The Fiddler’s
Companion
© 1996-2009 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] |
PIOBAIRE A’ CHEIDIGH, AN. AKA and see “The Bonny
Bunch of Ferns,” “The Keady Piper,” “Maire Bhan’s Wedding Reel,” “The Piper of Keadue.” Irish, Reel.
X:1
T:An Piobaire a’ Cheidigh
L:1/8
M:4/4
K:G
B2dB c2Ac | BGGB d3c | B2dB c2Ac |
dBcA BGGA | B2dB c2Ac | BGGB d3c|\
B2dB c2Ac |1 dBcA BGGA :|2 dBcA BGGg
|| fgaf gefd | cAAB c3g | fgaf gbag |\
fdcA BGGg | fgaf gefd | cAAB c3g |
fgaf gbag | fdcA BGG2 :|
PIOBAIRE A’CHEADIU. AKA and see “The Piper of Keadue.”
PIOBAIRE BRUIGEANTAC, AN. AKA and see "The Quarrelsome
Piper."
PIOBAIRE CAOCH, AN. AKA and see "Apples in
Winter [1]," "General
White's Jig," "Kennedy's Jig,”
"The Misfortunate Rake,"
"(Next) Sunday is/was my
Wedding Day," "Rattle
the Quilt (to Pieces)," "The
Shamrock (Reel) [1]," "The
Squint‑eyed Piper," "The
Unfortunate Rake [2]."
PIOBAIREACHD DHOMHNAIL (The Pibroach of Donald). AKA and see "Donald's Pipes," "Lord Forbes March." Scottish,
March (6/8 time). A Mixolydian. AEae tuning. AABBCCDDEEFFGG. As "Lord
Forbes' March," an earlier pipe version of the tune, it is still played by
bagpipers today. The original air was a ceol mor (large music) piece called
"Pilbaireachd Dhomhnaill Dhuibh" (The Pibroach of Black Donald),
reworked into a ceol beag (small music) setting, a march. In scordatura tuning
it was meant to be played with drones throughout. Source for notated version: Sharpe Manuscript, c.1790; pg. 44
[Johnson]. Johnson (Scottish Fiddle Music
in the 18th Century), 1984; No. 53, pg. 130.
PIONEER CLOG. AKA and see "The
Minstrel's Fancy," "McElligott's
Fancy," "Hanover Hornpipe."
American, Clog. White's Excelsior Collection,
1907; pg. 60.
PIONEER'S MARCH. AKA – “The Whore’s March.” American, March. G Major. Standard tuning.
AABB. A fife march used to signal camp duties, in particular clean‑up, or
to drum disorderly women out of camp. The earliest printing seems to be in
David Rutherford’s Compleat Tutor for the Fife (London, 1756), although
it appears in most instructors for the instrument and in fifers’ manuscripts on
both sides of the Atlantic through the early 19th century. Camus (Military Music of the American Revolution),
1976; Example 12, pg. 106. Johnson (A Further Collection of Dances, Marches,
Minuetts and Duetts of the Latter 18th Century), 1998; pg. 10.
X:1
T:Pioneer’s March
M:6/8
L:1/8
K:G
B/c/|dcB cBA|G2G G2 B/c/|dcB cBA|1
G3 z2:||G3 z2|
|:G2d d3|G2e e3|G2g fed|ed^c d3:||
PÍOPA AR AN mBAIC, AN (Pipe on the Hob). AKA and see "Pipe on the Hob."
PÍOPAÍ GREIG. AKA and see "Greig's Pipes."
PÍOSA DEICH bPING(I)NE,
AN (The Tenpenny Bit). AKA and see "The Tenpenny Bit
[2]."
PIPE DANCE. See "Bacca
Pipes Jig (Greensleeves)."
PIPE JIGG. Scottish? American?, Jig. A Major. Standard tuning. AA'BB'. A
generically-titled Scotch-sounding jig. Sweet (Fifer’s Delight), 1965/1981; pg. 37.
PIPE MAJOR, THE.
Scottish, Pipe March (4/4 time). A Major. Standard tuning. AABB.
Composed by Scots fiddler-composer J. Scott Skinner
(1843-1927) I honor of Donald Macpherson, “late Black Watch” (see note for “Donald Blue”). Skinner (Harp and Claymore), 1904; pg. 38.
X:1
T:Pipe Major, The
M:C
L:1/8
R:Pipe March
Q:112
C:J. Scott Skinner (1843-1927)
S:Skinner – Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:A
E | ({G}[A2A2)] e>d ({d}c)B/c/
(Ae) | ({d}c)B/c/ (Aa) ({a}f)B .e/.d/.c/.B/ | {G}(A2 e>)d ({d}c)B/c/ (Ae) |
{a}(fe/c/) {c}(dB) ({B}c)(AA) :: e |
({g}a)A ed ({d}c)B/c/ Aa | (Af) (Aa) ({a}f)B e/d/c/B/ |
({A}a2) ({f}e>)d ({d}c)B/c/ (Ae)
| ({e}f)e/c/ ({B}d)B ({B}c)(AA) :|
PIPE MAJOR DONALD MACLEAN OF LEWIS.
Scottish, Jig. Composed by piper Donald MacLeod. Rounder Records 7057, Jerry Holland – “Parlor Music” (2005).
PIPE
MAJOR GEORGE ROSS’ WELCOME TO THE BLACK WATCH. Composed by William Lawrie. CAT-WMR002, Wendy
MacIsaac – “The ‘Reel’ Thing” (1994).
PIPE MAJOR J(OHN)
STEWART.
Scottish, March (2/4 time). A Major. Standard tuning. AABB’CCDD’. Composed by
revered piper George S. MacLennan (1883-1927). Christine Martin (2002) says
this
PIPE MAJOR JIM
CHISHOLM'S MARCH. Canadian, March (4/4 time).
X:1
T:Pipe Major Jim Chisolms March
M:C
L:1/8
Q:280
C:A. Harper
S:(From the playing of Buddy
MacMaster)
D:"Judique on the
Floor";Buddy MacMaster,1989, Sea Scape Music,ACD-90
Z:W. Armstrong, Jan-98
K:G
Bd|e2de AAAB|eAB<de2ge|d2Bd
edBd|gedB edBG|!
e2 de AAAB|eABd e2ag|e<ged
B<de<g|B2A2A2:|!
|:fg|aAAa geeg|edB<d e2ge|d2Bd
edB<d|gedB edBG|
e2de AAAB|eAB<d e2ag|e<ged
B<de<g|B2A2A2:|!
PIPE MAJOR JIM
CHRISTIE OF WICK. Scottish (originally), Canadian;
Pipe March or Reel.
PIPE MAJOR WM. GRAY’S FAREWELL TO THE
PIPE ON THE HOB [1], THE ("An Píopa Air/Ar,” “An Cluid/Iarta"
or "An Píopa ar an mBaic"). Irish, Double Jig. A Dorian (Brody, Mallinson,
Mitchell, O'Neill). Standard tuning. AABBCC (Brody, Mallinson, Mulvihill,
O'Neill, Taylor): AA’BBCC (Mitchell). Reportedly a favorite of Irish pipers. A
hob is originally a raised surface in a fireplace on which a cooking fire is
built, although nowadays it can also refer to a hotplate for boiling water for
tea. Seamus Ennis maintained the tune’s name was properly “Piper on the Hob” or
“Piper of the Embers,” the nickname for the ‘musical’ insect the cricket. See
also the related “Hollyford Jig.”
Sources for notated versions: John Carey, a native of Limerick [O’Neill]; The
Bothy Band (Ireland) [Brody]; piper Willie Clancy (1918-1973, Miltown Malbay,
West Clare) [Mitchell]; set dance music recorded live at Na Píobairí Uilleann,
mid-1980’s [Taylor]. Brody (Fiddler’s
Fakebook), 1983; pg. 218. Mallinson (Enduring),
1995; No. 47, pg. 20. Mitchell (Dance
Music of Willie Clancy), 1993; No. 5, pg. 31. Mulvihill (1st Collection), 1986; No.
50, pg. 75 (learned from a recording of uilleann piper Leo Rowsome). O'Neill
(Krassen), 1976; pg. 18. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 705, pg. 131. O'Neill (Dance Music of Ireland: 1001 Gems),
1907/1986; No. 9, pg. 18. Taylor (Music
for the Sets: Yellow Book), 1995; pg. 27. Vallely (Learn to Play the Tin Whistle with the Armagh Pipers Club), vol. 3;
1. Columbia CAL503-1, Paddy O’Brien (195?). Front Hall
018, How To Change a Flat Tire‑ "Traditional Music of Ireland and
Shetland." Mulligan 030, The Bothy Band‑ "Afterhours."
Mulligan 013, The Bothy Band‑ "Out of the Wind into the Sun."
Outlet 3002, Paddy Cronin‑ "Kerry's Own Paddy Cronin" (1977).
Shaskeen Records OS‑360, Andy McGann, Felix Dolan & Joe Burke ‑
"A Tribute ot Michael Coleman" (c. 1965). Seamus Ennis – “Return to
Fingal.”
X:1
T:Pipe on the Hob [1]
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 9
Z:AK/Fiddler’s Companion
K:A Minor
B|c3 edc|edc BAG|ABA gze|eaa ged|c3
edc|edc deg|age dBe|ABA A2:|
|:^f|g3 gea|age edB|ABA gze|aba
ge^f|g3 gea|age e^fg|age dBe|ABA A2:|
|:B|c2c d2d|ecA AGE|c2c d2d|ecA
A2B|c2c d2d|e2e ^gab|a=ge dBe|ABA A2:|
PIPE ON THE HOB [2] (An Píopa ar an mBaic). AKA and see “The Lonely Lad,” “Paddy Canney’s (Jig) No. 2.” Irish,
Double Jig. D Major (McNulty): D Mixolydian/Major (most versions). Standard
tuning. AAB (Breathnach, Laufman): AABB’ (Harker/Rafferty, Mallinson, McNulty,
Mulvihill). Sources for notated versions: piper Michael Brophy/Michael Ó
Broithe (Ireland) [Breathnach]; New Jersey flute player Mike Rafferty, born in
Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ I), 1963; No. 40, pg. 17. Cotter (Traditional Irish Tin Whistle Tutor), 1989; 58. Harker (300 Tunes from Mike Rafferty), 2005; No.
234, pg. 72. Laufman, 1973; pg. 31. Mallinson (Enduring), 1995; No. 46, pg. 20. McNulty (Dance Music of Ireland), 1965; pg. 20. Mulvihill (1st Collection), 1986; No.
14, pg. 67 (learned from a recording of
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X: 1
T:Pipe on the Hob [2]
M:6/8
L:1/8
Q:110
Z:C.G.P
K:G
|:d3 A2G|F2D D3|EDE cAG|FAD D3|dcB
cBA|BAG A2G|!
|f2d d^cd|f2d d^cd|e2c cBc|e2f gfe|f2d
d^cd|f2d d^cd|ede eag|fd^cd3|
|f2d d^cd|f2d d^cd|e2c cBc|e2f
gfe|fef gfg|agf efg|eee eag|fd^c d3|
X:2
T:Pipe on the Hob [2]
M:6/8
L:1/8
R:Jig
B:Luke O’Malley’s Collection of Irish Music, vol. 1, No. 93 (1976)
Z:AK/Fiddler’s Companion
K:D
ded =cAG|F2D DED|E=CE cAG|F2D
DFA|d=cB cBA|
BAG A2G|E=CE cAG|1 F2D D2 f/e/:|2
F2D D2g||
f2d {e}dcd|faf d2 g/f/|e2=c
{d}cBc|e=ce a2g|
f2d {e}dcd|fdc d2 g/f/|ede
age|{f}edc d2g|
f2d {e}dcd|faf d2 g/f/|e2=c
{d}cBc|e=ce a2g|
fef gfg|aba gfg|fed eag|edc d2z||
PIPE SLANG, THE (Feadan glan a'Phiobair). Scottish, Pipe Reel. A Minor.
Standard tuning. AAB (Athole, Fraser): AABB' (Kerr). "In the words of the
pipe slang, the noisy rattling piper of a country wedding draws a ridiculous
comparison betwixt his own music and that of the violin, so frequently
interrupted by the breaking of strings, tuning, &c., whereas, he appeals to
all the bonny lasses, if his chanter was ever known to fail while they
continued dancing" (Fraser). Fraser (The
Airs and Melodies Peculiar to the Highlands of Scotland and the Isles),
1874; No. 49, pg. 17. Kerr (Merry
Melodies), vol. 2; No. 56, pg. 9. Stewart-Robertson
(The Athole Collection), 1884; pg.
46.
X:1
T:Pipe Slang, The
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Amin
e|cA A/A/A ~A2 AB|cde^f gece|fd d/d/d d2 df|eE E/E/E A2A:|
c|A/A/A a2 gece|f2ed ecAc|A/A/A a2 gece|fdec A2Ac|A/A/A a2 gece|
f2ed
ecAc|GEcE GEEc|D/D/D E^G A2A||
PIPER, THE. Scottish, Country Dance Tune (9/8 time). The
melody appears in the Bodleian Manuscript
(in the Bodleian Library, Oxford), inscribed "A Collection of the Newest
Country Dances Performed in Scotland written at Edinburgh by D.A. Young, W.M.
1740."
PIPER HICK'S FAVORITE. AKA and see "Paddy in
London [1]."
PIPER IN/O'ER THE
MEADOWS STRAYING, THE. AKA and see “Piper Through the Meadow Straying.”
PIPER IN THE CAVE, THE. Irish, March (cut time). B Dorian. Standard.
ABC. Not the Scottish “Piper’s Cave” printed by Martin. It is very similar to
the "Bagpipe March" as recorded by fiddler Francie Byrne on the album
“The Brass Fiddle.” A similar story is attached to this tune and John Doherty’s
“The Further in the Deeper” (see note for “Farther and Deeper”).
X:1
T:Piper in the Cave, The
R:march
D:Paul O'Shaughnessy, "Stay
Another While"
Z:Jeff Myers
M:C|
L:1/8
K:Bdor
f3a g2eg|f2B2 B3f|fedc Bcde|(3fgf fa
gfeg|
f3a (3gag eg|f2B2 B3f|edcB ABcd|~e3
c d2e2|
f3a (3gag eg|f2B2 B3f|fedc Bcde|f
~f3 f2ga|
bagb agfa|(3gag eg f3e|edcB ABcd|~e3
c d2 (3cdc||
B2b2 f2b2|B2b2 b4|f2bf Bcde|~f3 g
fedc|
B2b2 f2b2|B2b2 b4|edcB ABcd|e3c d2
(3cdc|
B2b2 f2b2|B2b2 b4|f2bf Bcde|f2 (3fgf
f2ga|
bagb agfa|(3gag eg f3e|edcB ABcd|~e3
c d2 e2||
f2B2 (3gag ec|f2B2 Bcde|~f3 g
fece|f3 g fece|
(3fgf B2 (3gag eg|f2B2 Bcdf|e3f
ecAc|~e3 c d2 e2|
f2B2 (3gag ec|f2B2 Bcde|~f3 g
fece|f3e ~f2ga|
bagb agfa|(3gag eg f3e|edcB ABcd|~e3
c d2 e2||
PIPER KING, THE.
Scottish, Pipe March (2/4 time). A Major. Standard tuning. One part.
Composed by Scots fiddler-composer J. Scott Skinner
(1843-1927), in honor of Mr. John McColl, of Oban. Skinner (Harp and Claymore), 1904; pg. 42.
X:1
T:The Piper King
M:2/4
L:1/8
R:Pipe March
C:J. Scott Skinner (1843-1927)
S:Skinner – Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:A
e/d/ | ({d}”tr”c)A “tr”eA | “tr”fA
eA | “tr”cA “tr”eA | f(B B)e/d/ | {tr{cA “tr”eA | “tr”fA ef/g/ |
a/g/f/e/ a/f/e/d/ | ({d}c)AA e |
a/g/f/e/ ({g}a)A | fAeA | a/g/f/e/ ({g}a)A | ({A}f)(BB)e |
a/g/f/e/ ({g}a)A | ({A}f)A ef/g/ |
a/g/f/e/ a/f/e/d/ | ({d}c)(AA) ||
PIPER OF DRUMMOND, THE. Scottish, Reel. D Major. Standard tuning.
AABB. Martin (Ceol na Fidhle), vol.
4, 1991; pg. 13.
PIPER O’ DUNDEE, THE. AKA and see “The Drummer.” Scottish; Air, Reel or
Strathspey. A Dorian. Standard tuning. AABB. The tune can also be played as a
reel or a strathspey. See also note under “The Drummer” title, by which it
appears in many older collections. The “Piper o’
***
The piper came to our town, to our town, to our town,
The piper came to our town, and he played bonnilie.
He play’d a spring the laird to please, a spring brent new from ‘yont
the seas,
And then he gie’d his bags a wheeze, and played anither key.
***
Cho:
And wasna he a rougey, a rougey, a rougey,
And wasna he a rougey, the piper o’
***
X:1
T:Piper o’
M:C
L:1/8
R:Air
S:Hogg – Jacobite Relics of
Z:AK/Fiddler’s Companion
K:A Minor
E|ABcA E2E^F|GABc cBGB|ABcA E2
ef|edcB A3||
B|ccce ddde|ccce dBGB|ccce dddf|edcB
A3||
PIPER OF KEADUE, THE (Piobair a’ Cheadiu). AKA and see “Maire Bhan’s Wedding Reel,” “The Bonny Bunch of Ferns.”
Irish, Reel. See note for “Enniskillen
Dragoons.”
PIPER ON HORSEBACK, THE. AKA and see “Mist on the Mountain.” Irish,
Reel. A Mixolydian (‘A’ part) & D Major (‘B’ part). Standard tuning. AAB. Dorian Discovery DIS-80103, Helicon - "Horizons"
(1992. Learned from fiddler Martin Dowling of Madison, Wisconsin). Green Linnet
SIF‑1110, Eileen Ivers ‑ "My Love is in America: The Boston
College Irish Fiddle Festival" (1991).
X:1
T:The Piper on Horseback
C:Traditional
S:Bernie Stocks, Belfast
M:C
L:1/8
Q:350
R:reel
Z:Gordon Turnbull
N:Posted to the woodenflute mailing list January 2002
K:Amix
[EA][F2A] d cAAB | cAdB cAGE | ~A3 d cAAB | cAGE EDCE :||
K:D
defg afdf | efed cAEA | defg afdB | (3.A.A.A GE EDDA |
defg gaaf | efed cAAe | a z ag efed | cAGE EDCE |]
PIPER REMEMBERED, THE. AKA and see "Chuimhne an Phiobaire."
PIPER THROUGH THE
MEADOW STRAYING, THE. Irish, Hornpipe or Set Dance. G
Major. Standard tuning. AB (O’Neill): AAB (Joyce): AABB (Colclough). The melody
appears in O’Farrell’s c. 1800 publications Collection
of National Music for the Union Pipes and Pocket Companion for the Irish or Union Pipes (c. 1808), and a bit
later in Colclough’s pipe tutor. Bruce Olson finds what is probably the same
tune as a duet called “A piper on the meadows straying” in the ballad opera Zorinski (1795) {music selected and
composed by Dr. Samuel Arnold} and that the song with music was published the
following year in Walker’s Hibernian
Magazine. A verse (printed in Charms
of Melody, Dublin, c. 1795-1810) begins:
***
A piper on the meadows straying,
Met a simple maid a-maying.
***
Many people
will recognize the similarity between sections of the ‘B’ part of the tune and
the popular Christmas carol “Deck the Halls.” Learned by Joyce as a child in
Co. Limerick, c. 1840. Colclough (Tutor
for the Irish Union Pipes), c. 1830; pg. 12. Joyce (Old Irish Folk Music and Song), 1909; No. 131, pgs. 66‑67. O’Farrell
(Pocket Companion, vol. III), 1808;
pg. 24 (appears as “A Piper o’er the Meadows straying”). O'Neill (O’Neill’s
Irish Music), 1915/1987; No. 70, pg. 43 (appears as “The Piper O’er the
Meadows Straying”). Chieftains – “Bells of Dublin”
(appears as last tune of “The Wren! The Wren!” medley).
X:1
T:Piper Through the Meadow Straying,
The
M:4/4
L:1/8
Q:125
K:G
|:B>c| d>ed>c B>cB>A|
G>FG>A B2 G2| A>B (3cBA) G2 F2| G2 B2 B2 (3ABc)
d>ed>c B>cB>A
|G>FG>A B2 G2| A>B (3cBA) G2 F2|1 G2 B2 G2 :|2 G2 B2 G4||
|: A2 A>B c2 B>A| B>AB>c
d2A2|B>cd2 e>fg2| f>ed>c (3ded) (3cBA)| d>ed>c B>cB>A|
G>FG>A B2 G2| A>B (3cBA) G2 F2| G2 B2 B2 (3ABc)|d>ed>c
B>cB>A |G>FG>A B2 G2| A>B (3cBA) G2 F2|G2 B2 G4:|
X:2
T:Piper in the Meadows Straying, The
M:C
L:1/8
R:Hornpipe
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:G
d2 dc B2BA|GFGA B2G2|ABcA
G2F2|G2B2B2A2|d2 dc B2BA|GFGA B2G2|
ABcA G2F2|G2B2G4:|
A2 AB c2A2|BABc d2A2|d2 dd
e2g2|fed^c d2 (3AB=c|dedc BcBA|GFGA B2G2|
ABcA G2F2|G2B2B2A2|dedc BcBA|GFGA
B2G2|ABcA G2F2|G2B2G4||
PIPER('S), THE. American, March (2/4 time). USA,
southwestern Pa. D Major. Standard tuning. AABBCC. Source for notated version:
H.E. Williams via the Hoge MS. (a fife MS. from southwestern Pa., 1944)
[Bayard]. Bayard (Dance to the Fiddle),
1981; No. 377, pgs. 364‑365.
PIPER'S BONNET [1], THE. Scottish, Strathspey. A Mixolydian. Standard
tuning. AB (Gatherer): ABCD (Martin). Gatherer (Gatherer’s Musical Museum), 1987; pg. 38. Mackay, A Collection of Marches, Quicksteps,
Strathspeys, Reels & Jigs (c. 1840). Martin (Ceol na Fidhle), vol. 4, 1991; pg. 21.
PIPER'S BONNET [2], THE. Scottish, Jig. A Minor. Standard tuning. AABB.
Kerr (Merry Melodies), vol. 3; No.
284, pg. 31.
X:1
T:Piper’s Bonnet, The [2]
M:6/8
L:1/8
R:Jig
S:Kerr – Merry Melodies, vol. 3, No.
284 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:A Minor
(B/d/)|e2A e2d|e2A A2 (B/d/)|e2A
e2d|B2G G2(B/d/)|e2A e2d|
e2A c2A|BBg ddg|B2G G2::(B/d/)|e2A
a2A|e2A A2(B/d/)|
e2A a2A|B2G G2(B/d/)|e2A a2A|e2A
c2A|BBg ddg|B2G G2:|
PIPER’S BRAE, THE. Irish, Reel. A Dorian. Standard tuning.
AABBCC. Composed by fiddler and pianist Josephine Keegan (b. 1935), of
Mullaghbawn, south County Antrim. The Piper’s Brae is the name of a hill
leading out from Silverbridge towards Keegan’s home town of Mullaghbawn. She
says there used to be a lone bush there, deposed by recent storms. Keegan (The
Keegan Tunes), 2002; pg. 33.
PIPER'S BROKEN FINGER, THE. Irish, Reel. G Major. Standard tuning. One
part. Composed by Cathal McConnel "to commemorate an unfortunate incident
which happened during the recording of our album of the same title. Finlay
MacNeill, a friend and piper who was guesting with us on the album, owned the
finger in question." Boys of the
Lough, 1977; pg. 10. Philo 1042, Boys of the Lough
‑ "The Piper's Broken Finger" (1976). Transatlantic TRA 311,
Boys of the Lough ‑ "The Piper's Broken Finger."
PIPER'S BROKEN HEART, THE. See “Piper’s
Despair.”
PIPER'S CAVE, THE. Scottish, March (2/4 time). A Major. Standard tuning. AABB'. With a
third part added this has been recorded under the name “Scartaglen Polka,” one
of many tunes bearing the name of that Sliabh Luachra, Ireland, town. Martin (Ceol na Fidhle), vol. 2, 1988; pg. 10.
PIPER'S CHAIR, THE (Cathaoir an Phíobáire). AKA and see “The Catholic Boy(s) [1].” Irish,
Double Jig. G Major. Standard tuning. AABB. The tune was named after the
sometimes practice of leaving an empty chair at local musician’s gatherings for
a noted player who passed away. The Piper’s Chair is also the name of a rock
formation at the Cliffs of Moher, County Clare, where in times gone by a piper
used to sit and play for tourists. The tune itself is from the Doolin, County
Clare, area. Caoimhin Mac Aoidh remembers that Packie Russell used to be very
fond of playing there on warm summer days. See note for “The Catholic Boy(s)
[1]," by which name it appears in Petrie’s collection. Sources for notated
versions: Rod Miller (Antrim, N.H.) [Miller & Perron]; accordion player
Sonny Brogan (County Sligo/Dublin), who had the tune from piper Willie Clancy
[Breathnach]. Breathnach (CRÉ I),
1963; No. 9, pg. 6. Miller & Perron (Irish
Traditional Fiddle Music), 1977; vol. 2, No. 1. Miller & Perron (Irish Traditional Fiddle Music), 2nd
Edition, 2006; pg. 32. Mulvihill (1st
Collection), 1986; No. 57, pg. 77. O’Neill (Music of Ireland), 1903; No. 18 (air setting). Outlet SOLP 1010, Na Filí
- "Farewell to Connacht" (1971). Shanachie 79033, Paddy
Maloney & Sean Potts - “Tin Whistles.”
See also listings at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan
Ng’s Irishtune.info |
X:1
T:The Piper's
Chair
B:Ceol Rince na hÉireann I, no. 9
S:Sonny
Brogan, accordion
Z:transcribed
by Paul de Grae
R:double
jig
M:6/8
L:1/8
K:G
F|DGG
GFD|Dcc cBc|~ded cAG|FAG ~FED|
DGG GFD|Dcc
cBc|~ded cAF|~AGG G2:|:B/d/|
{a}gfg
agf|d^cd {a}gfg|GFG =fef|ABA AGF|
GBd g2 f|d2 e fdc|B2 d cAF|AGF G2:|
PIPER’S CHOICE. AKA and see “Geatley’s,” “The Humours of Ballagh,” "The Mountain Lark [1]," "The New Reel [1]," "Thornberry's Reel," "Thresh the Feathers,” “Toss the Feathers [1]."
PIPERS DANCE, THE (Raince Piobaire). AKA and see "The Bonnie Lass of Livingston,"
"Cockleshells," "An Gabhairin Bui," "Hielan Laddie [1]," "The High Caul/Caul’d Cap," "Kiss me Lady," “The Yellow Goat.” Irish, Air or March (2/4
time). E Flat Major. Standard tuning. AABB. This hexatonic melody is a variant
of the folk-song "Ta dha gabhairin bui agam." Source for notated
version: the notes to the collector Edward Bunting's 1840 collection indicate
the tune was noted from "Macdonnell the piper in 1797."
O'Sullivan/Bunting, 1983; No. 47, pgs. 76-77.
PIPER'S DESPAIR, THE (Eadotcas na Piobairaca/bPiobairi). AKA and see "Curly Mike." Irish, Hornpipe or Reel. E
Minor (O'Neill): E Dorian (most versions). Standard tuning. AB (O'Neill/1001):
AABB (Cranitch, Flaherty, O'Neill/Krassen, Taylor): AABB’ (Harker/Rafferty):
AA'BB' (Alewine). O’Neill prints the tune as “Curly Mike,” and, in another
version, as “The Lucky Number,” in his Waifs and Strays of Gaelic Melody. Both
of these were reproduced from the Rice-Walsh manuscripts, a collection of
transcriptions of the repertoire of Jeremiah Breen, a 19th-century blind fiddle
player from North Kerry. Sliabh Luachra fiddler Denis Murphy recorded the tune
on a 78 RPM record for Gael-Linn around 1960 (as “Cra Croi an Phiobaire”/The Piper’s Broken Heart). Uilleann pipers
will tell you, tongue-in-cheek, the title refers to the reeds of the
instrument, notoriously difficult to maintain. Sources for notated versions:
Michael Hartnett, a dancer and musician from County Cork [O’Neill]; fiddler
Andrew Davey (b. 1928, Cloonagh, Mullaghroe, Keash) [Flaherty]; set dance music
at Na Píobairí Uilleann, recorded in the 1980’s [Taylor]; New Jersey flute
player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker].
Alewine (Maid that Cut Off the Chicken’s
Lips), 1987; pg. 28. Breathnach (CRÉ
III), 1986; No. 109. Cranitch (Irish
Fiddle Book), 1996; pg. 93. Flaherty (Trip
to Sligo), 1990; pg. 112. Harker (300
Tunes from Mike Rafferty), 2005; No. 52, pg. 17. O'Neill (Krassen), 1976;
pg. 187. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1657,
pg. 308. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 769, pg. 134. O’Neill (Waifs and Strays of Gaelic Melody),
1922; No. 294. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice),
1994; pg. 20. Taylor (Music for the Sets:
Yellow Book), 1995; pg. 3. Taylor (Music
for the Sets: Blue Book), 1995; pg. 5. Cló Iar
Chonnachta CICD 165, John Wynne & John McEvoy – “Pride of the West” (2007.
Learned from Vincent Griffin, Feakle, east Clare, in the key of G Minor).
Gael-Linn Records CEF 075, Denis Murphy – “Na Ceirnini 78.” Green Linnet
Records SIF 1058, Matt Molloy & Sean Keane ‑ "Contentment is
Wealth" (1985). Larraga Records MOR 1302, Mike & Mary Rafferty –
“Speed 78” (2004). Rounder 1123, Dennis Murphy – “Milestone at the Garden”
(reissue of the Gael-Linn 78). Piper Padraig Mac Mathúna recorded it with Edel
McWeeney (fiddle) and Conal Ó Gráda (flute) - "Mind the Dresser."
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Piper's Despair
R:Hornpipe
M:4/4
L:1/8
K:Em
EFGA {d}BAFA | {d}BdAd {e}dBAD |1 D2FD ADFA | BdAd {e}dBAF :|2
DEFA dfag|{a}gfed Bcde :: e2ge begf | efga bfaf |1 de~f2 af~f2 |
df~f2 {a}fedf\:|2 ~d3e fg{a}gf | gfed Bcde :|
PIPER'S DREAM, THE. Irish, Set Dance (6/8 time). D Major. Standard
tuning. AABB. A modern composition by Glasgow piper Pat McNulty. McNulty (Dance Music of Ireland), 1965; pg. 29.
PIPER'S FANCY [1]. AKA and see "The New Rigged
Ship [1]." English, Jig. D Major (Raven): A Major (Karpeles). Standard
tuning. AABB (Raven): AABBA'B' (Karpeles). Karpeles & Schofield (A Selection of 100 English Folk Dance Airs),
1951; pg. 8. Kennedy (Fiddlers Tune Book),
Vol. 1, 1951; No. 90, pg. 44 (appears as "The New Rigged Ship").
Raven (English Country Dance Tunes),
1984; pg. 102.
X:1
T:Piper’s Fancy [1]
T:New Rigged Ship, The
M:6/8
L:1/8
R:Jig
K:D
(3A/B/c/|dcd d2f|dcd d2f|ecA Ace|ecA ABc|dcd d2f|dcd d2f|ecA ABc|d3d2:|
|:e|aga
fga|fba gfe|aga fga|bag a2 (3e/f/g/|agf edc|fed cBA|fga ecA|dBG A2:|
PIPER'S FANCY [2]. AKA and see "Piper's Maggot."
PIPER'S FANCY [3]. Irish, Slip Jig. E Minor. Standard tuning. AABB. Tubridy (Irish Traditional Music, Book Two),
1999; pg. 41.
X:1
T:Piper’s Fancy [3]
M:9/8
L:1/8
K:E Minor
BcA BEE BEE|BcA BEE FED|BcA BEE
BEE|FAA A2G FED:|
|:G2A BcA BcA|G2A Bcd ecA|G2A BcA
Bcd|ecA A2G FED:|
PIPER’S FAVORITE, THE (Rogha an Phíobaire). Irish, Reel. D Major. Standard tuning.
AB. Source for notated version: fiddler William Jones (County Fermanagh), via
the mid-20th century Liam Donnolly (County Tyrone & Belfast) collection
[Breathnach]. Breathnach (CRÉ IV),
1996; No. 206, pg. 94.
PIPER’S FINISH, THE. AKA and see “Ladies
Fancy [5],” “The Long Dance.”
PIPER'S FROLIC, THE . AKA and see "The Geese in the Bog [2],"
"The Green Meadow [2],"
"Na Geabha sa bPortach," "Tuhy's
Frolic," "Jackson's
Walk to Limerick," "Jackson's Trip to Limerick,"
"The Mountain Lark [5],"
"Wiseman's Favourite,"
"Bob Thompson's Favourite,"
"The Coravat Jig [1],"
"Jackson's Coola," “Tom Broderick’s Jig,” "The Humours of Limerick [2]."
PIPER’S GAP.
See “Cleveland’s
March (to the White House).”
PIPER’S GLASS, THE. Irish, Reel. B Minor (‘A’ part) & D Major
(‘B’ part). Standard tuning. AABB’. Kerr (Merry
Melodies), vol. 4; No. 160, pg. 19.
X:1
T:Piper’s Glass, The
M:C|
L:1/8
R:Reel
S:Kerr – Merry Melodies, vol. 4, No. 160
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:B Minor
dB ({c}BA) fB ({c}B)A | dB ({c}BA)
f2 fe | d2 (cd) B2A2 | ceAc e2 (fe) :|
|: d2 (fd) adfd | d2 fd f2 ({g}f)e
|1 d2 (fd) adfd | ceAc e2 (fe) :|2 defg abaf | ecAc e2 (fe) ||
PIPER'S JESTING, THE. Irish, Slip Jig. A Minor. Standard tuning. AB.
O'Neill (O’Neill’s Irish Music),
1915; No. 229, pg. 122.
X:1
T:Piper’s Jesting, The
M:9/8
L:1/8
R:Slip Jig
S:O’Neill – O’Neill’s Irish Music (1915)
Z:AK/Fiddler’s Companion
K:A Minor
ed | c2A AcA ecA | ede acA e2d | c2A
AcA ecA | BGB gdB d2e | c2A AcA ecA | ede acA e2d |
c2a AcA ecA | BGB gdB d2e || c2a aec
ged | c2a aec e2d | c2a aec ged | BGB gdB d2e |
c2a aec aec | c2a aec efg | agf gfe
fec | BGB gdB d2e ||
PIPER'S JIG [1]. Irish, Jig. A Dorian. Standard tuning. AABB. Giblin (Collection of Traditional Irish Dance Music),
1928, 89, also prints a jig by this title. Treoir.
X: 1
T: Piper's Jig
S: Treoir
N: as "gan ainm"
Z: Transcribed by Bill Black
M: 6/8
L: 1/8
Q: 325
R: jig
K: Ador
(3Bcd | eAA Bcd | eaf ged | edB cBA | BAG A2
(3Bcd |
eAA Bcd | eaf ged | edB cBA | BAG A2 :|
(3Bcd | eaa efg | agf ged | eaa efg | fed e2 d |
eaa efg | agf ged | edB cBA | BAG A2 :|
PIPER’S JIG [2]. Canadian, Jig. Canada, Cape Breton. A modern
composition by Cape Breton fiddler Rodney MacDonald. Smithsonian Folkways Records, SFW CD
40507, The Beaton Family of Mabou – “Cape Breton Fiddle and Piano Music”
(2004).
PIPER'S LASS, THE. AKA and see "Boil the Kettle Early,"
"The Connachtman's
Rambles [1]," "The
Kilfinane Reel," "Kitty got a
clinking (coming from the races) [1]," "The Ladies Tight Dress," "The
Ladies Top Dress," "The
Lady on the Railroad," "The
Listowel Lasses," "Love
among the Roses," "Maureen
Playboy," "McCaffrey's Reel,"
"Old Molly Ahern,"
"Punch for Ladies [2],"
"The Railway Station,"
"Rathkeale Hunt," "Roll
her on the banks," "Rolling
on the Ryegrass," "Shannon
Breeze [1]," "The Telegraph,"
"What the Devil ails you
[2]." Irish, New England; Reel. D Major. Standard tuning. AABB.
Similarities to the Missouri tune “Hamilton Ironworks.” “Rathkeale Hunt” is a
three-part version of the tune. Cole (1000
Fiddle Tunes), 1940; pg. 15. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 98. O'Neill (1915 ed.),
1987; No. 231 (appears as "Rolling on the Ryegrass"). Ryan’s
Mammoth Collection, 1883; pg. 38. Sweet (Fifer’s Delight), 1965/1981; pg. 79. White’s Unique
Collection, 1896; No. 90, pg. 16.
X:1
T:Piper’s
Lass
M:C|
L:1/8
R:Reel
K:D
F2AF DF
AF|G2BG dG BG|F2AF DF Ad|BG FG E2 DE|
F2AF DF
AF|G2 BG dG BG|FG AF DFAd|BG FG E2D2:|
|:AB de
f2fa|ge fd ed Bd|AB de fe fg|af df e2dB|AB de f2 fa|
ge fd ed Bd|(3ABc de fe fg|af df e2
d2:|
PIPER'S MAGGOT, THE. AKA and see “Dunreavy Park,” “Here’s Good Health to the
Piper,” "Piper's Fancy [2]," “Piper’s Whim.” Irish, Scottish, English; Country Dance
Tune and Jig (9/8 time). England, Northumberland, Cumbria. G Mixolydian
(Bremner, Gow, Kennedy): G Major (Gatherer, Kennedy, Stokoe & Bruce): A
Major (Feldman & O’Doherty, Howe, Kerr): D Major (O’Farrell). Standard
tuning. AAB (Kerr): AABB (most versions). A 'maggot' is a unit of liquid
measure equal to a dram but also refers to a favourite, a thing of small or
slight consequence or a whim or plaything; from the Italian maggioletta. Maggots were English
longways country dances composed in the latter 17th century and often named
after personages. Kerr, however, identifies the tune as Irish, and, indeed,
Paul Cranford notes “Piper’s Maggot” is a 9/8 setting of “The Chorus Jig” (aka – “Kilfenora Jig”). John Glen (1891)
finds the earliest appearance of the tune in print in the Scottish Robert Bremner's 1757 collection. The
tune also appears in the 1840 music manuscript collection of Waverton, Cumbria,
musician John Rook (p. 189).
***
In the context of maggot as a dram, the
following anecdote (posted by Jim Carroll from an appendix to a recent edition
of English writer Daniel De Foe’s Journal of the Plague Year)
illustrates the consequences of imbibing too many ‘piper’s maggots’. It is
called “The Bag-Piper in Tottenham-Court Road,” and refers to a statue that
once stood in a garden there:
***
The statue in question is executed in a fine free-stone,
representing a bag-piper in a sitting posture, with his dog and keg of liquor
by his side; the latter of which stands upon a neat stone pedestal. The
piper (as represented in the statue) had his constant stand at the bottom of
Holborn, near St. Andrew's church.
***
He became well known about
the neighbourhood, and picked up a living from the passengers going that way, who
generally threw him a few pence as the reward of his musical talent. A certain
gentleman, who never failed in his generosity to the piper, was surprised, on
passing one day as usual, to miss him from his accustomed place: on inquiry, he
found that the poor man had been taken ill, in consequence of a very singular
accident. On the joyful occasion of the arrival of one of his countrymen from
the Highlands, the piper had made too free with the contents of his keg: these
so over-powered his faculties that he stretched himself out upon the steps of
the church, and fell fast asleep. Those were not times to sleep on church steps
with impunity. He was found in that situation when the dead-cart went its
round; and the carter, supposing of course, as the most likely thing in every
way, that the man was dead, made no scruple to put his fork under the piper's
belt, and, with some assistance, hoisted him into his vehicle, which was nearly
full, with the charitable intention that our Scotch musician should share the usual
brief ceremonies of interment. The piper's faithful dog protested against this
seizure of his master, and attempted to prevent the unceremonious removal; but
failing of success, he fairly jumped into the cart after him, to the no small
annoyance of the men, whom he would not suffer to come near the body: he
further took upon himself the office of chief mourner, by setting up the most
lamentable howling as they passed along.
***
The streets and roads by which they had to go being very
rough, the jolting of the cart, added to the howling of thee dog, had soon the
effect of awakening our drunken musician from his trance. It was dark, and the
piper, when he first recovered himself, could form no idea either of his
numerous companions or of his conductors. Instinctively, however, he felt about
for his pipes, and playing up a merry Scotch tune, terrified, in no small
measure, the carters, who fancied they had got a legion of ghosts in their
conveyance. A little time, however, put all to rights; lights were got; and it
turned out that the noisy corpse was the well-known living piper, who was
joyfully released from his awful and perilous situation.
***
Source for notated version: fiddler
Danny O’Donnell (County Donegal) [Feldman & O’Doherty]. Bremner (A Collection of Scots Reels), 1757; pg.
29. Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 175.
Carlin (The Gow Collection), 1986;
No. 458. Feldman & O’Doherty (The
Northern Fiddler), 1979; pg. 185 (appears as “Untitled Slip Jig”). Gatherer
(Gatherer’s Musical Museum), 1987;
pg. 22. Gow (Complete Repository),
Part 2, 1802; pg. 16. Howe (1000
Jigs and Reels), c. 1867; pg. 45. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 60, pg. 14. Kerr (Merry Melodies), vol. 2; No. 246, pg. 27. O’Farrell (Pocket Companion, vol. II), c. 1806; pg.
115 (appears as “Pipers Maggott”). O’Neill (Waifs
and Strays of Gaelic Melody), 1922; No. 192 (appears as “Piper’s Whim”). Jerry O’Sullivan – “O’Sullivan meets O’Farrell” (2005).
X:1
T:Piper’s Maggot, The
M:9/8
L:1/8
R:Jig
S:Gow – 2nd Repository
(1802)
Z:AK/Fiddler’s Companion
K:G
d|:B2(G G)AG dBG|B/c/dB gdB deg|B2(G
G)AG cBG|A/B/cA =fcA ~c2d:|
B2d gdB gdB|B2d gdB deg|B2d gdB
gdB|A/B/cA =fcA ~c2d:|
X:2
T:Piper’s Maggot
M:9/8
L:1/8
S:Bruce & Stokoe – Northumbrian Minstrelsy (1882)
Z:AK/Fiddler’s Companion
K:G
c|d3 GBG dBG|B/c/dB gdB efg|d3 GBG dBG|A/B/cA fAB c2:|
|:c|B/c/dB gdB gdB|B/c/dc fdB efg|B/c/dB gdB gdB|A/B/cA fAB c2:|
X:3
T:Piper's Whim, The
T:Piper’s Maggot
M:9/8
L:1/8
S:Offr. Wm. Walsh, Chicago [O’Neill]
Z:Paul Kinder
K:G
c|B3 GBG dBG|B/2c/2dB gdB efg|B2 G GBG dBG|A/2B/2cA fAB c2:|
|:c|B/2c/2dB gdB gdB|B/2c/2dB gdB efg|1B/2c/2dB gdB gdB|
B/2c/2dB
fAB c2:|2bag agf efg|B/2c/2dB cAF G2||
PIPER’S MARCH. AKA and see “Brian
Boru’s March [1].” Irish, Scottish, Jig. B Minor. Standard tuning. AABB.
Kerr (Merry Melodies), vol. 4; No.
247, pg. 27.
X:1
T:Piper’s March
M:6/8
L:1/8
R:Jig or March
S:Kerr – Merry Melodies, vol. 4, No. 247
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:B Minor
f|dcB B2f|dcB B2e|cBA A2e|cBA
A2f|dcB B2f|dcB B2A|Bde f2e|dBB B2:|
|:d|Bde f2e|f2e f2e|Acd E2c|e2c
e2c|Bde f2e|f2e f2e|Bde f2e|dBB B2:|
PIPER'S PICNIC, THE ("Flead na Piobairaca" or
"Aeribeact na bPiobairi"). Irish, Double Jig. A Major (O'Neill): A
Mixolydian (Flaherty). Standard tuning. AABB. Sources for notated versions: the
playing partners of Chicago police Sergeant James Early and John McFadden, a
piper and fiddler from adjoining counties in the province of Connaght
[O’Neill]; tin whistle player Jimmy McGettrick (b. 1909, Aughris, Rathmullen,
Ballymote) [Flaherty]. Flaherty (Trip to
Sligo), 1990; pg. 136. O'Neill (Krassen), 1976; pg. 27. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 815, pg. 152. O'Neill (Dance
Music of Ireland: 1001 Gems),
1907/1986; No. 2, pg. 17.
X:1
T:Piper’s Picnic, The
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Ireland1001 Gems (1907), No. 2
Z:AK/Fiddler’s Companion
K:A
E|AcA BGE|cde dBG|AcA BGE|EDE GAB|AcA
BGE|cde dBG|cBA BGE|EFG A2:|
|:A/B/|ceA ceA|cee edc|B/c/dG
B/c/dG|Bdd dcB|cde dcB|cBA Ggf|ecA GED|EFG A2:|
PIPER’S PUNCH. Irish, Jig. G Major. Standard tuning. AABB’. Source for notated
version: a recording (“Céirniní 78") by fiddler Johnny Pickering, from
X:1
T: Piper's Punch
S: J.Pickering
Z: transcribed by B.Black
Q: 325
R: jig
M: 6/8
L: 1/8
K: G
A | BGE DEG | GBd e2 f | gfg edB | BAG AGA |
BGE DEG | GBd e2 f | gfe dBA | BGG G2 :|
A |: gfg aga | bge edB | ege edB |1 BAG ABd |
| g3 a3 | bge edB | ege edB | BGG GBd :|
|2
BAG AGA | BGE DEG | GBd e2 f | gfe dBA | BGF G2 ||
PIPER'S REEL, THE. Scottish, Reel. D Major. Standard tuning. AAB.
Kerr (Merry Melodies), vol. 1; No.
25, pg. 30.
X:1
T:Piper’s Reel, The
M:C|
L:1/8
R:Reel
S:Kerr – Merry Melodies, vol. 1, pg. 30
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
D/F/A/d/ f(e/d/)|c/d/e/f/
(g/e/)e|D/F/A/d/ f(e/d/)|c/d/e/a/ (f/d/)d:||
ff/a/ (g/f/)e/d/|c/d/e/f/
(g/e/)e|ff/d/ (g/f/)e/d/|c/d/e/a/ (f/d/)d|
ff/a/ (g/f/)e/d/|c/d/e/f/
(g/e/)e|ff/d/ gg/e/|a/b/a/g/ (f/d/)d||
PIPER'S SON, THE (Mac An Piobaire). AKA and see “The Game of Love,” “Humors of Ballinacarrig,” “Humors of Rockstown,” “Paddy the Piper [1],” “Rory MacNab.” Irish, Reel. E Minor/Dorian.
Standard tuning. AB (O'Neill/1850 & 1001): AA'B (O'Neill/Krassen).
Breathnach (CRÉ II), 1976; No. 295
(appears as untitled reel). O'Neill (Krassen), 1976; pg. 155. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1519, pg. 281. O'Neill (Dance
Music of Ireland: 1001 Gems), 1907/1986; No. 738, pg. 129.
X:1
T:Piper’s Son, The
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 738
Z:AK/Fiddler’s Companion
K:E Minor
BEEc dcdB|A2 (3FED FA A2|BEEF
GABc|dcdB e2 dc|BEEc dcdB|
AD (3FED FA A2|BEEF GABc|dBAc BE
E2||{f}edef gfge|defg afdf|
Edef gfec|dBAc BE E2|{f}edef
gfec|defg afdf|g2 fd ecdA|(3Bcd Ac BE E2||
PIPER’S WALTZ, THE.
American, Waltz. G Major. Standard tuning. AAB. Composed by Alstead, New
Hampshire, fiddler and musician Randy Miller. Miller (Fiddler’s Throne), 2004; No. 372, pg. 220.
PIPER’S WARNING, THE. AKA –
“Cholla mo rùn.” See note for “Duntroon
Castle.”
PIPER'S WEDDING [1], THE (Bainis an Phíobaire). AKA and see "Cathcart's Favourite," "Carton's No. 2 Reel." Irish,
Reel. G Major. Standard tuning. AB. Source Fennell had no name for the tune;
Breathnach took the title from Hardebeck’s collection (ii, pg. 21). He notes
that T. Magilligan, of County Fermanagh, called it “Cathcart’s Favourite,” and
that it appears in a Limerick manuscript as “Carton’s No. 2 Reel.” Sources for
notated versions: whistle player John Fennell (Quilty, Co. Clare, Ireland)
[Breathnach]; accordion player Johnny O’Leary (Sliabh Luachra region of the
Cork-Kerry border) [Moylan]. Breathnach (CRÉ
II), 1976; No. 177, pg. 92. Moylan (Johnny
O’Leary), 1994; No. 313, pgs. 179-180.
PIPER’S WEDDING [2], THE. Scottish, Jig. D Major. Standard. AABB. A pipe jig from Pipe Major Donald Macleod’s Collection (Book 6).
X:1
T:Piper's Wedding, The
B:P.M. Donald Macleod's Collection, Bk.6
Z:Nigel Gatherer
M:6/8
L:1/8
R:Jig
K:D
a | A2d dcd | B2d A3 | A2d dcd | f2a e2a |A2d dcd | B2d A2g | fdd ecc |
edd d2 :|
a | fdd add | ce2 A2a | fdd add | f2a e2a | fdd add | ce2 A2g | fdd ecc | edd
d2 :|]
PIPER’S WEIRD, THE (Macrimmon).
Scottish, Pibroch (6/8 time). A Major. Standard tuning. AB. Composed by
the great Scots fiddler-composer J. Scott Skinner
(1843-1927). The title is from a poem by W. McCombie Smith of the same title,
honouring in the famous piping family of Macrimmon. It begins:
***
The slogan of war is heard in the glen,
It thrills through the hearts of women and men;
The bravest go forth with broadsword and shield,
The dauntless in heart who never will yield.
I go, I go, no more to return,
My pipes’ last blast the foe long shall mourn,
A long farewell, O loved land of Skye!—
Macrimmon goes forth to conquer and die.
***
S. Johnson (A Twenty
Year Anniversary Collection), 2003; pg. 14. Skinner (Harp
and Claymore), 1904; pg. 150 (includes a variation set).
X:1
T:Piper’s Weird, The
M:6/8
L:1/8
R:Pibroch
N:”Slow”
C:J. Scott Skinner (1843-1927)
S:Skinner – Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:A
A>AA A2A | ({A}B>)AB
({A/B/}c2)A | ({A}f>)FF {f}(e2c) | ({d}c>)BA ({A/d/}B3) | A>AA A2A |
({A}B>)AB ({A/B/}c2)A |
({A}f>)FF {f}(e2c) | (eBe) ({e}A2) || A | {g}(a2A) {e/f/}(e2A) |
{A}(fAf) ({f}e2)A | {A}(a2A)
{A}(e2A) | ({c/d/}c>)BA {A/d/}(B2A) | {g}(a2A) (e2A) |
{A}(fAf) ({f}e2)e | (f<a)f
{f}(e2c) | (eBe) ({e}A2) ||
PIPER'S WELCOME, THE (Failte an Piobaire). AKA and see “Jackson’s Night Cap ,” “The Night Dance,” “Strike the Gay Harp,” “Strike the Young Harp.” Irish,
Double Jig. D Major. Standard tuning. AABBCC. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 320, pg.
67.
X:1
T:Piper’s Welcome, The
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 320
Z:AK/Fiddler’s Companion
K:D
dcB cAA|cAG FED|dBd cAF|AGF EFA|dcB
cAA|dAG FEF|DFA DFA|AGF EFA:|
|:~d3 fdf|a2a afe|ded fdf|e/f/ge
ecA|~d3 fdf|a2a afe|dcB cAF|AGF EFA:|
|:def def|dAG|FED|def def|AGF
EFA|def edc|dAG FED|D2D FEF|AGF EFA:|
PIPER'S WHIM. AKA and see “Piper’s Maggot.” Scottish,
Slip Jig. G Major. Standard. AAB. O’Neill (1922) remarks: “’The Piper's
Maggot’, as this old tune was called, first appeared in print in "Rob't Bremner's Collection of Scots Reels and Country Dances,
X:1
T:Piper's Whim, The
M:9/8
L:1/8
R:Slip Jig
S:Offr. Wm. Walsh, Chicago
Z:Paul Kinder
K:G
c|B3 GBG dBG|B/2c/2dB gdB efg|B2 G GBG dBG|A/2B/2cA fAB c2:|
|:c|B/2c/2dB gdB gdB|B/2c/2dB gdB efg|1B/2c/2dB gdB gdB|
B/2c/2dB fAB c2:|2bag agf efg|B/2c/2dB cAF G2||
PIPER'S WIFE, THE. Irish, Air (3/4 time). G Major. Standard. AB.
"From the singing of Mrs. Mary MacSweeny of Glenosheen Co. Limerick, about
1848" (Joyce). Joyce (Old Irish Folk
Music and Song), 1909; No. 22, pg. 14.
X:1
T:Piper’s Wife, The
M:3/4
L:1/8
R:Air
N:”Moderately”
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:G
D2|G3A Bc|d2e2 Ac|B2G2 AG|F2D2D2|G3A
Bc|d2e2 Ac|B2G2F2|G4||
(3def|g2e2g2|f2d2B2|e3cA2|G3F
ED|g2e2g2|f2d2B2|B2e2d2|e4 f2|
g2e2g2|f2d2B2|e3cA2|G2F2
ED|GFGABc|d2e2 Ac|B2G2F2|G4||
PIPING JIG. Irish, Jig. Ireland, County Donegal. B Minor. Standard. AABCCD. Source
for notated version: fiddler Danny O’Donnell (County Donegal) [Feldman &
O’Doherty]. Feldman & O’Doherty (The
Northern Fiddler), 1979; pg. 185.
PIPING PIE MAN, THE. AKA and see “Black Mary’s Hornpipe [1],” “The Butcher’s Hornpipe [2]," “Wright’s
Whim.” English, Hornpipe. A Major. Standard tuning. AB. The melody appears
under the title “Piping Pyman Hornpipe” in the 1779 music manuscript collection
of James Biggins,
PIPING TIM OF GALWAY. AKA and see "Rakes of Mallow."
PIPPINGO REEL, THE. English, Scottish; Jig. England, North‑West.
E Dorian. Standard tuning. AABB. John Glen (1891) finds the earliest appearance
of this tune in print in John Riddell's
1766 collection (pg. 37). Knowles (Northern
Frisk), 1988; No. 37.
PIQUE'S SCOTTISH
MEASURE. Scottish, Scottish Measure. G
Minor. Standard tuning. AABB. Emmerson (1971) relates that Pique was the name
of a famous dancing family, one of whom taught in Edinburgh in the 1760's. McGlashan (Collection of Scots Measures), c. 1780; pg. 27.
X:1
T:Pique’s Scottish Measure
M:C|
L:1/8
R:Scots Measure
B:McGlashan – Collection of Scots Meaures
(c. 1780)
Z:AK/Fiddler’s Companion
K:G Minor
FE|D2 F2 FGBF|G2B2 g3f|fgfd
cBcd|B2F2 F3E|D2F2 FGBF|
G2B2 g3f|fgbg fdcd|B2G2G2::f2|gfgb
fgfd|cBcd g2b2|fgbg fdcd|
B3 F F3 B|G2 FG B2 GB|cBcd g3f|bgfd
cBcd|B2G2G2:|
PIR FLIUC. Irish, Slip Jig. D Major/Mixolydian. Standard tuning. One part. Source
for notated version: “From P. Carew’s MS” [Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 1084,
pg. 275.
PIRATE, THE. Scottish, Hornpipe. E Flat Major. Standard
tuning. AABB. Bain (50 Fiddle Solos),
1989; pg. 38.
PIRATE'S HORNPIPE, THE. Scottish, Hornpipe. E Flat Major. Standard.
AABB. The melody appears in Kohler's Violin
Repository, Book 3. Bill Hardie states, "I can recollect this lively
tune being played by my good friend Jim Crichton together with his brothers and
sister at the family home, 'Gowanlea', New Dear." Source for notated
version: J. Murdoch Henderson, 1902-1972 (Aberdeen, Scotland) [Hardie]. Hardie
(Caledonian Companion), 1986; pg. 42.
Green Linnet GLCD 3105, Aly Bain - “Lonely Bird”
(1996).
PIRATE'S WALTZ, THE. English, Waltz. D Major. Standard. AABB.
Kennedy, vol. 2, 1954; pg. 30. Raven (English
Country Dance Tunes), 1984; pg. 132.
X:1
T:Pirate’s Waltz, The
M:3/4
L:1/8
R:Waltz
K:D
FG|A2d2d2|B2e2e2|dcBABc|defg
a2|A2d2d2|
B2e2e2|dcBABc|d4::fg|abag f2|b2
bagf|gagf e2|
a2 agfe|fgfe d2|g2 gfed|cdeABc|d4:|
PIRRIE WIRRIE. AKA and see "Perrie Werrie."
PIRRIWIG, THE. Scottish, Reel. E Minor. Standard. AB. See
also the 1st tune in Williamson's "Greensleeves"
medley, which he thinks is similar. “The Periwig”
is a similarly-entitled reel in G Major. Stewart-Robertson
(The Athole Collection), 1884; pg.
261.
X:1
T:Pirriwig, The
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:E Minor
B|g3b agfa|gfeg dB B2|g3b agfa|gef^d e/e/e g2|g3b agfa|gfeg dBBd|
gggb agfa|gef^d e/e/e g2||
dB B/B/B dBBg|eBBA GEEg|dB B/B/B dBBa|gef^d e/e/e g2|
dB
B/B/B dBBg|eBBA GEEF|GABc dBBa|gef^d e/e/e g2||
PIS AR AN IARTA (Peas on the Hearth). AKA and see "Huish the Cat," "The Humours of
Parteen/Purteen/Panteen," “Jackson’s Humours of Panteen,”
"Whip/Drive the
cat from under the Table," "Dance Light
for My Heart Lies Under Your Feet," "Peas on the Hearth," "Foxy Mary," "“Bímid ag ól [1]," "Bemthe goal," "Gilibeart Mhac Fhlannchadha."
Irish. Stanford/Petrie (Complete Collection), 1905; No. 1556.
PISS ON THE GRASS. AKA and see "Nancy Dawson [1]."
Scottish, Country Dance Tune (6/8 time). G Major. Standard. AABB. The melody
was published under this title in J. Walsh's Caledonian Country Dances, c. 1744.
X:1
T:Piss on the Grass
M:6/8
L:1/8
R:Jig
K:G
G2G G>AB/c/|d2B G2B|A2B A2B|A2B
AFD|G2G G>AB/c/|
d2B G2B|A2G F2E|D3D3::A2B A2B|A2B
AFD|B2c d2e|
d2e dBG|c2B c2d|e2f gfe|dcB
AGF|G3G3:|
PISTACHE A TANTE NANA, LA. See "La Pistache a Trois Nanan."
PISTACHE A TROIS NANAN, LA (The Three-Nut Peanut). AKA -
La Pistache a tante Nana" (Aunt
Nana's peanut). Cajun, Waltz. USA, southwestern Louisiana. D Major. Standard.
One part. Raymond Francois explains that the peanut, idigenous to the American
south, was new to the French colonists displaced from Nova Scotia (in 1764) who
called it after the closest relative known to them, the pistachio nut. The song
tells of a farmer's joy in finding his crop has produced three nuts instead of
two in the same husk. Source for notated version: Sidney Brown, Raymond
Francois (La.) [Francois]. Francois (Yé
Yaille), 1990; pgs. 254-255. Goldband Records
GB-1061, Sidney Brown.
PIT HAME DA BORROWED
CLAES. Shetland, Reel. Shetland, Vidlin. G
Major. Standard. AB (Brody): AAB (Anderson, Flett & Flett). "A lively
traditional reel from Vidlin. This was a favourite reel for dancing at
weddings. Clothes were sometimes borrowed for weddings, hence the title, 'Put
Home the Borrowed Clothes'" (Anderson). Sources for notated versions: The
Boys of the Lough (Ireland/Shetland) [Brody]; "Mr. Henry Thomson of
Vidlin, now living in Ollaberry," via the late Tom Anderson (Lerwick,
Shetland) [Flett & Flett]. Anderson (Ringing
Strings), 1983; pg. 79. Brody (Fiddler’s
Fakebook), 1983; pg. 219. Flett & Flett (Traditional Dancing in Scotland), 1964; pg. 219. Philo 1026, The Boys of the
Lough‑ "Live." Philo 2019, Tom Anderson and Aly Bain‑
"The Silver Bow." Front Hall 015, Jake Walton and Roger Nicholson‑
"Bygone Days."
X:1
T:Pit Hame Da Borrowed Claes
M:C
L:1/8
R:Reel
K:G
"G"D G2 A BABd|"G"edBd
"D"gdBA|"G"DGBG (3cBA Bd|"G"edgB
"D"BAAB|!
"G"D G2 A BABd|"G"edBd
"D"gdBA|"G"D G2 A BABd|"G"edgB "D"A2
AB||!
"G"dBgd ed B2|"G"dBgB
"D"BAAB|"G"dBgd ed B2|"G"gfgB "D"BAAB|!
"G"dBgd
ed B2|"G"dBgB "D"BA A2|"G"dBgB
defg|"G"afge "D"BA A2||!
PIT STANDS IDLE, THE. England, Air (4/4 time). England, North‑West.
E Minor. Standard tuning. AA'BB. A modern composition by guitarist Ged Foley.
Knowles (Northern Frisk), 1988; No.
153.
PITBAVINIE. Scottish, Strathspey. E Flat Major. Standard tuning. AABB'. Composed by
William Macpherson. According to Neil (1991) Pitgavinie, or Pitgaveny, is
traditionally believed to be the famous Bothgowan of Shakespeare's play
"MacBeth." After Duncan's defeat at the battle of Forforness
(Burghead) in 1040, he and his general MacBeth fled to Bothgowen where he was
mortally wounded by the traitorous MacBeth who had his own designs on Duncan's
throne. Neil (The Scots Fiddle),
1991; No. 65, pg. 89.
PITHER IN ENOUGH. AKA and see “Jackson’s
Maid at the Fair [3].” Irish. ‘Pither’ = ‘put’. The tune appears in Samuel
Lee’s Jackson’s Celebrated Irish Tunes
(pg. 1), first published in Dublin c. 1775, republished in 1790. It is
attributed to the 18th century gentleman composer Walker ‘Piper’
Jackson, of the townland of Lisduan, parish of Ballingarry, Aughrim, County
Limerick. Hime prints it under the title “Three Lieutenants” in Three Favourite Country Dances (
PITKERIE'S REEL. Scottish. John Glen (1891) finds the earliest appearance of this tune in print in Robert Bremner's 1757 collection. Pitkerie is a locale in Fife, Scotland. Bremner (Scots Reels), 1757; pg. 66.
X:1
T:Pitkerie’s Reel
M:C
L:1/8
R:Strathspey
S:Bremner – Scots Reels (1757)
Z:AK/Fiddler’s Companiong
K:G
g | G<G B>G “tr”B>AAg | G/G/G B>G A>GB>G | (B/c/d) BG “tr”B>AAa |
(e/f/g) d>B (d2d) :: g | e>gd>g “tr”B>AAa | (e/f/g) d>B d>eg>a |
(b/a/g/f/ g>)B “tr”B>AAa | (e/f/g) d>B (d2d) :|
PITNACREE
FERRYMAN, THE. AKA and see “The Boatman of Pitnacree.” Scottish,
Reel. D Major. Standard tuning. AAB (Gow, Kerr): AABB' (Athole). Gow (Gow Collection), 1986; No. 436 (appears
as “The Boatman of Pinacree”). Kerr (Merry
Melodies), vol. 1; Set 17, No. 4, pg. 11. Stewart-Robertson (The Athole Collection), 1884; pg. 91. Rounder 7059, Alex Francis MacKay with Gordon MacLean –
“Gaelic in the Bow” (2005).
X:1
T:Pitnacree Ferryman, The
T:Boatman of Pitnacree, The
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D
f|aA A/A/A fede|f2ef dBB^g|aA A/A/A fede|fedB A/A/A A:|
B|AFAB defd|e/e/e fd edBd|1 AFAB defd efdB A/A/A A:|2
AFAB
defa|efdB A/A/A A||
PITT ON YOUR SHIRT ON
MONDAY. Scottish, Scottish Measure. D Major
(Alburger): F Major (Emmerson, Skene). Standard tuning. One part (in the
original 16 bars of variations follow). The melody is included in the Skene MS.
(c. 1615‑20) and Dauney's "Ancient Scottish Melodies" (1838).
Emmerson notes that the tune presages the "Jacky Tar" type of
hornpipe tunes of a century later, with its long closing eighth‑note
runs. Alburger (Scottish Fiddlers and
Their Music), 1983; Ex. 3, pg. 17. Emmerson (Rantin’ Pipe and Tremblin’ String: A History of Scottish Dance Music),
1971; No. 28, pg. 128.
PITTENGARDNER'S RANT. Scottish, Strathspey. D Major. Standard tuning. AAB (Skinner): AA'B
(Hardie). Pittengardener was one of the best violin pupils of Skinner's father,
William Skinner, and was "one of the most successful 'Men o' the Mearns,'
reramin' fu' o' music" (Hardie, 1992). Composed by J.
Scott Skinner (1843-1927), appearing first in his Harp and Claymore Collection (1904). Hardie (Caledonian Companion), 1992; pg. 81. Skinner (The Scottish Violinist), pg. 2. Skinner (Harp and Claymore), 1904; pg. 75.
X:1
T:Pittengardner’s Rant
M:C
L:1/8
C:J. Scott Skinner
Z:AK/Fiddler’s Companion
K:D
z | A,<D D/D/D (3FGA (3Bcd |
(3BAG (3FED C<E E>F | A,>D D/D/D (3FGA (3Bcd |
(3[ce][Bf][Ag] (3[Ga][Fb][Ec’]
[F<d’<][A,d][Dd] :|
|| c’ | d’dbd adfd’ | (3cde (3decB
c<AA<(c’ | d’)dbd adfd’ | (3efg (3abc’ d’<d d>(c’ |
(3d’)dd (3bdd (3add (3fd’d’ | (3cde
(3dcB c<A [A,>A]c |
{c}d>D D/D/D (3FGA (3Bcd | (3[ce][Bf][Ag] (3[Ga][Fb][Ec’]
[F<d’<][Dd][A,Dd] :|
PITTOON, THE.
Canadian, Strathspey. Canada, Cape Breton. D Major. Standard tuning.
AABB. Composed by the late Cape Breton fiddler and composer Jerry Holland
(1955-2009). Cranford (Jerry Holland: The Second Collection), 2000; No.
132, pg. 50.
PITT’S FANCY.
English, Jig. B Flat Major. Standard tuning. AABB. Perhaps the title
refers to William Pitt (1708-1778), “the Elder,” 1st Earl of Chatham,
who was Secretary of State during the Seven Years War (French and Indian War)
and later Prime Minister of Great Britain. The tune was first published in John
Hinton’s Universal Magazine of Knowledge and Pleasure (London, 1758).
Thomson (Compleat Collection of 200 Favourite Country Dances, vol. 2),
1765; No. 18.
X:1
T:Pitt’s Fancy
M:6/8
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:Bb
F|DFB BdB|f2d f2d|DFB BdB|f3 d2F|DFB BdB|f2d f2d|e2c d2A|B3 [B,2B2]:||
|:f|fgf
efe|ded cdc|BcB ABA|c3 F2E|DFB Bdf|b2f g2e|def FBA|B3 [B,2B2]:||
PIUTHAR MHIC-A-PHI. A song tune to which an unknown satirist composed rather uncomplimentary
verses about Cape Breton’s Rankin clan.
Apparently the satire was so offensive that the sound of it was enough to start
a fight at gatherings in Mabou. The Rankin’s touchiness only served to
popularize the song, which became known as “Am port Chloinn’-‘ic-Raing” (The
Rankin’s Song). See note for “Muileann Dubh”
for a similar story.
PIVOT, THE (An Mhaidhdeog). Irish, Hornpipe. D Major. Standard tuning.
AABB’. Source for notated version: the 19th century collection of Dan Sheahan
(County ) [Breathnach]. Breathnach (CRÉ
IV), 1996; No. 213, pg. 100.
PIVOT BRIG, THE. AKA and see “Teviot Bridge/Brig.” Irish, Jig. A Major.
Standard tuning. AABB. A garbled titling of the Scottish tune “Teviot Bridge.”
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). Cole (1000 Fiddle Tunes), 1940; pg. 70. Ryan’s Mammoth Collection, 1883; pg.
102.
X:1
T:Pivot Brig, The
M:6/8
L:1/8
R:Jig
S:Ryan’s Mammoth Collection
(1883)
Z:AK/Fiddler’s Companion
K:A
f | ecA AcA | ecA F2A | EFA ABc |
edc B2f | ecA AcA | F2A E2c | d2f ecA | BAA A2 :|
|: f | ecA Ace | fde fga | ecA
{B}AGA | BGE Ecd | ecA Ace fde fga | edc BAB | cAA A2:|
PLACE,
TRUE LOVE, THINE ARM AROUND ME
(Cuir a choin dìlis tharam do lamb). Scottish, Slow Air (6/8 time). E Minor.
Standard tuning. AABBCCDD. This tune "reports the intention of an
individual, seemingly long absent, to return to the braes of Lochiel, where he
could enjoy the pleasure of the chase in perfection. The circumstances of the
times banished so many from their native country, that it is difficult to trace
the illusion" (Fraser). Fraser (.
The Airs and Melodies Peculiar to the
Highlands of Scotland and the Isles), 1874; No. 112, pg. 44.
X:1
T:Place true Love thine arm around me
T:Cuir a chion dìlis tharam do lamh
M:6/8
L:1/8
R:Slow Air
S:Fraser Collection
Z:AK/Fiddler’s Companion
K:G
A|B2~d e2f|g>b/a/g/ f2e|dBg f2e|^d>Be E2 E/F/|G>A/B/c/ d>^cd|
e>f/g/a/ f2 e|dBA/G/ B2 A/F/|G>AF E2:|
|:e|g2~a b2c’|bag fed|g>fg a>^ga|b^ab B2 g/a/|bc’/b/a/g/ ab/a/g/f/|
e/d/c/B/g f2e|dBA/G/ B2 A/F/|G>AF E2:|
|:e|e<B z/e e<B e/f/|gb/g/ f2e|dBd/e/4f/4 g2f|e>^de E2 E/F/|
G/F/G/A/B/c/ (3d/e/d/ (3c/d/c/ B|e/g/f/a/g/a/ b2 z/b/4e/4|
e/d/c/B/A/G/ A>B/4c/4 B/4c/4^d/4e/4|G>AF E2:|
|:e/>f/|gEg aFa|bGb agf|e/B/g/B/a/B/ b/a/g/f/e/^d/|eEE E/^D/E/F/G/A/|
B/b/a/g/f/e/
d/g/f/e/d/c/|B/A/G/A/B/g/ f2b|eBA/G/ B2 A/F/|G>AF E2:|
PLAID MANTLE, THE (An Fallaing Breac). Irish, Reel. D Major. Standard
tuning. AB (O'Neill/1850 & 1001): AA'B (O'Neill/Krassen). Compare this tune
with the Donegal highland “Maid of
Mullaghmore” and the reel “Doherty’s.”
O'Neill (Krassen), 1976; pg. 136. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 1426, pg. 265. O'Neill (Dance Music of Ireland: 1001 Gems),
1907/1986; No. 663, pg. 118.
X:1
T:Plaid Mantle, The
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
663
Z:AK/Fiddler’s Companion
K:D
AG|FEDE FGAF|GBAG FDDE|{G}FEDE
FGAg|fdec dcAG|FEDE FGAF|GBAG FDDE|
{G}FEDE FGAg|faec d2||de|fedc
dcAF|GBAG FDDg|fdec dcAg|faec d2 de|
fedc dcAF|GBAG FDDE|{G}FEDE
FGAg|faec d2||
PLAIN OF BOCCAROUGH. See "The Banks of
(the) Claudy."
PLAIN TRUTH, THE. Irish, Jig. A Dorian. Standard tuning. AABB. Kennedy
(Traditional Dance Music of Britain and Ireland: Jigs & Quicksteps,
Trips & Humours), 1997; No. 154, pg. 37.
PLAINS OF ABRAHAM. Old‑Time. The title appears in a list of traditional Ozark
Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published
in 1954.
PLAINS OF BOYLE, THE (“Magh Luirg” or “Ma Luirc”). Irish, Hornpipe. D Major (Allans,
Harker/Rafferty, Mitchell, Moylan, Mulvihill, O’Malley, Vallely): D
Major/Mixolydian (Breathnach, DeMarco & Krassen). Standard tuning. AAB
(Mitchell): AABB (most versions): AA’BB’ (Harker/Rafferty, Moylan, O’Malley). A
very popular Irish session hornpipe. To the east of Boyle, County Roscommon,
are rich flat limestone grasslands, known as the Plains of Boyle, famed for
cattle pastures. Sources for notated versions: Sligo-style fiddler James
Morrison (Co. Sligo/New York) [DeMarco & Krassen]; piper Jim Brophy, 1972
(Dublin, Ireland) [Breathnach]; accordion player Johnny O’Leary (Sliabh Luachra
region of the Cork-Kerry border) recorded in recital at Na Píobairí Uilleann,
February, 1981 [Moylan]; Cape Breton fiddler Winston “Scotty” Fitzgerald
(1913-1987) [Miller & Perron]; piper Andy Conroy (New York, originally from
Lough Glynn and Dublin) [Breathnach]; piper Willie Clancy (1918-1973, Miltown
Malbay, West Clare) [Mitchell]; New Jersey flute player Mike Rafferty, born in
Ballinakill, Co. Galway, in 1926 [Harker]. Allan's
Irish Fiddler, No. 78, pg. 20. Breathnach (Ceol II, 1), 1965; No. 6. Breathnach (The Man and His Music), 1997; No. 6, pg. 9. Breathnach (CRÉ II), 1976; No. 315, pg. 160. Cotter
(Traditional Irish Tin Whistle Tutor),
1989; 81. DeMarco and Krassen (Trip to
Sligo), 1978; pgs. 31, 45, 59. Harker (300
Tunes from Mike Rafferty), 2005; No. 262, pg. 81. Miller & Perron (Irish Traditional Fiddle Music), 1977;
vol. 2, No. 55. Miller & Perron (Irish
Traditional Fiddle Music), 2nd Edition, 2006; pg. 122. Mitchell
(Dance Music of Willie Clancy), 1993;
No. 1, pg. 29. Moylan (Johnny O’Leary),
1994; No. 53, pgs. 31-32. Mulvihill (1st
Collection), 1986; No. 17, pg. 93. O’Malley (Luke O’Malley’s Collection of Irish Music), 1976; No. 122, pg. 61.
O'Neill (Krassen), 1976; pg. 217. Vallely (Learn to Play the Fiddle with
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:Plains of
Boyle, The
M:C
L:1/8
R:Hornpipe
K:G
G|FDDF
ADDF|(3ABA GB ADDe|(3gfe df edce|dcAB cAGB|
AD D2
FDDF|(3ABA GB ADDe|(3gfe dc ABA GB|A>BD>A D3:|
|:f/g/|afdf
g2 (3gfe|de (3fed BAFA|(3ABA FA (3ABA FA|
(3ABA FA
BAfg|afdf g2 (3gfe|de (3gfe BAFG|A3 B G2 AF|
(3GFE
D>A D2:|
X:2
T:Plains of Boyle
L:1/8
M:4/4
R:Hornpipe
K:D
FG|AFDE FEDB|A/B/A GB AF D2|fedf
edce|dcAB =c/B/A GB|
AFDE FE DB|A/B/A GB AF D2|fdAF
GBAG|F2D2D2:|
|:fg|afdf g2 fe|dfed BAFG|A/B/A FA
BAFG|A/B/AFA BAFA|
afdf g2 fe|dfed BAFG|A2 AF
GBAG|F2D2D2:|
PLAINS OF MAYO, THE. Irish, Air (6/8 time) or Jig. F Major.
Standard tuning. AABB. Source for notated version: collected by George Petrie
from Anne Buckley (Claddagh) in 1839 [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 304, pg.
76.
PLAINS OF WATERLOO
[1], THE.
English, Country Dance Tune (6/8 time). England, Northumberland. G Major.
Standard tuning. AABB. The melody is from a Northumbrian piper’s MS of about
1816. Kidson instructs that the air not be confused with that commonly adapted
to the broadside ballad of the same name. Kidson (Old English Country Dances), 1890; pg. 23.
X:1
T:Plains of
M:6/8
L:1/8
S:Frank Kidson – Old English Country Dances (1890)
Z:AK/Fiddler’s Companion
K:G
D|B,/C/DD D2D|B,/C/DD D2F|GEE
E2D|GAB A2G|
Bcd efg|dBd G2A|Bed B2A|GEE E2:
|:d|Bdd dBG|Bdd d2c|Bde dBG|cee e2
d/c/|
Bcd efg|dBd G2A|Bed B2A|GEE E2:|
PLAINS OF WATERLOO
[2], THE.
AKA and see “George Reilly,” “Her Mantle so Green,” “Young Willie of Famed Waterloo.”
Irish, Slow Air. This minor key melody has been recorded by
PLAISANCE. AKA and see “Happy Hours.”
PLAISIR D'AMOUR. AKA and see "Joys of Love."
PLAISIR DES DAMES, LE (The Joys of Women). French, Country Dance (2/4 time). B Flat Major. Standard tuning. AABBCC. From the contradance book (tunes with dance instructions) of Robert Daubat (who styled himself Robert d’Aubat de Saint-Flour), born in Saint-Flour, Cantal, France, in 1714, dying in Gent, Belgium, in 1782. According to Belgian fiddler Luc De Cat, at the time of the publication of his collection (1757) Daubat was a dancing master in Gent and taught at several schools and theaters. He also was the leader of a choir and was a violin player in a theater. Mr. De Cat identifies a list of subscribers of the original publication, numbering 132 individuals, of the higher level of society and the nobility, but also including musicians and dance-masters (including the ballet-master from the Italian opera in London). Many of the tunes are written with parts for various instruments, and include a numbered bass. Daubat (Cent Contredanses en Rond), 1757; No. 4.
X:1
T:Plaisir Des Dames, Le
M:2/4
L:1/8
S:Daubat – Cent Contredanses en Rond (1757), No. 4
Z:AK/Fiddler’s Companion
K:B_
{e}d2 cB | AGFE | DFBd | c F2 c | {e}d2 cB | AGFE | DBcA | B2 B,2 :: bB bB | bB B2 |
(A/B/c) c2 | (A/B/c) c2 | bB bB | bB B2 | (c/d/)_e2 FA | B2B,2 :: d(fgf) | d(fgf) | gf_ed |
cF
F2 | d(fgf) | d(fgf) | gfga | bB B2 :|
PLANC SINÉAD AN
FIODÓIR. AKA and see “Jennie Bang the Weaver,” “Jenny Dang(ed) the Weaver [1].”
PLANCAM PEIRBHIG. See "Tarraing Go Caoin
an Sgeol."
PLANE OF THE PLANK. Irish, Hornpipe. G Major. Standard tuning. AABB. Composed by Chicago
fiddler Liz Carroll. Flying Fish 586, “Trian” (1992).
X:1
T:Plane of the Plank
M:4/4
L:1/8
C:Liz Carroll
R:hornpipe
K:G
(3DEF|GABd g2 fg|eAce d2 Bd|(3cde ce
d2 BG|DFAB cAFA|
BGBd g2 fg|eAce f2 ga|(3bag dB
cACE|(3FED BA G2:|:Bc|
dB ~B2 dA ~A2|BAGF G3 B|cBcd
edcB|Aceg (3aba fa|
(3gag dg (3ege ce|(3ded Bd cece|dcAG
FDBA|(3GAG FA G2:|
PLANE TREE, THE.
English, Country Dance Tune. D Minor. Standard tuning. AB.
X:1
T:The Plane Tree
M:2/4
L:1/16
Z:Steve Mansfield, posted to tradtunes 30Apr05
K:Dm
|: D2FA D2FA | B2AG B4 | Bcdc BAGF |1 F2G2 A4 :|2 F2 fe d4 ||
|: d2ef e2d2 | cdcB A4 | cded c2BA |1 F2G2 A4 :|2 F2 fe d4 ||
PLANTE UN CHOU. French, Scottish (2/4 time). C Major ('A' part) & A Minor ('B' and
'C' parts). Standard tuning. AA'BBCC. Stevens (Massif Central), vol. 1, 1987; No. 14.
PLANTING
STICK, THE (Bata na
Bplandaighe).
AKA and see "Bryan O'Lynn."
Irish, Jig. A Minor. Standard tuning. AB. The tune appears to Bayard (1981) as
an offshoot of "The Rambler
from Clare." P.W. Joyce (Ancient Irish Music, 1873) notes: “’Bata na
bplandaighe’ (pron. Bottha na blandy), is understood in Munster to mean a stick
for planting cabbages. But Sir William Wilde informs me, that in Connaught the
term is applied to a long pointed stick used in setting potatoes; and further
that ther is a tune of this name known in parts of the west, which was
accompanied by an odd sort of dance, a kind of pantomime representation of the
whole process of potato planting. I have not heard this air, and whether it is
the same as the one I give here, which I learned from my father, I do not
know.” The story seems to have parallels with the English morris dance “Bean
Setting.” Howe (1000 Jigs and Reels),
c. 1867; pg. 20 (appears as “Bata na Bplandaighe”). Joyce (Ancient Irish Music), 1873; No. 65, pg. 66. Petrie‑Stanford (Complete Collection), 1903‑06; No.
933.
X:1
T:Planting
Stick, The
M:6/8
R:Jig
S:Howe’s 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:A Minor
B | cAd cAG | EGE GAB | cAd cAG | EAA A2B | cAd cAG | EGE GAB |
cAd cAG | EAA A2 || e/^f/ | gag ged | cAA cde | eaa age | edd d2 e/^f/ |
gag
ged | cAA cde | fed cAG | EAA A2 ||
PLANTING THE MAYPOLE. Flemish in origin. Rounder Records 0216, John
McCutcheon ‑ "Step by Step" (1986).
_______________________________________
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