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]

 

 

 

PO' BLACK SHEEP. AKA and see "Poor Black Sheep."

                       

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."

                       

POCA RIVER BLUES. AKA and see "East Tennessee Blues." Old‑Time, Breakdown. USA, West Virginia. An uncommon title for a fairly well‑known tune, recorded by Clendenin, Kanawha Valley, West Virginia fiddler Reese Jarvis (1900‑1967). Charles Wolfe (Mountains of Music, John Lilly ed., 1999) thinks Kanawha County, West Virginia, fiddler Clark Kessinger (1896-1975) may have learned the tune growing up in the Kanawha Valley. Kessinger re-recorded the tune in the 1970’s, although the liner notes to his album states that he learned “Poca River” from Jarvis. His rendition was much more “bluegrassy” by that time and featured a long pizzicato section. The Poca River is in West Virginia, near Charleston. Brunswick 358 (78 RPM), Reese Jarvis (1928). County 733, "The Legend of Clark Kessinger" (learned from Reese Jarvis). Folkways 02337, “Clark Kessinger Live at Union Grove.”

                       

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 Highlands of Scotland and the Isles), 1874; No. 101, pg. 39.

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 St. Lawrence River northeast of Quebec City. The tune is sometimes played in the key of G Major. Phillips' parts are reversed from Carlin's. Source for notated version: Ruthie Dornfeld (Seattle) [Phillips]. Carlin (Master Collection), 1984; No. 63, pg. 45. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 103. Flying Fish FF70572, Frank Ferrel – “Yankee Dreams: Wicked Good Fiddling from New England” (1991). Varrick VR‑038, Yankee Ingenuity ‑ "Heatin' up the Hall" (1989).

                       


POINTE AUX PINS, LA (Pine Point). Cajun, Two-Step (4/4 time). USA, southwestern Louisiana. D Major. Standard tuning. AAB(Vocal)BBBA(Vocal)AABAA. A related song is "'Tit Galop Pour la Pointe aux Pins" (Canter to Pine Point). Source for notated version: accordianist Moise Robin and Preston Manuel (La.) [Francois]. Francois (Yé Yaille Chère!), 1990; pgs. 256-257.

                       

POINTE NOIRE TWO-STEP. Cajun, Two-Step (4/4 time). USA, southwestern Louisiana. A Major. Standard tuning. One part. Raymond Francois (1990) remarks that La Pointe Noire (named becuase a point of woods in the area near Richard looks dark or black when viewed from the north) was the site of an old forge. It "had a reputation for some terrible knife fights in the old days; it was the sort of place you would visit only if you were invited. This area produced many fine musicians." Source for notated version: Gervais Quibedeaux and accordion player Ambrose Thibodeaux (La.) [Francois]. Francois (Yé Yaille Chère!), 1990; pgs. 258-259. La Louisiane Records LL-119, Ambrose Thibodeaux.

                       

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 Ireland in the 19th century. Roche Collection, 1982, vol. 3; No. 6, pg. 2.

                       

POLCA AN DREOILÍN. AKA and see “Johnny Mickey’s,” “Johnny Mickey Barry’s,”  Tourniore Lasses,” “The Wren.” Polka. Ireland, West Kerry. A Major. Standard tuning. AABB. Mac Amhlaoibh & Durham (An Pota Stóir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), No. 30, pg. 24.

                       

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."

                       

POLDUILLY BRIDGE. Scottish, Reel. A Major (Walker): D Major (Kerr). Standard tuning. AAB. Composed by Alexander Walker of Huntly in Strathbogie, prior to his emigrating to America. J. Murdoch Henderson said it was the only composition of Walkers to have found popularity, however, the Walker collection was circulated apparently in Cape Breton in the mid-20th century and a few other tunes have entered repertoire there (see “George Gordon’s Strathspey”). Kerr (Merry Melodies), vol. 1; No. 4, pg. 24 (appears as "Poldwilly Bridge"). Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 8, pg. 3.

X:1

T:Poldwilly Bridge

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 COUNTY BREAKDOWN. American, Breakdown. USA, New York. A Major. Standard tuning. AABB. Source for notated version: learned by Hamilton County, New York, fiddler Vic Kibler from a recording of Western fiddlers [Bohrer]. Bohrer (Vic Kibler), 1992; No. 30, pg. 30.

                       

POLECAT BLUES. Old‑Time, Breakdown. USA; western North Carolina. D Major. Standard tuning. AAB. The tune is usually credited to fiddler Tommy Magness (1911-1972), who played with Bill Monroe, Roy Acuff, and Fiddlin' Arthur Smith. Magness was born in north Georgia near the southeastern Tennessee border and first recorded the melody as a member of Roy Hall's Blue Ridge Entertainers. Heritage 054, Smokey Valley Boys ‑ "Brandywine '83: Music of French America" (1984). Heritage XXXIII, Benton Flippen (The Smokey Valley Boys) ‑ "Visits" (recorded at Tommy Jarrell's New Years Eve party, 1972). Rounder 0213, The Chicken Chokers ‑ "Chokers and Flies"  (1985). Yodel-ay-hee Records 014, The New Dixie Entertainers - "Maybelle Rag."

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. USA, Kentucky. County 788, Clyde Davenport (Monticello, Ky.) ‑ "Clydeoscope: Rare and Beautiful Tunes from the Cumberland Plateau" (1986).

                       

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 HOLIDAY. Irish, Jig. D Major. Standard tuning. AABBCC. Source Doherty sometimes played ‘c’ naturals and sometimes ‘c’ sharps. Source for notated version: John Doherty (1895-1980, County Donegal) [Feldman & O’Doherty]. Feldman & O’Doherty (Northern Fiddler), 1979; pg. 61.

                       

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 England. It is related to “Liberton Pipe Band,” Jimmy Shand’s “Fiona’s Wedding” and, perhaps, “I Have a Bonnet Dressed in Blue.”

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 – “Hamilton Ironworks” (2001).

 

POLK COUNTY BREAKDOWN. Old‑Time, Breakdown. USA, Missouri. A Major. Standard tuning. AA’BB’. Composition of the tune has been credited to Tommy Magness, who recorded it in the 1940s while playing with Roy Acuff's Smoky Mt. Boys. In 1947 he recorded the tune again on a home disc recorder under the title “Death of Kilroy.” Magness may have reworked an older tune however, for elsewhere he is only credited with being the arranger. “Polk County Breadown” is one of ‘100 essential Missouri tunes’ listed by Missouri fiddler Charlie Walden. Source for notated version: Lee Stoneking (1907-1989, Henry County, Missouri) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 144. Big K Studio, Lee Stoneking – “Echoes of the Ozarks” (c. 1970’s). Heritage 060, Art Galbraith ‑ "Music of the Ozarks" (Brandywine, 1984).

                       

POLKA. A couple-dance form from central Europe which found favor and spread in the mid-19th century, from 1844 onwards. Paul Gifford communicates that a leading dance master from New York, Allen Dodworth, claimed in a book he penned that he had introduced the polka to the society of that city in 1843. Dodworth had just returned from Paris where he learned the dance, and where he repeatedly went to learn the newest fashions. The title page to the “Jenny Lind Polka,” published in 1844, states that it is “as played by Dodworth’s Coronet Band.” The form found its way into Irish traditional music and was especially popular in the South-West of the country.  In Scotland the polka is catagorized as a Circle Dance along with the waltz, the various forms of the mazurka, varsovienne and schottische. The Polka was not introduced to the country districts of Shetland until after 1890 (Flett & Flett, 1964).

                       

POLKA DE BAUGY. French, Polka. G Major. Standard tuning. AABB. Traditional tune from central France. Stevens (Massif Central), Vol. 2, 1988; No. 104.

                       

POLKA DE CHATEAU CHERVIX. French, Polka. G Major. Standard tuning. AABB. Stevens (Massif Central), vol. 1, 1987; No. 113.

                       

POLKA DE L'AVEYRON. French, Polka. C Major. Standard tuning. AABB. A traditional tune from central France. Stevens (Massif Central), vol. 2, 1988; No. 98.

                       

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 (Massif Central), vol. 1, 1987; No. 114.

                       

POLKA DU PERE PLUMET. French, Polka. D Major ('A' and 'B' parts) & G Major ('C' part). Standard tuning. AA'BBCC'. Stevens (Massif Central), vol. 2, 1988; No. 106.

                       

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} (Concord, N.H.), who learned it from Fernand Thibault's recording [Miskoe & Paul]. Miskoe & Paul (Omer Marcoux), 1994; pg. 44. Bluebird Records (78 RPM), Fernand Thibault.

                       

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 (Massif Central), vol. 2, 1988; No. 112.

                       

POLKA FOUR. Old-time, Polka. In the repertoire of West Virginia fiddler Clark Kessinger (1896-1975), recorded by him on a 78 RPM for the Brunswick label.

                       

POLKA LYPSE. French, Polka. G Major. Standard tuning. AADBBCCDD. Composed by Thiery Mirebeau. A pun: 'Appocalypse'??? Stevens (Massif Central), Vol. 2, 1988; No. 107.

                       

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 (Massif Central), Vol. 2, 1988; No. 103.

                       

POLKA PIQUEE. See Stevens, 1988, vol. 1 for four Polka Piquees.

                       

POLKA PIQUEE. French, Polka. C Major. Standard tuning. AABB. "Taitou" (?). Stevens (Massif Central), vol. 2, 1988; No. 99.

                       

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). England, Yorkshire. A Major. Standard tuning. AABB. Source for notated version: an MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 72, pg. 46.

                       


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, County Sligo, in the mid-17th century (c. 1645) or by harper William Connellan (O’Sullivan, ‘’”Carolan’’’, p. 289). Donal O'Sullivan in his Carolan biography (vol. 1, p. 18) reported that the Irish harper and composer O’Carolan (1670-1738) thought so highly of this tune that he was supposed to have said he would rather have been its composer than any of his own melodies. Ciaran Carson, in his book Last Night’s Fun (1996) thinks it may be possible that the title “Poll Ha’penny” may have derived from the English title “Holey Ha’penny,” since the word poll in Irish means ‘hole’. Donal O’Sullivan (‘’’Carolan,’’’ 1958, p. 290) says that the title derived from the original name of the tune, “Molly MacAlpin,’’’ because MacAlpin became ‘Halpin’ and thence ‘Halfpenny.’ See “Molly Macalpin” for more on the history of this tune. See also the related English tune “The Radstock Jig.” The famous uilleann piper Patsy Tuohey, one of Francis O’Neill’s informants, recorded this tune on an Edison cylinder. It was recorded in modern times by whistle player Mary Bergin under the title “Garraí na bhFéoleóig (Garden of Butterflies). Mulvihill (1st Collection), 1986; No. 7, pg. 120 (appears as “Pol Ha’penny”). O'Neill (O’Neill’s Irish Music), 1915; No. 397, pg. 190. O'Neill (Krassen), 1976; pg. 208. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1783, pg. 333. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 983, pg. 169. Bellbridge Records, Bobby Casey – “Casey in the Cowhouse” (1992. Originally recorded 1959). Mulligan MUL 027, Martin O’Connor - “A Connaughtman’s Rambles.” Piping Pig Records PPPCD 001, Jimmy O’Brien- Moran – “Seán Reid’s Favourite” (1996).

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 Ireland: 1001 Gems (1907), No. 983

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. England, Yorkshrire. D Major. Standard tuning. AABB. Source for notated version: an MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 11, pg. 30.

 

POLLY ANN. AKA and see "Pretty Polly Ann" (?). Old‑Time, Breakdown. USA, Alabama. In the repertory of Alabama fiddler Monkey Brown (1897‑1972). It was also listed in the Northwest Alabamian of August 29, 1929, as one of the tunes likely to be played at an upcoming convention (Cauthen, 1990).

                       

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. USA, Kentucky. A Major/Mixolydian. AEae tuning. AABB’. In the repertoire of John M. Salyer (1882-1952), who is the only musician known to have played it, according to Jeff Titon (2001). The name of the tune has been heard as the distressed title “Pollygram.” The tune may have been listed on an old label as “Polly Grand father’s tune,” which may mean ‘grandfather’s tune’ or ‘father’s tune.” Bruce Green listed it on his Berea tape as “Polly Grand.” Source for notated version: John M. Salyer (Salyersville, Magoffin County, Ky., 1941) [Titon]. Titon (Old Time Kentucky Fiddle Tunes), 2001; No. 127, pg. 154. Berea College Appalachian Center AC003, “John M. Salyer: Home Recordings 1941-42” (1993). Yodel-Ay-Hee 003, “Dirk Powell and John Hermann” (1992).

                       

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 York goes:
***

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 (Diamond School for the Violin), c. 1861. Kerr (Merry Melodies), vol. 1; No. 13, pg. 51.

X:1

T:Polly Hopkins’ Waltz

M:3/4

L:1/8

R:Waltz

S:Elias Howe – Diamond School for the Violin  (c. 1861)

Z:AK/Fiddler’s Companion

K:D

D>D F>F A>A | f2d2 (3dcd | e2g2 (3cBc | d2f2 z2 |

D>D F>F A>A | f2d2 (3dcd | e2g2 (3cBc|d4 :|

|: (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, Carroll County, Virginia, that Mike Yates (2002) thinks reminiscent in parts of “Cotten-Eyed Joe [1].” Hall sang this verse to the melody:

***

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 Lancashire tunes, called Lancashire Jigs, Hornpipes, Joaks, etc. published around the year 1730. Knowles (A Northern Lass), 1995; pg. 11.

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 London uilleann piper, one Thomas Garoghan, enthused his audiences by the trick of uttering intelligibly on the chanter “Polly put the kettle on.” One of the oddest appearances of the tune is on the barrel organ from the polar expedition of Admiral Parry of 1810. In place of a ship’s fiddler (common in those days), Parry introduced a barrel organ on board ship to provide entertainment and a vehicle to which the men could exercise (i.e. by dancing). “Polly Put the Kettle On” was one of eight tunes on barrel no. 1. Donegal fiddler Danny O’Donnell recorded the tune in the 78 RPM era, first in a set of three Highlands (followed by “The Bundoran Highland” and “Niel Gow’s Wife [1]”). He called the set “The Thistle and Shamrock.” Hardings All Round Collection, 1905; No. 10, pg. 4. Kennedy (Fiddlers Tune Book), vol. 1, 1951; No. 51, pg. 25. Raven (English Country Dance Tunes), 1984; pg. 162. Roche Collection, 1982, vol. 1; No. 196, pg. 75. Saydisc SDL 234, Parry’s Barrel Organ (vol. 11 in the Golden Age of Mechanical Music).

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 New York

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. USA; east Tennessee, western N.C., north Ga. G Major (with flat 7th) {Ford}: D Major {Silberberg, Spandaro}. Standard tuning. ABC (Silberberg): AABB (Ford, Spandaro). Identified as a common East Tennessee tune. The tune was played by Wiley Harper (Monroe, Ga.) in an April, 1913, Atlanta, Ga. fiddlers' contest, according to the newspaper the Atlanta Journal.

***

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. USA; western North Carolina. G Mixolydian/Dorian. Standard tuning. AABB (Phillips): ABB'B' (Krassen). The tonality shifts between modes in these variations, with the 'b' note being variously flat and natural. Source for notated version: Manco Sneed, attributed to his father John Sneed (Graham County, North Carolina) [Krassen]; Marcus Martin (Ararat, North Carolina) [Phillips]. Krassen (Masters of Old Time Fiddling), 1983; pg. 124‑125. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 185.

 

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. Baldwin

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.

***

Baldwin’s youngest son, Stephen, was also a fiddler and played for the Bromsberrow Heath (Worcestershire) morris side. He inherited his father’s fiddle, which had been bought at a music shop in Hereford, and Stephen later passed it to his own son. Source for notated version: Charles (George) Baldwin, Newent, Gloucestershire, 1910, via collector Cecil Sharp [Callaghan]. Callaghan (Hardcore English), 2007; pg. 46.

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 Baldwin by Cecil Sharp

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

My Sal, she is a spunky gal

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 North Carolina" (Brandywine 1978).

                       

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 Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

                       


POLO MARCH, THE. Canadian, March or Polka. Canada; Cape Breton, Prince Edward Island. D Major. Standard tuning. AA’B (Cranford): AA’BB (Perlman). The tune is always played as the second tune in a medley with “Southern Melody,” and the pair was introduced by Cape Breton fiddler Winston “Scotty” FitzGerald. Sources for notated versions: Reuben Smith (b. 1931, Blooming Point, Queens County, Prince Edward Island) [Perlman]; Winston Fitzgerald (1914-1987) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 212, pg. 83. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 161. Flying Fish FF 70572, Frank Ferrel – “Yankee Dreams: Wicked Good Fiddling from New England” (1991).

                       

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). Norway, Central Norway. USA, Wisconsin. A Minor ('A' part) & G Dorian ('B' part). Standard tuning. AA'BB'. Pols is a name for a form of dance in central Norway. Accents for a pols come on the first and third beats, unlike a waltz which is accented on the first beat alone, and eigth notes are played in a dotted rhythm. Reiner (Anthology of Fiddle Styles), 1979; pg. 58.

                       

POLS FRAN ACTON. Norwegian, American; Dance Tune (3/4 time). D Major. Standard tuning. AABB. The tune is known throughout Scandinavia and the U.S., report Reiner & Anick (1989). Source for notated version: John Chambers (Acton, Mass.) [Reiner & Anick]. Reiner & Anick (Old Time Fiddling Across America), 1989; pgs. 164‑165.

                       

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 County Louth, a man named Cassidy, as recorded by William Carleton in his Tales and Sketches of the Irish Peasantry, published in 1845. Breathnach (1997) believes the first name of this piper was Dan, and that he was blind. Carleton, born in 1794, was a dancing master who taught in the 1820’s, and was engaged to teach the children of the ‘dreadful’ Mrs. Murphy. It seems that Carleton:

***

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., London), published in the mid-19th century. Here he talks about Buckram-Back, the country dancing master:

***

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 Ireland, 2nd Collection), 1873; No. 74, pg. 33. Ryan’s Mammoth Collection, 1883; pg. 80 (appears as “Pothouge”).

X:1

T:Polthogue

M:9/8

L:1/8

R:Slip Jig

S:Levey – Dance Music of Ireland, 2nd Collection (1873)

Z:AK/Fiddler’s Companion

K:D

A2A (AGF) (AGF) | A2A AGF Bcd | A2A AGF AGF | B2B B2A Bcd :|

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 Scotland, in the region known as the Merse, between the hills and the North Sea. A wedding custom extent into the 19th century involved dancing around two very old thorn trees in the middle of the sloping village green, a tradition derived from the following (quoted from the Hume history):

***

In the time of Robert II (1371-1390) Sir Patrick de Polwarth died, leaving an only child, Elizabeth,

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 castle of Polwart to lonely Herdmanston, his stronghold on the

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.

                       

POMONA HORNPIPE. AKA and see “The Old Story Teller.” American, Hornpipe. G Major. Standard tuning. AABB. Pomona, Rockland County, New York? Cole (1000 Fiddle Tunes), 1940; pg. 100. Ryan’s Mammoth Collection, 1883; pg. 135.

X:1

T:Pomona Hornpipe

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 Glasgow publisher James Aird’s Selection of Scotch, English, Irish and Foreign Airs (vol. 1, 1782, No. 163, pg. 57), as a “Negroe Jig”. Johnson (A Further Collection of Dances, Marches, Minuetts and Duetts of the Latter 18th Century), 1998; pg. 15.

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 Falmouth, Massachusetts, musician and writer Bill Black. A Pouca is a sprite or fairy. Black (Music’s the Very Best Thing), 1996; No. 14, pg. 7.

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. Cranford (Jerry Holland’s), 1994; No. 142, pg. 41.

                       

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.

                       


POOLE, LA. English, Quadrille. England, Shropshire. D Major ('A' and 'B' parts) & B Minor ('C' part). Standard. AABC. Editor Gordon Ashman identifies this melody as part of an art-music piece and formed part of a quadrille set, the figures being named : "Le pantalon; L'ete; La poule; La pastourelle; Finale." Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 85a, pg. 34.

                       

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 "Po' Black Sheep." Old-Time, Breakdown. G Major. Standard tuning. AABBBB or AAB'B'BB. Mike Seegar describes this piece as a 'six-part tune' from the Tennessee African-American duo of Nathan Frazier (fretless banjo) and Frank Patterson (fiddle), who recorded it in 1942 for John Work in Nashville. See also the related “Ladies on the/a Steamboat.” Source for notated version: Frank Patterson [Phillips]. Phillips (Traditional American Fiddle Tunes), 1994; pg. 185. Rounder CD0262, Mike Seeger - "Fresh Oldtime String Band Music" (1988).

                       

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 Ireland (1903), No. 147

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 United States in 1843, returning four more times, and became a very influential musician in areas where better musicians were seldom heard (see note for “Ole Bull Hornpipe”). American fiddlers also played the piece as a ‘trick’ fiddle showcase: "The tune was one that fiddlers across the South delighted in playing at contests. It was customary to begin with the violin held in a normal position, then, upon reaching the word 'Pop' in the song to pluck a string and shift the instrument to a radically different position, swiftly and smoothly, without losing a beat of the music. The more contorted the position, and the smoother the transition, the louder the applause" (Cauthen, pg. 137). Sources for notated versions: Willie Woodward (Bristol, N.H.) [Linscott]: Floyd Woodhull, 1976 (New York State) [Bronner]: Joseph Pardee (Indiana County, Pa, 1952), Harry Kessler (Westmoreland County, Pa., 1944) and Edgar Work (Indiana County, Pa., 1949) [Bayard]; caller George Van Kleeck (Woodland Valley, Catskill Mtns, New York) [Cazden]; a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 19 91; No. 37b, pg. 12. Bayard (Dance to the Fiddle), 1981; No. 631A‑C, pg. 553. Bronner (Old Time Music Makers of New York State), 1987; No. 16, pg. 79. Burchenal (American Country Dances, vol. 1), 1918; pg. 22. Cazden (Dances from Woodland), 1945; pg. 5. Cole (1000 Fiddle Tunes), 1940; pg. 24 (in 6/8 time). Ford (Traditional Music in America), 1940; pg. 40. Jarman, 1944; pg. 17. S. Johnson (The Kitchen Musician No. 6: Jig), 1982 (revised 1989, 2001); pg. 1. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 4. Kennedy (Fiddlers Tune Book), vol. 1, 1951; No. 39, pg. 20. Linscott (Folk Songs of Old New England), 1939; pg. 108. Raven (English Country Dance Tunes), 1984; pg. 166. Ruth (Pioneer Western Folk Tunes), 1948; No. 3, pg. 3. Sharp (Country Dance Tunes), 1090/1994; pg. 5. Shaw (Cowboy Dances), 1943; pg. 393. Sweet (Fifer’s Delight), 1965/1981; pg. 17. Thomas & Leeder (The Singin’ Gathering), 1939; pg. 88. Maggie’s Music MMCD222, Bonnie Rideout – “Scottish Fire” (2000). Edden Hammons Collection, Disc 2. PearlMae Muisc 004-2, Jim Taylor – “The Civil War Collection” (1996. Converted into a 4/4 reel).

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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