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] |
POC AIR BUILLE (The Mad Buckgoat). AKA – “An Poc Ar Buile.” AKA and see "It Is Not Day, No, Nor Morning."
Irish, Air. Cherish the Ladies – “The Girls Won’t
Leave the Boys Alone.”
POC BUILLE. AKA and see "It
is Not Day, No, Nor Morning."
PÓCA AN PHILÉARA. AKA and see "The Peeler's
Pocket."
POCHEVILLE. Cajun. The tune is from accordionist Joseph Falcon, and is a mixture of
"Tolan Waltz" in the 'B' part,
or turn, and "Valse des Grands
Bois [1]" in the 'A' part, or tune. See also "Valse a Kathleen."
POET CARNEY, THE. Irish, Reel. D Major. Standard tuning. AABB.
The melody was composed by Derry fiddler Eugene O’Donnell, who spent many years
in Philadelphia, Pa. Alewine (Maid that
Cut Off the Chicken’s Lips), 1987; pg. 28.
X:1
T:Poet Carney, The
R:Reel
S:Seamus Quinn, Fermanagh (fiddle)
D:Session tape - Buncrana 1979
Z:Bernie Stocks
L:1/8
M:4/4
K:D
FE || DF~F2 EFDF | Adfd edBA | DF~F2
EFDA | BAGF EA,CE |
DF~F2 EFDF | Adfd edBf | abaf gfec |
dBAG FGEF ::
dfaf g2fg | afdf edcB | Ac~c2 BcAB |
Ad~d2 efge |
a2af g2ge | dfed =cAGE | Ad~d2 =cAdB
| =cAGE EDD2 :|
POET'S GRAVE, THE (Uaigh a'Bhaird). Scottish, Slow Air (3/4 time). A
Major. Standard tuning. AB. "'The Poet's Grave' is a delightful, solemn
dirge, the editor never heard from any other but his father, repeated on his
frist reading Dr. Currie's edition of Burns, which gives such a moving picture
of the bard's fate. No single instrument but the organ can do it full justice,
but it must be delightful with either a full vocal or instrumental harmony"
(Fraser). Fraser (The Airs and Melodies
Peculiar to the
X:1
T:Poet’s Grave, The
T:Uaigh a’Bhaird
L:1/8
M:3/4
Q:120
S:Fraser Collection
Z:AK/Fiddler’s Companion
K:A
E6|A6|F3 EFG|A4 FE|E6|A4e2|B3 (ABc)|A6||e4d2|c4B2|A3 Bc^d|
E4
FE|E6|c4e2|B3 ABc|A6||
POG AN BRIDEAC. AKA and see "Kiss the Bride."
POG AN CAILIN AR CUL
AN STANNA. AKA and see "Kiss the Maid Behind the
Barrel(s)."
POG DO COMPANAC. AKA and see "Kiss Your
Partner."
POINTE-AU-PIC. French‑Canadian, Reel. A Minor ('A' part) & C Major ('B'
part). Standard tuning. AB (Phillips): AA'BB' (Carlin). Pointe‑au‑Pic
is a small town on the
POINTE AUX PINS, LA (Pine Point). Cajun, Two-Step (4/4 time).
POINTE NOIRE TWO-STEP. Cajun, Two-Step (4/4 time).
POIRT MABOU (Port Mabou). AKA and see “A Mabou Reel [1],” “Elizabeth’s Big Coat.”
POITIN STILL, THE. Irish, Air (6/8 time). D Major. Standard
tuning. One part. Poteen, or poitin, is an alcoholic drink distilled from
potatoes, and often the drink of the poor (since it could be brewed at home
from available ingredients) in
POLCA AN DREOILÍN. AKA and see “Johnny Mickey’s,”
“Johnny Mickey Barry’s,” “Tourniore
Lasses,” “The Wren.” Polka.
POLCA ANTAINE MHIC LÚ. AKA and see "Tony
Lowe's Polka [1]."
POLCA BHODAÍ UÍ
FHOIRRÉIGH. AKA and see "Buddy Furey's Polka."
POLCA CHNOC NA bPOLL. AKA and see "The
Knocknaboul Polka [1]."
POLCA INÍON MHIC LEOID. AKA and see “Miss McLeod’s Polka.”
POLCA MHIC GIOLLA
LUAIRINN. AKA and see "Killoran's Polka [1]."
POLCA MO MHÁITHRÍN. AKA and see “Mama’s Polka.”
POLCA NA BRÍDÍ. AKA and see “The Bridal
Polka [2].”
POLCA NA GIOFÓIGE. AKA and see “The Gypsy’s Polka.”
POLCA SHEÁIN UÍ
LAOGHAIRE.
AKA and see “Johnny
O’Leary’s [3].”
POLCA SHÉAMUIS UÍ
CAOIMH. AKA and see "Jim Keeffe's Polka [1]."
POLCA TOM BILLY. AKA and see "Tom
Billy's Polka [1]."
POLCA UÍ THARMÁIN. AKA and see "Tarmon's Polka."
X:1
T:
M:
L:1/8
R:Reel
B:Kerr – Merry Melodies, vol. 1, pg. 24 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
A|d2 (AF)
DdAF|d2 (AF) EecA|d2 (AF) DdAF|EecA (d2d):||
A|d2 (fd)
adfd|adfd bdgb|d2 (fd) afdA|GBAF E2 (Ee)|
d2 (3fed
adfd|adfd bdgb|afge fdef|gfed cABc||
POLE CAT BLUES. See “Polecat Blues.”
POLE
POLECAT BLUES. Old‑Time, Breakdown.
X:1
T:Polecat Blues
M:2/4
L:1/8
R:Reel
Z:Transcribed by Bruce
Thomson
K:D
|:a2|a2 (a2|a)bag|fd3|a2
(a2|a)bag|fd3|B4|g2 (b2|
b)gag|fd3|fafe|d2
(f2|f)fff|f2 d2|(cB3)|A4B|A2BA|
cBAF|EDB,2|[D4F4]-[DF][DF][DF][DF]|[D4F4]-[D4F4]:||
D3(D|D2)E2|F3
(F|F2)G2|A3 (A|A2)B2|=c2 =c2|B A3|
FECF|ED D2|B,DEF|ED3|D2
ED|FEDB,|D4|ABA(=c|
=c)BAF|ABAF|EDB,A,|[D4F4]-|[DF][DF]
[D2F2]|[D4F4]-[D4F4]||
([D2F2]D2)|([D2F2]D2)|([D2F2]D2)|[D4F4]|([D2F2]D2)|([D2F2]D2)|[D4F4]|B4|B4|
BAdB|AFE2|D2DF|EDB,A,|ABA(=c|=c)BAF|ABAF|EDB,A,|[D4F4]-[D4F4]|]
POLECAT'S DEN. Old‑Time, Song Tune and
Breakdown.
POLICE JACKET, THE. AKA and see "The Policeman's/Peeler's Reel,"
"The Peeler's Jacket [1],"
"The Merry Blacksmith,"
"Paddy on the Railroad,"
"The Boys of the Lake [2],"
"The Shepherd in/on the Gap,"
"The Railroad [2]," "Ike Forrester's Reel [1],"
"The Corkonian."
POLICEMAN, THE.
English, Jig. England, Northumberland. G Major. Standard tuning. AABB. Northumbrian
Pipers Pocket Green Book, 1993.
X:1
T:Policeman, The
M:6/8
L:1/8
R:Jig
K:G
G2G G2A|B2G d2B|G2G GFG|A2B cBA|G2G
G2A|B2G d2B|A2e ede|A2B cBA:|
|:d2d d2c|B2c d3|d2d d2B|A2B cBA|d2d
d2c|B2c d2B|A2e ede|A2B cBA:|
POLICEMAN'S CAP. AKA and see “The Merry Blacksmith,” “Paddy on the Railroad.” Scottish,
Reel. D Major. Standard tuning. AA'BB'. “The Merry Blacksmith” is a related
tune. Kerr (Merry Melodies), vol. 3;
No. 10, pg. 4.
X:1
T:Policeman’s Cap
M:C
L:1/8
R:Reel
S:Kerr – Merry Melodies, vol. 3, No. 10
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
f |: d3 BAFA | BAFA (BA) F2 |1 ABde
fded | (Be) e2 (Be) e2 :|2 ABde fgec | dBAF D2 ||
|: (fg) | a3f bgfe | d3A (BA) F2 |1
ABde fded | (Be)e2 (Be)e2 :|2 ABde fgec | dBAF D3 ||
POLICEMAN’S
POLICEMAN'S REEL, THE. AKA and see "The Police/Peeler's Jacket [1],"
"The Merry Blacksmith."
POLICEMAN'S RETURN, THE. AKA and see "The Peeler's Return," "The Humours of Whiskey [2],"
"Dever the Dancer," "Deel of the Dance," "The Bridge of Athlone,"
"Dillon's Fancy [2],"
"The Crossroads Frolic,"
"Barranna mora Chlann Donncha," "Humours of Derry,"
"Plearaca an Fuisce."
POLISH POLKA. Polka. The tune appears in the Michael Turner manuscript, from c.
1841-1851, from southern
X:
1
T:The Polish Polka
M:2/4
L:1/8
S:Michael Turner's ms
A:Sussex
B:Sussex Tunebook
Z:J.Adams Village Mus Pro
K:C
E/2F/2G AG | cG e2 | ed fB | dcc z | E/2F/2G AG | cG e2 | ed fB |
dcc z :| : de/2d/2 ^cd | gB d2 | de/2d/2 cA | edd z | de/2d/2 ^cd | gB d2 |
de/2d/2 cA | AGG z :|: cf Ac | FA C2 | AG _BE | dc c2 | cf Ac | FA C2 |
AG _BE GFF z :|
POLISH (WALTZ), THE.
English, Waltz. D Major. Standard tuning. AABCCDD. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes),
1999; No. 156, pg. 41.
POLITIC. Old-Time, Breakdown. A cousin
to "Martha Campbell,"
notes John Hartford. Rounder 0442, John Hartford – “
POLK
POLKA. A couple-dance form from central
POLKA DE BAUGY. French, Polka. G Major. Standard tuning. AABB. Traditional tune from
central
POLKA DE CHATEAU
CHERVIX. French, Polka. G Major. Standard
tuning. AABB. Stevens (
POLKA DE L'AVEYRON. French, Polka. C Major. Standard tuning. AABB. A traditional tune from
central
POLKA DES ÉCUREUILS (3ième partie). French-Canadian, Polka. G Major. Standard
tuning. AA'B. Source for notated version: French Canadian button accordion
player Philippe Bruneau (Québec) [Begin]. Begin (Philippe Bruneau), 1993; No. 53, pg. 79.
POLKA DU DIABLE. French, Polka. C Major. Standard tuning. AABB. Stevens (
POLKA DU PERE PLUMET. French, Polka. D Major ('A' and 'B' parts) & G Major ('C' part).
Standard tuning. AA'BBCC'. Stevens (
POLKA DU SOLEIL
COUCHANT (Sunset Polka). French-Canadian, Polka. D Major.
Standard tuning. AA'BB'. Source for notated version: transplanted
French-Canadian fiddler Omer Marcoux {1898-1982} (
POLKA DU TAPIS. Flying Fish FF‑407, Robin Williamson ‑
"Winter's Turning" (1986).
POLKA DU 'TSA'. French, Dance Tune (6/8 time). G Major. Standard tuning. AABB. Composed
by M. Batillat. Stevens (
POLKA FOUR. Old-time, Polka. In the repertoire of
POLKA LYPSE. French, Polka. G Major. Standard tuning. AADBBCCDD. Composed by Thiery
Mirebeau. A pun: 'Appocalypse'??? Stevens (
POLKA-MAZURKA. Irish, Mazurka. D Major. Standard tuning. AABB, Trio. Roche Collection, 1982, vol. 3; No. 162,
pg. 55 (listed as "Mazurka").
POLKA MHUIRIS UI
MHAONGHAILE. AKA and see "Maurice Manley's Polka."
POLKA ONE. English, Polka. D Major. Standard tuning. AABB. A modern composition by
editor Michael Raven. Raven (English
Country Dance Tunes), 1984; pg. 194.
POLKA PARISIENNE. French, Polka. G Major. Standard tu ing. AA'BB'. Stevens (
POLKA PIQUEE. See Stevens, 1988, vol. 1 for four Polka Piquees.
POLKA PIQUEE. French, Polka. C Major. Standard tuning. AABB. "Taitou" (?).
Stevens (
POLKA REEL. American. Hybrid tune. The first part is shared with "Redman's Reel," "Who Hit Nellie with the Stove‑pipe?,"
and an untitled breakdown in Christeson (1973, No. 98). Cazden, 1955; pg. 43.
POLKETT EFTER ALFRED
PÅ HULTET. Scandinavian, Polka. D Major.
Standard tuning. AABB. Private collection, A. Kuntz.
X:1
T:Polkett efter Alfred På Hultet
M:2/4
L:1/8
K:D
ff f/g/f/e/|dd F2|AF A/B/A/G/ FE E2|ff
g/f/e/d/|cc c>B|AG BA/G/|F/E/D D/F/A/d/|
ff f/g/f/e/|dd F2|AF A/B/A/G/|FE
E2|gg g/f/e/d/|ca a/b/a/g/|fg Bc|d2d2:|
|:ff f/d/A/d/|ff f2|gg g/d/B/d/|gg
g2|aa a/e/c/e/|aa a/b/a/g/|fg ea|f2 d2|
ff f/d/A/d/|ff f2|gg g/d/B/d/|gg
g2|aa a/e/c/e/|aa a/b/a/g/|fg Bc|d2d2:||
“2nd violon”
AA A/B/A/G/|FF D2|FD F/G/F/D/|A,C
C2|ee e/d/c/B/|AA A>G|EC GF/E/|DA, A,D/F/A/|
AA A/B/A/G/|FF D2|FD F/G/F/D/|A,C
C2|ee e/d/c/B/|Ae e/d/c/B/|AB GE|F2F2:|
|:dd d/A/F/A/|dd d2|dd d/B/G/B/|dd
d2|ee e/c/A/c/|ee e/d/c/B/|AB GE|DF A,F|
dd d/A/F/A/|dd d2|dd d/B/G/B/|dd
d2|ee e/c/A/c/|ee edcB|AB GE|F2F2:||
POLL AN DROIGHIONN. Scottish, Strathspey. A Major. Standard tuning. AABB. Composed by James
Stewart-Robertson, the editor of The
Athole Collection. Stewart-Robertson (The
Athole Collection), 1884; pg. 22.
X:1
T:Poll an
Droighionn
M:C|
L:1/8
R:Strathspey
C:James
Stewart-Robertson
B:Stewart-Robertson
– The Athole Collection
(1884)
Z:AK/Fiddler’s Companion
K:A
e|c>BA>F
E>FA>c|d>B d/c/B/A/ B<F F>e|c>BA>F E>FA>a|f/e/f/g/
ac e<A A:|
a|f>ea>c
B>AF>a|f>ea>c ef/g/ac|e<ac<a B>AF>a|f/e/f/g/ a>c
e<A A:|
POLL AN MHADRA UISCE. AKA and see “The Otter’s Holt.”
POLL BOOTH. English, Country Dance Tune (6/8 time).
POLL HA'PENNY (Maire Na Leat-Pingin/Pingean). AKA and see "Carolan's Dream," "Brian the Brave [1],” "Garraí na bhFéileóig (Garden of
Butterflies),” “Holey
Ha’Penny/Halfpenny,” "Molly
Halfpenny/Ha'penny," "Molly
MacAlpin," "O'Carolan's
Farewell to Music," "Paul
Ha'Penny," “Remember the Glories
of Brian the Brave.” Irish, Hornpipe, Long or Set Dance (4/4 time). A
Dorian (Mulvihill). Standard tuning. AB (O'Neill/1915 & 1001): AAB
(O'Neill/1850): AABB (Mitchell, Mulvihill, O'Neill/Krassen). The dance version
of the air “Molly MacAlpin,” composed by ancient harper Laurence O’Connellan,
born at Cloonmahon,
X:1
T:Poll Ha'Penny
T:Paul Halfpenny
T:Garraí na bhFéileóig
R:Hornpipe
H:The Irish title means "The
Garden of Honeysuckles"
D:Mary Bergin: Feadoga Stain
D:Noel Hill agus Tony McMahon: I
gCnoc na Grai
Z:id:hn-hornpipe-26
M:C|
K:Amix
(3GAB|=cAAG A2 (3AB=c|(3d=cB (3AGF
G2 (3B^cd|ed^cA d^cAG|~A3G A2de|
~f3d ~e3c|d2 (3Bcd efge|aged (3=cBA
GB|~A3G A2:|
|:ef|~g3f gfef|g2ga gedg|eaag
~a3g|eaag a2ag|
~f3d ~e3c|d2 (3Bcd efge|aged (3=cBA
GB|~A3G A2:|
"Version 2:"
AB|=cAAG A2GA|dcAF G2 (3Bcd|edcA
dcAG|A2 (3AAA A2ag|
~f3d efec|d2 (3Bcd efge|agfd
=cAGE|A2AG A2:|
|:ef|gfga gedB|=cdef gafg|e2a2
abag|e2a2 abag|
~f3d efec|d2 (3Bcd efge|agfd
=cAGE|A2AG A2:|
X:2
T:Poll Ha’penny
L:1/8
M:C
R:Set Dance
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:A Dorian
ed|cAAB AG (3ABc|dcAF G2 cd|edce
dcAF|G2 GF G2 ed|
cAAB AGEG|cAGE G2 cd|edce dcAG|A2 AA
A2:|
||de|f2 fd e2 ed|cdef g3b|aged
cAdc|A2 AA A2 (3def|gfga gfef|
gfga g2 ed|eaab aged|eaaba2 ag|f2 fd
e2 ed|cdef g3b|aged cAdc|A2 AA A2||
POLL HA’PENNY [2]. AKA
and see “The Boys of Ballysimon,”
“The Stranger [1].” Irish, Hornpipe. A
Mixolydian. Standard tuning. AABB. Source for notated version: piper Willie
Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Mitchell (Dance Music of Willie Clancy), 1993; No.
99, pg. 86 (appears as “Poll Halpenny”).
POLL OF WAPPING
HORNPIPE. English, Hornpipe.
POLLY ANN. AKA and see "Pretty
Polly Ann" (?). Old‑Time, Breakdown.
POLLY ANN WALTZ. American, Waltz. G Major. Standard tuning. AA'AA'BB'BB'CC'CC'. Source for
notated version: Frank Wilson and His Blue Ridge Mountain Trio [Phillips].
Phillips (Traditional American Fiddle
Tunes), vol. 2, 1995; pg. 295.
POLLY FOR EVER. AKA and see “Mr. Lane’s Maggot,” “Richmond Ball,” "The Round."
POLLY GRAND. AKA – “Polly Grant.” Old‑Time, Breakdown.
POLLY
HOPKINS WALTZ. English, Scottish; Waltz. D Major
(Kerr, Howe/Diamond): C Major (Howe/Accordeon). Standard tuning. AABB. A
song from an c. 1820’s broadside printed in
***
The other
morn I met with Polly Hopkins,
How do you do, how do you do,
None the better Mr. Tomkins
For seeing you, for seeing you.
With all my wealty -Be quiet pray
A man of health -do get away,
Oh! cruel pretty Polly Hopkins,
Don't tell me so, don't tell me so,
Oh! silly, silly Mr. Tomkins,
To use me so, to use me so.
Fal, lal, lal, &c.
***
Baltrimore publisher George Willig
printed a variant of the comic song under the title “Polly Hopkins & Tommy
Tompkins” in 1827, a duet “as sung by the Miss Gillinghams.” It begins:
***
TOMMY Pretty, pretty Polly Hopkins, how d'ye do? how d'ye do?
POLLY
None the better Tommy Tompkins for seeing you, for seeing you.
TOMMY
I'm a man of wealth.
POLLY
Be quiet pray.
TOMMY
Take all my pelf.
POLLY
Pray get away.
TOMMY
Oh cruel, cruel Polly Hopkins to treat me so, to treat me so.
POLLY
Oh cruel Tommy Tomkins to tease me so, to tease me so.
***
Howe (Complete Preceptor for the Accordeon), 1843; pg. 20. Howe (
M:3/4
L:1/8
R:Waltz
S:Elias
Howe –
Z:AK/Fiddler’s Companion
K:D
D>D F>F
A>A | f2d2 (3dcd | e2g2 (3cBc | d2f2 z2 |
|:
(3dcd|e2g2 (3cBc | d2f2 (3dcd | e2g2 (3cBc | d2f2 z2 |
D>D F>F A>A | f2d2 (3dcd |
e2g2 (3cBc | d4 :|
POLLY
IN THE KITCHEN. Old-Time, Breakdown. A banjo tune
played by Howard Hall of Hillsville,
***
Polly in the kitchen, Polly in the hall,
Polly in the kitchen, eating it all.
***
Musical Traditions MTCD321-2, Howard Hall (et al) – “Far on the Mountains, vols. 1 & 2” (2002).
POLLY KIMO. AKA and see "Kemo, Kimo."
Lyrics to the song in Ford (Traditional
Music in America), 1940; pg. 450.
POLLY PEACHUM’S
HORNPIPE. English, Old Hornpipe (3/2 time). G
Minor. Standard tuning. AB. The tune appears in Walsh’s third volume of
X:1
T:Polly Peachum's Hornpipe
B:Walsh
M:3/2
L:1/8
N:2 flats
K:Gm
d4 cBAG e2 d2| c2 ed cBAG ^F4| GDAD
BDAD BDcD| dced cBAG ^F4| f4 edcb g2 f2|\
e2 gf edcB A4| fBgB fBgB aBbf| edcB
E2 A2 B4:: f4 edcB A4| Bcde f2 _A2 A2 G2|\
g4 fedc =B4| cdef g2 B2 B2 A2| b4
ag^fg a2 d2| c2 ed cBAG ^F4|\
ecAc dBGB cA^FA | BGFB D2 ^F2 G4:|
POLLY PUT THE KETTLE
ON [1]. AKA and see “Barney Leave the Girls Alone,”
"Jenny's Bawbee." Irish,
English; Reel. A Dorian (Roche): D Major (Hardings): D Major {'A' and 'B'
parts} & A Dorian {'C' and 'D' parts} (Kennedy, Raven). Standard tuning.
AABB'CCDD' (Kennedy, Raven): AABB (Hardings): AAB (Roche). The collector John
Glen (1891) finds an early printing of the tune in Dale's Variations for the Pianoforte (1794) and remarked it became at that time "very popular with
young ladies." O’Neill (1913) relates that a
X:1
T:Polly Put the Kettle On [1]
M:2/4
L:1/8
S:Harding’s All Round Collection, No. 10 (1905)
Z:AK/Fiddler’s Companion
K:D
a/b/a/g/ f/d/d/f/ | g/B/e/d/ c/A/A |
a/b/a/g/ f/d/d/c/ | B/d/c/e/ dz :|
|: g/f/g/e/ f/d/d/f/ | g/B/e/d/
c/A/A/e/ | f/d/g/e/ f/d/d/f/ | B/d/c/e/ dz :|
X:2
T:Polly Put
the Kettle On
M:2/4
L:1/8
R:Reel
S:From Ann Winnington’s music
manuscript book (No. 17), c. 1810
N:The
frontispiece to the MS indicates Winnington lived in
Z:AK/Fiddler’s Companion
K:D
abag | fd
d2 | Beed | cA A2 | abag | fd d2 | Bdce | d2z2 :|
|: fdge |
fddc | Beed | cA A2 | fdge | fdge | Bdce | d2 z2 :||
POLLY PUT THE KETTLE
ON [2]. AKA and see "Molly Put the Kettle On [1],"
"Granny Will Your
Dog Bite?" Old‑Time, Breakdown.
***
Polly, put the kettle on and slice the bread and butter fine.
Slice enough for eight or nine, we'll all have tea.
(Ford).
***
Ford (Traditional Music in America), 1940; pg. 85 (Ford also prints the
words to "Molly Put the Kettle On" on page 399). Silberberg (Tunes
I Learned at Tractor Tavern), 2002; pg. 119. Spandaro (10 Cents a Dance), 1980; pg. 4. In the repertoire of western N.C.
fiddler Osey Helton. Biograph 6008, Ebenezer ‑
"Fox Hollow String Band Festival." Folkways FTS 31062, "Ship in
the Clouds: Old Time Instrumental Music" (1978). Mountain 310, Tommy
Jarrell ‑ "Joke on the Puppy" (1976. Learned from Charlie
Lowe).
X:1
T:Polly Put the Kettle On
L:1/8
M:4/4
K:D
|:fg | a2ab afef | gede cAfg | a2ab
afef | gfec d2 :|
|: de | dcde fdfa | gfed cBA2 | dcde
fefa | gfec d2 :|
X:2
T:Polly Put
the Kettle On
L:1/8
M:2/4
S:Howdy
Forrester: transcribed by John Hartford
N:Notation
for the vocal line appears as the last part, to which is sung:
N:Molly put
the kettle on, Katy draw the people in, Molly get the kettle
N:on we’ll
all take tea.
K:D
A/B/A/G/
F/E/D/F/|E/D/C/E/ F/G/A|A/B/A/G/ F/E/D/F/|E/C/E/F/ D2:|
||A/d/B/c/
d/B/A/d/|B/A/F/A/ d2|A/d/B/c/ d/B/A/d/|B/A/F/G/ A2||
(3A/B/c/||df/g/
a/f/d/f/|e/g/f/g/ a/b/a/f/|df/g/ a/b/a/f/|d/A/B/F/ A2||
||a/b/a/g/
f/d/d/d/|e/d/d/d/ f/d/d/d/|a/b/a/g/ f/d/d/d/|e/d/e/f/ d|]
A/B/A/G/
F/D/D|E/D/D/D/ F/A/A|A/B/A/G/ F/D/D/D/|EC D2||
POLLY PUT THE KETTLE
ON [3]. Old‑Time, Breakdown.
POLLY PUT THE KETTLE
ON [4]. AKA and see "Polly's Mountain Kettle." G Dorian.
Standard tuning. AABB. The 'B' part is irregular. Does not appear to be related
to version #3. Source for notated version: Byard Ray [Phillips]. Phillips (Traditional American Fiddle Tunes), vol.
1, 1994; pg. 186.
POLLY PUT THE KETTLE ON [5].
English, Reel. G Major. Standard tuning. AABBCC. Source Charles (or
sometimes George) Baldwin (b. 1827) was an elderly charcoal burner and fiddler
aged 88 years in 1910 when he was visited by Cecil Sharp, who noted several
tunes from him. At the time the old fiddler was living in the Alms Houses of
Newent, Gloucestershire, a town he had lived in most of his life. In younger
days he was the fiddler for the Clifford Mesne’s Morris, although by that time
all the team members had died, and the team disbanded some 40 years prior.
Sharp said in his notes from the visit:
***
Tho. Philpotts was fool, Bodenham, John Aplin, etc. dancers—all now
dead.
As at Mayhill they processed from place to place in column formation,
top left
being flagman and top right swordman. The former had a large flag
peculiar to
the village which he waved in time with the music, and the latter two
swords
which he whirled round his head with the lilt of the music. He also
danced the
sword dance (swords on the ground) to the tune of Greensleeves.
used to play at all the Wakes and gave me some interesting tunes (see
tune
book). He played me Pop Goes the Weasel and described figures which were
the same as usual. He said he had known the tune since he was a boy and
that
it wasn’t a new one then. He was quite positive on this point.
***
X:1
T:Polly Put the Kettle On [5]
M:4/4
L:1/8
R:Reel
S:George Baldwin, Newent,
Gloucestershire, 1910
N:Noted from
K:G
gfed efge|dcBA Bcd2|gfed efgg|fgaf
g4:|
|:gabg afd2|efge dB G2|ABcA
dBGB|cAFA G4:|
|:BcdB cde2|ABcA Bcd2|G3B cBAd|BGAF
G2G2:||
POLLY PUT THE KETTLE ON [6].
Old-Time, Breakdown. USA, Missouri. D Major. Standard tuning. AA’BB.
Unrelated to the “Polly Put the Kettle On” versions above. Source Bob Holt,
seemed to equivocate a bit on where he learned the tune, and what the title
was, but believed he picked it up from a radio broadcast of regionally famed
fiddler Lonnie Robertson. Beisswenger & McCann (2008) point to similarities
with the Ozark tune “Minnie Put
the Kettle On,” so there may have been some confusion. Source for notated
version: Bob Holt (1930-2004, Ava, Missouri), [Beisswenger & McCann].
Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 64. Rounder CD 0432, Bob Holt – “Got a Little Home to Go to”
(1998).
POLLY STEWART. Scottish, Reel. Tradition 2118, Jim MacLeod
& His Band ‑ "Scottish Dances: Jigs, Waltzes and Reels"
(1979).
POLLY WOLLY DOODLE. American, Song Tune (2/4 time). G Major (Ford, Sweet): D Major (Sweet).
Standard tuning. AB. The song dates to at least 1880.
***
Oh, I went down South for to see my Sal
Sing Polly Wolly doodle all the day
Sing Polly Wolly doodle all the day
***
Fare thee well, fare thee well
Fare thee well my fairy Fay
For I'm going to Lou'siana, my guitar and her piana
Singing Polly Wolly doodle all the day
***
Ford (Traditional Music in America), 1940; pg. 66 (Ford prints the lyrics
on page 420). Sweet (Fifer’s Delight),
1965/1981; pgs. 5 & 6 (versions in two different keys) Folkways FA 2381, "The Hammered Dulcimer as played by
Chet Parker" (1966). Heritage XXIV, Cornlickers ‑ "Music of
POLLY'S MOUNTAIN
KETTLE. AKA and see "Polly Put the Kettle On" [4].
POLLY'S REEL. AKA and see "B(h)aintreach
na Radaireacht," "Captain
Murray's Reel," "Cock your pistol,
Charley/Charlie [2]," "Hopetoun
House," "The Mountain
Lark [7],” "The Tap Room," "The Youngest Daughter [1]."
POLLY’S (WALTZ).
English, Waltz. D Major. Standard tuning. AABBCCDDEE. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes),
1999; No. 157, pg. 41.
POLLYWOG HORNPIPE. Old‑Time. The title appears in a list of traditional
POLO MARCH, THE. Canadian, March or Polka.
POLO REEL. American, Reel. D major. Standard tuning. AABB. Composition credited to
one J. Oswald in Ryan’s Mammoth
Collection (1883). Cole (1000 Fiddle
Tunes), 1940; pg 33. Ryan’s Mammoth
Collection, 1883; pg. 58.
X:1
T:Polo Reel
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:D
(3A/B/c/ | .d(c/A/) B/d/A/F/ | G/E/F/D/
E/D/C/E/ | D/E/F/G/ A/B/c/e/ | g/e/f/d/ e/c/A/c/ |
.d(c/A/) G/d/A/F/ | G/E/F/D/
E/D/C/E/ | D/F/A/F/ G/B/A/F/ | E/D/C/E/ D :|
|: (A/^G/) | A/c/e/c/ A/d/f/d/ |
{f}e/^d/e/f/ e/c/A/c/ | g/e/f/d/ e/c/d/f/ | e/d/c/B/ A/g/f/e/ |
.d(c/A/) B/d/A/F/ | G/E/F/D/
E/D/C/E/ | D/F/A/F/ G/B/A/F/ | E/D/C/E/ D :|
POLONESS, LA. French, Country Dance Tune (2/4 time). G Major. Standard tuning. AABB.
The polonaise? Aird (Selection), Vol. II, 1782; No. 49, pg. 16.
X:1
T:Poloness,
La
M:2/4
L:1/8
S:Aird,
Vol. II (1782)
Z:AK/Fiddler’s Companion
K:G
GB/G/
{G}FE/D/ | GB/G/ {G}FE/D/ | dd c/B/A/G/ | AA G/F/E/D/ | GB/G/ {G}FE/D/ |
GB/G/
{G}FE/D/ | G/A/B/c/ d/e/f/g/ | d/B/A/B/ G2 :: B/c/d/e/ de/f/ | B/c/d/e/
e/d/c/B/ |
A/G/A/B/ AD | B/c/d/e/ de/f/ |
a/g/f/e/ d2 | B/c/d/e/ e/d/c/B/ | A/G/A/B/ G2 :|
POLS. Norwegian, American; Dance Tune (3/4 time).
POLS FRAN
POLTHOGUE
(JIG). AKA – “Pothogue Jig.” AKA and see
"Humors of Ballymanus,"
"Jig Polthogue," “Newton
Lasses,” "Pilib McCue." Irish,
Slip Jig. C Major (Kerry, Coly/Ryan); D Major (Kennedy, Levey). Standard
tuning. AAB (Levey): AABB (Kerr): AABBCC (Cole, Kennedy, Ryan). A polthogue
means a blow, as from a brawny fist: fighter Gene Tunney said of another
heavyweight champion, Rocky Marciano, in 1952, “Like Jeffries,
Marciano has the wallop to lay a man out with a single polthogue.” This jig was mentioned in an
account of one of the old pipers of
***
having spent several nights at piper Cassidy’s
house weighing up the local
dancers …was impelled by vanity to show them
how good a dancer he was
himself. He asked one of the handsomest girls
out on the floor, and, in
accordance with the usual form, faced her
towards the piper, asking her to
name the tune she wished to dance to. Receiving
the customary reply, ‘Sir,
your will is my pleasure,’ Carleton called for
the jig Polthogue. He next
danced Miss McLeod’s Reel with his partner, and then called for a hornpipe,
a single dance, this is, one done without a
partner. It was considered
unladylike for girls to do a hornpipe. The College Hornpipe was his choice
for this dance. (pg. 59)
***
Carleton
again mentions the tune in his Amusing Irish Tales (Simpkin, Marshall,
Hamilton, Kent & Co.,
***
The Irish dancing-masters were
eternally at daggers-drawn among themselves;
but as they seldom met, they were
forced to abuse each other at a distance, which
they did with a virulence and scurrility
proportioned to the space between them.
Buckram-Back had a rival of this
description, who was a sore thorn in his side.
His name was Paddy Fitzpatrick, and
from having been a horse-jockey, he gave
up the turf, and took to the calling of a dancing-master.
Buckram-Back sent a
message to him to the effect that
"if he could not dance Jig Polthogue, on the
drum-head, he had better hould his
tongue for ever." To this Paddy replied,
by asking if he was the man to dance
the Connaught
Jockey upon the saddle
of a blood horse, and the animal at
a three-quarter gallop.
***
The title is among those mentioned
in Patrick J. McCall’s 1861 poem “The Dance at Marley,” the first three stanzas
of which goes:
***
Murtagh
Murphy’s barn was full to the door when the eve grew dull,
For Phelim Moore his beautiful new pipes had brought to charm them;
In the kitchen thronged the girls - cheeks of roses, teeth of pearls -
Admiring bows and braids and curls, till Phelim’s notes alarm them.
Quick each maid her hat and shawl hung on dresser, bed, or wall,
Smoothed down her hair and smiled on all as she the bawnoge entered,
Where a shass of straw was laid on a ladder raised that made
A seat for them as still they stayed while dancers by them cantered.
***
Murtagh and
his vanithee had their chairs brought in to see
The heels and toes go fast and free, and fun and love and laughter;
In their sconces all alight shone the tallow candles bright -
The flames kept jigging all the night, upleaping to each rafter!
The pipes, with noisy drumming sound, the lovers’ whispering sadly drowned,
So the couples took their ground - their hearts already dancing!
Merrily, with toe and heel, airily in jig and reel,
Fast in and out they whirl and wheel, all capering and prancing.
***
“Off She
Goes,” “The Rocky Road,” “The Tipsy House,” and “Miss McLeod,”
“The Devil’s Dream,” and “Jig Polthogue,” “The Wind that Shakes the Barley,”
“The First o’May,” “The Garran Bwee,” “Tatther Jack Welsh,” “The River Lee,”
-
As lapping breakers from the sea the myriad tunes at Marley!
Reels of three and reels of four, hornpipes and jigs galore,
With singles, doubles held the floor in turn, without a bar low;
But when the fun and courting lulled, and the dancing somewhat dulled,
The door unhinged, the boys down pulled for “Follow me up to Carlow.”
***
Cole (1000 Fiddle Tunes), 1940; pg. 51
(appears as “Pothouge”). Kennedy (Fiddler’s
Tune-Book: Slip Jigs and Waltzes), 1999; No. 62, pg. 14. Kerr (Merry Melodies), vol. 2; No. 253, pg.
28. Levey (Dance Music of
X:1
T:Polthogue
M:9/8
L:1/8
R:Slip Jig
S:Levey – Dance Music of
Z:AK/Fiddler’s Companion
K:D
d2d dfd cBA
| d2d (dcd) (fga) | d2d dfd (cBA) | B2B B2A (Bcd) |
dcd fed cBA
| dcd fed fga | afd ded cBA | B2B B2A Bcd ||
POLWORTH/POLWART ON
THE GREEN. Scottish, Air (4/4 time). D Major.
Standard tuning. AABB. The tune was included by Allan Ramsay in his ballad
opera The Gentle Shepherd (1725), and
was also used as the last tune in James Oswald's (1710-1769) “Sonata of Scots
Tunes” (published in his Curious
Collection of Scots Tunes, c. 1739), a variation sonata of which each
movement is a different traditional air. The tune was a vehicle for numerous 18th
century ballad opera songs, and the song is a staple for modern-day
anthologies. In modern times it remains well-known in Scottish country dance
circles. Polwarth on the Green is an ancient Border village in
***
In the time of Robert II (1371-1390) Sir Patrick de Polwarth died,
leaving an only child,
the last of her race. She carried the broad lands of Polwart and
Kimmerghame into the Sinclare
family by her marriage with Sir John Sinclair of Herdmanston. Their
great-grandson, John Sinclair,
died in the fifteenth century without male issue. The estate of
Herdmanston devolved on his brother,
Sir William Sinclair (from whom the present Lord Sinclair is descended),
but his lands of Polwarth
and Kimmerghame went to his daughters, Marion and Margaret. The
heiresses were young and
beautiful; and among the many suitors that flocked round them, those
that met with the greatest favour
in their eyes were two brothers, George and Patrick, the young Humes of
Wedderburn. The ladies’
uncle, Sir William, fearing that their lands should go out of the
family, not only refused his consent,
but removed his nieces from their
northern slopes of Lammermuir. Though closely immured, they contrived,
by the help of an old beggar
woman, to send a message to Wedderburn. A day or two later, a gallant
train, headed by the two
young lovers, rode over this hills and drew rein beneath the castle
walls. An angry parley followed the
demand for the restoration of their lady-loves; but the “Men o’ the
Merse” were too strong to be
resisted, and Sir William had the mortification of seeing the heiresses
borne away in triumph. The
double marriage was celebrated at Polwarth, and the wedding-dance took
place around the thorn tree.
***
The following verse is of unknown
origin:
***
At Polwart-on-the-Green
We oft hae merry been
And merry we’ll be still
While stands the Kylie’s hill;
And round the corn bing
We’ll hae a canty fling
And round about the Thorn
We’ll dance till grey-eyed morn
Shall lifet her drowsy bree
On mountain, vale and lea.
***
At Polwart-on-the-Green
Our forbears oft were seen
To dance about the Thorn
When they gat in their corn
Wo we her sons wha be
Shall keep their ancient glee.
Nor let the gree gang doun
While Polwart is a toun.
***
McGibbon (Scots Tunes, book III), 1762; pg. 81. Linn
CDK101, Concerto Caledonia – “Colin’s Kisses: The Music of James Oswald.”
X:1
T:Polwart on the Green
M:C
L:1/8
R:Air
N:”Slow”
S:McGibbon – Scots Tunes, book III, pg. 81
(1762)
Z:AK/Fiddler’s Companion
K:D
A2 | F2 ED A2F2 | A4 d3e | f2 ef
gfed | ({f}e6A2 | F2 ED A2F2 | G3A B2 (AG) |
A2f2 gfef | d6 :: A2 | defg a2
“tr”(gf) | efga g2 “tr”(fe) | d2 (de) fefg | ({f}e6A2 |
F2 (ED) A2F2 | G3A (BAB)G | A2d2
({f}e2) dc | ({c}d6) :|
POLYGON, THE.
English, Jig. D Major. Standard tuning. AABB. Aird (Selection of
Scotch, English, Irish and Foreign Airs), vol. 1, 1782; pg. 53. Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 24.
X:1
T:Polygon, The
M:6/8
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:D
f/g/|afd ecA|dBG
{G}F2E|DFA Bgf|efd {d}c2 f/g/|afd ecA|dBG {G}F2E|DFA Bgf|edc d3:|
|:Ace gec|Adf afd|Ace gec|Bed {d}c3|Ace gec|Adf afd|AcA Bgf|edc d3:||
POMANDER JIG, THE. Scottish, Jig. F Major. Standard tuning. AABB.
Composed by Ian Cameron. Martin & Hughes (Ho-ro-gheallaigh), 1990; pg. 49.
X:1
T:
M:2/4
L:1/8
R:Hornpipe
B:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G
(3D/E/F/|GG/A/
B/c/d/B/|({d}c/)B/c/d/ e(3d/e/f/|g/f/g/e/ d/B/G/B/|c/B/A/G/ F/A/D/F/|
GG/A/ B/c/d/B/|({d}c/)B/c/d/
e/d/e/f/|g/f/g/e/ d/B/G/A/|BGG:|
|:(3d/e/f/|({a}g/)f/g/a/
b/g/d/B/|({d}c/)B/c/e/ d/d/B/d/|({a}g/)f/g/a/ b/g/d/B/|
c/d/e/f/ g/f/g/a/|b/a/g/b/
a/g/f/a/|({a}g/)f/g/e/ d/B/G/B/|d/g/f/g/ e/c/A/F/|GGG:|
POMPEY
RAN AWAY. American, Jig. G Major. Standard
tuning. AABB. The tune, perhaps the earliest extent attributed to
African-Americans, appears in
X:1
T:Pompey
Ran Away
M:3/4
L:1/8
K:G
B2 BA
G2|EGFD G2|B2 BA G2|EGFD G2:|
|:dBcA
G2|EAAF G2|dBcA G2|EGFD G2|
EAAF
G2|EGFD G2|EAAF G2|EGFD G2:|
POOKA’S DELIGHT, THE. Irish, Reel. D Dorian. Standard tuning. AB. A
windey tune composed by
X:1
T: The
Pooka's Delight
C: ©
B.Black
Q: 350
R: reel
M: 4/4
L: 1/8
K: C
A,^CEG FD
D2 | cAAc BG G2 | DGdG DFcF | BGFG _EDC_B, |
A,^CEG FD
D2 | cAAc BG G2 | AGAc dBAG | FAEC D4 :|
DE^FA d3 A
| ^f3 e d^c A2 | c2 Gc EcGc | ^c2 Gc EcGc |
d^cde f2 c_B | AFGA _ED D2 | A,^CEG
FAdA | FAEC D4 :|
POOL REEL, THE. Scottish, Reel. E Dorian. Standard tuning.
AAB. A 19th century reel composed by Robert Lowe.
POOLACHRIE. Scottish. The melody was composed by Charles Grant (b. Strondhy,
Knockandu, 1806‑1892) and is named after a famous Salmon pool on the
River Spey.
POOL'S HOLE. English, Country Dance Tune (2/2 time). D Minor. Standard tuning. AB.
The melody dates to 1690. Barnes (English
Country Dance Tunes), 1986. Sharp (Country
Dance Tunes), 1909/1994; pg. 57.
POOR BLACK SHEEP. AKA "
POOR BLIND BOY, THE (An Buacaill Boct Dall). Irish, Slow Air (4/4 time). B Flat
Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979;
No. 147, pg. 26.
X:1
T:Poor Blind Boy, The
M:C
L:1/8
R:Air
N:”Slow”
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:Bb
d|d3B e3d|c=Bc>d _B2 zA|GBeg
f3d|d4 c2 z2|d2 d>c B3 A|
G3 F =EGcB|Af=ed cBAG|G4 F2 z||F3G
ABcd|ecfe dcBA|
GBeg f3d|d4 c2 zc|d3d e3e|f3 f
g3f|fedc B3A|c4 B2 z||
POOR CATHOLIC BROTHER. Irish, Slow Air. A Minor. Standard tuning. AAB. Stanford/Petrie (Complete Collection), 1905; No. 631, pg.
158.
X:1
T:Poor Catholic Brother
M:3/4
L:1/8
N:”Very slow”
S:Stanford/Petrie (1905), No. 631
Z:AK/Fiddler’s Companion
K:Amin
E2 | A2A2A2 | A2A2A2 | F2F2F2 | F4
F2 | E2E2 E^D | E2A2^G2 | A2A,2A,2 | A,4 :|
|| AB | c2c2c2 | B2B2B2 | A2A2A2 |
^G4 A2 | F2F2 E^D | E2A2^G2 | A2 A,2A,2 | A,4 ||
POOR GIRL WALTZ. New England, Waltz. C Major. Standard tuning. One part. Fretless 103, "Canterbury Country Dance
Orchestra."
POOR GIRL WALTZ. Old‑Time, Waltz. C Major. Standard tuning. AB. A uncommon tune
recorded by Clendenin, West Virginia, fiddler Reese Jarvis (1900‑1967) for
Brunswick, 1929. Source for notated version: Clem Myers [Phillips]. Phillips (Traditional American Fiddle Tunes), vol.
2, 1995; pg. 296.
POOR IRISH BOY. Irish. This melody must have impressed G.F. Handel during his nine
month stay in Ireland as it was copied out in musical setting in a MS book of
his which was in the Fitzwilliam Museum at the turn of the (20th) century
(Flood, 1906).
POOR JACK NUNAN. Irish, Air (4/4 time). F Major? D Minor?. Standard tuning. One part.
Learned by Joyce in his childhood in Limerick. Joyce (Old Irish Folk Music and Songs), 1909; No. 101, pg. 52.
X:1
T:Poor Jack Nunan
M:C
L:1/8
R:Air
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:Dmin
D>E|F2 F>G A2 AG|F2 A>F
D3d|f2 ec d2 (3cAG|F2 (3GFG A3G|
F2 F>G A2 AG|F2 A>F D3B|c2
f>e d2 (3cAG|A2 F>F F2||
POOR JOHNNY. AKA ‑ "Poor Johnny's Gone to War"(?) Old‑Time.
The title appears in a list of traditional Ozark Mountain fiddle tunes compiled
by musicologist/folklorist Vance Randolph, published in 1954.
POOR JOHNNY'S GONE TO
(THE) WAR. AKA and see "Tommy Love," "John Lover('s Gone),"
"John's Lover is Gone," "John the Lover." Old‑Time,
Breakdown. USA; southwestern Va, western North Carolina. D Major. AABBCC ('C'
part added by Malcolm Owen). This southwestern Virginia tune has currency under
several titles. It was in the repertory of fiddlers Kahle Brewer and Taylor
Kimble under this title, and as “Poor Little Johnny Has Gone to the War” from
Bertie Mae Dickins of Ennice, North Carolina. According to one source, the
melody goes back to the time of Confederate cavalryman General Jeb Stuart
during the Civil War (Kinney Rorrer). County CD-2711,
Kirk Sutphin - "Old Roots and New Branches" (1994). Rounder 0010,
"The Fuzzy Mountain String Band" (1972. Learned from Taylor Kimble.).
POOR LITTLE DARLIN’. See note for “Wolves a Howlin’.”
POOR
LITTLE MARY, SITTING IN THE CORNER. Old‑Time, Breakdown. USA,
Mississippi. A Major. AEae tuning. Tom Rankin (1985) could find no recorded or
printed versions of this tune, which sounded to him like a children's gane song
"with its narrow melodic framework in the coarse phrase." Enos Canoy,
the source, learned the tune from his uncles, Love Kennedy and Robert Runnels
of Simpson County, Mississippi. Mississippi Department
of Archives and History AH‑002, Enos Canoy and the Canoy Band ‑
"Great Big Yam Potatoes: Anglo‑American Fiddle Music from
Mississippi" (1985. Originally recorded for the Library of Congress in
1939).
POOR LIZA JANE. AKA and see "Little Liza
Jane" [1]. Old‑Time, Breakdown.
POOR MAN'S DUMP. English, Air (3/2 time). G Major. Standard tuning. AABB. A lute tune
from the early 16th century. Chappell (1859) says the dump is a slow dance air,
though Flood (1906) disagrees with this assessment (see note on "Peg a Ramsay"). Chappell (Popular Music of the Olden Times), vol.
1, 1859; pg. 221.
POOR MAN'S WALTZ. See "Valse de Calcasieu."
POOR MARY ANN. AKA and see “All
Through the Night [1].” Scottish, Country Dance Tune (2/4 time). D Major.
Standard tuning. AABB. Kerr (Merry
Melodies), vol. 3; No. 373, pg. 41.
X:1
T:Poor Mary Ann
M:2/4
L:1/8
R:Country Dance
S:Kerr – Merry Melodies, vol. 3, No. 373
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
d>cBd|e>dcA|B2
c>d|d3A|d>cBd|(e/f/)e/d/ cA|B2 c>d|d3 z:|
|:g>fga|bagf|gfed|fedc|d>cBd|e>dcA|B2
c>d|d3 z:|
POOR OF PURSE BUT ROUTH O’ CREDIT. Scottish, Reel. D Mixolydian. Standard tuning. AABB. The work ‘routh’
in the title is a Scottish word meaning ‘plenty’. Aird (Selections),
vol. II, 1782; No. 93, pg. 34.
X:1
T:Poor of
Purse but Routh o’ Credit
M:C
L:1/8
S:Aird,
vol. II (1782)
Z:AK/Fiddler’s Companion
K:D
Mixolydian
(d/e/f/g/)
a2 fd (f/g/a/f/) | d/e/f/g/ a2 gc (e/f/g/e/) | d/e/f/g/ a2 fd f/g/a/f/ |
e/f/g/e/ f/g/a/f/ g/f/e/d/ ce :|
|: fdAd fd e/f/g/e/ | fdAd gc
e/f/g/e/ | fdAd fd f/g/a/f/ | ga/g/ fa/f/ ec e/f/g/e/ :|
POOR OLD GRANUA WEAL. Irish, Air (4/4 time). F Minor. Standard tuning. AB. The title is an
allegory for Ireland. Source for notated version: “From J. McCloskey, Dungiven”
[Stanford/Petrie]. O'Lochlainn (Irish
Street Ballads). Stanford/Petrie (Complete
Collection), 1905; No. 790, pg. 197. Outlet OAS
3013, Michael "Straighty" Flanagan.
X:1
T:Poor Old Granua Weal
M:C
L:1/8
N:”Andante”
S:Stanford/Petrie (1905), No.
Z:AK/Fiddler’s Companion
K:F Minor
F/G/A/B/ | cdcB A2 ec | B2c2 E2 FG |
AFBA F2F2 | F6 F/G/A/B/ |
cdcB A2 ec | B2c2E2 FG | AFBA F2F2 |
F6 |: FG | ABc=d e2 de |
f2c2B2 AB | c2B2 cdec | f6 fd |
e2f2c2 BA | B2c2E2 FG | AF BA F2F2 | F6 :|
POOR OLD NAPPER. Old‑Time, Breakdown. USA, Oklahoma. G Major. Standard tuning. AABB.
See also Harvey Sampson’s “Napper.” Source for
notated version: W.S. Collins (Pottawatomie County, Oklahoma) [Thede]. Thede (The Fiddle Book), 1967; pg. 102.
POOR OLD ROBINSON
CRUSOE. AKA and see "Poor Old Soldier," "The Old Soldier [1]," "The Rogue's March [1]." American,
Dance and Song Tune (6/8 time). E Major. Standard tuning. AB. Once a song air
but the melody is now better known as "The Rogue's March," which has
since 1750 been the regulation drumming‑out tune for offenders from the
British army.
***
Poor old Robinson Crusoe was lost,
On an island they say, O,
He stole him a coat from an old billy‑goat,
I don't see how he could do so.
***
Ford (Traditional Music in America), 1940; pg. 79 (Ford also prints
different words for a song called "Robinson Crusoe," to a different
jig tune).
POOR OLD SOLDIER. AKA and see "The Old
Soldier [1]," "Poor Old
Robinson Crusoe," "The
Rogue's March [1]." American, March (6/8 time). USA, southwestern Pa.
G Major. Standard tuning. AB. Both duple and triple-time versions of the tune
exist. Once a secular song tune it has, since 1750, been the regualtaion
drumming‑out of the ranks tune for offenders in the British army, and
hence has acquired the title of "The Rogue's March." In America it
became one of the regulation camp duty tunes for fifers, one of the only ones
collected from Pennsylvania fifers states Bayard (1981). Flute player Henry
Beck, who left a post-Colonial period manuscript, gives the tune as “Poor Old
Tory.” Lyrics set to the tune go:
***
Sold
me blanket and sold me coat, sold it for half a penny;
Sold me blanket and sold me coat, sold
it for half a penny .
Poor old soldier, poor old soldier
If ever I ‘list for a soldier again,
the Devil will be me Sergeant;
If ever I enlist again, the Devil
will be me Sergeant.
***
Sources for notated versions: George
Fisher (fifer from Somerset County, Pa., 1962) and Steffy (fiddler from Pa.,
1949) [Bayard]. Bayard (Dance to the
Fiddle), 1981; No. 449A‑B, pgs. 428‑429. Johnson (A Further
Collection of Dances, Marches, Minuetts and Duetts of the Latter 18th
Century), 1998; pg. 10.
X:1
T:Poor Old Soldier
M:2/4
L:1/8
K:G
BB B/c/d|ee e2|ddde|d2B2|BB B/c/d|ee
e2|dd d/c/B|A2G2||
g2f2|e2d2|ggff|ee d2|BB B/c/d|ee
e2|ddde|d2B2|BB B/c/d|ee e2|ddgG A2G2||
POOR OULD WOMAN [1].
AKA – “Poor Old Woman,” “Poor Auld Woman.” Irish (originally), New England;
Reel. A Dorian (most versions): G Dorian (Levey). Standard tuning. AABB. Kerr
lists the tune as an “Irish Reel.” The tune has the same melodic contours as
does “Loch Levan Castle”/Tomraney Castle [1]." Source for notated version:
accordion player Dean Kenty {who died in a hiking accident on Mt. Hood in 1983}
via Dan Compton (Portland, Oregon) [Songer]. Kerr (Merry Melodies), vol. 1; No. 17, pg. 35. Levey (Dance Music of Ireland, 2nd Collection),
1873; No. 46, pg. 20. Songer (Portland
Collection), 1997; pg. 160. Sweet (Fifer’s
Delight), 1965/1981; pg. 68. Tolman (Nelson
Music Collection), 1969; pg. 10. F&W Records
3, "Canterbury Country Dance Orchestra." Great Meadow Music GMM 2002,
Rodney Miller & David Surette – “New Leaf” (2000).
X:1
T:Poor
Ould Woman [3]
M:C
L:1/8
R:Reel
S:Kerr’s
First
Z:AK/Fiddler’s
Companion
K:A
Minor
ed
| c2 (Bc) AcBA | GEGA GABd | edcB Abcd | e2A2 Afed |
c2
(Bc) AcBA | GEGA GABd | eg^fa gedB | A2 AA A2 :|
|:
e^f | g2 (ga) gedB | A2 AA A2 e^f | g2 (ga) gedc | BcAB G3B |
AEAB
AcBA | GEGA GABd | eg^fa gedB | A2 AA A2 :|
POOR OLD WOMAN [2] (An Sean Bean Bocd). AKA and see “Sean-Bhean Bhoct.” Irish, Air (4/4
time, "animated"). F Major. Standard tuning. One part. The tune was recorded
as a hornpipe on 78 RPM in Dublin in
1931 by the Fingal Trio (James Ennis – uilleann pipes, John Cawley – flute,
Frank O’Higgins – fiddle). O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 325, pg. 56. Rounder 1087, The Fingal Trio - "From Galway to Dublin:
Early Irish Traditional Music" (1992. A reissue of the 1931 original).
X:1
T:Poor
Old Woman [2]
M:C
L:1/8
R:Air
N:”Animated”
S:O’Neill
– Music of Ireland (1903), No. 325
Z:AK/Fiddler’s Companion
K:F
F>G|A>AAB
c2 B>G|F2F2F2 A>B|c=Bcd c2 _BA|d2G2G2 F>G|
A>BA>G
F2 F>G|AFAc f2 e>f|dcAc f2 AB|cBA>G F2||
POOR OULD WOMAN [3].
AKA - “Poor Auld Woman.” Irish, New England; Reel. A Dorian. Standard tuning.
AABB. Kerr lists the tune as an “Irish Reel.” The tune has the same melodic
contours as does “Loch Levan Castle”/”Tomgraney Castle [1].” Source for notated
version: accordion player Dean Kenty {who died in a hiking accident on Mt. Hood
in 1983} via Dan Compton (Portland, Oregon) [Singer]. Kerr (Merry Melodies), vol. 1; No. 17, pg. 35.
Songer (Portland Collection), 1997;
pg. 160. Sweet (Fifer’s Delight),
1965/1981; pg. 68. Tolman (Nelson Music
Collection), 1969; pg. 10. F&W Records 3,
"Canterbury Country Dance Orchestra." Great Meadow Music GMM 2002,
Rodney Miller & David Surette – “New Leaf” (2000).
X:1
T:Poor
Ould Woman [3]
M:C
L:1/8
S:Kerr
– Merry Melodies, vol. 1, No. 17 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
Minor
ed
| c2 (Bc) AcBA | GEGA GABd | edcB ABcd | e2A2 Afed |
c2
(Bc) AcBA | GEGA GABd | eg^fa gedB | A2 AA A2 :|
|:
e^f | g2 (ga) gedB | A2 AA A2 e^f | g2 (ga) gedc | BcAB G3B |
AEAB
AcBA | GEGA GABd | eg^fa gedB | A2 AA A2 :|
POOR OLD
WOMAN [4], THE (An tSean-Bhean Bhocht).
Irish, Polka. A Dorian. Standard tuning. AABB. A simple dance version of
the song air. Source for notated version: Patsy Johnson (Athlone) [Breathnach].
Breathnach (CRÉ V), 1999; No. 84, pg.
45.
X:1
T:Poor
Old Woman, The [4]
M:2/4
L:1/8
R:Polka
K:A
Dorian
GA
|: Bd AB | G2 ED | EA AB | A2 GA | Bd/B/ AB |
G2
{E/G/}ED | E2 GG | G2 GA :: BA Bd | e2 ge | d{B/d/}B AG |
E2
GA | Bde/B/ AB | G2 {E/G/}ED | E2 GG | G2 GA :|
POOR
PADDY.
American, Country Dance Tune (6/8 time). USA, Massachusetts. E Minor. Standard
tuning. AB. The melody appears in Whittier Perkins 1790 violin MS (Massachusetts)
[Van Cleef & Keller, 1980].
POOR PAT MUST EMIGRATE.
AKA and see "Farmer Hayes,"
"A Fig for All My Foes,"
"God be with Old Ireland,"
"I'm Now in the Land
of Liberty."
POOR ROBIN'S MAGGOT.
AKA and see "Would You Have a Young Virgin
(of Fifteen Years)." English, Air (6/8 time). B Flat Major. Standard
tuning. One part. This air appears in Playford's Dancing Master (vol. ii), D’Urfey’s Pills to Purge Melancholy (vol. 1, 1719), and the many ballad
operas, including The Beggar's Opera (1728,
where it appears under the title "If the heart of a man is deprest with
cares"). The word ‘maggot’ means a trifle, a plaything; from the Italian
maggioletta. Chappell (Popular Music of
the Olden Times), vol. 2, 1859; pg. 116.
X:1
T:Poor
Robin’s Maggot
M:6/8
L:1/8
S:Chappell
– Popular Music of the Olden Time
(1859)
Z:AK/Fiddler’s
Companion
K:B_
D/E/|F>GF
F>GF|B2F F2 D/E/|F>GF F>GF|c2F F2 D/E/|F>GF F>GF|
B2F
c2F|d>cB FBA|B2B, B,3|d>cB d>cB|c2F F3|d>cB d>cB|
e>de
c3|d>cB d>cB|e>dc e>dc|d>cB FBA|B2 B, B,2||
POOR SOLDIER [1], THE. English, Jig. England, Dorset. D Major. Standard tuning.
One part. The Poor Soldier is the name of a two-act comic opera that became immensely
popular in Britain, Ireland, and even the United States. The play was by John
O’Keefe, but music was composed and arranged by William Shields. The finale of
the work showcases a tune by the blind Irish harper Turlough O’Carolan
(1670-1738), “Planxty Connor” (“Planxty Mrs. O’Conor”). An
early publication of the tune appears in 1799 by Thomas Calvert, a musician
from Kelso, Scotland. A note with his collection states that Calvert supplied
“a variety of music and instruments, instruments lent out, tun’d and repaired.”
Trim (Thomas Hardy), 1990; No. 93.
X:
1
T:Poor
Soldier, The
M:C
L:1/8
B:The
Calvert Collection - Page 12
Z:Nigel
Gatherer
K:D
ab/a/
fa/f/ gb/g/ e2|fa/f/ df/d/ eecA|ab/a/ fa/f/ gb/g/ eg|\
fedc
[d2F2] [d2F2]|]
A[dF][dF][dF]
B[gB][gB][gB]|A[dF][dF][dF] [dF][cE] [c2E2]|\
A[dF][dF][dF]
B[gB][gB][gB]|fedc [d2F2] [d2F2]|]
POOR SOLDIER [2]. AKA and see “Just as the Tide was Flowing.”
POOR SOLDIER [3], THE. English, Jig. G Major. Standard tuning. AABB. The ‘B’ part is similar to the ‘C’ of the Irish jig “Luck Penny.” Kennedy (Traditional Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 155, pg. 37
X:1
T:Poor Soldier, The [3]
M:6/8
L:1/8
K:G
D|GAG gfg|agf g2a|baf gfe|dec B2A|…
POOR TOM. AKA and see "Gray's Inn Maske," "Mad Tom."
POOR UNCLE DAVY.
AKA and see "Helvetia Polka."
POOR WAYFARING MAN OF GRIEF. Old-Time, Waltz. G
Major. Standard tuning. AB. Source for notated version: Skip Gorman with the
Deseret String Band [Phillips]. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 297.
POOR WHITE FOLKS.
AKA and see "White
Folks Don't Treat Me Right."
POOR WHITE MAN. See
"I'd Druther be a N....r than
a Poor White Man."
POOR WOMAN, THE (An Bhean Bhocht). AKA and see "The Poor Ould Woman [1]," "The Old Woman," "The Old Woman's Hornpipe," "Jerry Daly's Hornpipe [1],"
"Sam King's Tune." Irish,
Air (4/4 time, "spirited: not too slow"). A Minor. Standard tuning.
AB. Source for notated version: "Copied from (a) very old well‑written
manuscript lent to me in 1873 by Mr. J. O'Sullivan of Bruff, Co. Limerick"
(Joyce). Joyce (Old Irish Folk Music and
Songs), 1909; No. 244, pg. 118.
X:1
T:An
bhean bhocht
T:Poor
Woman, The
M:C
L:1/8
R:Air
S:Joyce
– Old Irish Folk Music and Songs
(1909)
Z:AK/Fiddler’s
Companion
N:”Spirited,
not too slow”
K:A
Dorian.
ed|c2
AA AcBA|GEDE GABd|egfa gedB|e2A2A2 ed|cBAG (3ABc BA|
GEDE
GABd|egfa gedB|A2 A>B A2||(7A/B/c/d/e/f/g/|a2 ab afdB|
A2
AB A2 (6A/B/c/d/e/f/|gfaf gedB|G2 G>A G2 (3EFG|ABAG BcBA|
GEDE
GABd|(3efg (3fga gedB|A2 A>B A2||
POOR YOUNG GIRL,
A. Irish, Slow Air (3/4 time). D Major. Standard tuning. AB. Source for notated
version: MS of Mr. P.J. Griffith (Rathgar, Co. Dublin) [Darley & McCall].
Darley & McCall (The Darley &
McCall Collection of Traditional Irish Music), 1914; No. 35, pgs. 14‑15.
POORHOUSE. Scottish, Hornpipe. D
Major. Standard tuning. AA’BB’. Kerr (Merry
Melodies), vol. 4; No. 286, pg. 30.
X:1
T:Poorhouse
M:C|
L:1/8
R:Hornpipe
S:Kerr
– Merry Melodies, vol. 4, No.
286 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
A,2|DFED
B,2D2|A,2 (A,B,) D2D2|(3EEE E2 (3FFF F2|DFED B,2A,2|DFED B,2D2|
A,2
(A,B,) D2D2|dcdA BdcB|(3ABA (3GFE D2::(3efg|agfa gfeg|fedf ecAc|
dcdA
Bcde|(3fed g>f e2|agfa gfeg|fedf ecAC|dcdA BdcB|AGFE D2||
POORTITH CAULD.
Scottish. The melody alternates between major and relative minor tonality.
POP ALONG. English, Polka. Topic TSCD 669, Willy Taylor (et al) – “Ranting and Reeling:
Dance Music of the north of England” (1998. Taylor {b. 1916} was a shepherd,
and a fiddler and melodeon player from Wooler, Northumberland).
POP CORN, THE. AKA and see “"The Boyne
Hunt [1],” "Highland Skip [2],"
"Niel Gow's Reel [1]," “Niel
Gow’s,” “The Perth Hunt,” "Perthshire
Hunt,” “The Popcorn,” “Richmond Hill [2],” “Sailor’s Trip to Liverpool."
Canadian,
Reel. E Major. Standard tuning. AABB. The tune (which is originally Scottish)
is heard most commonly under the title’s “Boyne Hunt” in Ireland, and
“Perthshire Hunt” in Scotland. Messer (Way Down East), 1948; No. 35.
Messer (Anthology of Favorite Fiddle
Tunes), 1980; No. 55, pg. 34.
X:1
T:Popcorn
Reel
R:Reel
M:2/4
L:1/16
Z:Transcribed
by Bruce Osborne
K:E
c|B2GB
EBGB|EBGB cFFc|B2GB EBGB|Bcef geec|
B2GB
EBGB|EBGB cFFc|B2GB EBGB|Bcef gee:|
|:e|Bege
bege|bege aff2|Bege bege|Bcef gee2|
Bege
bege|bege aff2|gbfg e2ec|Bcef gee:|
POP GOES THE WEASEL.
English, American, Canadian; Reel or Country Dance Tune (6/8 time). USA; Maine,
New Hampshire, New York State, Pennsylvania, Georgia, Alabama, Kentucky,
Arizona. England, Shropshire. G Major (most versions): D Major (Burchenal).
Standard tuning. One part (Bronner, Burchenal, Shaw): AB (S. Johnson, Kennedy,
Raven, Sweet): ABB (Jarman): AABB (Ashman, Karpeles, Ruth, Sharp). The weasel
was a metal tool used by hat makers in England. Originally the term ‘popped’
meant pawned in England, indicating a tradesman who was so down on his luck he
would need to pawn his tools (Ful, Randolph). Reginald Nettle, in his book Sing a Song of England (1954) deciphers
one verse of the song that goes with the tune in this context:
***
Up and down the City Road,
In and out the Eagle,
That’s the way the money
goes;
Pop goes the weasel.
***
“There
is no sham in the song,” writes Nettle, “vulgar though it may be. The Eagle in
the City Road, London, was a music-hall, a centre for inebriation and popular
song. Like so many satirical poems originally intended for adults, it now
remains to us as a children’s song. Anyway, it did no harm” (pg. 232).
***
In
America, however, the implement meaning of ‘weasel’ was lost, and it was
generally thought to refer to an animal. Linscott (1939) maintains the tune was
once an accompaniment to a dance or old English singing game and was popular
with children as far back as the early 17th century. He claims the origin is
unknown, but that it was introduced in New England as a contra dance and
"remains a great favorite." In fact, although the melody is assumed
to have some antiquity, it was possibly first published under the title
"Pop Goes the Weasel" in London in March, 1853 (as an "old
English dance"), though American versions have been found also published
in 1853 (Fuld, 1971). Bayard (1981) identifies his unusual Pennsylvania
collected versions as being derived from the 19th century English popular
ditty, though he demurs in printing the standard sets he encountered saying "the
printings of it must be innumerable." Burchenal prints the dance of the
same name in her New England collection along with the tune. Page and Tolman
state in their Country Dance Book that "The Devil hates holy water no less
than the Yankees hate the thought of Pop Goes the Weasel done as anything but a
contry (sic)" (pg. 94). The melody has wide currency in America as a play‑party
song as well as a song and fiddle tune, and was known to the minstrel stage.
***
“Pop”
has often been mentioned in print and frequently recorded in American culture.
It was a favorite piece of both armies in the American Civil War, and, for
example, appeared in Boston publisher Elias Howe’s United States Regulation Drum and Fife Instructor (1861). It was
recorded for the Library of Congress by musicologist/folklorist Vance Randolph,
from Ozark Mountain fiddlers in the early 1940's. African-American fiddler Cuje
Bertram (Cumberland Plateau region, Kentucky) recorded the tune on a home
recording made in 1970 for his family; with interesting melodic variations.
“Pop” was cited as having commonly been played for Orange County, New York,
country dances in the 1930's (Lettie Osborn, New York Folklore Quarterly) and at Arizona dances at the turn of
the century (Shumway, 1990). It was in the repertoire of Buffalo Valley, Pa.,
region dance fiddler Harry Daddario in the mid-20th century. The tune was
listed in the Northwest Alabamian of August 29, 1929, as one of those likely to
be played at an upcoming fiddlers' convention, and by the Tuscaloosa News of
March 28, 1971 as a specialty of "Monkey" Brown of that city, who
competed at fiddlers' contests in the 1920's and 30's (Cauthen, 1990). The
melody was listed as one in the repertoire of Maine fiddler Mellie Dunham (The
elderly Dunham was Henry Ford's champion fiddler in the late 1920's), and it
was in the repertoire of West Virginia fiddler Edden Hammons.
***
Laura
Ingalls Wilder, in her popular children’s book Little House in the Big Woods,
mentions the tune in a short passage:
***
For a special birthday
treat, Pa played "Pop Goes the Weasel" for her.
He sat with Laura and Mary close against his
knees while he played.
"Now watch,"
he said. "Watch, and maybe you can see the weasel pop
out this time". . .
Laura and Mary bent close, watching, for they knew
now was the time.
"Pop! (said Pa's finger on the string) Goes the weasel!
(sang the fiddle, plain
as plain.)" But Laura and Mary
hadn't seen Pa's
finger make the string
pop. "Oh, please, please, do it again!" they begged him.
***
“Pop
Goes the Weasel” was whistled during the practicing of the morris dance All the
Winds, although the dance is done to the rattle of the bones (Raven, 1984, pg.
92).
***
“Pop
Goes the Weasel” was the vehicle for many virtuoso and comic fiddler’s to
display their prowess on the instrument. The famous Norwegian violinist Ole
Bull (1810-1880) is said to have performed a very flashy, gymnastic, virtuoso
version of the melody as part of his act, which consisted mainly of his own compositions
and Norwegian folk songs. He toured the
X:1
T:Pop
Goes the Weasel
M:2/4
L:1/8
S:Shaw
– Cowboy Dances (1943)
Z:AK/Fiddler’s
Companion
K:G
D|G>G
AA|(3BdB G>D|G>G A>c|B2 G>D|G>G A>A|(3BdB G2|ez A>c|
B2
G>d|g>f g>e|(3faf d>d|g>f g>e|f2 d>d|c>B c>d|e>f
g2|ez A>c|G2G||
POP IT WITH YOUR THUMB.
Old‑Time. The title appears in a list of traditional Ozark Mountain
fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in
1954.
POP THE QUESTION.
Old‑Time. The title appears in a list of traditional Ozark Mountain
fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in
1954.
POP WEIR TUNE. American,
Breakdown. USA, New York. A Major. Standard tuning. One part. "Pop"
Weir (d. 1965) was the name of a renowned fiddler in central New York State.
Bronner (1987) says the tune he has found which is closest to this is a
Pennsylvania-collected melody, "The Old Cow Crossed/Crossing the
Road." Bayard confirmed that Pop Weir Tune was a simplified version of
that Pennsylvania tune, which probably began life as a song melody. Source for
notated version: Ken Kane, 1976 (New York State) [Bronner]. Bronner (Old-Time Music Makers of New York State),
1987; No. 33, pg. 125.
POPCORN, THE. AKA and see "The Pop Corn."
POPE'S TOE, THE. AKA and see “The Clock in the Steeple,” "Templeglantine Reel [1]," "Jumping Geordie," “Kilwinning’s Steeple,” "The Prince of Wales' Fancy."
Irish, Reel.
POPLAR BLUFF.
Old‑Time, Breakdown. USA, Kentucky. The source for the tune is legendary
northeastern Kentucky fiddler Ed Hayley, who influenced many who heard him. The
tune is very difficult to play, requiring use of higher positions on the
fingerboard.
POPLAR POINT REEL.
Canadian, Reel. Canada, Prince Edward Island. D Major. Standard tuning. AA’BB.
Composed by fiddler Jimmy Banks (b. 1904), in honor of his home district of Poplar
Point, Central Kings County, PEI (Perlman). Source for notated version: Jimmy
Banks [Perlman]. Perlman (The Fiddle
Music of Prince Edward Island), 1996; pg. 68.
POPLAR POLE.
Old‑Time, Breakdown. USA, southwestern Va. A tune and tune title peculiar
to the Franklin/Floyd County area of southwestern Va. (Tom Carter & Blanton
Owen, 1976).
POPPY, THE. Canadian, Jig. C Major
('A' part) & G Major ('B' part). Standard tuning. AABB. Messer (Way Down
East), 1948; No. 82. Messer (Anthology of
Favoriet Fiddle Tunes), 1980; No. 140, pg. 89.
X:
1
T:The
Poppy Jig
R:Jig
M:6/8
L:1/8
Z:Transcribed
by Bruce Osborne
K:C
A/B/|c2G
E2A|G2E C3|B,CD G,A,B,|C2A G2A/B/|
c2G
E2A|G2E C3|B,CD G,A,B,|C3 C2:|
K:G
B,/C/|D2G
B2G|E2G c2A|F2d d^cd|edB G2B,/C/|
D2G
B2G|E2G c2A|F2A DEF|G3 G2:|
POPPY LEAF HORNPIPE.
American, Canadian, Irish; Hornpipe. USA, New England. Canada; Prince Edward
Island, Cape Breton. G Major. Standard tuning. AABB (Cole, McNulty, Miller
& Perron, Mulvihill): AA’BB’ (Cranford). "Can be used as a Clog"
(Cole). Apparently the tune first appeared in Cole’s 1000 or its progenitor, Ryan’s
Mammoth Collection, and was picked up by both Irish and Canadian fiddlers
from those sources. Sources for notated versions: fiddler Brenda Stubbert (b.
1959, Point Aconi, Cape Breton, Nova Scotia) [Cranford]; Peter Chaisson, Jr.,
b. 1942 (Bear River, North-East Kings County, Prince Edward Island) [Perlman].
Cole (1000 Fiddle Tunes), 1940; pg.
97. Cranford (Brenda Stubbert’s),
1994; No. 80, pg. 29. McNulty (Dance
Music of Ireland), 1965; pg. 26. Miller & Perron, 1983; No. 78.
Mulvihill (1st Collection), 1986; No.
14, pg. 92. Perlman (The Fiddle Music of
Prince Edward Island), 1996; pg. 60. Ryan’s
Mammoth Collection, 1883; pg. 132. Brenda Stubbert
- “House Sessions” (1992). Green Linnett SIF1035, Brian Conway & Tony De
Marco - "The Apple in Winter" (1981. Learned from Paddy Reynolds).
X:1
T:Poppy
Leaf Hornpipe
M:C|
L:1/8
K:G
|:(3CB,A,|G,B,
DG B,D GB|DG Bd GB dg|ed cB cB AG|Fd AF DC B,A,|
G,B,
DG B,D GB|DG Bd GB dg|ed cB cD EF|G2B2G2:|
|:Bc|dB
GB dB gd|ba gf ed cB|dA FA cA fd|ag fe dc BA|
(3BcB
GB (3cdc Ac|(3ded Bd e2 dc|Bg dB dc AF|G2B2G2:|
POP'S WALTZ.
Cajun, Waltz. Recorded by Cajun fiddler Dennis McGee in the 1920's. Flying Fish FF‑275, "Blue Flame Stringband"
(1982).
PORK AND BEANS.
Canadian, Reel. G Major ('A' part) &
D major ('B' part). Standard tuning. AABB. Messer (Way Down East), 1948; No. 36. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 56, pg. 34.
X:1
T:Pork
and Beans
M:2/4
L:1/16
R:Reel
Z:Transcribed
by Bruce Osborne
K:G
Bc|d2B2
g2B2|d2cd cBA2|c2A2 d2A2|c2Bc BAG2|
d2B2
g2B2|f2e2 edef|e2d2 f2a2|g2b2 g2:|
K:D
|:B2|ABAG
F2A2|fefg f4|efed c2e2|a^gab a4|
ABAG
F2A2|fefg f4|e2ce a2c2|e2d2 d2:|
PORK FAT MAKES MY CHICKEN TAN. See "Sally Ann [1]" (Recorded sources).
PORST AN RIGH (The King's Tune). AKA and see “White Houses of Sheildaig.” The
Isle of Skye name for "Taighean Geala Sheildaig (The White Houses of
Sheildaig)."
PORST CROM, AM (The Curved Harbour). AKA and see “Rattling, Roaring Willie.”
PORST MHOR IAIN IC EACHINN (John MacEachinn's Big Tune). Scottish, Reel or
Strathspey. A Mixolydian. Standard tuning. AABBCDCDEEF. Pipe tune. "John
MacKay of Skerray's Favourite." The title is "probably so named in an
ironical sense and usually applied to indifferent performers" (Skye).
MacDonald (The Skye Collection),
1887; pg. 42.
_______________________________
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