The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

__________________________________________

HOME        ALPHABETICAL FILES       REFERENCES

 

YEL - YM

 

 

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]

 

 

 

YE'LL AYE BE WELCOME BACK AGAIN. AKA and see "Duncan Davi(d)son," “Old Eighteen-Twelve (1812) Quickstep,” "Gentle Ann,"  "Handy Andy's Highland Fling," "Maggy's Weame Is Fu I Trow," "Welcome Here Again." Scottish, English; Reel. D Major. Standard tuning. AABB. John Glen (1891) thinks that "Ye'll Aye Be Welcome Back/Home Again" is the older title that precedes the closely related tune "Duncan Davidson," the latter of which he states was composed by Robert Burns. Further, he believes the ancestral tune to both is "Strick Upon a Strogin" in the Leyden Manuscript of 1692 (Samuel Bayard, in reviewing Glen's assertion, admits Glen may be right, but that he has no compelling reason for his line of thought). The melody appears in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed "A Collection of Country dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734," and is contained in both Robert Bremner's 1757 collection and the Gillespie Manuscript of Perth (1768). James Aird printed it as “Gentle Ann” in his Selection of Scotch, English, Irish and Foreign Airs, vol. 1 (1782, pg. 11). English printings are nearly as early as Scottish ones. John Johnson published it in London in 1744 in his Choice Collection of 200 Favourite Country Dances, vol. 3. Samuel, Ann and Peter Thompson give it as “Bayham Abbey” in their Twenty Four Couple Dances for the Year 1793 (although Charles and Samuel Thompson had published it as “You be Welcome Here Again” in their Compleat Collection, vol. 3, 1773). Elizabeth Sanders Van Rensselaer in her 1782 manuscript (volume II) calls it “He is Long a Coming,” Abel Shattuck (Massachusetts) entered it into his 1801 commonplace book, John Greenwood has it as “Welcome Here Again” in his 1785 manuscript (pg. 56), and it is titled simply “British March” in David McLaughlin Brown’s Commonplace Book of 1787. Aird (Selections), 1782, vol. 1, No. 30 (appears as "Gentle Ann"). Bremner (Scots Reels), c. 1757; pg. 56. Cole (1000 Fiddle Tunes), 1940; pg. 3. Oswald (Caledonian Pocket Companion), 1780?, vol. 2, pg. 187. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 93. Walsh (Caledonian Country Dances), 1737, vol. 2, pg. 45.

X:1

T:Ye’ll ay be welcome back again

M:C|

L:1/8

R:Reel

S:Bremner – Scots Reels (c. 1757)            

Z:AK/Fiddler’s Companion

K:D

F | D/D/D AB AFAB | D/D/D dB AFEF | D/D/D A>B ABde | fdef d/d/d d :|

|: e | “tr”f>edf g>fef | A/A/A eA “tr”c>Aeg | “tr”f>edf gfef | A/A/A “tr”(f>e) (d2d):||

X:2

T:You be Welcome here again

M:C|

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:D

D/D/D AB|A>FAB|D/D/D dB AFEF|D/D/D B=c ABde|fdef d/d/d d2:|
|:fd d(e/f/) gfed|cAeA fAeg|fd d(e/f/) gfed|c>def d/d/d d2:||

 

YELL IN THE SHOATS. Old-Time, Breakdown. DDad tuning. From the fiddling of Garry Harrison with the Indian Creek Delta Boys who had the tune from Cecil Seeley, who lived near Toledo, Illinois. Davis Unlimited DU 33042, “Indian Creek Delta Boys, vol. 2.” Bruce Molsky – “Warring Cats.”

 

YELLIN’ IN THE SHOATS. See “Yell in the Shoats.”

 

YELLOW BARBER. AKA and see "Arthur Berry." Old‑Time, Breakdown. USA; Kentucky, West Virginia, southern Ohio. D Major. Standard. AB (Silberberg, Titon): AABB (Phillips). Although the name Yellow Barber is given to a bird species, the general consensus seems to be that the title refers to a mulatto barber, a common-enough occurrence among freemen in the South as well as other parts of the country. It appears to have also been fairly common for fiddlers and other musicians to moonlight as barbers (or vice versa). John Heine has found a reference to a mulatto barber named William B. Taylor, a fiddler born in Kentucky in 1821, who called the figures as he played.  Taylor's Band --composed of barbers -- played for hundreds of balls, banquets and steamboat excursions in the Minnesota territory from 1849 until his death in 1862. Taylor called figures while he played and is was remembered as having "a voice a brigadier general might envy.” Heine finds reference to African-Americans and barbering in a Saint Paul paper that commented in 1852:

***

In the first place, our Blacks are attentive to their business, and are no

idlers, as they are represented to be, in the slave States.  Secondly, they

are a useful class, and here on the confines of Barbarism do as much to

put a civilized aspect upon the face of society as any other class.  Their

barber shops are favorite places of resort for many bachelor Whites who

meet there, as on a social exchange.  Thirdly, the Blacks are our musicians. 

A Negro’s music always has a charm for every ear -- whether it is the music

of the rosin and the bow, or the guitar, or the soft lubly voice, each

separately or all combined, as of a stilly night, in a serenade.

***

Another reference to Taylor can be found in the memoirs of Marian Furness Ramsey, daughter of Governor Alexander Ramsey, who remembered a banquet her father gave for the state legislature (in 1861 or 1862):

***

But, of course, what fascinated me was the dancing in the parlor.  The mazurka, the schottische, and the polka were the fashion.  Square dances alternated with round, a cotillion, or the lanciers; and Bill Taylor, the fashionable colored barber, played the violin in the small orchestra, at the same time calling out the figures in stentorian tones.

***

The Musicale, Barber Shop, Trenton Falls, New York (1866). Thomas Hicks (1823-1890). North Carolina Museum of Art.

***

East Kentucky fiddler Buddy Thomas, who lived near Portsmouth, recorded an influential version of this square dance tune before he died at age 39 in 1974. Mark Wilson remarks that fiddlers east of Portsmouth, Ohio, often called the tune “Arthur Berry.” Gerry Milnes says “Yellow Barber” is well-known in the tri-state area around Huntington, Ashland and Ironton. Jeff Titon (2001) believes Indiana fiddler John W. Summers probably learned it from Kentucky fiddler Tom Riley, who was originally from Bath County, where the tune is better known under the “Arthur Barrie” title. Sources for notated versions: Jere Canote and Bo Bradham [Phillips]; Buddy Thomas (Emerson, Lewis County, Ky., c. 1973) [Titon]; Stephanie Prausnitz [Silberberg]. Phillips (Traditional American Fiddle Tunes), 1994; pg. 261. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 172. Titon (Old Time Kentucky Fiddle Tunes), 2001; No. 170, pg. 196. Jim Martin Productions, Dave Bing – “Family and Friends” (learned from Jim Wheeler). Rounder 0032, Buddy Thomas (North-Eastern Ky.) ‑ "Kitty Puss: Old‑Time Fiddle Music From Ky." Rounder 0194, “John W. Summers, Indiana Fiddler” (1984. Appears as “Arthur Barry”). Rounder Heritage Series 1166-11592-2, Buddy Thomas (et al) – “The Art of Traditional Fiddle” (2001). Rounder CD 1131/1132, Ed Haley. Rounder 0361, Bruce Molsky – “Lost Boy” (1996. Learned from Buddy Thomas). Shanachie Records 6040, Gerry Milnes & Lorraine Lee Hammond – “Hell Up Coal Holler” (1999. Inspired by the playing of Dave Bing, Jackson County, W.Va., who had the tune from Jim Wheeler, who associated with Buddy Thomas and Morris Allen).

See also listing at:

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

X:1

T:Yellow Barber

M:2/4

L:1/8

S:Gerry Milnes

Z:AK/Fiddler’s Companion

K:D

A,/B,/D/E/ DD/D/|A,/B,/D/E/ F/E/D|C/D/E E>(A,/2B,/4|C)E G/F/E|!

E/F/A AA/A/|B/A/F/G/ A g/f/|(3f/g/f/e (3d/e/d/B|A/F/E/F/ D2:|!

|:(A<d) d>B|Ad/e/ f/e/d|c/d/e/f/ ee/d/|ce/f/ g/f/e|!

f/a/f/f/ e/d/B/d/|B/A/F/G/ AA/A/|((3f/g/f/e) ((3d/e/d/B)|A/F/E/F/ D2:|!

X:2

T:Yellow Barber

M:2/4

L:1/8

S:Bruce Molsky

Z:AK/Fiddler’s Companion

K:D

D/>=C/ | A,/G,/A,/=C/ D/E/D/C/ | A,/=C/D/E/ F/D/E/^C/ | A,/C/E/F/ E>F |

G/F/E/G/ F/D/E/D/ | F/AB/ A>=c | B/A/G/B/ A/F/A/g/ | (3f/a/f/ e/c/ d/B/A/G/ |

F/D/E/F/ D :: z | d2d2 | A/B/d/e/ f/d/e/c/ | A/c/e/f/ e>f | g/f/e/g/ f/c/e/g/ |

(3f/a/f/ e/c/  d/c/A/d/ | B/A/G/B/ A/F/A/g/ | (3f/a/f/ e/c/ d/B/A/G/ | F/D/E/F/ D :|

“variations ‘B’ part”

|: d/B/ | A/F/A/c/ d/e/d/B/ | A/c/e/f/ f/d/e/c/ |

X:3

T:Yellow Barber

M:C|

L:1/8

R:Reel

S:Buddy Thomas

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

A,G,A,B, DEDB,|A,B,DF EDB,G, A,CEF E3F|GFEG FDED|F2A2A3c|

BAFB AFAA|(3fgf ec dBAG|FDEC D4|A,G,A,B, DEDB,|A,B,DF EDB,G,|

A,CEF EFEC|A,CEG FDED|F2A2A3c|BAcA BAFA|fdec dBAG|FDEC D4||

A2d2d3B|ABde fded|cdef e3f|gfeg fded|(3fgf ec dBAd|BAFB AFAA|

fgfe dBAG|FDEF D2dB|ABde fded|Bcde fded|c2 cd e3d|cdef ecAA|

(3fgf ec dBAd|BAFB AFAA|fdec dBAG|FDEF D4||

 

YELLOW BEGGAR OF THE LEAGUE, THE (Bacach Buidhe Na Leige). AKA and see "Bacach Buidhe na Leige."

 


YELLOW BITTERN, THE (“An Bunnán Buí” or “An Bonnán Buidhe”). Irish, Slow Air (4/4 time). Ireland, Ulster. C Major (Joyce, O’Sullivan/Bunting): D Major (Ó Canainn). Standard tuning. One part (Ó Canainn): AB (Joyce, O’Sullivan/Bunting). O'Sullivan (1983) and Ó Canainn (1978) both note the song is still sung today by traditional musicians, to a variety of melodies. O’Sullivan edited the Irish collector Edward Bunting's works but uses the tune as given by the Cork collector William Forde (c. 1846) because it is a closer variant of the modern version than the one in Bunting's 1840 collection. "In Bunting's third collection (1840), p. 56, is given a fine air, The Yellow Bittern: in 3/4 time...(,however, Forde's tune) is in common time and is at least as good as that of Bunting: besides being simpler and more vocal. Compare with 'Maire Aroon'" (Joyce).

***

The song "The Yellow Bittern" was written in the 18th century by an Ulster poet, Cathal Buí Mac Giolla Ghunna (1690-1756). It seems that Buí Mac Giolla Gunna, or in English ‘yellow Charlie Gunn’, went walking one wintry day near his home by the shores of Lough MacNean. He came upon a yellow bittern lying frozen on the icy lake, and Gunn, identifying with the creature, suspected that the death was brought about because the bird could not drink from the iced-over water. His suspicion was the product of his own fears, for one of his greatest was the absence of convivial drink. The song was translated by Thomas MacDonagh, who was ultimately executed for his role in the Easter Rising of 1916, and goes, in part:

***

It's not for the common birds that I'd mourn,

The blackbird, the corncrake or the crane,

But for the bittern that's shy and apart

And drinks in the marsh from the lone bog-drain.

Oh! If I had known you were near your death,

While my breath held out I'd have run to you,

Till a splash from the Lake of the Son of the Bird

Your soul would have stirred and waked anew.

***

Sources for notated versions: the index to Bunting's 1840 collection reveals he noted the tune from a "blind man at Westport in 1802;" Forde noted the melody from fiddler Hugh O'Beirne (Co. Limerick) [Joyce]. Joyce (Forde MS), 1909; No. 609, pg. 314. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 104, pg. 88. O'Sullivan/Bunting, 1983; No. 77, pgs. 120-121. O’Sullivan (Songs of the Irish). Globestyle Irish CDORBD 090, Sean MacDonnchadha (et al) – “Hurry The Jug: Classic Recordings Of Songs, Lilting & Storytelling.”

X:1

T:Yellow Bittern, The

T:An Bonnán Buidh

M:C

L:1/8

S:Bunting

K:C

E/F/|G2 G>E F2 EF|G2A2_B2 AG|AGED C2 D/C/D|C2C2 C3E/F/|

G2 G>E F2 EF|G2A2_B2 AG|AGED C2 D/C/D|C2C2C3||E|

G2 GA c2d2|e2 fe d3f|e2 dc c2 GA|_B2A2G2 cA|{A}G21 GE F2 EF|

G2A2_B2 AG|AGED C2 D/C/D|C2C2 C3||

 

YELLOW BLANKET, THE. AKA and see "An Suisin Buidhe."

 

YELLOW BOREEN. AKA and see "Little Yellow Road," "At the Yellow Boreen."

 

YELLOW BOYS OF INNISKEEN, THE. Irish, Air. 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 Belfast in 1898 (Breathnach, 1997).

 

YELLOW BUSTARD, THE. Irish, Air (3/4 time). Ireland, County Leitrim. C Major/Mixolydian. Standard. AB. Stanford/Petrie (Complete Collection), 1905; No. 578, pg. 146.

X:1

T:Yellow Bustard, The

M:3/4
L:1/8

N:”A county of Leitrim air.”

S:Stanford/Petrie (1905), No. 578

Z:AK/Fiddler’s Companion

K:C

GG | {E}F2 EF GA | _B3 A G/F/E/D/ | C2 {E}D/C/D/E/ CC | C2 z2 GG |

{E}F2 EF GA | _B3 A G/F/E/D/ | C2 D/C/D/E/ CC | C2 z2 || ~GA/B/ |

~c3 c/d/ ee | d3 c/d/ ed | c2 B{c/B/}A/G/ {G/B/}A>G | G2 z2 GG |

{E}F2 ~EF GA | {_B/d/}B3A G/F/ E/D/ | C2 {E}D/C/D/E/ CC | C2 ||

 

YELLOW CAT [1], THE. Old‑Time, Breakdown. USA, Oklahoma. D Major. ADae tuning. AABB. The tune has some resemblance to a Pennsylvania‑collected square dance tune in Bayard (1981; No. 90, pg. 55). Any resemblance to "Yellow Eyed Cat"??

***

The yellow cat jumped

And he jumped on the wall.

The black cat jumped

And he couldn't jump a‑tall.   (Thede)

***

Sources for notated versions: Frank Hobbs (Haskill County, Oklahoma) [Thede]; Tom Carter and Tom Sauber [Phillips]. Phillips (Traditional American Fiddle Tunes), 1994; pg. 262. Thede (The Fiddle Book), 1967; pg. 132. Rounder 0213, The Tompkins County Horseflies ‑ "Chokers and Flies" (1985. Learned from Walter Morris, fiddler with The Pine River Boys and Maybelle).

 

YELLOW CAT [2]. Old-Time, Breakdown. D Major. Standard tuning. AABB. Unrelated to version #1. Source for notated version: Judy Hyman with the Horseflies (Ithica, N.Y.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 261.

 

YELLOW COTTIE. Scottish, Reel. G Major. Standard tuning. AABB. Carlin (Master Collection), 1987; No. 154, pg. 92.

 

YELLOW COW. AKA – “Is Trua gan Peata 'n Mhaoir agam.” Irish, Reel. D Major. Standard tuning. AABB’. GIFT 10007, Arty McGlynn & Nollaig Casey – “Lead the Knave.”

X:1

T:Yellow Cow, The

T:Is Trua gan Peata 'n Mhaoir agam

R:reel

H:See also #795

D:Arty McGlynn & Nollaig Casey: Lead the Knave

Z:id:hn-reel-129

Z:transcribed by henrik.norbeck@mailbox.swipnet.se

M:C|

L:1/8

K:D

A2GE FD~D2|EFGD EFGE|A2GE FD~D2|EFGE A4:|

|:~A3B cdeg|fdec dcAB|cAAB cdeg|1 fdec d2ec:|2 fdec d4||

 

YELLOW DOG BLUES. American, Country Blues (2/4 time). D Major. Standard tuning. ABB’. A ‘Yellow-Dog’ Democrat is a slang term for an individual who would vote for the Democratic candidate, no matter who ran, ‘even a yeller dog.’ Ruth (Pioneer Western Folk Tunes), 1948; No. 58 pg. 21.

X:1

T:Yellow Dog Blues

M:4/4

L:1/8

S: Viola “Mom” Ruth – Pioneer Western Folk Tunes (1948)

Z:AK/Fiddler’s Companion

K:D

D/E/F/(A/ A/)F/E/D/|G/A/B/(d/ d2)|=f/^f/=f/^f/ d/B/A/F/|F/E/F/(d/ d2)|

D/E/F/(A/ A/)F/E/D/|G/A/B/(d/ d2)|=f/^f/=f/^f/ d/B/A/F/|F/E/F/(d/ d)(3e/f/g/||

a/e/f/(d/ d)(f/g/)|a/e/f/(d/ d2)|G/A/B/d/ e/d/e|=f/^f/=f/^f/ d/B/A|

(FF)(A/B/)|c/e/c/(A/ A)(A/B/)|c/e/c/(A/ A2)|=f/^f/=f/^f/ d/B/A/F/|1

[(F2d2] [F2)d2]:|2 df (d’2|d’2)z2||

 

YELLOW EYED CAT. AKA and see "Buffalo Nickel [1]," "Chinky Pin," "Darling Child,"  "Farmer Had a Dog," "Fourth of July," “Grey-Eyed Cat,” "Hair in the Butter,," "I'm My Momma's Darling (Child),"  "Lead Out," "Midnight Serenade,"  "My Love Is/She's But a Lassie Yet [1]," “Soapsuds Over the Fence [3],” "Sweet Sixteen," "Ten Nights in a Bar Room," "Too Young to Marry [1]."

 


YELLOW FLAIL [1], THE (An Suiste Buide). Irish, Double Jig. G Major. Standard tuning. AB (Joyce, Mulvihill): AABBCC (O’Neill). Mulvihill (1986) directs the tune be played slower than a jig. Joyce, 1890; No. 5, pg. 6. Mulvihill (1st Collection), 1986; No. 59, pg. 132. O'Neill (Krassen), 1976; pg. 28. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 818, pg. 152. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 4, pg. 17.

X:1

T:Yellow Flail, The [1]

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 4

Z:AK/Fiddler’s Companion

K:G

d/c/|BAG GFG|D2E FEF|GAG GAB|cAG FGA|BcB BAG|GAG GBc|dcA AGF|G3 G2:|

|:D|GFG BAG|GFG AFD|GFG BGB|c2A F2A|GFG BAG|FGA ABc|dcA AGF|G3 G2:|

|:D|G2A B2c|ded d2c|BAG FGA|cAG F2A|BcB BAG|ABA ABc|dcA AGF|G3 G2:|

 

YELLOW FLAIL [2], THE (An Súiste Buidhe). Irish, Air (6/8 time). G Major. Standard tuning. AB. P.W. Joyce (1890) remarks that he knew this air from his childhood in Limerick in the 1840's, “and always by the name of the ‘Súiste buidhe,’ or ‘The yellow flail’. But the air immediately following, which I noted down form the singing of Joseph Martin, a native of the county Limerick, was, according to him, known by the same name. They are both similar in character and expression—airy and graceful in movement; and as they are precisely alike in measure and rhythm, it is probable that an Irish song called ‘Suiste Buidhe’ was sung to both indifferently, and gave them the same name. Observe that they are song airs, and are to be played somewhat slower than double jig time.” Howe (1000 Jigs and Reels), c. 1867; pg. 27. Joyce (Ancient Irish Music), 1890; No. 4, pg. 5.

X:1

T:Súiste Buidhe, An

T:Yellow Flail, The

M:6/8

L:1/8

R:Air

N:”Playful”

S:Joyce – Ancient Irish Music (1890)

Z:AK/Fiddler’s Companion

K:G

d/c/ | B2B GAB | c2c c2A | GBd cBA | G2G G2A | B2B GAB |

c2c c2A | GBd cBA | G2G G2 || c | Bcd def | gfe d2c | Bcd def |

gfe def | g2g gdB | c2c c2A | GBd cBA | G2G G2 ||

 

YELLOW FORD, THE. AKA and see "The Hazel Stick."

 

YELLOW GAL(S). Old‑Time, Breakdown. A Mixolydian. Standard tuning. AABB. Yellow is a term applied to light-skinned African Americans or those with mulatto coloring. There is apparently a tune by this name (not printed in Phillips) that is cognate with "Buffalo Gals," popularized by Eugene Edwards. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. It is perhaps the “Yeller Gal” tune that was in the repertoire of fiddler and Confederate veteran Arnold A. Parrish (Willow Springs, Wake County, N.C.), as recorded by the old Raleigh News and Observer. Parrish was a contestant at fiddler’s conventions held in Raleigh prior to World War I. Source for notated version: Pete Sutherland (VT) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 262. Marimac 9054, The Ill-Mo Boys - "Fine As Frog Hair" (1995). Silver Circle 002, Doug Phillips & Hilary Dirlam - "Wagoner."

 

YELLOW GALS FROM THE SOUTH. Old-Time, Breakdown. USA, Virginia. D Major. Standard tuning. AABB. Source for notated version: John Ashby (1915-1979, northern Va.) [Phillips]. Phillips (Traditional American Fiddle Tunes), 1994; pg. 262. County 773, John Ashby and the Free State Ramblers - “Fiddling by the Hearth.”

 

YELLOW GARRON, THE (An Garran Buide). Irish, Air (2/4 time, "with spirit"). A Mixolydian/D Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 405, pg. 70.

X:1

T:Yellow Garron, The

M:2/4

L:1/8

R:Air

N:”With spirit”

S:O’Neill – Music of Ireland (1903), No. 405

Z:AK/Fiddler’s Companion

K:D

A>B cA|dc B^G|A>B cA|Bc d2|f>e dA/B/|cc Bc|dB AF|DF/A/ B2||A>D DF|

E/D/E/F/ EF/G/|A>D DF|EF B2|A>D DE|F/E/F/D/ EA|dc/B/ AF|DF A2||

 

YELLOW GOAT, THE. AKA and see "The Bonnie Lass of Livingston," "Cockleshells," "An Gabhairin Bui," "Hielan Laddie [1]," "The High Cauled Cap," "Kiss me Lady," “The Piper’s Dance.” Irish, Air (2/4 time). C Major. Standard tuning. ABB. Heymann (Secrets of the Gaelic Harp), 1988; pgs. 64-65.

 

YELLOW HAIRED LADDIE [1]. AKA and see "Ballyvaughan," “Corporal Casey [2],” “Corporal Casey’s Fancy,” “The Curly Haired Laddie,” “Five Mile Chase [1],” "The Four-Hand Reel," “Lady Gardner’s,” “Parnell’s Reel,” “The Wild Fire Chase.” Scottish, Reel. G Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 36. Page, Northern Junket, vol. 10, No. 2, April 1970, pg. 28. White’s Unique Collection, 1896; No. 58, pg. 11.

X:1

T:Yellow Haired Laddie [1]

M:2/4

L:1/8

R:Reel

S:White’s Unique Collection (1896), No. 58.

Z:AK/Fiddler’s Companion

K:G

(3D/E/F/ || .G(B/G/) d/G/B/G/ | F/d/A/d/ B/d/A/d/ | .G(B/G/) d/G/B/d/ |

e/g/f/a/ g/e/d/B/ | .G(B/G/) d/G/B/G/ | F/D/A/D/ B/D/A/D/ | G(B/G/) d/G/B/d/ |

(e/g/)(f/a/) g :| z |: .g/.d/(B/d/) .e/.d/(B/d/) | e/a/a/g/ f/d/e/f/ | .g/.d/(B/d/) .e/.d/(B/d/) |

(e/g/).f/.a/ gz | (g/a/).b/.g/ (e/f/).g/.e/ | d/e/d/c/ B/G/B/d/ | e/f/e/d/ e/d/B/d/ | (e/g/)(f/a/) g/e/d/B/ :|

 


YELLOW HAIRED LADDIE [2]. AKA and see "The Brown Haired Boy." Scottish, English; Air or Waltz. G Major (Carlin): D Major (Gatherer, Huntington, O’Farrell, Sumner). Standard tuning. One part (Gatherer): AABB (Sumner/Gibbons): AA'BB' (Carlin, Huntington, O’Farrell). A very popular tune for quite some years. The melody was used three times for songs in Allan Ramsay's Tea Table Miscellany (c. 1724). 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]. Carlin (Master Collection), 1984; No. 178, pg. 103. Gatherer (Gatherer’s Musical Museum), 1987; pg. 27. Hamilton, Select Songs of Scotland (1848). Howe (Musician's Onmibus), No. 2, pg. 116. Huntington (William Litten's), 1977; pg. 45. McGibbon (Scots Tunes, book III), 1762; pg. 85. Napier (A Selection of Favorite Scots Songs), vol. 1, pg. 66. O’Farrell (Pocket Companion, vol. II), c. 1806; pg. 153. O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 36. O'Neill (Music of Ireland: 1850 Melodie), 1903/1979; No. 155, pg. 27. Ritson (Scottish Songs), vol. 1, pgs. 125‑126. Sime (The Edinburgh Musical Miscellany), pgs. 52‑53. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 53 (originally set in the key of F major, noted for two instruments). Thomson (Orpheus Caledonius), pg. 12.

X:1

T:Yallow Haird Laddy, The (sic)

M:3/4

L:1/8

R:Air

S:O’Farrell – Pocket Companion, vol. III (c. 1808)

Z:AK/Fiddler’s Companion

K:D

D>E | F2A2 B>c | d3e f2 | A2 (BA) GF | F2E2 D>E | F2A2 (B>c) | d>c de {d/e/}f2 |1

A>B AF E(D/E/) | D4 :|2 Ad gf e(d/e/) | d4 |: d>e | f2 (gf) ed | c2 ec BA | (B>c) dB AF |

F2E2 D>E | F2A2 (B>c) | d>c (de) f2 |1 A>B AF E(D/E/) | D4 :|2 Ad gf e(d/e/) | d4 :|

X:2

T:Yellow Haird Laddy [2]

M:3/4

L:1/8

R:Air

N:Set as a duet in O’Farrell vol. II

S:O’Farrell – Pocket Companion, vol. II (c. 1806)  pg. 153

Z:AK/Fiddler’s Companion

K:D

D>E | F2A2 (B>c) | d3 (ef2) | A2 {c}BA GF | F2E2 (D>E) | F2A2 (B>c) |

(d>c) (de) {d/e/}f2 |1 AB “tr”A<F ED/E/ | D4 :|2 A2 (gf) e>d/2e/4 | d4 :: de |

f2 (gf) ed | c2 ec B<A | (B>c) dB AF | F2E2 D>E | F2A2 (B>c) |

(d>c) (d>e) f2 |1 (A>B) (AF) E>D/2E/4 | D4 :|2 F2 (gf) “tr”e>d/2e/4 | d4 ||  

X:3

T:Yellow hair’d Laddie, The

M:3/4

L:1/8

R:Air

N:”Slow”

S:McGibbon – Scots Tunes, book III, pg. 85  (1762)

Z:AK/Fiddler’s Companion

K:D

D>E | F2A2B2 | d3e (d/e/f) | A2 (BA)(GF) | ({F}”tr”E4{D/E/}) D>E | F2A2B2 |

(d>c)(d>e) (d/e/f) | (A>B)(AF)”tr”(E>D) | D4 :: d>e | f2 (gf)”tr”(ed) | c2 (ec)”tr”(BA) |

(Bc)(dB)(AF) | ({F}”tr”E4) D>E | F2A2 (Bc) | (dc)(de) (d/e/f) | A3 (gf)”tr”(e>d) d4 :|

|: D>E | F2A2 B>c | dcde (d/e/f) | Ad (B/A/G/F/) (G/F/E/)D/ | “tr”E4 DE | F2A2Bc |

dc (d/e/f/g/ a>)b | (a/f/e/d/) “tr”e3d | d4 :: d>e | (f/e/f/g/ a)f”tr”ed | (c/B/c/d/ e)c”tr”BA |

(B/A/B/)c/ (B/c/d/)B/ (A/F/E/)D/ | “tr”E4 (DE) | F2A2 Bc | dc (d/e/f/g/ a>)b |

(a/f/e/d/) “tr”e3d | d4 :|

 

YELLOW HAIRED LASSIE, THE. Shetland, Shetland Reel. Shetland, Islands of Yell and Unst.

 

YELLOW HEIFER [1], THE. AKA and see "All Around,” "Captain Moss's,”  "Come Ashore Jolly Tar and your Trousers On,” "Cuckoo's Nest [14],” "Good Ax Elve,” "Jack and his Trousers,” "Jacky Tar,” "The Mower,” "The Mountain Top [3],” "An Spealadoir.”

 

YELLOW HEIFER [2], THE. AKA and see "Paddy on the Turnpike [2].” Old‑Time, Breakdown. USA, western Pennsylvania. A Mixolydian. AB. Bayard (1944, 1981) identifies this tune as an American composite, but says the title was not attached exclusively to this piece although was used for this tune in Fayette County, Pa., at least. The tune is widespread in Irish and Scottish tradition; he sums: the tune "was fairly early of record, widely diffused, modal in character (with sets appearing in more than one mode), and often renamed" (pg. 339). It has been traced back to the early 18th century. He begs comparison with the first part of a set of his Pennsylvania‑collected "The Cuckoo's Nest [15]" (1944 source: Martin). See also the Irish “Flowers of Limerick [1].” Sources for notated versions: Emery Martin, (Dunbar, Pa., 1943; learned from his father) [Bayard, 1944]: Wolford (fiddler from Pa., 1944; learned from older fiddler Henry Garlick of Fayette County) [Bayard, 1981]. Bayard (Hill Country Tunes), 1944; No. 9. Bayard (Dance to the Fiddle), 1981; No. 347H, pg. 337.

 

YELLOW HORSE [1], THE. Irish, Air (6/8 time, "lively"). G Major. Standard tuning. AAB. "In Stanford‑Petrie and Bunting are several airs called 'The Yellow Horse' and An Bearran Buidhe (same meaning): but this tune is different from all" (Joyce). The title is among those mentioned as a dance tune in Patrick J. McCall’s 1861 poem “The Dance at Marley,” the first three stanzas of which go:

***

Murtagh Murphy’s barn was full to the door when the eve grew dull,
For Phelim Moore his beautiful new pipes had brought to charm them;
In the kitchen thronged the girls - cheeks of roses, teeth of pearls - 
Admiring bows and braids and curls, till Phelim’s notes alarm them.
Quick each maid her hat and shawl hung on dresser, bed, or wall,
Smoothed down her hair and smiled on all as she the bawnoge entered,
Where a shass of straw was laid on a ladder raised that made
A seat for them as still they stayed while dancers by them cantered.

***

Murtagh and his vanithee had their chairs brought in to see 
The heels and toes go fast and free, and fun and love and laughter;
In their sconces all alight shone the tallow candles bright - 
The flames kept jigging all the night, upleaping to each rafter!
The pipes, with noisy drumming sound, the lovers’ whispering sadly drowned,
So the couples took their ground - their hearts already dancing!
Merrily, with toe and heel, airily in jig and reel,
Fast in and out they whirl and wheel, all capering and prancing.

***

“Off She Goes,” “The Rocky Road,” “The Tipsy House,” and “Miss McLeod,”
“The Devil’s Dream,” and “Jig Polthogue,” “The Wind that Shakes the Barley,”
“The First o’May,” “The Garran Bwee,” “Tatther Jack Welsh,” “The River Lee,” - 
As lapping breakers from the sea the myriad tunes at Marley!
Reels of three and reels of four, hornpipes and jigs galore,
With singles, doubles held the floor in turn, without a bar low;
But when the fun and courting lulled, and the dancing somewhat dulled,
The door unhinged, the boys down pulled for “Follow me up to Carlow.”

***

See also Bayard's (1944) note for "Cottage By the Sea." Joyce (Old Irish Folk Music and Song), 1909; No. 237, pg. 115.

X:1

T:Yellow Horse [1]

M:6/8

L:1/8

R:Air

N:”Lively”

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

Z:AK/Fiddler’s Companion

K:G

D|G3 AGA|B2e e2B|d2B cBA|B2G E2D|G3 AGA|B2e efg|dcB ABc|B2G G2:|

|:B|d2B gfe|f2d d2e|d2B gfe|f2d def|g2f e2d|g2B Bcd|e2B cBA|B2G E2D|

GFG AGA|B2e efg|dcB Adc|B2G G2||

 

YELLOW HORSE [2], THE. Irish, Air (2/4 time, "with great spirit"). D Major. Standard tuning. AAB. Source for notated version: "Sent to me...(in) 1884 by Mr. Francis Hogan of South Lodge, Brenormore, near Carrick‑on‑Suir, a good musician and a great enthusiast in Irish music and songs" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 262, pgs. 125‑126.

X:1

T:Yellow Horse, The [2]

M:2/4

L:1/8

R:Air

N:”with spirit”

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

Z:AK/Fiddler’s Companion

K:D

A|d/c/A/G/ FD|FAFD|d/c/A/F/ GF/G/|Adfe|d/c/A/G/ FD|FAFD|d/c/A/F/ G(F/G/)|Add:|

|:A|f2g2|fe/d/ cA|f2g2|fe d2|f2g2|fe/d/ fe|d/c/A/F/ GF/G/|Add||

 

YELLOW HORSE [3], THE (An Garran Bui). AKA and see “The Garraun Bwee.” Irish, Air (2/4 time, "with great spirit"). D Dorian. Standard tuning. ABCD. Source for notated version: "Sent to me (in) 1884 by Mr. Francis Hogan of South Lodge, Brenormore, near Carrick‑on‑Suir, a good musician and a great enthusiast in Irish music and songs" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 280, pg. 133.

X:1

T:Yellow Horse, The [3]

M:2/4

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

N:”With spirit”

N:The chorus begins at the third part.

K:D Mix

d>d d2|cA AG|EE D2|D2D2|d>ddd|e2 cd|e2e2|d3z||

=f2 ed|d=fed|dc AG|Add=f|e2 dc|A2 GE|D2D2|D3||

E|GEGA|c3d|edcd|e3E|GEGA|c3 c/d/|e2e2|d2 z2||

=f2 ed|d=fed|dc AG|Add=f|e2 dc|A2 GE|D2D2|D3||

 


YELLOW HORSE [4], THE (An Garran Bui). Irish, Air. The melody appears in Bunting’s second collection of Irish tunes (1809).

 

YELLOW HORSE, THE [5]. Irish, Air (6/8 time). D Mixolydian. Standard tuning. AB. Source for notated version: “From an old MS” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 577, pg. 146.

X:1

T:Yellow Horse, The [5]

M:6/8
L:1/8

R:Air

S:Stanford/Petrie (1905), No. 577

Z:AK/Fiddler’s Companion

K:D Mixolydian

d/e/ | =f3 e2d | e/f/gf edB | d2e =fed | deg g2a | bab g2d | e/f/g=f edB |

ge/f/g deB | ABd d2 || g | dB{A}G G2B | AGA A2 B/A/ | GDE G2B |

ABd de/f/g | dBG G2d | AGA A2 e/f/ | ge/f/g deB | ABd d2 ||

 

YELLOW JACKET. Old‑Time. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

                       

YELLOW JOHN [1] (Seán Buide/Buí). AKA and see "Pot Stick," “Lacrum Cosh,” “Ligrum Cush,” "The Marquis/Marquess of Granby," "Over the Water to Charlie,” "Sean Buide,” "Seán Buí," "The Shambuy/Shambuie,” “Wishaw’s Delight.” Irish, March (6/8 time) or Slide. D Major. Standard tuning. ABC. 'Sean buide' was a term of contempt for the Irish followers of the English king William III. The name was corrupted into English as "(The) Shambuy," under which this tune sometimes appears. See notes for "Over the Water to Charlie" and “Kinloch of Kinloch.” See also the related tune “Mickey Murphy’s Jig.” Bulmer & Sharpley (Music from Ireland), Vol. 4, No. 87. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1832, pg. 344.

X:1

T:Yellow John [1]

M:6/8

L:1/8

R:March

S:O’Neill – Music of Ireland (1903), No. 1832

Z:AK/Fiddler’s Companion

K:D

D | DFA AFA | BGB A2F | DFA AFA B2c d2D | DFA AFA | BGB A2 B/c/ |

dfd ecA | B2c d2 || e | fdf ece | dcB A2 d/e/ | fdf ecA | B2c d2e | fdf ece |

dcB A2F | DFA AFA | B2c d2 || z | d3 c3 | BcB A2z | DFA AFA | B2c d3 |

dBd cAc | BGB A2 B/c/ | def ecA | B2c d2 ||

 

YELLOW JOHN [2] (Seán Buide/Buí). AKA and see "Blow the Wind Southerly (Home to My Dear)," Kinloch of Kinloch.” Irish, March (6/8 time). D Major. Standard tuning. AABB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1833, pg. 344.

X:1

T:Yellow John [2]

M:6/8

L:1/8

R:March

S:O’Neill – Music of Ireland (1903), No. 1833

Z:AK/Fiddler’s Companion

K:D

d/e/ | fed AFA | BGB AFA | fed AFA | Bgf e2 d/e/ |

fed AFA | BGB AFA | fed AFA | B2c d2 :|

|: d/e/ | f2a e2a | ded cBA | f2a e2a | gfg a2a |

bgb afa | geg fde | fed AFA | B2c d2 :|

 

YELLOW JOKE [1]. English, Jig. F Major. Standard tuning. AABB. The melody appears in Walsh’s third collection of Lancashire tunes (Lancashire Jigs, Hornpipes, Joaks, etc.) published around the year 1730.

X:1

T:Yellow Joak

T:Yellow Joke

B:Walsh

M:6/8

L:1/8

K:F

f2 c ABc| F2 c f3| afd gec| fcB A2 c|AGF CFE |F3 F3:: c2 c acB |gBA G3|\

c2 c acB |gBA G2 f/2g/2| afd gec| fcB A2 B/2c/2| dBG cAF| BGF E2 c|\

AGF CFE|F3 F3:|

 

YELLOW JOKE [2]. AKA and see “Old Marlborough.”

 

YELLOW-LEG CHICKEN. Old‑Time. The title appears in a list of traditional Ozark Mountian fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

 

YELLOW LEGS (Cosa Buide). AKA – “Yellow Leggings.” AKA and see “Cogue in the Evening,” “Cosa Buidhe Arda, Dearga,” “Cusabue Ord.” Irish, Slip Jig. D Major. Standard tuning. AABBCC (Kennedy): AABBCCDD (O’Neill). The tune appears in the Goodman manuscripts (IV, pgs. 4-5) as “Cogue in the Evening,” attributed to the famous 18th century uilleann piper Walker ‘Piper’ Jackson, of the townland of Lisdaun, parish of Ballingarry, Aughrim, County Limerick. See also O’Farrell’s (c. 1805) version and note for the tune, under the title “Cusabue Ord.” Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 90, pg. 21. O'Neill (Krassen), 1976; pg. 81. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1130, pg. 213. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 419, pg. 83.

X:1

T:Yellow Legs

M:9/8

L:1/8

R:Slip Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 419

Z:AK/Fiddler’s Companion

K:D

FEF DED FED|FEF DED GEC|FEF DED FED|EFE cBA GEC:|

|:FDF A2d A2d|FDF A2d BGE|FDF A2d AGF|EGE cBA GEC:|

|:fef dfd g2e|fef dfa gec|faf ged c2A|BAG FAF GEC:|
|:AFF dFF AFF|AFF dFF GEC|AFF dFF AFF|GEE cBA GEC:|

 

YELLOW LITTLE BOY, THE (An Buacaillín Buide/Buí). AKA and see "Come in the Evening," "Galloway Tom," "Galway Tom," "Gallua Tom," "Galway Town," "The Goat's Horn," "The Kelso Races," "The Lark in the Morning [1]," "The Little Yellow Boy," “The One-Legged Man,” "The Spotted Cow," "The Thrush's Nest," "The Welcome," "A Western Lilt," “The Yellow Little Boy.” Irish, Double Jig. D Major. Standard tuning. ABCD (Breathnach): AABB (O'Neill). The tune is best-known nowadays as “The Lark in the Morning.” Source for notated version: fiddler Thomas Potts (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 27, pg. 12. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 706, pg. 131.

See also listing at: 

Alan Ng’s Irishtune.info

X:1

T:Yellow Little Boy, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Music of Ireland (1903), No. 706

Z:AK/Fiddler’s Companion

K:D

AFD DFA | DFA AdB | AFD DFA | B2A BdB |

AFD DFA | DFA ABc | def gfe | fdB B2d :|

|: Add fdd | edd fdd | Add fdd | edB B2d |

Add fdd edd fdd | gfe fdB | AFA B2d :|

 

YELLOW RAGWEED. AKA and see "Limerick Tinker," "Bouchalaun Buie," "Wearied Lad."

 

YELLOW ROSE, THE. AKA and see “Patsy Geary’s.” Irish, Jig.

 


YELLOW ROSE OF TEXAS. Old‑Time, Song and Breakdown. USA, southwestern Va., western North Carolina. D Major. Standard or ADae (Tommy Jarrell) tunings. One part (Sweet): AABB (Phillips). "The Yellow Rose of Texas" originally was a minstrel composition by a composer known only as "J.K."  It became popular during the Civil War and passed into Southern fiddling tradition. "Folk-processing" of the song sometimes resulted in the woman referred to as the 'yellow rose' in the lyrics being called a 'red rose', but clearly a female person-of-color was meant for the minstrel version (which also refers to the woman as 'this darkey'). Some sources name the ‘yellow rose’ as one Emily Morgan, a slave girl who hailed from North Carolina, as the woman who seduced the Mexican General Santa Anna just before the battle of San Jacinto, making Sam Houston's victory possible while Santa Anna was thus distracted.

***

There's a yellow rose in Texas that I am going to see,

No other fellow knows her, no other one but me.

She cried so when I left her that it like to broke my heart,

And if I ever find her, we never more will part.

Now I'm going to find her for my heart is full of woe,

We'll sing the songs together we sung so long ago,

When I get back to Austin how happy I will be,

With the yellow rose of Texas a‑sitting on my knee.   (NLCR)

***

Recorded as a song, Gene Autry’s version became one of the Depression era’s best-selling records.

***

It has been claimed (tongue-in-cheek) that much of Emily Dickinson’s poetry can be sung to the song “Yellow Rose of Texas.”

***

Source for notated version: Danny Gardella [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 262. Sweet (Fifer’s Delight), 1965/1981; pg. 14. Mountain 310, Tommy Jarrell ‑ "Joke on the Puppy" (1976. Learned from his father, fiddler Ben Jarrell). County 524, "Da Costa Woltz's Southern Broadcasters: 1927 Recordings." Flying Cloud FC-023, Kirk Sutphin - "Fiddlin' Around." Flying Fish FF‑009, The Red Clay Ramblers ‑ "Stolen Love" (1975). Folkways FA 2492, New Lost City Ramblers ‑ "String Band Instrumentals" (1964). Gennett 6143 (78 RPM), Da Costa Woltz's Southern Broadcasters (1927. Ben Jarrell on fiddle). Okeh 451744 (78 RPM), North Carolina Cooper Boys. Merriweather Records, Pat Kingery – “I Kind of Believe it’s a Gift” (an unusual version).

X:1

T:Yellow Rose of Texas

L:1/8

M:2/4

B:Kuntz – Ragged but Right

K:D

[Af][A/f/][A/g/] [Aa][A/a/][A/g/]|[A/f/][A/e/][A/f/][A/g/] [Aa][A/a/][A/g/]|

[Ae][A/e/][A/f/] [A/g/][A/f/][A/e/][A/f/]|[A/g/][A/f/][A/e/][A/f/] [Ag][A/g/][A/g/]|

[Af][A/f/][A/g/] [Aa][A/a/][A/g/]|[A/f/][A/e/][A/f/][A/g/] [Aa][A/a/][A/f/]|

[Ae][Ag] (3[A/f/][A/g/][A/f/][Ae]|[Dd][D2d2]||

B|:[DA][DA] [D>B>]B|A(F F)F|[DA]A de|[A2f2] fe/f/|gf ed|f/g/e dB|1 AA cd|e3 d/B/:|2

Ag (3f/g/f/e|[D2d2][D2d2]||

 

YELLOW ROSE WALTZ. American, Waltz. F Major. Standard tuning. AB. Source for notated version: Loretta Brank and Mark O'Connor [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 329.

 

YELLOW SARA (Sara Buidhe). Irish, Air (2/4 time). F Major. Standard tuning. One part. Joyce (Old Irish Folk Music and Song), 1909; No. 759, pg. 374.

 


YELLOW STOCKINGS. AKA and see "Cuddle Me, Cuddy," "Cuma Liom" (I Don't Care), "Fairest Put On Awhile," "Hey my kitten," “Humours of Whiskey,” “The Kitten,” "Mad Moll [1]," "The Peacock Followed/Follows the Hen," "Riding a Mile [1]," “Up and Down Again,” "The Virgin Queen.” Scottish, Irish, English; Dance Tune (9/8 time). D Major (Cole): A Major (Chappell): G Major (Barnes). Standard tuning. AAB (Chappell): AABB (Barnes, Cole). The tune dates from the 16th century and is a member of a very large tune family. Playford first printed it in 1698 in his English Dancing Master (under the title "Mad Moll"), and later in his 1703 edition under the title "Virgin Queen." In 1705 Dean Swift adapted a nursery song to it beginning "Here my kitten, my kitten" ("O my Kitten"). The title "Yellow Stockings" for the tune appear in Wright's North Country Frisks (1713), Charles Coffee’s ballad opera Boarding School (1733), The Cobler of Preston (1732), and it was published in a folio of songs from Henry Brooke’s Jack the Gyantqueller (London, 1749). John and William Neal printed it in their Choice Collection of Country Dances (Dublin, 1726). Thomas Moore used it as the vehicle for his lyric "Fairest Put On Awhile." Sir John Hawkins mentioned the tune in this quote regarding tavern entertainment from his 1576 A General History of the Science and Practice of Music:

***

...Fidlers and others, hired by the master of the house; such as

in the night season were wont to parade the city and suburbs

under the title of Waits...Half a dozen of fidlers would scrape

"Sellenger's Round", or "John Come Kiss Me", or "Old Simon

the King" with divisions, till themselves and their audience were

tired, after which as many players on the hautboy would in the

most harsh and discordant tones grate forth "Greensleeves,"

"Yellow Stockings," "Gillean of Croydon," or some such common

dance tune, and the people thought it fine music.

***

There are two main versions of “Yellow Stockings,” both sharing the ‘A’ part. One version follows the “Yellow Stocking,” “Mad Moll,” “Peacock Follows the Hen” versions, predominant in England, while the other follows “Yellow Stockings,” “The Kitten,” “Hey My Kitten” titles, predominant in Ireland. The version given in Ryan’s Mammoth Collection/Cole’s 1000 belongs to the Irish strain. The collector George Petrie included an untitled Irish version in his collection of 1855 (Stanford/Petrie, No. 101, pg. 25). R.D. Cannon, in his article “English Bagpipe Music” (Folk Music Journal, 1972) suggests the progenitor of this very large tune family is the Scots “Up with Aley.” Other variant titles include “Brose and Butter,” “Drops of Brandy/Whiskey,” “The Faraway Wedding,” “They Honeymoon,” “Jerry Houlihan,” “The Dusty Miller,” and “Hey My Nanny/Nancy.” Source for notated version: copied from O’Farrell’s National Irish Music (1797) [O’Neill]. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 147. Chappell (Popular Music of the Olden Time), vol. 2, 1859; pg. 74. Cole (1000 Fiddle Tunes), 1940; pg. 65. S. Johnson (The Kitchen Musician No. 6: Jigs), 1982 (revised 1989, 2001); pg. 8. O’Farrell (National Irish Music for the Union Pipes), 1804; pg. 29 (see “The Kitten”). O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 189. Ryan’s Mammoth Collection, 1883; pg. 96.

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Yellow Stockings

M:9/8

L:1/8

S:O'Farrell's National Irish Music 1797

Z:Paul Kinder

K:G

E|:G2 B GEE GEE|G2 B GEE FED|G2 B GEE GEE|FGA ABG FED:|

|:G2 c BGd BGd|G2 c BGd cBA|G2 c BGd BGd|ecA ABG FED:|

|:B/2c/2BA GEE GEE|BdB GEE FED|B/2c/2BA GEE GEE|FGA ABG FED:||

X:2

T:Yellow Stockings

M:9/8

L:1/8

R:Slip Jig

B:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

(B/c/)|:d2f (dB)B (dB)B|d2f (dB)B cBA|d2f (dB)B (dB)B|cde efd cBA:|

|:d2g (fd)a (fd)a|d2g (fd)a gfe|d2g (fd)a (fd)a|g2e efd cBA:|

X:3

T:Yellow Stockings

T:Mad Moll

M:9/8

L:1/8

N:some versions retain the ‘f’ sharp

K:G

c>de cAA cAA|c>de cAA B2G|c>de cAA cAA|B>cd ded B2G:|

|:c>de gee gee|c>de gee =f2d|c>de gee gee|=f2d ded B2G:|

X:4

T:Yellow Stockings

T:Mad Moll

T:Virgin Queen, The

M:9/8

L:1/8

S:Chappell – Popular Music of the Olden Time, vol. 2, pg. 74

K:A

E|A>Bc AFF (AF)F|A>Bc (AF)F G2E|A>Bc AFF (AF)F|G>AB BcB G2:||

E|A>Bc ecc (ec)c|(A>B)c ecc e2B|A>Bc gee gee|G>AB (Bc)B G2||

 

YELLOW TINKER. Irish, Reel. A Mixolydian (Moylan): G Major/Mixolydian (Feldman & O’Doherty, Miller, Mulvihill). Standard tuning. ABC (O’Malley): AA’BC (Miller, Moylan): AABBCC’ (Mulvihill). Cliff Abrams believes the ‘Yellow’ of the title refers to the Tinker’s being a gypsy (as in the song “Seven Yellow Gypsies”). Paddy Ryan (Treoir) says the tune has been a favorite session tune, especially among button accordion players, over many years. It was first recorded in January, 1954, by accordion great Paddy O’Brien (Portroe, County Tipperary) on the then-new B/C system. See also the related “Tinker’s Occupation.” Sources for notated versions: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border), recorded at Na Píobairí Uilleann, October, 1984 [Moylan]; fiddler Sean Ryan, recorded in 1959 (County Tipperary) [Mulvihill]; fiddler Simon Doherty (County Donegal) [Feldman & O’Doherty]; Bronx fiddler Martin Mulvihill [O’Malley]. Bulmer & Sharpley (Music from Ireland), 1974, vol. 1, No. 18. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 106 (appears as “Untitled Reel”). Miller (Fiddler’s Throne), 2004; No. 271, pg. 162. Mitchell (Dance Music of Willie Clancy), 1983; 100. Moylan (Johnny O’Leary), 1994; No. 153, pg. 89. Mulvihill (1st Collection), 1986; No. 201, pg. 54. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 15, pg. 8. Treoir, vol. 33, No. 1, 2001; pg. 28. Columbia CAL506-1 (78 RPM), Paddy O’Brien (1954). Comhaltas Ceoltoiri Eireann CL40, Paddy O'Brien, Seamus Connolly & Charlie Lennon - "The Banks of the Shannon." Compass 7 4287 2, Cathal McConnell – “Long Expectant Comes at Last” (2000. Learned from accordion player Joe Burke). Green Linnet SIF‑1109, Altan ‑ "The Red Crow" (1990). Rounder CD 11661-7033-2, Natalie MacMaster – “My Roots are Showing” (2000. Ed Reavy’s version). Shanachie 79064, Matt Molloy – “Heathery Breeze” (1999). Bill McComiskey (et al) – “The Big Squeeze.”

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:The Yellow Tinker

M:4/4

L:1/8

R:Reel

K:G

=FE|DG G2 D=FCF|DG G2 dGBG|DG G2 D=F F2|cA=FA c2:|

Bc|dG G2 d2 Bc|dg g2 fdcA|dG G2 d2 Bd|cA=FA c2 Bc|dG G2 d2 Bc|dg g2

fgag |f2 de f2 de|fgag fdcA|| d2 BG (3Bcd BG|(3Bcd BG c2 Bc|d2 BG

Bcde|=fdcA FAcA|d2 BG (3Bcd BG|(3Bcd

BG c2 Bc|d^cde =f2 ed|cA=FA G2|

X:2

T:Yellow Tinker, The

M:C|

L:1/8

R:Reel

S:Mulvihill – 1st Collection (1986)

K:G

(G>F) | DG {A}(3gfg d=f {G}(3FEF | DG {A}(3GFG dGBG | DG{A}GFG D=F {G}(3FEF |

cAFA c2 Bc | DG {A}(3GFG DCA,C | DG {A}(3GFG dGBG | DG {A}(3GFG D=F {G}(3FEF |

cAFA c2 || (3ABc | dG {A}(3GFG dGBc | d2 ge fdcA | dG {A}(3GFG dGAB |

cF {G}(3FEF c2 (3ABc | dG {A}(3GFG dGBc | d2 ge fdcA | (3gfg de fgaf | g2 ag fdcA ||

d2 BG (3Bcd BG | (3Bcd BG c2 Bc | d2 BG Bcde | =fdcA GABc | d2 BG (3Bcd BG |

(3Bcd BG c2 Bc | d3e {g}=fefd |1 cAFA G2F :|2 cAFA G2 ||

 

YELLOW WATTLE [1] (An Chleith Buí). AKA and see "The Ladies Fancy," "The Ladies Walking Stick." Irish, Double Jig. G Major. Standard tuning. AA'BBCC'. The tonality of the tune shifts and is somewhat indeterminate: the keys of G, C, A Dorian and D Mixolydian are all represented. The title may refer to to yellow wattle, or golden wattle, which is a flowering evergreen shrub. The tune was a great favourite of the renowned Doolin, north County Clare, tin whistle player Micho Russell (1989), who suggested that the title has “something to do” with young people becoming estranged from their parents and leaving home; they would “get the high road and the wattle.” Russell then described wattle as a hazel fishing rod used by coastal fishermen of long ago for fishing off the rock. “A man fell into the sea about fifty years ago. He would have drowned but for a long wattle another fisherman had” (see version #3). A special dance was made to the tune in County Clare. O’Neill’s other version, under the title “The Ladies Fancy” is also from Tralee, where Breathnach’s source is from. “The Ladies Walking Stick” is the title in Castleisland, notes Breathnach, who thinks the tune was originally for “the old pipes.” Source for notated version: fiddler Pat/Paddy Sullivan, 1966 (Ardfert, north of Tralee, Co. Kerry, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 26, pg. 15. Green Linnet GLCD 3009, Kevin Burke - "If the Cap Fits" (1978).

X:1

T:Yellow Wattle [1]

T:Chleith Bhuí, An

M:6/8

L:1/8

R:Jig

B:Breathnach CRÉ II, No. 26 (1976)

K:G

BA|:GGG AEE|AGG GED|GGG AEE|AGG GED|

GGG AEE|AGG GED|EAA ABc|1 dcA GBA:|2 dcA G||

|:BB|AFF DEE|DFF DEE|AFF DEE|DEF GBB|

AFF DEE|DFF DFF|A3 ABc|dcA G:|

|:BA|BAG EGG|EGG G2A|BAG EGG|GAG GED|

BAG EGG|EGG EGG|A3 ABc|1 dcA G:|2 dcA GED||

 


YELLOW WATTLE [2] (An Bata Buide). Irish, Double Jig. D Major. Standard tuning. AABB (Sullivan): AABBCCDD (O’Neill). Distantly related to version #1. Source for notated version: Chicago policeman and fiddler Timothy Dillon [O’Neill]. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 353, pg. 73. Sullivan (Session Tunes), vol. 3; No. 6, pg. 3.

X:1

T:Yellow Wattle, The [2]

L:1/8

M:6/8

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 353

Z:AK/Fiddler’s Companion

K:D

dcA AGE|ABA AGE|dcA AGE|GAG GED|dcA AGE|ABA AGE|dcA ABc|dcA GED:|

|:G2G AEE|AGG AEE|G2G AEE|AGG GEA|G2G AEE|AGG AEE|G2G ABc|dcA GED:|

|:DFA DEE|DFA GED|DFA DEE|DEF GED|DFA DEE|DFA GED|DFA ABc|dcA GED:|

|:E/F/GE FED|AFD FED|E/F/GE FED|GEA GED|E/F/GE FED|AFD FED|DFA ABc|dcA GED:|

 

YELLOW WATTLE [3]. Irish, Double Jig. D Mixolydian (Mitchell): D Major (Russell). Standard tuning. ABB (Mitchell): AABB (Russell). The ‘A’ part is similar to version # 2, however, the ‘B’ parts differ. Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Mitchell (Dance Music of Willie Clancy), 1993; No. 147, pg. 116. Russell (The Piper’s Chair), 1989; pg. 27. Spin CD1001, Eoghan O’Sullivan, Gerry Harrington, Paul De Grae - “The Smoky Chimney” (1996. Learned from Chicago musician John Williams who himself had the tunes from Doolin, County Clare, tin whistle player Micho Russell).

X:1

T:Yellow Wattle, The  [3]

R:jig

H:See also #110

Z:id:hn-jig-207

Z:transcribed by henrik.norbeck@mailbox.swipnet.se

M:6/8

K:Dmix

dcA AGE|~A3 AB^c|d=cA AB^c|d=cA GED|

dcA AGE|ABA AGE|~D3 cde|dcA GED:|

|:ded ~c3|~d3 ~c3|~d3 cde|dcA GED|

ded ~c3|~d3 d2c|ABA AB^c|d=cA GED:|

 

YELLOW WATTLE [4]. Irish, Jig. G Major. Standard tuning. AABBCC. Kennedy (Traditional Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 200, pg. 46.

X:1

T:Yellow Wattle [4]

M:6/8

L:1/8

R:Jig

K:G

G|:Bdd GAA|Bcc GAG|Bcc GAA|Bcc cAG:|

|:GBB GAA|GBB GAG|GBB GAA|GBB cAG:|

|:GAA ABA|GAG GAG|GAA ABA|GAG cAG:|

 

YEOMAN'S REEL. AKA and see "The West Gale," "The Reel of Bogie," "The Laurel Bush," "The Castlebar Traveller," "The Showman's Reel," "Spence's Reel [1]," "Lochiel's Awa' to France (but He'll Come Again)," "Tuehey's Reel," "The Humours of Loughrea," "Lough Aisles Return," "The Gossan that beat his father."

 

YEOMEN OF BALLINAMORE, THE. Irish, Air (2/4 time). E Minor. Standard tuning. AB. "O'Beirne remarks: 'The yeomen ran away from the French at Fenagh.' This was when the French landed at Killala in 1798" (Joyce). Source for notated version: Hugh O'Beirne, professional fiddler from Ballinamore, Co. Leitrim, c. 1846 (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 583, pg. 305.

 

YE'RE OVER LONG IN COMING. Scottish, March. C Major. Standard tuning. AABB. Played by the defenders of Jellalabad in 1842, upon the arrival of a relief force under the English General Pollock. The surrounded British at the garrison had sallied out and won a decisive victory, entitling the 13th Regiment to greet the newcomers with the slightly derisive refrain (Winstock, 1970). Winstock (Music of the Redcoats), 1970; pg. 208.

 


YE'RE WELCOME CHARLIE STUART. AKA and see “Charlie Stuart,” "The Confederacy," "Glen Morisone's Reel," "Kate of Garnavilla," “McAlman’s Reel,” “Queensbury House,” “Welcome, Charlie Stewart(, You’re Welcome).” Scottish, Reel; New England, Polka. D Major (Honeyman, Kerr): B Flat Major (Miller & Perron). Standard. AABB. The earliest record of the tune is in David Young's Duke of Perth MS (AKA the Drummond Castle MS), of 1734, where it appears as "The Confederacy." James C. Dick, in The Songs of Robert Burns, also finds “The Confederacy” in Walsh’s Caledonian Country Dances, published a few years later, around 1736. As “Glen Morisone’s Reel” it appears in Angus Cumming’s 1780 Collection, written in cut time with dotted strathspey rhythms. Dance instructions, but no music, for the tune appear in the Menzies Manuscript, 1749, contained in the Atholl Collection of the Sandeman Library, Perth. The famous Scots poet Robert Burns wrote a song to the air in the Scots Musical Museum (1796), beginning “The Flower it blaws, it fades, it fa’s,” though Dick maintains that it was formed on one of the Jacobite ballads made after the highland rising of 1745. For Cape Breton versions see “Welcome, Charlie Stewart.” Gow (Complete Repository), vol. IV, 1817, pg. 29. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 10. Johnson (The Scots Musical Museum), vol. V, 1787‑1803, No. 471. Kerr (Merry Melodies), vol. 1, Set 6, No. 6, pg. 6. Miller & Perron (101 Polkas), 1978; No. 27. Roche Collection, vol. 2, No. 344. The Scottish Country Dance Book, 1930‑57, Book 7, No. 1. Smith (Scottish Minstrel), vol. IV, 1820‑24, pg. 78. Surenne, 1852; pg. 9. Walsh (Caledonian Country Dances), vol. II, 1737, pg. 54.

X:1

T:Ye’re Welcome Charlie Stuart

L:1/8

M:C

S:Honeyman – Strathspey, Reel and Hornpipe Tutor

Z:AK/Fiddler’s Companion

K:D

B|AFED G2 GB|AFED E2 EB|AFED GABd|AfdF D2 D:|

|:A|defd gfec|defd ecBA|defd gfeg|faAB d2 d:|

 

YESTER HOUSE. Scottish, Strathspey. A Mixolydian. Standard. AAB. Composition of the melody was claimed by Niel Gow (1727-1807), or on his behalf by his son Nathaniel, though it had been previously published by another composer according to John Glen (1895). The composer Glen refers to is probably Malcolm MacDonald of Dunkeld, who published the tune in his 3rd Collection, dedicated to Miss Drummond of Perth. Yester House is located in East Lothian, Scotland, a mile from the village of Gifford, and was built on the site of a previous 16th century tower house (itself a replacement for the original 13th century Yester Castle, one mile away). The country house was built by the architect James Smith (1645 - 1731) for John Hay, 2nd Marquess of Tweeddale (1645 – 1713). Work on the residence was begun in 1697 but progress was slow and the house was not completed for more than 20 years. In 1729 the 4th Marquess retained William Adam (1689 - 1748) to redo the interior along with some additional changes, and when completed The Saloon was described by painter Gavin Hamilton (1723-98) as "the finest room at least in Scotland".  Another of the designing family, Robert Adam, was commissioned to restyle the exterior in 1789, although only one side was completed before he died in 1792. Further changes were made in the 19th century, including the demolishing of the original nearby village of Gifford to help dignify the surroundings of Yester House (although it was rebuilt on one side of the avenue that led to the house). In 1972 the estate was purchased by Gian Carlo Menotti, the Italian operatic composer. Burt Feintuch (2004) notes the tune has long been played in the Mabou, Cape Breton, area. Carlin (The Gow Collection), 1986; No. 233. Gow (Fourth Collection of Niel Gow’s Reels), 2nd ed., originally 1800; pg. 17. MacDonald (A Third Collection of Strathspey Reels), c. 1792; pg. 1. Stewart-Robertson (The Athole Collection), 1884; pg. 29. Smithsonian Folkways Records, SFW CD 40507, The Beaton Family of Mabou – “Cape Breton Fiddle and Piano Music” (2004). WMT002, Wendy MacIsaac – “That’s What You Get” (1998?).

See also listing at:

Alan Snyder’s Cape Breton Fiddle Recording Index 

X:1

T:Yester House

M:C|

L:1/8

R:Strathspey

B:MacDonald – 3rd Collection of Strathspey Reels  (c. 1792)

Z:AK/Fiddler’s Companion

K:A Mixolydian

g | e<A “tr”e>c d<GB<g | e<A“tr”ed efgb | a<fge d<GBd | “tr”e>dgB {B}(A2A) :|

|: B | A(a”tr”a>)f g>dBd | aa”tr”a>g a>bae| g<be<g d<GBd | “tr”e>dgB {B}A2A :|

X:2

T:Yester House

M:C|

L:1/8

R:Reel

B:Stewart-Robertson – The Athole Collection (1884)

Z:AK/Fiddler’s Companion

K:A

a|e>Ae>c d<=G B>=g|e>Ae>d e>f=g>b|a<f=g<e d>=G B>d|e>dg>B A2A:|

|:B|A<a a>f =g<=GB<d|a<a a>=g a>Aa>f|=g>be>g d<=GB<d|e>d=g>B A2A:|

 

YESTERDAY EVENING AS I WALKED ALONE. Irish, Air (4/4 time). E Flat Major. Standard. AB. A variant of “Yesterday morning as I walked alone.” Stanford/Petrie (Complete Collection), 1905; No. 437, pg. 110.

X:1

T:Yesterday evening as I walked alone
M:C

L:1/8

S:Stanford/Petrie (1905), No. 437

Z:AK/Fiddler’s Companion

K:E_

G/F/ | E>F GA B2 cd | e3g fd BA | G2 FE BG FE | F2F2F2 GF |

E>F GA B2 cd | e3g fd BG | A2 GA BG F>G | E2E2 E3 || B |

Bc/d/ ef g2 fe | gb ag f2 ef | g2 fe dB c>A | B2B2B3 G/F/ |

E>F GA B2 cd | e3 g fd BG | A2 GA BG F>G | E2E2 E2 ||

 

YESTERDAY MORNING (Maidin Ande). Irish, Double Jig. G Major. Standard. AABB. O'Neill (1001 Gems), 1986; No. 323, pg. 68.

X:1

T:Yesterday Morning

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland (1907), No. 323

Z:AK/Fiddler’s Companion

K:G

G/F/|DGG GAG|FDF ABc|BdB cAc|BGA FGE|

DGG GAG|FDF ABc|BdB c2B|AGF G2:|

|:c|Bdd ded|efg d2c|BGB cAcv|BGA FGE|

DGG GAG|FDF ABc|BdB c2B|AGF G2:|

                       

YESTERDAY MORNING AND I ABOUT TO SLEEP. See “Ain Maidin I Nde.”

                       

YESTERDAY MORNING AS I WALKED ALONE. AKA and see “Yesterday Evening As I Walked Alone.” Irish, Air (4/4 time). E Flat Major. Standard tuning. AB. Stanford/Petrie (Complete Collection), 1905; No. 436, pg. 110.

X:1

T:Yesterday morning as I walked alone
M:C

L:1/8

S:Stanford/Petrie (1905), No. 436

Z:AK/Fiddler’s Companion

K:E_

G/F/ | E>F GA B2 cd | e3 g fd BG | A2 GA BG F>G | E2E2 E3 || B |

Bc/d/ ef g2 fe | gb ag f2 ef | g2 fe dB c>=A | B2B2 B3 G/F/ |

E>F GA B2 cd | e3g fd BG | A2 GA BG F>G E2E2 E3 ||

                       

YESTERDAY MORNING EARLY WHEN I WAS See “Air Maidin a nae ‘s Mé go Moch.”

                       

YESTERDAY’S KISSES. AKA and see “As I Was Kiss’d Yestreen,” “Kissed Yestreen/Yestreven,” “Off to the Hunt.” Irish, Jig. G Major. Standard. AABB. O’Neill (1922) remarks: “It may be permissible to abbreviate such an involved title as: ‘Sae Braely as I was kiss'd yestreen" into ‘Yesterday's Kisses’ both for convenience and euphony, especially as the sentiment has not been clouded by the change. This jig preserved also in Aird's Selections, has been given circulation recently on the player-pianos.” The tune belongs to a large tune family that includes “Bung Your Eye,” “The Antrim Lasses,” and the Scottish “As I Was Kiss’d Yestreen,” “Kissed Yestreen” etc. Source for notated version: copied from James Aird’s Selection of Scotch, English, Irish and Foreign Airs (1782-97) [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 172.

X:1

T:Yesterday's Kisses

M:6/8

L:1/8

R:Jig

S:Aird's Selections 1782-97

Z:Paul Kinder

K:G

E|ABA ABd|egB A2 c|BAB GBG|BAB GAB|

cBc dcd|efe "tr"a2 g|edc Bcd|eAA A2:|

|:f/2g/2|a2 A ABA|a2 A A2 f|g2 G GAG|BAB G2 B|

cBc dcd|ede "tr"a2 g|edc Bcd|eAA A2:||

                       

YETTS OF MUCKART [1], THE. Scottish (originally), Canadian; Reel. Canada; Prince Edward Island, Cape Breton. A Major. Standard. AAB (Athole, Little, Perlman, Shears, Skye): AABB' (Kerr). The word yett is an Old English variation of gate, and when applied geographically means a pass running between hills. The Yetts of Muckart are located in the Ochil Hills. Composed by James Stewart-Robertson, editor of The Athole Collection. Cape Breton fiddlers made sound recordings of the tune relatively early: Angus Allan Gillis cut it in 1935 on 78 RPM (paired with “Miller of Drone”). Source for notated version: Peter Chaisson, Jr. (b. 1942, Bear River, North-East Kings County, Prince Edward Island) [Perlman]. Kerr (Merry Melodies), vol. 3; No. 104, pg. 13. Little (Scottish and Cape Breton Fiddle Music in New Hamphire), 1984; pg. 33. MacDonald (The Skye Collection), 1887; pg. 13 (set as a strathspey). Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 97. Shears (Gathering of the Clans Collection, vol. 1), 1986; pg. 44 (pipe setting). Stewart-Robertson (The Athole Collection), 1884; pg. 40. Marquis 81245 2, David Greenberg & Doug MacPhee – “Tunes Until Dawn: Traditional Fiddle & Piano Music of Cape Breton” (2000). Rounder 7003, John Campbell – “Cape Breton Violin Music” (1976). Rounder 7015, Various Artists – “The Fiddlers of Eastern Cape Breton” (1997). Rounder Records 7052, Buddy MacMaster – “The Cape Breton Tradition” (2003). Rounder 7059, Alex Francis MacKay with Gordon MacLean – “Gaelic in the Bow” (2005).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

X:1

T:Yetts of Muckart, The

M:C

L:1/8

R:Reel or Strathspey

S:MacDonald - Skye Collection (1887)

Z:AK/Fiddler’s Companion

K:A

e|A/A/A cB A2 Aa|f2 (ec) fBBa|A/A/A cB A2 AF|EFAB cAA:|

f|ecae f2 (ec)|A/A/A (ae) fBBf|ecae faec|afec eAAf|ecae f2 ec|

A/A/A (ae) fBBc|Acea faea|f (ec) eAA||

 

YETTS OF MUCKART [2], THE. Scottish, Strathspey. F Major. Standard tuning. AB. Surenne (Dance Music of Scotland), 1852; pgs. 126-127.

X:1

T:Yetts of Muckard [2]

M:C

L:1/8

R:Strathspey

S:Surenne – Dance Music of Scotland, pgs. 126-127  (1852)

Z:AK/Fiddler’s Companion

K:F

f | (c<F)c>A c>F(A<f) | (c<F)c>A ({A}G3)f | (c<F)c>A f>g({f/g/}a>g | f>d({d}c>)A G3f |

(c<F)c>A c>F(A<f) | (c<F)c>A ({A}G3)f | (c<F)c>A f>g({f/g/}a>g | f>d({d}c>)A G3 ||

c | f>g({f/g/}a>)g f>cA>F | (f/e/f/g/) a>c d3g | f>ga>f g>af>c | (d<f)c>A ({A}G3)c |

f>g({f/g/}a>)g f>cA>F | (f/e/f/g/) a>c d3g | (f/e/f/g/) a>f (g/f/g/a/) f>c | (d<f)c>A ({A}G3) ||

 


YEW PINEY MOUNTAIN [1]. Old‑Time, Breakdown (irregular measures). USA, central West Virginia. A Mixolydian/Dorian. AEae or DGdg (Harvey Sampson) tunings. AAB (Krassen, Phillips): AA'B (Reiner & Anick). This melody appears to be related to the well-known breakdown "Blackberry Blossom." Wilson Douglas, a Clay County, West Virginia, fiddler who learned the tune from his mentor French Carpenter, said it took him "five long years" to master his version of "Yew Piney Mountain" (thought he also said this of "Walking in the Parlor"). "Well, that's the meanest one in the bunch! That's a good tune, a hard tune to play. You mostly played it by yourself. Carpenter played it all the time" (from an interview with Nancy McClellan). French Carpenter himself said he had the melody from one "old Uncle John Smacawayne, he's been dead for several years, and he had winned many a contest, and this is the tune I learned from him when I was a boy." Douglas maintains it was among the first tunes composed in the jack pines of the mountains of West Virginia and believed 'old Jack McElwain' (Carpenter's "Smacawayne"), composed the tune. He thought McElwain to have been a Civil War veteran. Although too young to have heard McElwain play, Wilson's father did, and “Uncle Jack” is remembered in the community as a top fiddler, on a par with French Carpenter's famous grandfather, Saul Carpenter. The legendary McElwain was in reality Lewis Johnson “Uncle” Jack McElwain (1856-1938) of White Oak (a tributary of Laurel Creek, near the village of Erbacon, Webster County, West Virginia), and, while too young to have been a Civil War veteran, he did grow up in the post-Civil War era and became an extremely influential fiddler in central West Virginia. Another fiddler who learned “Yew Piney Mountian” in a unique way from McElwain was Dewey Hamrick. It seems that Hamrick’s father, who did not fiddle, walked forty miles to and from McElwain’s house to hear him play, and remembered and whistled the tunes when he got home for Hamrick to learn. Source for notated version: 'Uncle John Smacawayne'/Uncle Jack McElwain via French Carpenter (Clay County, W.Va.) [Krassen, Phillips, Reiner & Anick]. Krassen (Appalachian Fiddle), 1973; pg. 41. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 173. Reiner & Anick (Old Time Fiddling Across America), 1989; pg. 77. Augusta Heritage Recordings AHR-004C, Harvey Sampson and the Big Possum String Band – “Flat Foot in the Ashes” (1986/1994. Learned by Calhoun County, W.Va., fiddler Harvey Sampson from his father). Kanawha Records 301, French Carpenter ‑ "Elzic's Farewell." Rounder C‑11565, Wilson Douglas ‑ "Rounder Fiddle" (1990). Rounder 0047, Wilson Douglas ‑ "The Right Hand Fork of Rush's Creek" (1975). Reed Island Rounders – “Goin’ Home” (2002).

 

YEW PINEY MOUNTAIN [2]. Old-Time, Breakdown. A Mixolydian. Aeae tuning. AABB. Source for notated version: fiddler Pete Sutherland (Vt.) [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 175.

 

YEW TREE [1], THE. Irish, Air (3/4 time). A Minor. Standard tuning. AB. Source for notated version: "Copied from a Munster MS. lent me by the late John O'Daly, the Irish publisher of Anglesea St., Dublin". Joyce (Old Irish Folk Music and Song), 1909; No. 194, pg. 96.

X:1

T:Yew Tree, The

M:3/4

L:1/8

R:Air

S:Joyce – Old Irish Folk Music and Song (1909), No. 194

Z:AK/Fiddler’s Companion

K:A Minor

cB|A2e2e2|dcABcA|G2E2E2|c4 (3dcd|e2a2ag|f2e2 (3ded|c2A2A2|A4||ef|g2g2g2|

g4a2|gedega|gedega|e2a2a2|a4 ag|a2 efge|d2B2cd|e2 efed|c2 ABcA|GEDEGE|

c4 (3dcd|e2a2 ag|f2e2 (3ded|c2A2A2|A4||

 

YEW TREE [2], THE. Irish, Reel. D Major. Standard tuning. AABB. Composed by Mullaghbawn, South Armagh, fiddler and piano player Josephine Keegan (b. 1935). The tune is named for the town of Newry, near where she once lived, derived from the Gaelic name of the place, “Iubhair Cinn Tragha,” or ‘The Yew Tree at the head of the strand.’ Keegan (The Keegan Tunes), 2002; pg. 20.

 

YEWE WI' THE CROOKED HORN, THE. See "Ew(i)e Wi' the Crooked Horn [1]."

 

YKSINAINEN LINTU. AKA and see "The Lonely Bird."[COMMENT1] [COMMENT2] [COMMENT3] [COMMENT4] 

 

___________________________________________________

HOME        ALPHABETICAL FILES       REFERENCES

 

© 1996-2010 Andrew Kuntz

Please help maintain the viability of the Fiddler’s Companion on the Web by respecting the copyright.

For further information see Copyright and Permissions Policy or contact the author.

 


 [COMMENT1]This was Font/Pitch 1,10 - Off.

 [COMMENT2]This was Font/Pitch 1,10 - On.

 [COMMENT3]This was Font/Pitch 1,10 - Off.

 [COMMENT4]Note:  The change to pitch (12) and font (1) must be converted manually.