The Fiddler’s
Companion
© 1996-2008 Andrew Kuntz
_______________________________
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PIA - PIN |
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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] |
PIADMONTESE, LES.
Scottish (?), Jig. B Flat Major. Standard tuning. ABCD. In the
original edition Gow placed the tune in a section called “Fashionable Dances in
Edinr. 1787-88”. Gow (Second Collection of Niel Gow’s Reels),
1788; pgs. 34-35 (3rd ed.).
X:1
T:Piadmontese,
Les
M:6/8
L:1/8
B:Gow – 2nd Collection of Niel Gow’s
Reels, 3rd ed., pgs. 34-35 (orig. 1788)
Z:AK/Fiddler’s Companion
K:B Flat
F|(B/c/d).B
.F.e.c|(B/c/d).B Fec|(B/c/d).B {g}fed|”tr”cAF F2”tr”F|(B/c/d).B Fec|
(B/c/d).B Fec|(B/c/d).B
Fec|fdB ecA|(B3 B2)||A/B/|cAF (c/d/e).d|
cAF F2A/B/|({A/B/}c2)F
({c/d/}e2)d|(d3 c2)F|(B/c/d).B Fec|(fd).B (ec).A|
(B3 B2)||f|b3 {d’}c’bc’|d’2b
b2c’|d’2b b2f|b3 {d’}”tr”c’bc’|
d’2b b2c’|d’>e’d’ “tr”(c’bc’)|(b3 b2)||f|{a}g2f “tr”g2a|b2b b2f|
{a}g2f
“tr”g2a|(b3 b2)f|{e/f/}g2g “tr”gfe|{d/e/}f2f “tr”fed|cgf edc|”tr”(c3B2)||
PIANO PLAYER’S
NIGHTMARE, A. Canadian, Reel.
PIBDDAWNS HART. AKA and see “Hart’s Hornpipe.”
PIBROCH!, THE. AKA and
see “Mrs. Thompson of
Gofton’s Strathspey,” “Whinham’s Reel.” Originally Robert Whinham’s “Whinham’s Reel,”
the melody appears under this title in J. “Kielder Jock” Davidson’s early 20th
century manuscript in the
PIBROCH OF BONNIE
STRATHEARN. Scottish, Air (6/8 time). A Major.
Composed by D. Kippen. “Fiddlers Three Plus Two.”
PIBROCH OF DONALD DHU/DOMHNALL DUBH/DONUIL DUBH [1].
AKA and see “Black Donald the Piper,”
“Cameron Gathering,” “Lochiel’s March.”
Scottish, Air, Jig or March (6/8 time). A Major (Kerr, Martin): E Flat Major
(Emmerson, Graham). Standard tuning. One part (Emmerson, Kerr): AABBCCDD
(Martin). A pibroch is a type of elaborate pipe tune, and this is an old set of
variations "having the pronounced rhythm of the Single Jig"
(Emmerson, 1972). The title ‘pibroch’ is somewhat misleading with regard to
most fiddle versions of the melody, which are not true pibrochs. Christine
Martin (2002) says her settings are “fiddle setting(s) based on the bagpipe
version of the popular 6/8 pipe march,” and that the version falls into the
category of ceòl beag (little music),
a simple march. Sir Walter Scott wrote words to the tune in 1816. O’Neill
prints the tune as a double jig entitled “Black Donald the Piper.” According to
the sleeve notes of Ishbel Macaskill’s recording “Essentially Ishbel” (2000),
the melody can be traced to the year 1431, when the MacDonalds defeated the
royalist forces of the Scottish king. The lament is that of Domhnall Dubh, the
chief of Clan Cameron, who were among the king’s troops. Martin says the melody
has been known as a pipe tune and song for over 500 years, and that it is
impossible to trace its origins. She notes that Domhnall Dubh, who died in 1460)
led the Clan Cameron at the battle of Red Harlaw in 1411. Pipers have
historically known the march under the names “Cameron Gathering” and “Lochiel’s
March.” Emmerson (Rantin’ Pipe and
Tremblin’ String), 1971; No. 74, pg. 156. Graham's Songs of
PIBROCH O'DONAL DHU
[2]. Canadian, Reel. Canadian
Broadcasting Corp. NMAS 1972, Natalie MacMaster - "Fit
as a Fiddle" (1993. Arranged by Jamie MacInnis).
PICE AN t-SUGRA. AKA and see "The Pleasant Peak/Hill."
PICK A LITTLE COTTON AND SPIN
SOME, TOO. Old-Time, Breakdown.
***
If I had a wife and two little […],
All I’d have them to do,
Is pick a little cotton and spin
some, spin some,
Pick a little cotton and spin some,
too.
***
Source for notated version: Manon
Campbell (Hallie, Letcher County, Ky., 1977) [Titon]. Titon (Old
Time
PICK 'EM UP JOE. Old‑Time, Breakdown. C Major. Standard tuning. Learned by
PICK THE COKE. American? Irish?, Jig. E Dorian. Standard tuning. AABB. Sweet (Fifer’s Delight), 1965/1981; pg. 69.
PICK THE DEVIL'S EYE
OUT. AKA - “Pickin(g) the Devil’s Eye.”
Old‑Time, Breakdown. USA; Mississippi, Arkansas. A Major. AEac# tuning. Recorded (as "Pickin' the Devil's Eye") in 1939 for the
Library of Congress by Herbert Halpert from the playing of
PICK YOUR PARTNER (Tog Do Callaide/Companac). Irish, Reel. B Minor ('A' part)
& D Major ('B' part). Standard tuning. AA'B (O'Neill/1850 & 1001):
AA'BB' (O'Neill/Krassen). The tune is similar to “The Glass of Beer.” Source for notated
version: virtuoso fiddler John McFadden (born Carrowmore, Co. Mayo), a
contemporary of Captain Francis O'Neill [O’Neill]. O'Neill (Krassen), 1976; pg.
130. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1391, pg.
259. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 635, pg. 114.
X:1
T:Pick Your Partner
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
635
Z:AK/Fiddler’s Companion
K:B Minor
ae|fB (3cBA Bcde|fBBd e2 de|fB (3cBA
Bcde|1 fbaf e2:|2 fedf edBc||
d2 fd adfd|(3ded fd edBc|(3ddd fd
adfd|bgaf edBc|d2 fd adfd|d2 fd edBc| defg agaf|bgaf e2||
PICKADILLA. AKA and see "New Bo‑Peep."
PICKING COTTON DOWN SOUTH. Rounder 0436, Lacey
Hartje – “Traditional Fiddle Music of the Ozarks, vol. 2: On the Springfield
Plain.”
PICKING OF/UP STICKS. AKA and see "Kitty
McGee/Magee," "Lavena."
English, Country Dance Tune (6/8 time ). D Minor. Standard tuning. One part.
The melody was published by Playford under this title in his English Dancing Master (1651), though
the original title of the tune appears to have been "Lavena." Barnes
(1986) notes that during the siding part of the country dance to the tune
"Kitty McGee" is often played, in the form ABB,AABB,ABB. Does the
title refer to the morris dance practice of stick-dances? Barnes (English Country Dance Tunes), 1986.
Karpeles & Schofield (A Selection of
100 English Folk Dance Airs), 1951; pg. 18. Raven (Engish Country Dance Tunes), 1984; pg. 38. Sharp (Country Dance Tunes), 1909/1994; pg. 44.
X:1
T:Picking Up Sticks
M:6/8
L:1/8
S:Sharp – Country Dance Tunes (1909)
Z:AK/Fiddler’s Companion
K:D Minor
|:d|d2d ^c>=Bc|d2d A2A|d3
^c>=Bc|d3 A2B|B>dc B>cB|
A>BA G>FE|F>GA G>AF|E3
D2:|
PICKING OFF PEANUTS. Old‑Time, Breakdown. USA, North Georgia. Vocalion
5436 (78 RPM), Dilly and His Dill Pickles (John Dilleshaw, N. Ga.).
PICKING
STRAWBERRIES IN THE SUMMERTIME. Old-Time. Flying
Cloud FC-023, Kirk Sutphin - "Fiddlin' Around."
PICKIN' THE DEVIL'S
EYE. See "Pick the Devil's Eye Out."
PICKING THE SPUDS. Irish, Reel. Composed by Paddy O’Brien.
X:1
T:Picking the Spuds
M: 2/2
L: 1/8
R: Reel
C:Paddy O’Brien
K: ADor
d|eA~A2 AcBA|GE~E2 GABd|eA~A2
cdeg|afge dgfg|!
eA~A2 AcBA|GE~E2 GABd|eaag egdB|GBdB
G3:|!
B|c3d eg~g2|eaaf g2fg|eA~A2
cdeg|afge d3B|
c3d eg~g2|eaaf g3B|cABA GE~E2|cedB
A3:|
PICKING UP STICKS. See “Picking of/up
Sticks.”
PICKLE AIT-MEAL, A. Scottish, Air. The melody was composed by
PICKLE TOW, THE. English, Waltz. E Minor. Standard tuning. AAB.
Sounds like a Carolan influenced tune. See "(A) Rock and a Wee Pickle Tow"
(??). Kennedy (Fiddler’s Tune Book),
vol. 2, 1954; pg. 31. Raven (English
Country Dance Tunes), 1984; pg. 136.
PICNIC [1], THE. Scottish, Slow March. C Major. Standard
tuning. AABBCCDD. Nathaniel Gow evidently pieced the arrangement of this tune
from three sources: himself, an eight-bar second part by “Mr. Giornovichi” and
an eight-bar third part by “Dr. Haydn”, with a return to a final part by Nathaniel
Gow. Peter Brown (Musical Times,
vol. 129, No. 1747, Sept. 1988) notes the similarity to the slow movements of
the Paris Symphony no. 82 (1786) and
the String Quartet op. 64, no. 1.
Prominent classical-period composer Joseph Haydn (1732-1809) resided in
PICNIC (REEL) [2]. AKA and see “The Flowing Tide
[1],” “Higgins’ Best,” “Seventh (7th) Regiment.”
American, Canadian; Hornpipe or Reel. Canada, Cape Breton Island, Nova Scotia.
A Major. Standard tuning. AABB. The tune is associated with Irish fiddler Sean Maguire, and was a signature
tune for Cape Breton fiddler Winston ‘Scotty’ Fitzgerald on a long-running,
Sydney, Nova Scotia, based live radio show (Cranford). “Picnic Reel” was
learned by many via Ryan’s Mammoth
Collection (1883) and its later iteration, Cole’s 1000 Fiddle Tunes (1940), but
***
The alternate title “The Flowing Tide”
is a hornpipe setting of the melody, popular among Irish musicians today,
although the tune was collected by the great
|
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:Picnic Reel
M:2/4
L:1/8
R:Reel
S:White’s Unique Collection (1896), No. 43
Z:AK/Fiddler’s Companion
K:A
.A,(A,/C/) E/A,/C/E/ | A/C/E/A/
.c(B/A/) | F/A/E/A/ .c/e/(a/f/) | e/c/B/A/ F/A/E/C/ |
.A,(A,/C/) E/A,/C/E/ | A/C/E/A/
.c(B/A/) | |F/A/E/A/ .c/e/(fe) | c/e/B/c/ Az ::
A(Ac) B/A/F/A/ | a/g/a/f/ e/c/B/A/ |
d/f/c/e/ B/e/A/c/ | d/B/c/A/ B/A/F/A/ |
E/A,/C/E/ A/E/E/A/ | d/B/c/A/
B/A/F/A/ | E/A/c/f/ e/c/B/A/ | E/A/G/B/ A z :|
PICNIC ROMP. AKA and see "Wake Up Susan
[1]," "Cottage By the
Sea," "Red Headed Girl,"
"Hell On the Potomac [1],"
"Hell on the Wabash,"
"The Night We Paid the Rent,"
"Lady on the Green,"
"Jack of Diamonds [1]"(Thede).
Old‑Time, Breakdown. A Major. Standard tuning. AABB. See Bayard's (1944)
note for "Cottage By the Sea." The first part of the tune is a
variant of the familiar “Wake Up Susan”/””Mason’s Apron” musical motif. Ford (Traditional Music in America), 1940; pg.
47.
X:1
T:Picnic Romp
M:2/4
L:1/8
R:Reel
S:Ford – Traditional Music in America (1940)
Z:AK/Fiddler’s Companion
K:A
(3e/f/g/|aA/A/ AA|E/AB/ AB/c/|dB/B/
Bc/B/|A/B/c/d/ e(3e/f/g/|aA/A/ AA|E/AB/ A2|
E/Bc/ d/c/B/E/|E/AB/ A2::e/f/e/d/
cA|f/g/f/e/ dB|gg/f/ ef/g/|a/b/a/g/ a2:|
PICTOU ISLAND REEL. Canadian, Reel. D Major. Standard tuning. AABB. Composed by Cecil
McEachern. Messer (Anthology of Favorite
Fiddle Tunes), 1980; No. 68, pg. 43.
PIDDLE AND CRAIGIE. Shetlands, Shetland Reel. Shetland, (island of) Whalsay. Cooke (1986)
prints the following text to this dance tune, collected in the Shetlands:
***
They caa'd me this, they caa'd me that,
They caa'd my wife the staigie,
An every een that I cam by
They caa'd me Piddling Craigie
PIDGEON ON THE GATE. AKA and see “Rickett’s Hornpipe,”
“We’ll Sit Upon
the Gate.”
PIDGEON’S FLIGHT, THE. Irish, Double Jig. D Major. Standard tuning.
AABB. Composed by the late Frank McCollam, Ballycastle, County Antrim.
Mulvihill (1st Collection),
1986; No. 26, pg. 70.
PIECE IN THE POT. AKA and see "Peas in the Pot."
PIECE OF CHICKEN AND
CORNBREAD. Old‑Time, Breakdown. USA, Oklahoma.
G Major. Standard tuning. AABB. Source for notated version: Harley Davis (Craig
County, Oklahoma) [Thede]. Thede (The
Fiddle Book), 1967; pg. 125.
PIED DANS L'EAU, UN. French, Scottish (2/4 time). D Mixolydian. Standard tuning. AABB.
Stevens (Massif Central), vol. 1,
1987; No. 7.
PIED DU MOUTON, LE. French-Canadian, Reel. Canada, Québec. A Major. AEac# tuning. From the
Riedeau family of Berlin, New Hampshire. Rounder
Heritage Series 1166-11592-2, Larry Riendeau (et al) – “The Art of Traditional
Fiddle” (2001. Originally recorded 1975).
PIEDMONT. Old‑Time, Breakdown. D Major. Standard tuning. AABB. The title
appears in a list of traditional
PIERLALA. Dutch, Jig. G Major. Standard
tuning. AABB. “Pierlala” is the name of a song that
originated in the 17th century (where it appears in a 1675 songbook
from the
PIERROT N'A PAS
D'CULOTTES. French-Canadian, Reel. D Major ('A'
part) & A Major ('B' part). Standard tuning. AA'BB'. Private collection
(circulated among contra-dance musicians).
X:1
T:Pierrot n’a pas D’Culottes
M:C
L:1/8
K:D
D2 fa fedB | Adfd a3A | BggB g3B |
AaaA a3a | D2 fa fedB |
Adfd a4 | a2c’b agfe |1 DAFE D2 FE
:|2 dAFE D4 ||
K:A
cece BeBe | AceA a4 | gbgf gefg |
abaf efed | cece BeBe |
AceA a4 | gbgf gefg |1 a2 ab a4 :|2
ag=gf ||
PIG ANKLE BLUES. Old-Time, Breakdown. Source Curbow was from Blue Eye,
PIG ANKLE RAG [1]. Old‑Time, Country Rag.
PIG ANKLE RAG [2]. Old-Time, Country Rag. F Major. Standard tuning. AABB. Source for
notated version: Tony Ludiker [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 101.
PIG FROM AHASCRAGH. See “Boy from the Glens,” “Henry Doogan’s Jig,” “Mhuc ó áth Eascrach.” Irish, Jig.
“The Boy from the Glens” is a related tune.
PIG IN THE PEN. Old-Time, Bluegrass; Breakdown & Song. A popular piece in bluegrass tradition, it started as an old-time piece. Tennessee’s Fiddlin’ Arthur Smith claimed to have composed it and did play it frequently on the radio, but Mike Yates (2002) believes some of the verses predate Smith. Verses vary, but usually are similar to:
***
Wish I had a pig in a
pen, corn to feed him on;
Pretty little girl to stay at home, feed him when I’m gone.
***
Yates
recorded
PIG TOWN FLING. See "Pigtown Fling."
PIGEON HOUSE, THE. AKA and see "Tie the Ribbons [1]," "Big Pat's (Dandy) Reel,"
"Jimmy the Creelmaker,"
"Salamanca [3]," "The Dandy Reel," "The Hills of Clady," "O'Connell's Trip to
Parliament [2]," "Trim the
Bonnet."
PIGEON ON THE GALE. Scottish, Reel. G Major. Standard tuning. AABB’. David Taylor (1992)
identifies this as the root tune for a family of tunes which includes "The Boys of Portaferry," "The Sporting Boys [1]," "The Pullet [1]," "Shearing the Sheep [1],"
and "The Red‑Haired Lass."
The title is not to be confused with "Pigeon
on the Gate." The word 'gale' can mean either a strong wind or may
refer to 'sweet‑gale', a type of bog‑plant. Kerr (Merry Melodies), vol. 4; No. 112, pg.
14.
X:1
T:Pigeon on the Gale
M:C|
L:1/8
R:Reel
S:Kerr – Merry Melodies, vol. 4, No.
112 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
D|:G2G2 GcBA|GABA GEED|(DG)GG
(GA)Bd|egdB BAAB:|
|:(dg)de dgd2|(gd)BB ABd2|1 (gd)ed
(ef)ge}(dB)B2 (AB)d2:|2
c2 cA B2 Bd|(eg)dB (dg)d2||
PIGEON ON THE GATE [1] (“An Colm Air An Gata” or “An Colúr ar an nGeata)”. AKA and see "The Atholl Brae(s)," "Bank of Ireland," "The Drinking Reel," "The Drunken Tailor," "Gallagher's Best,"
"Gearrchaile Oilean Pice,” “Hills
of Clogher,” "Lagan Slashers,"
"League and Slasher," "Pigeon on the Pier [2]," "Reidy's Reel,” "Roddy Joe’s Reel,” "The Scotch Braes,” “The Wandering Tinker.” Irish, Reel. E
Dorian. Standard tuning. AB (Miller & Perron, Roche): AABB (Cranitch,
Mallinson, Mulvihill, O'Neill/Krassen, Taylor {Half-Door}, Tubridy): AA'BB (Breathnach): AABB' (Flaherty,
Phillips): AA'BB' (Brody, Taylor, Vallely). Similar to "Pride of the
Ball." A popular reel in many versions in Donegal, although usually known
as “The Swallowtail.” Paul Stewart Cranford (1995) remarks that Cape Breton
fiddler Johnny Wilmot played this tune in the key of E minor, after Michael Coleman
(although A minor or G dorian was the usual Cape Breton setting {see version
#2}); when he did so without accompaniment he was wont to tune the bass string
down to a low E (EDae tuning). O’Neill (1922) remarks: “Altho' this
splendid reel does not appear in the Bunting, Petrie or Joyce Collections, it
was pretty generally known to the pipers and fiddlers of Chicago, hailing from
the west, and south of Ireland and always by the same name. Occasionally
variants of the tune are found in manuscript collections. In arrangement,
(famed piper Patsy) Touhey's setting differs both in key and style from that
printed in former O'Neill Collections.” Paul de Grae finds related tunes in “Dan McCart(h)y’s
Fancy,” “Drunken Piper [2],” “Drunken Reel,” and “Old Pigeon on the Gate.” Sources for notated versions: Jean
Carignan (Montreal, Canada) [Brody]; Andy McGann (New York) [Phillips]; Kerry
fiddler Denis Murphy (b. 1912) [Miller & Perron]; flute player Laurence
McDonagh, 1972 (Ballinfad, Co. Sligo, Ireland) [Breathnach]; fiddler Peter
Horan (b. 1926, Kilavil County Sligo) [Flaherty]; “my mother” [Muvlihill]. Breathnach
(CRÉ II), 1976; No. 250 [2], pg. 130.
Brody (Fiddler’s Fakebook), 1983; pg.
217. Bulmer & Sharpley (Music from
Ireland), vol. 3; 7. Cole (1000
Fiddle Tunes), 1940; pg. 8. Cranitch (Irish
Fiddle Book), 1996; No. 57, pg. 147. Flaherty (Trip to Sligo), 1990; pgs. 64-65. Jordan (Whistle and Sing), 1975; 61. Mallinson (Essential), 1995; No. 42, pg. 19. Miller & Perron (Irish Traditional Fiddle Music), 1977;
Adendum (appears as “Denis Murphy Reel”). Miller & Perron (Irish Traditional Fiddle Music), 2nd
Edition, 2006; pg. 98. Mulvihill (1st
Collection), 1986; No. 142, pg. 38. O'Neill (Krassen), 1976; pg. 132.
O’Neill (Waifs and Strays of Gaelic
Melody), 1922; No. 290. Phillips (Fiddlecase
Tunebook: British Isles), 1989; pg. 39. Roche
Collection, 1982, vol. 1; No. 168 and 169, pg. 66. Ryan’s Mammoth Collection, 1883; pg. 30. Taylor (Where’s the Crack?), 1989; pg. 14.
Taylor (Through the Half-door), 1992;
No. 15, pg. 12. Tubridy (Irish
Traditional Music, Book Two), 1999; pg. 24. Vallely (Learn to Play the Fiddle with
Armagh Pipers Club), 197?; No. 44, pg. 39. County
725, The Riendeau Family‑ "Old‑Time Fiddling." Folkways
FG 3531, Jean Carignan‑ "Old Time Fiddle Tunes" (1968). Great
Meadow Music GMM 2003, “Rodney Miller’s Airdance” (2000). Green Linnet 1020,
Brendan Mulvihill‑ "The Flax in Bloom." Green Linnet SIF‑1092,
Liz Carroll ‑ "Liz Carroll" (1988). Green Linnet SIF‑104,
Liz Carroll ‑ "The Celts Rise Again" (1990). Island ILPS9432,
The Chieftains - "Bonaparte's Retreat" (1976). Kicking Mule 206, Eric
Thompson‑ "Kicking Mule's Flat Picking Guitar Festival."
Mulligan 028, Kevin Burke‑ "Promenade." Nimbus NI 5320,
Proinsaias O Maonaigh, Mairead Ni Mhaonaigh, Paula Doohan, Liz Doherty -
“Fiddle Sticks: Irish Traditional Music from Donegal” (1991). Philo 2018, Jean
Carignan‑ "Plays Coleman, Morrison and Skinner." Shanachie
29008, Frankie Gavin‑ "Traditional Music of Ireland." Shanachie
29009, "Andy McGann and Paul Brady." Shanachie 29003, Tommy Peoples
and Paul Brady‑ "The High Part of the Road." Viva W103, Sean McGuire – “Irish Jigs and Reels” (c. 1960’s,
a reissue of “Sean Maguire Plays,” the first recording of McGuire that
Josephine Keegan accompanied on piano). Shaskeen - "Joys of Life"
& "Shaskeen Live." Danny O’Donnell – “Ón tSean-Am Anall.”
|
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Pigeon on the Gate [1]
M:C
L:1/8
K:E Minor
dc | BE (3EDE BEdE | BE (3EDE dBAF |
D2 (3FED AD (3FED | DEFA BAFA |
BE (3EDE dE (3EDE | BE (3EDE dBAF |
DEFA dfec|dBAF E2 :|
|: A | Be (3eee efed | (3Bcd ef gfed
| BAFA d3B | AF (3FEF DEFA | Be (3eee efed |
(3Bcd ef g2 fg | (3agf (3gfe fdec |
dBAF E3 ||
X:2
T:Pigeon on the Gate, The [1]
M:4/4
L:1/8
S:Patsy Touhey manuscript
Z:Paul Kinder
R:Reel
K:G
BE~EE BdcA|BE~EE B2 AF|D2 (3FED AD (3FED|FAAc BAFA|
BE~EE BdcA|BE~EE B2 AF|A2 Bc dcde|1fedf e2 dc:|2fedf e2 ed|
|:Beed efed|(3Bcd ef gfec|dBAF DFAF|(3Bcd ef gfed|
Beed efed|(3Bcd ef g2 ga|bgaf gfed|1egfd e2 ed:|2egfd e2
ec||
PIGEON ON THE GATE [2] (“An Colm Ar an nGeata” or “An Colúr ar an nGeata”). AKA and see “Jack Tar,” “Pigeon on the Gatepost [2],” “Pigeon on the Pier [2],” “The Sturgeon Tea,” “The Twin Sisters [1].” Irish, Canadian;
Reel. Canada; Cape Breton, Prince Edward Island. A Dorian (Breathnach, Cole,
Dunlay & Greenberg/Gillis, Dunlay & Reich, O'Neill/1850): G Dorian
(Allan, Cranford, Dunlay & Greenberg/Briand, Little): G Mixolydian
(Perlman). Standard tuning. AB (Breathnach): AA'B (O'Neill/1850 & 1001):
AABB (Allens, Cole, Dunlay & Greenberg, Dunlay & Reich): AA’BB
(Perlman): AABB’ (Cranford). Some Cape Breton settings tend to have a more
minor flavor than Irish ones; pipe settings are in the key of A minor. In
nearby Prince Edward Island the tune is played in (at least by Francis
MacDonald, whom Perlman says was heavily influenced by Cape Breton fiddling) G
Mixolydian so that it sounds double-tonic. Dunlay & Greenberg (1996) report
the tune seems to have developed two main strains on Cape Breton, one in A
Dorian and one in G Dorian. Angus Chisholm is credited with the local
popularity of the tune in Cape Breton (Cranford). The Irish County Donegal
setting is a close variant of the Scotch settings. Caoimhin Mac Aoidh remarks
that years ago Paddy Glackin recommended Allen’s
Irish Fiddler as a text which had a number of County Donegal settings, and
Mac Aoidh himself believes “Pigeon on the Gate” in Allen’s to be “the same
setting as that which is considered to be diagnostic to (County Donegal
fiddler) Neily Boyle of Dunlgoe.” Boyle credited his version to his mother,
Annie Sweeney of Cruit Island, and chose the key to reflect the character of
her lilting. Sources for notated versions: Stephen MacLean (Washabuck, Cape
Breton {and Boston, Mass.}) [Dunlay and Reich]: flute player Sonny McDonagh,
1966 (Bunanadden, Co. Sligo, Ireland) [Breathnach]: Cape Breton style fiddler
Harvey Tolman (Nelson, New Hampshire) [Little]; Alex Gillis/Donald Campbell
(Cape Breton) [Dunlay & Greenberg]; Elmer Briand (Cape Breton) [Dunlay
& Greenberg]; Francis MacDonald (b. 1940, Moreel Rear, North-East Kings
County, Prince Edward Island) [Perlman]. Allan's
Irish Fiddler, No. 59, pg. 15. Breathnach (CRÉ II), 1976; No. 250 [1], pg. 129. Carideas na bhFidleiri Donegal Fiddle Tutor, Volume 2. Cranford (Jerry Holland’s), 1995; No. 193, pg. 54.
Dunlay & Greenberg (Traditional
Celtic Violin Music of Cape Breton), 1996; pgs. 64 & 99. Dunlay and
Reich (Traditional Celtic Fiddle Music of
Cape Breton), 1986; pg. 46. Little (Scottish
and Cape Breton Fiddle Music in New Hampshire), 1984; pg. 5. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 1406, pg. 261. O'Neill (Dance
Music of Ireland: 1001 Gems), 1907/1986;
No. 648, pg. 116. Perlman (The Fiddle
Music of Prince Edward Island), 1996; pg. 48. ACC-49G3,
Tara Lynn Touesnard - “Bowing the Strings” (1992). Boot BOS 7231, Jerry Holland‑
"Master Cape Breton Fiddler" (1982). Cairdeas na bhFidleiri, Roisin
McGrory and Damian Harrigan - "The Fiddle Music of Donegal Volume 2.”
Celtic 58 (SCX‑58), Elmer Briand‑ "And His Cape Breton
Fiddle." Celtic CX 29, CX 51, BDMF 5-7009, Paddy (“Scotty”) LeBlac - “This
is Sydney”, “The Fiddling French Canadain Scot.” Decca 14024 (78 RPM),
"Alex Gillis" (c. 1930's). EMI, Neilly Boyle – “The Irish
Phonograph.” LC9501, Lee Cremo - “The Champion Returns” (1995). Marimac C-6501,
“The Old Time Fiddlers of Prince Edward Island.” WMT002, Wendy MacIsaac –
“That’s What You Get” (1997?).
X:1
T:Pigeon on
the Gate [2]
S:Sean
Ryan, fiddle (Chris Delaney collection)
R:reel
Z:Transcribed
by Paul de Grae
M:4/4
L:1/8
K:GMix
Bc|:dG ~G2
dGeG|d^cde d=cAG|~F3 A cF ~F2|Acfd cF (3ABc|
dG ~G2
dGeG|d^cde d=cAG|(3FFF Ac fage|fdcA GABc:|:
dgg^f g2 ~g2|dg
~g2 bgag|ec ~c2 gceg|~f3 g fdcA|
dgg^f g2
~g2|dg ~g2 bgag|ec ~c2 gceg|fdcA GABc:||
PIGEON ON THE GATE [3]. Scottish, Reel. D Major. Standard tuning. AAB. The tune, a pipe reel,
was first recorded on
X:1
T:Pigeon on the Gate [3]
M:C
L:1/8
R:Reel
S:Honeyman – Strathspey, Reel and
Hornpipe Tutor (1898)
Z:AK/Fiddler’s Companion
K:B|A2 FA (DA)FA|AA(FA) E2 dB|A2 FA
(DA)FA|(GB)AG (FD)D:|
B|(Ad)dc (df)ed|(cd)ef
(gf)ed|(c/B/)A eA fA eA|(cd)ef g2 ag|
(fa)eg (fa)eg|(fe)dc (de)fg|(af)ge
(fd)ec|(dB)AF D2 D||
PIGEON ON THE GATE [4].
See “Pigeon on the Gatepost [3],” from West Va./Kentucky.
PIGEON ON THE GATE [5]. AKA and see "The Family E