The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

__________________________________________

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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, Reel. D Major. Standard tuning. 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),  and Samuel, Ann and Peter Thompson give it as “Bayham Abbey” in their Twenty Four Couple Dances for the Year 1793. Elizabeth Sanders Van Rensselaer in her 1782 manuscript (volume II) calls it “He is Long a Coming,” 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. 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) :|

 

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 “Blow the Wind Southerly (Home to My Dear),” "Pot Stick," “Kinloch (of Kinloch),” “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). 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