pay the Reckoning,” pg. 17). Levey calls it “The Bottle of Punch,” while Goodman has it as “Groom” or “Larry Grogan.” In O’Neill versions are printed under the titles “Bobbing for Eels, “Fishing for Eels,” “Jackson’s Jug of Punch,” and “Jackson’s Bottle of Brandy.” South Sligo fiddler James Morrison (1894-1947) recorded it in New York in May, 1922, under the title “Sligo Bay.” Source for notated version: piper Seán Potts [Breathnach]. Breathnach (CRE I), 1963; No. 19, pg. 9. Giblin (Collection of Traditional Irish Dance Music), 1928; 7. O’Farrell (Pocket Companion), c. 1805; pg. 17.

X:1

T:Pay the Reckoning

T:Jackson's Bottle of Brandy

T:Fishing for Eels

B:Breathnach's "Ceol Rince na hÉireann" I:19

S:Seán Potts, pipes

M:6/8

L:1/8

K:G

G2e dBG|{c}BAB dBG|G2e dBG|{B}AGA BGD|

G2e dBG|{c}BAB deg|age dBG|{B}AGA BGD:|

|:gag f2 f|ede def|{a}gfg efg|aga bge|

gbg a2 g|edB deg|age dBG|AGA BGD:|

        


PAYDAY IN THE ARMY. AKA and see "Soldier's Joy [1]." American, Reel. USA, southwestern Pa. D Major. Standard tuning (fiddle). ABB. A local, though uncommon, Pennsylvania title for the ubiquitous melody known usually as "Soldier's Joy." See note for “Soldier’s Joy.” Source for notated version: Marion Yoders (fifer and fiddler from Greene County, Pa.) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 332S, p. 310.

                       

PAYS DE HAUT (High Country). French‑Canadian, New England; Reel. D Major. Standard tuning (fiddle). AABB. Laufman (Okay, Let's Try a Contra, Men on the Right, Ladies on the Left, Up and Down the Hall), 1973; p. 9. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 162. Songer (Portland Collection), 1997; p. 158. Rounder 0132, Bob Carlin ‑ "Fiddle Tunes for Clawhammer Banjo" (1980. Learned from the New England contra‑dance band Applejack).

X:1

T:Pays de Haut

L:1/8

M:C|

K:D

fg|af af d2ef|gf ge c2 ef|gf ed cA Bc|de fg a2 fg|

af af d2ef|gf ge c2 ef|gf ed cA Bc|df ec d2:|

|:AG|FA dA FA dA|GB dB GB dB|AB cd ef ec|de fg a2 A2|

FA dA FA dA|GB dB GB dB|AB cd ef ec|d2f2d2:|

 

PAYSANNE, LA (The Peasant).  French, English; Jig. D Major (‘A’ and ‘B’ parts), D Minor (‘C’ part). ABCAB. The first tune (of six) in The First Set of Quadrilles. The melody appears as the first tune in a quadrille set in the music manuscript copybook of fiddler John Burk, dated 1821. Unfortunately, nothing is known of Burk, although he may have been from the north of England. 

X:1

M:6/8

L:1/8

N:First tune in a quadrille set

S:Analysis of the London Ball-Room (1825)

Z:AK/Fiddler’s Companion

K:D

A|d2c d2e|{de}f2e d2c|{c}B2e {d}c2a|gfe d2A|d2c d2e|

{de}f2e d2c|cBe {d}cBc|e2d||fga|a2g efg|g2f gfe|

e>fe e2e|e2e fga|a2g efg|g2f agf|ege dcB|A3 A/c/B/d/c/e/||

K:D Minor

d3 f3|A3 fed|e3g3|A3 gfe|^cAe dAf|e^cg fda|fag fed|a3 A=B^c||


                       

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