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]

 

 

 

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:Gow2nd 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. Canada, Cape Breton. B Major. Standard tuning. AAB. Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 56, pg. 17.

                       

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 Morpeth Chantry Bagpipe Museum (Northumberland), as researched by Graham Dixon.

 

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 Scotland, 1864. Kerr (Merry Melodies), vol. 1; No. 9, pg. 31. Martin (Ceol na Fidhle), vol. 1, 1991; pg. 24. Martin (Traditional Scottish Fiddling), 2002; pg. 69.

 

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. USA, Kentucky. D Major (‘A’ part) & A Major (‘B’ part). AEae tuning. AB. Manon Campbell is the sole source for the tune. He say this ditty with it:

***

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 Kentucky Fiddle Tunes), 2001; No. 124, pg. 151.

                       

PICK 'EM UP JOE. Old‑Time, Breakdown. C Major. Standard tuning. Learned by Arizona fiddler Kenner C. Kartchner from bartender Jim Wheeler, Williams, Arizona, 1903 (Shumway, 1990).

 

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 Simpson County, Mississippi, fiddler Enos Canoy and the Canoy Band. Canoy mentions that the plucking of the strings is “pickin’ the Devil’s eye.” The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Thorton Spencer also played a tune called “Pickin’ Out the Devil’s Eyes.”

 

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 Edinburgh violinist Robert 'Red Rob' Mackintosh (c. 1745‑1807) and set to lyrics by Andrew Shirrefs (1762‑1807). Emmerson (1971) notes that it was said that Mackintosh "was of an irascible disposition and readily gave offence to other members of (his) orchestra."

 

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 London for two periods: 1791-1792 and 1794-1795), where he concertized to great acclaim. Contemporary music historian Charles Burney (1726-1814) wrote in his memoirs: “Haydn himself presided at the piano-forte; and the sight of that renowned composer so electrified the audience, as to excite an attention and a pleasure superior to any that had ever been caused by instrumental music in England.” Haydn and the Gows were all associated with the Prince of Wales and the King’s Theatre in London during the same period. Carlin (The Gow Collection), 1986; No. 598.

 

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 Seattle fiddler Vivian Williams finds the “Picnic Reel” earliest in George Saunders’ tutor entitled Complete Violin Instruction (1847). ‘Professor’ Saunders claims authorship of the reel in the publication. Vivian writes: “I think Saunders probably did compose the tunes he claimed. In his book he seems quite conscientious about marking his tunes with his initials, and leaving the rest unmarked. He comments that he wrote all the cotillion sets himself, and they are all initialled…On the other hand, he didn’t initial any of the standard ‘Contra, Spanish and Fancy Dances’ in the book, including his very idiosyncratic version of ‘Durang’s Hornpipe’, which is very different from the usual ‘book’ versions.”

***

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 Chicago compiler Francis O’Neill from fiddler John McElligot as “Higgins’ Best.” The Higgins title may stem from the tune’s appearance elsewhere in Ryan’s Mammoth Collection (1883), under the title “7th Regiment” and credited to one Conn. Higgins (about whom nothing is known at this time). Ryan’s Mammoth was published in Boston by Elias Howe and company, and in an earlier Howe volume (1000 Jigs and Reels, c. 1867) the melody appears in the hornpipe section. Sources for notated versions: Winston Fitzgerald (Cape Breton) [Phillips]; fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia”). Cole (1000 Fiddle Tunes), 1940; pg. 43. Cranford (Brenda Stubbert’s), 1994; No. 24, pg. 9. Howe (1000 Jigs and Reels), c. 1867; pg. 61. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 183. Ryan’s Mammoth Collection, 1883; pg. 71. White’s Unique Collection, 1896; No. 43, pg. 8. Brenda Stubbert - “House Sessions” (1992). Rounder 7011, "The Beatons of Mabou: Scottish Violin Music from Cape Breton" (1978). Winston Fitzgerald - “House Parties and 78's.”

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 Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Source for notated version: Art Galbraith (Springfield, Mo.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 184. Rounder 0157, Art Galbraith - "Simple Pleasures."

                       

PIEDMONTAISE, LA. French, Mazurka (3/4 time). G Major. Standard tuning. AABB. Composed by Ph. Prieur. Stevens (Massif Central), 1988; No. 74.

 

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 Northern Netherlands), although the song went through numerous versions and variants over the years. It tells of the life of the rakish, skinny Pierlala who buried himself alive to escape further service in the army, and then emerges from his coffin during the funeral party, to great effect. Pierlala, or The Death of Pierlala was a favourite of puppet theatre. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 44 (appears as “Five for the Symbol at Your Door”, the name of a 1994 dance set to the tune by Fried de Metz Herman).

 

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, Missouri, on the Arkansas/Missouri line. Rounder CD 0436, Ray Curbow (et al) – “Traditional Fiddle Music of the Ozarks, vol. II.” Rounder Heritage Series 1166-11592-2, Ray Curbow (et al) – “The Art of Traditional Fiddle” (2001).

                       

PIG ANKLE RAG [1]. Old‑Time, Country Rag. USA. D Major. Standard tuning. AB (Silberberg): AABB (Brody, Phillips). Source for notated version: Bob Potts & Walt Koken with the Highwoods String Band (Ithica, N.Y.) who learned the tune from Joel Shimberg & Ron Hughey) [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 217. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 100. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 119. Rounder 0074, Highwoods String Band‑ "No. 3 Special" (1976). Yodel‑ay‑hee Records #002, Critton Hollow Stringband ‑ "Sweet Home" (1983).

 

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 Augusta County, Virginia, fiddler “Pug” Allen singing the same verse in his version of the tune “N....r Trader Boatman,” and Yates also finds Charlie Woods’ “Pretty Girl Down the Road” to be a related piece. Musical Traditions MTCD 321-2, Sam Connor & Dent Wimmer (et al) – “Far in the Mountains, vols. 1 & 2” (2002).

                                   


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 Cape Breton by musicians Alex Gillis and the Inverness Serenaders. Honeyman (The Strathspey, Reel, and Hornpipe Tutor), 1898; pg. 33. Rounder Records 7052, Buddy MacMaster – “The Cape Breton Tradition” (2003). 

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