The Fiddler’s
Companion
© 1996-2010 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 tuning.
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). AKA
and see “Reel de Ste-Blandine [2].”
French-Canadian, Reel. F Major. Standard tuning.
AA'BCC'A"A"'B'C"C"'A""A""'B"C""C""'.
Source for notated version: Montéal fiddler Isidore Soucy (1899-1962), via
French-Canadian button accordion player Philippe Bruneau (Québec) [Begin].
Bégin (Philippe Bruneau), 1993; No.
39, pgs. 58-59.
QUADRILLE DES
ANCÊTRES.
French-Canadian. From the repertoire of Montréal fiddler Isidore Soucy
(1899-1962). Soucy, originally from Ste-Blandine (near Rimouski), Quebec, was a
renowned fiddler in the mid-20th century, famous for his radio and
TV broadcasts, although he retained a rustic playing style. A-L 001, Lisa Ornstein &
André Marchand – “One Fine Summer’s Day/Par un beau Samedi d’ été” (2009).
QUADRILLE
DES LAURENTIDES. French-Canadian.
From the repertoire of Montréal fiddler Isidore Soucy (1899-1962). Soucy,
originally from Ste-Blandine (near Rimouski), Quebec, was a renowned fiddler in
the mid-20th century, famous for his radio and TV broadcasts,
although he retained a rustic playing style. A-L 001, Lisa Ornstein & André Marchand –
“One Fine Summer’s Day/Par un beau Samedi d’ été” (2009).
QUADRILLE FRANÇAISE. AKA and see "Reel du Canada," "Reel de
chez-nous." French‑Canadian, Quadrille (4/4 time). G Major. Standard
tuning. 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 FRANCO-AMÉRICAIN NO. 3. French-Canadian, Jig. D Major. Standard
tuning (fiddle). AABB. Learned from a 1927 78 RPM recording of left-handed
fiddler J. O. La Madeleine. The original quadrille is in six parts. Raz de Marée/Tidal Wave – “Marche du St-Laurent” (2010).
X:1
T:Quadrille
Franco-Americain, No. 3
M:6/8
L:1/8
S:Left-handed
fiddler J.O. La Madeleine (1927)
D:Tidal
Wave – “Marche du St-Laurent” (2010)
Z:AK/Fiddler’s
Companion
K:D
a|a2f
efg|faf d2f|e2c ABc|efe e2a|
a2f
efg|faf d2f|e2c ABc|dfe d2:|
|:A|dcd
f2A|BGB e2d|cdc ABc|efe e2A|
dcd
f2A|BGB e2d|cdc ABc|dfe d2:||
QUADRILLE FRANCO-AMÉRICAIN NO. 4. French-Canadian, Jig. D Major. Standard
tuning (fiddle). AABB. Learned from a 1927 78 RPM recording of left-handed
fiddler J. O. La Madeleine. The original quadrille is in six parts. Raz de Marée/Tidal Wave – “Marche du St-Laurent” (2010).
X:1
T:Quadrille
Franco-Américain No. 4
M:6/8
L:1/8
S:Left-handed
fiddler J.O. La Madeleine (1927)
D:Tidal
Wave – “Marche du St-Laurent” (2010)
Z:AK/Fiddler’s
Companion
K:D
A2f
{g}fed|B2g {a}gfe|c2e ABc|def A3|A2f {g}fed|
B2g
{a}gfe|c2e ABc|1 dfe d3:|2 (d3 d)ef||g2b bag|f2a agf|
d2f
fed|c2d e2f|g2b bag|f2a agc|a2c a2A|ABc d3:||
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 tuning. 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. USA, Missouri. A Mixolydian. Standard tuning. AA’BB’. A version of
the tune Edden Hammon’s called “Sandy Boys”
(and much associated with him), from Missouri fiddler Gene Goforth (1921-2002),
who had the tune from his father Richard “Dink” Goforth. The “Sandy Boys” title
is common around Kentucky and West Virginia. Source for notated version: Gene
Goforth [Beisswenger & McCann]. Beisswenger & McCann (Ozarks Fiddle
Music), 2008; pg. 47. 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).
QUARRY (WALTZ), THE. English, Waltz.
G Major (‘A’ and ‘B’ parts) & D Minor (‘C’ part). Standard tuning. AABBCC.
Kennedy (Fiddler’s Tune-Book: Slip Jigs
and Waltzes), 1999; No. 162, pg. 42.
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||
QUARTER MOON. Canadian,
Waltz. Canada, Cape Breton. G Major. Standard tuning. AABB. Composed by Lew
Alpaugh and the late Cape Breton fiddler and composer Jerry Holland
(1955-2009). Cranford (Jerry Holland: The Second Collection), 2000; No.
310.
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 tuning. 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 tuning. 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:Gmix
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||
X:2
T:Queen
Mab or the Maid’s Got Milk Down
M:C|
L:1/8
R:Reel
S:William
Vickers’ music manuscript collection (Northumberland, 1770)
Z:AK/Fiddler’s
Companion
K:G
G2 B/c/d Ggde|G2 B/c/d AfAF|G2 B/c/d Bgde|fade fcAF:|
|:g2
dB gBdB|g2 de fcAF|g2 dB gBde|f/g/a d/e/f AFcA:|
|:BGGA
BGdg|BGGf AfcA|BGGA 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. A
simple and popluar tune for dancing and marching, which began life as a simple
reel, being converted to a polka in the early 19th century. The
first four bars of this tune are nearly the same as “Polly Put the Kettle On [2].”
Printed versions include James Aird (Glasgow, 1782). In England, the melody
is contained in the Joseph Kershaw music manuscript. Kershaw was a fiddler who
lived in Slackcote, Saddleworth, North West England, in the 19th
century, and his ms. dates from around 1820 onwards. American versions include an appearance in the music commonplace book
of Oliver White, a Connecticut musician who began his ms. around 1775; Elias
Boynton of Pepperell, Massachusetts, whose commonplace book dates from 1799;
Luther Kingsley, of Mansfield Connecticut, who entered tunes in his ms. from
1795 to around 1815; Massachusetts musician Whittier Perkins, whose ms.
collection began in 1790; and William Williams, a fifer from Pautuxit, Rhode
Island, whose commonplace book dates to 1775. Aird (Selections of Scottish,
English, Irish and Foreign Airs), vol. 1, 1782; pg. 5. Johnson (A
Further Collection of Dances, Marches, Minuetts and Duetts of the Latter 18th
Century), 1998; pg. 10. The Joseph Kershaw Manuscript, 1993; No. 5.
X:1
T:Queen
of Hearts, The [1]
M:2/4
L:1/8
S:Aird,
vol. 1 (1782)
K:G
d>e
dc|BG GB|cB AG|FD DA|BG GB|cA Ag|fd e^c|d2d2:|
|:FD
FA|dA Ac|BG Bd|gdd=f|ec Ac|dBGc|B/d/B/G/ A/c/A/F/|G2 G2:|
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.
X:1
T:Queen of Hearts [2]
M:2/4
L:1/8
R:Quickstep
March
S:Bruce & Emmett’s Drummers’ and Fifers’
Guide (1862)
Z:AK/Fiddler’s Companion
(e/>d/) |
c/e/A/>B/ A/G/E/C/ | DD/>C/ D/>F/E/>D/ | C/>E/(A/B/)
c/>A/B/>^G/ |
.A/.d/ z/d/
d/>f/e/>d/ | c/e/A/>B/ A/G/E/C/ | DD/>C/ D/>F/E/>D/ |
C/>E/(A/B/) c/>A/B/>^G/ |
{B}A/>^G/A/>B/
A :: A/>G/ | E/>A/^G/>B/ A/B/c/d/ | e/A/g/e/ d/e/f/d/ | c/e/A/>B/
A/G/E/C/ |
DD/>C/
D/>F/E/>D/ | E/>A/^G/>B/ A/B/c/d/ | e/A/g/e/ d/e/f/d/ | c/e/A/B/
A/g/e/c/ |1 d/>c/d/>e/ d :|2 (d2 d) ||
QUEEN OF
HEARTS [3], THE.
English, Country Dance Tune (6/4 time). A Major. Standard tuning. AABB. The
melody was composed by dancing master Nathaniel Kynaston (1683-1757). Although
very little is known about him, Kynaston appears to have been active from 1705
to about 1722 in the Shropshire/Wales border area. Walsh published some 120 of
Kynaston’s tunes and dances in London over several publications, this tune in
his Twenty Four New Country Dances for
the Year 1716, published again in his Second
Book of the Compleat Country Dancing-Master (1719). The Selattyn parish
register in Shropshire records that a “Nathanial Kynaston, gent., & Mrs.
Elizabeth Davies, both of Oswestry” married on August 25th,
1719—although whether this was the dancing master is unknown. Kynaston appears
to have been a not uncommon name in Shropshire, and the family includes Sir
Humphrey Kynaston, a notorious 16th century highwayman and Robin
Hood figure, who preyed on the wool merchants of Shrewsbury. John Young picked
up “Queen
of Hearts” as a long-ways dance (for as many as will) in his Dancing Master, second book, third
edition (London, 1718), printed again in the fourth edition of that work
(London, 1728). Barnes (English Country
Dance Tunes, vol. 2), 2005; pg. 104.
X:1
T:Queen of Hearts, The [3]
M:6/4
L:1/8
S:John Young – Dancing
Master (London, 1718)
K:A
A4A2 A4a2|g4f2 e4a2|g4f2
e2f2g2|f2a2c2 B4c2|B4A2 G2A2|B6 B2d2c2|B4A2G4A2|
(B6 B4)c2|d4 d2d2e2f2|d2f2e2
c4B2|c4c2 c2d2e2|(f2e2) dc B2c2d2|e4 z2 G4z2|
F4G2A2d2c2|B2A2G2 F4E2|(E6
E4)||E2|B4 B2 B2c2A2|(G6 G4)B2|e4 e2 e3f ed|
(c6 c4)c2|f4ga a2g2f2|^e4c2
f4g2|a2g2f2c2f2^e2|(f6 f4)g2|a4a2 a3b ag|f4f2 f4e2|d2f2d2 c2e2c2|
(B6 B4)c2|B4A2 G4A2|(B6
B4)c2|d2f2d2 c2d2c2|B2a2g2 f2b2f2|e2d2c2 B4A2|(A6 A6)||
QUEEN OF HEARTS WALTZ. Chad
Miller writes that the late W.F. "Murph" Baker from Champion, New
York, played this tune. Baker learned to fiddle as a young boy during the
1920's by listening to an older gentleman at the time named Leonard Harris
fiddle at house parties (do's), and Harris and other fiddlers from Champion,
Jefferson County, New York used to play a tune by this title. Miller has only
heard fiddler's from that specific area of northern New York state play it. Mr.
Miller communicated in December, 1999:
***
“One other
fiddler that I personally know of that used to play the "Queen of Hearts
Waltz" is Roger Thesier of Fulton, NY (Oswego Co.). A recorded version of this played by Mr.
Thesier is on an LP recording (NRS 108), 1980 New York State Old Tyme Fiddlers
Association Picnic Volume IV. (Recorded
7/27/80 by the New England Recording and Sound, Duxbury, Vt). Murph learned the tune as a young boy while
listening to the playing of Leonard E. Harris (1861-1946). He never knew the name of it until years
later when Roger Thesier told him the name of it. Prior to this, Murph just called it "Harris No.2
Waltz". According to Murph, Mr.
Harris was one of the better fiddlers in Champion, NY at the time, and Murph's
mother played piano accompaniment for Mr. Harris during these country dances
(or "do's" as Murph called them).
As a young boy, before he ever learned to play the fiddle, Murph would
sit in the corner and fall asleep listening to the music of Mr. Harris at these
dances. This is the manner in which
Murph learned his first tunes. Due to
the lack of modern transportation during these years, Murph referred to
fiddlers outside of Champion as "foreign fiddlers". Jokingly, he always called fiddlers from
Champion, NY "Champion" fiddlers due to their locale.
***
Mr. Baker taught me to play the fiddle. I began taking weekly lessons from him around
1979 when I was 9yrs. old until his death in 1986. During the course of these years, Murph made many recordings for
me, and listed all sorts of information pertaining to these various tunes. This is where I get the information that I
have given to you.”
QUEEN OF MAY [1], THE (“Bean-Riog/Bainriogan na M-Bealteine” or “Banríon Bhealtaine”)
Irish, Hornpipe. G Major. Standard tuning. AABB. The tune was also recorded by
the legendary County Clare piper Leo Rowsome. O'Neill (Krassen), 1976; pg. 204.
O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1728, pg. 321.
O'Neill (Dance Music of Ireland: 1001
Gems), 1907/1986; No. 909, pg. 156. Green Linnett
GLCD 1087, Seamus Connolly - "Notes From My Mind" (1988. Connolly
says he never heard it played by any other musician other than Rowsome).
X:1
T:Queen
of May, The [1]
M:2/4
L:1/16
Q:90
C:Trad
R:Hornpipe
K:G
Bc |
dBcA Ggfe | edce d2cB | Aced cBAG | FAGE D2Bc |
dBcA
Ggfe | edce dgfe | dBcA BGAF | G2GG G2 :|
cB | ADEA
GBdg | edce dgdB | ADFA GBdg| edce dgba |
gbfa
egdf | ceBd AcGB | A2cB ADFA | G2GG G2 :|
QUEEN OF MAY [2], THE (Banríon Bhealtaine). AKA
and see “Bashful Beau,” “Kitty Losty’s Reel,” “The Tap Room.” Irish, Reel. B Minor. Standard
tuning. ABC. Famed Sligo fiddler Michael Coleman recorded this tune as the
second in a medley with “Dr. Gilbert’s.” Source for notated version: fiddler
Tommy Potts [Breathnach]. Breathnach (CRÉ
I), 1963; No. 197, pg. 76. Lyth (Bowing
Styles in Irish Fiddle Playing), vol. 1, 1981; 29. Cló
Iar-Chonnachta CICD 167, Peter Horan & Gerry Harrington – “The Merry Love
to Play” (2007). Talcon Records KG240, Paddy Cronin – “The House in the Glen”
(197?).
X:1
T:Queen
of May, The [2]
R:reel
D:Chieftains
1.
D:Paddy
Glackin: In Full Spate.
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
L:1/8
M:C|
K:Bm
Bcdf
e2dB | AD (3FED FA~A2 | Bcdf edBc | dBAc BDFA |
~B3A
BcdB | AD (3FED FA~A2 | Bcdf edBc | dBAc BDFA ||
B2eB
fBeB | defa afed | B2eB fBeB | dBAc BDFA |
(3Bcd eg fdec | defa afeg | fbba fafe | dBAc BDFA ||
QUEEN OF PRUSSIA, THE. English, Waltz.
G Major. Standard tuning. AABBCCDDEE. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 163, pg. 43.
QUEEN
OF PRUSSIA’S GRAND (WALTZ),
THE. AKA – “The
Queen of Prussia.” English, Waltz. G Major. Standard tuning. AABBCCDD. “The
Queen of Prussia” appears in the music copybook of Tyneside, Northumberland,
musician John Moore (1841). The melody appears in print in America in Riley’s
Flute Melodies, vol. 2 (New York, 1817). Flute player H. Canfield
(Hartford, Conn.) included it in his music copybook of 1823. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes),
1999; No. 164, pg. 43.
X:1
T:Queen
of Prussia’s Waltz. JMT.080
M:3/4
L:1/7
Q:130
S:J.
Moore, Tyneside, 1841 (55)
R:Waltz
O:England
A:Northumbria
D:C.G.P.
K:G
G2|G2G2G2|G2G2
ed|d4B2|B2z2GA|Bcdefg|d4e2|d4c2!
A2z2d^c|d^cdefg|a2
z2D2|GFGBdB|cBceag|f2f2f2|g4:|!
|:d2|g2GBdg|eccccc|A2DFAc|BdGGGd|g2GBdg|!
eaaaaa|gfedef|g4:||:d2|edcBcA|GFBFGE|DEFGAB|!
GABc^cd|edcBcA|GFBFGE|DEFGAB|G4:||:B>B|B4B>B|!
B4B>B|B2B2B2|B2B2B2|d4-B2|d4B2|[D4d4][B,2B2][D4d4][B,2B2]|edcBcA|GFBFGG|!
DEFGAB|GABc^cd|edcBcA|GFBFGE|DEFGAB|G4:|]
QUEEN OF SHEBA, THE. English, Jig. B Flat Major. Standard tuning. AABB.
The music begins by outlining the subdominant chord. Barnes (English Country Dance Tunes, vol. 2),
2005; pg. 104.
QUEEN OF SHEBA ARRIVES, THE. American, Reel. G Major. Standard tuning.
AABB. Composed by Alstead, New Hampshire, fiddler and composer Randy Miller,
inspired by George Fredrich Handel’s “Arrival of the Queen of Sheba” from his
opera Solomon (See Barnes, English Country Dance Tunes, vol. 2,
2005; pg. 105 for a transcription of the Handel piece). Miller (Fiddler’s Throne), 2004; No. 231, pg.
142.
QUEEN OF SHEBA DEPARTS, THE. American, Reel. F Major. Standard tuning.
AABB. Composed by Alstead, New Hampshire, fiddler and composer Randy Miller,
inspired by George Fredrich Handel’s “Arrival of the Queen of Sheba” from his
opera Solomon. Miller (Fiddler’s Throne), 2004; No. 232, pg.
142.
QUEEN OF SLUTS. English, Reel. England, Northumberland. G Major.
Standard tuning. AABB. Hall & Stafford (Northumbrian
Minstrelsy), 1974; pg. 15. Raven (English
Country Dance Tunes), 1984; pg. 142.
QUEEN OF THE EARTH, CHILD OF THE SKIES. AKA –
“Queen of the Earth, Child of the Stars.” AKA and see “The Blackbird [1].” Old-Time, Air. D. DDad tuning. Played by West Virginia fiddler
Eddon Hammons. The
tune is a Hammon’s refashioning of the Irish air “The Blackbird.” Fiddler Gail
Gillespie finds the title similar to a line from a shape-note hymn called “Star
of Columbia” (AKA “Columbia”), found in the Social
Harp (1855) and other hymnodys, which begins:
***
Columbia! Columbia! to glory arise,
The queen of the world and the child of the skies;
Thy genius commands thee with raptures behold,
While ages on ages thy splendors unfold:
Thy reign is the last and the noblest of time,
Most fruitful thy soil, most inviting thy clime;
Let crimes of the east ne're encrimson they name,
Be freedom and science and virtue thy fame.
***
Words
are credited to “Dr. Dwight” and music to “Miss M.T. Durham” (although the
melody employed is a traditional fiddle tune called “Bonaparte Crossing the
Rhine”). Later generations of the Hammons family played the tune somewhat
differently, with Burl Hammons calling the piece “Old Man of the Woods” and
Sherman Hammons calling it “Star of Bethlehem.”
***
Copper Creek CCCD 0199, James Leva – “Memory Theatre.” West Virginia
University Press CD, The Edden Hammons Collection, vol. 1. Rounder 0304, Jody
Stecher – “Our Town.” Dirk Powell, John Herrmann, and Tom Sauber – “One Eyed Dog.” Edden Hammons Collection I. Reed Island Rounders – “Goin’ Home” (2002).
QUEEN OF THE FAIR (Bainriogan an Aonaig). Irish, Double
Jig. D Major. Standard tuning. AABBCC'. Composition of the tune is credited (in
Irish Folk Music) to virtuoso fiddler
John McFadden (born Carrowmore, Co. Mayo), a contemporary of Captain Francis
O'Neill, and was first published in O’Neill’s Dance Music of Ireland. The melody achieved some currency in
Ireland in the latter half of the century after being recorded by the old
Ballinakill Ceili Band (Ennis, 1977) in 1930. Sources for notated versions: the
playing partners of Chicago police Sergeant James Early and John McFadden, a
piper and fiddler from adjoining counties in the province of Connaght
[O’Neill]; Tommy Peoples and Paul Brady (Ireland) [Brody]; Brendan Mulvihill
(Baltimore, Md.) [Mulvihill]; set dance music recorded live at Na Píobairí
Uilleann, in the 1980’s [Taylor]. Brody (Fiddler’s
Fakebook), 1983; pg. 223. Mulvihill (1st
Collection), 1986; No. 62, pg. 78. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 300, pg. 69.
Taylor (Crossroads), 1992; No. 48,
pg. 36. Taylor (Music for the Sets:
Yellow Book), 1995; pg. 17. Shanachie 29003, Tommy
Peoples and Paul Brady‑ "The High Part of the Road." Green
Linnet 1012, Martin Mulvihill‑ "Traditional Irish Fiddling From
County Limerick." Shaskeen - "My Love is in America."
X:1
T:Queen
of the Fair
M:6/8
L:1/8
R:Jig
S:O’Neill
– Dance Music of Ireland: 1001 Gems (1907), No. 300
Z:AK/Fiddler’s Companion
K:D
A/G/ |
FEF DA,A, | DFA dAF | GdG FGA | BGE EFG |
FEF
DA,A, | DF(3A/B/c/ dAF | GdG EFG | FDD D2 :|
|: (3b/a/g/ | fdf ece | dAG FED|DF(3A/B/c/
dAF | GBG EFG |
fda ece | dAG FED | DFd EFG | FDD D2 :: A
| (3d/d/d/dd fdd |
add fdd | B/c/d/e/f g2e | fda ecA |1 Add
fdd | add efg | EFG dAG |
FDD D2 :|2 a/g/fa geg | Fda ecA | EFG dAG
| FDD D2 ||
QUEEN OF THE FAIRIES [1] (Banrion na Sioga). AKA and see “Paddy’s Trip to Scotland [2]."
QUEEN OF THE FAIRIES [2].
Irish, Hornpipe or Set Dance. D Major. Standard tuning. AABB’. Liam O’Flynn – “The Fine Art of Piping.” Liam O’Flynn – “Out
to Another Side.”
X:1
T:Queen
of the Fairies
M:4/4
L:1/8
R:Hornpipe
K:D
d’afa
bgeg | fdec ddef | gbaf gecd | (3gfe (3dcB Af (3abc’ | d’afa bgeg |
fdec ddef
| gbaf (3gfe cd | (3gfe dc df (3abc’ | d’afa bgeg | fdec ddef |
gbaf
gecd | (3gfe (3dcB Af (3abc’ | d’afa bgeg | fdec ddef | gbaf (3gfe cd |
(3gfe
dc d3A |: FAdA FAdf | gbef gBeA | fAdA FAdf | (3ffe cA (3ffe cA |
FAdA
FAdf | ~g3a bc’d’b | afdg bgec |1 d2dc dBAG :|2 d2dc df (3abc’ ||
QUEEN OF THE FAIRIES [3]. Irish, Hornpipe. G Major. Standard
tuning. AA’BB’. Shanachie 78058, “Bohala 4.”
X:1
T:Bohola's
Queen of the Fairies
M:4/4
L:1/8
S:bohola 4
R:HORNPIPE
Z:Paul Mulvaney
K:G
|: AG | E2 A2 AB cd | e2a2 g3 d | (3eee d2 (3ccc B2 | ABAG E2 D2 |!
E2 A2 AB cd | e2a2 g3 d | e2 de g2 B2 |1 B2 A2 A2 :|2 B2 A2 A2 AG |!
|: E2 A2 c2 A2 | e3 B cBAG | E2 G2 D2 G2 | E2 DE GEDB |!
E2 A2 c2 A2 | e3 B cBAG | E2 DE G2 B2 |1 c2 A2 A2 AG :|2 c2 A2 A2 ||
QUEEN OF (THE) MAY, THE (Banrion Bhealtaine). AKA –
“Queen of May.” AKA and see "The Tap Room."
Irish, Reel. E Dorian. Standard tuning. ABC. Not to be confused with the
hornpipe "Queen of May." Source for
notated version: fiddler Thomas Potts (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 197, pg. 76. Coleman Music Center CHC 009, flute player Paddy Healy (b.
1937, Ballymote) – “The Coleman Archive, vol. 2: The Home Place” (2005. Various
artists. Healy learned the tune from his father, John Martin, also a flute
player). Green Linnet SIF 1122, Kevin Burke - "Open House" (1992).
IRC Records, Michael Coleman - “The Musical Glories of Old Sligo” (1967).
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Queen of May,
The
R:reel
D:Chieftains 1.
D:Paddy Glackin:
In Full Spate.
Z:transcribed by
henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:Bm
Bcdf e2dB|AD (3FED FA~A2|Bcdf edBc|dBAc
BDFA| ~B3A BcdB|AD (3FED FA~A2|
Bcdf edBc|dBAc BDFA|| B2eB fBeB|defa
afed|B2eB fBeB|dBAc BDFA|
(3Bcd eg fdec|defa afeg|fbba fafe|dBAc
BDFA||
QUEEN OF THE MAY [2]. English, Hornpipe. EFDSSCD13,Grand Union – “Hardcore English” (2007. Various artists). GUCD 003-10,
Grand Union – “Union Specific.”
QUEEN OF THE RUSHES, THE (Banríon na Luachra). AKA
and see “The Battering Ram [2],” “The Ladies of the Ballroom (A
Connaught Jigg)” {Petrie}. See also the family of tunes: “Bliven’s Favorite,” "The Butchers of Bristol [1]",
"By your leave, Larry
Grogan," "Coppers
and Brass [2]", “The
County Limerick Buckhunt," "Finerty's
Frolic," “Green Sleeves [3],"
"Hartigan's Fancy," “The Humors of Ennistymon [1],"
"The Humours of
Milltown [2]," "Larry
Grogan(‘s) [1]," "The Lasses of Melrose," “Lasses of Melross,” "Little Fanny's Fancy," "Lynn's Favourite," "Lynny's Favourite,"
"Pingneacha Rua agus Pras," "The Waves of Tramore," “Willie Clancy’s.” Irish, Double Jig. D
Major (Mulvihill): D Mixolydian (Breathnach): G Major (Sullivan). Standard
tuning. AABBCC. The 'low' version (see second version, below). “The Battering
Ram” is a related melody. “Queen of the Rushes” was one of the first tunes
recorded by the Ballinakill Céilí Band (East Galway) for Parlophone of London in
July 1930 (the band’s founding members were Anna Rafferty, Stephen Maloney,
Tommy Whelan, Tommy Whyte, Jerry Maloney). Source for notated version: the late
Gus Collins (Bronx, NY) [Mulvihill]; Festy Conlan and Tim Lyons [Sullivan];
piper Seán Potts [Breathnach]; New Jersey flute player Mike Rafferty, born in
Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ I), 1963; No. 30, pg. 13. Harker (300 Tunes from Mike Rafferty), 2005; No. 172, pg. 53. Mulvihill (1st Collection), 1986; No.
78, pg. 81. Sullivan (Session Tunes),
vol. 3; No. 3, pg. 2. Shanachie 79035, Planxty -
“Words and Music.” Mike Rafferty – “Speed 78” ().
See also listings at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Queen
of the Rushes
R:double
jig
M:6/8
L:1/8
Z:Paul
de Grae
K:Dmix
AG ||:
F2 D DAF | G2 E EAG | F2 D DAF | GED DAG |
F2 D
DAF | GEE EFG | ABA GEA |1 DED DAG :|| 2 DED D2 B |
||: c2
A Bcd | ecA AGE | d2 e fed | e^cA A2 B |
cBA
Bcd | ecA AGE | FEF GEA |1 DED D2 B :|| 2 DED DFG |
||: A2
A dAF | AFA dAF | G2 G EFE | cBc EFG |
A2 A
dAF | AFA dAG | FEF GEA |1 DED DFG :|| 2 DED D3||
QUEEN OF THE RUSHES [2].
Irish, Reel. G Major. Standard tuning. AABBCC. The 'high' version in G
Major of the more traditional D Mixolydian tune. Source for notated version:
New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926
[Harker]. Harker (300 Tunes from Mike
Rafferty), 2005; No. 173, pg. 54.
QUEEN OF THE WEST. American, Hornpipe. D Major. Standard tuning. AABB
(Cole, Cranford): AA’BB’ (Taylor/Tweed). A hornpipe originally published in Ryan’s
Mammoth Collection in 1883, it has been played by fiddlers from several
traditions, including old-time, bluegrass and Texas-style, Cape Breton and
Irish. The composition was credited to New England bandleader and tune composer
Zeke Backus in Ryan’s/Cole's 1000. Backus was also a minstrel performer, and
apparently spent at least some time in San Francisco. The melody is very
similar to "Sumner's Hornpipe."
The city of Cincinnati, Ohio, was known as the Queen of the West in the first
decades of the 19th century, however, the “Queen of the West” may
refer to a vessel, or even to the someone from the west of Ireland. There was a
Queen of the West during the American Civil War, a ship that had the
distinction of serving both sides while retaining the same name. Originally a
converted ram for the Union that played a part in the 1862 battle of Memphis,
and operations the next year around Vicksburg, it was sunk in 1863. The
Confederates raised her later the same year and she saw brief service in the
Southern navy, until finally set afire and burned during an engagement in
Louisiana.
***
Roger
(Georgia Slim) Rutland fiddled this tune on the radio in the 1940’s. Texas
fiddler Benny Thomasson also played the tune, also calling it “Sumner’s
Hornpipe,” as did Cape Breton fiddler Winston Fitzgerald. Irish fiddler Brendan
McGlinchey recorded it under the title “The
Tosspot.” Sources for notated versions: Winston Fitzgerald (1914-1987, Cape
Breton) [Cranford]; fiddler Terry Crehan (Clare) [Taylor/Tweed]. Cole (1000 Fiddle Tunes), 1940; pg. 101.
Cranford (Winston Fitzgerald), 1997;
No. 33, pg. 12. Fiddler Magazine, Winter 2005/06, vol. 12, No. 4; pg.
49. Peoples (Fifty Irish Fiddle Tunes),
1986; 58. Ryan’s Mammoth Collection,
1883; pg. 138. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice),
1994; pg. 39. GTD Heritage Trad. HCD 008, Tommy
Peoples - "Traditional Irish Music Played on the Fiddle." Rounder CD
11661-7033-2, Natalie MacMaster – “My Roots are Showing” (2000). Natalie
MacMaster – “My Roots are Showing.” Solid ROCD 8, “Sharon Shannon” (1991).
X:1
T:
Queen of the West
C:Credited
to Zeke Backus in Ryan’s/Cole’s
M: 4/4
L:1/8
K: D
DFAF
EFA,2 | EGAG EFA,E | FAdF GBec | Adfd (3cBA (3GFE |
DFAF
EFA,2 | EGAG EGA,E | FAdF GBec |1 Ad2c dA (3GFE :|2 Ad2c dfgf ||
eA
(3cBA EAce | fd (3cBA FAdf | g2eg fedf | (3edc (3dcB A2cd |
eA
(3cBA EAce | fd (3cBA FADf | (3gag eg fedf | (3efe ce dAcd |
eA
(3cBA EAce | fd (3cBA FAdf | g2eg fedf | ea^gb a3 d |
eA
(3cBA EAce | fd (3cBA FADf | g2eg fedf | (3efe ce d4 ||
QUEEN VICTORIA'S COUNTRY DANCE.
English, Country Dance Tune (6/8 time). AABB'AA. The 'A' part is the same as
"Dingle Regatta." Barnes (English Country Dance Tunes), 1986.
QUEEN VICTORIA'S DIAMOND JUBILEE.
Scottish, Polka. D Major. Standard tuning. ABB. Martin describes her setting as
“a fiddle setting of a bagpipe polka.”
***
Queen Victoria (1819-1901)
***
Martin
(Ceol na Fidhle), vol. 1, 1991; pg.
48. Martin (Traditional Scottish Fiddling),
2002; pg. 42.
QUEENIE'S OWN. American, Reel. G Major. Standard tuning. AABB. The
composition is attributed to “Snow” in Ryan’s
Mammoth Collection (1883). Cole (1000
Fiddle Tunes), 1940; pg. 49. Ryan’s
Mammoth Collection, 1883; pg. 77.
X:1
T:Queenie’s
Own
M:2/4
L:1/8
R:Reel
or Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G
g/e/ |
de/d/ .BG/A/ | B/A/G/E/ .DE/D/ | B,/D/G/A/ B/G/e/d/ | d/B/B/G/ .Ag/e/ |
.de/d/
.BG/A/ | B/A/G/E/ .DE/F/ | G/F/G/A/ B/d/A/c/ | B/G/A/F/ G :|
|: d |
g/B/B/d/ g/B/d/g/ | f/A/A/d/ f/d/a/d/ | g/B/d/g/ b/g/a/f/ | e/a/a/g/ f/d/e/f/ |
g/B/B/d/
g/Bd/g/ | f/A/A/d/ f/d/a/d/ | ({a}g/)f/e/d/ e/d/B/G/ | d/B/A/B/ G :|
QUEENOBURN, THE. AKA
"Wheena Burn." Shetland,
Shetland Reel. Shetland, (Island of) Unst.
QUEEN'S BIRTHDAY, THE. English, Country Dance Tune (2/2 time). C Major.
Standard tuning. AAB (Sharp): AA'BB' (Barnes). The tune dates to the year 1703
when it appears in Playford’s English
Dancing Master, 12th edition. It was also published by Walsh in
his Compleat Country Dancing
Master editions of 1718 and again in 1731. If Playford’s was indeed the
earliest appearance of the melody, the title may refer to Anne (1665-1714),
Queen of Great Britain and Ireland (1702-14), sovereign of the House of
Stewart. During her reign the kingdoms of England and Scotland were united
(1707). It should be noted that the Queen’s birthday, whatever Queen, was
usually a cause for celebration and an excuse for the creative for strident
currying for favor. Thus, many famous and not-so-famous composers wrote pieces
for various Queen’s birthdays, including Purcell and Handel. Barnes (English Country Dance Tunes), 1986.
Sharp (Country Dance Tunes),
1909/1994; pg. 75. Topic Records TSCD550, Brass Monkey
– “Flame of Fire” (2004).
X:1
T:Queen’s
Birthday, The
L:1/8
S:Sharp
– Country Dance Tunes (1909)
Z:AK/Fiddler’s Companion
K:C
z2 |
(c2G2E2G2) | (c4G4) | cd c2 de d2 | ef e2 d4 |
c2G2E2G2
| (c4G2) c2 | cdcd d3c | c6 :|
|| ef
| g2e2c2g2 | a4 g4 | fg f2 ef e2 | dedc B2 ef | g2e2c2g2 |
a4 g4 | fgfe d2g2 | e3d c4 ||
QUEEN’S COMMISSIONER,
THE. Scottish, Air (4/4 time). E Major. Standard tuning. AAB. Composed
by James Scott Skinner. Skinner (Harp and
Claymore Collection), 1904; pg. 12.
X:1
T:Queen’s Comissioner, The
M:4/4
L:1/8
R:”Pastoral Air”
C:J. Scott Skinner
S:Skinner – Harp
and Claymore Collection (1904)
Z:AK/Fiddler’s
Companion
K:E
A | (G>A)(B>G) (A<c)f>e | d>fB>d
.e/.f/.g/.a/ b>A | G>AB>G (A<c) f>e | (3dcB (3AGF E2E :|
a | g>fe>d (3egb e’>e | d>cB>^A (3Bdf
=a>a | g>fe>d (3ed=d (3c^de | (3dcB (3agf (e2 e>)a |
g>fe>d (3egb (3gbe’ | c>cB>^A (3Bdf (3df=a |
(3geg (3fdf (3ed=d (3c^de | (3dcB (3AGF E2E ||
QUEEN'S COUNTY LASSES, THE. Irish, Reel. D
Mixolydian. Standard tuning. AB. Learned by Joyce as a child in Limerick (c.
1840’s). Joyce (Old Irish Folk Music and
Songs), 1909; No. 94, pg. 49.
X:1
T:Queen’s
County Lasses, The
M:C
L:1/8
R:Reel
S:Joyce
– Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
R:Reel
K:Dmix
AG|FDFA
d2 fd|d2 fd ecAG|FDFA d2 fd|ecAB c2 AG|FDFA d2 fd|
d2 fd
ecAG|FDFA d2 fd|ecAF G2||de|f2 fd g2 ge|a2 ag fede|
f2 fd
g2 ge|agfa g2 fg|agfa gfeg|fedf ecAG|FDFA d2 fd|ecAF G2||
QUEEN'S DELIGHT. English, Morris Dance Tune (6/8 time). G Major.
Standard tuning. AABBB (x6), AACC, AACC. Collected from the village of
Bucknell, Oxfordshire, in England's Cotswolds. Bacon (The Morris Ring), 1974; pg. 117. Mallinson (Mally’s Cotswold Morris Book), 1988; No. 20, pg. 15. Fellside Records FECD192, Spiers & Boden – “Tunes”
(2005). Music Club MCCD376, Chris Bartram – “The Traditional Morris Dance Music
Album.”
X:1
T:Queen’s
Delight
M:6/8
L:1/8
N:From
the village of Bucknell, Oxfordshire
K:G
d2G
dcB|cBc ABc|d2G d2c|BcA G3:|
cBc
cBc|ABc def|gfg eag|gfe def|
g2g
gfe|dec ABc|d2G d2c|BcA G3||
cBc
cBc|ABc d2e|
M:3/8
f3|
M:6/8
g2f
g3|(2ea g3|g2f e3|
M:3/8
def|
M:6/8
g2g
gfe|dec ABc|d2G d2c|BcA G3||
QUEEN’S FANCY.
Scottish (?), Jig. D Major. Standard tuning. AABB. McGlashan (Collection of Scots Measures), c. 1780; pg. 35. Miller (Fiddler’s Throne), 2004’ No. 89, pg. 63.
X:1
T:Queen’s Fancy
M:6/8
L:1/8
R:Jig
S:McGlashan – Collection of Scots Measures (c. 1780)
Z:AK/Fiddler’s Companion
K:D
d2f a2f|b2g
afd|def g2e|fed cBA|B2d A2d|G2d F2d|E2d c/d/ec|d3 d3:|
|:e2c ABc|d2e fed|e2c ABc|dAG FED|e2c
ABc|d2e fed|gfe bag|fge d3:|
QUEEN'S FIDDLER SALUTES MR. TROUP, THE. Scottish,
Strathspey. Written by Willie Blair (d. 1884) of Crathie, the Queen's (i.e.
Victoria's) fiddler when she was in residence at her estate at Balmoral. Blair
was supposed to have been a pupil of Peter Hardie's. The tune itself was composed
for Alexander Troup, a fiddler and dancing master in Ballater (Alburger, 1983).
QUEEN'S GUARDS. English (?), Reel. A Major. Standard tuning. AABB.
Cole (1000 Fiddle Tunes), 1940; pg.
15. Ryan’s Mammoth Collection, 1883;
pg. 38.
X:1
T:Queen’s
Guards
M:C|
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:A
(c/d/)
| efec f2e2 | efec dBBd | efec f2e2 | fdBe cAA (c/d/) | efec f2e2 |
efec
dBBd | efec f2e2 | fdBe cAA :: g | a2 ag f2eg | afec dBBg |
a2ae
f2eg | fdBe cAAg | a2ag f2eg | afec dBBg | a2af b2ba | gefg a2z :|
QUEEN’S HORNPIPE. AKA and see “Gypsy's Hornpipe [3],” “Milton Hornpipe [2].” English, Hornpipe.
The melody appears under this title in the William Andrews late 19th
century music manuscripts (Sheepstor, Devon).
QUEEN’S HOUSE. English,
Country Dance Tune (2/4 time). G Major. Standard tuning (fiddle). AABB. The
melody is unique to London publisher Charles and Samuel Thompson’s 1765
collection. Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 137.
X:137
T:Queen’s House,
The
M:2/4
L:1/8
B:Thompson’s
Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)
Z:Transcribed
and edited by Fynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s
Companion
K:G
DGGF|EDEF|(G/F/G/A/)
(B/A/B/c/)|A2A2|DGGF|EDEF|(G/F/G/A/) (B/c/A/B/)|G2G2:|
|:(g/f/g/a)
(g/f/g/a/)|gGFE|Dgfg|(a/g/f/e/) d2|(g/f/g/a/) (g/f/g/a/)|gGFE|Dgdf|g2g2:||
QUEEN'S
JIG, THE. Scottish, English; Country Dance Tune (6/8 time). D
Major. Standard tuning (fiddle). AABB. The tune dates to 1701 when it was
published in Playford’s English Dancing Master, 11th edition.
Later it appeared in Walsh’s Compleat County
Dancing Master, vol. 1, of 1718. See also “Sweeping the Town” for an American
old-time breakdown setting of the melody. Barnes (English Country Dance Tunes), 1986. Brody (Fiddler’s Fakebook), 1983; p. 224. Fleming‑Williams &
Shaw (English Dance Airs; Popular
Selection, Book 1), 1965; p. 11. Lerwick (Kilted Fiddler), 1985; p. 40. Raven (English Country Dance Tunes), 1984; p. 28. Sharp (Country Dance Tunes), 1909; p. 72. Sonet 763, Dave Swarbrick‑ "Lift the Lid and
Listen."
X:1
M:6/8
L:1/8
S:Sharp
– Country Dance Tunes (1909)
Z:AK/Fiddler’s Companion
K:D
|: A |
d2e fdf | g3 f2 (f/4g/4a/) | fgf e2d | e3 A2A |
d2e
fdf | g3 f2 (f/4g/4a/) | fgf e2d | (d3 d2) :|
|: a |
aba g2f | g3 f2 (f/4g/4a/) | fgf e2d | e3A2a |
aba g2f | g3 f2 (f/4g/4a/) | fgf e2d | (d3 d2) :|
QUEEN’S MARCH—LOUTH.
English, March (whole time). D Major. Standard tuning. AABBCC’CC’AABB.
Gibbons originally set the tune in the key of ‘F’ major in his ms. Source for
notated version: the 1823-26 music mss of papermaker and musician Joshua
Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner].
Sumner (Lincolnshire Collections, vol. 1:
The Joshua Gibbons Manuscript), 1997; pg. 77.
QUEEN'S MARRIAGE, THE. AKA and see "Orange and Blue [2]," "Hot Punch." Canadian, Jig. Canada,
Prince Edward Island. G Major. Standard tuning. AB. The Queen referenced is
undoubtedly England's Victoria. The first half also appears in the French
Canadian tune "Little Judique."
Source for notated version: Lorin Simmons (Prince Edward Island, 1930's)
[Bayard]. Bayard (Dance to the Fiddle),
1981; Appendix No. 44, pg. 591.
QUEEN’S MULE, THE. English,
Country Dance Tune (cut time). G Major. Standard tuning. AABB. The melody is
unique to London publisher Charles and Samuel Thompson’s 1765 country dance
collection. Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 144.
X:1
T:Queen’s Mule,
The
M:C|
L:1/8
B:Thompson’s
Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)
Z:Transcribed and
edited by Flynn Titford-Mock, 2006-9
Z:abc’s:AK/Fiddler’s
Companion
K:G
GB dg f2 ed|(3efg dB (3cde cA|GB dg f2
ed|(3efg A^c d4:|
|:(bag gg (3bag gg|(3dcB BB (3dcB BB|(3BAG GG (3BAG GG|(3dcB (3cBA G4:||
QUEEN'S POLKA, THE. AKA and see “The
Top of the Maol.” English, Polka. A Minor ('A' part), D Major ('B' part),
& G Major ('C' part). Standard tuning. ABC. Trim (Thomas Hardy), 1990; No. 70. Rounder 0215,
James Bryan ‑ "The First of May."
QUEEN'S SHILLING, THE (Scilling na
Bainriogna). AKA and see “Boy
in the Gap,” “Forget Me Not [3],”
"Kilkenny Boys," "Lady Mary Ramsey [2]," “Miss Ramsay [2].” Irish, Reel. G
Major. Standard tuning. AB. Prospective soldiers were often enticed with a
bounty to Reel. G Major. Standard tuning. AB. Prospective soldiers were often
enticed with a bounty to enlist, to accept the bounty was known as “taking the
King’s/Queen’s shilling.” It is said that the style of tankard with a glass
bottom was developed so tavern patrons could guard against unscrupulous
recruiters who might drop the coin surreptitiously into a drink, thus ensnaring
the unwary. The story in undoubtedly apocryphal, and it has similarly been
proffered that the glass-bottomed tankard enabled one to keep a watchful eye on
an untrustworthy drinking companion.
***
The scilling
or scylling was used in Anglo-Saxon times as money of account, even
though no coins of that denomination existed. The word possibly derives from
the Teutonic root skil meaning to divide, and indeed ancient shillings
from Würzberg had crosses deeply indented on them to facilitate splitting the
coin for ‘change’. Anglo-Saxon poems
mention the scylling, and the 13th century poet Langland also
mentions the coin by name. Formerly considered to be worth five pence, king
William I fixed its value at twelvepence,
and that value continued until 1971 when the currency was abandoned.
***
1708 shilling with a portrait of Queen Anne. Anne
reigned from 1702 to 1714, and during her reign, the Act of Union formalised
the unification of England and Scotland which had effectively taken place
during the reign of James I of England.
***
O’Neill
(1922) notes similarities with parts of the American reel “Arkansas Traveller.” “The Queen’s
Shilling” shows up in Ireland as the third tune in a medley of flings called “The Four Provinces.”
O’Neill (Dance Music of Ireland: 1001
Gems), 1907/1986; No. 752,pg. 131. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 238-C.
X:1
T:Queen’s
Shilling, The
M:C|
L:1/8
R:Reel
S:O’Neill
– Dance Music of Ireland: 1001 Gems
(1907), No. 752
Z:AK/Fiddler’s Companion
K:G
D2|G2
G>B dBGB|dBeB dBAB|G2 GB d2 Bd|(3efg dB AcBA|G2 GB dBGB|
dBeB
dBAB|G2 GB dBGB|(3efg dB A2||ga|b2 gb a2 fa|g2 eg fd B2|b2 gb a2 fa|
gfef
d2 ga|bagb agfa|gfeg dega|bgaf gfed|(3efg dB AcBA||
QUEEN’S SQUARE, THE. English,
Country Dance Tune (4/4 time). D Major. Standard tuning. AABB. “The
Queen’s Square” appears as a longways dance (for as many as will) in
publisher John Young’s Dancing Master,
second volume, third edition (London, 1718) and again in the fourth edition
(1728). Young was the heir to John and Henry Playford’s long-running Dancing Master series. Barnes (English Country Dance Tunes, vol. 2),
2005; pg. 105.
X:1
T:Queen’s
Square, The
M:4/4
L:1/8
S:John
Young – Dancing Master, second
volume, 3rd edition (1718)
K:D
A,2D4G2|F3ED2d2|c3B
A2G2|F3E D4|A,2D4G2|
F3E
D2Bc|d2A2F2A2|d4 D4::d3e fefg|a2d4a2|
gagf
efed|cdcB A2A|d3e fefg|a2 d4 a2|g3f e2c2|d4D4:||
QUEEN’S (WALTZ), THE. English,
Waltz. A Minor. Standard tuning. AABCC. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 166, pg. 44.
QUEEN'S WEDDING, THE. AKA and see "The Swallow's Tail Reel," "The Pigeon on the Gate [1],"
"The Steeple Chase [1],"
"Take Your Hand Away,"
"The Pride of the Ball,"
"McKenna's Reel," "Mollie's
Bonnet," "Molloy's
Night Cap," "Joshua Gray,"
"The Family Estate," "Miss Wright's Reel," "The Girl with the Handsome Face."
QUEEN'S WELCOME TO INVERCAULD, THE. Scottish, Marching
Air. A Mixolydian. Standard tuning. AABB. Composed by J.
Scott Skinner. Included as one of the tunes in his 1921 concert set
romantically entitled "Warblings From the Hills." The castle of
Invercauld, Braemar, Aberdeenshire, has been the seat of Clan Farquharson
chiefs since the 16th century. The present structure was redone in
1874 in the Scottish baronial style, with the front entrance re-oriented to
face Balmoral in recognition of the new owners, the Queen of England, Victoria,
and her husband Albert. It was the 12th Laird of Invercauld who
played host to Victoria at the time. Famous Highland games (the Braemar
Gathering) are held there yearly, although in 1848 they were delayed until
September to allow Queen Victoria, coming to Balmoral for the first time, to
attend. Skinner (The Scottish Violinist,
with variations), pg. 31. Skinner (Harp
and Claymore), 1904; pg. 42.
X:1
T:Queen’s Welcome to Invercauld, The
M:C
L:1/8
R:March
B:Skinner
– The Scottish Violinist
Z:AK/Fiddler’s
Companion
K:A
Mixolydian
A/B/ |
(ce) (df) (ea) {a}de/d/ | ce (AB/c/) d/e/d/B/ Ge/d/ | (ce) (df) (ea) {a}fe/d/ |
(c/e/A/c/)
(d/B/G/B/) {B}cA/<A/ A :: (3e/f/g/ | a>fge fdeA | f/e/d/f/ eA d/c/B/A/
G{f}g |
a>f
ge (fd) eA/B/ | c/e/A/c/ d/B/G/B/ {B}cA/>A/ A :|
“variations”
e/d/ |
c/d/e/c/ d/e/f/d/ e/a/A/a/ {a}fe/d/ | c/e/A/a/ e/A/c/A/ B/c/d/B/ Ge/d/ |
c/d/e/c/
d/e/f/d/ e/a/A/a/ {a}fe/d/ | c/e/A/c/ d/B/G/B/ {B}cA/>A/ A :|
|:
(3e/f/g/ | a/g/f/a/ g/f/e/g/ f/e/d/f/ e/A/a/A/ | f/e/d/f/ e/A/a/A/ d/c/B/A/ G{f}g
|
a/g/f/a/
g/f/e/g/ f/e/d/f/ e/A/a/A/ | c/e/A/c/ d/B/g/B/ {B}cA/<A/ A :|
QUEENSBURY HOUSE. AKA and see “Welcome, Charlie
Stewart(, You're Welcome).” Scottish, March (2/4 time). F Major. Standard
tuning. AABB. Directions to the dance to this tune were written down in 1752 by
John McGill, dancing master in Girvan, for his students; the tune itself
appears first in print in Robert
Bremner's 1757 collection, according to John Glen (1891). One of the
"missing tunes" from William Vickers' 1770 Northumbrian dance tune
manuscript was entitled "Queensbary House," and is perhaps the same
tune. Carlin (Master Collection),
1984; No. 184, pg. 106.
QUEENSBURY'S SCOTS MEASURE. AKA and see "The Cairding o't."
QUEENSTOWN JIG, THE. AKA and see “Buttermilk
Mary [3],” “Coleman’s Favourite,”
“Fond of the Ladies,” “The Frolicksome Dame,” “A Health to the Ladies,” "The Irish Miller," “Irishman’s Heart to the Ladies,”
“Irishman’s Love [1],” “The Móinín Jig,” “The Mountain Road [2],” “The Mountainy Boy,” “The Night of the Wedding,” “O’Mahony’s Jig,” “Over the Callows,” “Paddy Clancy’s,” “Pat Beirne’s Favourite,” "Saddle the Pony [2]" (Roche),
“Sweet Biddy Daly,” “To the Ladies.”
QUEENSTOWN LASSES, THE. AKA and see "The Castlecomer Lasses," "Down the Groves," "Erin's Groves," "The Gay Fellow's Favourite,"
"The Good Fluter," "The Green Fields of Erin [1],"
“The Green Groves of Erin [1],”
"The Groves of Erin," "The Heather Breeze," “The Low Highland,” "Mary in the Mall," "Miss Shaw's Reel," “Miss Stewart of Grantully
[2],” “Padaí Bhilli
na Rópaí’s Highland."
QUEER FELLA’S SHOT-ESE, THE. Australian, Schottische. G Major.
Standard tuning. AB. The tune comes from New South Wales, Australia, fiddler
Charle Batchelor, who learned it from another local fiddler, Harry Reeves.
Batchelor was recorded in 1985 by members of the Australian Folk Trust who
issued the recording on Larrikin Records.
X: 1
T:Queer Fella's Shot-ese
M:4/4
L:1/8
R:Schottische
S:Charlie Batchelor - NSW
K:G
(3ABc | d2 d>e d>B c>A | G>D G>B d2 g>f | e>f g>e
a>g e>c | A2 A2 A2 (3ABc |
d2 d>e d>B c>A | G>D G>B
d2 g>f | e>f g>e d>B (3cBA| G2G2G2z2 ||
g2g2g2 b>a | g>f (3gfe d4 |
B2B>f e>d c>B | A6 z2 | g2g2g2 b>a| g>f (3gfe d2 g>f |
e>f (3gfe d>B (3cBA | G6 ||
QUEER'S HORNPIPE. American, Reel or Hornpipe. USA, southwestern Pa. G
Major. Standard tuning. AB. The tune was claimed by the source as his own
composition, though it is a version of "The Saratoga Hornpipe [3]."
Source for notated version: Harry Queer (fiddler from Westmoreland County, Pa.,
1957) [Bayard]. Bayard (Dance to the
Fiddle), 1981; No. 285C, pg. 239.
QUEER'S SPECIAL. American, Reel. USA, southwestern Pa. D Major ('A'
part) & G Major ('B' part). Standard tuning. AB. The tune was allegedly the
composition of the source, though Bayard points out the 'A' part is a melodic
formula common to several tunes in Pennsylvania, while the 'B' part is
reminiscent of the well‑known "Flop‑Eared Mule [1]."
Source for notated version: Harry Queer (fiddler from Westmoreland County, Pa.,
1957) [Bayard]. Bayard (Dance to the
Fiddle), 1981; No. 372, pg. 362.
QUEUE d'TORTUE, LA (Queue Tortue). Cajun, Two-Step (4/4 time). USA,
southwestern Louisiana. A Major. Standard tuning. One part. Raymond Francois
(1990) explains that Queue de Tortue (turtle's tail) is thought to be the name
of an Indian family who lived on what is now called Bayou Queue de Tortue
between Crowley and Kaplan, Louisiana. Related songs, he says, are Nathan
Abshire's "Allons Tuer la
Tortue" and Reggie Matte's and Ambrose Thibodeaux's "Cimetiere." Source for notated version:
accordion player Moise Robin (La.) [Francois]. Francois (Yé Yaille Chère!), 1990; pgs. 267-268.
QUICK AND MERRY. English, Country Dance Tune (6/8 time). England,
Yorkshire. 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. 48, pg. 41.
QUICK
DUTCH. A fife and traditional "camp duty" (i.e.
military) tune that appears in several old fife tutors, and perhaps the
ancestor to the Pennsylvania‑collected march "Few Days."
QUICK
MARCH. A generic title, the tune in this case a version of
"Merrily Danced
the Quaker('s Wife)." Hinde, 1770; No. 26.
QUICK
MARCH EAST YORK MILITIA. English, March (6/8 time). G Major.
Standard. AB. Aird (Selection of Scotch, English, Irish and
Foreign Airs), vol. II, 1785; No. 183, pg. 68.
X:1
T:Quick March East York Militia
M:6/8
L:1/8
S:Aird, vol. II (1785)
Z:AK/Fiddler’s
Companion
K:G
A | BAB cAF |
G2G G2G | BAB cAF | G2G G2A | (B/c/dd) d2d | (e/f/gg g2e |
ded dcB | A2B
cBA | BAB cAF | G2G G2A | BAB cAF | G2G G2A | Bcd ddd |
efg gge | dcd
cBA | G2G G2 || B/c/ | ded dcB | c3 A2 (A/B/) | cdc cBA | B3 G2 B/c/ |
ded dcB | gag
g2e | ded dcB | A2B cBd | ded dcB | c3 A2 A/B/ | cdc cBA | B3 G2B/c/ |
ded dcB | gbg g2e ded dcB | A2B cBA ||
QUICK
MARCH 15th REGIMENT. English, March
(2/4 time). D Major. Standard tuning. AABBCC. Aird
(Selection of Scotch, English, Irish and Foreign Airs), vol. II, 1785;
No. 107, pg. 39.
X:1
T:Quick March 15th
Regiment
M:2/4
L:1/8
S:Aird, vol. II
(1785)
Z:AK/Fiddler’s Companion
K:D
a2a2 | a3g |
fe/d/ ed/c/ | dA FD | a2a2 | a3g | fe/d/ ed/c/ | d2 d2 :|
|: fa/g/ fe/d/ | gb/a/ gf/e/ | fg/f/ ef/e/ | d/c/B/A/ G/F/E/D/ |
fa/g/ fe/d/ |
gb/a/ gf/e/ f/a/f/d/ e/g/e/c/ | d2d2 :|
|: ffef | ggfg | agfe | dA A2 | ffef |
ggfg | agfe | d2d2 :|
QUICK MARCH 1ST BATTALION ROYALS.
Scottish, March (6/8 time). D Major. Standard tuning. AABB. Aird (Selection
of Scotch, English, Irish and Foreign Airs), vol. II, 1785; No. 59, pg. 22.
X:1
T:Quick March 1st
Battalion Royals
M:6/8
L:1/8
S:Aird, vol. II
(1785)
Z:AK/Fiddler’s Companion
K:D
B/c/ | dAG
F>ED | dAG F>ED | E2F G2A | BGE E2 B/c/ |
dAG F>ED |
dAG F>ED | D2E F2d | AFD D2 :|
|: A | d2e fdf |
ece dAF | E2F G2A | BGE E2A |
d2e fdf | ece dcd | D2E F2d | AFD D2 :|
QUICK MARCH OF THE 2nd
BATTALION OF ROYALS. English, March (6/8 time). G Major. Standard tuning.
AABB. Although specifics about this unit are not known, James Aird dedicated his compilation to the
various ‘volunteer and defensive bands’, a reference to the British militia
units locally raised for defense of the home islands during the wars with the
French. Aird (Selections), vol. 2, c.
1785; Pg. 6, No. 16.
X:1
T:Quick March of the 2nd Battalion of
Royals
M:6/8
L:1/8
S:Aird, vol. II (1785)
Z:AK/Fiddler’s
Companion
K:G
d | BAG FED |
E2G G3 | A2A ABG | F2G A2d | BAG FED | E2G G3 |
A2A AdA | F2D D2
:: e | f2d d2e | f2d cBA | B2G GAG | A2G FED |
F2d d2e | f2d cBA | B2G =cAF | G3 G2 :|
QUICK MARCH 10th REGIMENT [2]. English, March (6/8 time). D Major. Standard tuning. AABB. The 10th
Regiment has had an illustrious career four nearly 400 years. Raised during the
English Civil War it was known as the Earl of Bath’s Regiment until 1751, when
the practice of calling Regiments of Foot by the names of their Colonels
ceased. After 1751 they were known as the 10th Foot. In June of 1767
the 10th sailed from Cork Haven, Ireland, to North America, landing
first in Canada where they helped garrison the Great Lakes forts. In 1774 they
removed to Boston. In 1775 the 10th was camped on Boston Common when
two companies were detailed to the expedition to cease American arms and stores
in the countryside. .The Grenadier Company and
the Light Infantry Company took part in the skirmishes at Lexington Green and
Concord's North Bridge on 19 April 1775. The Battalion Companies were at the
relief of the troops on the night of the 19th. During the War of American
Independence the 10th Foot took part in the battles of Bunker's Hill and Long
Island, plus the Invasion of Manhatten Island and the battles of Germantown and
Monmouth. Their last major action of the war was in Rhode Island at the defense
of Newport and Quaker Hill in August 1778. The Regiment was drafted on 25
September 1778 the officers, sergeants and drummers arriving back in England in
December having been away from home soil since 1730. The Regiment played a
prominent part in the war with Revolutionary France and the Peninsular War. For
its services in the campaign against Napoleon in Egypt, it was granted
authority to use the Sphinx as its badge. The territorial connection of the
County of Lincoln commenced with an order dated 31 August 1782, in which the
10th Foot was directed “to take the county name of the 10th or North
Lincolnshire Regiment and be looked upon as attached to that division of the County.
***
Aird (Selection of Scotch, English, Irish and
Foreign Airs), vol. II, 1785; No. 157, pg. 58.
X:1
T:Quick March 10th Regiment [2]
M:6/8
L:1/8
S:Aird, vol. II (1785)
Z:AK/Fiddler’s
Companion
K:D
a/g/ | fdd daf | eAA A2G | FAd Adg | fdd d2 a/g/ | fdd
daf | eaa a2d’ |
c’ba c’d’b | aba a2 :: a | bgg d’c’d’ | aff d’c’d’ |
egf efd | cAA “tr”A2G |
FAd
Adf | dfa d’2g | bc’d’ abg | fdd d2 :|
QUICK
SCOTCH. AKA and see “The
Fairy Reel [1],” “Fairy Dance,” “Largo’s Fairy Dance.”
QUICK
STEP [1]. Irish, Double Jig. D Major. Standard tuning (fiddle).
AABB. Kerr (Merry Melodies), vol. 4;
No. 193, p. 22.
X:1
T:Quick
Step [1]
M:6/8
L:1/8
S:Kerr
– Merry Melodies, vol. 4, No.
193 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
(GA)|B3
cBc|dBG GBd|ece gfg| dec BcA|B3 cBc|dBG GBd|ec’b agf|(g3g2):|
|:(f/g/)|a2f
dfa|b2g dgb|c’2a b2g|faf def| a2f dfa|b2g dgb|aba gfe|(d3 d2):||
QUICK STEP [2]. Scottish,
March (2/4 time). A Major. Standard tuning (fiddle). AABB. From the William
Mackie manuscript collection.
X:1
T:Quick Step [2]
M:2/4
L:1/8
S:William Mackie
ms. (Aberdeen, early 19th cent.)
Z:AK/Fiddler’s
Companion
K:A
E|AEFE|AEE
c/e/|{e}dc {c}BA|BFF E|AEFE|AEEf|e>c B2|A3:|
|:e|feac|(dc)
fe|{e}dc {c}BA|BFF f|feac|(dc) fe|(dc)BA|e>f e/d/c/B/ :||
QUICK STEP [3]. Scottish,
March (6/8 time). D Major. Standard tuning (fiddle). AABBCC. From the William
Mackie manuscript collection.
X:1
T:Quick Step [3]
M:6/8
L:1/8
S:William Mackie
ms. (Aberdeen, early 19th century)
N:A piping ms.
Z:AK/Fiddler’s
Companion
K:D
A|d2d dcd|{g}a2g
e2g|fad dcd|ee^d eAc|
D2d dcd|{g}a2g
e2g|fad edc|ddd d2:|
|:a|gea fda|gea
fdd’|bgtd’ afd’|bgd’ afa|
gea fda|gea fda|bc’d’
agf|ee^d eAc|
d2d dcd|{g}a2g
e2g|fad dcd|e{f}e^d fAc|
d2d dcd|{g}a2g
e2g|fad edc|ddd d2:|
d|A2A ABc|d2d
dcd|e2e ede|{d/e/}f2d d2d|
A2A ABc|d2d
def|fec edB|A2a age:|
QUICK STEP 17th REGIMENT. English,
March (6/8 time). G Major. Standard tuning. AABB. The 17th Regiment
of Foot was a unit of the British Army from 1751, when it received its warrant
under that name. It’s origins, however, were in units formed in 1688, going
under the names of various Colonels. The unit survived into the mid-20th
century in successive amalgamations, particularly as the Royal Leicestershire
Regiment, before it was disbanded. At
the time Glasgow publisher James Aird printed the march (1782), the 17th
had been in service in America during the Revolutionary War (landing in Boston
in 1776, later removing to Nova Scotia), and had just been re-named the 17th
(Leicestershire) Regiment of Foot after a royal warrant of August, 1782,
bestowed county titles on all regiments of foot that did not already have a
special designation, "to cultivate a connection with the County which
might at all times be useful towards recruiting". The
melody also appears in the Edward Murphy (Newport, R.I.?) music copybook, c.
1790 (now in the Library of Congress). Aird (Selections of Scotch, English,
Irish and Foreign Airs), vol. 1, 1782; pg. 3. Mattson & Walz (Old
Fort Snelling…Fife), 1974; pg. 80.
X:1
T:Quick
Step 17th Regiment
M:6/8
L:1/8
R:March
S:James
Aird - Selections of Scotch, English, Irish and Foreign Airs, vol. 1
(1782)
K:G
D|G2B
Abc|B2G FED|G2B Abc|d3 D2D|G2B Abc|B2G FED|
EFG
AFD|G3 G2::D|G2g f2e|d2c B2A|G2g f2g|
g3
d2d|G2g f2e|dcB Abc|B2G AFD|G3 G2:|
QUICK STEP
23rd REGIMENT. English, March (6/8 time). G Major.
Standard tuning. AABB. Aird (Selection), vol. II, 1782; No. 76, pg.
28.
X:1
T:Quick Step 23rd
Regiment
M:6/8
L:1/8
S:Aird, vol. II
(1782)
Z:AK/Fiddler’s Companion
K:G
d | gaf fef | g3
d3 | e2c B2c | BAB G2d | gag fef | g3 a3 | fed ed^c | d3 d2 :|
|: d | dBd dBd | e2c e2c | e^ce ece | f2d
f2d | gag fef | g3 d2c | BAG AGF | G3 G2 :|
QUICK STEP
33rd REGIMENT. English, March (2/4 time). D Major.
Standard tuning. AABB. Aird (Selection), vol. II, 1782; No. 77, pg.
28.
X:1
T:Quick Step 33rd
Regiment
M:2/4
L:1/8
S:Aird, vol. II
(1782)
Z:AK/Fiddler’s Companion
K:D
a/g/ | fd de/d/
| cA Ac/A/ | BG G/B/A/G/ | FD Da/g/ | fd de/d/ | cA A2 |
B/c/d/B/
e/d/c/B/ | Ad d :: A | fa ag/f/ | eg gf/e/ | dfed | cB/c/ AB/c/ |
dc/d/ Bc/d/ | ed/e/ c>d | e/d/c/B/
A/G/F/E/ | Dd d :|
QUICK STEP
40th REGIMENT. English, March (6/8 time). D Major.
Standard tuning. AABB. Aird (Selection), vol. II, 1782; No. 82, pg.
30.
X:1
T:Quick Step 40th
Regiment
M:6/8
L:1/8
S:Aird, vol. II
(1782)
Z:AK/Fiddler’s Companion
K:D
A | f2f D2d |
dfd D2d | dcd efg | fdf ecA | d2d D2d | dfd D2d | dcd efg | fdc d2 :|
|: z | f2f d2B | f2f d2d | efg fed | cdA
A3 | c2c A3E | c2c A2d | efg agf | ABc d2 :|
QUICK STEP
44th REGIMENT. English, March (2/4 time). G Major.
Standard tuning. AABB. Aird (Selections), vol. II, 1782; No. 98, pg.
36.
X:1
T:Quick Step 44th
Regiment
M:2/4
L:1/8
S:Aird, vol. II
(1782)
Z:AK/Fiddler’s Companion
K:G
g/f/ | gdBG | c2
ce | dgdB cAAf | gdBG | c2 ce dgdc | BGG :|
|: f | g2 fe | aAAf | g2 fe | fddf | g2
fe | afge | dgdc | BGG :|
QUICK'S HORNPIPE. English, Hornpipe. England, Yorkshire. D Major.
Standard tuning. AABB. Source for notated version: an MS collection by fiddler
Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle].
Merryweather & Seattlev (The Fiddler
of Helperby), 1994; No. 26, pg. 34.
QUICKSTEP.
A ballroom dance form from the early 20th century, contemporary with the tango
and slow foxtrot.
QUICKSTEP [1]. Scottish, Quickstep (2/4 time). C Major. Standard
tuning. AABB'. Composed by Niel Gow. Hunter (Fiddle Music of Scotland), 1988; No. 356 (variations by James
Hunter).
QUICKSTEP [2], THE. A local Pennsylvania title for the fife march "Mount Pleasant Clickstep,"
which appears to be derived from "The
Rakes of Mallow."
QUICKSTEP [3], THE. Scottish, March (6/8 time). D Major. Standard tuning.
AB. The tune was published 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.” Since Calvert also included pieces
for Volunteer units (raised to guard against Napoleon) in his collection, it
may be surmised this was a march used at the time.
X: 1
T:The
Quickstep
M:6/8
L:1/8
B:The
Calvert Collection - Page 4
Z:Nigel
Gatherer
K:D
A|A2 d
dcd|"tr" B2 B {cd} e2 d|{d}c2 A ABc|{c}dAG FED|A2 d dcd|
"tr"
B2 B e2 d|c2 A ABc|[d3F3] [d2F2]||e|~f2 f fef|~g3 g2 e|
~f3 e2
e|f2 f fe~f|g2 g ~g2 e|faf gec|[d3F3] [d2F2]||
QUICK STEP ANNIE. Old-Time, Two-step (?). G Major. Standard tuning. AB.
Silberberg (Tunes I
Learned at Tractor Tavern), 2002; pg. 121.
QUICK STEP
55th REGIMENT. English, March (6/8 time). G Major. Standard
tuning. AABCCB. Aird (Selections), vol. II, 1785; No. 115, pg.
42.
X:1
T:Quick Step 55th Regiment
M:6/8
L:1/8
S:Aird, vol. II (1785)
Z:AK/Fiddler’s
Companion
K:G
|: d2c BAG | AGF
G2D | d2c BAG | AGF G2 :|
|| ABG ABG | ABG
A2B | c2B A2G | FGE D3 |
ABG ABG | ABG A2B | c2B A2G | GAF G3 ||
|: g2g f2f | e2e
def | gag fgf | e3 d3 :|
|| ABG ABG | ABG
A2A | c2B A2G | FGE D3 |
ABG ABG | ABG A2G | c2B A2G | GAF G3 ||
QUICK STEP
45th REGIMENT. Scottish, March (6/8 time). G Major.
Standard tuning. AABB. Aird (Selection), vol. II, 1785; No. 51, pg.
19.
X:1
T:Quick Step 45th
Regt.
M:6/8
L:1/8
S:Aird, vol. II
(1785)
Z:AK/Fiddler’s Companion
K:G
D | G2G GBd | c3
B2c | dBG E2F | GAG FED | G2G GBd | c3 B2c | dBG E2F | G3 G2 :|
|: d | d2e B2c | d2g B2c | ded {d}c2B |
A3 A2D | G2G GBd | c3 B2c | dBG E2F | G3 G2 :|
QUICKSTEP FROM LOUTH. English,
March (2/4 time). D Major. Standard tuning. AABBCCDD. Gibbons originally set
the tune in the key of F major. Source for notated version: the 1823-26 music
mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near
Market Rasen, Lincolnshire Wolds) [Sumner]. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript),
1997; pg. 51.
QUICKSTEP FROM NEWARK.
English, March (6/8 time). D Major. Standard tuning. AAB. Gibbons
originally set the tune in the key of F major. Source for notated version: the
1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of
Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Sumner (Lincolnshire Collections, vol. 1: The Joshua
Gibbons Manuscript), 1997; pg. 52.
QUICK STEP
2nd REGIMENT. English, March (2/4 time). G Major.
Standard. AAB. Aird (Selection of Scotch, English, Irish and
Foreign Airs), vol. II, 1785; No. 117, pg. 43.
X:1
T:Quick Step 2nd Regiment
M:2/4
L:1/8
S:Aird, vol. II (1785)
Z:AK/Fiddler’s
Companion
K:G
d3e | dBAG | FGAB | A2 Bc | d3g | eBAG | DG G2 :|
|| dBAG | dBAG | Bcde | d2g2| dBAG | dBAG | FGAB | A4
|
dBAG |
dBAG | Bcde | d2g2 | d3e | dBAG | DG G2 ||
QUICK STEP
SOUTH FENCIBLES. Scottish, March (2/4 time). G Major. Standard
tuning. AABB. James Aird dedicated his collection to “the Volunteer and
Defensive Bands of Great Britain and Ireland,” a reference to the numerous home
guard regiments that sprang up during the late 18th/early 19th
century wars with France. Lord Henry Cockburn (1779-1854), in his memoir Memorials of His Time (published
posthumously in 1856), remembered this about the Volunteer Militias, especially
those for gentlemen, in Scotland:
***
After the war broke out again in 1803,
Edinburgh, like every other place, became a
camp, and continued so till the peace in
1814. We were all soldiers, one way or other.
Professors wheeled in the College area;
the side arms and the uniform peeped from
behind the gown at the bar, and even on
the bench; and the parade and the review
formed the staple of men’s talk and
thoughts. [Charles] Hope, who had kept his
Lieutenant-Colonelcy when he was Lord
Advocate, adhered to it, and did all its duties
after he became Lord Justice-Clerk. This
was thought unconstitutional by some; but the
spirit of the day applauded it. Brougham
served the same gun in a company of artillery
with Playfair. James Moncrieff, John
Richardson, James Grahame (the Sabbath), Thomas
Thomson, and Charles Bell were all in one
company of riflemen. Francis Horner walked
about the streets with a musket, being a
private in the Gentlemen Regiment. Dr. Gregory
was a soldier, and Thomas Brown the
moralist, Jeffrey, and many another since famous
in more intellectual warfare. I, a gallant captain, commanded
ninety-two of my fellow
creatures from 1804 to 1814—the whole
course of that war. Eighty private soldiers, two
officers, four serjeants, four corporals,
and a trumpeter, all trembled (or at least were
bound to tremble) when I spoke. Mine was
the left flank company of the “Western Battalion
of Midlothian Volunteers.” John A.
Murray’s company was the right flank one; and as these
two were both frp, the parish of St.
Cuthbert’s, the rest being scattered over the country, we
always drilled together. When we first
began, being resolved that we townsmen should outshine
the rustics, we actually drilled our two
companies almost every night during the four winter
months of 1804 and 1805, by torch light,
in the ground flat of the George Street Assembly
Rooms, which was then all one
earthen-floored apartment. This was over and above our day
proceedings in Heriot’s Green and
Bruntsfield Links, or with the collected regiment. The parades,
the reviews, the four or six yearly inspections at Dalmahoy, the billettings
for a fortnight or
three weeks when on “permanent duty” at Leith or Haddington,
the mock battles, the marches, the
messes—what scenes they were! And
similar scenes were familiar in every
town and in every shire in the kingdom.
The terror of the ballot for the regular
militia which made those it hit soldiers
during the war, filled the ranks; while
duty, necessity, and especially the
contagion of the times, supplied
officers. The result was that we became a
military population. Any able-bodied man,
of whatever rank, who was not a
volunteer, or a local militiaman, had to
explain or apologize for his singularity.
***
[Sir] Walter Scott’s zeal in the cause was very
curious. He was the soul of the
Edinburgh troop of Midlothian Yeomanry
Cavalry. It was not a duty with him,
or a necessity, or a pastime, but an
absolute passion, indulgence in which gratified
his feudal taste for war and his jovial
sociableness. He drilled, and drank, and
made songs, with a hearty conscientious
earnestness which inspired or shamed
everybody within the attraction. I do not
know if it is usual, but his troop used to
practice, individually, with the saber at
a turnip which was stuck on the top of a
staff, to represent a Frenchman, in front
of the line. Every other trooper, when he
set forward in his turn, was far less
concerned about the success of his aim at the
turnip, than about how he was to tumble.
But Walter pricked forward gallantly,
saying to himself, “Cut them down, the
villains, cut them down!” and made his
blow, which from his lameness was often
an awkward one, cordially, muttering
curses all the while at the detested
enemy.
***
Nothwithstanding all our soldiering, the
prevailing feeling about invasion was that of
indifference. I do not think that people
brought its realities home to their conception.
The utter security of this island, ever
since the blowing back of the Armada, made the
population treat actual invasion as a
thing not to be seriously contemplated. But
thinking men were in a great and genuine
fright, which increased in proportion as they
thought. The apparent magic of Napoleon’s
Continental success confounded them;
Ireland made them shudder; and they saw
that a war in this thick set and complicated
country, however short and triumphant for
us it might be, must give a dreadful shock
to our whole system.
***
The volunteers tended to unsettle the
minds of those who belonged to them for ordinary
business; and hence they co-operated with
the ballot in filling the ranks of the militia,
which was the great nursery for the army.
In this way the voluntary establishments
were a very useful force; and if they had
been called into active service, all the paid
regiments, that is , all those composed
of hardy ploughmen and artisans, would have
soon become good practical soldiers. Bur
for immediate service, for which it was in-
tended they should be prepared, they were
totally disqualified. They had no field
equipage, and were scarcely trained to
march beyond their parade ground. Certainly
no volunteer regiment in Scotland ever
passed twenty-four hours at a time, in the open
air, upon its own resources. And even
their drilling was universally vitiated by the
essential and obvious defect of their not
being moved in large masses. There was nothing
done, beyond the performance of ordinary
regimental business, for the creation of field
officers. It was all single battalion
drilling and useless shows; the work of each week being
the same with that of the week before.
Except as police the Foot
Gentlemen were useless.
The patrician blood is the best blood for
soldiers, both for valour and for endurance;
but it requires long and severe
experience to subdue it to the details of the life of a private
foot soldier.
***
Aird (Selection
of Scotch, English, Irish and Foreign Airs), vol. II, 1785; No. 55, pg. 20.
X:1
T:Quick Step
South Fencibles
M:2/4
L:1/8
S:Aird, vol. II
(1785)
Z:AK/Fiddler’s Companion
K:G
GG/G/ DG | BdBG |
AA/A/ DG | FAFD | GG/G/ DG | Bdgd | egfa | g2g2 :|
|: gg/a/ bg | fafd | ee/f/ ge | dgBG |
cc/d/ ec | B/A/B/d/ g>e | d>e d/c/B/A/ | G2G2 :|
QUICK STEP
10th REGIMENT.
English, March (12/8 time). A Major/Mixolydian. Standard tuning. AABB.
Aird (Selections
of Scotch, English, Irish and Foreign Airs), vol. II, 1785; No. 90, pg. 33.
X:1
T:Quick Step 10th
Regiment
M:12/8 time
L:1/8
S:Aird, vol. II
(1785)
Z:AK/Fiddler’s Companion
K:Amix
e3 ef^g agf edc
| e3 efg BGB d2B | e3 ef^g agf edc | dbd cac BGB d2B :|
|: ecA ABA ecA Bcd | ecA ABA BGB d2B |
ecA ABA a^gf edc | dfd cec BGB d2B :|
QUICK STEP
13th REGIMENT. English, March (2/4 time). G Major.
Standard tuning. AABB. Aird (Selection of Scotch, English, Irish and
Foreign Airs), vol. II, 1785; No. 120, pg. 44.
X:1
T:Quick Step 13th Regiment
M:2/4
L:1/8
S:Aird, vol. II (1785)
Z:AK/Fiddler’s
Companion
K:G
GB Bc/B/ | BdBG | GB Bc/B/ | Bdgd | GB Bc/B/ | BdBG | ecBA
| G2 G2 :|
|:
Bddg | dgdc | Bd df/g/ | aAAc | Bddg | dgdB |ecBA | G2 G2 :|
QUICK STEP
12th REGIMENT.
English, March (2/4 time). G Major. Standard tuning. AABB. Aird (Selection of Scotch, English, Irish
and Foreign Airs), vol. II, 1785; No. 109, pg. 39.
X:1
T:Quick Step 12th
Regiment
M:2/4
L:1/8
S:Aird, vol. II
(1785)
Z:AK/Fiddler’s Companion
K:G
gdBG | ecBA |
dGFG | A/G/F/E/ DD | gdBG | ecBA | dGAF | G2 G2 :|
|: DBBA | G/F/G/A/ Ge | dcBA | B/A/B/c/
BB | DBBA | G/F/G/A/ Ge | dcBA | G2G2 :|
QUICK STEP
25th REGIMENT. AKA
and see “Ball’s Hornpipe,” “March, W.S. Royals.” English, March
(2/4 time). G Major. Standard tuning. AB. Aird dedicated his collection to the
“volunteer and defensive bands of Great Britain and Ireland,” a reference to
the military units that sprang up in defense of the home islands during the
wars with the French. See note for “Ball’s Hornpipe” for more. Aird (Selection
of Scotch, English, Irish and Foreign Airs), vol. II, 1785; No. 25, pg. 9.
X:1
T:Quick Step 25th
Regiment
M:2/4
L:1/8
S:Aird, vol. II
(1782)
Z:AK/Fiddler’s Companion
K:G
GB/G/ Ac/A/ |
Bd/B/ GB | ce/c/ Bd/B/ | A/B/A/G/ (G/F/)(E/D/) | GB/G/ Ac/A/ |
Bd/B/ ce/c/ |
c/B/A/G/ Df | gdBG || (g/f/)(g/e/) (e/d/)(c/B/) | (g/f/)(g/e/) (e/d/)(c/B/) |
c/ac/ B/gB/ | A/B/A/G/ G/F/E/D/ | GB/G/
Ac/A/ | c/B/A/G/ df | gdBG ||
QUICK STEP
26th REGIMENT.
English, March (6/8 time). G Major. Standard tuning. AABB. Aird (Selections), vol. II, 1785; No.
108, pg. 39.
X:1
T:Quick Step 26th
Regiment
M:6/8
L:1/8
S:Aird, vol. II
(1785)
Z:AK/Fiddler’s Companion
K:G
e | d2G BAG |
ABA c2e | d2c B2A | Ggd Bcd |
ede gdB | ABA
c2e | dBG cAF | Ggd B2 :|
|: G | Ggd
(B/c/d)B | AaA c2A | Ggd (B/c/d)B | Ggd Bcd |
ede gdB | ABA c2e | d2c B2A | Ggd d2 :|
QUI(C)K STEPS. English. England, Northumberland. One of the
"missing tunes" from William Vickers' 1770 Northumbrian dance tune
manuscript.
QUIET GLEN [1], THE. Irish, Slow Air (3/4 time). G Minor. Standard tuning.
X:1
T:The
Quiet Glen (slow air) [1]
C:Tommy
Peoples
S:Tommy Peoples
D:The
Quiet Glen
L:1/8
M:3/4
Z:transcribed
by Juergen Gier
K:GMin
B4
{Bc}dB|c4 {dc}Bc|\
M:4/4
d2 d3B
G2|\
M:3/4
F(D3
D2|D4) F2|B4 {Bc}dB|{B}c4 {dc}Bc|d2 (g4|g4) a2|\
{a}b3a
f2|g d4 c|B3{cB}A G2|F D4 C|B,3 D F2|d3c B2|\
D2
(G4|G6)||{a}b3a g2|{e}f4 {fg}af|g4 {ag}fg|a6|\
{a}b3
a g2|{g}a2 {g}a>f d2|cA3 c2|{c}d6|{a}b3a g2|\
{e}f4
{fg}af|{f}g4 {ag}fd|{g}a4 g2|fd3 cA|G3{AG}F D2|\
{F}G6||{E}F4
{GFE}F2|{E}F2 FDCD|G3A (B2|B2) B>G F2|\
{F}G4
{AGF}GA|B4 {Bc}dB|{B}c4 {dc}Bc|{c}d6|B4 {Bc}dB|\
{B}c3{dc}A
F2|{f}g4 {ag}fg|\
M:4/4
{g}a2
{g}a3f d2|\
M:3/4
cA3
G2|F D4 C|[A,2D2] {F}(G4|G6)|]
QUIET GLEN [2], THE. Irish, Jig. G Dorian. Standard tuning. AABBCC.
Composed by County Donegal fiddler Tommy Peoples.
X:1
T:The
Quiet Glen
C:Tommy
Peoples
S:Tommy
Peoples
D:The
Quiet Glen
N:the
F# in the last bar is rather flat
L:1/8
M:6/8
Z:transcribed
by Juergen Gier
R:jig
K:GDor
B2c
cBc|dBG FDF|(3BBB B cBc|dgf g2a|baf gdc|\
(3ddB
G FDC|B,3 dcB|DGF G3::bag ~f2a|f~g2 ~a3|\
bag
afd|cAc d2a|bag f(3aaf|gfd {g}~a2g|fdc AGF|\
DGG
G3::~F2G ~F3|DGA B2F|GFG BAB|cBc ~d3|B2d cAF|\
f~g2
afd|cAG FDC|DG^F G3:|
QUIGLEY'S REEL. AKA and see "Atlanta Hornpipe," "Batchelder's (Reel)." New
England, Reel. D Major. Standard tuning. AABB. Composed by New Hampshire
fiddler Al Quigley. Page (Ralph Page Book
of Contras), 1969; pg. 21. Page, Northern
Junket, vol. 9, No. 2, Feb. 1968; pg. 27.
X:1
T:Quigley’s
Reel
M:2/4
L:1/8
R:Reel
S:Page
- Northern Junket (1968)
Z:AK/Fiddler’s
Companion
K:D
A|df/d/
c/d/e/c/|dA zA|B/A/G/F/ G/F/E/D/|C/D/E/F/ G/A/B/c/|df/d/ c/d/e/c/|
dA
zA/A/|B/A/G/F/ G/F/E/D/|C/D/E/C/ D::A/G/|FA/F/ F/A/A/F/|GB/G/ G/B/B/G/|
FA/F/
F/A/A/F/|G/F/E/D/ C/D/E/G/|FA/F/ F/A/A/F/|GB/G/ G/B/B/G/|F/A/d/f/
g/e/c/e/|ddd:|
QU'IL EST DOUX DE NE REIN FAIRE. French, Bourree a Trois Temps (3/8
time). G Major ('A' part) & E Minor ('B' part). Standard tuning. AABB.
Stevens (Massif Central), vol. 1,
1987; No. 20.
QUILL
GORDON, THE. American, Jig. Composed by New England fiddler Frank
Ferrel. The Quill Gordon is a classic Scottish fly for fishing. Flying Fish 70572, Frank Ferrel - “Yankee Dreams: ‘Wicked
Good Fiddling from New England’” (1990).
QUILLE'S.
Irish, Reel. D Major. Standard tuning. AAB. Taylor (Where’s the Crack), 1989; pg. 11.
QUILTY
BOAT, THE. AKA – “Quilty.” AKA and see “Mountain Top [1].” Irish, Hornpipe. A
Major. Standard tuning. AABBCC.
QUINCE DILLON'S HIGH 'D' TUNE. Old‑Time, Breakdown. USA,
southwestern Virginia. D Major. Standard tuning. AB (Silberberg): AABB
(Phillips): AA'BB' (Brody, Krassen). Quincy Dillon (b. 1813) was a Civil War
fifer who taught the tune to fiddler Henry Reed of Glen Lyn, Virginia, near the
West Virginia border. Reed didn't remember its real name and gave it a
descriptive title. Evidently, it is the only tune attributed to Dillon to
survive.
***
Jim
Taylor (1995) researched Reed’s source and found that Quincy (or Quincey, as it
is spelled on his military service records) volunteered for service as a fife
player in the 166th Virginia Militia in August of 1861 at Red
Sulpher Springs in Monroe County, now part of the state of West Virginia. The
unit was subsequently incorporated into the 59th Virginia Militia,
and Dillon served in that unit until its capture at the Battle of Roanoke
Island, North Carolina, in February, 1862. Taylor says that members of the 59th
who either escaped or were later paroled were reorganized as the 26th
Virginia Battalion, and it was in that organization that Quince again enlisted
(signing his name with an ‘X’) in 1863 at Centerville, now Greenville, (West)
Virginia, where he was promoted to Chief Musician. “It is difficult to tell
from the record,” says Taylor, “but it appears as though Quince was present at
most of the engagements of the 26th Virginia Battalion from its skirmishes in
western Virginia to the large battles of New Market (May 15, 1864), Third
Winchester (Sept. 19, 1864), and Cedar Creek (Oct. 19, 1864).” Paul Gifford
finds genealogical records that indicate Quincy Perry Dillon was born about
1827 in Franklin Co., VA, and died 12 February, 1902, in Cashmere, Monroe
County, West Virginia. Family genealogy records: “He leaves a wife
and seven children. ‘Uncle Quincy’ was married twice, his first wife being Miss
Catherine McGhee. She has been dead a number of years. His second wife was Miss
Jennie Chambers. Uncle Quincy, as he was popularly called, was a noted man in
the Civil War as a “Fifer”. He belonged to Edgar’s Battalion of Infantry, C. S.
A., and was not only honored by the Southern Army but by the Northern Army for
his Music on the Fife. His funeral was preached at Pine Grove Church by Revs.
Henry and James Dillion of Summers County. Uncle Quincy has been a member of
Pine Grove Baptist Church for 30 years.”
***
Professor
Samuel Bayard researched the interplay between fiddle and fife in the Western
Pennsylvania area, largely a traditional survival of Civil War and post-Civil War
genres. The fifer (along with the drummer) in the Civil War not only provided
the cadence for the often long and gruelling marches, but also signalled times
of day and various duties and routines of the camp. In addition, musicians were expected to serve as stretcher
bearers and to assist medical personnel when called on in battle.
***
Sources
for notated versions: Henry Reed (Glen Lyn, Virginia.) [Krassen]; Mark Gaponoff
[Silberberg]. Brody (Fiddler’s Fakebook),
1983; pg. 224. Frets Magazine, vol.
3, No. 7, July 1981. Krassen (Appalachian
Fiddle), 1973; pg. 54. Phillips (Traditional
American Fiddle Tunes), vol. 1, 1994; pg. 191. Silberberg (Tunes I Learned at Tractor
Tavern), 2002; pg. 123. Living Folk LFR‑104, Allan Block ‑
"Alive and Well and Fiddling." PearlMae Muisc 004-2, Jim
Taylor – “The Civil War Collection” (1996). Rounder
0035, Fuzzy Mountain String Band‑ "Summer Oaks and Porch"
(1973). CD, Alan Jabbour, James Reed, Bertram Levy – “A Henry Reed Reunion”
(2002).
X:1
T:Quince
Dillon’s High D
M:C
L:1/8
R:Reel
S:Allan
Jabbour
N:From
a transcription by John Lamancusa, by permission; see http://www.mne.psu.edu/lamancusa/tunes.htm
Z:AK/Fiddler’s Companion
K:D
ag|fdd(D
d2) ((3ABc|d)efg a2 gf|e=cc(E c3)(B|=c)def g2 ag|fdd(D d2) ((3ABc|
d)ef(g
a2)(A2|A)Bcd egfe|1 d2 fd [d2f2] ag:|2 d2 fd [d4f4]||: D2D2F2A2|
dcde
fe d2|A3B c2 ((3ef^g|a2)a2 d’4|D2D2F2A2|dcde fedB|ABAG FD E2|
D8:||D2F2A2
dc|B2G2G4|ABcd e2 ag|f2d2d3 (D|D)EFG A2 dc|
BAG2G4|ABcd
e2 ag|fe d2 d4||:A2d2f2 ab|a2g2g4|ABcd e2 ag|f2d2d4:|
QUINCY.
Canadian, Hornpipe. Canada, Cape Breton. E Major. Standard tuning. AB. Composed
by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). “May be used
as a Clog,” notes editor John Donald Cameron. Cameron (Trip to Windsor), 1994; pg. 71.
QUINDARO HORNPIPE. AKA ‑ "Quindaro," “Qumdaro.”
American, Scottish; Hornpipe or (seldom) Reel. USA, New England. G Major. Standard
tuning. AABB (most versions): AA'BB (Kerr). New York City writer, researcher
and musician Don Meade finds the tune was named for a Kansas town founded by
abolitionists in 1856, and subsequently abandoned. New Hampshire fiddler Randy
Miller expands on the origins of the name:
***
Quindaro Brown was the daughter of Adam
Brown, a Chief of the Ohio Wyandot Tribe. In traditional
Wyandot, “Quindaro” refers to the
leadership role of a first born daughter; it is “also a word that some
interpret by the adage ‘In union there is strength.’ At the time of the Wyandot’s forced removal to Kansas
in the 1840s, Abelard Guthrie, a U.S.
Land Office agent, fell in love with Quindaro Brown and married her.
In Kansas, Quindaro was able to convince
her tribespeople to sell land to a company for a townsite in
present-day Kansas City. The town of
Quindaro was the first Free-State port on the Missouri River, an
underground railroad site and a
temperance town. At the time of its founding in 1856, it was a beacon of
hope for anti-slavery advocates in a sea
of pro-slavery adherents. The Quindaro townsite was listed on the
National Register of Historic Places in
2002. The tune seems the town and its namesake.
[Randy Miller, Monadnock Folklore Society webpage, 2008 (http://www.monadnockfolk.org/?p=367)].
***
Burchenal
prints it as a tune for the dance "Boston Fancy." See also the
similar tune “Douglas (Hornpipe).” Source for
notated version: Pete Sutherland (Vt) [Phillips]. Burchenal (American Country Dances, vol. 1), 1918;
pgs. 39‑40 (appears as "Boston Fancy" [2]). Cole (1000 Fiddle Tunes), 1940; pg. 104. Ford
(Traditional Music in America), 1940;
pg. 117. Kerr (Merry Melodies), vol.
2; No. 367, pg. 40 (appears as "Qumdaro"). Kerr (Merry Melodies for the Piano), pg. 28. Miller & Perron (New England Fiddler’s Repertoire), 1983;
No. 120. Phillips (Traditional American
Fiddle Tunes), vol. 2, 1995; pg. 217. Ryan’s
Mammoth Collection, 1883; pg. 139. Songer (Portland Collection), 1997; pg. 163. Spandaro (10 Cents a Dance), 1980; pg. 41. Tolman (The Nelson Music Collection), 1969; pg. 13. White’s Unique Collection, 1896; No. 135, pg. 24. Biograph 6007, Ebenezer ‑ "Tell It To Me."
Whistler’s Music 9859, Sarah Bauhan - “Chasing the New Moon” (1991).
X:1
T:Quindaro Hornpipe
L:1/8
M:C|
K:G
gf|g2G2G2BG|FA
DF G2Bc|dB ed cB AG|FG AF D2gf|
g2G2G2BG|FA DF
G2AB|ce dc BA GF|G2B2G2:|
|:dc|Bg Bc
d2cB|ca AB c2BA|Bd ed cB AG|FA D2D2ga|
bg fg dg fg|bg fg dg fg|ed cB AG
FA|G2B2G2:|
QUINN OF ARMAGH. Irish, Hornpipe. D Major. Standard tuning. AABB.
Composed by County Cavan/Philadelphia fiddler and composer Ed Reavy
(1898-1988). Named for longtime friend and supporter Lou Quinn of Flushing, New
York. Reavy (The Collected Compositions
of Ed Reavy), No. 103, pg. 116.
X: 1
T:Quinn of
Armagh
R:Hornpipe
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:For Ed's
longtime friend Lou Quinn, who resides in
N:Flushing, New
York. He has been Ed greatest supporter
N:through the
years. Lou helped to publish Ed's first book
N:of tunes in
1971.
K:D
d2 | DFA<d
EAce | dfeg fdBd | ceA=c BGEG | (3GED A,D GECE |
DFA<d EAce |
dfeg fdBd | cbaf gece | (3ddd f2 d2 :|
|: fg|afdf Adfa
| gfge cdec | dfba gfed | (3cdc (3BcB AGFE |
DFA<d EAce |
dfdg fdBd | cbaf gece | (3ddd f2 d2 :||
QUINN'S
JIG (Port Uí Chuinn). AKA and see "The Aherlow Jig," "Connie O'Connell's (Jig) [1],”
"The Money I Want," "Ryan's Travels," "The Spirits of Whisky [2],"
"The Three Little
Drummers [4]," "Two
and Sixpenny Girl." Irish, Jig. G Major. Standard tuning. AABB.
According to Breathnach (1985), the title was from County Kerry. Quinn may have
been Sean Quinn, a flute player from Cordal and the source for all Padraig
O’Keeffe’s tunes with the name Quinn attached. Source for notated version:
fiddler Denis Murphy, 1966 (Gneeveguilla, Co. Kerry, Ireland) [Breathnach].
Breathnach (CRÉ II), 1976; No. 64,
pg. 36.
QUINN'S REEL [1] (Ríl Uí Chuinn). AKA and see “The Doon Reel [5],” “Old Connemara Stockings,” “Padraig O’Keeffe’s (Reel).” Irish,
Reel. D Major. Standard tuning. AABB’ (Flaherty): AA'BB' (Breathnach).
Breathnach (1976) notes that Sean Quinn was a flute player from Cordal who was
the source for all Padraig O’Keeffe’s tunes with the name Quinn in them. See
also the related “Miss Lyon’s
Fancy.” Sources for notated versions: fiddler Denis Murphy, 1966
(Gneeveguilla, Co. Kerry, Ireland) [Breathnach]; recorded by Breandan
Breathnach in November, 1970, from the playing of accordion player Johnny
O’Leary (Sliabh Luachra) [Moylan]; flute player Pat Meehan (b. 1960, south
County Sligo) [Flaherty]. Breathnach (CRÉ
II), 1976; No. 171, pg. 89. Flaherty (Trip
to Sligo), 1990; pg. 107 (appears as “Unknown”). Moylan (Johnny O’Leary), 1994; No. 12, pg. 8. RTE CD174, “The Sliabh Luachra Fiddle Master Padraig
O’Keeffe.” Topic 12T312, Billy Clifford (appears as “Padraig O’Keeffe’s”).
X:1
T:Old
Connemara Stockings
T:Quinn's Reel
S:Paddy
O'Sullivan (fiddle), north Kerry
R:reel
M:4/4
L:1/8
N:Called
Quinn's Reel in CRE 2, no. 171, from Denis Murphy,
N:and
on the RTE recording of Padraig O'Keeffe
Z:Transcribed
by Paul de Grae
K:D
FEFA
~B2 AB|d2 cd BE ~E2|FEFA B2 Bc|1dBAG FD D2:|2dBAG (3FED FA||
d2 fd
Adfe|~d2 fA ~B2 AB|d2 fd Adfd|(3efg fg ed~B2|
d2 fd
Adfd|Adfd eB ~B2|g2 fg (3efg fe|dBAG FD D2||
QUINN'S REEL [2] (Ríl Uí Chuinn). AKA and see "The Maids of Kilmallock," "The Hare in the Corner." Irish,
Reel. D Major. Standard tuning. AB. O’Neill prints a tune called “The Maids of
Kilmallock,” similar in the ‘A’ part, different in the turn. See also the
related “Maids of Kilmallock” and “I Have No
Money.” Source for notated version: fiddler Jack Connell, 1966
(Meendurragha, Ballydesmond, Co. Cork, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 137 [2], pg. 74.
X:1
T:Quinn’s
Reel [2]
M:4/4
L:1/8
B:Breathnach
CRÉ II, No. 137 (ii)
K:D
B||AD
(3FED A3B|AFDE FE E2|AD (3FED A3B|ABdf efdB|
AD
(3FED A3B|AFDE FE E2|AD (3FED ABAF|ABdf edd2||
a2 fd
eddB|ABdf eBBA|a2fd eddB|ABdf e2d2|
a2fd
eddB|ABdf eBBA|a2 fd eddB|ABdf efdB||
QUINN’S REEL [3]. AKA
and see “Gleann Eoghain.”
QUINN’S (REEL) [4].
AKA and see “The Mountain Top [2].”
Irish, Reel. G Major. Copely Records 9-113 (78 RPM),
Paddy Cronin (195?). John Edwards Memorial Foundation JEMF‑105, Paddy
Cronin ‑ "New England Traditional Fiddling" (1978).
QUION OF THE REALM.
American, Reel. A Dorian. Standard tuning. AABB. Composed by Alstead,
New Hampshire, fiddler and composer Randy Miller. Miller (Fiddler’s Throne), 2004; No. 233, pg. 143.
QUITTER LA MAISON. AKA and see “Cheese’s Tune.” Cajun. From the playing
of Cajun fiddler Cheese Read.
QUIVER, THE. AKA – “Cupid’s Prophecy.” English, Country Dance Tune
(2/4 time). D Major. Standard tuning. AABB. The melody was first published in
the London periodicals of John Hinton (Universal Magazine of Knowledge and
Pleasure, 1759) and R. Baldwin (London Magazine, or Gentleman’s Monthly
Intelligencer, 1763) under the title “Cupid’s Prophecy,” with the alternate
title “The Quiver.” The titles were reversed by Thompson. Thompson (Compleat Collection of 200 Favourite
Country Dances, vol. 2),
1765; No. 45.
X:1
T:Quiver, The,
or Cupid’s Prophecy
M:2/4
L:1/8
B:Thompson’s
Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)
Z:Transcribed
and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s
Companion
K:D
f2 (3efg|f2
(3efg|f2 “tr”ed|ceAG|F2 DF|Adfa|gfed|ce “tr”e2:|
|:A2 ce|gefd|ceAG|FAdf|Aceg|fadf|egAc|dD
“tr”D2:||
QUMDARO. AKA and
see "Quindaro Hornpipe."
QUO'
FAIRE? See
"Teche Special." Cajun/Creole. A Cajun/Creole standard. Arhoolie CD445, Alphonse “Bois Sec” Ardoin with Canray
Fontenot - “La Musique Creole.”
QUODLIBET.
Scottish, Air (2/4 time). F Major. Standard tuning. AB. Howe categorizes it a
‘Scotch Air’. Howe (1000 Jigs and Reels),
c. 1867; pg. 143.
X:1
T:Quodlibet
M:2/4
L:1/8
R:Air
S:Howe
– 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:F
(fc)
c2 | (fd) d2 | (g>e) cB | (AA/B/) cA | .F(FAd) | (ff/e/) fc | (gc’).a.f |
.g.c.d.e ||
(fc)
c2 | (fd) d2 | (gg/e/) cB | (AA/B/) cA | (FFAc) | (ff/e/) fb | (af)(ge) |
.f.f.f z ||
QUODLING'S DELIGHT. AKA
and see "Goddesses," "The Oak and Ash," "I Would I Were in My Own Country."
English, Country Dance Tune (4/4 time). A Minor. Standard tuning. AABB. The air
appears in the Fitzwilliam Virginal Book,
Sir John Hawkin's transcriptions, and Playford's Dancing Master of 1650 (where it appears as "Goddesses").
Walker (History of Music in England,
1924) says the “Quodling” title appeared first, to this “jovial Elizabethan
dance-melody,” and that “Goddesses” appeared in the 17th century,
followed by an 18th century permutation of the tune into the
well-known “The Oak and the Ash.” Chappell (Popular
Music of the Olden Time), vol. 1, 1859; pg. 276.
X:1
T:Quodling’s Delight
M:C|
L:1/8
S:Chappell – Popular
Music of the Olden Times (1859)
Z:AK/Fiddler’s
Companion
K:Amin
|:A2A2 c2BA|B2B2d2 cB|A2A2 c2BA|^G3E e4:|
|:g2e2c3e|d2B2G3d|c2A2^G3B|A2A2
A4:|
QUOI C'EST T'AS? See "Valse de Calcasieu."
QUOTH JOHN TO JOAN. AKA and see “Wilson’s Wild(e),” "Wolsey's Wild." This early 17th century
song relates a farmer's proposal wherein he enumerates his assets, a theme
which has survived even to 20th century America where it resurfaces in the Old‑Time
song "All the Little Chickens in the Gardern."
QUOTH THE MASTER TO THE MAN. Scottish. The melody appears in
Henry Playford's 1700 collection of Scottish dance tunes.
_____________________________________
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