The Fiddler’s
Companion
© 1996-2010 Andrew Kuntz
__________________________________________
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YA - YEK |
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] |
Y CRYTHOR LLON (The Merry Fiddler). Welsh,
Jig. D Major. Standard tuning. AABB.
X:1
T:Y Crythor Llon
T:Merry Fiddler, The
M:6/8
L:1/8
Q:130
S:Band y Brodyr
R:Jig
A:
Z:brian_martin12345@yahoo.com
K:D
A|d2d f2f|aba f2f|g2f e2d|cec A2A|
d2d f2f|aba f2f|g2e c2A|d3-d2:||
|:f|a3-a2g|f3-f2f|gag fgf|e3-e2f|
a3-a2g|f3-f2f|gfe dec|d3-d2:||
Y DERWYDD. See “(Y) Derwydd.”
Y DYNWR (The Thresher). AKA and see “Fisher’s Hornpipe,” “The Thresher [3].” Welsh, Hornpipe. G
Major. Standard tuning. AABB. This setting of the well-known “Fisher’s
Hornpipe” is for the Welsh harp, from the Tro Llaw collection (National Library
of Wales).
X:1
T:
Y Dynwr
M: 4/4
L: 1/8
R: hornpipe
Z:Trevor
MacSheoinin
K: Gmaj
|:d2|gdBG cedc|BGBd cedc|Bbgb Acac|Bbgb Aafa|
gdBG cedc|BGBd cedc|Bdce dfac'|bagf g2:|
|:d2|afdf afc'a|bgdg bgd'b|afdf afc'b|agfe e2d2|
ecGc ecge|dBGB dBge|dafd dcBA|G2B2 G2 :|
Y GOF DU. AKA and see “The Harmonious
Blacksmith.”
YA GOTTA QUIT KICKIN’
MY DOG AROUN’.
See “Gotta Quit
Kickin’ My Dog Around.”
Y.Z. SPECIAL. AKA and see "Wyzee
Hamilton Special," "Hamilton's Special Breakdown,"
"Concord Rag," "G Rag." Old‑Time, Breakdown.
YACHT CLUB. American, Reel. G Major. Standard tuning AABB. Cole (1000 Fiddle Tunes), 1940; pg. 47. Ryan’s Mammoth Collection, 1883; pg. 75.
X:1
T:Yacht Club
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G
D|(D/G/).G/.B/
(A/G/).E/.G/|(D/G/).G/.B/ e2|d(g/f/) e/d/c/B/|c/B/c/e/ d/B/A/G/|(D/G/).G/.B/
(A/G/).E/.G/|
(D/G/).G/.B/ e2|d(g/f/) e/d/c/B/|d/c/A/B/
G::G|gg/g/ (g/b/).a/.g/|(f/d/).d/.d/ (d>B)|
c/B/c/d/ e(c/e/)|(a/g/).f/.e/
d2|.G/(g/f/g/) .e/(g/f/g/)|.d/(g/f/g/) .b/(g/f/g/)|d/g/f/e/ d/c/B/A/|GGG:|
YAIRDS O’ FINNIGIRTH.
AKA and see “Andrew Carey [1],” “Scotland [1].” Scottish, Air.
YALLOW WALLS. English, Reel. G Major. Standard tuning. AABB. The melody appears in
the 1840 music manuscript collection of John Rook, of the Wigton, Cumbria,
area.
X:1
T:Yallow Walls
M:C
L:1/8
R:Reel
S:John Rook manuscript
K:G
D2|GFGA Bcde|g2 dB GBAG|FDAD
BDAD|GBdB AGFA|GFGA Bcde|
g2 dB GBAG|FAdf ged^c|d2d2d2::
e/f/|gGBd cBAG|dDFA GFED|GDBG dBgf|
edcB (3ABc (3def|gGBd cBAG|dDFA GFED|GBdg
ecAF|G2G2G2:|
YANDER COMES MY TRUE
LOVE. Old‑Time, Song/piece.
***
Yander comes my true love
O how do you know her
I know her by her walk and I know her by her talk
And her shoe strings flappin' on the floor.
(Thede)
***
Thede (The Fiddle Book), 1967; pg. 27.
YANKEE DOODLE. AKA and see “All the
Way to
YANKEE DOODLE DANDY.
English (originally), American; Country
Dance Tune (2/4 time) or March. D Major (Bayard, Keller, Kennedy, Kidson,
Raven, Sweet): G Major (Linscott): C Major (Kerr). Standard tuning. AB (Bayard,
Johnson, Linscott): AAB (Kerr): AABB (Johnson, Kidson, Raven, Sweet):
AABBA'A'B'B' (Kennedy). There is some mystery and controversy about the exact
origins of one of the most famous tunes in American tradition, "Yankee
Doodle." Elson (The National Music
of America, 1899) finds that the first period of the melody was once quite
familiar to Dutch musicians and “has been used in
***
Lucy Locket lost her pocket,
Kitty Fisher found it,
Not a bit of money in it,
Only binding round it.
***
This contains Fischer’s name (misspelled, while Lucy Locket was presumably a name taken from a character in The Beggars Opera of 1727) and scans to the “Yankee Doodle” tune, but any direct relationship remains speculative.
***
If one discounts Rimbault’s claims, the earliest corroborated appearances of the “Yankee Doodle” tune are in James Aird’s Selection of Scotch, English, Irish and Foreign Airs Selections Vol. 1 (1782, sometimes dated 1775-76), and George Colman’s opera Two to One (1784) as a song entitled “Adzooks, Old Crusty, Why so Rusty?” The tune's mocking connotations with at least a portion of the American colonial population were apparently well-established somewhat before that time.
***
Regarding
the lyrics, there is little hard evidence for the derivation of the word Yankee, although it was in use as a term
to identify New Englanders since the early 18th century. Doodle, on the other hand, has been
traced to the
***
The British fleet was bro’t to anchor near
Castle William, in
and the opinion of the visitors to the ships
was that the ‘Yankey Doodle
Song’ was the capital piece in the band of
their musicians.
***
Boorish
British officers called for dancing after a concert in
***
“Yankee
Doodle’s” rapid transformation from a vehicle of derision to a famed national
tune occurred at the very onset of the Revolutionary War with the attack on
***
Morrison (1976) states the air had a number of dance figures associated with it in Colonial times, and gives two examples. Johnson (1988) prints two contra dances to the tune.
***
“Yankee
Doodle” returned to
***
Stories involving tin-ears, “Yankee Doodle” and American
leaders do not end with Clay. A famous story about General Ulysses Grant and
his ‘tin-ear’ has it that in order to perform his martial duty the famous Union
Army warrior required a horse that could distinguish and respond to bugle
commands, for Grant himself acknowledged that he himself knew but two tunes—one
was “Yankee Doodle”... and other wasn’t. Another Civil War anecdote is
contained in historian Stephen Sears volume To
the Gates of Richmond, about the
***
[Federal] Corps
commander [Samuel] Heintzelman joined the desperate struggle to close the broken
ranks. He hit on the novel idea of rallying them with music. Finding several
regimental bands standing by bewildered as the battle closed in, Heintzelman
ordered them to take up their instruments. "Play! Play! It's all you're
good for," he shouted. "Play, damn it! Play some marching tune! Play
'Yankee Doodle,' or any doodle you can think of, only play something!"
Before long, over the roar of the guns, came the incongruous sound of
"Yankee Doodle" and then "Three Cheers for the Red, White, and
Blue." One of [General Joseph] Hooker's men thought the music was worth a
thousand men. "It saved the battle," he wrote.
***
It
is surprising to note that "Yankee Doodle" was used, along with
"Edie Sammon's Tune," as part of the music for the ritual horn dance at
Abbots Bromley, Staffordshire, England in late Victorian times (see "Edie
Sammon's Tune"); the playing of "Yankee Doodle" thus emphasized
the whimsical nature of the dance (which features, along with the horn dancers,
the characters of the hobby horse, Robin Hood, the Maid and the Fool), which is
performed with such dusky solemnity at modern ‘Revels’ stage productions in
America. The title appears in
a list of tunes in his repertoire brought by Philip Goodman, the last
professional and traditional piper in Farney, Louth, to the Feis Ceoil in
X:1
T:Yankee Doodle
L:1/8
M:2/4
S:Aird, Selection of Scotch, English, Irish and Foreign Airs, 1782
Z:Paul Kinder
K:D
ddef|ddec|ddef|d2c2|ddef|ddec|AABc|d2d2:|
|:d2 BG|BA B2|=c2 AG|FG A2|d2 BG|BG =c2|AB^cA|d2d2:|
|:dfeg|fdec|dfeg|f2 ed|dgeg|fdec|AABc|d2d2:|
|:d2BG|Bd=cB|ABAG|FGAB|=cdcA|Bd=cA|AB^cA|d2 d>g:|
|:fdec|dBAg|fdef|B2 Ag|fdec|dBAF|A2 Bc|d2 dg:|
|:FAAd|BAAG|FAAd|B2 AG|FAAd|cAAF|A2 Bc|d2d2:|
|:af eg|fdec|faeg|f2 ed|faeg|fdec|AABc|d2d2:|
|:d/c/d/e/ dA|BAAF|d/c/d/e/ dA|B2A2|d/c/d/e/ dA|BAAF|A2 Bc|d2d2:|
|:a2 af|gfed|a2 ag|f2e2|a2 af|gfef|A2 Bc|d2d2:|
|:B/A/B/c/ Bd|A/G/A/B/ Ad|B/A/B/c/ Bd|BAGF|B/A/B/c/ Bd|
A/G/A/B/ Ad|A2 Bc|d2d2:|
X:2
T:Kitty Fisher’s Jig
L:1/8
M:6/8
S:Rimbault, Leisure Hour, pg. 90, 1876
N:Supposedly from Walsh’s Collection of Dances for the Year 1750
K:C
c2c d2e|c2c B2G|c2c d2e|c3 B2G|c2c d2e|f2e d2c|B2G A2B|c3 c3||
A2A A2G|A2B c3|G2A G2F|E3 G3|c2c d2e|f2e d2c|B2g A2B|c3c3||
X:3
T:Return
of Ulysses, to
L:1/8
M:2/4
S:Musical Tour of C. Dibdin, pg. 342, 1788
K:C
G|c cde|cc BG|c cde|cc BA|c cde|fedc|BGAB|c z c z|
fefg|afdc|BGAB|czcz:|
|:G|ccde|ccBG|ccde|c2 BG|cc de|fe dc|BG AB|c2c2|AA GF|
GA _BB|BA GF|c2 GG|AAGF|GA _B =B/A/|BG AB|c2c2|
feff|afdc|BGAB|c2C2:|
X:4
T:Adzooks, old crusty, why so rusty
L:1/8
M:C
S:
K:E
B|eefg eedB|eef(g e2) dz/B/|e(efg) agfe|dBcd e2E||
|:B|ee fg ee dB|ee fg e2 dB|ee fg ag fe|BG cd e2 ez/f2e/2|
dBcd e2e2::c>d cA cd e2|B>c BA G2B2|c>d cA cd e2|
c>e df e2e2|c>edf e2E:|
X:5
T:Yankee Doodle
M:2/4
L:1/8
S:William
Sydney Mount manuscripts.
N:The tune
appears on a page with a handwritten playing guide for the fife or tin
N:whistle,
addressed to John B. Mount and dated
N:page he
says: “For musical instructions, ask your Father, or , look at his instruction
N:book,
about time & the characters of the notes & the proportion they bear to
each
N:other.
‘Howe’s Violin Instructor’ will teach you. If you will apply yourself. I hope
you
N:will. WSM.”
Elias Howe, of
N:mid-19th
century, as well as a massive collection of tunes called Musician’s Omnibus.
N:The ‘A’
part is the part that is now familiar to modern ears, however, the ‘B’ part
N:appears
to be in a transitional phase from 18th century versions, such as
that printed by
N:Aird
(1782) and the one familiar to us today. Modern versions have dropped the ‘c’
N:natural
note, a modal feature, and remain in the major key.
Z:Transcribed by Andrew Kuntz
K:D
d2 ef | dfec | d2 ef | d2 cA | d2 ef | gfed | cABc | d2d2 :|
|:
d2 BG | Bd =c2 | ABAG | FG A2 | d2 BG Bd =c2 | Adce | d2d2 :|
YANKEE HORNPIPE. American, Hornpipe. B Flat Major. Standard tuning. AABB. Source for
notated version: Gilbert Ross [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 234.
YANKEE RUN FAST. Old‑Time. The title appears in a list of traditional
YANKEE SQUIRREL HUNTER. AKA – “Squirrel Hunter.” Old-Time, Breakdown. A Mixolydian. Standard
tuning. AB. See note for “Dan Friend’s
Piece.” Source for notated version: Tony Mates [Silberberg]. Silberberg (Tunes
I Learned at Tractor Tavern), 2002; pg. 172.
YANKEE TROT, THE. American, Dance Tune (2/4 time). D Major.
Standard tuning. AA'BB. Ford (Traditional
Music in
X:1
T:Yankee Trot, The
M:2/4
L:1/8
B:Ford – Traditional Music in
Z:AK/Fiddler’s Companion
K:D
BA|GEGA|BABd|g2 gf|e2d2|edBd|gdBG|1
A2AB|A2:|2
A2G2|G2gf||:eeef|edBd|dBdB|
e2 gf|eeef|g2B2||A2 BA|GEGA|BABd|
g2gf|e2d2|edBd|gdBG|A2G2|G2:|
X:1
T:
M:4/4
L:1/8
R:Hornpipe
S:dulcimer player Billy Cooper
Z:AK/Fiddler’s Companion
K:G
(3def|gdBA Bdeg|fdAF G2 AB|cded
cBAG|FdEd D2 (3def|gdBA Bdeg|
fdAF G2 AB|cedc BAGF|A2G2G2::Gd|BdGd
BdGe|ceAe ceAd|
BdGd BdGd|cBcd ef (3gfe|dgfe
dcBA|G2g2G2:|
|:G2 Bd gdBG|G2 ce gecG|G2 Bd
gdBG|Ad^cd Adcd:|
Bdgd Bdgd|cege cege|Bdgd Bdgd|Adfd
Adfd|Bdgd Bdgd|
cege cege|Bdgd Adfd|gdBd G2B2|B,dgd
B,dgd|Cege Cege|
B,dgd B,dgd|A,dfd A,dfd|B,dgd
B,dgd|Cege Cege|B,dgd A,dfd|gdBd G,4||
X:1
T:
M:6/8
L:1/8
K:G
d|gfg d^cd|=cBc dBG|DGB B2A|Ace
e2d|gfg d^cd|
=cBc dBG|DGB B2d|dcA G2::D|DGB
B2A|Ace e2d|
DGB B2A|Ace e2d|gfg d^cd|=cBc
dBG|DGB ced|cBA G2:|
X:1
T:
T:Galopede
M:4/4
L:1/8
R:Reel
K:G
dc|B2 Bc A2 AB|G2G2G2 AB|cBcd
edcB|A2A2A2 dc|B2 Bc A2 AB|
G2G2G2AB|cBAG FGAF|G2G2G2:||dc|B2 gf
e2 ed|dcBc A2 dc|
B2 gf edcB|A2A2A2dc|B2 gf e2 ed|dcBc
A2dc|BdcB AcBA|G2G2G2||
Bc|d2d2d2g2|d2d2d2g2|d2d2
edcB|A2A2A2 Bc|d2d2d2g2|d2d2d2g2|edcB dcBA|G2G2G2||
YARROW VALE. Scottish, Slow Air (4/4 time). B Flat Major. Standard tuning. AA. The
music to this song was composed by Watlen, published in his "Scots
Songs", while the lyrics were written by Macdonald. The song was once sung by Mrbani in
***
In Yarrow vale by Yarrow stream,
Where love and youth and beauty stray,
Oft thro' the twilights waving gleam,
Sweet Mary trac'd the dewy way,
She loved the meads, the towering trees.
The fanning of the western gale,
Yet sighed for something still to please,
By Yarrow stream, by Yarrow vale,
By Yarrow stream, by Yarrow vale.
***
Neil (The Scots Fiddle), 1991; No. 47, pg. 63.
YE BANKS AND BRAES (O' BONNY
***
good many years ago, Mr. James Miller, writer in your good
own (
in company with our good friend Clarke; and taling of Scottish
music, Miller expressed an ardent ambition to be able to
compose a Scots air. Mr. Clarke, partly by way of a joke, told
him to keep to the black keys of the harpsichord, and preserve
some kind of rhythm, and he would infallibly compose a Scots
air. Certain it is, that, in a few days, Mr. Miller produced the
rudiments of an air which Mr. Clarke, with some touches and
corrections, fashioned into the tune in question. Ritson, you
know, has the same story of the
black keys; but this account
which I have just given you, Mr. Clarke informed me of several
years ago.
****
Miller's tune was first published
under the title "The Caledonian Hunt's Delight" in Gow's 2nd Collection (1788), but Glen
concludes that it is more likely that "Lost is my quiet" is a poor
adaptation and nothing else. He also notes there is a tune having a supposed
resemblance in Playford's Appollo's
Banquet (1690) entitled "A Scotch Tune" (No. 68), but in the end
he believes that "neither Chappell's arguments nor facts are strong enough
to deprive Mr. Miller of his claim." Francis O’Neill (Irish Folk Music, pg. 56), taking up the Irish banner, reports that
George Farquhar Graham, editor of Wood’s Songs
of Scotland, states there is an Irish claim to the melody which predates
the Burns verses. A jig setting can be found in Kerr (Merry Melodies), vol. 4, pg. 28, as “Bonnie Doon.”
***
The song begins:
***
Ye banks and braes O’ Bonnie Doon,
How can ye bloom sae fresh and fair?
How can ye chaunt, ye little birds,
And I’m sae wearyful O’ care?
Ye’ll break my heart ye warbling bird,
That warbles on the flow’ry thorn.
Ye mind me O’ departed joys, Departed never to return.
***
In the
***
Kerr (Merry Melodies), vol. 1; No. 3, pg. 25.
X:1
T:Ye Banks and Braes
M:3/4
L:1/4
S:Kevin Briggs
K:D
A|"D"d2d|"A7/e"e3/2d/2e|"D/f+"faf|"A7/e"e3/2d/2e|
"D"f3/2e/2d|"G"dBA|"Em"ABd|\
"A7"e2A|"D"d2d|"A7/e"e3/2d/2e|"D/f+"faf|"A7/e"e3/2d/2e|
"D"f3/2e/2d|"G"dBA|"A7"ABd|\
"D"d2f||
"D"a2"G"b|"D"afd|"D"a2"G"b|"D"afd|"D"afd|"D"afd|"Em"ba/2g/2f|"A7"
P:pause
e2A|"D"d2d|"A7/e"e3/2d/2e|"D/f+"faf|"A7/e"e3/2d/2e|
"D"f3/2e/2d|"G"dBA|"A7"ABd|\
"D"d2||
YE
YE GODS OF LOVE. Scottish. The tune under this title appears in
YE NATIVES OF THIS
NATION. Irish, Air (4/4 time, "bold").
F Major. Standard tuning. AB. "To this air was a violent political and
Jacobite song, composed by a man named Barnaby O'Hanlon, a turner, a native of
Donegal, who settled down and worked in our neighbourhood for some time. I
learned both air and words in my childhood by merely hearing the people about
me singing the song" (Joyce). One verse goes:
***
Our ancestors formerly great valour they have shown,
Great exploits for
Likewise the valiant Sarsfield his losses did bemoan,
When he reproved St. Ruth for the losing of Athlone.
***
Joyce (Old Irish Folk Music and Songs), 1909; No. 33, pg. 19.
X:1
T:Ye natives of this nation
M:C
L:1/8
R:Air
S:Joyce – Old Irish Folk Music and Song
(1909), No. 33
Z:AK/Fiddler’s Companion
K:F
c/A/|F2 FF F>GAB|ccf>d
c3A|B>BBB AcBA|A>GGG {A}c2 AG|F2FF F>GAB|
ccfd c3A|BcdB AcAF|BGFE
F3||c|d>ccc {d}e2 f>d|dcc>c c3e|fedc AcBA|
G>FGA {A}c>BAG|F2FF
F>GAB|ccfd c3A|BcdB AcAF|BGFE F3||
YE SOCIAL POWERS. AKA and see "Once a Night."
English, Country Dance Tune (6/8 time). D Major. Standard tuning. AABCC.
Published before 1730. Raven (English
Country Dance Tunes), 1984; pg. 30.
YE SONS OF OLD
YE TRUGH. See “Old Truagh.”
YE WILD MORRIS. See “Wild Morris.”
YEAR END TWO-STEP.
YEAR OF FIFTY-SEVEN, THE. AKA and see "L'Annee de Cinquante-sept."
YEAR OF (THE) JUBILO. AKA and see "Massa's
Gone Away," “Old
Master’s Runaway.” AKA – “Doodletown
Fifer [2],” “Jublio,” “Jubiller,” “Kingdom
Coming.” Old-Time, Breakdown;
YEARLINGS IN THE CANEBREAK. Old-Time, Breakdown. A Dorian ('A'
part) & A Mixolydian ('B' part). Standard tuning. AABB'. See related tune
"Cattle in the Cane" [1]. The tune is
known as a Southwest melody. It was recorded in the 78 RPM era by Captain M.J.
Bonner (“The Texas Fiddler”), a Confederate army veteran who recorded at the
age of 78 in 1925. Bonner was the most accomplished old-time musician to play
on the first radio station ‘barn dance’ broadcast on WBAP out of Fort Worth,
Texas, on Jan. 24th, 1923. Source for notated version: Kerry Blech
(Seattle, Washington) [Phillips]. Phillips (Traditional
American Fiddle Tunes), vol. 1, 1994; pg. 261. County CO-CD-3524, Captain M.J.
Bonner – “Old Time Texas String Bands, Vol. 2.” Yodel-Ay-Hee 020, Rafe
Stefanini & Bob Herring - "Old Paint."
YEIL YEIL. AKA – “Yeal Yeil,” “Yell Yell” Scottish,
Strathspey. E Dorian. Standard tuning. AABCDEEFF (Gow). The tune first appeared
in print in Robert Bremner's 1757 collection,
according to John Glen (1891). Bremner (Scots Reels), 1757; pg. 68. Carlin (Gow Collection), 1986;
No. 232. Gow (The First Collection of Niel Gow’s Reels), 1784 (revised 1801);
pgs. 24-25 (appears as “Yell Yell”). McGlashan (Collection of Strathspey Reels), c. 1781; pg. 11. Maggie’s Music MM227 CD, Hesperus – “Colonial America”
(2003). Maggie’s Music MM306, Bonnie Rideout – “A Scottish Fiddle Collection”
(2005).
S:McGlashan
– Strathspey Reels
F|E
B2 A/G/ FD B/A/G/F/|E B2 A/F/ BEB>A|Bde>f dD B/A/G/F/|E B2 A/F/ BEB:|
f|gebe
a/g/f/e/ df|gebe a/g/f/e/ be|gebe a/g/f/e/ df|gebe a/g/f/e/ f/e/d/^c/|
d/c/d/e/
f/e/d/c/ dD B/A/G/F/||E B2 A/F/ BE B:|
|:e|dEEe
dDDf|dEEe dEBA|B/^c/d e/f/g dD A/B/G/F/|E B2 A/F/ BE B:|
|:f|bebf
adaf|bebf bebf|bebf adaf|g>bg>b f>be>f|d>eB>d FD
B/A/G/F/|E(BB)A/F/ BEB:|
|:e|BE
d/^c/B/A/ dD B/A/G/F/|BE d/^c/B/A/ BE B>A|d/e/f/d/ e/e/f/e/ dD B/A/G/F/|
|:f|e/g/b/g/
e/g/b/g/ d/f/a/f/ d/f/a/f/|e/g/b/g/ e/g/b/g/ e/g/b/g/ e/g/b/g/|
a/g/f/e/
f/e/d/^c/ dD B/A/G/F/|EBBA/F/ BEBf|e/g/b/g/ e/g/b/g/ d/f/a/f/ d/f/a/f/|
e/g/b/g/
e/g/b/g/ e/g/b/g/ e/g/b/g/|f/g/a/f/ e/f/g/e/ dD B/A/G/F/|E B2 A/E/ BEB||
S:Bremner – Scots Reels (1757)
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