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. Ireland, County Donegal. G Major. Standard tuning. AA’BB. A favorite of the famous Donegal piper Tarlach Mac Suibhne. It is a version of “The Doon Reel [1].”

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 IARTA, AN. AKA and see "Pipe on the Hob."

                                   

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 Highland pipe march has crept into the North East fiddle tradition, albeit rendered with different bowings and style to West Coast Scottish playing. Source for notated version: Hector MacAndrew (1903-) [Martin]. Martin (Traditional Scottish Fiddling), 2002; pg. 119. Greentrax CDTRAX 9009, Hector MacAndrew (1903-1980) - “Scottish Tradition 9: The Fiddler and his Art” (1903).

                                   

PIPE MAJOR JIM CHISHOLM'S MARCH. Canadian, March (4/4 time). Canada, Cape Breton. G Major. Standard tuning. Composed by Addie Harper of Wick, Scotland.

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. Canada; Cape Breton, Prince Edward Island. A Dorian. Standard tuning. AABB (Perlman): AABB’CCDD’ (Martin). A modern composition by Addie Harper of Wick, Scotland. The tune was introduced to Canadian fiddling by Cape Breton fiddle master Buddy MacMaster. Source for notated version: Gus Longaphie (b. 1914, Little Harbor, North-East Kings County, Prince Edward Island) [Perlman]. Martin (Ceol na Fidhle, vol. 3), 1988; pg. 43. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 105.

                             

PIPE MAJOR WM. GRAY’S FAREWELL TO THE GLASGOW POLICE. Scottish, March (2/4 time). A Major. Standard tuning. AABBCCDD’. Composed by Pipe Major John Macdonald. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 35.

                             


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 New York fiddler Andy McGann and accordion player Joe Burke). O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 93, pg. 47.

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|!EDE cAG|FAD D3:|

|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’ Dundee” title comes from a song set to the tune in James Hogg’s Jacobite Relics of Scotland (1819-21), which begins:

***

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’ Dundee.

***

Groves Dictionary of Music and Musicians (1883, pg.443) gives the piper’s name as ‘Carnegie of Finhaven,’ and dates the song to the Jacobite rising of 1715 where it was one of the melodies used “to stir up the chiefs and their clans to join the Earl of Mar.” George Farquhar Graham (in his Popular Songs of Scotland, 1887) says of him: “The piper is said to have been Carnegie of Finhaven, who changed sides during the contest in 1715. He was a great coward, if we may believe the Jacobite writers; he certainly ran away at Sheriffmuir, but so many on both sides did the same, that his should not count for much against him.” He may be the  Carnegie of Finhaven, James Carnegie, who was the central figure in a precedent-setting trail more than a decade after the Jacobite rising. James, along with a group of gentry had been out celebrating in Forfar in 1728, and were deep in their cups. Throughout the evening he had endured a number of insults by a Mr. Lyon of Bridgeton, including being pushed into a ditch and spattered with mud. Finally Carnegie could no longer stand the effrontery, and drawing his sword he prepared to run Bridgeton through. He was prevented doing so by the intervention of Charles Lyon, 6th Earl of Strathmore, who threw himself between the disputants and, in so doing, received a mortal wound from Carnegie from which he died two days later. Carnegie was tried for murder, but was ably defended by Robert Dundas of Arniston, with the result that the jury found him “not guilty” of premeditated murder rather than the usual verdicts of “proven” or “not proven” in Scottish law, thus setting a precedent. Johnson (Kitchen Musician No. 10; Airs and Melodies from Scotland’s Past), 1992 (revised 2001); pg. 15. 

X:1

T:Piper o’ Dundee, The

M:C

L:1/8

R:Air

S:Hogg – Jacobite Relics of Scotland (1821)

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 Northern Ireland, on which it is listed as “Jackson’s Punch” [Black]. Black (Music’s the Very Best Thing), 1996; No. 148, pg. 78.

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,  Edinburgh 1758". As the word Maggot which means an odd fancy or whim is obsolete in this age, the change of name is permissible. The tune was printed in Aird's Selections etc., London 1797, and in later publications somewhat varied.” Source for notated version: Chicago Police Officer William Walsh [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 192.

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, Leeds, West Yorkshire. Knowles (A Northern Lass), 1995; pg. 25.

                             

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 (Dublin, no date). O’Neill prints the tune as “Put in Enough” in Waifs and Strays of Gaelic Melody (141), from Clinton’s Gems of Ireland.

                             

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 Armagh Pipers Club), 197?; No. 41, pg. 37. Celtic Cx 34, "Winston Scotty Fitzgerald" (Cape Breton). Gael-Linn CE 18 (78 RPM), Liam (Willie) Clancy. Gael-Linn CEF 075, Liam (Willie) Clancy - “Na Ceirnini 78, 1957-1960.” Green Linnet SIF 3007, Mick Hanley – “As I Went Over Blackwater” (1982). June Appal JA0026, Malcolm Dalglish & Grey Larsen – “First of Autumn” (1978). Kells Music KM-9510, Brendan Begley – “We Won’t Go Home ‘Till Morning.” Philo 2005, John McGreevy & Sean Cooley – “McGreevy & Cooley” (1974). Rodeo International RNT 2009, “Winston ‘Scotty’ Fitzgerald and his Fabulous Entertainers” (197?). Shanachie 33004, “The Pure Genius of James Morrison” (1978). Gennett 5451 (78 RPM), Michael Gallagher (uilleann pipes) {1924}. Starr 9567 (78 RPM), Michael Gallagher (uilleann pipes) {1924}. Topic 12TS 373, John Rea – “Traditional Music on the Hammer Dulcimer” (1979). 

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 Waterloo, The  [1]

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 Cork accordion player Jackie Daly.

                 

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

L:1/8

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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