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.
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 (
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.
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
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.