The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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THRA - THY

 

 

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]

 

 

 

THRASHERS, THE. AKA and see "Buttons Three Farthings A Pair [1]". English, Jig. England, Northumberland. D Major. Standard tuning. AABBCCDD. Seattle (William Vickers), 1987, Part 4; No. 414.

                       

THREADBARE COAT, THE (An Casog Caitigte). AKA and see "Boatman of Kinsale". Irish, Air (4/4 time). D Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 307, pg. 53.

X:1

T:Threadbare Coat, The

M:C

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 307

Z:AK/Fiddler’s Companion

K:D

D>F|A2 A/B/c/d/ F2 AF|E>FED D2 dB|A>FDF A>BAF|(A4 A)z A2|

A2 A/B/c/d/ F2 A/F/|E>FED D2 zF|B3c dcB^A|(B4 B2||A2|AFAB d3e|

f>efg f>edA|d>efA A>BAF|(A4 A)z A2|A2 A/B/c/d/|

F2 AF|E>FED D2 d>B|A>BAF GFE>F|(D6 D)z ||

                       

THREE A PENNY. Scottish, Strathspey. D Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 4; No. 82, pg. 11.

X:1

T:Three a Penny

M:C

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 4, No. 82 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

d>ef>d g>ef>d|B<e e>d c<e e>f|d>ef>d g>ef>d|B<e c>A (d2 d)A:|

|:a>fd>f a>fd>f|g>fe>d c<e e>f|a>fd>f a>fd>f|B<e c>A (d2 d)A:|

                       

THREE AROUND THREE. English, Morris Dance Tune (2/4 time). England, Cheshire. D Major. Standard tuning. AABB. A North West morris dance tune from Marston, Cheshire. Sweet (Fifer’s Delight), 1965/1981; pg. 81. Cottey Light Industries CLI-903, Dexter et al - "Over the Water" (1993. Learned from the playing of the Knots of May).

X:1

T:Three Around Three

C:Trad

M:4/4

L:1/8

K:G

|:d2BA G2G2|A2BA G2D2|EDEF G2AB|c2B2B2A2|

d2BA G2G2|A2BA G2D2|EDEF G2Ac|B2G2G4:|

|:d2ef gfed|e2e2efge|d2B2B2AG|FGAB A4|

d2ef gfed|e2e2e2d2|ef g2fg a2|g4g4:|

                       

THREE BEES IN THE HONEY. Old-Time, Breakdown. D Major. Standard tuning. AA'BB. The tune was in the repertoire of Barnesville, Ohio, fiddler John W. Hutchison (1915-1979), who had many of his tunes from one ‘old man’ Bondy, and Irishman, according to Kerry Blech. Hutchison’s sons were in a bluegrass band with fiddler Greg Dearth, and many of the father’s tunes were disseminated via that. Source for notated version: Andy Cahan [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 240.

                       

THREE BRAVE LOYAL FELLOWS. Scottish, English; England, Northumberland. As "Three Brave Fellows" it is probably one of the "missing tunes" from William Vickers' 1770 Northumbrian dance music manuscript. Oswald's Pocket Companion, 1740. Front Hall FHR‑08, Alistair Anderson ‑ "Traditional Tunes" (1976).

           

THREE BY SIX AND WALTZ AROUND. American, Dance Tune. USA, Pa. In the repertory of Buffalo Valley, Pa., region fiddler Harry Daddario.

           


THREE CAPTAINS, THE (Na Tri Taoisaig/Taoiseaca). AKA and see "Clark's Favorite," "William Clark's Favorite," "Three Sea Captains." Scottish, Irish; Long or Set Dance (in duple or triple time). G Major. Standard tuning. ABB (Roche): AABB (O'Neill). "From O'Neill, slightly altered" (Roche). The tune appears in the Calvert Collection (1799), assembled by Thomas Calvert, a musician from Kelso, Scotland. A note in the mansucript states that Calvert supplied “a variety of music and instruments, instruments lent out, tun’d and repaired.” See note for “Three Sea Captains” for more. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 389, pg. 186. O'Neill (Krassen), 1976; pg. 220. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1787, pg. 334. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 961, pg. 165. Roche Collection, 1982, vol. 3; No. 189, pg. 67. Eugene O'Donnell.

X:1

T:Three Captains, The

M:C

L:1/8

R:Set Dance

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 961

Z:AK/Fiddler’s Companion

K:G

D|G>G (3BGB c>AF>A|G>G (3BGB d>BG>G|(3cec A>A (3BdB G>G|A>Bc>B (3ABG (3FED|

G>G (3BGB c>AF>A|G>G (3BGB d>BG>G|(3cec A>A (3BdB G>G|(3EcB (3AGF G2G:|

|:d|g>g (3fed (3ABc (3def|g>g (3dBd (3ecA A>A|g>g (3bge f>g (3afd|e/f/ge (3edc d>d (3dcB|

c>d (3ecA B>c (3dBG|A>Bc>B (3ABG (3FED|G>G (3BGB c>AF>A|G>G (3BGB d>BG>G|(3cec A>A (3BdB G>G|

(3EcB (3AGF G2 G:|\

X: 1

T:The Three Captains

M:6/8

L:1/8

B:The Calvert Collection (1799) - Page 14

Z:Andrew Kuntz

K:G

D|G2G BAB|c2A F2A|G2G BAB|d2B G2B|cec A2c|BdB G2B|

gfe dcB|ABG FED|G2G BAB|c2A F2A|G2G BAB|d2B G2B|

cec A2c|BdB G2B|AcB AGF|[B,3D3G3][B,2D2G2]||

f|g3 dBG|ABc def|gfg dcB|ecA A2f|~g2a bge|~f2g afd|

egf ed^c|[F3d3] [F2d2]B|=c2d edc|B2c dcB|A2B ~c2e|

dBG FED|G2G BAB|c2A F2A|G2G BAB|d2B G2B|cec A2c|

BdB G2B|AcB AGF|[B,3G3][B,2G2||

                       

THREE CASE KNIVES. AKA and see “Jock and Tam,” “Lady Susan Montgomery’s Hornpipe,” “Punchanello’s Hornpipe,” “Rusty Gulley [2],” “Three Sharp Knives,” “Three Rusty Swords.” English. See also the related “Forks and Knives” and “Jack’s Gone a Shearing.”

 

THREE CONEY WALK. English, Jig. England, North‑West. D Major. Standard tuning. AABB. A ‘coney’ refers to a hare or rabbit. Thus New York's Coney Island was an island once known for its abundance of wild rabbits.Knowles & McGrady (Northern Frisk: A Treasury of Tunes From North West England), 1988; No. 16.

                       

THREE DROPS OF BRANDY.  Irish, Reel. The tune was recorded on 78 RPM for Columbia Records (No. A2309) by Patrick Fitzpatrick.  Fitzpatrick was z  a flute player originally from County Leitrim who learned to play the uilleann pipes after he emigrated to America. Fitzpatrick found a measure of fame and fortune in his new country, performing in various vaudeville companies, and constructed a venue in New York City, called Celtic Hall.

 

THREE DRUNKEN FIDDLERS. AKA ‑ "Three Drunken Sailors." Shetland, Shetland Reel. Shetland, Unst. The tune was in the repertoire of the late Shetland fiddler Gibby Gray.

                       

THREE DRUNKEN SAILORS. See "Three Drunken Fiddlers."

           

THREE FAM'D GENERALS. AKA and see "Fill Every Glass (for Wine Inspires Us)."

                       

THREE FIDDLE SWING. See "Swinging Fiddles."

                       

THREE FLOWERS, THE. Irish, March (4/4 time). G Major. Standard tuning. One part. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 3. Vallely (Learn to Play the Fiddle with Armagh Pipers Club), 197?; pg. 22.

X:1

T:Three Flowers, The

L:1/8

M:4/4

R:March

K:G

Bc|d2d2B2g2|f2f2A3B|c2A2G2F2|G6 Bc|d2d2e2fg|a2a2b3a|g2e2d2ef|

g6 Bc|d2d2e2fg|a2a2b3a|g2e2d2ef|g6Bc|d2d2B2g2|f2f2A3B|c2A2G2F2|G6||

                       

THREE FORKS OF BIG SANDY. See "Forks of Sandy [1]."

                       

THREE FORKS OF CHEAT. Old‑Time, Breakdown. USA, West Virginia. A Major. AEac# tuning. AA'BCC'. In the repetoire of West Virginia fiddler Edden Hammons. Source for notated version: Burl Hammons (W.Va.) [Reiner & Anick]. Reiner & Anick (Old Time Fiddling Across America), 1989; pg. 75. Library of Congress AFS L65‑66, Burl Hammons ‑ "The Hammons Family." Rounder 0113, Trapezoid ‑ "Three Forks of Cheat" (1979. Learned from W.Va. fiddlers Burl and Sherman Hammons). Edden Hammons Collection II, Disc 1.

                       

THREE FORKS OF HELL. Old-Time, Breakdown. A banjo piece from Mill Creek, West Virginia, banjo player Arthur D. Johnson, via folklorist Gerry Milnes. Jim Taylor (1996) says the tune is associated with the Civil War battle of Cheat Mountain, fought in what is now West Virginia in September, 1861. The battle was a rare defeat for General Robert E. Lee, and led to the abandonment of that part of what was then Virginia to the Union forces for the remainder of the war. Source Johnson remarked that bitter feelings remained for years afterward, and that in the area around Cheat Mountain sentiment ran so strong that one risked life and limb by playing this tune publicly. PearlMae Muisc 004-2, Jim Taylor – “The Civil War Collection” (1996.

                       

THREE FORKS OF (IN THE) KENTUCKY RIVER. Old‑Time, Breakdown. USA, southwest Virginia. In the repertoire of Fiddlin' Cowan Powers 1877‑1952? (Russell County, southwest Va.) and recorded by him and his family band for Victor in August of 1924, though apparently unissued.

                       

THREE FORKS OF REEDY. Old-Time, Breakdown. G Major. Standard tuning. AABB'. Both parts are irregular in metre. Source for notated version: John Johnson [Phillips]. Phillips (Traditional American Fiddle Tunes), 1994; pg. 241.

                       

THREE FORKS OF SANDY. AKA and see "Forks of Sandy," "Roll 'em Up Sandy."

 

THREE GIRLS OF PORTREE, THE.  AKA – “The Boat Leaks,” “The Boat is Leaking,” “Tha toll air a bhàta” (There is a hole in the boat). Scottish, Air (whole time). F Major. Standard tuning. AB. Identified as a Isle of Skye air, “communicated by Miss MacLean of Coll.” Coll is one of the western isles, Argyleshire. The air is popular in Highland bagpiping repertoire. Alexander MacLean of Coll, 14th Laird, was a host for Dr. Johnson and Boswell on their trip to the Hebrides in 1775, and Miss MacLean may have been a member of his household. Johnson was most impressed with the young laird, who eschewed fancy dress, only sporting a feather in his hat, and who had the good will of the population. Unfortunately, he was drowned soon after their visit. “The bagpiper played regularly when dinner was served,” wrote Johnson, “whose person and dress made a good appearance, and he brought no disgrace on the family of Rankin, which has long supplied the lairds of Coll with hereditary music.”  Gow (Sixth Collection of Strathspey Reels), 1822; pg. 30.  MacDonald (The Gesto Collection of Highland Music), 1895.

X:1

T:Three Girls of Portree, The

M:C

L:1/8

R:Air

N:”Communicated by Miss MacLean of Cull”

N:”A Skye Air.”

B:Gow – Sixth Collection of Strathspey Reels (1822)

Z:AK/Fiddler’s Companion

K:F

F|c2 cA {A}c2 FA|c2 cA G<G d2|c2 c>B AfcA|dG G>A G<G d2|c3 cA {A}c2 FA|

c2 cA G<G d2|c2 c>B AF cA|dG G>A G<G de||{e}f2 cA f2 (3cde|f2 cA G<G d>e|f2 (3cde f>g a>g|

fd cA G<G d>e|f2 cA f2 ca|f2 cA G<G d>e|f.g a>g fdd>f|c>dcA GG d2||

                       


THREE GOOD FELLOWS DOWN IN YON GLEN. AKA ‑ "There's Three Guid Fellows Ayont Yon Glen." AKA and see “Three Gude Men.” Scottish, Brisk or Slow Air (9/8 time). G Minor (Gow): G Dorian (Johnson): A Dorian (Kerr, McGibbon): A Mixolydian (Martin). Standard tuning. AAB (Carlin): AABBCC (Kerr): AABBCCDDEEFFGGHHIIJJKKLL (Johnson, McGibbon). A note in Gow (1809) asserts this tune was a particular favorite of famous Perthshire fiddler-composer Niel Gow (1727-1807). Seattle thinks this may be the same tune as "Three Brave Fellows." Johnson's version was set by William McGibbon and is closely based on Disblair's version (in the 1740 McFarlane Manuscript., vol. ii, no. 42). The tune follows a truncated form of the passamezzo antico chord progression, remarks  David Johnson, although nothing is known about the tune. James Hogg, in his Jacobite Relics (1819) prints words to the tune, beginning:

***

There’s three true good fellows,

Three brave loyal fellows,

There’s three true good fellows,

Down ayony you glen.

***

Sources for notated versions: McGibbon's 1746 Scots Tunes, vol. ii, pg. 18 [Johnson]; William Gunn Bagpipe Book 3rd Collection [Martin]. Aird (Selection of Scotch, English, Irish and Foreign Airs), vol. 5, 1797; pg. 49. Andrez (Recueil de Contredances Angloises), c. 1780; pg. 31. Carlin (The Gow Collection), 1986; No. 562. J. Gow (5th Collection of Strathspey Reels), 1809; pg. 19. Johnson (Two Hundred Favourite Country Dances, vol. 7), 1756; pg. 61. D. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 18, pgs. 44‑45. Kerr (Merry Melodies), vol. 3; No. 285, pg. 31 (appears as "There's Three Guid Fellows"). Martin (Traditional Scottish Fiddling), 2002; pg. 83. McGibbon (Scots Tunes, book II), c. 1746; pg. 50-51. Oswald (Caledonian Pokcet Companion), 1760; pg. V,1.

X:1

T:There’s three good fellows ayont yon Glen

M:9/8

L:1/8

R:Air

N:”Brisk”

S:McGibbon – Scots Tunes, book II, pg. 50-51  (c. 1746)

Z:AK/Fiddler’s Companion

K:Amin

c | A3 EAB c2d | G3 EGB d2e | cBA EAB cec | dc(B B)e^G A2 :|

|: e | a2A c2e (c’ba) | b2d B2d gbg | (c’ba) gfe dcB | cBA ^GeE A2 :|

|: e | c2A E2A c2A | B2D G2d g2b | e2E cde (abc’) | bc’a e(a^g) A2 :|

|: a | (c’ba) (eac’) (eac’) | (bag) dgb dgb | (c’ba) eag fed | cBA E(a^g) a2 :|

|: c | AcA E2A cBA | GBG D2G BAG | AcA E(AB) (cd)e | (dcB) e2E A2 :|

|: a | (c’/b/a/b/c’) (e/d/c/d/e) A2a | b/(a/g/a/b) (d/c/B/c/d) G2B | (e/d/c/d/)e (c’/b/a/b/c’) (e/d/c/d/e) |

(c/d/c/B/)A Ea^g a2 :: c/d/ | (e/d/c/B/A) (e/d/c/B/A) “tr”c2 B/c/ | (d/c/B/A/G) (d/c/B/A/G) (B>A^G/^F/) |

E(A/^G/A) E(c/B/c) A>cB/A/ | B2f e2^G A2 :: e | Ace a2A c2e | GBd g2B d2g | ceg c’2e d2b |

c2a B2^g a2 :: E | (A/B/c/d/e) (A/B/c/d/e) cBA | (G/A/B/c/d) (G/A/B/c/d) BAG | Ac(e e)c(a a)e(c’ |

c’)ba ea^g A2 :: e | (a/b/c’)a e2a (c’ba) | (g/a/b)g d2g bag | (a/b/c’)a (ea)e (ce)c | dc(B B)eE A2 :|

|: c/d/ | (e/d/c/B/A) EAc EAc | (d/c/B/A/G) DGB DGB | cBA a2g f2e | dc(B B)eE A2 :|

|: a | c’b(a a)ea c’ba | ba(g g)dg bag | c’ba eae dbd | cac Ea^g a2 :|

                       

THREE GRACES, THE. Scottish. John Glen (1891) finds the earliest appearance of the tune in print in Joshua Campbell's 1778 collection (pg. 63).

                       

THREE GUDE MEN.  AKA and see “Three Good Fellows Down in Yon Glen.” Scottish, Slip Jig (9/8 time). G Minor. Standard tuning. AABB. A version of “Three Good Fellows Down in Yon Glen.” Scott Higgs gives attribution to a W. Smyth c. 1800, although the tune appears much earlier, in the MacFarlane Manuscript (1740). Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 130. Higgs (Early One Morning).

 

THREE HALFPENCE A DAY [1] (Tri Leat Pinginne Gac La). AKA and see "Very Poor Pay." Irish, Double Jig. A Dorian. Standard tuning. AABB. At one time three halfpence a day was referred to as the common wage for an ordinary laborer or soldier. Source for notated version: O'Neill later in life obtained this version of the tune from the manuscripts of Timothy Downing, a gentleman farmer of Tralibane, County Cork, who taught O'Neill the rudiments of the flute when the latter was a boy during the 1860's [O'Neill/Irish Folk Music]. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 364, pg. 74.

X:1

T:Three Halfpence a Day [1]

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 364

Z:AK/Fiddler’s Companion

K:Ador

B|cBA BAG|AGE GED|cBA dBG|EAA A2B|cBA BAG|AGE GED|EFE E2D|EAA A2:|

|:B|cBc dcd|ecA GED|cBc d=fd|cAB c2d|edc dcB|cBA GED|EFE E2D|EAA A2:|

 

THREE HALFPENCE A DAY [2]. Irish, Jig. D Minor. Standard tuning. AABB. The melody modulates to G major briefly in the ‘B’ part. O’Farrell (Pocket Companion, vol. II), c. 1806; pg. 121.

X:1

T:Three Halfpence a Day [2]

M:6/8

L:1/8

R:Jig

S:O’Farrell – Pocket Companion, vol. II (c. 1806)

Z:AK/Fiddler’s Companion

K:Dmin

A | D2E F2G | A2A ABG | A2A ABG | AFD D3 | D2E F2G | A2A ABG |

f3 fed | cAG F2 :: c | =BGG AGG | =BGG AGG | gag g^fe |

dBG G2c | BGG AGG | BGG AGG | fag fed | cAG F2 :|

                       

THREE HANDED REEL [1]. English, Reel. E Minor. Standard tuning. AABB. Hardings All-Round Collection, 1905; No. 125, pg. 39.

X:1

T:Three Handed Reel [1]

M:2/4

L:1/8

R:Reel

S:Harding’s All-Round Collection, No. 125  (1905)

Z:AK/Fiddler’s Companion

K:Emin

B/>A/|GE EE/F/|G/F/G/A/ BA/G/|FD DD/E/|F/E/F/G/ AB/A/|

GE EE/F/|G/F/G/A/ BA/G/|F^E/F/ A/A/G/F/|EGE:|

|:B|ee/f/ gf/e/|bb (cB)|bb c/c/B|(cB) (CB,)|

ee/f/ gf/e/|bb (cB)|B/F/F/G/ A/A/G/F/|EGE:|

 

THREE HANDED REEL [2]. English, Morris Dance Tune (4/4 time). G Major. Standard tuning. AAB. The tune was collected from dancers in Bromsberrow Heath, Gloucestershire, in England's Cotswolds. Bacon (The Morris Ring), 1974; pg. 113.

                       

THREE IN ONE TWO-STEP. Old‑Time, Country Rag. USA, Texas. F Major. Standard tuning. AA'BB'CC' (Brody): AA'BC(x3)AA'DE (Phillips). A medley of three tunes, including the "Dill Pickle Rag." Source for notated versions: Daniel Williams with the East Texas Serenaders (east Texas) [Brody, Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 276. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pgs. 148-149. County 410, "The East Texas Serenaders, 1927‑1936" (1977). Run of the Mill String Band - "Along the Way."

                       

THREE JOLLY SHEEPSKINS [1]. English, Sword Dance Tune (2/2 time). A Major. Standard tuning. AB. Bayard (1981) in tracing the ancestry of the American tune "Black‑Eyed Susie" dates the tune to the 17th century and says it was popular then and throughout the 18th. Versions have appeared in Aird (1778, vol. 1, No. 178), Oswald (1780?, Caledonian Pocket Companion, vol. 2, pg. 10), Dauney (1838, No. 31, pg. 228), Walsh (1731, Compleat Country Dancing Master, vol. 1, No. 20), John Gay's Polly (Air 24), Moffat and Kidson (Dances of the Olden Time, 1912, pg. 18) and Kidson (Old Country Dance and Morris Tunes, 1913, pg. 4). The first figure is from the area of Flamborough, England. One of the earliest recordings of the melody was in 1909 when Cecil Sharp waxed it on a cylinder from the playing of John Locke, Leominster, Hereford, described as a “gipsy fiddler.” A sheepskin reel involves a line of three dancers moving around three stationary objects, dancers or other target. See also "Three Sheepskins." Raven (English Country Dance Tunes), 1984; pg. 77.

X:1

T:Three Jolly Sheepskins [1]

L:1/8

M:2/2

S:Flamborough

K:A

ABcd efec|BGEG BGEG|ABcd efec|BG (3EFG A2 (3EFG|ABcd efec|
BGEG BGEG|ABcd efec|BG (3EFG A2A2||fgag fgag|fg (3agf b2 ag|

f^efg f2 =e2|BcdB A2A2|fgag fgag|fg a2b2 ag|f^efg f2 =e2|c2 dB A2A2||

 


THREE JOLLY SHEEPSKINS [2]. Unrelated to the above. English, Sword Dance Tune (2/2 time). A Major. Standard tuning. AB. Third figure from the area of Sleights, England. One of the earliest recordings of the melody was in 1909 when Cecil Sharp waxed it on a cylinder from the playing of John Locke, Leominster, Hereford, described as a “gipsy fiddler.” Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 28. Raven (English Country Dance Tunes), 1984; pg. 73.

X:1

T:Sheepskins [2]

M:4/4

L:1/8

S:John Locke (1909)

K:A

c3BA2c2 | d2 dc B4 | c3B A2c2 | B2G2 EGAB | c3B A2c2 | d2 dc B4 |

c4 B3G | A2A2 A4 || e2a2e2a2 | g2f2g2f2 | e2a2e2a2 |

g2a2b4 | e2a2e2a2 | g2f2g2f2 | e4 c’3b | a2b2 a4 ||

 

THREE JOLLY SHEEPSKINS [3]. English, Reel. B Flat Major. Standard tuning. AABB. Carlin (Master Collection), 1984; No. 37, pg. 32.

                       

THREE JOLLY TOPPERS, THE. Irish, Air (6/8 time, "spirited"). D Major. Standard tuning. ABC. Source for notated version: c. 1884, from "Mr. Francis Hogan of South Lodge, Brenormore, near Carrick‑on‑Suir, a good musician and a great enthusiast in Irish music and song" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 276, pg. 131.

X:1

T:Three Jolly Toppers, The

M:6/8

L:1/8

R:Air

N:”With spirit”

N:The chorus is the third section
S:Joyce – Old Irish Folk Music and Songs (1909)

Z:AK/Fiddler’s Companion

K:D

(A/G/)|F2F FED|d3 A2G|F2F EFG|F2E D2F|A2F DFA|d3 c2d|e2d c2B|A3 z2||A|

d2d dcd|f2d dcd|B2B Bcd|e2d c2B|A2G F2E|D2E F2A|B3 c2c|d3 z2||

B|A3 GAG|F2E DFA|[F3B3] [E2c2] [Ec]|[D3d3] z2||

                       

THREE LIEUTENANTS. AKA and see “Pither in Enough.”

                       

THREE LITTLE DRUMMERS [1] (Na Tri Drumadoiride Beag). AKA and see "Cock in the Heath [1]," “The Geese in the Bog,” “Ha’Penny Bit,” "Humors of Duagh," "Humors of Listivain," “The Jolly Old Wife,” "The Nuptial Knot," "Spirits of Whisky [2]," "Tenpenny Bit [1]," “Up Sligo.” Irish, Double Jig. Ireland, County Leitrim. A Minor (Stanford/Petrie): A Mixolydian (Cole, Mulvihill): A Dorian (O'Neill, Stanford/Petrie): E Dorian (Moylan). Standard tuning. AB (Stanford/Petrie). AABB (Cole, Moylan, Mulvihill, O'Neill/Krassen): AABBCC (O'Neill/1850, 1001 & 1915). Bayard (1981) identifies this as one more member of the of the myriad "Welcome Home" tune family. See Bayard's (1944) note for "Red Brick House in Georgia Town" for more on this tune family and related tunes. Petrie (1855) identifies the tune as “a county of Leitrim jig.” O’Neill (1910) remarked that “Highland pipers seldom play any other Irish jig for dancers but this, and it is to be found in most of their books of bagpipe music.” The famous uilleann pipe virtuoso Patsy Tuohey recorded the tune on an Ediphone cylinder around 1907. See also the first part of “Matt Teahan’s Delight,” notes Paul de Grae. Sources for notated versions: Francis O’Neill remembered hearing two parts of the tune as a boy in County Cork, the third (which is the second strain of the unnamed version in Stanford/Petrie) he learned in Chicago [O’Neill]; accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border), recorded at Na Píobairí Uilleann, October, 1984; O’Leary said: “‘Tis Din Tarrant played it, Doody’s uncle. ‘Tis him I heard playing it first above in Knocknagree” [Moylan]; “From P. Carew’s MS” (Stanford/Petrie). Bayard (Hill Country Tunes), 1944; No. 46 (appears as "Quadrille"). Cole (1000 Fiddle Tunes), 1940; pg. 67. Giblin (Collection of Traditional Irish Dance Music), 1928; 76. Kerr (Merry Melodies), vol. 1; pg. 36. Moylan (Johnny O’Leary), 1994; No. 138, pg. 81. Mulvihill (1st Collection), 1986; No. 26, pg. 124. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 143, pg. 82. O'Neill (Krassen), 1976; pg. 47. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 969, pg. 180. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 189, pg. 45. Ryan’s Mammoth Collection, 1883; pgs. 92 & 97. Stanford/Petrie (Complete Collection), 1905; Nos. 110, 953 & 954, pgs. 28 & 243. Flying Fish FF‑246, The Red Clay Ramblers ‑ "Hard Times" (1981). Yazoo 7008, Patsy Tuohey (et al) – “Wheels of the World.”

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

Alan Ng’s Irishtune.info

X:1

T:Three Little Drummers, The [1]

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 189

Z:AK/Fiddler’s Companion

K:Amin

g/f/|eAA eAA|BAB GBd|eAA eAA|de^f gfg|eAA eAA|BAB GBd|de^f gdB|BAA A2:|

|:d|eaa eaa|egg egg|eaa eaa|de^f gdB|eaa eaa|egg egg|de&f gdB|BAA A2:|

|:d|eaa a^ga|bab ged|eaa a^ga|bab g2d|eaa a^ga|bab ged|de^f gdB|BAA A2:|

X:2

T:Three Little Drummers [1], The

M:6/8

L:1/8

R:Jig

N:”A county of Leitrim Jig”

B:Stanford/Petrie, No. 953 (1905)

Z:AK/Fiddler’s Companion

K:Amin

g/f/|eAA eAA|BGG Bcd|eAA eAA|eaf ged|eAA eAA|

BGG Bcd|efg fed|eAA A2||c/d/|eaa efg|fdf ged|eaa efg|

fdf ged|eaa efg|fdf gfe|agf gfe|dcB A2||

X:3

T:Three Little Drummers [1], The

M:6/8

L:1/8

R:Jig

N:”From P. Carew’s MSS”

B:Stanford/Petrie, No. 954 (1905)

Z:AK/Fiddler’s Companion

K:A Minor

eAA eAA|BGG BGG|eAA ABd|ede/^f/ gdB|eAA eAA|

BGG BGG|de^f gdB|BAA A2||d|eaa aga|bge edB|

eaa aga|bge g2d|eaa aga|bge edB|de^f gdB|BAA A3||

 

THREE LITTLE DRUMMERS [2], THE. AKA and see “The Big Ship come over the Bay,” “The Bouchaleen Buidhe,” “Kitty’s Wedding [2],” “The Maidens of Tir Eoghain,” “McArdle’s Fancy,” “Off to Donnybrook,” “Out on the Ocean [2],” “Paddy the Dandy [1],” “Pride of Leinster,” “Ships in Full Sail.”

 


THREE LITTLE DRUMMERS [3], THE. Irish, Jig. Ireland, County Clare. G Major. Standard tuning. AABB. No relation to “Three Little Drummers” [1]. Source for notated version: concertina player Chris Droney (County Clare) [Black]. Black (Music’s the Very Best Thing), 1996; No. 308, pg. 165 (appears as “Droney’s Drummers,” a re-titling by Bill Black, who apparently thought Droney’s title was in error).  Chris Droney - “The Fertile Rock.”

X:1

T: Droney's Drummers

S: Chris Droney

Q: 325

R: jig

M: 6/8

L: 1/8

K: G

A | BAG g2 e | gfg abc' | bag edc | BdB cBA |

BAG g2 e | gfg abc' | bag edB | def g2 :|

e | gdd gdd | gdd dcB | Acc Acc | Acc cBA |

B3 cdc | BAG Adc | BAG edc | def g2 :|

 

THREE LITTLE DRUMMERS [4]. AKA and see “Aherlow Jig,” "Quinn's Jig," "The Spirits of Whiskey [2]," "Connie O'Connell's (Jig) [1]," "The Two‑and‑Sixpenny Girl," "The Money I Want," "Ryan's Travels." Irish, Jig. G Major. Standard tuning.

X:1

T:Three Little Drummers [4]

M:6/8

L:1/8

R:Jig

K:G

GBB BAd|cAA Abc|

                       

THREE LITTLE NIGGERS LAYIN' IN BED. American, Reel. USA, southwestern Pa. G Major. Standard tuning. AABB. Bayard (1981) thinks this tune related to the familiar "Shortenin' Bread [1]." Source for notated version: Samuel Losch (elderly fiddler from Juniata County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 42, pg. 34.

 

THREE MAIDS OF PERTH. Canadian, Hornpipe. A Major. Standard tuning. AABBCCDD. . Source for notated version: Cape Breton piper Charlie Brown, who had the tune from the late innkeeper and pipe instructor Harold Sutherland, of Alma, Pictou County, Nova Scotia [Shears]. Shears (The Gathering of the Clans Collection, vol. 1), 1986; pg. 63.

                                               

THREE MEET [1]. AKA and see "When Daylight Shines."

 

THREE MEET [2]. AKA and see "The Muses." English, Jig. D Major. Standard tuning. AABBCC. Kennedy (Fiddlers Tune Book), vol. 2, 1954; pg. 45 (appears as "The Muses"). Raven (English Country Dance Tunes), 1984; pg. 103.

X:1

T:Three Meet [2]

L:1/8

M:6/8

K:D

A/G/|FAd FAd|BAB e2d|cBc ABc|d2f a2A/G/|FAd FAd|BAB e2d|cBc ABc|d2f d2:|

|:a|faa eaa|ded cBA|dcd ede|faf e3|d2d A2A|g2g f2f|ede fed|B2c d2:|

||B|B^AB BAB|efg f2B|egf edc|B2c F2F|B^AB BAB|efg f2e|Bgf edc|B3B2||

 

THREE MEET [3]. AKA and see "The Pleasures of the Town [1]." English, Jig. D Major. Standard tuning. AABB. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 6. Sharp (Country Dance Tunes), 1911‑1922, vol. 2, pg. 14 (1st part). Sharp (Country Dance Tunes), 1909/1994; pg. 13.

X:1

T:Three Meet [3]

T:Pleasures of the Town

M:6/8

L:1/8

S:Sharp – Country Dance Tunes

Z:AK/Fiddler’s Companion

K:D

A| F2A d2A | B2B e2d | d2d cBc | d2d f2A |

F2A d2A | B2B e2d | d2d cBc | d3 d2 :|

|: z | f2a e2a | fed cBA | d2d ede |faf e3 | d’3 a3 |

g3 f3 | {f}ede fed | B2c d2 :|

                       

THREE MERRY MEN. English, Ballad Air (cut time). B Flat Major (Chappell): A Major (Kines). Standard tuning. AB. The air appears in John Playford's MS Commonplace Book, while the words can be found in Peele's The Old Wives' Tale (1595). Shakespeare has Sir Toby mention the ballad, among others, in Twelfth Night (act II, scene 3). Only four lines seem to have been given by Chappell, Long and Gibbon:

***

Three merry men and three merry men and three merry men are we.

I in the wood and thou on the ground and Jack sleeps in the tree.

Hold thy peace, and I prithee hold thy peace.

Thou Knave, hold thy peace thou knave, thou knave.

***

Chappell (Popular Music of the Olden Time), vol. 1, 1859; pg. 197. Kines (Songs From Shakespeare's Plays and Popular Songs of Shakespeare's Time), 1964; pg. 11.

X:1

T:Three Merry Men

M:C|

L:1/8

S:Chappell – Popular Music of the Olden Times (1859)

Z:AK/Fiddler’s Companion

K:Bb

d4 c2d2 B4 F4 | B4 A2B2 D4 E4 | F4 B3A B2c2 d4 | c8 ||

c4 c2A2 F4 F4 | f4 f2e2 d4 B4 | c4 c4 c2d2 e4 | d8 ||

                       

THREE MERRY MEN OF KENT. English, Air (4/4 time). G Minor. Standard tuning. AAB. The song appears in the ballad opera The Jovial Crew (1731), though the original lyrics have been lost.

***

He that will not merry, merry be,
With a generous bowl and toast;

May he in Bridewell be shut up,

And fast bound to a post.

Let him be merry, merry, merry there,

And we will be merry, merry, merry here;

For who can know where we may go,

To be merry another year, Brave boys,

To be merry another year.

***

Chappell (Popular Music of the Olden Time), vol. 2, 1859; pg. 161.

X:1

T:Three Merry Men of Kent

L:1/8

M:C

S:Chappell – Popular Music of the Olden Time

Z:AK/Fiddler’s Companion

K:Gmin

D2|G2B2A2d2|cBAB ^F2D2|G2 AB cBAB|G6:|

A2|B2 Bc d2 de|dedc B2B2|B2 AB cdcB|A6 d2|

C2B2A2c2|B2G2^F2D2|G2 AB cBAB|G4D4|

F6D2|G2 AB cBAB|G6||

                       

THREE MERRY SISTERS. AKA and see “Cross Road [1],” “Merry Sisters,” “Mill Town Maid.” Irish, Reel. Ireland, Donegal. E Dorian. Standard tuning. AABBCC. The reel is common in the County Donegal tradition. Caoinhin Mac Aoidh (1994) states the reel was very popular with the musical Doherty family, and believes they learned it from a recording by Frank O'Higgins. The title (the full version of which the Dohertys invariably used, not the shortened "The Merry Sisters") refers to the three fates of  classical Greek mythology, Lachesis, Clotho and Atropos, the daughters of Erebus, who card, spin and finally cut the strands of each human life. Mac Aoidh see in this title perhaps evidence of  the influence of old 'hedge scholars' who once roamed Ireland. Cole’s “Cross Roads” is part one and two of “Three Merry Sisters.” Cole (1000 Fiddle Tunes), 1940; pg. 6. Ryan’s Mammoth Collection, 1883. Green Linnet SIF‑1109, Altan ‑ "The Red Crow" (1990).

X:1

T:Three Merry Sisters

M:C|

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:Edor

.B.E(3FED BdcA|.B.E(3FED dAFA|.B.E(3FED BdcA|(dD)(3DDD ADFA:|

|:Beec d2 cA|Beec dAFA|Beec d2 cA|BABc dAFA:|

:BdcA BFAF|.B.E(3EEE BDFA|BdcA BFAF|(dD)(3DDD ADFA|

BdcA BFAF|.B.E(3EEE BEFA|DFAc d2 eg|fdec dAFA:|

                       


THREE MERRY SISTERS OF FATE, THE. See “Merry Sisters (The),” “Three Merry Sisters.”

                       

THREE MILE BRIDGE. Jig. A & M Records 79602 2000-2, Ashley MacIsaac - “Close to the Floor” (1992).

                       

THREE O'CLOCK IN THE MORNING. American, Waltz. USA, Arizona. G Major. Standard tuning. Arizona fiddler Kenner C. Kartchner said it "came about 1910."

                       

THREE OF A KIND. American, Reel. D Major. Standard tuning. AB. White’s Unique Collection, 1896; No. 82, pg. 15.

X:1

T:Three of a Kind

M:C|

L:1/8

S:White’s Unique Collection (1896), No. 82.

Z:AK/Fiddler’s Companion

K:D

FAdA BAdA | (Bd)FA (3EEE EG | FAdA BAdA | BdFA (3DDD D2 |

fedc defd | (ge)af (3eee eg | fedc defd | dBAF (3DDD D2 || fedc defd |

geaf (3eee eg | fedc defe | dBAF (3DDD D2 | fedc defd |

(ge)af (3eee ea | faef defe | dBAF (3DDD D2 ||

                       

THREE PONIES. American, Reel. A Major. Standard tuning. AABBAA. The tune was composed by cellist Nancy Blake, wife of guitarist Norman Blake. Private Collection (circulated among contra-dance musicians). Bee Balm 302, “The Corndrinkers.” Marimac 9043, Boiled Buzzards – “Fine Dining” (1991). Rounder 0231, Nancy Blake – “Grand Junction” (1986).

           

THREE PRETTY MAIDS. English, Jig. England, North‑West. A Major. Standard tuning. AAB. Knowles & McGrady (Northern Frisk), 1988; No. 96.

           

THREE RAVENS, THE. English, Air (2/2 time). E Minor. Standard tuning. One part. The air appears in Thomas Ravenscroft's Melismata (1611). The songs in the book were generally considered much older, states Kines, while Walker (1924) considers it an Elizabethan melody. Versions of songs about three crows exist today in folk tradition ‑‑ see the Scottish song "Twa Corbie." Kines (Songs From Shakespeare's Plays and Popular Songs of Shakespeare's Time), 1964; pg. 87.

                       

THREE RUSTY SWORDS.  AKA and see “Jock and Tam,” “Lady Susan Montgomery’s Hornpipe,” “Punchanello’s Hornpipe,” “Rusty Gulley [2],” “Three Case Knives,” “Three Sharp Knives.”

 

THREE SCONES OF BOXTY. Irish, Reel. Ireland, Co. Fermanagh. D Major. Standard tuning. AB. Green Linnet GL-1096, Altan - "Horse with a Heart" (1989).

X:1

T:Three Scones Of Boxty
M:4/4
L:1/8
C:traditional
S:Tara Diamond(Bingham)

Z:Gregor Griegoleit
R:reel
K:D
EF |GE ~E2 cBAc|BAGB AGEF|GE ~E2 cBAc|BAGE D2 EF|!
GE ~E2 cBAc|BAGB AGEF|GE ~E2 cBAc|BAGE D2 B2||!
cded cA ~A2|EFGB A2 Bc|d2 ed cA ~A2|BAGE D2 AB|!
cded cA ~A2|BAGB A2 B2|(3Bcd ef g2 fe|dBAF D4||

                       

THREE SEA CAPTAINS, THE. AKA and see "The Three Captains,” “William Clark’s Favorite." Irish, English; Set Dance, Morris Dance (6/8 time), or Jig. G Major. Standard tuning. AABB (Allan's): AB (Heymann, Kennedy, Raven, Wade). O'Neill records that he found the earliest printed setting in McGoun's Repository of Scots and Irish Airs (1799). The tune is used for either a single or polka step in the North‑West (England) morris dance tradition. In Ireland the tune is called “The Three Captains,” and a set dance is performed to it. The Irish dance set has folk-lore attached  that says both tune and dance were composed descriptive of the Battle of Navarino, fought in the Ionian by a combined fleet from Britain, France and Russia against the Egyptian and Ottoman fleets in 1827 during the Greek War of Independence (this despite factual evidence of printings that much predate this date). In this sceanario the three sea captains are presumably the commanders of the allied fleets, Edward Codrington, Henri de Rigny and Login Petrovich Geiden. According to some dancers the set dance figures initially describe the ships lining up for the beginning of the battle, then turning about and returning (see the article about Cork set dancer Joe O’Donovan in Set Dancing News, 2003). Allan's Irish Fiddler, No. 115, pg. 29. Heymann (Off the Record), 1990; pgs. 23-25. Johnson (The Kitchen Musician No. 5: Mostly Irish Airs), 1985 (revised 2000); pg. 14. Kennedy (Fiddlers Tune Book), vol. 2, 1954; pg. 44. Raven (English Country Dance Tunes), 1984; pg. 107. Wade (Mally’s North West Morris Book), 1988; pg. 6. Clairseach Records 2381, Ann Heymann – “Ann’s Harp” (1981). Front Hall FHR‑010, Bill Spence and Fennig's All Stars ‑ "The Hammered Dulcimer Strikes Again" (1977).

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

Alan Ng’s Irishtune.info

X:1

T:Three Sea Captains, The

M:6/8

L:1/8

K:G

D|G2G BGB|c2A F2A|G2A B2c|d2B G2B|c2c ecA|B2B dBG|

A2B c2B|ABG FED|G2G BGB|c2A F2A|G2A B2c|d2B G2B|

cec A2c|BdB G2F|EcB AGF|(G3G2)||d|g2g dcB|ABc def|g2g efg|

fdd d2d|c2c ecA|B2B dBG|A2B c2B|ABG FED|G2G BGB|c2A F2A|

G2A B2c|d2B G2B|cec A2c|BdB G2F|EcB AGF|(G3G2)||

 

THREE SHARP KNIVES.  English. See “Three Case Knives,” “Three Rusty Swords.”

                                               


THREE SHEEPSKINS. AKA and see "Hamilton Races." Scottish, English; Air and Country Dance Tune. This country dance tune was printed by Oswald in the Caledonian Pocket Companion (book 7, pg. 10), a Scottish dancing master during the 1740's and a native of Dunfermline. Chappell (1859) takes exception to claims of Scottish origins despite the fact that it appears in the Skene Manuscript of the early seventeenth century, and says that it first appeared in Playford's Dancing Master (10th ed.) of 1698 (he believes the latter portions of the Skene were written at a later date). Another early printing appears in the Compleat Country Dancing Master (I, 1718) and it subsequently appeared in the 18th century ballad operas Polly, The Devil to Pay and The Jealous Clown. Aird printed the tune on the same page as several other trade tunes (such as “The Hammermens’ March” and “The Taylors’ March”), indicating the melody was associated with the tanning trade. The song (from a manuscipt of c. 1715) begins:

***

On the Lord Melvill his wife and three sons

Three sheeps skins the wrong side outmost

Three sheeps skins the wrong side outmost

He is a thiefe & she's a whore that call my wife a drunkard

She's not a Drunkerd but she's a pretty dancer

She's not a Drunkerd but she's a pretty dancer

She lyes all Day & eats all night & gives nobody answer

Three long skins as all men may see sir &c       [repeat?]

Ther's huffie[?] thin & music thin & chin of Gravity sir      [ff/ss/ll ?]

It that your chin be not in mode

Then borrow one from me sir

***

The melody can be found in the 1835 music manuscript of James Winder (Wyresdale, Lancashire). See also "Three Jolly Sheepskins." Beautiful Jo BEJOCD-36, Dave Shepherd & Becky Price – “Ashburnham” (from the Winder manuscript). Flying Fish FF358, Robin Williamson ‑ "Legacy of the Scottish Harpers, vol. 1."

                       

THREE SISTERS [1], THE. AKA and see "The Atholl Highlanders." Shetland. Shetland, Yell.

 

THREE SISTERS [2], THE. Irish, Reel. Composed by flute player Barry Kerr.

 

THREE SISTERS [3], THE. Irish, Reel. Composed by County Tipperary fiddler Seán Ryan (d. 1985). Ryan (Seán Ryan’s Dream), 12.

                       

THREE SNOWFLAKES. Canadian, Jig. Canada, Cape Breton. A Major. Standard tuning. AABB. Composed by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia). Cranford (Brenda Stubbert’s), 1994; No. 91, pg. 34.

           

THREE STAR HORNPIPE. Old‑Time, Breakdown. USA, western North Carolina. Bee Balm 302, “The Corndrinkers.” June Appal 007, Tommy Hunter ‑ "Deep in Tradition" (1976. Learned from his grandfather, fiddler James W. Hunter, Madison County, N.C.).

                       

THREE THIN DIMES. Old‑Time, Breakdown. USA, Ohio. A Major. AEae or Standard tuning. AABBCC. According to Seattle fiddler and old-time music expert Kerry Blech, the source for the tune is Barnesville, Ohio, fiddler Old John Hutchison (1915-1979), who never formally recorded. Hutchison said he learned many of his tunes from ‘old man’ Bondy, an Irishman. It seems that Hutchison's sons, ‘Lost’ John and Zeke, had a bluegrass band in the 1970's with a gifted fiddler named Greg Dearth (now living in Dayton, Ohio) who took it upon himself to learn many of "The Old Seed's" (Old John's nickname) more exceptional tunes. These were recorded with the Hutchison Brothers band on the Vetco label. When played with the tune “Two White Nickels” the medley has jokingly been called the “Forty Cent Medley.” Source for notated version: Pete Sutherland with the Arm and Hammer String Band (Vt.) [Phillips]. Kuntz, Private Collection. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 241. Heritage XXXIII, Arm and Hammer String Band (Vt.) ‑ "Visits" (1981. Learned from John Hutchinson).  Vetco 505, The Hutchison Brothers (out of print).

X:1

T:Three Thin Dimes

L:1/8

M:2/4

Z:Transcribed by Andrew Kuntz

K:A

(3e/f/g/|”A”a/)A/g/A/ f/A/e/(a/|a)g/g/ f/f/e|”D”d/c/B/A/ F/D/E/F/|A/B/c/d/ e/f/g/e/|

“A”a/A/g/A/ f/A/e/(a/|a)g/g/ f/f/e|”D”d/c/d/e/ f/g/a/f/|”A”e/c/”E”B/c/ “A”A:|

|:”A”(A|A/)A/A/A/ cc|c/B/A/F/ E/ A (A/|A/)A/c/e/ f/e/a/e/|”D”f/e/c/A/ “A”B<A:|

|:”A”e/e/a/e/ e/e/a/e/|e/e/a/e/ f/e/c/A/|”D”f2 ff|”G”g2 “D”f2|”A”e/e/a/e/ e/e/a/e/|

e/e/a/e/ f/e/c/A/|”D”d/c/d/e/ f/g/a/f/|”A”e/c/”E”B/c/ “A”A:||


           

THREE TIMES CROWDIE IN ONE DAY. AKA and see "Bide Ye Yet [2]," "Crowdie," "The Wayward Wife," "O That I Had Ne’er Been Married."

                       

THREE TIMES THREE. Scottish, Hornpipe. F Major. Standard tuning. AB. Kerr (Merry Melodies), vol. 4; No. 305, pg. 32.

X:1

T:Three Times Three

M:C|

L:1/8

R:Hornpipe

S:Kerr – Merry Melodies, vol. 4, No. 305  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:F

f2f2 defd | cdcB A2F2 | f2f2d2 (ef) | gagf ecde | f2f2 defd | cdcB A2F2 |

defd efge | f2a2f2 z2 || a2a2f2 (ga) | gagf e2c2 | a2a2f2(ga) |

bag^f gedc | a2a2f2 (ga) | gagf e2c2 | dfed efge | f2a2f2z2 ||

                       

THREE TRAVELLERS. English, Air (6/8 time). G Major. Standard. One part. The song appears in D’Urfey’s Pills to Purge Melancholy. In the Bagford Collection the ballad appears under the title "The Jovial Companions; or, The Merry Travelers, who paid their shot where ever they came, without  ever a stiver of money (to an excellent North-country tune)."

***

There were three travellers, travellers three,

With a hey down, ho down, lang tree down derry,

And they would go travel the North Country,

Without ever a stiver of money.

***

The ‘north country’ means the northern counties of England. Chappell (Popular Music of the Olden Time), vol. 2, 1859; pg. 97.

X:1

T:Three Travellers

M:6/8

L:1/8

S:Chappell – Popular Music of the Olden Time

Z:AK/Fiddler’s Companion

K:G

D|G2A BAG|Bcd d2 c/B/|c2d e2d|ced BGG|GAG EFG|A2A D2d|dcB ABc|B(G2 G2)||

                       

THREE TRUE GOOD FELLOWS AYONT YON GLEN, THE. Northumbrian. Title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800.

                       

THREE WAY HORNPIPE. Old‑Time, Hornpipe. USA, KY. A Major. Standard tuning. AA'AA'BB'BB'CC'. Source for notated version: John Sharp [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 228. County 787, John Sharp Band (the Kentucky Wildcats) ‑ "Five Miles Out of Town: Traditional Music From the Cumberland Plateau, vol. 2."

           

THREEPENCE WET AND THREEPENCE DRY. English, Reel. England, Northumberland. Major. Standard. AABB. Seattle (William Vickers), 1987, Part 3; No. 401.

           

THREEPENNY BIT, THE ("Cionog Tri-Pingin" or "Bonn Leat-Real"). AKA and see “Anderson’s (Reel) [2],” "The Five Mile Chase" [2], "Miss Lane's Fancy,” “My Love is on the Ocean [1]," “New Mown Meadows,” "The Old Silver Spear," "The Silver Tip [1]," "The Silver Spear," "Sliabh Bana," "The Top of (the) Cliff." Irish, Reel. D Mixolydian. Standard tuning. AB (O'Neill/1850 & 1001): AA'B (O'Neill/Krassen). See also the related “Five Mile Chase” from fiddler John Doherty. O'Neill (Krassen), 1976; pg. 126. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1367, pg. 255. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 619, pg. 112.

X:1

T:Threepenny Bit, The

L:1/8

M:C|

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 619

Z:AK/Fiddler’s Companion

K:D Mix

AD (3DDD EDEG|AcBG AGEG|AD (3DDD EDEF|G2 {B}AG EG G2|

AD (3DDD EDEG|AcBG AGEG|c2 cA B2 BG|ABAG EG G2||

Bddf (3efg dB|GABG AGEG|Bd (3ddd efdB|G2 {B}AG EG G2|

Bd (3ddd (3efg dB|cABG AGEG|c2 cA B2 BG|ABAG EG G2||

           

THRESH THE FEATHERS. AKA and see "Toss the Feathers [1]," "The Humours of Ballagh," "Thornberry's," "Geatley's," "The New Reel [1]," “Piper’s Choice,” "The Mountain Lark."

           

THRESHER [1], THE (An Buailteor). AKA and see "The Peeler and the Goat." JIFSS, vol. VI, pg. 27.

 

THRESHERS [2], THE (Na Buailteoiride). Irish, Hornpipe. D Major. Standard tuning. AABB. Source for notated version: McFadden [O’Neill]. O'Neill (Krassen), 1976; pg. 198. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1704, pg. 317. Roche Collection, 1982, Vol. 3; No. 168, pg. 59.

X:1

T:Threshers, The [2]

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Music of Ireland (1903), No. 1704

Z:AK/Fiddler’s Companion

K:D

FG | A2 Bc dcdB | AdFD EA,B,C | DCDE FEFG | dBAF E2 FG |

A^GAc dcdB | AdFD EA,B,C | ABdB AFEG | F2 D2 D2 :|

|: de | fa{b}af bfag | (3fga ec dcBA | FABc dcdb | afed e2 fg |

afbf agfe | (3fga ec dcBA | FAdA BGEG | F2 D2 D2 :|

 

THRESHER [3], THE. See “Y Dynwr.”

 

THRESHERS [4], THE.  English, Jig. D Major. Standard tuning. AABBCC. The melody appears 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. 79.

X:1

T:Threshers, The [4]

M:6/8

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

D|AFB Gec|d2D AFB|GEC D2::c/d/|ecA ^geg|a2A ece|=gec d2:|

|:d|[Dd][Dd][Dd] [Dd][Dd][Dd]|ee{ef}g fcd|[Dd][Dd][Dd] [Dd][Dd][Dd]|eec d2:|

|:f/g/|aaa afd|ggg gec||[Dd][Dd][Dd] [Dd][Dd][Dd]||eec d2:||

           


THRESHING REEL, THE. AKA and see “Mike Sullivan’s Hornpipe” [2].

           

THRESHING THE BARLEY (Ag Buailad An T-Orna). Irish, Double Jig. G Major. Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 49. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 976, pg. 181.

X:1

T:Threshing the Barley

M:6/8

L:1/8

R:Jig

S:O’Neill – Music of Ireland (1903), No. 976

Z:AK/Fiddler’s Companion

K:G

d/c/ | BAB GBd | cBc ABc | Bcd cBA | Gge d2c |

BAB GBd | cBc ABc | Bcd cAF | GFG G2 :|

|: c | Bcd def | {a}gfe dBG | Bcd def | age d2d |

gag gdB | cdc cAF | GBd cAF | GAG G2 :|

           

THRESHING TUNE. Old-Time, Breakdown. USA, Missouri. C Major. Standard tuning. AABB. “The Threshing Tune” is one of the ‘100 essential Missouri fiddle tunes’ according to Missouri fiddler Charlie Walden. Source for notated version: Cyril Stinnett (Mo.) [Phillips]. Phillips (Traditional American Fiddle Tunes), 1994; pg. 242.

           

THRO... see "Through..."

           

THROD MO BHEAN A'S THROD I RIUM. AKA and see "My Wife Has Scolded Me."

           

THROUGH ALL THE EMPLOYMENTS OF LIFE. AKA and see "An old woman clothed in gray,” “Unconstant Roger."

           

THROUGH THE FIELD [1]. AKA and see "Winding Stream."

 

THRO THE FIELDS [2]. AKA and see "Coming Through the Field(s)," "The Boat Street Lasses," "Miss Thornton's {Reel}," "Spike Island Lasses [2]," "The Maid of the Forest," "Lady Anna Hope," "The Creeping Mouse," "Down the Street," "Salamanca [2]," "O'Loughlin's Reel." Irish, Reel. G Major. Standard. AA'B. Kerr (Merry Melodies), Vol. 1; No. 7, pg. 34.

 

THROUGH THE FIELDS [3]. AKA and see "The Club Reel," "The Kerry Lasses [2]," "Sarah's Reel," "The Meadow in Bloom," "The Road to Dublin," "Within a Mile of Dublin [1]," "A Mile From Dublin," "The Maid of Ballintra," "You're a long time a courting."

 

THROUGH THE HEATHER. AKA and see “Autumn Leaves,” "Ginley's Fancy," "Handsome Sally [1]," “The Man of the House,” “The Merry Thatcher,” “Miss Kelly’s Favourite,” “The New Potatoes,” "Old Tom,” “Paddy Carthy’s Reel [2],” "Sally Grant."

 

THRO’ THE MUIR AT NIGHT. Scottish, Slip Jig.

X:1

T:Thro' the Muir at Night

S:NLS MS.839, Lady John Scott (c.1845?)

M:9/8

L:1/8

K:Amix

E2e E2F G3|D2d dcB  AFD|E2e E2F G3|E2e edc B^GE |\

E2e E2F G3|d3  d2B  AFD|E2e E2F G3|e3  e2c B^GE:|

e2b a2f f3|def aba  fed|e2b aga b3|B2e edc B^GE |\

e3  bag f3|d2f a2d' fed|e3  bag b3|B2e e2c B^GE:|

           

THRO(UGH) THE MOOR/MUIR SHE RAN. Scottish, Reel. F Major. Standard tuning. AABB (Gow): AABB' (Kerr). John Glen (1891) finds the earliest printing of the tune in Robert Ross's 1780 collection (pg. 20). Carlin (Gow Collection), 1986; No. 499. Kerr (Merry Melodies), vol. 2; No. 188, pg. 21.

X:1

T:Through the Muir She Ran

M:C

L:1/8

R:Reel

S:Kerr – Merry Melodies, vol. 2, No. 188

Z:AK/Fiddler’s Companion

K:F

c | fgag fddf | AFcA G/G/G (Gc) | fgag fddf | cAfc A/A/A A :|

|: B | cdcA FGAB | cdcA G/G/G (GA) |1 cdcA FGAB | cAfc A/A/A A :|2 cdca gefd | cAfc A/A/A A ||

           

THRO THE WARLD WOULD I GAE/GO WE/WITH THE LAD I LIKE [1]. Scottish, Reel. D Major. Standard tuning. AAB. Carlin (Gow Collection), 1986; No. 531. Gow (Complete Repository), Part 2, 1802; pg. 38.

X:1

T:Thro’ the warld wou’d I gae we the Lad I like

M:C

L:1/8

R:Reel

S:Gow – 2nd Repository  (1802)

Z:AK/Fiddler’s Companion

K:D

f|~d3f B/B/B e2|d3g f/f/f f2|gfed cdef|dgfe d2D:|

f|dDAF BEEe|dDAF dDAf|dDAF BEEe|d>B AF (D2 D)f|

dDAF BEEe|dDAF Agf>e|dBAF E/E/E (BE)|dgf>e (d2d)||

 

THRO’ THE WORLD WOU’D I GANG WI’ THE LAD THAT LOVES ME [2]. AKA and see “MacKinnon’s Rant.” This melody appears in the William Christie collection (1820).

           

THRO’ THE WOOD OF FYVIE. See “Through the Wood of Fyvie.”


           

THROUGH THE WILD WOODS ALONE. Irish, Air (6/8 time). G Minor. Standard tuning. AB. Source for notated version: Phil Gleeson of Coolfree near Ballyorgan in the Co. Limerick, c. 1852 (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 158, pg. 80.

X:1

T:Through the wild woods alone

M:6/8

L:1/8

R:Air

S:Joyce – Old Irish Folk Music and Songs (1909)

Z:AK/Fiddler’s Companion

N:”With feeling”

K:G Minor

d/c/|BAG FDC|D2G G2A|BAG cAG|(F3 F2) G/A/|BAG FDC|DGG A2c|

Bdc A2G|(G3 G2)||G/A/|B>cd/=e/ fdc|dgg gab|agf d>cA/G/|(F3 F2) G/A/|

BAG Bd=e|fag fdc|Bdc A2G|(G3 G2)||

           

THROUGH THE WOOD, LADDIE [1]. AKA – “Through the Woods Lady.” Scottish, Slow Air (3/4 time). F Major: G Major (O’Farrell). Standard tuning. AAB (Kershaw): AABB (Gow, O’Farrell): AABBCCDD (Johnson). Allan Ramsay wrote words to the tune which appear in his Tea Table Miscellany (vol. i, 1723). The melody appears twice (as "Throw the Wood Ladie") in the James Gillespie Manuscript (1768) of Perth, but was earlier published by William McGibbon (with variations) in 1742. The tune appears in two ballad operas: John Gay’s Polly (1729, No. 57), and James Ralph’s The Fashionable Lady; or Harlequin’s Opera (1730, No. 64). Robert Burns considered the tune for a song but rejected it, writing his publisher in September, 1793: “’Thro’ the wood, laddie.’ I am decidedly of opinion that both in this and ‘There’ll never be peace till Jamie comes hame,’ the second or high part of the tune being a repetition of the first part an octave higher, is only for instrumental music, and would be much better omitted in singing.” In addition to the appearance in the Kershaw manuscript (see below), the melody appears in the William Tildesley manuscript (Swinton, Lancashire), from around 1860, under the title “Through the Woods Lady.”

***

Sources for notated versions: McGibbon's Scots Tunes (vol. ii, pg. 6) [Johnson]; contained in the 19th century Joseph Kershaw Manuscript—Kershaw was a fiddle player who lived in the remote area of Slackcote, Saddleworth, North West England, who compiled his manuscript from 1820 onwards, according to Jamie Knowles [Kershaw]. Gow (Complete Repository), Part 4, 1817; pg. 12. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 19, pg. 46‑47. The Joseph Kershaw Manuscript, 1993; No. 61 (appears as “Throw the Wood, Laddie”). McGibbon (Scots Tunes, Book 1), c. 1762; pgs. 26-27. O’Farrell (Pocket Companion, vol. II), c. 1806; pg. 100 (appears as “Thro the Wood Laddie”). Beautiful Jo BEJOCD-36, Dave Shepherd & Becky Price – “Ashburnham” (from the Tildesley manuscript). Maggie’s Music MM220, Hesperus – “Celtic Roots.”

X:1

T:Thro’ the wood Laddie  [1]

M:3/4

L:1/8

R:Air

S:Gow – 4th Repository  (1817)

Z:AK/Fiddler’s Companion

N:”Very Slow”

N:”Original Set”

K:F

F>C|D3 F>G (G>F/4)G/4)|A4 fc|d2 (fd)(cA)|(A2G2) FG|A>G(AB)AG|(BA)(G>F)FG|

A>G(AB)AG|(BA) {A}G>F ~F>C|D2 F>G (G>F/4G/4)|A4 f>g|{fg}a>gfdcA|

G>FGABc|d2(fd)(cA)|c>d(cA)(GB)|A2 D>E (E>D/4E/4)|F4:|

|:f>c|d2 f>g (g>f/4g/4)|a4 fg|a2 (ba)(gf)|(a2g2) f>g|a>g(ab)(ag)|(ba)(gf) f>g|

a>g(ab)(ag)|(b>a)(gf) ~f>c|d2 f>g (g>f/4g/4)|a4 f>g|a>gfdcA|G3 ABc|

c2 (fd)(cA)|~c>d(cA)(GB)|A2D2 (E>D/4E/4)|F4:|

X:2

T:Thro the Wood Laddie [1]

M:3/4

L:1/8

R:Air

N:”Grave”

S:McGibbon – Scots Tunes, Book 1 (c. 1762) 

Z:AK/Fiddler’s Companion

K:G

G>D | E2 G>A “tr”(A>G/2A/4) | B4 g>d | e2 (ge)(dB) | (B2A2) GA | B3 cBA |

B2 “tr”(AG) G>A | “tr”(B>AB)d (BA) | B2 (AG)(G>D) | E2 G>A “tr”(A>G/2A/4) |

B4 (ga) | (ba)(ge)(dB) | A3 Bcd | e2 (ge)(dB) | d>edc(BA) | B2E2”tr”F2 | {E/F/}G4 :|

|: g>d | e2 g>a “tr”(a>g/2a/4) | b4 g>a | b2 (c’b)”tr”(ag) | {g}a4 g>a | b3 c’ba |

(b2 “tr”a)g(ga) | (ba)bd’(ba) | b2 “tr”(ag) g>d | e2 g>a “tr”(a>g/2a/4) | b4 g>a |

(ba)(ge)(dB) | {B}A3 Bcd | e2 (ge)(dB) | d>edc”tr”(BA) | B2 E>F “tr”F2 | {E/F/} G4 :|

|: G>D | E2 (G/F/G/A/) “tr”(A>G/2A/4) | B4 (gd) | e2 (g/(f/e) d/(c/B) | (B2A2) G>A |

B2 (B/c/d/c/) BA | B2 “tr”(AG) (GA) | (Bdg)(c”tr”BA) | (d/e/d/e/) d(c/B/) (A/d/c/d/) |

B2 (E>F) “tr”(F>E/2F/4) | G4 :: g>d | (e/d/e/f/) (g/f/g/a/) “tr”a>g/2a/4 | {a}b4 (ga) |

bd’(c’b)”tr”(ag) | {g}a4 ga | bdd’dc’d | bd (g/a/b) (a/b/c’) | g/d/(d’/c’/ b/)d/(d’/c’/ d’/)(c’/b/a/) |

(b/c’/b/a/) (g/a/g/f/) (g/f/e/d/) | (e/f/e/f/) (g/a/g/a/) “tr”(a>g/2a/4) | {a}b4 ga | (b/a/g/f/) (g/f/g/f/) (e/d/c/B/) |

 “tr”A>G (A/c/)(B/d/) (c/e/)(d/=f/) | (e/d/c) (g/f/e) (d/c/B) | (d/f/g/f/) (g/f/e/d/) (c/B/A/c/) | B2 E>F “tr”(F>E/2F/4) | G4 :|

 

THRO THE WOOD LADDIE [2].  Scottish, Air (2/4 time). D Major. Standard tuning. AAB. A duple-time version of the tune from the music manuscript copybook of Henry Livingston, Jr.  Livingston purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 he was a Major in the 3rd New York Regiment, which participated in Montgomery’s invasion of Canada in a failed attempt to wrest Montreal from British control. An important land-owner in the Hudson Valley, and a member of the powerful Livingston family, Henry was also a surveyor and real estate speculator, an illustrator and map-maker, and a Justice of the Peace for Dutchess County. He was also a poet and musician, and presumably a dancer, as he was elected a Manager for the New York Assembly’s dancing season of 1774-1775, along with his 3rd cousin, John Jay, later U.S. Chief Justice of Governor of New York.

X:1

T:Thro the Wood Laddie [2]

M:2/4

L:1/8

S:Henry Livingston’s manuscript copybook, late 18th century

Z:AK/Fiddler’s Companion

K:D

Z2D2 | F>GAB | BAGF | E G2 [Cc] | {c}[D3d3] E | F>GAF | dcBA |

BAGF {G}FE zE | F>GAF | GA>BG | A>BcA | B2 zF | ({A}G>)FGA |

Bg2f | ({f}e)dec | d2z :| E | F>GAB | BAGF | EG2[B,c] | {e}[D2d2]zE |

F>GAB | Ad2A | F>GAB | Ad2e | fBcd | eABc | (d/4e/2)<f e/c/d/B/ |

A/^G/A ze | fBcd | ea2 A/c/ | B/d/c/B/ c/A/B/^G/ | A2 zB | e2EE| E2 Ee |

E2 dc | d2zF | B>^ABc | dffe | dBc^A | B2z2 | f>e dz | e>g g2 | e>d cz |

d>f f2 | B>c d2 | c>d e2 | d>e f2 | ({g}f)e zA | AF dd | d>(e/2f/4) dA |

AFdd | d>efF | G>FGA | BddB | A>FGFA | F2 z2 | G>FGA | Bggf |

ede>c | d2zA | befg | Ad2 d/f/ | e/g/f/e/ f/d/e/c/ | d2 ||

           

THROUGH THE WOOD OF FYVIE. AKA and see "Da Bere Meal is Cheap Again" (Shetland). Scottish, Reel. G Major. Standard tuning. AB (Surenne): AAB (Gow, Kerr). Gow (Complete Repository), Part 1, 1799; pg. 11. Kerr (Merry Melodies), vol. 2; No. 107, pg. 14. Kerr (Merry Melodies), vol. 4; No. 130, pg. 16. Surenne (Dance Music of Scotland), 1852; pg. 64 (appears as “Thro’ the Wood of Favie”).

X:1

T:Thro’ the wood of Favie (sic)

M:C|

L:1/8

R:Reel

S:Gow – 1st Repository  (1799)

Z:AK/Fiddler’s Companion

K:G

g|d<G B>G (ABc)e|dGBG dGBG|ceBd (ABc)e|d<B g>B d3:|

e|d<B g>B A>Bce|d<B g>B bBgB|d>Bg>B (ABc)e|d<B g>B ~d3g|

d<B g>B ABce|dBgB bBdB|c<aB<g (Abc)e|d>Bg>B d3||

           

THRO’ THE WOOD SHE RAN. Scottish, Reel. F Major. Standard tuning. AB (Surenne): AABB (Gow). Gow (Complete Repository), Part 2, 1802; pg. 29. Surenne (Dance Music of Scotland), 1852; pg. 58.

X:1

T:Thro’ the Wood she ran

M:C|

L:1/8

R:Reel

S:Gow – 2nd Repository (1802)

Z:AK/Fiddler’s Companion

K:F

c|f>gag fddf|cFcA G2 Gc|f>gag fddf|cAfc A/A/A A:|

|:B|c>dcA F>GAB|cdcA G2 GA|cdcA F>GAB|cAfc A/A/A A:|

                       

THROW SOAPSUDS IN THE CORNER OF THE FENCE. Old‑Time, Breakdown. USA, Mississippi. D Major. ADae tuning. A version of  "Soapsuds Over the Fence." The coarse phrase is similar to "Rabbit in the Pea Patch." Mississippi Department of Archives and History AH‑002, Stephen B. Tucker (Lauderdale County, Miss.) ‑ "Great Big Yam Potatoes: Anglo‑American Fiddle Music from Mississippi" (1985. Originally recorded for the Library of Congress in 1939).

           

THROW THE BEETLE AT HER (Caith an tSlis Léi). Irish, Slip Jig. E Minor (‘A’ part) & G Major (‘B’ part). Standard tuning. AAB. Source for notated version: fiddler and uilleann piper Stephen Grier (Farnaght, Co. Leitrim), who wrote his manuscripts in the 1880's [Breathnach]. Breathnach (CRÉ IV), 1996; No. 43, pg. 22.

           

THROW THE OLD COW OVER THE FENCE. Old‑Time, Breakdown. See the related tune "Robertson County." Vocalion 5238 (78 RPM), 1928, Dr. Humphrey Bate and His Possum Hunters (Nashville, Tenn. Bate's fiddler for this recording was Bill Barret, not his usual one, Oscar Stone). County 541, Dr. Humphrey Bate and His Possum Hunters ‑ "Nashville: the Early String Bands, vol. 1."

                       

THROW THE OLD WOMAN OVER THE HOUSE. Irish, Air (6/8 time). F Major. Standard tuning. The tune is part of the Pigot Collection, published in P. W. Joyce’s Old Irish Folk Music and Song (1909).  Joyce (Old Irish Folk Music and Songs), 1909; No. 801, pgs. 389-390.

X:1

T:Throw the Old Woman Over the House

M:6/8

L:1/8

R:Air

S:Joyce – Old Irish Folk Music and Songs (1909), No. 801

Z:AK/Fiddler’s Companion

K:F

f2c c2B | A2F F2A | GAG _e2d | _e2c cd=e | f2c c2B | A2F F2A | GAG c2B |

A2F F3 || f2a aga | b2g a2f | c2f agf | g2c d2a | c’2a b2g | a2f g2e | f2c c2B | A2F F3 ||

                       

THRUM’S CAIRN. Scottish, Reel. A Major. Standard tuning. AABB. Composed by the great Victorian fiddler and composer J. Scott Skinner (1841-1927). Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 72, pg. 32. Rounder 7059, Alex Francis MacKay with Gordon MacLean – “Gaelic in the Bow” (2005).

           

THRUPENNY BIT. Irish, Jig. D Minor. Standard tuning. AABB’. Composed by Peter Fitzgerald. Black (Music’s the Very Best Thing), 1996; No. 261.

X:1

T: Thrupenny Bit

C: Peter Fitzgerald

Q: 325

R: jig

Z:Transcribed by Bill Black

M: 6/8

L: 1/8

K: Dm

AFD EFD | GAF G2 G | Ade cde | gec BAG |

AFD EFD | GAF G2 G | Adc AcB | BGE D3 :|

AFF dFF | cFF AFF | DFA Bgf | ecd _BAG |

AFF dFF | cFF AFF | DFA dBc |1 efe dc_B :||2 GEF D3 ||

           


THRUSH AND THE BLACKBIRD ARE SINGING, THE. Irish, Slow Air (3/4 time). G Major. Standard. AB. Source for notated version: "From the whistling of Joe Martin of Kilfinane Co. Limerick, a rambling working man with a great knowledge of Irish airs and songs, and much natural musical taste" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 177, pg. 89.

X:1

T:Thrush and the blackbird are singing, The

L:1/8

M:3/4

S:Joyce – Old Irish Folk Music

N:”Slow and with expression”

Z:AK/Fiddler’s Companion

K:G

d/e/f|gG G>FED|G/A/B/c/ d2 ef|gd e>c AG|FG A2 d/e/f|gG G>F ED|GG B>d ef|

gd e>c B/A/G/F/|GG G3||G/A/|Bd g2 fg|ed d>B GA|Bd g2 f/a/g/f/|ee e2 de/f/|

gG G>FED|G/A/B/c/ d2 ef|gd e/f/d/c/ B/A/G/F/|GG G2||

                       

THRUSH IN THE BUSH, THE (An Smólach sa Sceach). Irish, Jig. G Major. Standard. AABB (Breathnach, McGuire & Keegan, Miller): AABB’ (Keegan): AA’BB’ (Connolly & Martin). Composed by pianist and fiddler Josephine Keegan (b. 1935) of Mullaghbawn, south County Armagh. Jackie Small, in his notes to CRÉ V, says the tune is “very popular with musicians” and has been recorded several times. Breathnach (CRÉ V), 1999; No. 13. Connolly & Martin (Forget Me Not), 2002; pgs. 110-111. Keegan (The Keegan Tunes), 2002; pg. 52. McGuire & Keegan (Irish Tunes by the 100, vol. 1), 1975; No. 7, pg. 2. Miller (Fiddler’s Throne), 2004; No. 108, pg. 73. Ceol Camloch CD, Josephine Keegan – “The Keegan’s Tunes” (2002). Outlet SOLP 1033, Josephine Keegan – “Irish Traditional Music.” Outlet COX 1042, Kevin Loughlin, John Gordon & Maireád McCann – “Irish Traditional Music from Belleek.” Torc Music TOLCD 1, The Kilfenora Ceili Band – “Set on Stone” (1997). Private cassette, Vincent Griffin, Gerry Hanley, Jerry Mulvihil, Seán Heaney - “Roudledum.”

X:1

T:Thrush in the Bush, The

M:6/8

L:1/8

C:Josephine Keegan

R:Jig

K:G

BA|:G2G DB,D|GBd gdB|AEE cEE|(3ABc B AGE|DB,D G,B,D|gfg dcB|

ABc dcB|AGF G::DC|B,DG Bdg|gfg dcB|AEE cEE (3ABc B AGE|

DB,D G,B,D|gfg dcB|ABc dcA|AGF G:|

                       

THRUSH IN THE MORNING, THE. Irish, Reel. Claddagh CCF21CD, Noel Hill - "The Irish Concertina." Ronan Browne - “The South Wind.”

X:1

T:Thrush in the morning, The

M:4/4

L:1/8

Z:Andrew Pickering

K:D

fag|f2ef d2AF|AdAF Adfe|dAAF DFF2|ABdf e2fe|dAAF dAAF|BAFA dADE|

EDFA defa|afef d:|

ABc|dcde faaf|g3e fgfe|dcde faaf|gafg eAce|dcde faa2|bfaf efdB|

BAFA defa|afef d:|

ABc|dAAF BAFA|D3F AFF2|dFFE F2BF|ABdf e2fe|dAAF dAAF|BAFA dADE|

EDFA defa|afef d:|

           

THRUSH IN THE STORM, THE (An Smólach sa Stoirm). Irish, Reel. D Mixolydian. Standard. AABB. A similar tune is flute player Mike Rafferty’s “Coming to Mind.” Source for notated version: flute player John Brennan/Sean Ó Braonain (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 167, pg. 66. Coleman Music Center CHC 009, fiddler Sheila Dowd – “The Coleman Archive, vol. 2: The Home Place” (2005. Various artists).

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

Alan Ng’s Irishtune.info

X:1

T:Thrush in the Storm, The

M:C|

L:1/8

R:Reel

K:D

FAAF ABde|~f3e d2dB|dBAF ABAF|EGFE DB B2|

FAAF ABde|fgfe dBBe|dBAF ABde|fdad fd d2:|

|:fedf edBc|defd BAFA|D~F3 A~F3|edfd eB B2|

fedf edBc|defd BAFB|ABAF ABde|fdad fd d2:|

                       

THRUSH IN THE STRAND, THE. AKA and see “The Thrush in the Straw.”

           

THRUSH IN THE STRAW [1], THE. AKA and see “The Black Hoe,” “The Castlelan Races,” “The Castlebar Boy,” “The Castlebar Jig,” “Castlebar Races,” “Mist on the Meadow,” “Morrison’s Fancy,” “The Rakes of Castlebar,” “The Thrush in the Strand.” Irish, Jig. G Major. Standard. AB. O’Neill printed the tune as “Morrison’s Fancy” in Waifs and Strays of Gaelic Melody. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 234, pgs. 135-136. Topic 12T309, Padraig O’Keeffe, Denis Murphy & Julia Clifford - “Kerry Fiddles.”

 

THRUSH IN THE STRAW [2], THE. AKA – “The Thrush on the Strand.” AKA and see “Humours of Lisheen,” “Tommy’s Favorite,” “The Woeful Widow.” Irish, Jig. A different tune than “Thrush in the Straw” [1]. Variants are “The Humours of Lisheen” and O’Neill’s “The Woeful Widow.” Bulmer & Sharpley (Music from Ireland), 1974, vol. 3, No. 62.

X:1

T:Thrush in the Straw, The

M:6/8

L:1/8

R:Jig

K:G

d|efg edB | cBA BGE | ~G3 BdB | BAG ABd |

efg edB | cBA BGE | ~G3 BdB |1 AGF GBd :|2 AGF G2D ||

GBd ~g3 | agf g2e | fed edB | cBA BGE |

GBd ~g3 | agf g2e | fed edB |1 AGF G2D :|2 AGF GBd ||

X:2

X:233

T:Thrush In the Straw

B:Music From Ireland (Bulmer & Sharpley)

Z:Nigel Gatherer

M:6/8

R:Jig

L:1/8

K:G

d|efg edB|c2 A AGE|DEG BdB|ABA ABd|efg edB|

c2 A AGE|DEG AGA|BGF G2::D|GBd gfg|age edB|ged e/f/ge|

dBA ABd|efg edB|c2 A AGE|DEG AGA|BGF G2:|]

           

THRUSH'S NEST, THE (Nead An Smolaig). AKA and see "The Goats Horn(s)," "The Spotted Cow," "Galway Tom [1]," "Galloway Tom [2]," "Galway Town," “Lark in the Morning [1],” "The Little Yellow Boy," "Come in the Evening," "The Kelso Races," "The Welcome," "A Western Lilt." Irish, Double Jig. D Major. Standard. AABB. Source for notated version: McFadden [O’Neill]. O'Neill (Krassen), 1976; pg. 34. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 855, pg. 159.

X:1

T:Thrush’s Nest, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Music of Ireland (1903), No. 855

Z:AK/Fiddler’s Companion

K:D

Add fdd | edd fdd | Add fdd |edB BAF |

Add fdd | edd efg | (f/g/a)f {a}gfe | fdB Bcd :|

|: A>BA/F/ DFA | DFA Bcd | A>BA/F/ DFA | fdB Bcd |

A>BA/F/ DFA | DFA d2 d/e/ | (f/g/a)f {a}gfe | fdB Bcd :|

           

THUAS STAIGHRE I bPUBALL. AKA and see "Upstairs in a Tent [1]."

           

THUG MI'N OIDHCHE RAOIR SAN AIRIDH. AKA and see "Maighdeannan na Hibiridh" (The Sheiling Song).

           

THUGAMAR FÉIN AN SAMHRADH LINN. AKA and see “Samhradh, Samhradh,” “Summertime, Summertime,” “We brought the Summer with us.”

                       

THUMP THE BITCHES.   English, Country Dance Tune (cut time). F Major. Standard. AB. No key signature is given in the manuscript, however, the melody sounds better in with one flat. Geoghegan (Compleat Tutor for the Pastoral or New Bagpipes), c. 1745-46; pg. 29.

X:1

T:Thump the Bitches

M:C|

L:1/8

S:Geoghegan – Compleat Tutor for the Pastoral or New Bagpipes (c. 1745-46)

Z:AK/Fiddler’s Companion

K:F

(fa)(ga) f2 fa | gfed c4 | BdcB A2 (B/c/d) | cBAG F4 | fafa f2 fa | gfed c4 | dcBA GBAG |

FDEC D4 || a2f2d2c’2 | gfed c4 | d2B2G2f2 | cBAG F4 | a2f2d2c’2 | gfed c4 |

dcBA GBAG FDEC D4 | DEFG AFDF | agae f4 | F2f2 cBAG | Ffed c4 | a2f2d2c’2 |

gfed c4 | dcBA GBAG | FDEC D4 ||

 

THUMPING JESUS. Old-Time, Breakdown. A Major. AEac#.

                       


THUNDER HORNPIPE. AKA and see "Trumpet Hornpipe [2]." English (originally), American; Hornpipe. USA, Missouri. E Flat Major. Standard. AABB. The tune entered the Missouri fiddling tradition, being especially popular in Boone County. Hornpipes such as the "Thunder" have been traced by Charlie Walden to the playing of one John A Hill (b. Ohio, 1851), a fiddler who was a good sight-reader and who often played from a copy of Ryan's Mammoth Collection (which later became Cole’s 1000 Fiddle Tunes). Hill, who moved to Missouri from Iowa sometime in the 1890's, taught the "Fiddlin' Sheriff," George Morris, a Boone County lad who later became a successful contest and radio fiddler in the 1930's and 40's. Walden calls him "perhaps the most influential mid-Missouri fiddler of the 20th century." It is due to Morris's broadcasts that the tunes reached a wide audience and were assimilated into the local traditional repertoire. Not the "Thunderbolt Hornpipe" in Christeson. See note for “Trumpet Hornpipe [2].” Cole (1000 Fiddle Tunes), 1940; pg. 97. Ryan’s Mammoth Collection, 1883; pg. 132. Rounder 0215, James Bryan ‑ "The First of May."

X:1

T:Thunder Hornpipe

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:E_

E/E/E E/E/E | G/E/G/B/ e/B/G/E/ | B,/B,/B, B,/B,/B, | D/B,/D/F/ B/A/G/F/ | E/E/E E/E/E |

G/E/G/B/ e/B/G/E/ | E/g/f/e/ d/c/B/=A/ | BBBz :: B/B/B B/B/B | B/c/e/d/ c/B/A/G/ |

A/B/c/B/ A/G/F/E/ | D/E/G/F/ E/D/C/B,/ | B,/E/B,/E/ C/E/C/E/ | D/E/D/E/ C/E/B,/E/ |

E/c/B/A/ G/F/E/D/ | EEEz :|

           

THUNDERBOLT, THE. Canadian, Reel. Canada, Cape Breton. A Major. AEAE. AAB. According to Angus Allan Gillis’ daughter, the “Thunderbolt Reel” was named by Jack ‘Malcolm’ Gillis, and a ‘high-bass’ tune that her father often played (MacGillivray, The Cape Breton Fiddler). Source for notated version: Kinnon Beaton (Mabou, Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Violin Music of Cape Breton Island), 1996; pg. 140. ACC-4968, Kinnon Beaton - “A Sprig of Ivy” (1989). EMI E4 80683, John Morris Rankin/The Rankin Family - “The Rankin Family” (1993).

 

THUNDERBOLT HORNPIPE. Old‑Time, Breakdown. USA; Arkansas, Nebraska. B Flat Major. Standard. AABB. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. “Thunderbolt Hornpipe” is one of the ‘100 essential Missouri fiddle tunes’ according to Missouri fiddler Charlie Walden. Source for notated version: Bob Walters (Burt County, Nebraska) [Christeson]. R.P. Christeson (Old Time Fiddler’s Repertory), 1973; No. 46, pg. 35. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 228. Voyager VRCD 344, Howard Marshall and John Williams – “Fiddling Missouri” (1999).

 

THUNDERHEAD. AKA and see “St. Michael’s Jig.” American. Composed by multi-instrumentalist Grey Larsen in 1979 or 1980 after being impressed while flying in a plane over lightning-illuminated storm cloud formations below him and the clear starry sky above the clouds (and not a little influenced from recently having learned some Balkan tunes from a Bloomington, Indiana, legend, multi-instrumentalist Willy Schwartz, according to Chris Smith). The tune has been “folk-processed” since its original appearance on the album 1982 album “Thunderhead” by Grey Larsen and Malcolm Dalglish (Flying Fish 266). Highland pipers in Brittany have picked up the melody and altered it somewhat to conform to pipe scale and standard 6/8 rhythm, attaching another title, “St. Michael’s Jig,” or sometimes "Jig Brest St. Mark." Green Linnet 1108, The Tannahil Weavers - “Cullen Bay” (1990. The version is similar to the Breton version). Lunasa – “Lunasa.”

X:1

T:Thunderhead

L:1/8    

M:6/8

C:Grey Larsen

K:Emin

M:6/8

~B3 fBB|eBB dBA|~B3 fgf|edB AGc|~B3 fBB|eBB def|gfe fdB|ADF ABc:||\

K:G

dGG AGE|DEG ~F3|EFF EFF|GFE ~F3|dGG AGE|DEG E/2F/2GA|\

1 BdB ceg|f/2g/2af gfe:|2Bde fgf|edB AGc||\

K:Emin

M:7/8

~B3 fBBf|eBB dBBA|~B3 fggf|edB AGGc|~B3 fBBf|eBB deef|\

gfe fddB|ADF ABBc:||\

K:G

dGG AGGE|DEG E~F3|EFF E~F3|GFE E~F3|dGG AGGE|DEG EFFA|\

1 BdB ceeg|f/2g/2af g2ge:|2 \

M:6/8

Bde fge|\

M:7/8

edB AGGc||\

N:After last rep of 7/8 part of tune, end with a one note coda: B7


 

THUS GAMESTERS UNITED IN FRIENDSHIP ARE FOUND. AKA and see "Packington's Pound."

                       

THUS I STAND LIKE THE TURK WITH HIS DOXIES AROUND. AKA and see "Lumps of Pudding(s) [2]."

                       

THUS WHEN A GOOD HOUSEWIFE SEES A RAT. AKA and see "Twas when the sea was roaring," "A lovely lass to a friar came [1]." English, Air. The tune appears under this title in John Gay's Beggar's Opera (1728). It also appears in Watts' Musical Miscellany (1731).

                       

THUS WHEN THE SWALLOW, SEEKING PREY. AKA and see "All in the downs," "Black Eyed Susan [2]."

                       

THUSSEL LODGE, THE. Scottish, Reel. D Mixolydian. Standard tuning. AAB. Composed by Malcolm MacDonald, who dedicated his entire collection to Mrs. Baird of Newbyth. MacDonald (A Collection of Strathspey Reels, vol. 1); pg. 3.

X:1

T:Thussel Lodge

M:C|

L:1/8

R:Reel

S:MacDonald – Collection of Strathspey Reels, vol. 1

Z:AK/Fiddler’s Companion

K:D

d | D/D/D (AD) FDD=c | =cGGc ECCE | D/D/D AD BDAD | Addc dD D :|

e | d/d/d (fd) gefd | (e=c)ce gece | d/d/d (fd) gefd | egfe (fd)de |

d/d/d (fd) gefd |e=cce gecg | afge fdec | A(gfe) fd d ||

 

THY FAIR BOSOM (Do Ucd Geal). AKA and see "Night Closed Around", "After the Battle". Irish, Air (3/4 time, "with feeling"). G Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 205, pg. 36.

X:1

T:Thy Fair Bosom

M:3/4

L:1/8

R:Air

N:”With feeling”

S:O’Neill – Music of Ireland (1903), No. 205

Z:AK/Fiddler’s Companion

K:G

(de/f/) | g>g g2 (ga/b/) | a>f e2 dc | B>c d2 cA | B>B B2 d2 | g>g g2 ga/b/ |

a>f e2 d>c | B>c d2 cA | G>G G2 || Bd | c2 zA A>c | e4 dc | B>d g2 f>g |

a>f g2 d>c | B>d g2 ga/b/ | a>f e2 d>c | B>c d2 cA | G>G G2 ||

 

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