The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

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Notation Note: The tunes below are recorded in what is called “abc notation.” They can easily be converted to standard musical notation via highlighting with your cursor starting at “X:1” through to the end of the abc’s, then “cutting-and-pasting” the highlighted notation into one of the many abc conversion programs available, or at concertina.net’s incredibly handy “ABC Convert-A-Matic” at

http://www.concertina.net/tunes_convert.html 

 

**Please note that the abc’s in the Fiddler’s Companion work fine in most abc conversion programs. For example, I use abc2win and abcNavigator 2 with no problems whatsoever with direct cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s into the concertina.net converter results in double-spacing. For concertina.net’s conversion program to work you must remove the spaces between all the lines of abc notation 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. 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." Irish, English; Jig. A Major. Standard. AABB. 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. 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. 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, 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. The alternate title “Lonach Highland Fling” is given in Skinner’s Harp and Claymore collection (1904). 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:E Minor

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

           

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:|

           

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 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.” 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.”

X:1

T:Peter Street

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. 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. 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. 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. 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. 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. 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. 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.

           

PETERSBURG LADIES. American, Reel. The melody appears in George P. Knauff's Virginia Reels, volume II (Baltimore, 1839). The title probably refers to the women of Petersburg, Virginia.

           

PETERSWELL HORNPIPE.  Irish, Hornpipe. D Major. Standard. 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|