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]

 

 

 

PET IN THE KITCHEN, THE (An Peata sa Chistineach). AKA and see “The "Boss",” “The Old Horned Sheep.” Irish, Double Jig. Ireland, County Donegal. The title comes from County Donegal fiddler John Doherty, who named it for a particularly fine fiddle that was hung on a kitchen wall of a home in Fintown that he used to visit. Caoimhin Mac Aoidh explains Doherty had no fiddle of his own at this time, and depended on playing fiddles he found in others’ homes. “The fiddle rang when tunes were played in A or concentrated on the open E and A strings. This tune does this and John loved to play this fiddle and this specific tune on it thus he gave it the name The Pet in the Kitchen referring to the fiddle.” It has become a popular jig in County Donegal. The ‘A’ part of the tune is shared with “The Humours of Donnybrook.” The ‘B’ part of the tune is the same as that of “Sweet Biddy Daly” and similar the ‘B’ part of “Saddle the Pony.” Some see similarities with G.S. McLennan’s “Jig of Slurs.” Green Linnett BLCD 3090, Mairead Ni Nhaonaigh and Frankie Kennedy - "Ceol Aduaidh" (1983/1994).

 


PET OF THE HOUSE, THE (Peatad/Peata Na/An Tige). AKA and see "The Coliseum," “The Colosseum,” “Stage Hornpipe [3].”  Irish, Hornpipe. G Major. Standard tuning. AABB. See also the related “Merry Man Hornpipe” and the note for “Once Upon My Cheek.” O'Neill (Krassen), 1976; pg. 203. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1724, pg. 320. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 908, pg. 155.

X:1

T:Pet of the House, The

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1909), No. 908

Z:AK/Fiddler’s Companion

K:G

D2|G2G2 G>BA>c|B2B2 B>dc>e|d>gf>e d>cB>A|G>Bd>^c e>d=c>A|

G2G2 G>BA>c|B2B2 B>dc>e|d>gf>e dcBA|G2B2G2:|

|:d>c|B>dG>d B>dG>d|c>eA>e c>eA>e|B>dG>d B>dG>d|

A>GFE Dedc|B>dG>d B>dG>d|c>eA.e c>eA>e|G>gf>e dcBA|G2B2G2:|

           

PET OF THE PIPERS. AKA and see "Dougherty's Fancy," "Doherty's Fancy," “Humors of Ballinafad [2].” Irish, English; Jig. A Major. Standard tuning. AABB. The alternate title “Doherty’s Fancy” appears to be unique to Francis O’Neill’s 1915 collection. Allan's Irish Fiddler, No. 18, pg. 5. Giblin (Collection of Traditional Irish Dance Music), 1928; 77. Kennedy (Fiddler’s Tune Book), vol. 2, 1954; pg. 34. Kerr (Merry Melodies), vol. 1; No. 5, pg. 36. Mulvihill (1st Collection), 1986; No. 18, pg. 122. O'Neill (1915 ed.), 1987; No. 166 (appears as "Doherty's Fancy"). Raven (English Country Dance Tunes), 1984; pg. 102.

X:1

T:Pet of the Pipers

M:6/8

L:1/8

R:Jig

K:A

E | A3 cBA | ecA aec|A3 cBA | GFE dcB | A3 cBA | ecA aec | fga ecA | dBG A2 :|

|: e | aga fga | fba gfe | aga fga | bag a2 (3e/f/g/ | agf edc | ged cBA | fga ecA | dBG A2 :|

           

PETE AND BILL’S EXCELLENT REEL. Irish, Reel. D Major. Standard tuning. AABB. Composed by Peter Fitzgerald and Baltimore button accordion player Billy McComiskey. Black (Music’s the Very Best Thing), 1996; No. 264.

X:1

T: Pete & Bill's Excellent Reel

C: P.Fitzgerald / B.McComiskey

Q: 350

R: reel

M: 4/4

L: 1/8

K: D

A | d2 Ad BAFB | A2 FA Beef | d2 AF DFAd | ceag fdec |

d2 Ad BAFB | A2 FA Beef | dfaf gfed | ceag fd d :|

e | fd d2 fgaf | gfed cded | BA A2 FDEG | F2 cF dFce |

d2 AF ADFG | BA (3Bcd egfe | dfaf gfed | ceag fd d :|

           

PETE BRADLEY’S [1]. Irish, Slide. Ireland, Sliabh Luachra region of the Cork-Kerry border. D Major. Standard tuning. AB. Pete Bradley lived up the hill from Knocknagree on the Kerry side of the border, and is remembered for his scathing comments regarding other musicians to the extent he earned the nickname ‘The Critic’ (though Paul de Grae notes he could also be kind and complimentary). Ironically, notes de Grae, he claimed to detest slides and polkas (“and would fall on visiting musicians like long-lost kin if they played a few fast reels”) though the tunes his name is attached to are of the genres. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra, Kerry), recorded at Ballydesmond, February, 1973 [Moylan]. Moylan (Johnny O’Leary), 1994; No. 23, pg. 14. CK01, Conor Keane – “Cooley’s House” (appears as “A Kerry Slide”).

X:1

T:Pete Bradley's

C:Trad.

B:Johnny O'Leary of Sliabh Luachra

Z:Han Speek

R:slide

M:12/8

L:1/8

K:D

e|:f2 a g2 e fed B2 A|def agf e3 e3|faf gfe fed B/c/BA|

def efe d3 d2 e|f2 a g2 e fed B2 A|def agf eAB cde|

f2 a g2 e fed B/c/BA|def efe d3 dcd|

|e3 ece faa agf|efe efe dcd A/B/cd|e2 e ece a2 a agf|

e/f/ge cdB A3 Aa f|e3 ece a2 a agf|efe efe dcd A/B/cd|

e2 e ece faa agf|e/f/ge dcB A3 A2 e|]"final"e/f/ge dcB Ace a3|]

X:1

T:Pete Bradley’s [1]

S:Eibhli/n de Paor, flute, c.1994, Tralee

R:slide

M:12/8

Z:Paul de Grae

L:1/8

K:D

f2 a g2 e fed B2 A|def agf e3 e2 g|f2 a g2 e fed B2 A|

1 Bcd efe d3 d2 e:| 2 Bcd efe d3 dcd|:e3 efe a3 agf|

e2 e efe d2 B Bcd|e2 e efe a3 agf|1 efe cdB A3 ABd:|

2 efe dcB A3 A3||

 

PETE BRADLEY’S [2]. Irish, Polka. Ireland, Sliabh Luachra region of the Cork-Kerry border. G Major. Standard tuning. AABB. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region), who associates the tune with west Kerry accordion player Thadelo Sullivan [Moylan]. Moylan (Johnny O’Leary), 1994; No. 114, pg. 66. Gael-Linn CEF132, Johnny O’Leary - “An Calmfhear/The Trooper” (1989).

           

PETE MARKER. American, Schottische. USA, Arizona. D Major ('A' part) & G Major ('B' part). Standard tuning. Arizona fiddler Kenner C. Kartchner said: "Pete and his son Solon played for dances in Snowflake‑‑Holbrook (Arizona) vicinity about 1803. Local fiddlers learned some of their tunes" (Shumway, 1990).

           

PETE MARKER WALTZ. American, Waltz. USA, Arizona. D Major. Standard tuning. Learned in 1893 by Arizona fiddler Kenner C. Kartchner from Pete Marker, a popular dance fiddler in the northeast part of the (then) Arizona territory. Kartchner said it was the tune that introduced the waltz to Arizona in the late 1890's (Shumway, 1990).

           

PETE PETERSON'S SCHOTTISCHE. Norwegian‑American, Schottische. G Major. Standard tuning. One part. Source for notated version: fiddler Ove Bergerson (Hixton, Wisconsin) who had it from a neighbor [Sing Out]. Sing Out, 198‑; pg. 33.

           

PETE SULLIVAN’S. AKA and see “She Didn’t Dance and Dance.” Irish, Slide.

           

PETER AND DOREEN CHIASSON. Cape Breton, Slow March (4/4 time). D Major. Standard tuning. AABB’. A modern composition by Cape Breton fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton). Cranford (Brenda Stubbert’s), 1994; No. 46, pg. 17. Celestial Entertainment CECS001, Brenda Stubbert - “In Jig Time!” (1995).

                       

PETER AND PEGGY.  English, Country Dance Tune (3/2 time). A Minor. Standard tuning. AABB. The tune was composed by Jonathan Jensen. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 100.

 


PETER BAIL(L)IE [1]. AKA – “The Lonach Highland Fling.” Scottish, Strathspey. E Dorian. Standard tuning. AAB (Athole, Cranford/Holland, Honeyman, Skinner, Skye): AABB' (Kerr). Part of "Scott Skinner's Set." The tune was named after Pate Baillie of Loanhead (1774‑1841 or 1843), known as the fiddling tinker, though actually his similar occupation was making horn‑spoons. He was also sometimes a stone‑mason who participated in the erection of the stone pillars forming the gateway of Edinburgh University (during which he broke his leg). In addition, he was a renowned fiddler (who, by accounts, had a strong up‑bow and a talent for improvisation and double stops) and much in demand for dances and other occasions and published a collection of strathspeys, reels and other tunes under the title A Selection of Original Tunes arranged for the Piano Forte and Violin (1825). He was patronized by the nobility and played regularly at Dalkeith House (home of Sir James Montgomery) and at Stobo Castle. Neil (1991) relates:

***

The story is told that one night after playing in a town in Berwickshire

he 'went on a spree' and ended up not having enough money to pay for

lodgings. Wandering about the town he came to a hall from which there

came sounds of music and dancing. He slipped in with his violin under

his coat and worked himself nearer and nearer to the fiddlers. When

they noticed him they made fun of him, believing him to be an

itinerant fiddler and jokingly asked him to play. He responded by

amazing them with a fine selection in his inimitable style. When he

had finished, the leader exclaimed that he 'must either be the devil or

Pate Baillie!

***

A County Donegal adaptation of the tune appears under the title "The Brown-Sailed Boat," which has a legend attached to it. Cape Breton fiddler Little Jack MacDonald (1887-1969, b. Judique, Nova Scotia) recorded the strathspey on 78RPM disc. MacDonald, one of the older generation of fiddlers from the island to record, was known as the “Bard of Scottish fiddling” and was a member of the Five MacDonald Fiddlers, a group of expatriate Cape Breton musicians living in Detroit/Windson area in the mid-20th century. The alternate title “Lonach Highland Fling” is given in Skinner’s Harp and Claymore collection (1904).

***

Source for notated version: learned by the late Cape Breton fiddler Jerry Holland (1955-2009) from the playing of his father [Cranford]. Cranford (Jerry Holland: The Second Collection), 2000; No. 152, pg. 58 (includes two of J. Scott Skinner’s variations). Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 14. Kerr (Merry Melodies), vol. 1; Set 29, No. 1, pg. 18. MacDonald (The Skye Collection), 1887; pg. 30. Skinner (The Scottish Violinist, with one variation), pg. 12. Skinner (Harp and Claymore), 1904; pg. 66 (includes one variation set). Stewart-Robertson (The Athole Collection), 1884; pg. 251.

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index  

Alan Ng’s Irishtune.info

X:1

T:Peter Bailie [1]

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:Emin

e | B<E B>A B<E B>A | F>AD>A d>A B/A/G/F/ | B<E B>A B<E B>A |

(3Bcd (3FGA B<EE :| f | g>fe>b g<e b>g | a>fd>a f<d a>f | ~g>fe>b g<e b>g | a>fd>f g<e e>f |

~g>fe>b g<e b>g | a>fd>a f<d a>f | (3gab (3efg (3fga (3def | (3Bcd (3FGA B<EE ||

 

PETER BAILLIE'S STRATHSPEY [2]. Scottish, Strathspey. D Major. Standard tuning. AABBCCDD. Peter “Pate” Bailie (1774-1841) was a well-known Scottish fiddler who published a collection of tunes in the second decade of the 19th century. Neil (The Scots Fiddle), 1991; No. 1, pg. 5.

           

PETER BAILIE'S WIFE. AKA and see “The Market Town.” Scottish, March (6/8 time). A Major. Standard tuning. AAB (Kerr): AA’BB’ (Perlman). Peter “Pate” Bailie (1774-1841) was a well-known Scottish fiddler who published a collection of tunes in the second decade of the 19th century. The term ‘wife’ (or sometimes ‘second wife’) refers to the player’s fiddle. Source for notated version: Eddy Arsenault (b. 1921, St. Chrysostom, East Prince County, Prince Edward Island) [Perlman]. Kerr (Merry Melodies), vol. 1; No. 21, pg. 49. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 142.

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

X:1

T:Peter Bailie’s Wife

M:6/8

L:1/8

N:”Lively”

R:Jig

S:Kerr – Merry Melodies, vol. 1, pg. 49, No. 21

Z:AK/Fiddler’s Companion

K:A

E|E>FE ECE|E>FA A2f|e>dc B>cd|c>BA F>GA|E>FE ECE|E>FA A2f|

e>dc BAB|cAA A2:||c/d/|e>fe ece|f2g a2f|e>dc B>cd|c>BA F2E|

e>fe ece|f2g a2f|e>dc B>cd|cAA A2 c/d/|e>fe ece|f2g a2f|

e>dc B>cd|c>BA F2E|Ace def|cde fga|e>dc BAB|cAA A2||

           

PETER BARNES. American, Jig. Composed by fiddler Frank Ferrel in honor of Massachusetts contra-dance pianist, composer and author Peter Barnes. Flying Fish FF70572, Frank Ferrel – “Yankee Dreams: Wicked Good Fiddling from New England” (1991).

           

PETER BRODERICK’S. AKA and see “Broderick’s Reel,” “The Tinker’s Daughter.” Irish, Reel. Composed by flute player Vincent Broderick, originally from Bullaun, north of Loughrea, County Galway, who originally titled it “The Tinker’s Daughter.” Peter Broderick is Vincent’s older brother.

           

PETER CARR’S HORNPIPE. AKA and see “Doctor Peter’s,” “The Glengesh.”

                       


PETER CHIASSON. Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AAB. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 53.

                       

PETER DAVIDSON. Shetland, Reel. D Major. Standard tuning. ABB. Composed by Ronnie Cooper of the Shetland Isles, who also composed "Millbrae", "Miss Susan Cooper", "Mickie Ainsworth", "Calum Donaldson" and "Da Tushkar."

X:1

T:Peter Davidson Reel

M:4/4

L:1/8

S:Bob Diehl

R:reel

Z:Barney

K:D

c2||dD DE FD FA|df ec dB AF|BE EF GA Bc|df ed (3cde Ac|

dD DE FD FA|df ec dB AF|GA BG AG FD|ED CE D2 c2|

dD DE FD FA|df ec dB AF|BE EF GA Bc|df ed (3cde Ac|

dD DE FD FA|df ec dB AF|GA BG AG FD|ED CE D3z||

d2 fd fa ge|fd ec dB AF|BE EF GA Bc|df ed (3cde Ac|

d2 Ad fa ge|fd ec dB AF|GA BG AG FD|ED CE D2 Ac:||

                       

PETER FEENEY’S DREAM. Irish, Reel. D Major. Standard tuning. AABB. Composed by Boston button accordion player Joe Derrane, “and named for a piano player who didn’t quite exist” (Black). The piano player was Johnny Conners, a long-time accompanist for Derrane, who occasionally found that he had double-booked himself for performing engagements. When playing one gig in lieu of another, Conners would protect his reputation (especially when he and Derrane played on the radio) through the use of an alias, one Peter Feeney! Derrane recorded the reel on a Copley Records 78 RPM in the late 1940’s. Source for notated version: Boston D/C# accordion player Joe Derrane [O’Malley]. Black (Music’s the Very Best Thing), 1996; No. 290, pg. 156. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 48, pg. 24. Great Meadow Music GMM 2018, Frank Ferrel & Joe Derrane – “Fiddledance” (2004). Shanachie SH 229009, "Jean Carignan Plays the Music of Coleman, Morrison & Skinner" (Appears as “Peter Sweeney’s Dream,” learned from a Copley Records recording by Boston accordion player Joe Derrane).

X:1

T: Peter Feeney's Dream

C: Joe Derrane

Q: 350

R: reel

Z:Transcribed by Bill Black

M: 4/4

L: 1/8

K: D

A | dedc BAFA | DEFD EDB,C | DCDE FABc | dfed cege |

dedc BAFA | (3DED DF EDB,C | DCDE FAdB | AFEF D3 :|

A | dcde faaf | dedc BAFA | A2 (3cBA eA (3cBA | ABce agec |

dcde faaf | dcBA BAFA | ABcd cefg | faef d3 :|

           

PETER FRANCISCO. Old‑Time, Breakdown. USA, North Carolina. D Mixolydian ('A' part) & D  Major ('B' part). Standard tuning. AB (Silberberg): AABB (Brody, Spandaro). The tune appears in George P. Knauff's Virginia Reels, volume II (Baltimore, 1839) in the key of F Major. It is known as a North Carolina tune, perhaps in part because Peter Francisco, who was from either North Carolina or Virginia, was a Revolutionary War legend whose deeds were widely celebrated. Francisco’s history is remarkable. It is probable that he began life as Pedro Francisco on July 9, 1760, born at Porto Judeu, on Terceira Island in the Portuguese-held Azores.  He was either kidnapped as a boy, or was sprited away to the New World—no one is sure—but he eventually came to the attention of Anthony Winston, a local Virginia judge and uncle to firebrand Patrick Henry. Winston put the boy to work at chores around his 3,600 acre plantation of Hunting Tower in Buckingham County, Virginia, taught him English and guided his growth to manhood. His growth was prodigeous: it is said he grew to six feet, six inches, nearly a foot over the man of average height in his day, and he weighed 260 lbs. He was as strong as he was large, performing legendary feats of strength throughout his life; yet he was also known for being good-tempered, temperate and charitable.

***

After hostilities broke out with England, Francisco at the age of 16 received Winston’s consent to enlist in the 10th Virginia Regiment as a private. He subsequently fought at Brandywine (where he was wounded), Germantown, Fort Mifflin, Monmouth (where he was again wounded), and Stony Point (wounded a third time). His three year enlistment being up in 1779, Francisco returned to Virginia. Soon, however, the active portion of the war shifted South, and Francisco joined Continental forces in the Carolinas, fighting in the disaterous defeat of the Battle of Camden under Gates, and the more successful action at Guilford Courthouse with Greene. He became the most famous enlisted man of the war. Benson Lossing reported in his 1850 Pictorial Field Book of the Revolution, that Francisco, "a brave Virginian, cut down eleven men in succession with his broadsword. One of the guards pinned Francisco's leg to his horse with a bayonet. Forbearing to strike, he assisted the assailant to draw his bayonet forth, when, with terrible force, he brought down his broadsword and cleft the poor fellow's head to his shoulders!"

***

Francisco was wounded a total of five times, but survived to attended the British defeat at Yorktown. After the war he worked as a blacksmith and continued his education, marrying several times after the death of each wife and fathering several children. In 1825 he was made Sergeant-at-Arms for the Virginia Legislature. He passed away on January 16, 1831. His shoes are preserved to this day at the Guilford Courthouse Battlefield, near Greensboro, N.C. (Fuzzy Mtn. String Band). Source for notated version: Ed Cormier [Silberberg]. Brody (Fiddler’s Fakebook), 1983; pg. 216. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 117. Spandaro (10 Cents a Dance), 1980; pg. 17. Rounder 0035, Fuzzy Mountain String Band‑ "Summer Oaks and Porch" (1973).

X:1

T:Peter Francisco

M:C|

L:1/8

K:D

FE|D2D2 DFAB|=c2 cA GEC2|D2D2D2 FA|dfec d2:|

|:d2|dcde fefg|a2af gfe2|dcde fefg|agab a3e|

dcde fefg|a2af gfe2|d2dc d2AG|FDEF D2:||

X:2

T:Peter Francisco

M:2/4

L:1/8

R:reel

B:George I. Knauff – Virginia Reels, vol. II (Baltimore, 1839)

Z:AK/Fiddler’s Companion

K:F

.F.F (F/A/c/d/)|_.e.e (G/F/=E/G/)|.F.F (F/A/c/e/)|(f/a/g/e/) fz:|
|:{g}(f/e/f/g/) (a/g/a/b/)|(c’/=b/c’/a/) (_b/g/e/c/)|{g}(f/e/f/g/) (a/g/a/b/)|(c’/=b/c’/d’/) c’c|

{g}(f/e/f/g/) (a/g/a/b/)|(c’/=b/c’/a/) (_b/g/e/c/)|(f/a/g/e/) fc/A/|(B/d/c/A/) Fz:||

           

PETER GRAY [1]. Scottish, Reel. G Major. Standard tuning. AAB. Composed by the great Scots fiddler-composer J. Scott Skinner (1843-1927). Skinner (The Scottish Violinist). pg. 14.

X:1

T:Peter Gray

M:2/4

L:1/8

R:Reel

S:Skinner – The Scottish Violinist

Z:AK/Fiddler’s Companion

K:G

(D/4E/4F/4 | G)(D/C/) B,/D/G/F/ | E/^G/A/=G/ F/A/d/c/ | B/G/F/G/ E/G/D/B,/ |

C/E/D/F/ G/G,/G,/ :| c | B/d/g/f/ e/d/c/B/ | c/e/a/g/ f/e/d/c/ | B/d/g/f/ e/d/c/B/ |

A/d/^c/e/ d/D/D/=c/ | B/d/g/f/ e/d/c/B/ | c/e/a/g/ f/e/d/c/ | .B/(G/F/G/) D/B,/G,/g/ | d/B/c/A/ B/G/G/ ||

 

PETER GRAY [2]. AKA and see "Bonaparte Crossing the Rhine [2]," "Bonaparte's Retreat [5]," "Napoleon Crossing the Alps [1]." American, Reel. USA, southwestern Pa. A Minor. Standard tuning. AA'BB. Bayard (1981) identifies this tune (which has no relation to version #1) as a member of the common "Lazarus" tune family. Source for notated version: Charles Finnefrock (elderly fiddler from Clarion County, Pa., 1954; who called it "a fife set") [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 237G, pg. 198.

 

PETER GRAY [3]??? The melody appears in Kerr's collection of fiddle tunes. It is an alternate melody to the ballad "Peter Gray" which became a staple of the college songbooks of the mid-19th century and was, according to Cazden (et al, 1982), "inspired chiefly by the fierce competition among performers during the explosive invasion of the English music hall by American blackface minstrels in the Civil War period" and first published in England about 1861.

           


PETER HARDIE'S LAMENT FOR SIR M. DICK. Scottish, Slow Air (6/8 time). A Minor. Standard tuning. AAB. Composed by Peter Hardie (c. 1775‑1863), who has been said to have been a cousin to the great Scottish violin maker Matthew Hardie (1775‑1826). Hardie may also have worked as a gameskeeper on the Atholl estate, and may have been influenced there by Niel Gow, as his tunes show stylisitc similarities. The musical Hardie family continued with Peter's descendents Bill Hardie (b. 1913) and Bill's son Alastair (b. 1946). Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 75, pg. 119.

           

PETER hIGHNE’S SINGLE REEL. AKA and see “Limerick Lasses [2].” Irish, Reel. Breathnach (Ceol Rince na hÉireann 4).

                       

PETER KENNEDY'S FANCY (Roga Peadar Uí Ceinneidig). AKA and see “The Red-Haired Lass.” Irish, Reel. G Major. Standard tuning. AB (O'Neill/1850 & 1001): AA'B (O'Neill/Krassen). Source for notated version: Source for notated version: fiddler Nellie Kennedy (Chicago) whose brother, fiddler James Kennedy also contributed to O’Neill’s collection, and whose father was a County Leitrim fiddler of local renown from whom she learned this tune [O’Neill]. O'Neill (Krassen), 1976; pg. 110. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1275, pg. 240. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 543, pg. 101.

X:1

T:Peter Kennedy’s Fancy

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 543

Z:AK/Fiddler’s Companion

K:G

BA|G2 GG G2 BA|GABA GEED|EGGA GABd|(3efg dB BAAB|G2 GG G2 BA|

GABA GEED|EGGA GABd|egdB BA A2||d2 gd edgd|d2 gd BAAB|d2 gd edef|

{a}gedB BAAB|d2 gd edgd|d2 {a}gd BAAB|c2 cA BABd|(3efg dB BAAB||

           

PETER KUTZ. AKA and see "Pretty Polly [5]," "Hi Bell." American, Song Tune and Reel. USA, southwestern Pa. C Major. Standard tuning. AA'B. The title comes from Bayard's source's father, who used to sing to the tune, a once‑popular Pennsylvania Dutch song. Source for notated version: Samuel Losch (Juniata County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 294B, pgs. 249‑250.

           

PETER LAING. Scottish, Strathspey. F Major. Standard tuning. AAB. Composed by the great Scots fiddler-composer J. Scott Skinner (1843-1927). Skinner (The Scottish Violinist), pg. 15. Skinner (Harp and Claymore), 1904; pg. 125.

X:1

T:Peter Laing

M:C

L:1/8

R:Strathspey

S:Skinner – The Scottish Violinist

Z:AK/Fiddler’s Companion

K:F

B | A>F A/B/c/A/ B<d c>e | (f/e/).d/.c/ (=B/c/).d/.c/ (_B/A/).G/.F/ (E<G) |

A>F A/B/c/A/ Bdc_e | dfeg a<f [Af] :| e | (fF)Ac (fa)c’>a | b>g (b/a/).g/.f/ e<g g>a |

fFAc (fa)c’f’ | d’/c’/b/a/ g<c’ a<f [Af]c | fFAc (fa)c’>a | b>g (b/a/).g/.f/ e<g g>b |

(a/g/).f/.e/ (f/e/).d/.c/ (d/c/).B/.A/ (B/A/).G/.F/ | (E/F/).G/.A/ (B/c/).d/.e/ f<F F ||

           

PETER MACDONNELL’S. Canadian, Jig. Canada, Cape Breton. C Major. Standard tuning. AABB. Composed by Rannie MacLellan. Source for notated version: fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia) [Cranford]. Cranford (Brenda Stubbert’s), 1994; No. 96, pg. 35.

           

PETER MACLAGAN. Scottish, Reel. E Major. Standard tuning. AB. Composed by Alexander Walker in honor of Peter MacLagan, "late of Invercauld." Walker (A Collection of Strathspeys, Reels, Marches, &c), 1866; No. 114, pg. 39.

           

PETER MARTIN. Canadian, Jig. Canada, Cape Breton. F Major. Standard tuning. AA’BB’. Composed by Cape Breton fiddler Elmer Briand (1922-1992). Cranford (Jerry Holland’s), 1995; No. 253, pg. 73.

           

PETER MURPHY’S. Irish, Jig. G Major. Standard tuning. AABB. The tune is credited to Connemara melodeon player Peter Murphy. Green Linnett SIF1175, Cherish the Ladies - “New Day Dawning.” 

           

PETER O'TAVY. English, Waltz. G Major. Standard tuning. AA'BB'. Carlin (Master Collection), 1984; No. 29, pg. 28.

           

PETER PIPER. American, Two‑Step. Recorded by the Happy Hayseeds, the Lamb brothers. Voyager VRLP 328‑S, "Kenny Hall and the Long Haul String Band" (learned from the Happy Hayseeds).

 


PETER POIRIER’S. Canadian, Jig. Canada, Cape Breton. G Major. Standard tuning. AABB’. A modern composition by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia). Cranford (Brenda Stubbert’s), 1994; No. 114, pg. 40. Celestial Entertainment CECS001, Brenda Stubbert - “In Jig Time!” (1995).

                       

PETER PRATT’S POLKA. Scottish, Polka. Scotland, Orkney Islands. D Major. Standard tuning. AABB. Composed by fiddler and tin whistle player Peter Pratt. Source for notated version: Tommy Mainland (Orkney) [Martin]. Martin (Traditional Scottish Fiddling), 2002; pg. 102. Orkney Strathspey and Reel Society – “Orkney Fiddle Music” (1976). Greentrax CDTRAX9021, Scottish Tradition Series, vol. 21 – “Orkney – Land, Sea & Community.”

X:1

T:Peter Pratt’s Polka

M:2/4

L:1/8

R:Polka

K:D

f>e|d>cd>A F2D2|G>FG>B A4|A>ce>c A>ce>c|d>cd>f e>gf>e|

d>cd>A F2D2|G>FG>B A4|A<ce>c A>ce>c|d2f2 d2:|

|:c2|B>^AB>c d>ed>B|A>FD>F A4|B>^AB>c d>cd>f|e>dc>d e>gf>e|

d>cd>A F2D2|G>FG>B A4|A>ce>c A>ce>c|d2f2 d2:|

                       

PETER REID. Scottish, Strathspey. D Major. Standard tuning. AAB. Stewart-Robertson (The Athole Collection), 1884; pg. 86.

X:1

T:Peter Reid

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:D

f|d>BA>F D<d A>F|d>BA>F B2 B>c|d<f A>F B>AF>E|G>E G/F/E/D/ E2E:|

e|d/e/f/g/ a<f d<b a>g|f>d f/g/a/f/ g2 g>b|d/e/f/g/ a<f b>af>d|g>e g/f/e/d/ e2 e>f|

d/e/f/g/ a<f d<b a>g|f>d f/g/a/f/ g2 g>b|(3agf (3gfe (3fed (3edc|d>B B/A/G/F/ Eece||

 

PETER STREET [1] (Sráid Phaedair/Peadair). AKA and see “Babes in the Woods [3],” “Blackling Races,” “Blanchland Races,” "The Miller's Frolics [2]," "Timour the Tartar." Scottish, Irish, New England; Reel. A Major (Cole, Mille & Perron, O'Neill, Spandaro): G Major (Breathnach). Standard tuning. AB (Cole, O'Neill/1850 & 1001, Spandaro): AA'B (O'Neill/Krassen): AABB (Miller & Perron, Sweet): AA'BB' (Breathnach). The melody is known in English and Scottish collections as “Timour the Tartar” (see note for Timour for more on the origins, which predate “Peter Street”), however, it appears in the 19th century music manuscript collection of John Burks’ as “Blackling Races.”  The name “Peter Street” first appears published by P. Alday in Dublin, c. 1815, as “A Favourite Dance—as danc’d at Peter Street.” The title appears in a list of tunes in his repertoire brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997). John Hartford thinks the tune hints of "Olive Branch Hornpipe." Philippe Varlet remarks that the tune was often recorded during the 78 RPM era, although not very much in modern times. Early recordings include a 1927 waxing in the United States by concertina player William Mullaly, and a 1936 recording by Co. Sligo/New York fiddler James Morrison with Tom Carmody on accordion. Piper Leo Rowsome recorded it as well in 1936, and the great accordion player Paddy O'Brien recorded it for a 1950’s Copley EP that had tracks by fiddler Sean McGuire as well. 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). In some circles the tune is associated with piano accordion players as a “show-off” piece. Fiddlers prefer the tune in the key of ‘A’, while B/C accordion and tin whistle players prefer it in ‘G’, both of which keys favour their respective instruments. Source for notated version: piper Seamas Ennis, 1959 (Dublin, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 169, pg. 88. Cole (1000 Fiddle Tunes), 1940; Pg. 50. Giblin (Collection of Traditional Irish Dance Music), 1928; 48. Kerr (Merry Melodies), vol. 1; pg. 18. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 153. O'Neill (Krassen), 1976; pg. 119. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1325, pg. 248. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 803, pg. 139. Ryan’s Mammoth Collection, 1883; pg. 78. Spandaro (10 Cents a Dance), 1980; pg. 35. Sweet (Fifer’s Delight), 1965/1981; pg. 64. CC61, “Drones and Chanters, vol. 2.” Cló Iar-Chonnachta CICD 173, Brian Conway – “Consider the Source” (2008). Copley Records EP9-20 (45 RPM), Paddy O’Brien (195?). RCA 09026-61490-2, The Chieftains - "The Celtic Harp" (1993). Gay McKeon – “Irish Piping Tradition.”

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

Alan Ng’s Irishtune.info

X:1

T:Peter Street [1]

M:C|

L:1/8

R:Reel

K:A

A2 (3cBA eA (3cBA|eA aA gA fA|eA (3cBA eA fA|BE dE cE BE|

A2 (3cBA eA (3cBA|eA aA gA fA|ef ec ea ec|BA Bc A4:|

|:E2 (3GFE BE (3GFE|BE dE cE BE|A2 (3cBA eA (3cBA|eA aA gA fA|

e^d ec ag af|e^d ec ag af|ec ag fe dc|BA GF EF GE:|

 

PETER STREET [2]. AKA and see "The Ewe Reel," "The Ew(i)e Wi' the Crooked Horn [1]," "The Merry Lasses," "The Kerry Lasses [1]," "The Lowlands of Scotland," "The Ram with the Crooked Horn," "Bob with the One Horn [2]," "Sweet Roslea and the Sky over it," "Miss Huntley's," "The Pretty Girl in Danger," "The Red Blanket," "My Love is Far Away," "Go See the Fun," "The Foe."

                       

PETER SWEENEY'S DREAM. See “Peter Feeney’s Dream.”

                       

PETER THE PIPER. Irish, Hornpipe. D Major. Standard tuning. AABB. McGuire & Keegan (Irish Tunes by the 100, vol. 1), 1975; No. 89, pg. 24.

                       

PETER TUOHY’S FAVORITE. Irish, Jig. D Mixolyian (‘A’ part) & D Major (‘B’ part). Standard tuning. AABB.

X: 1

T: Peter Tuohy's Favorite

S: "Treoir"

M: 6/8

L: 1/8

R: jig

Z: Transcribed by Bill Black

K: Dmix

c | A2 d cAG | AdB cAG | F2 D DED | FDF GED |

AGA cAG | Add d2 e | fed ed^c | Add d2 :|

K: D

e | fef fga | efe ecA | ded dcd | ecA ecA |

fef fga | efe efg | faf gec | edc d2 :|

                       

PETER WALSH'S JIG. Irish, Jig. Ireland, Co. Sligo. D Major/G Major. Standard tuning. AB. The tonality shifts between the two keys. Source for notated version: flute player James Murray (b. 1947, Ougham, outside Tubbercurry, Co. Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 164.

                       

PETER WENT A-FISHIN [1]. AKA and see "Georgia Railroad."

 

PETER WENT A FISHING [2]. Old-Time, Breakdown. A Major. Standard tuning. AB. Source for notated version: Carthy Sisco [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 117.

 

PETER WENT A FISHING [3]. Old-Time, Breakdown. D Major. Standard tuning. AB. Source for notated version: Bob Douglas [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 118.

                       

PETER WYPER’S [1]. Irish, Hornpipe. D Major. Standard tuning. AABB. Peter Wyper was a well-known Scottish melodeon player who recorded in the early decades of the 20th century, and who had a melodeon tutor printed in his name. Wyper recorded this tune on a 78 RPM in 1910, paired with “Auld Robin Gray [1].” The tune appears on the recording “The Ring Sessions” with James Kelly and Zan McLeod, as an untitled hornpipe. Source for notated version: fiddler Peter Turbit [Feldman & O’Doherty]. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 247 (appears as first “Untitled Hornpipe” on page). James Kelly and Zan McLeod – “The Ring Sessions” (appears as untitled hornpipe).

X:1
T:Hornpipe

T:Peter Wyper’s [1]
D:Peter Wyper, Auld Robin Gray and Hornpipe (1910)
Z:Nigel Gatherer
L:1/4
M:4/4
K:D
A>G|F>DF>A d>AF>D|G>EF>D A,>CE>G|F>Ad<f a>fd>f|\
(3efe (3dcB (3ABA (3GFE|
F>DF>A d>AF>D|G>EF>D A,>CE>G|F>Ad>A B>GE>C|D2 D2 D2:|
(3ded|cdef gecA|dfaA baf>a|agB>g gfAf|3efe (3dcB (3ABA (3GFE|
F>DF>A d>AF>D|G>EF>D A,>CE>G|F>Ad>A B>GE>C|D2 D2 D2:|

 

PETER WYPER’S [2]. AKA and see “Clareman’s Hornpipe,” “Hatter’s Hornpipe,” “O’Mahoney’s Hornpipe,” “Old Cork Hornpipe,” “Prendville’s Hornpipe.” Irish, Scottish; Hornpipe. D Major. Standard tuning. AABB. Paul de Grae notes that Josephine Marsh recorded this tune on her first album, calling it “Tony Dalton’s” after her source.

X:1
T:Peter Wyper's [2]
T:The Old Cork Hornpipe
R:hornpipe
N:also played in G

S:Paddy O’Sullivan
M:4/4
L:1/8
K:D
dB|AFEF D2 DE|FEFA d2 de|~fedA BAFD|~E2 EE E dB|
AFEF DB,DE|~FEFA d2 de|~fedB AFEF|D2 DD D2:|:dB|
ABde (3fgf ef|~gf e2 e2 de|fedA BAFD|~E2 EE E dB|
AFEF DB,DE|FEFA d2 de|fedB AFEF|D2 DD D2:|

 

PETERHEAD POLKA, THE. Scottish, Polka. A Major. Standard tuning. ABB (Hardie): ABB'CC (Hunter). Composed by William Stephen of Peterhead, Aberdeenshire, and originally published as a piano solo. Peterhead was where James, the Old Pretender, first landed in Scotland in 1715, and in the 19th century it was a leading point of departure (along with Dundee) for ships from the Scottish whaling industry. Source for notated version: Bill Hardie (Scotland) [Hardie]. Hardie (Caledonian Companion), 1992; pg. 130. Hunter (Fiddle Music of Scotland), 1988; No. 360.

 


PETER'S FAVORITE REEL. Canadian, Reel. A Major. Standard tuning. AABB. Composed by Graham Townsend (Toronto, Canada). Hinds/Hebert (Grumbling Old Woman), 1981; pg. 14. Marathon MMS76046, Graham Townsend ‑ "Mr. Country Fiddle."

 

PETER'S JACKET. American, March (4/4 time). USA, southwestern Pa. G Major. Standard tuning. AB. Source for notated version: Frank Thomas (elderly fiddler and blacksmith from Somerset County, Pa., 1946; who learned it from another blacksmith in Somerset) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 123, pg. 68.

           

PETER’S OLD MANDOLA. English, Jig. D Major. Standard tuning. AABB. Composed by Dave Roberts.

X:1
T:Peter's Old Mandola
C:Dave Roberts
Z:Anahata (anahata@treewind.co.uk)
M:6/8
L:1/8

K:D
"A"efe ecA | ABA cBA | efe ecA | cd^d "C"eg"Bm"f |
"A"efe ecA | ABA cBA | "A"cd^d "C"eg"Bm"f | "E"edB "A"A3 :|
|: "D"DED DFA | "G"B2A "D"d2e | f2f "G"g2g | "D"fed "A"cBA |
"D"DED DFA |"G"B2A "D"d2e | "Bm"f2f "A"gfe | "D"d3-d3 :|

                       

PETER'S PEERIE BOAT (Peter's Little Boat). AKA and see "Hooper's Jig." Shetland, Jig. D Major. Standard tuning. AA'B (Hunter): AABB (Anderson). Composed by Tom Anderson in 1949 in honor of Peter Leith, the first pianist of the Islesburgh Scottish Country Dance Band (of which Anderson was the leader). The pianist was a very keen sailing enthusiast and loved boats, one small (peerie) one of which he was trying to sell. Anderson "used to complain that he thought more about the boat than about the piano accompaniments‑‑so he wrote a tune about it!" (Hunter, 1979). This tune was first used by Jimmy Shand and his Band in the early 50's for the dance 'Hoopers Jig,' and has been played on the radio by most leading Scottish Dance Bands. Anderson (Ringing Strings), 1983; pg. 26. Hunter (Fiddle Music of Scotland), 1988; No. 297.

X: 1
T:Peter's Peerie Boat
M:6/8
L:1/8
C:Tom Anderson
S:AAB
R:Jig
K:D
A/2B/2c||:"D"d2 d D2 D|"G"EFG "A"ABc|"D"d2 d "Bm"Bed|"A"cAA "(C#)"ABc|!
"D"d2 d D2 D|"G"EFG "A"ABc|"D"d2 A "A"GFE|1"D"FDD DBc:|2"D"FDD D2 A|!
||:"D"d2 d f2 d|"A"c2 c e2 c|"G"B2 B dcB|"D"A3 A2 F|!"G"GFG "A"BAG|
"D"F2 A d3|"Em"E2 G B3|"A"C2 E A3|!"D"dcd fed|"A"cBc edc|{Bc}"G"B^AB "(B
)"dcB|
"D"A3 A2 F|!"G"GFG "A"BAG|"D"F2 A a2 g|"D"fed "A"Adc|"D"d3 E3||

           

PETERSBURG LADIES. American, Reel. D Major. Standard tuning. AABBCC. The melody appears in George P. Knauff's Virginia Reels, volume II (Baltimore, 1839). The title refers to the women of Petersburg, Virginia, now a suburb of Richmond.

X:1

T:Petersburg Ladies

M:2/4

L:1/8

R:reel

B:George P. Knauff – Virginia Reels, vol. II (Baltimore, 1839)

Z:AK/Fiddler’s Companion

K:D

(f/g/)|(a/f/b/a/) (g/f/g/e/)|(d/c/d/B/) AF/A/|G/B/B F/A/A|{F}(E/D/E/F/) E f/g/|

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

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

|:f/g/|(a/f/b/a/) (g/f/g/e/)|(d/c/d/B/) A f/a/|(g/b/b/g/) (f/a/a/f/)|{f}(e/d/e/f/) ef/g/|

(a/f/b/a/) (g/f/g/e)|(d/c/d/B/) A f/a/|(b/g/d’/b/) (c’/a/e’/c’/)|{e’}(c’/c’/d’/e’/) c’:||

           

PETERSWELL HORNPIPE.  Irish, Hornpipe. D Major. Standard tuning. AABB. According to Cuz Teahan (Road to Glountane), who learned the tune from accordion great Joe Cooley, it was named after Cooley’s home town in County Galway [Miller]. Miller (Fiddler’s Throne), 2004; No. 305, pg. 180. Green Linnet GLCD 1215, John Williams – “Steam.”

X:1

T:Peterswell Hornpipe

M:C|

L:1/8

D:John Williams - Steam

R:Hornpipe

Z:Jeff Welty, 2002

Q:350

K:D

(3gfe|:dAFA DAFA|dAFA D2 df|e2 ce aece|fece A2 (3ABc|dAFA DAFA|

dAFA D2 df|e2 ce aece|BABc d2 (3ABc::dafd cgec|dafd A2 (3zz=c|

Bg (3gfg Af (3fef|afec dB (3ABc|dafd cgec|dafd A2 (3Bcd|e2 ce Aece|BABc d2(ABc:|

 

PETE'S BREAKDOWN. Canadian, Breakdown. C Major (‘A’ part) & A Minor (‘B’ part). Standard tuning. AB. Source for notated version: Vivian Williams (Seattle) [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 118. Apex AL 1613, "The Best of Don Messer and his Islanders, vol. 6."

           

PETE’S DREAM. American, Reel. F Major. Standard tuning. AABB. Composed by Vermont fiddler Pete Sutherland. Sutherland (Bareface), 1984; pg. 18.

 

PETE’S POLKA. AKA and see “Church Street (Polka) [2],” “Killoran’s Polka [3]."

           

PETE’S WALTZ. American, Waltz. Composed by Pete Martin, who also composed “Darin in the Woodpile.”

 

PÈTEUSE. LA (The Woman Who Farts).  See “Saut du lapin [2].”

 

PETIT BOSSU, LE. AKA and see "D'ou Viens‑tu P'tit Bonhomme?"

           

PETIT BÛCHEUX, LE (The Little Lumberjack). AKA and see "Lord MacDonald('s Reel) [4]." French-Canadian. French-Canadian, Reel. G Major. Standard tuning. AA’BB’. An irregular version of the famous Scottish tune “Lord MacDonald’s Reel,” the ‘B’ part having two beats added at the end of the 2nd turn. The tune was also recorded by La Famille Soucy on a 78 RPM, but was popularized in modern times by fiddler André Alain (1931-2000) of St-Basile-de-Portneuf, near Québec City. Source for notated version: fiddler André Alain [Hart & Sandell]. Hart & Sandell (Dance ce Soir), 2001; No. 1, pg. 39. Green Linnett GLCD 3042, La Bottine Souriante - "Chic & Swell" (1988. Learned from fiddler André Alain). “André Alain: Violoneux de St-Basile-de-Portneuf.”

           

PETITE BRUNETTE.  French-Canadian, Air (cut time). G Major. Standard tuning. AABB. A song air. Raz de Marée/Tidal Wave - "Marche du St-Laurent" (2010)

X:1

T:Petite Brunette

M:C|

L:1/8

S:J.O. La Madeleine and his son Albert

D: Raz de Marée/Tidal Wave - "Marche du St-Laurent" (2010)

Z:AK/Fiddler's Companion

K:G

Bc|d2d2 {Bc}B2 A2|G2 A2 A-B3|AB {c}BA {c}BAGB|{B}d2-d2 !trill!B2A2|G2 Ac B2A2|G6:|

|:G2|B2d2g2{a}g2|d2g2 {a}g2e2|dedB A2 GA|B2d2 e4|d2 Bd {cd}c2A2|G6:||

 

PETIT JEAN PEUT PAS DANSER. AKA and see “Johnny Can’t Dance.”

           

PETIT SARNAY, DU. French-Canadian?

X:1

T:du Petit Sarnay

R:jig

C:Eric Favreau

Z:Transcribed by Tim Shirley

M:6/8

L:1/8

K:G

||: ~B3 Bcd | ~B3 BAG | EFG AGA | BGE D3 |

~B3 Bcd | ~B3 BAG | EFG AGA |1 BGF G3 :|2 BGF GAB

||: dBd gdB | A3 BGE | DBB Dcc | DBB ABc |

dBd gdB | A3 BGE |1 Ggf edB AGF | ~G3 GBc :|2

DB,D ~E3 FEF | ~G3- GBc ||:

dBd g2f | e3 gdc | Bdg gfg | ~a3- aBc |

dBd g2f | e3 gdc | Bdg fef |1 ~g3- gBc :|2 ~g3- gGA

           

PETITE 'NETTE, LA. AKA and see "P'tite 'Nette, La."

           

PETITE OU GROSSE (IT'S ALL THE SAME TO ME). Cajun, Two-Step (4/4 time). USA, Louisiana. G Major. Standard tuning. One part. Related songs, according to Raymond Francois, include Austin Pitre's "Two-Step a Tante Adele," John Semien's "Lenoir Two-Step" and "Madame Edouard." Source for notated version: fiddler Leo Soileau (La., recorded in 1935) and accordianist Marc Savoy and Rodney LeJeune (recorded in the 1960's as "Donnez-moi Les") [Francois]. Francois (Yé Yaille Chère), 1990; pgs. 251-253. Old Timey Records OT-125, Leo Soileau.

                       

PETIT VALSE POUR MICHELLE.

X: 1

T:Petit Valse pour Michelle

M:3/4

L:1/8

N:Play "A" music, "B" music with repeat, "C" music then second "A" music.

K:G

D2G3A|B6|A2B3c|B3g gg|(3efe de ga|b4ba|ba bg eg|d4e2|d2G3A|B6|A2B3c|B3d Bd|

e2d2B2|A3d dd|de dB AB|G6|D2G3A|B6|A2B3c|B3g gg|(3efe de ga|b4ba|ba b g eg|

d4e2|c2e2g2|d2B2G2|E2G2c2|B3B BB|(3ABAD3A|G3ddd|de dg dB|1G3G AB||2 G6||

(3cdc Bc eg|c'3c' gc'|ba gb ag|b3a aa|ab a=f df|1b3a aa|ag ea ge|G3G AB:||2b3=f ed|

ce Gc EG|C6||(3cdc Bceg|c'3c' gc'|ba gb ag|b3a aa|ab a=f df|b3=f ed|ce Gc EG|D3G FE||

                       

PETITES VISITES, LES (The Little Visits).  French-Canadian, Quadrille (4/4 time). D Major. Standard tuning. AA’BB’. The title references the figures of a Lancers set. Source for notated version: Jean-Louis Picard (St-Jean, Île d’Orléans), via Normand Legault [Hart & Sandall]. Hart & Sandall (Danse ce Soir), 2000; No. 71, pg. 106.

                              


PETROLIA REEL, THE. Canadian, Reel. Canada, Cape Breton. A Major. Standard tuning. AB. Composed Feb., 16, 1966, by Cape Breton fiddler Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 3.

           


PETRONELLA. AKA ‑ "Patronella." Scottish (originally), American, Canadian, English; Reel, Scottish Measure and Country Dance Tune. USA, New England. D Major (Brody, Kennedy, Kerr, Lerwick, Martin, Messer, Miller & Perron, Raven, Silberberg, Sweet): G Major (Linscott): F Major (Athole, Emmerson, Gow, Hunter). Standard tuning. AABB. Jack Campin finds the title derives from petronel, a type of pistol employed in the 16th and 17th centuries. The petronel was known as a horse-man’s weapon from which both the pistol and carbine developed. The name itself is a variant of the French word petrinel I or poitrinal, given because the weapon was fired with the butt resting against the chest (poitrine, from the Latin pectus), or because it was carried slung from belt across the chest. There is also a St. Petronella, the daughter of St. Peter, martyred in Rome in the first century. The tune is Scottish in origin, published in Gow's Repository, Part Fourth, 1817. The RSCDS Scottish Country Dance Book (Book 1) also says the tune comes from Nathaniel Gow’s Repository, although gives the date of publication as 1820. The accompanying dance is said (in The Ballroom, 1827) to have been introduced by Gow at his Annual Ball, in Edinburgh, that same year. It is linked with a country dance of the same name in Scotland and New England.  The dance Petronella seems to have enjoyed remarkable popularity throughout the last three quarters of a century in Scotland, write Flett & Flett (1964), where "it appears in every ballroom guide published in Scotland from 1823 to 1914, and it was also included in the repertoire of all the dancing-teachers whom we know to have practised in Scotland within living memory." The set dance features a point where everyone stamps at once, perhaps in imitation of the weapon of the title. A standard set of tunes is often used as the vehicle for the dance in Scotland, consisting of “The Dashing White Sergeant,” “My Love is but a Lassie Yet” and “The Rose Tree,” although many tunes may be substituted.  Likewise it has proved a staple at New England contra dances over the last century. For example, it was danced in August, 1914, as part of a cotillion for the 150th anniversary celebration of the town of Lancaster, New Hampshire, according to a playbill of the period. The tune is similar to "Tink-a-Tink," an English country dance air of the 18th century. Under a different title the melody is played in County Donegal, Ireland. Sources for notated versions: Lewis Jilson (Bernardstown, Mass.) [Linscott]; Rodney Miller (N.H.) [Phillips]; Alan Ede [Silberberg]. Brody (Fiddler’s Fakebook), 1983; pg. 216. Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 18, pg. 125. Gow (Repository), 1817. Hunter (Fiddle Music of Scotland), 1988; No. 323. S. Johnson (The Kitchen Musician No. 4: Collection of Fine Tunes), 1983 (revised 1991, 2001); pg. 6. Kennedy (Fiddler’s Tune Book), vol. 1, 1951; No. 64, pg. 31. Kerr (Merry Melodies), vol. 1; No. 1, pg. 22. Lerwick (Kilted Fiddler), 1985; pg. 24. Linscott (Folk Songs of Old New England), 1939; pgs. 103‑104. Martin (Traditional Scottish Music), 2002; pg. 38. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 8, pg. 9 (appears as "Patronella"). Miller & Perron (New England Fiddlers Repertoire), 1983; No. 99. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 183. Raven (English Country Dance Tunes), 1984; pg. 146. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 118. Spandaro (10 Cents a Dance), 1980; pg. 9. Stewart-Robertson (The Athole Collection), 1884; pg. 150. Sweet (Fifer’s Delight), 1965/1981; pg. 45. Welling (Welling’s Hartford Tune Book), 1976; pg. 10. Alcazar Dance Series FR 204, Rodney Miller ‑ "New England Chestnuts 2" (1981). F&W Records 3, Dudley Laufman‑‑"Swinging On a Gate." June Appal 003, John McCutcheon ‑ "How Can I Keep from Singing" (1975. Learned from Frank George, Princeton, W.Va.).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

X:1

T:Petronella

M:C|

L:1/8

K:D

F2AF E2AF|D2D2D2 FA|d2cd e2d2|cd Bc A2dA|

F2AF E2AF|D2D2D2 FA|d2cd e2c2|d4 d2dA:|

|:F2fd A2af|ga gf ed cB|A2ec A2ge|fa fd Ad AF|

D2fd A2af|ga gf ed cB|A2ec Ag ec|d2f2d2 AG:|

X:2

T:Petronella

M:2/4

L:1/8

R:Country Dances

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

K:F

fc|Ac/A/ Gc/A/|FFF A,/C/|FB,/D/ GF|EG/E/ Cf/c/|Ac/A/ Gc/A/|

FFF A,/C/|FB,/D/ GE|F2F:|

|:fc|Aa/f/ ca/f/|bb/g/ e/c/B/G/|Eg/e/ cb/g/|aa/f/ c/f/c/A/|

Fa/f/ ca/f/|bb/g/ e/c/B/G/|Eg/e/ c/b/g/e/|fff:|

X:3

T:untitled Donegal tune

T:Petronella

S:Maire/ead ni/ Mhaonaigh

N:also played in key of G in octaves

M:4/4

L:1/8

Z:transcribed by Paul de Grae

K:D

F2 AF E2 FE|D2 D2 D2 FA|d2 cd e2 d2|cdec ABAG|

F2 AF E2 FE|D2 D2 D2 FA|d2 cd e2 de|1f2 d2 d2 A2:|2f2 d2 d2 B2|

|:Adfd Adfd|g2 gf edcB|Acec Acec|f2 fe dcdB|

Adfd Adfd|g2 gf edcB|Acec Aceg|f2 d2 d4:|

                       

PETRO’S FANCY.  English, Jig. G Major. Standard tuning. AABB. Originally published in Charles and Samuel Thompson’s Compleat Collection, vol. 3 (London, 1773), while dance instructions are given in the Thompson’s Twenty-Four Country Dances for the Year 1769. As with numerous tunes from the Thompson’s 1773 collection, it was entered into the 1788 music copybook of fiddlers John and William Pitt Turner (Norwich, Conn.). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 162.

X:1

T:Petro’s Fancy

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)

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

Z:abc’s:AK/Fiddler’s Companion

K:G

def gdB|cea a3|GBd FAc|cdB {B}A3|def gdB|cea a3|GBd FAc|BcA G3:|
|:BdG FAc|EGc DFB|BcA FAd|cdB A3|BdG FAc|cfg afc|BdG EcB|AGF G3:||

 

PETTICOAT, THE. Irish? D Major. Standard tuning. AAB. Source for notated version: copied from Aird’s Selections of Scottish, English, Irish and Foreign Airs (1782-97) [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 106.

X:1

T:Petticoat, The

M:6/8

L:1/8

S:Aird's Selections 1782-97

Z:AK/Fiddler’s Companion

K:D

D/2E/2|F2 F FED|A2 A ABc|d2 B AFD|E3 E2 D|

F2 F FED|A2 A A2 d|Bgf edc|d3 d2:||

e|fed cde|fdB "tr"^A2 F|dcB cf^A|"tr"B3 dcB|

A2 A A2 f|ede d2 B|AFD G2 F|{F}"tr"E3 GFE|

D2 E F2 G|BGd dcB|AFD GEA|D3-D2||

                       

PETTICOAT I BOUGHT IN MULLINGAR, THE. Irish, Reel. Green Linnet SIF 1075, John Whelan & Eileen Ivers - "Fresh Takes" (1987). John Whelan (et al) – “The Big Squeeze.”

                       


PETTICOAT LOOSE [1] ("Cota-Beag/Cota-Mna Sgaoilte" or "Petticoat Scaoilte"). AKA and see “Banks of Glenoe,” "The Bonny Highlander," "The Bottle of Brandy," "Bully for you," "The Bucky Highlander," “(Con) Carthy’s (Jig),” "Daniel of the Sun [1]," "From the Court to the Cottage," "Girls of the West," "I gave to my Nelly," "The Leg of (a) Duck,” "Nelly's Jig," "O My Dear Father, Pity Your Daughter," "O my Dear Judy," “Paddy Canney’s (Jig) [1],” "She is/She’s the girl that can do it," "Teddy/Thady you Gander," “Tie the Petticoat Tighter,” "'Tis sweet to think," "The Western Jig,” “Yourself Along with Me [1]." Irish, Double Jig. A Dorian {& C Major?} (O’Neill): A Mixolydian (Moylan. Is this a printing error? Sounds better in dorian mode). Standard tuning. AA'BB (O’Neill): AA’BB’ (Moylan).

***

‘Petticoat Loose’ is an Irish legend associated with lake Baylough, high in the Knockmealdown Mountains of southern County Tipperary. The Knockmealdown range looks down on ancient routes of passage, and means ‘hill of the honey fort’. Petticoat Loose was the nickname for one Mary Hannigan, of the townland of Colligan, not far from the picturesque village of Clogeen. Mary (who is often said to have lived in the early 19th century) was the only child of a farming family and was described as a strong, strapping lass, well able to shoulder the workload of the family farm. Far from making her clumsy, however, she maintained a gift for dancing and was locally renowned for her prowess. Unfortunately, an incident at a dance at a nearby wedding led to her mocking sobriquet.  Mary liked to drink as well as dance (in some versions of the tale she is a bartender), and as the celebration proceeded into the early hours of the morning, Mary’s danced with more and more abandon.  Finally, in her whirling she snagged her skirt upon a nail, the buttons burst off, and the skirt fell to the floor, exposing her to the jeers and laughter of the company. Embarrassment triggered her violent temper, and Mary cemented her nickname by flailing into the crowd, causing a near riot. Ever after she was “Petticoat Loose” to the neighborhood.

***

When she married it was to the one young man in the area who could come close to matching her steps on the dance floor. Unfortunately, her new husband died after only a year of marriage under mysterious circumstances. Mary was accused of hindering and intimidating a servant who had heard the man’s cries from the fields and sought to help, and despite a search her husband’s body never was found. He had just gone away, maintained Mary, but would come back to her.  The locals, however, saw it more sinisterly and were convinced that Mary had taken a neighboring hedge-schoolmaster as a lover, and that the two of them had plotted and carried out the murder.  The reputation of her temper apparently kept questioning to a minimum, and there was never a trial.

***

Mary continued with her dissolute ways after that.  Some time afterward she accompanied a group of workmen to the local pub, where drinking challenges ensued with Mary at the center of the combat.  The stakes increased until a half-gallon of ale was placed before her, and Mary drank it down without pause. It was her swan song, for her system had accumulated enough alcohol that, as she turned back to the crowd she suddenly keeled over, not only dead-drunk, but quite dead.  ‘Petticoat Loose’ had died without benefit of last rites, and although her wake was a grand affair attended from far and wide, a priest was not in attendance, even for the burial.

***

After seven years Petticoat Loose was all but forgotten, but this was to change. It was at another dance in Colligan that a man, fatigued and overheated by the dancing by midnight, sauntered outside to take the air and cool himself. He speedily returned inside, and, obviously frightened out of his wits, he breathlessly related that he had just spied Mary sitting on a wall near the dance hall.  No one else dared venture outside until morning.  Soon Mary’s spirit was revealed to others. A man in a cart offered a lift at night  to a woman standing beside the road; she hopped into the back, and as the man twitched the reins, the horse dropped dead in his traces (c.f. the ‘Driving Mary Home’ ghost tales). Mary sightings grew exponentially and the populace armed themselves with folk and religious wards just in case of a chance meeting.  Finally, apprehension grew to the point that an appeal was made to the clergy for assistance. 

***

One version of the legend has it that it was a brave priest who finally banished Petticoat Loose.  Forearmed with a vial of Holy Water, the clergyman happened on Mary crossing a nearby field.  Hailing her, he asked her name, and when she replied “Petticoat Loose,” he doused her with the contents of the vial. At the same time he fervently petitioned that, for the crime of killing her husband, she be banished from the land forever; but only from land, for he damned her to the cold Baylough, high in the mountains, condemning her to empty it with a thimble. It is said Mary’s shade yet resides in the lough, still performing her penance.

***

Another end to he tale relates that a local priest led a parade of parishioners along the ancient road to the high lake where he exorcised the ghost. He thought that was where Mary dwelt as it was given that the lake’s depths where so deep they had never been plumbed. Mary continues to dwell in the bushes by the lake to this day, a version goes.

***

This is the legend.  Is any of it true?  In some versions Mary is a witch, not a ghost, and there do seem to be floating elements of witch and ghost tales mixed in. It may be that a part of the tale is true—tantalizingly, there is this item, published in The Belfast News-Letter of December 22nd, 1772:

***

I R E L A N D. Carlow, Dec. 16. Last Friday was committed to goal, by our worshipful Sovereign William Brown, Esq; Margaret Neal, otherwise Cassidy, but known by the name of Petticoat Loose ; who, when young, was notorious for decoying husbands from their wives, to the great detriment of their families ; now old, for keeping a house of ill fame, and decoying youth of both sexes to their destruction. Same day, being the fair of Athy, a man expired by excessive drinking of Whiskey ; and next morning a man was found dead on the road near said town, supposed to be murdered, as there were several wounds on different parts of his body.

***

Some of the elements are of the legend appear in this short piece: the nickname of ‘Petticoat Loose’, criminality, a death by alcohol overdose, a murder. The items appears to imply that the term ‘Petticoat Loose’ was used as a term of sexual innuendo, applied to women whose morals were questionable—as in the more recent term ‘loose woman’. Thus there may have been many women with the nickname ‘Petticoat Loose’.  

***

P.W. Joyce (1909) prints the tune as “Banks of Glenoe.” See also the related “Bryan O’Lynn” and “Maiden that jigs it in style.” Source for notated version: Con Carthy via accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Cotter (Traditional Irish Tin Whistle Tutor), 1989; 57. Moylan (Johnny O’Leary), 1994; No. 79, pg. 45. O'Neill (Krassen), 1976; pg. 30. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 826, pg. 154. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 90, pg. 31. Topic 12T357, Johnny O’Leary - “Music for the Set” (1977. Appears as “Con Carthy’s”).

X:1

T:Petticoat Loose [1]

M:6/8

L:1/8

R:Jig
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 90

Z:AK/Fiddler’s Companion

K:Amin

A|GEE cEE|GFG GcA|GEE cEE|A3 A/B/cA|GEE cEE|

cde eag|fde cAG|1 EAA A/B/cA:|2 EAA A2||

|:^f|~g3 ged|cAA Bcd|eaa age|edd d2^f|gaf ged|cAA Bcd|e=f/e/d cAG|EAA A2:|

 

PETTICOAT LOOSE [2]. AKA and see “Strop the Razor [1].” Irish, Double Jig. G Major. Standard tuning. AABBCC. O’Neill (1922) remarks: “’Petticoat Loose’ is an old name for a dance tune. A jig under that name in O'Neill's Dance Music of Ireland bears no resemblance to the above.” Sources for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; manuscripts in the possession of Chicago Police Sergeant James O’Neill, a fiddler originally from County Down—many were from the playing of his father [O’Neill]. Cranitch (Irish Fiddle Book), 1996; No. 14, pg. 130. Cranitch (Irish Session Tunes: Red Book), 2000; 14. Mitchell (Dance Music of Willie Clancy), 1993; No. 76, pg. 73. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 129.

X:1

T:Petticoat Loose [2]

M:6/8

L:1/8

R:Jig

K:G

BGG AGG | BGG AGE | DGG GFG | DGG GFG | BGG AGG |

BGG AGE | D2E F2G | ADE FGA :||: d2Bc2A | e2B CAF | 

DGG GFG | DGG GBc | d2Bc2A | e2B cAF | D2E F2G |

ADE FGA :||: B2Bc2c | d2B def | gfg gfg | gba gdc|

B2B ABA | d2Bd2e | f2f fdg | fdg fdc:||

X:2

Petticoat Loose

M:6/8

L:1/8

S:Sergt. James O'Neill manuscripts

Z:Paul Kinder

K:G

dc|:B2 G AFD|B2 G AFD|DGG AGF|DGG Adc|

B2 G AFD|B/2A/2GB AFD|F2 F FAG|FDE FGA:|

|BdB cAc|BdB AFD|g2 g gdg|gag fdc|

BdB cAc|BGB AFD|f2 f fde|f/2g/2ag fdc|

B/2c/2dB cBA|BGB AFD|g2 g gdg|gag fdc|

B/2c/2dB cBA|BAG AFD|f2 f fde|f/2g/2ag fdc||

 

PETTICOAT LOOSE [3]. English, Scottish, Irish; Jig. G Minor. Standard tuning. AB (Howe, Kerr): AAB (Gow): AABB (Williamson). The melody appears first in print in John Johnson’s Choice Collection of 200 Favourite Country Dances, vol. 5 (London, 1748). London publishers Charles and Samuel Thompson published it in their 1757 country dance collection, and again in their 1758 tutor for the hautboy (oboe). Across the Channell, it was included in Benoit Andrez’s Recueil de Contredances Angloises (Liege, 1780). The melody was published by the Gows in Edinburgh and entered Scottish tradition, although Kerr, publishing later in Scotland, identified the tune as Irish (albeit a different tune than O'Neill's "Petticoat Loose"). The Thompsons printed the tune on the same page with “Breeches Loose,” obviously associating the two jigs. Gow (Complete Repository), Part 1, 1799; pg. 10. Howe (1000 Jigs and Reels), c. 1867; pg. 124. Kerr (Merry Melodies), vol. 2; No. 280, pg. 30. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 197. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 61.

X:1

T:Pitty Coat Loose (sic)

M:6/8

L:1/8

R:Jig

S:Gow – 1st Repository (1799)

Z:AK/Fiddler’s Companion

K:Gmin

A|B2G AFD|B2G AFD|F2F F2c|F2F F2A|B2G AFD|B2G AFD|G2G G2d|G2G G2:|

A|B>cd cBA|BAG AFD|f>gf fcA|f>gf fcA|B>cd cBA|BAG AFD|g>ag gdB|g>ag gdc|

B>cd cBA|BAG AFD|f>gf fcA|f>gf fcA|Bcd cde|dcB AG^F|G2G G2d|G2G G2||

X:2

T:Petticoat Loose [3]

M:6/8
L:1/8

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

Z:AK/Fiddler’s Companion

K:Gmin

A | B2G AFD | B2G AFD | F2F F2c | F2F F2A | B2G AFD | B2G AFD |

G2G G2d | G2G G2 || A | Bcd cBA | BAG AFD | f>gf fcA | f>gf fcA | Bcd cBA|

BAG AFD | g>ag gdB | g>ag gdB | Bcd cBA | BAG AFD | f>gf fcA | Bcd c[Bd][Ae] |

DcB AG^F | G2G G2d | G2G G2 ||

X:3

T:Petticoat Loose [3]

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:Gmin

A|B2G AFD|B2G AFD|(F3 F2)A|B2G AFD|B2G AFD|(G3 G2)B|(G3 G2):|

|:Bcd cBA|BAG AFD|fgf fcA|fgf fcA|Bcd cBA|BAG AGF|Gag gdB|gag g2A|

Bcd cBA|BAG AFD|fgf fcA|fgf fcA|Bcd cde|dcB AG^F|(G3 G2)B|(G3 G2):||

 

PETTICOAT STRING. AKA and see "Betty Black."

 

PETTICOAT WAG. English, Jig. G Dorian. Standard tuning. AABB. “Petticoat Wag” was published as a longways dance (“for as many as will”) in John Playford’s first edition (1651) of his long running English Dancing Master series as “Petticoat Wag.” It appeared under that title through the third edition (1665) after which it continued to appear in the Playford volumes through the 8th (1690) with the expanded title “Petticoat Wag, or The Taylor’s Daughter,” and as “The Taylor’s Daughter” in the 9th and 10th editions. It was dropped from the series after that. Barlow (Complete Country Dance Tunes from Playford’s Dancing Master), 2005; No. 79, pg. 32. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 132 (appears as “Trip to Greene”, the name of a 1992 dance composed to the tune by Gary Roodman). Raven (English Country Dance Tunes), 1984; pg. 44.

X:1

T:Petticoat Wag

M:6/8

L:1/8

S:Playford – English Dancing Master (1651)

K:Gdor

c2c B>cA|G2A ^F3|G2A B3|B2c d3|dfe f>ga|g2g f2d|

d>_ed c2A|B2c d3::f2g a>ga|b2d f3|A2B c>Bc|

d2e f2>ed|g3 g2e|a3 a2f|b>ag g>a^f|g3 g3:|

 

PEVERILL LASSES, THE. French-Canadian, Reel. B Minor. Standard tuning. AABBCC’.

X:1

T:The Peverill Lasses

M:4/4

R:reel

C:Jean Duval

Z:Bil

Q:190

K:Bm

F2fe dcBA|G2BG DGBG|F2fe dcBA|Acec aecA|\

F2fe dcBA|G2BG DGBG|F2fe dcBA|AcBd cedc|:\

d2 dc defd|e2 ed egfe|dAFA DAFA|GFEF GABc|\

d2 dc defd|e2 ed efga|bfde fdGB|decA B4::\

FBdB FBdB|GBdB GBdB|FBdB FBdB|AcBd cedB|1\

FBdB FBdB|GBdB GBdf|bfde fdGB|decA B4:|2\

FdBF dFBd|GdBG dGBd|bfde fdGB|decA B4|]

                       

PEWTER MUG [1]. AKA and see "The Tin Ware Lass." Irish, American; Reel. G Major. Standard tuning. AABB. This Irish tune, collected in the mid-West by Ford, also bears a general resemblance to Bayard's Pennsylvania‑collected "Dusinberry (Jutenberry) March" and "Governor Taylor's March." Ford (Traditional Music in America), 1940; pg. 37. White’s Unique Collection, 1896; No. 85, pg. 15.

X:1

T:Pewter Mug

M:C|

L:1/8

R:Reel

S:White’s Unique Collection (1896), No. 85

Z:AK/Fiddler’s Companion

K:G

(BA) | GABc d2 (ef) | gfga gedB | c2 (ce) dBGB | B2AA A2BA | GABc d2 (ef) |

gfga gedB | c2(ce) dBAB | G2GG [B,2G2] :: (fg) | a2ff d2ef | g2GG G2ge |

dBge dBGB | B2AA A2BA | GABc d2 (ef) | gfga gedB | c2 (ce) dBAB | G2GG [B,2G2] :|

 

PEWTER MUG [2]. Irish, Reel. D Major. Standard tuning. AABB. Composed by fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn, south County Armagh. Keegan (The Keegan Tunes), 2002; pg. 38.

                       

PHAIDIN Ó RAIFEARTAIGH. AKA and see: “(A) Draught of Ale,” "Farrell's Pipes," "The Fourpenny Girl,” “Grania’s Welcome Home,” “Highway to Dublin,” “Langstrom’s Pony,” “The Priest’s Leap [3],” “The Right Way to Dublin,” “Saddle the Pony [3],” “Sweet Tibby Dubar.”

                       

PHARACA NA RUARC. Irish. The tune 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.


                       

PHELIM MOUNTAINS, THE. Irish, Air (3/4 time). E Minor. Standard tuning. AB. Stanford/Petrie (Complete Collection), 1905; No. 385, pg. 88.

                       

PHELIM'S FROLIC. Irish, Reel. C Major. Standard tuning. AAB. Miller & Perron (101 Polkas), 1977; vol. 2, No. 20. Shaskeen Records OS‑360, Andy McGann, Felix Dolan & Joe Burke ‑ "Tribute to Michael Coleman" (c. 1965).

                       

PHARAOH. Old-Time, Breakdown. USA, Kentucky. G Major. Standard. One part. Source Darley Fulks (1895-1990) said that the tune was once well-known among Wolfe County, Ky., fiddlers, although he himself is the only source known to us at present. His grandfather, fiddler Stephen Tutt, told him the story associated with the melody regarding how it came to be composed. An old man was trying to fiddle while his wife was out on the farm trying to fend away a plague of locusts as best she could. Locally, locusts were called pharaohs, supposedly after the sound they make. When the insects finally moved on, she berated him for not helping her, but he justified himself by indicating that the muse was upon him at the time, and that he was busy composing this tune. Source for notated version: Darley Fulks (Campton, Wolfe County, Ky., 1978) [Titon]. Titon (Old Time Kentucky Fiddle Tunes), 2001; No. 123, pg. 150.

                       

PHARO'S REEL. Scottish, Reel. The melody appears in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), 1734, inscribed "A Collection of the best Highland Reels written by David Young, W.M. & Accomptant."

                       

PHARROH OR WAR MARCH, THE. AKA and see "Faire! Faire! Ar Aghaidh! Ar Aghaidh! (Watch! Watch! Forward! Forward!). The jig “The Gold Ring [1]” is said to have been fashioned from this melody, which consists of nine parts or strains. Source for notated version: obtained by Dr. Petrie in 1835. Bunting, Ancient Music of Ireland, 1840.

X:1

T:Pharroh or War March, The

T:Faire! faire! ar aghaidh, ar agaidh [watch! watch! advance, advance]

B:The Ancient Music of Ireland, Edward Bunting (1840)

N:arranged for piano in book; melody only shown here

M:6/8

L:1/8

K:G

d|cAG GAG|cAG G2 d|cAG GAG|cAF F2:|

|:d|ded d2 B|cAG G2 d|ded d2 B|cAF F2:|

|:d|ded {d}c2 A|ded {d}c2 A|ded {d}c2 A|cAF F2:|

|:d|g2 d f2 d|{d}cAG G2 (3d/e/f/|g2 d f2 d|cAF F2:|

|:(3d/e/f/|{a}g2 d {g}f2 d|{a}g2 d {g}f2 d|{a}g2 d {g}f2 d|{d}cAF F2:|

|:d|gag {fg}f2 d|cAG G2 d|gag {fg}f2 d|cAF F2:|

|:(3d/e/f/|g/a/g/a/g/a/ f/g/f/g/f/g/|g/a/g/a/g/a/ f/g/f/g/f/g/|

g/a/g/a/g/a/ f/g/f/e/d|1cAF F2:|2{d}cAG G2|

|:A|_B2 B BBB|A2 A AAA|G2 G GGG|cAG G2:|

|:A|_B B BAG|A2 A AGF|G2 G GAG|cAG G:||

                       

PHEASANT’S DANCE. English, Jig. England, Northumberland. G Major. Standard tuning. AABBCCDD. The tune appears as “Dance in Queen Mab” in James Aird’s Selection of Scotch, English, Irish and Foreign Airs, vol. 1 (Glasgow, 1782). It also appears in the music manuscripts of William Vickers (Northumberland, 1770) and James Biggins (Leeds, west Yorkshire, 1779). Callaghan (Hardcore English), 2007; pg. 63. Topic 12TS278, Cut and Dry Band – “Cut and Dry” (1976). Topic TSCD529, “The Wind in the Reeds: The Northumbrian Smallpipes” (2001).

X:1
T:Pheasant's Dance
D:Cut & Dry Band
O:Northumbria
Z:Nigel Gatherer <gatherer@argonet.co.uk>
M:6/8
L:1/8
K:G
B2 c ded|c2 B ABc|dBG E2 A|FDF G3:|
B2 G c2 A|B2 G A2 g|dBG E2 A|FDF G3:|
BdB cec|AcA BdB|GBG AcA|FDF G3:|
f2 d gdB|gdB a2 A|Bcd E2 A|FDF G3:|

                       

PHELAN’S FANCY. Scottish (?), Reel. E Minor. Standard tuning. AAB. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 156, pg. 37.

 

PHELIM MOUNTAINS, THE. Irish, Air (3/4 time). A Minor. Standard tuning. AB. Stanford/Petrie (Collected Compositions), 1905; No. 385, pg. 98.

X:1

T:Phelim Mountains, The

M:3/4

L:1/8

R:Air

N:”Andante”

S:Stanford/Petrie (1905), No. 385

Z:AK/Fiddler’s Companion

K:Amin

E/^G/ | AA GE E^G | AB/A/ GE ED | E2 E/^G/A/B/ cB/A/ | {A}B>A A3 G/A/ |

BB AG/A/ B>A | GE/G? (3AGE ED | E2 E/^G/A/B/ {c}B>A | (A2 A3) || A |

A>G AB c>B | cB B/A/G/A/ BA | GE GA GE | (E2 E3) e/>d/ | cB/A/ B/A/G/E/ ED |
EE  E/^G/A/B/ cB/A/ | GE G/A/B/A/ G>E | (E2 E3) ||

                                   

PHELIM O'NEILL [1]. AKA and see "Be Easy, You Rogue!"

 

PHELIM O’NEILL [2]. AKA and see “Bhíosa lá I bport láirge,” "The Dainty Besom Maker," “Forgive the muse that slumbered,” "The Gimlet," “I’d  mourn the hopes that leave me,” “Johnny’s Grey Breeks [2]," "The Old Lea Rigg," "Little Mary Cullinan," "Little Sheila Connellan,” “Maureen from Gibberland,” “Port Láirge,” “The Rose Tree [1]," “The Rose Tree in Full Bearing."

                       

PHELIM’S BOAT (Báidín Fheidhlimidh). Irish, Air (3/4 time). D Major. Standard tuning. One part (Cranitch): AB (Tubridy, Vallely). Cranitch remarks this is an air to a song learned by many school-aged children in Ireland. He uses it for a waltz for Sliabh Luachra dances. The song (with Gaelic lyrics) is from the north west part of the country and tells a tale of Phelim and his little boat. Cranitch (Irish Fiddle Book), 1996; pg. 39. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 1. Vallely (Learn to Play the Fiddle with Armagh Pipers Club), 197?; pg. 23 (appears as “Báidín Fheidhlimidh”).

X:1

T:Phelim’s Boat

T:Báidín Fheidhlimidh

M:3/4

L:1/8
R:Air

K:D

A4D2 | F3ED2| A2B2c2| d4B2| A4D2| F3ED2| G2E2E2| E6| A4D2| F3ED2| A2B2c2|

d4B2 |d4B2 | A3BG2 | F2F2D2| D6 || d4e2 | f4d2 | g4e2 | f4d2 | B4c2 | d4B2 |

A3BG2 | F4ED2 |d4e2 | f4d2 | g4e2 | f4d2 | B4d2 | A3BG2 | F2D2D2 | D6 ||

                       

PHELIM’S FROLIC(S). AKA and see “Guiry’s Reel,” “Lady Montgomery [3],” “Miss Montgomery,” “Rising Sun [3].” Irish, Reel. C Major. Standard tuning. AB. Patrick J. McCall, in his poem The Dance at Marley (1861), names a Phelim as the musical inspiration for his fictional frolic. The first two stanzas go:

***

Murtagh Murphy’s barn was full to the door when the eve grew dull,
For Phelim Moore his beautiful new pipes had brought to charm them;
In the kitchen thronged the girls - cheeks of roses, teeth of pearls - 
Admiring bows and braids and curls, till Phelim’s notes alarm them.
Quick each maid her hat and shawl hung on dresser, bed, or wall,
Smoothed down her hair and smiled on all as she the bawnoge entered,
Where a shass of straw was laid on a ladder raised that made
A seat for them as still they stayed while dancers by them cantered.

***

Murtagh and his vanithee had their chairs brought in to see

The heels and toes go fast and free, and fun and love and laughter;
In their sconces all alight shone the tallow candles bright - 
The flames kept jigging all the night, upleaping to each rafter!
The pipes, with noisy drumming sound, the lovers’ whispering sadly drowned,
So the couples took their ground - their hearts already dancing!
Merrily, with toe and heel, airily in jig and reel,
Fast in and out they whirl and wheel, all capering and prancing.

***

Source for notated version: Bronx-born fiddler Andy McGann (1928-2004) [Miller & Perron]. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 97. Dezi Donnelly – “Familiar Footsteps.” Shaskeen 05-360, Joe Burke, Andy McGann & Felix Dolan – “Tribute to Michael Coleman” (1966).

See also listing at:

Alan Ng’s Irishtune.info

X:1

T:Phelim’s Frolics

T:Lady Montgomery [2]

M:4/4

L:1/8

R:Reel

K:C

c3G ECEG|c2Ac Bcd2|c3G EFGc|Addc BGAB|

cBcG ECEG|c2Ac BcDB|cAGF EFGE|Addc BGAB||

c2gc acgc|c2gc BcdB|c2gc acgb|aged cGAB|

c2gc acgc|c/c/cgc Bcd2|cGcd egg2|aged cAGB||

                       

PHEONIX [1], THE. English, Country Dance Tune (2/2 time). F Major. Standard tuning. AABB. The tune dates to 1670. Barnes (English Country Dance Tunes), 1986.

 

PHEONIX REEL [2]. Irish, Reel. Composed by accordion player Dave Hennessy, who played in the band Any Old Time with Cork fiddler Matt Cranitch. Their first album was entitled “The Pheonix.” Popcorn Behavior – “Journeywork” (1997).

                       

PHIDDLIN' PHIL. See “Fiddling Phil,” "Old Dubuque."

                                   

PHIL CUNNINGHAM’S [1]. Scottish, Reel. A Major. Standard tuning. AABB. Composed by Boys of the Lough fiddler Aly Bain (Shetlands) in honor of his friend and sometime playing partner, Phil Cunningham, Scottish accordionist and composer (formerly of the band Silly Wizzard). Cranford (Brenda Stubbert’s), 1994; No. 9, pg. 4. Brenda Stubbert - “House Sessions” (appears as “Traditional Reel”, learned from her father, and assumed it was an old composition as he “couldn’t remember what tape he had found it on”). Green Linnet GLCD 3105, Aly Bain - “Lonely Bird” (1996). RC2000, George Wilson – “Royal Circus” (2000).

 

PHIL CUNNINGHAM’S [2]. Scottish, Reel. G Major. Standard tuning. AABB. Composed by Scottish accordion player Phil Cunningham. Black (Music’s the Very Best Thing), 1996; No. 184.

X:1

T: Phil Cunningham's

C: P. Cunningham

Q: 350

R: reel

Z:Transcribed by Bill Black

M: 4/4

L: 1/8

K: G

G/E/ | DG (3GGG BAGA | Bd (3ddd egde | gd (3ddd egde | gedB cAFA |

DG (3GGG BAGA | Bd (3ddd egde | gd (3ddd egdB | cAFA G3 :|

A | Bd (3ddd edBd | eg (3ggg a2 ga | bgag gede | gedB AGEG |

Bd (3ddd edBd | eg (3ggg a2 ga | bgag egdB | cAFA G3 :|

                                               

PHIL ISSAC'S JIG. American, Clog Dance Tune (2/4 or 4/4 time). A Major. Standard tuning. AAB (Howe, Kerr): AABB (Cole, Ryan). Listed as a 'jig' in Ryan’s Mammoth Collection (1883), referring to a type of syncopated, duple metre old‑time banjo tune, not the Irish jig in 6/8.  John Hartford (writing in the periodical Devil’s Box) thought Ryan’s term ‘jig’, a minstrel dance, gave rise to the term ‘jig dancing’ meaning African-American dancing, as well as ‘jig’ becoming a derogatory term for African-Americans. Edward Le Roy Rice’s Monarchs of Minstrelsy (New York, 1911) lists a P.D. Isaacs who was one of the early minstrel leaders, “and a fine musician. He was one of the original members of Bryant’s Minstrels in New York at their opening, February 23, 1857. He was born in London, England, 1831; he died in San Francisco, September 6, 1857” (pg. 78). The ‘B’ part of “Phil Issac’s” is closely related to the second part of "Kitty O'Neill's Champion." Howe includes the tune in his section of schottisches. Cole (1000 Fiddle Tunes), 1940, pg. 80. Howe (1000 Jigs and Reels), c. 1867; pg. 55. Kerr (Merry Melodies), Vol. 2; No. 422, pg. 47. Ryan’s Mammoth Collection, 1883; pg. 112.

X:1

T:Phil Isaacks Jig

M:2/4

L:1/8

N: Labelled a ”Jig” in Ryan’s

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

R:schottische

K:A

(A/B/) | (3.c/.B/.A/ (3.c/.B/.A/ F>AE>c | c/e/f/g/ (3a/g/f/ (3e/f/g/ | a/>e/c/>A/ B/>A/F/z/ |

A4 {A/B/}| (3.c/.B/.A/ (3.c/.B/.A/ F/>A/E/>c/ | d/>e/f/>g/ (3.a/.g/.f/ (3.e/.f/.g/ |

a/>e/c/>A/ B/>A/ A/z/ |: (Aa) cz/c/ | (db) Bz/c/ | d/>e/f/>g/ (3.a/.g/.f/ (3.e/.f/.g/ |

a/>e/c/>A/ B/>A/F/z/ | (Aa) cz/c/ | (db) Bz/B/ | d/>e/f/>g/ ae/d/ | c/A/G/B/ Az :|

                                   

PHIL ORMAND. English, Dance Tune (3/4 time). F Major. Standard tuning. AABB. A quite different setting appears in Joyce's Old Irish Folk Music and Songs, pg. 73, entitled "Old Phillip Armour." Huntington (William Litten's), 1977; pg. 40.

                                   


PHIL THE FLUT(H)ER'S BALL. Irish, Reel and Air. D Major. Standard tuning. AA'B, AA'B'. Words and music of this tune were composed by the once well‑known popular‑song writer Percy French (1854‑1920), and the tune quickly entered British Isles folk tradition. Phil the Fluther was a real‑life character who rented a small flat in Leitrim. When times were hard and he was pressed for rent he would hold a pay‑at‑the‑door rent party to raise the needed sum; these parties became legendary and inspired the tune. The first verse and chorus go:

***

Have you heard of Phil the Fluther, of the town of Ballymuck?
The times were going hard with him, in fact the man was broke.
So he just sent an invitation to his neighbours, one an all
As to how he'd like their company that evening at a ball.
And when writin' out he was careful to suggest to them,
That if they found a hat of his convanient to the dure,
The more they put in, whenever he requested them
The better would the music be for battherin' the flure.

***
With the toot of the flute,
And the twiddle of the fiddle, O;
Hopping in the middle, like a herrin' on the griddle, O.
Up! down, hands aroun', Crossing to the wall.
Oh! Hadn't we the gaiety at Phil the Fluther's Ball.

***

Bayard (1981, No. 250, pgs. 2113‑214) collected the tune as a fife march called "The Fluter's Ball." Carlin (Master Collection), 1984; No. 230, pg. 134. Sing Out, pgs. 22‑23.

X: 1
T:Phil The Fluter's Ball
M:C|
L:1/8
C:Traditional
R:Hornpipe
B:Songs & Dances of Ireland, Wise Publ, ISBN 0.7119.0099.X
N:Marked "Moderato e marcato"
K:D
FE|
DDDD dddc|BABc d2FE|DDDD dddB|ABAF E2EF|
DDDD dddc|BABc d2ee|fded dcBA|BBcc d2de|
f2fd e2ec|dedB AFDA|fffd eeec|dcBe A3 d|
f2fd e3 c|dedB AFDF|ABAF dBAF|ABAF E2  ||
%CHORUS
EF|
D2DD d2dc|BABc ddd2|DDDD dddB|ABAF EEFE|
D2D2 ddd2|BABc d2de|fded dcBA|BBcc d3  ||

                       

PHILABEG. Scottish, Highland Schottische. A Dorian. Standard tuning. AABB. The philabeg (or filibeg, feilidh beag) is the ‘little kilt’, consisting of just the bottom portion of the ‘great kilt’. An unsubstantiated story has it that the philabeg was invented by an Englishman in the 18th century as a less-encumbering alternative to the great kilt worn by ironworkers in the Highlands. While it has an ancient history, the kilt was not the ubiquitous manner of dress in the Highlands until the 1740’s, and breeches were also in common usage in many parts of the region. Kerr (Merry Melodies), vol. 3; No. 209, pg. 24.

X:1

T:Philabeg

M:C

L:1/8

R:Highland Schottische

S:Kerr – Merry Melodies, vol. 3, No. 209  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:Amin

e<e d>B (B<A) A>c|B>AG>A B<d d<g|e<e d>B A2 (a>g)|(3edc (3ded (c<A) A2:|

|:A<a) a>b a>ge>^f|g>ed>c (B<G) G>B|(A<a) a>b a>ge>^f|(3g^fe (3dcB (c<A) A2:|

           

PHILADELPHIA HOP WALTZ, THE.  American, Hop Waltz (2/4 time). D Major. Standard tuning. ABCD. The tune appears in the music manuscript collection of Long Island painter and fiddler William Sidney Mount (1807-1868).

X:1

T:Philadelphia Hop Waltz, The

M:2/4

L:1/8

S:William Sidney Mount’s (1807-1868) music manuscript papers

Z:AK/Fiddler’s Companion

K:D

A|defg|a^g/b/ a2|Ag e2|Af d2|defg|a^g/b/ a2|Ae/g/ Ac/e/|d3 A|

d/e/f/g/|a^g/b/ a2|Ag e2|Af d2|defg|a^g/b/ a2|Ae/g/ Ae/f/ d3||e|

d’c’be|ea/c’/ e2|ed’ b2|ec’ a2|d’c’be|ea/c’/ e2|eb/d’/ eb/c’/ a3 e|

d’c’be|ea/c’/ e2|ed’ b2|ec’ a2|d’c’be|ea/c’/ e2|eb/d’/ eb/c’/|a3||

“Posthorn Solo”

K:G

D2|D2 GB|D2 GB|dd/d/ dd|B/d/B/G/ DD|D2 GB|D2 GB|dd/d/ dd|G2 zd||

D2 fa|d2 gb|d2 ^gb|d2 ac’|e’^d’e’=d’|c’bc’b|a^ga=g|fdd d D||

           

PHILANDER, THE. English, Country Dance Tune (cut time). G Major. Standard tuning. AB. This tune by the English composer Henry Purcell dates to c. 1680. Plain Brown Tune Book, 1997; pg. 34.

                       

PHILANDERING.  English, Jig. D Major. Standard tuning. AABB. Blackman. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 100.

 

PHILIP McCUE. Irish, Slip Jig. G Major. Standard tuning. AABBCCDDEEFF. The tune is not the similarly titled “Sir Phillip McHugh” published by O’Neill. O’Farrell (Pocket Companion, vol. IV), 1810; pg. 85 (appears as “Phillip McCue”). O'Neill (O’Neill’s Irish Music), 1915/1987; No. 227, pg. 121.

X:1

T:Phillip McCue

M:9/8

L:1/8

R:Slip Jig

S:O’Farrell – Pocket Companion, vol. IV (1810)

Z:AK/Fiddler’s Companion

K:G

D | GAG B2G c2A | G2G cAG F2A | G2G B2G c2A | ded cAF G2 :|

|: A2A ABG FEF | D2A A2G F3 | A2A ABG FGA | B2G cAF G3 :|

|: GBd gfg dBG | fed cAG F2A | GBd gfg dBG | fed cAF G2 :|

|: AFd BGd AFD | EFE AFD F3 | AFd BGd AFD | EFE AFD G3 :|

|: GA(B/c/) dBB cAA | BGG cAG F2A | GA(B/c/) dBB cAA | BGG cAF G3 :|

|: A2D AFD FED | EGE AFD F3 | A2D AFD FED | EGE AFD G3 :|

                       

PHILIPS O'BEIRNE'S DELIGHT (Aoibhneas Philip Uí Bheirn). Irish, Reel. D Major. Standard tuning. AB. Source for notated version: fiddler Tommy Potts (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 170, pg. 67.

                       

PHILIP O'NEILL (Pilib Ua Niall). Irish, Double Jig. G Major. Standard tuning. AABB. Philip O'Neill was Captain Francis O'Neill's eldest sibling, baptised 17 January, 1835. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 796, pg. 148. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 69, pg. 28.

X:1

T:Philip O'Neill

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 69

Z:AK/Fiddler’s Companion

K:G

E|DBB B2 d | cAA A2 c  | BGG GFG | ABG FED |

DBB Bcd | cAA ABc | dGG DGG | BGG G2 :||

A|Bcd def | gfe fdB | ded dBG | GAG FED |

Bcd def | gfe fdB | dGG DGG | BGG G2 :||

                       

PHILIPPINE, LA.  French, Country Dance (6/8 time). G Major. Standard tuning. AABB. From the contradance book (tunes with dance instructions) of Robert Daubat (who styled himself Robert d’Aubat de Saint-Flour), born in Saint-Flour, Cantal, France, in 1714, dying in Gent, Belgium, in 1782. According to Belgian fiddler Luc De Cat, at the time of the publication of his collection (1757) Daubat was a dancing master in Gent and taught at several schools and theaters.  He also was the leader of a choir and was a violin player in a theater. Mr. De Cat identifies a list of subscribers of the original publication, numbering 132 individuals, of the higher level of society and the nobility, but also including musicians and dance-masters (including the ballet-master from the Italian opera in London). Many of the tunes are written with parts for various instruments, and include a numbered bass. Daubat (Cent Contredanses en Rond), 1757; No. 59.

X:1

T:Philippine, La

M:6/8

L:1/8

S:Daubat – Cent Contredanses en Rond (1757), No. 59

Z:AK/Fiddler’s Companion

K:G

g3 dBd | (ege) (dcd) | gfg edc | BAG G2d | g3 dBd | (ege) fga | gfe Ad^c | dAF D3 :|

|: {e}d3 BdB | c3 afd | c3 AcA | B3 gec | B3 (GBG) | ABc def | gfg dBd |

{A}G3 G,3 | {e}d3 (BdB) | {d}c3 afd | c3 (AcA) | B3 gec | B3 (GBG) |

(ABc) (def) | (gfg) (dBd) | {A}G3 G,3 :|

                       

PHILIPPE’S BANJO REEL. Irish, Reel. D Mixolydian. Standard tuning. AABB. Composed by Baltimore area Irish-style fiddler, teacher and musicologist Philippe Varlet. Black (Music’s the Very Best Thing), 1996; No. 279, pg. 150.

X:1

T: Philippe's Banjo Reel

C: P. Varlet

Q: 350

R: reel

Z:Transcribed by Bill Black

M: 4/4

L: 1/8

K: Dmix

e | (3f^ff ef dBAF | G2 cG ECCe | (3f^ff ef dBAF | GcAG FDDe |

(3f^ff ef dBAF | G2 cG ECCE | DEFG Addc | (3AcA AG ED D :|

E | (3F^FF dF AFdF | G2 cG ECCE | (3F^FF dF AFdF | GcAG FDDE |

(3F^FF dF AFdF | G2 cG ECCE | DEFG Addc | (3AcA AG ED D :|

                       

PHILLIBELULA ALL THE WAY.  English, Schottische. D Major. Standard tuning. AAB. Collected from fiddler George Jeff (Titchmarch, Northamptonshire) by Sybil Clark. It is often used to accompany the dance the Nottingham Swing. Clark (Seven Midlands Dances), 1955.

X:1

T:Phillibelula All the Way

M:2/2

L:1/8

R:Schottische

K:D

f>e|d>cd>B A2 G>F|E>EF>G A2 B>c|d>BA>B d>de>c|d6:||

d>e|f2f2f2 g>f|g>f e2 e4|d2d2d2 e>d|c>B A2A2 B>c|

(3ded (3cBA G>c d2|(3ded (3cBA B>cd>f|e2 (3efg a2 (3ABc|d6||

 

PHILLIDA. English, Jig. D Major. Standard tuning. AABBCC. The tune dates to c. 1650. Plain Brown Tune Book, 1997; pg. 33.

                       

PHILLIDA FLOUTS ME. English, Air (3/8 time). B Flat Major. Standard tuning. AABBC. The song appears in Watts' Musical Miscellany (1729) and The Quaker's Opera (1728). Chappell notes that Walton's Angler (1653) references the tune when the Milkwoman asks, "What song was it, I pray? Was it 'Come Shepherds, deck your heads', or 'As the noon Dulcina rested', or 'Phillida flouts me'?" The tune was also called "Love one another," derived from a song called "The Protestant Exhortation," published by Playford in 1680, though in a "ruder and therefore probably earlier version of the one given" (in his Popular Music of Olden Time, Vol 2).

***

O what a plague is love! I cannot bear it,

She will inconstant prove, I greatly fear it.

It so torments my mind, That my heart faileth,

She wavers with the wind, As a ship saileth.

Please her the best I may, She loves still to gainsay,

A-lack, and well aday! Phillida flouts me.

***

Chappell (Popular Music of the Olden Times), vol. 2, 1859; pg. 133.

X:1

T:Phillida Flouts Me

M:3/8

L:1/8

S:Chappell – Popular Music of the Olden Time

Z:AK/Fiddler’s Companion

K:B_

D/E/ F F|G F B|D/E/ F F|F2 D :: B c d |d>c B|B c B|f2 d:|

||d c B|A> G F|D/E/ F F|e c d |d c B |A> G F|D/E/ F F|F2 D||

           

PHILLIP McHUGH.  AKA and see “Sir Phillip McHugh.”

           

PHILLIPS'S HORNPIPE. English, Hornpipe. England, Shropshire. D Major. Standard tuning. AABB. Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 21, pg. 5.

                       

PHILLIS ON THE NEW-MADE HAY. AKA and see "Amarillis." The title comes from a ballad entitled "The Coy Shepherdess; or Phillis and Amintas" which was sung to the tune "Amarilis" in the Roxburghe Collection.

                       


PHILOMELEN WALTZ. Austrian, Waltz. C Major. Standard tuning. AA'BB'. Composed by Johann Strauss (the elder). Kerr (Merry Melodies), vol. 3; No. 425, pg. 48.

X:1

T:Philomelen Waltz

M:3/4

L:1/8

R:Waltz

S:Kerr – Merry Melodies, vol. 3, No. 425  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:C

ee|(e2G2)ee|(e2G2)ee|e2d2c2|d4gg|(g2d2)gg|(g2d2)gg|

a2(g2^f2)|g4ee|(e2G2)ee|(e2G2)fe|e2d2c2|d4ed|(c2G2) c’c’|

c’2b2a2|G6|1 c4:|2 a2g2^f2||:g6|(g4c’2)|c’6|b6|B6|(B4a2)|a6|g6|g6|

(g4e’2)|e’6|(d’3 c’ba)|ag b2b2|ag c’2c’2|agb2b2|1 c’4z2:|2 c’4||

           

PHILOSOPHER, THE. Irish, Reel. D Major. Standard tuning. AABB. A modern composition by Martina Savage. Keegan (The Keegan Tunes), 2002; pg. 100.

                                   

PHILPORTER'S LAMENT. English. The air is sometimes claimed as Scottish, but according to Chappell (1859) it is of English origin.

                       

PHIL’S PONY. Irish, Jig. D Major. Standard tuning. AABB. McGuire & Keegan (Irish Tunes by the 100, vol. 1), 1975; No. 30, pg. 8.

                       

PHIL'S WALTZ. See "Valse a Belisaire."

                       

PHIS FHLIUCH, AN (The Wet Pussy). AKA and see “The Boy in the Bush,” “The Choice Wife,” “O’Farrell’s Welcome to Limerick,” “The Perfect Wife,” “Virgin Mary.” Irish, Slip Jig. D Mixolydian. Standard tuning. ABBCCDDEE. “The Choice Wife” is Willie Clancy’s polite translation of the obscene title. As “O’Farrell’s Welcome to Limerick,” it is the composition of one O’Farrell, an uilleann piper who published three important collections of Irish music between 1797 and 1810, and the first to publish a tutor for the improved Irish instrument. Breathnach (1996) says the tune was given a new lease on life when Seán Ó Riada leafed through Stanford/Petrie, playing occasional tunes which caught his eye for a group of traditional players. Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Bulmer & Sharpley (Music from Ireland), Vol. 2, No. 53 (appears as “The Choice Wife”). Cotter (Traditional Irish Tin Whistle Tutor), 1989; 61. Mitchell (Dance Music of Willie Clancy), 1993; No. 39, pg. 51. Vallely (Learn to Play the Tin Whistle with the Armagh Pipers Club), vol. 3; 11. Claddagh 4CC 39, “The Pipering of Willie Clancy Vol. 2” (1983). Hannibal HN4412, Richard & Linda Thompson - “First Light” (1978. Appears as “The Choice Wife”). Shanachie 79010, Planxty - “The Well Below the Valley” (appears in a set with “Kid on the Mountain”). Shanachie 79093, Paddy Glackin & Robbie Hannan – “The Whirlwind” (1995). Tara 3019, Davy Spillane - “Atlantic Bridge” (1987. Appears as part of “Tribute to Johnny Doran”).

X:1

T:Phis Fliuch, An

T:Choice Wife, The

T:O'Farrell's Welcome to Limerick

T:Virgin Mary

R:slip jig

C:Traditional

S:Planxty

Z:Mistakes by Phil Sexton

M:9/8

L:1/8

Q:90

K:G

|:"D"FGA {d}AFA c2A|BAG (4FGAF GED|FGA {d}AFA d2 A|d(3.g.f.e d^cA GED::

"D"d^cd efe d2A|d^cd fdf ~g3|~a3 ged "C"c2A|"G"BAG "D"(4FGAF GED::

"D"FGA {d}AFd AFd|AFd AFd GED|FGA {d}AFA "C"c2A|"G"BAG "D"(4FGAF GED::

~D3 ~D3 c3|c2B c2A GED|"D"~D3 ~D3 d2^c|d(3.g.f.e dcA GED::

"D"d^cd efe "G"=c2A|"D"d^cd "G"fdf "D"~g3|~a3 ged "C"c2A|"G"BAG "D"(4FGAF "G"GED:||

                       

PHLANC SINEAD AN FIODOIR. AKA and see "Jenny Bang/Dang the Weaver."

                       

PHOEBE ICE. AKA and see "Up Jumped Jinny With Her Shirt Tail Torn." American, March (4/4 time). USA, southwestern Pa. G Major. Standard tuning. AB. Bayard (1981) thinks the tune an American original. He thinks relatives may perhaps be "Hell Among(st) the Yearlings [1]" and "Sugar in My Coffee(-O)." Bayard collected the following nonsense rhyme with the tune:

***

Now Phoebe Ice has laid a plan:

For every woman she'll have a man, etc.

***

Source for notated version: George Strosnider (elderly fiddler from Greene County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 290C, pg. 243.

                       

PHOEBE. Scottish, Air. The air was composed by James Oswald (d. 1769) to which Robert Burns set his lyric "Yon wild mossy mountain."

                       

PHOEBE’S DELIGHT.  English, Reel. G Major. Standard tuning. AAB. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 157, pg. 37.

 

PHOENIX [1], THE. English, Country Dance Tune (2/2 time). F Major. Standard tuning. AB (Sharp): AABB (Fleming-Williams, Raven). Published before 1730. Fleming‑Williams & Shaw (English Dance Airs; Popular Selection, Book 1), 1965; pg. 10. Raven (English Country Dance Tunes), 1984; pg. 33. Sharp (Country Dance Tunes), 1994; pg. 36.

X:1

T:Phoenix, The [1]

M:2/2

L:1/8

S:Sharp – Country Dance Tunes

Z:AK/Fiddler’s Companion

K:F

.f2.c2.A2.F2 | cdef g2 .e2 | fg a2 .g2 .f2 | .e3 d/e/ f4 |

.f2.c2.A2.F2 | cdef g2 .e2 | fg a2 .g2 .f2 | .e3 d/e/ f4 ||

.f2.c2.A2.F2 | FGAB c2 .A2 | dBcA BGAF | E3 D/E/ F4 |

.f2.c2.A2.F2 | FGAB c2 .A2 | dBcA BGAF | E3 D/E/ F4 ||

 


PHOENIX (REEL) [2], THE. AKA and see “Hennessy’s (Reel).” Irish, Reel. D Major (‘A’ part) & B Minor (‘B’ part). Standard tuning. AABB’. Composed by accordion player Dave Hennessy of Crosshaven, County Cork, and named for The Phoenix, a pub on Union Quay (just beside the Lobby) of Cork City that hosted Irish music sessions. Hennessy played in the band Any Old Time with fiddler Matt Cranitch. Paul de Grae reports that for a time Hennessy called his tune "The Twaddle Reel,” after overhearing a pub conversation over a pint in which one person’s argument was dismissed by a fellow drinker with the words "That is a load of inconsequential twaddle.”  “Dave liked the sound of the word "twaddle", and used to introduce the tune with that little anecdote for a while.” Source for notated version: Dan Compton (Portland, Oregon) [Songer]. Songer (Portland Collection), 1997; pg. 159. DARA 025, Any Old Time - “Phoenix” (1993). Shanachie 79077, Arcady – “After the Ball” (appears as “Hennesy’s”).

                       

PHYLLIS’  BIRTHDAY. Irish, Reel. Tara Records 4008, “Josephine Marsh” (1996).

                       

PHYLLIS’ KITCHEN. Irish, Hornpipe. D Mixolydian. Standard tuning. AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black, dedicated to Phyllis Reynolds, “for her kindness to and patience with all kinds of Irish musical lunatics.” Black (Music’s the Very Best Thing), 1996; No. 208, pg. 112.

X:1

T: Phyllis' Kitchen

C: © B.Black

Q: 325

R: hornpipe

M: 4/4

L: 1/8

K: Dmix

D2 FA dAFD | EGCG EGCG | D2 FA dAFA | G2 EF GAGE |

D2 FA dAFD | EGcd edce | fd d2 cded | cAGE D4 :|

fage fddf | ecgc acgc | Adfa gfed | Bdef g3 e |

fage fddf | ecgc edce | fd d2 cded | cAGE D4 :|

           

PHYLLIS’ REEL. Irish, Reel. F Major. Standard tuning. Composed by Josephine Marsh in honor of her mother’s birthday.

                       

PHYSICAL SNOB, THE. English, Country Dance Tune (9/8 time). F Major. Standard tuning. AABBCC. The melody dates to c. 1800. Barnes (English Country Dance Tunes), 1986.

           

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