The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

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Notation Note: The tunes below are recorded in what is called “abc notation.” They can easily be converted to standard musical notation via highlighting with your cursor starting at “X:1” through to the end of the abc’s, then “cutting-and-pasting” the highlighted notation into one of the many abc conversion programs available, or at concertina.net’s incredibly handy “ABC Convert-A-Matic” at

http://www.concertina.net/tunes_convert.html 

 

**Please note that the abc’s in the Fiddler’s Companion work fine in most abc conversion programs. For example, I use abc2win and abcNavigator 2 with no problems whatsoever with direct cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s into the concertina.net converter results in double-spacing. For concertina.net’s conversion program to work you must remove the spaces between all the lines of abc notation after pasting, so that they are single-spaced, with no intervening blank lines. This being done, the F/C abc’s will convert to standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth it.   [AK]

 

 

 

QUADRILLE...   A single quadrille is a dance in which couples form four sides, each pair of dancers facing the center from the side of a square. The form originated in France where it was known as the quadrille de contredanse, a term used as early as 1760 to denote a group of country dances performed in succession. By 1800 the form became standardized to a series of five separate figures or contredanses in square formation. The quadrille became popular in the British Isles after the Napoleonic Wars, when it was said to have been introduced in 1815 to the leading London dance assembly, Almacks, by Lady Jersey. Captain Gronow, a Guards officer who was stationed nearby and who attended the dances that year, remembered: “I recollect the persons who formed the very first quadrille that was ever danced at Almack’s: they were Lady Jersey, Lady Harriet Butler, Lady Susan Ryder, and Miss Montgomery; the men being Count St. Aldegonde, Mr. Montomery, Mr. Montague, and Charles Standish.” Flett and Flett (1964) state that the form was introduced to Scotland directly from Paris in 1816, after the end of the war. In that country the dance originally consisted of four, five or six figures drawn from a pool of available figures, but set combinations emerged, the most popular of which became known as The First Set of Quadrilles (which Flett & Flett say is "undoubtedly because it is essentially the same as the first set of quardilles ever to be performed in Britain"). Paul Tyler records that in Great Britain only sixteen sets of the quadrille were performed, which meant that the entire dance repertoire was quite small and proscribed. Typically in a quadrille set the figure called the Pantalon was first, followed by L'Eti, La Poule and La Trenis (later supplanted by "La Pastourelle), and finally "La Finale."

***

Bayard (1981) says, in regard to the term in America, that quadrilles are "untraceable as melodic entities, often plainly composite‑‑but well organized, shapely, and instinct with grace and gaiety" (pg. 489). As Bronner (1987) describes it, the dance (at least in New York State) was particular in that it had a series of five or six prescribed but different sequences which required many different eight‑bar melodies to signal each different figure within those sequences. Since many airs had only two or three parts it became common (and necessary if confusion were to be prevented and boredom precluded) for many different strains from several tunes, often recombined, to be strung together to serve as the vehicle for the dance. Bronner notes that in the 19th century music for the quadrille was published in four parts which had at least three of those parts (or more) in different tempos and keys; Paul Tyler remarks that the original quadrille suite became known as the 'Plain Quadrille', though by the 20th century the form had been processed and only the first change of the original set survived intact in American repertoire (interestingly, he finds the custom of square and country dancers remaining in place on the floor for a few different dances to be a survival of the old sequence of quadrille figures in which dancers stayed in place for the whole suite).  Musically, a variety of tunes in both 2/4 and 6/8 time were used for the main figures, with waltzes employed for the waltz movements. In parts of America and Canada (e.g. the American Mid-West) in modern times the term quadrille is used exclusively to describe 6/8 tunes, generally a set of two strains in one tempo (much like a jig, though the structure can be more complex, harkening back to the old form of the dance); the tune may be in different keys, especially in the Canadian tradition.  Henry Ford "revived" the form in the 1920's, though it had never entirely died out.

***

Another quadrille set was called the "Lancers Quadrille," the name derived from the 'Quadrille Des Lanciers' which was introduced in 1817 in Dublin by the dancing master John Duval.  The Lancers sets were revived in the mid-19th century and became one of the three most popular quadrille dances of the era.  At that time the "First Set of Quadrilles" became popularly known in Scotland simply as "The Quadrilles," while the other two sets were known as "The Caledonians" and "The Lancers."

 

QUADRILLE ACADIEN. AKA and see "Reel du carnaval."

           

QUADRILLE BOSTON, LE. French-Canadian, Quadrille. D Major. Standard tuning. AABBCC.

X:1

T:Le Quadrille Boston

M:4/4

L:1/8

K:D

AG | FAdbe2dF | FAdAc2BG | Gbgef2ed | cABcBAG | FAdfe2dF | FAdAc2BG | GBgef2ed |

cABcd2 :: ag | f2af dedc | B2dBG2gf | efedc2AB | cAB^GA2ag | f2afdedc | B2dBG2gf | efed cABc |

d fecd2 :: ag | fefd' bafe | defde2Bc | d2cd BdAd | fedfe2de | fefd' bafe | defde2Bc | d2 cd BdAd | fdecd2 :||

                       

QUADRILLE BOUCHARD (premiere partie). French-Canadian, Jig. G Major ('A' part) & D Major ('B' part). Standard tuning. AA'BB'. Fiddler Joseph Bouchard recorded two versions of this set of tunes, in 1940 and 1975; the third parts are different and the fourth part was shifted in the 1975 version to become the fifth part while a new fourth part was added. The 1975 version featured five parts to the four of the 1940 version (Joyal). Joyal (Danses d'ici: Musique Traditionnelle du Québec), 1994; pg. 27. Bluebird B-1149-A, Joseph Bouchard (1940). Le Tamanoir TAM-513, "Portrait du vieux Kebec, volume 13: Jos. Bouchard, violoneux de I'lle d'Orleans" (1975).

 

QUADRILLE BOUCHARD (deuxieme partie) [1]. French-Canadian, Galope (4/4 time). D Major ('A' part) & G Major ('B' part). Standard tuning. AA'BB'. This is the 2nd part of the quadrille as Bouchard played it on his 1940 Bluebird recording. Joyal (Danses d'ici: Musique Traditionnelle du Québec), 1994; pg. 31. Bluebird B-1149-B (78 RPM), Joseph Bouchard (1940).

 

QUADRILLE BOUCHARD (deuxieme partie) [2]. French Canadian, Galope. D Major ('A' part) & G Major ('B' part). Standard tuning. AA'BB'. This is a version of "Quadrille Bouchard [1],” and the second part of a quadrille set, recorded by Bouchard himself 35 years after his original Bluebird recording. The tune is more elaborate and much 'notier'. Hart & Sandall note the key modulation of a fifth between parts in characteristic of tunes from the Québec City region. Hart & Sandell (Dance ce Soir), 2001; No. 27, pg. 58. Joyal (Danses d'ici: Musique Traditionnelle du Québec), 1994; pg. 33. AQLF, Jean-Pierre Joyal – “Dances d’ici: Musique traditionnelle du Québec” (1994). Tamanoir Records TAM-513, Joseph Bouchard (1975). Tamanoir Records, Joseph Bouchard – “Jos Bouchard: Violoneux de l’Île d’Orléans, Partrait du vieux Kébec, vol. 13” (1975).

 

QUADRILLE BOUCHARD (deuxieme partie) [3]. French-Canadian, Jig. D Major. Standard tuning. ABA'B'. Source for notated version: fiddler Joseph Bouchard via French-Canadian button accordion player Philippe Bruneau (Quebec) [Begin]. Bégin (Philippe Bruneau), 1993; No. 31, pg. 46.

 


QUADRILLE BOUCHARD (troisieme partie). French-Canadian, Reel. D Major ('A' part) & A Major ('B' part). Standard tuning. AA'BB'. Fiddler Joseph Bouchard (1905-1980) was the first to record this tune, on 78 RPM in 1940. He was a member of the group Les Montagnards laurentins (The Laurentian Mountaineers – the Laurentians are a range of mountains in the Province of Québec), who had a long-running radio broadcast in the 1930’s and 1940’s.  Hart & Sandell (Dance ce Soir), 2001; No. 27, pg. 59. Joyal (Danses d'ici: Musique Traditionnelle du Québec), 1994; pg. 35. AQLF, Jean-Pierre Joyal – “Dances d’ici: Musique traditionnelle du Québec” (1994). Bluebird B-1150-A (78 RPM), Joseph Bouchard (1940). Richard Forest & Yvon Cuillerier – “Québec pure laine” (1992).

 

QUADRILLE BOUCHARD (quatrieme partie). French-Canadian, Reel. C Major. Standard tuning. AAB. This melody is the 4th part of Bouchard's 1940 Bluebird version, but the 5th part of his 1975 version. In the 1975 version the form is AABB (Joyal). Joyal (Danses d'ici: Musique Traditionnelle du Québec), 1994; pg. 37. Bluebird B-1150-B (78 RPM), Joseph Allard (1940).

 

QUADRILLE DE BEAUHARNOIS. AKA and see "Gigue des touristes." French-Canadian, Jig or Quadrille. C Major. Standard tuning. AABB. The 'A' part of this melody is shared with O'Neill's "Miss Blair's Fancy." Cuillerier (Joseph Allard: Cinquante airs traditionnels pour violon), 1992; pg. 12. Joyal (Danses d'ici: Musique Traditionnelle du Québec), 1994; pg. 11. Bluebird B-4935-a (78 RPM), Joseph Allard. Victor 263590-A (78 RPM), Joseph Allard.

X:1

T:Gigue de Touristes

C:Joseph Allard

M:6/8

L:1/8

Z:Transcribed by Bruce Osborne

K:C

e|gec cBc|dBG G2 F|EFG ABc|edc d2 g|!

gec cBc|dBG G2 F|EFG ABc|dcB c2:|!

|:e|gec c2 a|age c2 e|gec cBc|dBG G2 g|!

gec c2 a|age c2 e|gec BAB|c3 -c2:|!

 

QUADRILLE DE CHEZ NOUS. AKA and see "Glise de/a Sherbrooke," "Reel de Tadoussac." French‑Canadian, Quadrille (4/4 time). G Major. Standard tuning. AA'BB'. Carlin (Master Collection), 1984; No. 95, pg. 60.

 

QUADRILLE DE JOLIET. French-Canadian, Quadrille (2/4 time). A Major. Standard tuning. AABB. Laufman (OK Ladies and Gentlemen, Lets Try a Contra), 1973; pg. 9.

 

QUADRILLE DE LORETTEVILLE (partie) [1]. French-Canadian, Galope (/4 time). C Major. Standard tuning. AA'BB'A"A"'. This tune is a part of the larger suite. Source for notated version: Jean Trudel via French-Canadian button accordion player Philippe Bruneau (Quebec) [Begin]. Bégin (Philippe Bruneau), 1993; No. 65, pgs. 96-97.

 

QUADRILLE DE LORETTEVILLE (autre partie) [2]. French-Canadian, Galope (2/4 time). C Major. Standard. AA'BB'A"A"'. Source for notated version: French-Canadian button accordion player Philippe Bruneau [Begin]. Bégin (Philippe Bruneau), 1993; No. 66, pg. 98.

 

QUADRILLE DE LORETTEVILLE [3]. French-Canadian, Galope (2/4 time). D Major. Standard. AA'BA"A"'B'. A third part of the suite. Source for notated version: French-Canadian button accordion player Philippe Bruneau (Québec) [Begin]. Bégin (Philippe Bruneau), 1993; No. 67, pg. 99.

 

QUADRILLE DE QUÉBEC (5ieme partie). French-Canadian, Reel. F Major. Standard. AA'BCC'A"A"'B'C"C"'A""A""'B"C""C""'. Source for notated version: Isidore Soucy via French-Canadian button accordion player Philippe Bruneau (Québec) [Begin]. Bégin (Philippe Bruneau), 1993; No. 39, pgs. 58-59.

 


QUADRILLE FRANÇAISE. AKA and see "Reel du Canada," "Reel de chez-nous." French‑Canadian, Quadrille (4/4 time). G Major. Standard. AA'BB'. Carlin (Master Collection), 1984; No. 93, pg. 60. Cuillerier (Joseph Allard: Cinquante airs traditionnels pour violon), 1992; pg. 12. Bluebird B-4915-a (78 RPM), Joseph Allard.

 

QUADRILLE INDIAN (Quadrille indien). AKA and see "Reel des skieurs," “The Indian,” "Indian Reel." French‑Canadian (originally), American; Reel. USA, New England. G Major ('A' part) & C Major ('B' part). Standard. AABB (Miller & Perron, Page, Songer): AA'BB' (Begin). Sources for notated versions: Jeff “Smokey” McKeen fo the Maine Band The Grey Goose, via Deborah Lindsay (Portland, Oregon) [Songer]; fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]. Begin (Fiddle Music from the Ottawa Valley: Dawson Girdwood), 1985; No. 52, pg. 61. Carlin (Master Collection), 1984; No. 94, pg. 60. Hommage a Joseph Allard. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 143 (appears as "Indian Reel"). Page (Ralph Page Book of Contras), 1969; pg. 15 (appears as "Indian Reel"). Songer (Portland Collection), 1997; pg. 106 (appears as “The Indian”). Folkways FG 3531, Jean Carignan‑‑"Old Time Fiddle Tunes" (1968). Fretless 132, "Ron West: Vermont Fiddler."

X:1

T:Indian Reel

M:C|

L:1/8

K:G

Bc|d2gd B2dB|GA BG D2 B2|A^G AB cA FA|GA Bc d2Bc|

d2gd B2dB|G2BG D2B2|A^G AB cA FA|GF GA G2:|

K:C

|:(3GAB|c2Gc e2ce|g4 ga gf|ed eg fe dc|BG AB cB AG|

c2Gc e2ce|g4 za gf|ed eg fe dc|BG AB c2:|

 

QUADRILLE JOYEUX. AKA and see "Joy of the Dance."

 

QUADRILLE MONTCALM (Montcalm's Quadrille). French-Canadain, Quadrille (2/4 time). F Major. Standard tuning. AA'BB'. Montcalm was the French defender on Quebec's Plains of Abraham, slain by the English under Wolfe, although it is also the name of a grand hotel in Quebec, near the site of the battle. Cuillerier (Joseph Allard: Cinquante airs traditionnels pour violon), 1992; pg. 13. Bluebird B-4876-a (78 RPM), Joseph Allard.

X:1

T:Quadrille Montcalm

C:Joseph Allard

M:2/4

L:1/16

Z:Transcribed by Bruce Osborne

K:F

AFcF dFcF|DFcF EGGB|AFcF dFcF|BdcB AFFB|!

AFcF dFcF|DFcF EFGA|Bcde fdcB|ABGB AFF2:|!

|:fagf eccg|ecgc acgc|fagf edcB|ABGB AFAc|!

fagf eccg|fcgc acgc|fagf edcB|ABGB AFF2:|!

 

QUADRILLE POLKA, THE. AKA and see "'D' & 'A' Polka."

 

QUADRILLE QUICK STEP. English, Quadrille (2/4 time). England, Shropshire. C Major. Standard tuning. ABB. Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 90b, pg. 36.

 

QUAIL IS A PRETTY BIRD, THE. Old-Time, Breakdown. A version of Edden Hammon’s tune “Sandy Boys,” from Missouri fiddler Gene Goforth, who had the tune from his father Richard. The “Sandy Boys” title is common around Kentucky and West Virginia. Rounder Records RO-0388, Gene Goforth – “Eminence Breakdown” (1997) Rounder 0042, John Hartford – “Hamilton Ironworks” (2001).

 

QUAKER [1], THE. English, Morris Dance Tune (4/4 time). G Major. Standard tuning. ABB, x4. The tune and dance (a morris side-step and half hey) were collected from the village of Bampton, Oxfordshire, in England's Cotswolds. At beginning of the 20th century, when much morris material was collected, morris dancing in Oxfordshire and Gloucestershire was seldom still being performed, with the exception of that in the village of Bampton, kept alive largely by the enthusiasm of dancer and fiddler William "Jinky" Wells. Wells was recorded on 78 RPMs by the English Folk Dance and Song Society before he died. The first three notes of the ‘B’ part are similar to the first notes of the second part of “Walter Bulwer’s Polka [2],” leading to the ‘B’ part of “The Quaker [1]” sometimes mistakenly being substituted for the one in the Bulwer tune (the whole amalgamated tune then being called “Walter Bulwer’s Polka”). Unfortunately, this substitution seems to be taking hold, to the detriment of both tunes. Bacon (The Morris Ring), 1974; pg. 34. Mallinson (Mally’s Cotswold Morris Book), 1988, vol. 2; No. 64, pg. 31. Cottey Light Industries CLI-903, Dexter et al - "Over the Water" (1993).

X:1

T:Quaker, The [1]

M:4/4

L:1/8

K:G

DG|B2 ({c}B2) AGFE|(3EFE D2 D3E|F2G2 FEDF|A2G2G3B|

d2ed c2 dB|A2E2E2c2|BAGF E2F|G4 G2||FG|

A2A2B3B|AGFG A2 BA|GFEF G2 AG|FEDE F3G|

A2A2 B3B|AGFG A2 BA|GFEF GAB^c|d2D2D2||

 

QUAKER [2], THE. AKA and see "Merrily Danced/Kissed the Quaker('s Wife).

 


QUAKER'S WIFE, THE. AKA and see "Merrily Danced the Quaker('s Wife)". English, Scottish; Jig. G Major (Howe): D Major. Standard tuning. AAB (Howe): AABB (most versions). Bayard (1981) believes this tune derived from "The Mill Mill O". The Scottish national poet Robert Burns once wrote: "Among many of his airs (referring to the celebrated oboist Thomas Fraser's playing) that please me, there is one, well known as a Reel [it is really a 6/8 jig] by the name of 'The Quaker's wife' & which I remember a grand Aunt of mine used to sing, by the name of 'Liggeram cosh, my bonie wee lass'‑‑Mr. Fraser  plays it slow, & with an expression that quite charms me‑‑I got such an enthusiast in it, that I mad a Song for it." The song Burns wrote he called "Blythe Hae I Been on yon hill." Howe (1000 Jigs and Reels), c. 1867; pg. 120. Jarman (Old Time Fiddlin' Tunes), No. or pg. 18. Kennedy (Fiddlers Tune Book), vol. 1, 1951; No. 97, pg. 48. Kerr (Merry Melodies), vol. 1; pg. 32. Raven (English Country Dance Tunes), 1984; pg. 110.

X:1

T:Quaker’s Wife

M:3/4

L:1/8

R:Jig

S:Howe – 1000 Jigs and Reels (c. 1867)

Z:AK/Fiddler’s Companion

K:G

D | (GA)B D2B | (dc)B (BA)G | (GA)B D2D | E2F G2 :| B | (dc)B (ed)c |

dcB ABc | dcB efg | B3 d2e | dcB gfe | dcB A2G | GAB D2D | E2E G2 ||

 

QUALSAY. AKA and see "Boanie Isle o' Whalsay [1], Da." Shetland, Reel. Shetland, Mid Yell. A Minor. Standard tuning. AABB'. From J. Hoseason's manuscript, 1863. The tune has been played in reel and jig time, but is generally played in reel time today. Cooke speculates that such tunes were originally played in an ambiguous time between duple and triple. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex. 27b, pg. 77.

 

QUAND J'SU' LOIN DE TOI. Cajun, Country Blues (4/4 time). USA, southwestern Louisiana. D Major. Standard tuning. One part. Source for notated version: Leopold Francois (La., father of editor Raymond Francois) [Francois]. Francois (Yé Yaille Chère!), 1990; pg. 264.

 

QUANDJE SUIS BLEU. See "Valse d'Evangeline."

 

QUARRELSOME PIPER, THE (An Piobaire Crodac/Bruigeantac). AKA and see “William’s Hornpipe.” Irish, Hornpipe. G Major. Standard tuning. AB (O'Neill/1850 & 1001): AABB (Martin & Hughes, Mulvihill): AA’BB (Moylan): AA'BB' (O'Neill/Krassen). Source for notated version: accordion player Johnny O’Leary (Sliabh Lauchra region of the Cork-Kerry border) [Moylan]. Martin & Hughes (Ho-ro-ghedllaedh), 1990; pg. 43. Moylan (Johnny O’Leary), 1994; No. 228, pg. 131. Mulvihill (1st Collection), 1986; No. 25, pg. 95. O'Neill (Krassen), 1976; pg. 166. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1563, pg. 290. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 814, pg. 141.

X:1

T:Quarrelsome Piper, The

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 814

Z:AK/Fiddler’s Companion

K:G

EF|(3GAG (3FGF (3EFE (3DED|B>DG>B A>GE>F|G>Bd>f e>dc>A|

G>gf>e (3ded (3cBA|(3GAG (3GFG (3EFE (3DED|G>DG>B A>GE>F|

G>Bd>f e>d (3cAF|G>BA>F G2||B2|e>B (3BcB g>B (3BcB|

e>bg>B e>B (3BAB|d>A (3ABA f>A (3ABA|d>gf>e (3ded (3cBA|
(3GAG (3FGF (3EFE (3DED|B>DG>B A>GE>F|G>Bd>f e>d (3cAF| G>BA>F G2||

 

QUARRY CROSS, THE. AKA and see “Denis Doody’s [2],” “From Billy to Jack,” “Glen Cottage Polka [2],” “Green Cottage [2],” “The Glin Cottage Polka [1],” “Johnny O’Leary’s [1],” “St. Patrick was a gentleman [2],” “St. Patrick was your patron saint.” Irish, Polka. USA, New England. E Dorian. Standard tuning. AB. Source for notated version: fiddler Paddy Cronin (b. 1925, County Kerry) [Miller & Perron]. Miller & Perron (101 Polkas), 1978; No. 3. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 134. Songer (Portland Collection), 1997; pg. 162 (learned from Miller & Perron). Talcon Records KG240, Paddy Cronin – “The House in the Glen” (197?).

 

QUARRY CROSS SLIDE [1], THE. AKA and see “Johnny the Tailor’s Fancy.” Irish, Slide (12/8 time).

 

QUARRY CROSS SLIDE [2], THE. AKA and see “Hare in the Corn [4].” Irish, Slide (12/8 time).

 

QUARRYMAN, THE.  English, Jig. D Major. Standard tuning. AA’BB’. The tune was composed by Charlie Sherrit (Aberdeen), popularized by Borders fiddler Willie Taylor and the Shepherds (Will Atkinson, Joe Hutton & Willie Taylor). Callaghan (Hardcore English), 2007; pg. 63. Seattle (The Morpeth Rant). WPCD 002, The Committee Band – “Its About Time” (1999).

 

QUARTER BROWLES, THE. English, "Pan‑European;" Country Dance Tune (4/4 time). G Major. Standard tuning. AABBCC. This dance tune dates from the mid‑16th century and appears to have originated on the Continent. It was published in Tilman Susato's "Dancerye" of 1551 (Susato was a sackbutt player in the Antwerp City Band), but Merryweather (1989) states it was popular in England as early as 1565. Merryweather (Merryweather’s Tunes for the English Bagpipe), 1989; pg. 21.

 


QUARTER DECK, THE. Scottish, Canadian, American; Hornpipe. D Major. Standard tuning. AABB (Messer, Phillips): AA'BB' (Kerr). Source for notated version: Ron West (Vt.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 191. Kerr (Merry Melodies), vol. 3; No. 338, pg. 36. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 127, pg. 83.

X:1

T:Quarter Deck, The

M:C

L:1/8

R:Hornpipe

S:Kerr – Merry Melodies, vol. 3, No. 338  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

A2|Adcd Bdcd|Adcd Bdcd|1 Adfa gfed|c2e2e2:|2 Adfa gece|d2f2d2||

|: f2|afdf afba|gece geag|1 fdAd fdgf|edcB A2:|2 fafd egec|d2f2d2||

 

QUATRE COINS DU LIT, LES. AKA and see “The Four Posts of the Bed,” “The Four Poster Bed.”

 

QUATRE COMPLOSSE’A, LA. Scottish, Scots Measure. B Flat Major. Standard tuning. AABBCCDD. McGlashan (Collection of Scots Measures), 17__; pg. 14.

X:1

T:La Quatre Complosse’a

L:1/8

M:2/4

B:McGlashan – Collection of Scots Measures

Z:AK/Fiddler’s Companion

K:B_

f2 f/g/f/e/|d2 d/e/d/c/|BFBF|Bdfb|f2 f/g/f/e/|d2 d/e/d/c/|BFBF|B2B2:|

|:FA/c/ ec/A/|Bd/f/ bf/d/|gecA|B/A/B/c/ BB|FA/c/ ec/A/|Bd/f/ bf/d/|

gecA|B2B2:|

|:b2 B2|f2 F2|GBAc|B/A/B/c/ BB|b2 B2|f2 F2|GBAc|B2B2:|

|:b2 g2|a2 f2|ggfe|f/=e/f/g/ ff|bbgg|aaff|gg=ee|f2f2:|

 

QUAYSIDE [1], THE. English, Hornpipe. England, Northumberland. G Major. Standard tuning. AABB. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 58. Raven (English Country Dance Tunes), 1984; pg. 182.

X:1

T:Quayside [1], The

M:C|

L:1/8
R:Hornpipe

K:G

BA|GB,DG B2 AG|ADFA c2BA|GdBG FcAF|GBde (3ded (3cBA|

GB,DG B2AG|ADFA c2 BA|GdBG FAcA|G2G2G2::(3def|

gGBd gfe^d|eEGc edcB|A^GAB cBcd|egEA GFef|

gGBd gfed|eEGc edcB|Ggfe (3ded (3cBA|G2G2G2:|

 

QUAYSIDE [2], THE. English, Scottish; Hornpipe. A Major (Fitzgerald, MacDonald): G Major (Northumbrian Pipers’). Standard tuning. AABB. Composed by James Hill (c. 1811-1853), a 19th century musician and publican originally from Scotland who lived most of his life in Tyneside, Northumberland. Source for notated version: Winston Fitzgerald (Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; pg. 2. MacDonald (The Skye Collection), 1887; pg. 174. Northumbrian Pipers’ Society (The Fiddle Music of James Hill), 2005; pg. 11.

X:1

T:Quayside, The  [2]

M:C

L:1/8

R:Hornpipe

S:MacDonald – Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:A

(3efg|a2 Ac e2 EG|A2 A,C E2AB|d2fd c2ec|Bbba gefg|a2Ac e2EG|A2A,C E2Ac|

defd cA c/B/A/G/|B2A2A2::(cd)|ecAa fdBa|(3gbg (3efg a2ag|f2 fe dcBA|

GBe^d efge|a2ag f2fe|dcBA GFED|CEAd cBAG|B2A2A2:|

X:2

T:Quayside, The [2]

M:C|

L:1/8

R:Hornpipe

K:G

(3def|g2 GB d2 DF|G2 DB, DGBd|c2 ec BGdB|Aaag fdef|g2GB d2DF|

G2DB, DGBd|cedc BAGF|A2G2G2::Bc|dBGg ecAa|fdef g2 gf|

E2 ed cBAG|FAd^c defd|g2 gf e2ed|cBAG FEDC|B,DGc BAGF|A2G2G2:|

 

QUÉBEC, THE. Canadian, Reel. D Major. Standard tuning. AABB. Messer (Way Down East), 1948; No. 37. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 57, pg. 35.

X:1

T:Quebec Reel

R:Reel

M:2/4

L:1/16

Z:Transcribed by Bruce Osborne

K:D

A2|FAdA FAdf|e2ee e3d|cecA BcBA|F6A2|

FAdA FAdf|e2ee e3d|cecB Acec|d2dc d2:|

|:b2|a2fd Adfa|g2gg g3g|bgec Acec|dAdf a2b2|

a2fd Adfa|gfga g3g|bgec Acec|d2dc d2:|

 

QUEBEC REEL. AKA and see “The Old Man and the Old Woman [1].”

 

QUEEN DIDO. AKA and see "When as the Greeks Did Enterprise," "Troy Town."

 

QUEEN ELIZABETH MARCH. Scottish, March (6/8 time). A Major. Standard. AAB. Composed by Jimmy Moir in 1977 for the Queen of England's Silver Jubilee. Moir is a former Glasgow policeman, born in Ferryden near Montrose, who was awarded the M.B.E. in 1979 for his services on behalf of Scottish fiddle music. He is a long‑standing member of the Glasgow Strathspey and Reel Society, and became conductor of the group in 1954 (Hunter, 1979). Hunter (Fiddle Music of Scotland), 1988; No. 348.

 

QUEEN HORNPIPE, THE. English, Hornpipe. G Major. Standard. AABB. Raven (English Country Dance Tunes), 1984; pg. 180.

 

QUEEN MAB. AKA and see "The Maid's Got Milk Down the Lane." English, Reel. Scottish, Scots Measure. England, Northumberland. G Mixolydian. Standard. AAB (McGlashan): AABBCC (Vickers). Queen Mab was a pantomime by Charles Burney written about 1750, featuring dances composed by the Scots composer James Oswald. A manuscript by Captain George Bush (1753?-1797), a fiddler and an officer in the Continental Army, has another tune from the stage production, labelled “The Sette in Queen Mab” (Keller, Fiddle Tunes from the American Revolution, 1992).  McGlashan (Collection of Scots Measures), 17__; pg. 15. Seattle (William Vickers), 1987, Part 3; No. 558.

X:1

T:Queen Mab

L:1/8

M:2/4

B:McGlashan – Collection of Scots Measures

Z:AK/Fiddler’s Companion

K:G Mix

G2 B/c/d|Bgde|G2 B/c/d|AfAF|G2 B/c/d|Bgde|fade|fcAF:|

|:g2dB|gBdB|g2 de|fcAF|g2 dB|gBde|f/g/a d/e/f|AFcA|

B G2 A|BGdg|B G2 A|Bgde|f/g/a d/e/f|AfcA||

 

QUEEN MARY WALTZ. Scottish, Waltz. The melody was composed by Felix Burns. Burns was born in Perth, Scotland, in 1864. A musical prodigy and multi-instrumentalist, his first musical instruments were tin whistle and mouth organ, “graduating” to piano, organ and various brass instruments. His composing career started at an early age and he went on to become one of the most popular composers of his time, although for an unknown reason he often credited his compositions to various pen names such as Leona Lacoste, Alfred Rosslyn, Claud Roslind, and Leon Fabrini. He settled in Carlisle, and died 1920, although not before siring thirteen children. Burns work was much recorded in the early decades of the 20th century by such musicians as Scotland’s Wyper Brothers.

                       

QUEEN MARY'S DUMPE. This air appears in William Ballet's Lute Book of 1594. See "Peg a Ramsay" for notes on the dance form called the "dump."

                       

QUEEN MARY’S LAMENTATION. Scottish, Air (3/4 time). G Major. Standard tuning. AAB. The air was published in several late 18th century sources, including the Caledonian Muse (1798). It was a composition of Tommasso Giordani (1730-1806), a Neapolitan composer who spent much of his mature career in London and Dublin. He came to London with his father’s opera company, where he presented his first opera in 1756. In the next twenty years, still based in London, he composed three other operas, plus arranged other works; he then removed to Dublin and produced  seven more operas.  His output included sacred music, songs, cantatas, canzonets and chamber music, and his keyboard music was very popular in his time, rivaling J.C. Bach’s, particularly with amateur musicians. O’Farrell (Pocket Companion, vol. IV), c. 1810; pg. 136.

X:1

T:Queen Mary’s Lamentation

M:3/4

L:1/8

R:Air

S:O’Farrell – Pocket Companion, vol. IV (c. 1810)

Z:AK/Fiddler’s Companion

K:G

GB | d4 BG | A2B2c2 | {d}c2B2G2 | {B}d4 ed | d<B B<G “tr”A2 | G4 :|

d>e | =f4 {e}dB | A2 A3 B/c/ | c2B2 GB | d4 ed | d<B B<G “tr”A2 | G4 de |

=f4 {e}dB | A2 A3 B/c/ | c2B2 G>B | d4 BG | D2 c3B | B2A2 GB | d4 BG |

e2f2g2 | g2 {a/g/}f4 {a/g/f/g/e/} | d4 ed | dB BG “tr”A2 | G4 ||

           

QUEEN OF CLUBS. American, Reel. G Major. Standard tuning. AAB. The melody is perhaps a variant of “Frank Roche’s Favorite.” Cole (1000 Fiddle Tunes), 1940; pg. 29. Ryan’s Mammoth Collection, 1883; pg. 55.

X:1

T:Queen of Clubs

M:C|

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

D2 | G2(GB) AGED | cBce dcBd | cBAc BAGB | AGFA GDB,D | G2 GB AG E2 |

{d}cBce dcBd | cBAc BAGB | AGFA G2 :: (Bd) | g2 (fg) egdf | gbag fdef |

g2(fg) egdB | cedf g2d2 | g2(fg) eg(df) | gbag fdef | gbaf gfed | eg(fa) gedB ||

                       

QUEEN OF HEARTS [1], THE. English, Polka. G Major. Standard tuning. AABB. The melody is contained in the Joseph Kershaw manuscript. Kershaw was a fiddler who lived in Slackcote, Saddleworth, North West England, in the 19th century, and his manuscript dates from around 1820 onwards. The first four bars of this tune are nearly the same as “Polly Put the Kettle On [2].” The Joseph Kershaw Manuscript, 1993; No. 5.

                       

QUEEN OF HEARTS [2], THE. American, Quickstep March (2/4 time). D Major. Standard tuning. AABB’.  In 1862 Bruce and Emmett’s Drummers’ and Fifers’ Guide was published to help codify and train the hordes of new musicians in Union Army service early in the American Civil War. George Bruce was a drum major in the New York National Guard, 7th Regiment, and had served in the United States Army as principal drum instructor at the installation at Governor’s Island in New York harbor. Emmett was none-other than Daniel Decatur Emmett, a principal figure in the mid-19th century minstrel craze and composer of “Dixie” (ironically turned into a Confederate anthem during the war) and “Old Dan Tucker,” among other favorites. Emmett had been a fifer for the 6th U.S. Infantry in the mid-1850’s. Bruce & Emmett (Drummers’ and Fifers’ Guide), 1862; pg. 27.