The Fiddler’s
Companion
© 1996-2008 Andrew Kuntz
_______________________________
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PET - PH |
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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.
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
X:1
T:Pet of the House, The
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Dance Music of
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.
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,
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.
PETE MARKER. American, Schottische.
PETE MARKER WALTZ. American, Waltz.
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
|
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
“
X:1
T:
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|