The Fiddler’s
Companion
© 1996-2010 Andrew Kuntz
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JOHNN - JOHNS |
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, 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] |
JOHNNIE... See "Johnny..."
JOHNNY ALLEN'S REEL (Cor Seagain Mic Ailin). AKA and see “Sean McGlynn’s Fancy,” “The Tinkerman’s Wife.” AKA – “Bean Tinc’earea.”
Irish, Reel. D Mixolydian. Standard tuning. AB. Peter Wood (The Living Note: the Heartbeat of Irish
Music, 1996) gives that Johnny Allen was a legendary fiddle player from
"beyond Feakle (Co. Clare), and he's still talked about even though nobody
can remember directly playing with him." Gearóid Ó hAllmhuráin (1999) says the tune was collected by O’Neill
during a trip to East Clare in 1906, where, in the Sliabh Aughty area, he had
several tunes from fiddler Johnny Allen, a dance musician and contemporary of
Pat Canny and a blind fiddler named Paddy MacNamara. The latter taught music in
the region in the early part of the 20th century. O'Neill (Dance
Music of Ireland: 1001 Gems),
1907/1986; No. 774, pg. 135. Billy McComiskey & Sean
McGlynn (et al) – “The Big Squeeze.”
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Johnny Allen's
M:4/4
L:1/8
R:reel
Z:transcribed by Caroline Foty
K:D
|: A3B AGFE|D=ccB cBAG|A3B AGFE|DGGF
G2FG|A3B AGFE|Dddc defg|
afge fdec|dBAF G2FG :|
|: Adeg fdec|A~d3 AddB|Adeg
fdec|dBAF G2FG|Adeg fdec|Addc defg|
afge fdec|dBAF G2FG :|
X:2
T:Bean Tinc\'eara
T:Johnny Allen's
R:reel
H:Also played as a two-part tune, without the middle part.
D:Liam O'Flynn
Z:id:hn-reel-516
Z:<http://home.swipnet.se/hnorbeck/abc.htm>
M:C|
K:Dmix
~A3B AGFE|DccB cedc|A2BG AGFE|DG~G2 DG~G2|
AGBG AGFG|Add^c defg|afge fded|dcAF G2FG:|
|:Addc AGFG|Addg fdec|Addc AGFG|DG~G2 DG~G2|
Addc AGFG|Adde ~f3g|afge fded|dcAF G2FG:|
|:~A3g fded|dcAB cedc|~A3g fded|dcAF G2FG|
~A3g fded|dcAB cdeg|afge fded|dcAF G2FG:|
"variations"
~A3B AGFE|DccB cdcB|~A3B AGFA|DGGF G2FG|
~A3B AGFG|Adde ~f3g|afge fde^c|d=cAF G2FG|
~A3B AGFA|DccB cedc|AcBG AGFG|DGGF G2FG|
AcBG AGFG|Adde fefg|afge fde^c|d=cAF G2FG||
|:Addc AGFG|Adde fdec|Addc AGFG|DGGF G2FG|
Addc AGFG|Add^c defg|afge fde^c|d=cAF G2FG:|
~A3g fdec|Ad~d2 AGFG|~A3g fde^c|d=cAF G2FG|
~A3g fdec|Add^c defg|f2e^c d2=cA|dBcA G2FG|
~A3g fdec|Ad~d2 Addc|~A3g fde^c|d=cAF G2FG|
~A3g fde^c|d^cde fefg|(3agf ge fde^c|d=cAF G2FG||
JOHNNY ARMSTRONG. AKA and see "Tod(d)lin’ Hame,"
"Bacach," "Robie Donua
Gorach," "The Wagoner's Lad,"
"Clinch Mountain," "The Cuckoo [5]," "Rye Whiskey [1]," "Jack of Diamonds [1]," "The Drunken Hiccups [1]." English,
Waltz. G Major. Standard. One part. The tune has had long and various lives as
a song and instrumental tune in the British Isles and Amercica. Raven (English Country Dance Tunes), 1984; pg.
134.
JOHNNY ARMSTRONG'S
FAREWELL. Scottish. Probably the same as
"Johnny Armstrong" printed by Raven, and similar to "Johnny
Armstrong's Dance," appearing in Stenhouse's collection (though in a
simpler and perhaps earlier form). The melody is a variant of the tune family
that includes "The Old Head
of Denis," "Rock Island Line," "Kennet's Dream," and numerous other
ballads, hymns and airs. It was later used by Robert Burns in Johnson’s Scots Musicial Museum for Child 169
"Johnny Armstrong" the ditty "Todlin Hame" (Cazden, et al,
1982).
JOHNNY BLEVIN'S TUNE. American, Two‑Step (6/8 time). USA, Arizona. D Major. Standard
tuning. AABB. Kartchner learned the tune from fiddler Johnny Blevins, "who
used to spell us at Holbrook dances, 1902‑8." Source for notated
version: Kenner C. Kartchner (Arizona) [Shumway]. Shumway (Frontier Fiddler), 1990; pg. 268.
JOHNNY BOOGER. AKA ‑ "Boogerman"?
Old‑Time. USA, Cumberland Plateau region of Tenn./Ky. County 786, Clyde Davenport (Ky.) ‑ "Gettin
Upstairs: Traditional Music From the Cumberland Plateau, vol. 1."
JOHNNY BOOKER. Old‑Time. The
tune is known as a banjo piece and stems from the minstrel era. Gene Winnans mentions
an African-American banjo player named Gus Cannon, who worked medicine shows
from 1914 to 1929. Cannon's first two tunes (learned in "strumming
style") were "Old John Booker You Call That Gone" and "It
Ain't Gonna Rain No More," learned from "Old Man Saul" Russell,
who "just played around the house fro his own amusement." The musical West Virginia Hammons family had
members who played this tune, as did Tygart Valley banjo players (Gerald Milnes,
1999). Marimac 9000, Dan Gellert and Shoofly ‑
"Forked Deer" (1986. Learned from the New Lost City Ramblers).
JOHNNY BOX. AKA and see “The
Hayden Fancy,” “Mary Ann,” “O’Connor’s (Polka).” Irish, Polka.
Breathnach (CRÉ IV); No. 90 (appears
as untitled polka).
JOHNNY BOYLE’S JIG [1]. Irish, Double Jig. Ireland, County Donegal. A popular jig in County Donegal,
recorded by the band Altan. Caoimhin Mac Aoidh remarks that Boyle, a talented
fiddler, was from the townland of Braade, between Carrick and Glencolmcille,
County Donegal, and is still remembered fondly in the locale. His neighbors
were the O'Gara's (whose descendants own and manage a pub in Kilcar, Donegal,
sketched in the Northern Fiddler) and
Boyle himself would have been a contemporary of the late Paddy O'Gara's father
who learned his tunes from Paddy Mhosai McGinley (older brother of the famed John
Mhosai). VIR 41381, Altan – “Blackwater.”
X:1
T:Johnny Boyle's
R:jig
D:Altan: Blackwater
Z:hn-jig-336
Z:transcribed
by henrik.norbeck@mailbox.swipnet.se
M:6/8
L:1/8
K:G
DEG BAG|BdB BAG|c2e dBG|cBc AGE|
DEG BAG|BdB BAB|def gdB|1 cAF GFE:|2
cAF G2g||
|:~b3 ~g3|dgb bag|~a3 ~f3|dfa aga|
~b3 gag|dgb bag|~a3 ~f3|1 dfa g2a:|2
dfa g2f||
~e3 edB|edB gdB|edc BAG|cBc AGE|
DEG BAG|BdB BAB|def gdB|cAF GFE||
JOHNNY BOYLE’S JIG [2]. AKA and see “Con Cassidy’s
(Jig) [1]." Irish, Jig. G Major. Standard tuning. AA’BB’.
X:1
T:Johnny Boyle’s Jig [2]
T:Con Cassidy’s [1]
M:6/8
L:1/8
K:G
g2 f efg|d2 B BAB|c2 A ABc|B2 G GBd|
g2 f efg|d2 B BdB|Aag fef|1g2 g
def:|2 g3 g2 a|:
b2 g gfg|b2 g gfg|a2 f fef|a2 f dga|
b2 g gfg|b2 g gfg|eag fef|1 g3 g2
a:|2 g2 g def|
JOHNNY,
BRING THE JUG AROUND THE HILL. AKA and see “Jimmy Johnson
Pass that Jug Around the Hill.” Old‑Time, Breakdown. USA; Missouri,
Nebraska, West Virginia. A Major. Standard tuning or AEae. ABCC. A member of
the widespread “John Brown’s Dream”/”Little Rabbit” family of tunes that apparently
originated in the Blue Ridge region of Appalachia and became widespread. The
tune was one of ‘100 essential Missouri
tunes’ listed by Missouri fiddler Charlie Walden. Also in repertoire of
Missouri fiddler Cryil Stinnett. It was recorded in 1929 by West Virginia
fiddler Clark Kessinger. See note for “Jimmy Johnson Pass that Jug Around the
Hill.” Bill Stepp and John Salyer called the tune Old Hen Cackle. Source for notated version: Bob
Walters (Burt County, Nebraska) [Christeson]. R.P. Christeson (Old Time Fiddler’s Repertory, vol. 1),
1973; pg. 13. Document DOCD-8010, Clark Kessinger.
X:1
T:Johnny Bring the Jug (Around the Hill)
M:2/4
L:1/16
Q:122
S:Cyril Stinnett
R:Reel
A:Missouri
B:transcribed in OTFR as tune #16
N:Taken from the playing of Cyril Stinnett and
Dwight Lamb
H:Cyril mentioned this tune as having been
played by Casey Jones, a
H:Missouri and Iowa fiddler of great renown,
under the then common title
H:of 'Far from Home." Cyril said that people later got to calling
it
H:"Johnny Bring the Jug (Around the Hill).
Z:B. Shull, trans.; R.P. LaVaque, ABCs
K:A
Ac|(ef)ec (BA)cf|e(cB)A B-[c2e2][ce]|(ef)ec
(BA)cf|e(cB)G A2Ac|!
(ef)ec (BA)cf|e(cB)A B-[c2e2][ce]|(ef)ec
(BA)cf|e(cB)G A2:|!
|:([EA][FA]| [A2A2])A(c BA)c(B|Ac)B(A
cB)AF|(EF)Ac (BA)c(B|Ac)BA [F2A2][E2A2]|!
[(FA][A2A2)](c
BA)cB|(Ac)BA [c2e2][ce][ce]|(ef)ec (BA)cf|1e(cBG) A2:|2e(cBG)
A3|!
|:(e|f2)a2 a3(a|b2)a2 (ab)a(e|f2)a2
(ab)(af)|e2[c2e2] [c3e3]e-|!
f2a2
a3(a|b2)a2 (ab)a(e|f2)g2 (ab)(af)|1e2[c2e2] [c3e3]:|2e2[c2e2] [c2e2]|!
JOHNNIE BROOD DA
PRISON DOOR. AKA and see "Jack Brood (Down) da Prison."
JOHNNY BROSNAN’S. See “John Brosnan’s.”
JOHNNY BY GOLLY! Irish, Hornpipe. D
Major. Standard tuning. AABB. Composed
by Falmouth, Massachusetts, musician and writer Bill Black in memory of the
late Johnny McGreevey of Chicago. Black (Music’s
the Very Best Thing), 1996; No. 30, pg. 14.
X:1
T: Johnny by Golly!
C: © B.Black
Q: 300
R: hornpipe
M: 4/4
L: 1/8
K: D
E | DB,DE FEFG | AF (3ABc defd | egfe dBAB | dF (3FEF ECA,C |
DB,DE FEFG | AF (3ABc de f2 | egfe dBFB | AGEC D3 :|
A | BABd cAce | dBcA Bcde | fabf aece | dAFA B2 FA |
BF (3FFF cA (3AAA | dcde fbaf | ecAc dBFB | AGEC D3 :|
JOHNNY CAN'T DANCE (Petit Jean Peut Pas Danser).
Cajun, Two-Step (4/4 time). USA, southwestern Louisiana. A Major. Standard
tuning. AABB. The tune devolved into Cajun repertoire, maintains Leopold
Francois (referenced by Raymond Francois, 1990), via "folk
processing" from an elementary school song book piece called "The
Rabbit Stole a Pumpkin." Source for notated version: Aldus Roger (La.)
[Francois]. Francois (Yé Yaille Chère!),
1990; pg. 389. La Louisiane Records LL-LP107, Aldus
Roger.
JOHNNY COAKLEY. The elderly Maine fiddler Dunham was Henry Ford's champion fiddler in
the 1920's.
***
Mellie Dunham. Photograph courtesy of David Sanderson, Maine
**
Victor 20537 (78 RPM), Mellie Dunham, 1926 (appears as one of tune in "Medley of Reels").
JOHNNY, COCK THY
BEAVER. AKA and see "Cock Up Thy Beaver."
JOHNNY COME ALONG. Old-Time, Breakdown. USA, Kentucky. G Major.
Standard tuning. ABB (Titon): AABB (Phillips). “Johnny Come Along” is a tune
whose only source is Clyde Davenport. The tune is mistakenly printed in the Phillips Collection of American Fiddle Tunes,
Vol. 1 (1994, pg. 87) under the title “Five Miles Out of Town.” Source for
notated versions: Clyde Davenport (Monticello, Wayne County, Ky.), who learned
the tune from his father, Will Davenport [Phillips, Titon]. Phillips (Traditional American Fiddle Tunes), Vol.
1, 1994; pg. 126. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 78,
pg. 106.
JOHNNY COPE [1] (Seanin Ua Copa). AKA and see "Fye to the Coals in the Morning," "General Coope." Scottish (originally), Canadian; Reel, Hornpipe or March: American, March (2/4) or Polka. Canada, Prince Edward Island. G Mixolydian/Minor (Aird, Gatherer, Johnson, O'Neill/1915): A Dorian (Cranford, Plain Brown): A Minor (Johnson/2003, O’Farrell): B Minor (Miller & Perron). Standard tuning. AB (Bayard): AABB (Johnson/2003, Miller & Perron, O'Neill/1850, Perlman, Plain Brown, Roche, Winstock): AABBCCDD (Aird, Gatherer, O’Farrell): AABB'CCDDEEFFAABB' (Johnson). The tune is still played by Scottish regiments as their reveille. It is a satirical melody which commemorates the 1745 Jacobite rebellion when Sir John Cope (d. 1760) and the English were defeated by the Scots under Bonnie Prince Charlie at the Battle of Prestonpans, on the 22nd of September, 1745. In 1745, when Prince Charles landed in the highlands, Sir John was commander in chief in Scotland and he bravely resolved to march into the Highlands to oppose him. Cope was ill-prepared and outnumbered however, and soon retreated in the face of opposition in order to regroup. The rebels meanwhile secured Edinburgh and when they learned that Cope was marching to the city’s relief they marched to meet him. Both armies neared each other at Prestonpans late in the day, separated by marshy ground, and it was resolved to wait until the next day to begin hostilities. During the night however, Prince Charlie was appraised by one of his troops that a passage or ford was to be had through the marshy ground and the rebels resolved to filter through at night and take the English forces by surprise in the morning. This was effected and the surprise was complete. Half awake and utterly bewildered, Cope’s troops could make no effective resistance, and in a few minutes were in headlong flight. Only one round of ammunition was fired, and not one bayonet was stained with blood. Few except the cavalry made good their escape, the whole of the infantry being either killed or take prisoners. A later court of inquiry was convened to look into the debacle, though the result was that the common troops were blamed for the rout and Cope and all his officers were exonerated. Recently, some historians have concluded that Cope was in fact not to blame for the defeat, and is undeserved of the scorn accorded him by the famous song.
***
The song
lyrics and perhaps the music (the song is sung to the first two parts of the
instrumental version) were written by Adam Skirving, an extremely literate East
Lothian cultivator whose fields were tramped by the passage of the armies on
the day of the battle. [There is a story that one of Cope’s English officers
took offense to Skirving’s verses and desired to challenge him to a duel;
Skiriving’s comment on hearing the threat was "Let him come up here. If I
can fecht him, I will. If not, I'll rin awa' just like he did."] Johnson
(1983) notes the tune was unknown prior to 1750, but Bayard (1981) identifies
"Johnny Cope" as a version of the older tune "Fye to the Coals
in the Morning." The tune appears with variations by an anonymous but
skilled local composer in the Gillespie
Manuscript of Perth in 1768, and also in the McLean and Trotter
manuscripts. A song by the title “Johnny Cope” is found in James Oswald’s Caledonian Pocket Companion, published
in London in 1760 with the alternate title “John Cope Trode the North Riding”
(the North Riding is a section of Yorkshire). It appears in O’Farrell’s, Vol.
III (1810-20), pg. 51. O'Neill reports that a footnote in Wood's Songs of Scotland states that this old
air originally consisted of one strain which was subsequently elaborated by the
addition of a chorus or burden of a silly song; adapted to it was the first strain
repeated an octave higher. Bayard (1981) agrees with Graham, and notes
(similarly with Wood) that the first part was the original strain added to in
the second strain in instrumental versions by one melody, and in vocal versions
usually by a strain resembling the Scots tune "Balquhidder Lasses." O'Neill
snidely suggests that although it was "claimed as Scotch, is in the Irish
style and known all over Ireland;" the veracity of this is highly questionable
for the tune closely follows "passamezzo antico" form, which was a
particular style of stock chord progression imported from 16th century Italy
and popular in England and Scotland in the 16th and 17th centuries. Bayard
(1981) sees some resemblance between the first part of "Johnny Cope"
and the second of the American tunes "Tennessee
Wagoner," "Keep Off the
Grass," and "Mississippi
Sawyer;" he wonders if they are derivations. Similarly he sees
resemblance between the second strain and the American collections of "Paddy on the Handcar." He also
sees some resemblance between a "simple, fundamental strain" of Cope
and some elaborated Irish hornpipe tunes, notably "The Groves" and "The Drunken Sailor" (they use
the "Balquhidder" strain version plus some added parts). There is a
legend that has been collected among Protestant Irish and fifers in
Pennsylvania (Bayard, 1981) that has (falsely) the person of Johnny Cope as a drummer
boy in the Orange Irish forces who falls asleep on his watch on the very night
of a surprise attack by the Catholic army. He was awakened just in time to
sound the alarm by some birds pecking at some crumbs scattered on his
drumhead--Bayard astutely points out that this story parallels the legend of
the Capitoline geese, whose cackling awakened the Roman sentries in time to
repel an ancient attack. As late as the mid‑twentieth century these
lyrics, based on the Scots words, were to be heard in American folk tradition
sung to the tune:
***
Hey Johnnie Cope, are ye wakin' yet,
And are ye're drums a‑beatin' yet? (Bayard)
The Scots chorus goes:
Hey Johnie Cope are ye wauking yet,
Or are ye sleeping I would wit;
O haste ye get up for the drums do beat,
Of fye Cope rise in the morning. (Robert Burns)
***
Paul
Stewart Cranford wrote about Cape Breton versions of “Johnnie Cope” for Cape
Breton’s Magazine in the 1980’s—there are three common settings played by
musicians on the island. He identified a pipe setting in the key of B Minor and
a six-part G Minor setting first recorded on a 78 RPM by Margaree fiddler Angus
Allan Gillis that proved influential among older Cape Breton fiddlers and is
still the most often heard. A third version, in A Dorian, is from the playing
of Mary MacDonald. MacDonald’s daughter, Mary Jessie MacDonald, a piano player
now living in Boston, contributed two extra turns to the tune, and this
‘enhanced’ version is proving popular with younger Cape Breton fiddlers.
MacDonald’s setting is somewhat similar to the Scottish ten-part setting in
Keith Norman MacDonald’s Gesto Collection (1895).
***
Beethoven arranged the melody for
string quartet to accompany a vocal version of the tune around 1800. The tune
is still used as a reville by Highland regimental pipers today. Aird’s and
O’Farrell’s versions are identical, save for the key change. Sources for
notated versions: McLean Collection
(1772, pg. 23) [Johnson]; The Repository
of Scots and Irish Airs (1799) [O'Neill]; Hiram Horner (fifer from
Westmoreland and Fayette Counties, Pa., 1960) [Bayard]; Mary MacDonald (Cape
Breton) [Cranford]; a c. 1847 music manuscript by Ellis Knowles, a musician
from Radcliffe, Lancashire, England [Plain Brown]; Dr. John Turner,
director of the Jink and Diddle School of Scottish Fiddling, held yearly in
Valle Crucis, North Carolina [Johnson/2003]. Aird (Selection
of Scotch, English, Irish and Foreign Airs), vol. II, 1785; No. 52, pg. 19.
Bayard (Dance to the Fiddle), 1981; No. 396, pg. 378. Buchan (101 Scottish Songs). Cranford (Cape
Breton’s Magazine), c. 1980’s. Gatherer (Gatherer’s Musical Museum), 1987; pg. 14. Johnson (Scottish Fiddle Music in the 18th Century),
1984; No. 38, pg. 97. Johnson (A Twenty Year Anniversary Collection),
2003; pg. 2. Johnson (A
Further Collection of Dances, Marches, Minuetts and Duetts of the Latter 18th
Century), 1998; pg. 6. Kohler's
Violin Repository (1881‑1885). MacDonald (The Gesto Collection).
Miller & Perron (101 Polkas),
1978; No. 42. O’Farrell (Pocket
Companion, vol. III), c. 1808; pg. 51. Oxford Song Book, volume 2. Plain Brown Tune Book,
1997; pg. 43. Winstock (Songs and Music
of the Redcoats), 1970. Rounder CD 11661-7033-2,
Natalie MacMaster – “My Roots Are Showing” (2000).
X:1
T:Johnny Cope [1]
Z:transcribed by Henrik Norbeck
M:2/4
L:1/8
K:Am
E | A>A cd | eA AA | G>G GB |
dd BG |
cc dd | eg BB/B/ | Ae/e/ dB/B/ | A2
A:|
|: z | cc/c/ cc/c/ | ce g>c | Bc
d>d | Bc d>d |
cc dd | eg B>B | Ae/e/ dB/B/ | A2 A:|
X:2
T:Johnny Cope [1]
M:C
L:1/8
S:Aird, vol. II (1785)
Z:AK/Fiddler’s Companion
K:Amin
E2 | A4 ABcd | e2 A2 A2 GE | G4 GABc | d2G2 BAGE | A4 ABcd |
E2A2 BAGE | G2 g2 edcB | A4 A2 :: AB | c3d c2G2 | (cd)(ef) g4 |
B2G2d2G2 | Bcde {e}d2 cB | cBcd efga | gedc B2 AB | G2 g2 edcB |
A4 A2 :: eg | a4 a2 (ga) | b2a2 a2 ge | dega g3a | b2ab g2eg | a4 a2ga |
b2a4 ge | g2d2 edcB | A4 A2 :: E2 | AGAB cBcd | e2A2 BAGE |
GFGA
B2 ge | dedc B2 AG | cBcd efga | gedc B2 AB | G2g2 edcB | A4 A2 :|
X:3
T:Johnny Cope [1]
M:4/4
L:1/8
S:Doug MacPhee, piano
R:march
N:play slowly
B:Cape Breton's Magazine no. 43
(1980s)
Z:Paul S. Cranford
K:Ador
A4 A2 Bd|e2 eg B2 AB|G4 G2 Bc|d2 g2
B2 AG|
c2 cc d2 dd|e2 (3efg B2 AG|1AB g2 e2
dB|A4 A2 GE:|2 A2 eg e2 dB|A4 A2||
eg|a4 a2 ga|b2 a2 a2 ge|g2 d2 g2 dg|b2
a2 a2 ge|
a4 a2 ga|b2 gb a2 ge|d2 Bd e2 gB|A4
A2:||
G2|E<AAB ABcd|edcB A2 Ac|B2 AB
GABc|
dcBA G2 (3GAB|c2 cc d2 (3ddd|e2 g2
B2 AG|
1A<Be<g e2 dB|A4 A2:|2
AAA<g e2 dB|A4 A2||
eg|aga<b agab|c'bag a2
ef|gdg<b gdg<b|dgbg a2 eg|
aga<b agab|c'bag a2 ge|d2 Bd e2
gB|A4 A2:||
AB|cGE<G c>Bc<d|e<cgc B2
AB|GEG>E GABc|
dcBA G2 AB|cGE<G cBcd|e<cgc B2
AG|AB g2 e2 dB|A4 A2:||
F2|EA,>CA, EA,A>A,|E<A,CA
EA,A>A,|D<G,B,G, DG,GG,|
D<G,B,A, G,B,AG|E<A,CA,
EA,AF|E<A,CA, EA,A>E|FDFe d<BgB|A4 A2:||
AB|cBcd edc<e|gfg<a gedc|B<GdG
B<GdG|cdef gfed|
c<Gcd edce|gfga
gedc|1B<Gd>G edBG|A4 A2:|2 Bdgd edBG|A4 A2||
X:4
T:Johnny Cope
M:C
L:1/8
Q:288
S:San Francisco Scottish Fiddlers Newsletter June 1997
N:From the playing of Buddy MacMaster
A:Cape Breton
Z:Steve Wyrick 10-22-01
K:Ador
AG|:"Am"{E}A4AB cd|e2A2{A}BA GE|"G"{E}G4GA Bc|{c}d2G2BA
GE|!
"Am"{E}A4AB cd|{d}e2A2{A}B2AB|"G"G2gf ed
cB|1"Am"A4A3G:|2"Am"A4A2B2||!
P:Var. I
|:"C"c3dc2C2|cd efg4|"G"B2AGG2d2|Bc
dcB2AG|"Am"A2c2"G"B2d2|!
"Am"c2e2"G"B2AG|"Em"E2gf ed
cB|1"Am"A2-A3A AB:|2"Am"A4Ad^cB||!
P:Var. II
"Am"A2E2AB cd|"C"ed cB "G"dc BA|G2D2GA Bc|dB gd
cB AG|"A"A2GF "E"ED^CB,|"A"A,B, ^CDE2DC|!
"D"D2F2"E"ED ^CB,|"A"A,4A,d
^cB|"Am"A2E2AB cd|ed cB "G"dc BA|"G"G2D2GA Bc|!
"G"dB gd cB AG|"A"{G}A2GF "E"ED
^CB,|"A"A,B,
^CDE2DC|"D"D2F2"E"ED^CB,|"A"{B,}A,4A2z2||!
P:Var. III
|:"Am"a4a2ga|{a}b2a2{a}ba
ge|"G"{e}g4g2ga|{a}b2agg2b2|"Am"a4a2ga|!
"G"{a}b2g2"A"a2e2|1"D"f2df "E"ed
^cB|"A"{D}A4A4:|2"D"F2DF
"E"ED^CB,|"A"A,4A,d ^cB||!
P:Var. IV
|:"Am"AE AB A Bcd|"C"ef ed cB Ac|"G"BG dG eG
dG|"G"Bd gd cB AG|"Am"cd cB AGAB|!
"Am"AB cd ed eB|df ga "Em"ge
dB|1"Am"A4Ae^cB:|2"Am"A4A2e2||
P: Var. V
"A"a3/2e/2 a/2^c'3/2 a3/2e/2 a/2c'3/2|"A"E3/2A/2 ^c3/2a/2
^c'3/2a/2
e3/2f/2|"G"g3/2d/2 g/2b3/2 g3/2d/2g/2b3/2|"G"D3/2G/2
B3/2g/2 b3/2d/2 g3/2B/2|!
"C"e3/2c/2 e/2g3/2 "G"d3/2B/2 d/2g3/2|"Am"c3/2A/2
c/2g3/2 "G"d3/2B/2
d/2g3/2|"C"e3/2c/2 "G"d3/2B/2 "Am"c3/2A/2
"Em"B3/2G/2|"Am"{G}A4A2e2:||
JOHNNY COPE [2].
Irish, Hornpipe. A Dorian (Bayard, Breathnach, Moylan, Perlman, Roche): A Mixolydian
(O'Neill/1850). Standard tuning. ABBCC'CC'DD'EE' (Moylan): AABBCCDD'EEFF
(O'Neill/1915): AABB'CC'DEEFF (Breathnach): AA'BBCC'DDEE'FF (Taylor).
Breathnach (1985) remarks this hornpipe was borrowed from Scotland, and is
sometimes called "General Coope" in Ireland. A set of variations
printed in Kohler's Violin Repository
(Edinburgh, late 19th century) has been suggested as the source for Padraig
O'Keeffe's version of the tune, as well as the G Minor hornpipe "Drunken
Sailor." O'Keeffe, a famous fiddler from the Sliabh Luachra region of the
Cork/Kerry border in the early-mid 20th century, is often credited with
devising the variations, however. Interestingly, Caoimhin Mac Aoidh, who has
edited over 1,000 tunes in manuscript form written by O'Keeffe, says that the
Kerry master's written version was only a two-part tune. Rather than finding
variations in Kohler's or other books, it is thought by Sliabh Luachra fiddlers
that O'Keeffe either wrote the variations or attached bits of other tunes to
round out his version. Paul de Grae writes: "Seamus Ennis learned the
six-part 'Johnny Cope from Padraig, and I believe it was from Seamus that Liam
O'Flynn got it. Julia Clifford also learned
it from Padraig." Alan Ward writes:
***
Of
those we visited [in Sliabh Luachra in 1976] the only other local
musician
with a version was Joe Conway who played the standard
march
as a 'quadrille polka' and also the last two parts of Padraig's
version
as a barn dance which he named 'The Doon Roses'. Several
of
Padraig's pupils had not heard of it when we asked them, and in
fact
Julia may be the only one still playing it regularly.
***
An interesting alternative to O'Keeffe's source
for the tune is suggested from a story told by piper Tim Britton, confirmed by
Paddy O'Brien, related to him by a Knock-na-Gree pub owner, Dan Connell.
O'Keeffe, the tale goes, learned his six-part hornpipe "Johnny Cope"
from his uncle Cal Callaghan, the source for many tunes in O'Keeffe's repertoire. Callaghan lived for several decades in a
Scottish community in southern Ohio, USA, before returning to Ireland, and
brought back several tunes learned from Scots neighbors, which he passed on to
his nephew, "Johnny Cope" among them.
***
O’Neill (1915) notes: “A footnote in
Wood’s Songs of Scotland states that
this old air originally consisted of one strain. The chorus or burden of a
silly song, adapted to it was the first strain repeated an octave higher. The
simple air although claimed as Scotch is in the Irish style and known all over
Ireland. The (setting printed by O’Neill) without the harmonization was copied
from The Repository of Scots and Irish
Airs (1799).”
***
Sources for notated versions: ;
fiddler Seán Keane (Ireland) [Breathnach]; accordion player Johnny O’Leary
(Sliabh Luachra region of the Cork-Kerry border), who identified his rendition
as fiddler Padraig O’Keeffe’s version [Moylan]; Julia Clifford (Sliabh Luachra,
County Kerry), who also learned her version directly from O’Keeffe [Treoir];
Peter Chaisson, Jr. (B. 1942, Bear River, North-East Kings County, Prince
Edward Island) [Perlman]. Breathnach (CRÉ
III), 1985; No. 208, pg. 95. O'Neill (1915 ed.), 1987; No. 112, pg. 63.
O'Neill (Music of Ireland: 1850 Melodies),
1979; No. 1812, pg. 340. Perlman (The Fiddle Music of Prince Edward Island),
1996; pg. 85. Roche Collection, 1983,
Vol. 3; No. 202, pg. 78 and No. 196, 2nd tune, 4th figure. Treoir, Vol. 7, No. 3. Taylor (Where’s
the Crack?), 1989; pgs. 26‑27. Gael‑Linn
Records CEF 069, Séan Keane ‑ "An Fhidil II" (1980). RTE CD174,
“The Sliabh Luachra Fiddle Master Padraig O’Keeffe” (recorded by Seamus Ennis
in 1949). Shanachie 79011, Planxty – “Cold Blow the Rainy Night.” Tara 2006,
“Noel Hill and Tony Linnane” (1979. Hill learned the tune from Tony MacMahon
and Liam O'Flynn). Topic 12T311, John & Julia Clifford - “The Humours of
Lisheen.”
X:1
T:Johnny Cope [2]
M:4/4
L:1/8
C:Traditional
S:Padraig O'Keeffe
R:Hornpipe
N:Recorded by Seamus Ennis, January
29, 194
D:From RTE 174 "The Sliabh
Luachra Fiddle Master
K:ADor
d2{ed}B || A2AB A2Bd | efed B2AG |
EG{A}GE GABd | {e}dBGA {d}BAGB |
A2AB A2 (3Bcd | e2A2 {d}BAG2 | (3efg
fa gedB |1 {d}BAAB AGEG :||2 {d}BAAB A2AB ||
c2{d}cB c2G2 | cdef gedB | cBAc e4 |
cdec dB{d}BG |
cBcd c2G2 | cdef gedg | ea{b}ag
ed{e}dB | A2A2 A2AB :||
c2cB ABAG | ABcd (3efg dc | BG~G2
dG~G2 | (3Bcd ec dB{d}BG |
c2cB ABAG | ABcd efed | ea{b}ag
ed{e}dB |1 A2AB A2AB :||2 A2AB A2
(3Bcd||
ea~a2 a2ga | b2a2 {b}aged | eg{a}ge
gaba | gaba {b}aged |
ea~a2 a2ga | b2a2 {b}aged | d2ef {a}gedB | {d}BAAB A2Bd :||
e4 edBd | efaf {a}fedB | d4 dBAB
| d2fd edBd |
e4 {a}fedf | efaf {a}fedB | ABdf
eBdB |1 A2AB A2Bd :||2 A2AB A2 fg ||
a2e2 ef~f2 | a2e2 ea~a2 | f2d2 ~d3e
| f2d2 d2 fg |
a2e2 {a}fedf | efaf {a}fedB | ABdf efdB |1 {d}BAAB A2 fg :||2 {d}BAAB AGEG
||
X:2
T:Johnny Cope [2]
M:C|
L:1/8
R:March
S:O’Neill – O’Neill’s Irish Music (1915)
Z:AK/Fiddler’s Companion
K:G Minor
G2 (G/A/B/c/) dG (A/G/)(F/D/) | F2
(F/G/A/B/) cF (A/G/)(F/D/) | G2 G/A/B/c/ dG AF/G/ | Ff d/c/B/A/ G2G2 :|
|: B2 BB, (B/c/)(d/e/) f2 | A(G/F/)
Fc (A/B/)(c/B/) A(G/^F/) | GBAc Bd A(G/F/) | Ff d/c/B/A/ G2G2 :|
|: GG, G/A/B/c/ d/c/B/A/ c/B/A/G/ |
FC F/G/A/B/ c/A/f/c/ B/A/G/F/ | G(F/E/) D/C/B,/A,/ G,/A,/B,/C/ D(C/B,/) |
CE D/C/B,/A,/ G,2 G,2 :: g2
“tr”gf/g/ ag a/g/f/d/ | f2 ~fg ag/f/ fa | g2 “tr”gf/g/ a^fgd |1 e(c/e/)
d/c/B/A/ G2G2 :|2
E(C/E/) D/C/B,/A,/ G,2 G,2 |:
G/^F/G/A/ G/A/B/c/ d/e/d/c/ B/A/B/G/ | A/F/c/F/ d/F/c/F/ A/c/f/c/ B/A/G/F/ |
B/c/B/A/ G/^F/G/D/ G/A/B/c/ d/c/d/B/
| c/d/f/g/ f/d/c/A/ G2G2 :: g/d/g/b/ g/d/g/b/ G/B/d/g/ b/g/d/B/ |
f/c/f/a/ f/c/f/a/ F/A/c/f/ a/f/c/A/
| d/B/d/f/ c/A/c/^f/ B/G/B/d/ c/A/c/e/ | d/B/c/A/ B/G/A/^F/ G2 G,2 :|
JOHNNY COPE [3]. Old‑Time, Breakdown. USA, West Virginia. A Mixolydian. Standard
tuning. AABB (Phillips, Songer): AA'BB' (Krassen). Krassen says Franklin George
probably learned this tune from his grandfather, William Washington George, and
that the original title was not remembered. The tune bears some resemblance to
an "obscure piping version" of "Johnny Cope." According to
Alan Feldman, the ‘B’ part of the F. George tune has some phrases which are
reminiscent of the last part of the Irish 6-part tune, as well as some affinity
to Scottish versions. General Johnny Cope led the English forces routed by the
Scots at the battle of Prestonpans, prior to their subsequent defeart at
Culloden. Sources for notated versions: W. Frank George (Bluefield, W.Va.)
[Krassen]; Joe Herrmann with the Critton Hollow String Band (W.Va.) [Phillips].
Krassen (Masters of Old Time Fiddling),
1983; pg. 108‑109. Phillips (Traditional
American Fiddle Tunes), Vol. 1, 1994; pg. 126. Songer (Portland Collection), 1997; pg. 114. Flying
Fish 355, Critton Hollow String Band ‑ "By and By" (1985).
Folkways FTS 31009, Ken Perlman ‑ "Clawhammer Banjo and Fingerstyle
Guitar Solos."
JOHNNY COURT THE
WIDDER. Old-Time, Breakdown. D Minor. GDad
tuning. This ditty is sung to the tune:
***
For seven long years, Johnny court the Widder,
For seven long years, and then he didn’t get her.
***
From fiddler Roy Bennett, Battle
Town, Kentucky; via Bruce Greene. Sugar Hill SH/PS
1134, Metamore (Sutherland, Dalglish & Larson) – “Great Road” (1987).
JOHNNY COX. AKA - “Johnny of Cockalie.” Irish, Air (2/4 time). B Flat Major.
Standard tuning. One part. Source for notated version: “From E. Clements Esq.”
[Stanford/Petrie]. Stanford/Petrie (Complete
Collection), 1905; No. 743, pg. 186.
X:1
T:Johnny Cox
M:2/4
L:1/8
N:”Andante con spirito”
S:Stanford/Petrie (1905), No. 743
Z:AK/Fiddler’s Companion
K:B_
F | BBB F/G/ | _AA G z/F/ | F/G/
B/c/ dc/B/ | c3 .F/.F/ | Bd/d/ ef |
e/d/ c/B/ GF/G/ | B/B/B DF/G/ | _A2
G z/G/ | F/G/ B/c/ dc/B/ | B3 ||
JOHNNY CRONIN’S FANCY. See “Johnny Cronin’s Reel.”
JOHNNY CRONIN’S REEL. AKA and see “Cronin’s Reel [1],”
“Johnny Cronin’s Fancy,” “Kitty O’Neill [4].” Irish, Reel. G
Major. Standard tuning. AABBCC. The tune was either composed or popularized by
the late Gneevguilla, County Kerry, fiddler Johnny Cronin (who lived for some
many years in the Bronx, New York), who passed away in 1991. Paddy Ryan,
writing in Treoir, says the tune is
often paired in sessions with “Johnny Cronin’s” after the influential recording
of the set on a 1973 Comhaltas EP recording of Portroe, Tipperary, accordion
player Paddy O’Brien with Séamus Connolly of Killaloe, called “The Banks of the
Shannon.” A simpler version of the reel, says Ryan, is O’Neill’s “Kitty
O’Neill,” associated with Johnny’s brother, Paddy Cronin. New York accordion
player Jim Coogan relates this story about Cronin:
***
I was with Denis - Jackie Riordan - Joe Mills and Frank Wearity (they
are all
gone now) one Sunday afternoon when in comes Johnny Cornin (rip) with a
full
load of booze taken on. Johnny, naturally, was broke and was trying to
borrow
money and was hard after Denis (knowing he would get it) who shouted
down at
him (Denis was a big man) in the lovely sing song Kerry accent: “Ooooo - who takes a
fit of working everry six months - vants a five dollar bill from me? How
do oo intend to
pay me back?”
***
Another Cronin story Jim tells is
this:
***
Joe Burke told me in Milwaukee that when Johnny got his settlement from
the injury
he received while working construction (somewhere around 8 grand) he
hired a cab for
the day and took Joe up to Alexander's Department store and went in and
got outfitted
out - from underwear - shoes - socks pants shirt -jacket etc. - he put
them on in the dressing
room - pulled off the price tags off and went to the cashier and paid
for what was on his
back - then told cashier – “If ye know of some poor soul can use the
clothes I left in the
dressing - give them to him...”
***
They then went to all the Irish bars in the Bronx and John would leave
money
for everyone he owed in an envelope as he knew they would be frequenting
-
Joe said that after they were all done and John paid the cab he had less
than
$1,000 left - which probably
lasted him about a week.
***
Joel Shimberg remembered this tale:
***
Danny Collins told me (years ago, so details may be a bit hazy) that a
bunch of Chicago
guys got a bit of the wet devil in them once and telegraphed Johnny
Cronin that Paddy
Cronin (who I think was visiting in Chicago at the time) had died and
that the funeral
would be in three days. He said that Johnny had returned from Boston and
had told Danny
"It was a long trip up there, and do you know, the son of a bitch
wasn't even dead!"
***
Black (Music’s the Very Best Thing), 1996; No. 266, pg. 143. Bulmer &
Sharpley (Music from Ireland), 1976,
vol. 4, No. 40. Mallinson (Enduring),
1995; No. 3, pg. 2 (appears as “Johnny Cronin’s Fancy”). Miller (Fiddler’s Throne), 2004; No. 183, pg.
116. Mulvihill (1st Collection),
1986; No. 37, pg. 10 (appears as “Cronin’s Reel”). Treoir, vol. 35, No. 3, 2003; pg. 28. Vallely (Armagh
Pipers Club Play 50 Reels), 1982; No. 23, pg. 13.
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T: Johnny Cronin's
Q: 350
R: reel
Z:Transcribed by Bill Black
M: 4/4
L: 1/8
K: G
EF | G2 FG EGDE | GFGA Bcdg | eB B2 edBA | GBAG EGDE |
G2 FG EGDE | GFGA Bcdg | eB B2 dBAF | GBAF G2 :|
Ac | Bdd^c d2 d=c | Bd d2 efgd | Bd d2 dBGB | cABG FGAc |
Bdd^c d2 d=c | Bd d2 efga | bgaf gedB | cBAG FG :|
Ac | BGGF G2 DG | BG G2 Bdgd | BG G2 GBAB | cABG FGAc |
BGGF G2 DG | BG G2 Bdga | bgaf gedB | cBAG FG :|
X:2
T:Johnny Cronin’s
M:4/4
L:1/8
R:Reel
S: Treoir, vol. 35, No. 3, 2003; pg. 27.
Z:AK/Fiddler’s Companion
K:G
F | G2 FG EFDE | GFGA Bd d2 | eB ~B2 eBdB | GBAG EDB,D |
G2 FG EFDE | G3A Bd d2 | eB ~B2 dBAF | GBAF G3 :: A | Bdd^c d3=c |
Bd d2 efgd | Bdd^c dBGB | cBAG FGAc | Bdd^c d3=c | Bd d2 efga | bgaf gedB |
cBAG FG A :: c | BGGF G3A | BG G2 Bdgd | BGGF G2 AB | cBAG FGAc |
BGGF G3A | BG G2 Bdga | bgaf gedB | cBAG FG A :|
JOHNNY DENNEHY’S. AKA and see “Chalk Sunday,” “Pretty Jane,” “The White Pony.” Irish, Jig. A Major.
Standard tuning. AABB. Máire O’Keefe remarks that the jig comes from the
playing of Maurice O'Keeffe who had it from John Dennehy, a fiddler from the
Farranfore area whose playing was greatly influenced by Tom Billy Murphy the
travelling music teacher of Sliabh Luarchra (Cork/Kerry). The tune appears to
be a version of Joyce’s "Chalk Sunday.” See also “Bill Collins”/”Dan Collin's Father’s Jig.” Gael-Linn CEF 176, Jackie Daly - “Many’s a Wild Night.”
X:1
T:Johnny Dennehy's
D:Jackie Daly, "Many's a Wild
Night"
M:6/8
L:1/8
R:jig
Z:Paul de Grae
K:A
E | A2 B cBc | Ace a2 f | ecA BAF |
BcB BAF |
A2 B cBc | Ace a2 f | ecA BAB | cAA
A2 :||
||: f | ece a2 f | ece a2 f | ecA
BAF | BcB BAF |
A2 B cBc | Ace a2 f | ecA BAB | cAA
A2 :||
JOHNNY DHU. AKA and see "The Beggar Man,"
“Gilderoy [2],” "The Little Beggarman," "The Red Haired Boy."
JOHNNY DOHERTY’S MARCH. AKA and see “Doherty’s March,” “Irish, March. D
Dorian: A Dorian. Standard tuning. AABB. Played by Donegal fiddler John Doherty
on his album “Bundle and Go” as an untitled march.
X:1
T:Johnny Doherty's March
S:Bohola
D:Shanachie 78048 track 2a
N:played with hornpipe-like bounce
M:C
L:1/8
K:DDor
FE | D2 A2 A2 GE | G2 AB cAdD | D2 A2 A2 GE | cEGE CDEC |
D2 A2 A2 GE | G2 AB cAdA | cAGA cdAG | E2 D2 D2 ::
FG | A2 d2 d2 cA | G2 AB cAdD | D2 d2 d2 cA | (3GAc AG EGFE |
D2
d2 d2 cA | G2 AB cAdA | cAGA cdAG | E2 D2 D2 :|**
JOHNNY DOHERTY'S REEL
[1]. AKA and see “All Around the World,” “Cooley’s (Reel) [2],” “The Connemara Rake,” “Doherty’s (Reel) [2],” “Grehan’s,” “John Doherty’s Reel [1],” “Jolly Beggar [2],” “The Knotted Chord [2]," “Matt Molloy’s [1],” “The Mistress,” “Mot Malloy,” “Tinker Doherty’s,” “The Wise Maid [1].”
JOHNNY DOHERTY’S REEL
[2]. AKA and see "Docherty's Reel,” “Doherty’s Reel [1],” “The Gweebarra (Bridge) Reel,” “The Killarney Boys of Pleasure,”
"The New Fashioned Habit."
JOHNNY DOHERTY’S
YELLOW TINKER. AKA and see “The Jolly Tinker [2],” “The Tinker’s Occupation.” Irish,
Reel. Chicago fiddler Liz Carroll recorded the tune under this title. Donegal
fiddler John Doherty (1895-1980) was never called ‘Johnny’ by his intimates,
and preferred to be called John. Shanachie 34013, Liz
Carroll - “A Friend Indeed.”
JOHNNY, DON'T COME
HOME DRUNK. AKA – “John, John, Don’t You Come
Home Drunk,” "Johnny Don't Get Drunk," “Johnny, Johnny, Don’t Get
Drunk,” "Don't Come Home Drunk, Johnny," "Jimmy Don't Come Home
Drunk." Old‑Time, Breakdown. USA; Kentucky, Missouri, Nebraska. D
Major. Standard tuning. AB (Silberberg): AABB (most versions). The melody is
known as a Missouri tune and is one of
‘100 essential Missouri tunes’ listed by Missouri fiddler Charlie
Walden. Some see similarities between this tune and the Irish reel “Miss Mona(g)han(‘s Reel).”
Jeff Titon (2001) believes the tune may have been derived from a temperance
song. Source Owen Chapman (b. 1919) said he thought he might have learned it
after hearing it played on the radio. Sources for notated versions: Bob Walters
(Burt County, Nebraska) [Christeson]; Art Stamper (Ky.) [Phillips]; Stuart
Williams [Songer]; Owen “Snake” Chapman (Whitesburg, Letcher County, Ky., 1990)
[Titon]; Carthy Sisco [Silberberg]. R.P. Christeson (Old Time Fiddler’s Repertory, vol. 1), 1973; pg. 62. Phillips (Traditional American Fiddle Tunes), vol.
1, 1994; pg. 74. Silberberg (Tunes I Learned at Tractor Tavern), 2002;
pg. 76 (appears as “Johnny Don’t Get Drunk”). Songer (Porland Collection), 1997; pg. 115 (appears as “Johnny, Johnny,
Don’t Get Drunk”). Titon (Old-Time
Kentucky Fiddle Tunes), 2001; No. 79, pg. 107 (appears as “Johnny Don’t Get
Drunk”). County 727, John Ashby – “John Ashby and the
Free State Ramblers: Old Virginia Fiddling” (1970). County 779 & County
CD2712, Art Stamper (Ky.) - "The Lost Fiddler" (c. 1982). June Appal
0067, Snake Chapman - "Seedtime on the Cumberland" (1992). Missouri
State Old Time Fiddlers' Association 001, Pete McMahan ‑ "Ozark
Mountain Waltz" (1987). Missouri State Old Time Fiddlers' Association,
Cyril Stinnett (1912-1986) - "Plain Old Time Fiddling."
JOHNNY, DON'T GET
DRUNK. See "Johnny, Don't Come Home Drunk."
JOHNNY DOYLE [1] (Seanin Ua Dobail). AKA and see “I’d range
the world over with my own Johnny Doyle,” “I’d cross the
world over with you, Johnny Doyle.” Irish, Air (2/4 time). A Minor.
Standard tuning. Petrie gives this variant under the title “I’d range the world
over with my own Johnny Doyle.” Source for notated version: “From (the Irish
collector) Mr. Joyce” [Stanford/Petrie]. O'Neill (Music of Ireland: 1850
Melodies), 1903/1979; No. 476, pg. 83.
X:1
T:Johnny Doyle [1]
T:I’d range the world over with my
own Johnny Doyle (Stanford/Petrie)
M:2/4
L:1/8
R:Air
N:”Moderate”
S:O’Neill – Music of Ireland (1903), No. 476
Z:AK/Fiddler’s Companion
K:Amin
ed|cA AG|E2 DF|EA AA|A2 AE|AB cd|ed
ce|dB {d}cA|G3E|
AB cd|ed ce|dB {d}cA|G2 ed|cA AG|AG
ED|EA AA|A2||
JOHNNY DOYLE [2]. Irish, Air (4/4 time). A Minor.
Standard tuning. One part. .” Petrie gives the following, somewhat garbled,
words:
***
There’s one thing between I think it amiss,
He goes to meeting and I go to mass;
I’ll go to Mass along with ...and think it no toil,
For I’d range the world over with my own Johnny Boyle.
***
Stanford/Petrie (Complete Collection), 1905; No. 630, pg.
158.
X:1
T:Johnny Doyle [2]
M:C
L:1/8
R:Air
S:Stanford/Petrie (1905), No. 630
Z:AK/Fiddler’s Companion
K:F
A | d2 CA G>E DE | G2 AB A4 | e2
af g>e dc | d2 cA G4 | e2 af ge dc |
d2 cA G2 (3ABc | d2 cA G>E DE |
G2 A>B A4 ||
JOHNNIE FAA. AKA and see "Lady Cassilis’/Callilles
Lilt." Scottish, Slow Air (4/4 time). G Mixolydian (Johnson, Purser):
A Major (Gow). Standard tuning. ABB (Johnson, Purser): AABB (Gow). The name
Faa, a variant of Faw, was the name of the leading gypsy family of old
Scotland. Unfortunately for the Faa's, gypsys were periodically declared persona non grata in that country and
were formally expelled several times, including in 1609 and again in 1611.
Though this meant they usually removed themselves to the hinterlands, Willa Faa
and three others were hung in that latter year for the crime of having been found
abiding in the realm. Things did not get better soon, for in 1624 Captain
Johnnie Faa and seven others were hung for the same infraction. A popular
ballad (collected as well in England, Ireland and America), "Johnnie
Faa" variants usually tell the story of the elopement of the gypsy with
one Lady Cassilis.
***
The populariser of the melody, an
Italian named Francesco Barsanti, married a Scotswoman and absorbed much of the
musical tradition of his wife's country. Even though the piece had been
previously published in the Skene Mandora
Book of c. 1620 (as "Lady Cassilles Lilt"), Johnson (1983)
believes it unlikely Barsanti knew about that source; rather, as Glen (Early Scottish Melodies) suggests, he
probably notated the tune from folk tradition or perhaps learned it from his
wife. Emmerson (1971) notes William Glen (d. 1824) used the tune as the vehicle
for his song "Waes me for
Prince Charlie" (which parenthetically was requested by Queen Victoria
in 1842 as one of the songs to be included in a recital she attended by singer
John Wilson, a celebrated interpreter of the time of Scots songs). Purser
(1992) gives that the refrain of the tune was borrowed and made famous by
Byron--'Nae mare I'll gang a-rovin, a-rovin in the nicht.' Source for notated
version: Francesco Barsanti (c. 1690‑1772) from his Old Scot Tunes (1742, pg. 6) [Johnson]. Gow (Complete Repository), Part 4, 1817; pg. 11. Johnson (Scottish Fiddle Music in the 18th
Century), 1983; No. 16, pg. 41. Purser (Scotland’s
Music), 1992; Example 17, pg. 124.
X:1
T:Johnny Faa
M:C
L:1/8
S:Gow – 4th Repository (1817)
Z:AK/Fiddler’s Companion
K:A
E2 ~EF A2 (c/B/A/G/)|{G}F>EFA
B3c|E2 EF A(cBA)|F3E E4:|
|:B2 Bc e3f|ecBA A>B (A/B/c)|B2
B>c e2 f>e|(d2c2)B2A2|
B2 B>c e2 f>e|(dc)(BA) AB
{AB}c2|E2 ~EF A(cBA)|F3E E4:|
JOHNNY, FILL UP THE
BOWL (Lion Suas An Cupan A
Seanin). AKA
and see "Johnny, I Hardly Knew
You/Ye." Irish, Air (6/8 time, "spirited"). A Minor.
Standard tuning (fiddle). O'Neill (Music of Ireland: 1850 Melodies),
1979; No. 468, p. 82.
X:1
T:Johnny, Fill Up the Bowl
M:6/8
L:1/8
R:Air
N:”Spirited”
S:O’Neill – Music of Ireland (1903), No. 468
Z:AK/Fiddler’s Companion
K:Amin
A/G/|E2A A2B|c2B c2A|(G3 G2)E|(G3
G2)A|E2A A2B|c2B c2d|(e3 e2)c|(e3 e2) c/d/|
e2e edc|d2d d2B|c2c cBA|B2B B2
c/d/|e2z d2z|c2z B2z|EAA A2^G|(A3 A2)||
JOHNNY FROM GANDSEY. AKA and see "John o'
Badenyond." Irish, Scottish; Reel. A Minor. Standard tuning (fiddle).
AB. Joyce's version was collected from his own experience as it was a favourite
reel learned in his childhood in Limerick in the early 19th century. Bayard
(1981) believes it may have been derived from the older tune "Logan Water." See also Arty McGlynn’s
tune “Lead the Knave,” remarkably
similar. Joyce (Old Irish Folk Music and
Songs), 1909; No. 21, pp. 13‑14.
X:1
T:Johnny from Gandsey
M:C
L:1/8
R:Reel
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:Amin
AG|E2A2 AcBA|GEDE G2G2|EA A2
cAGE|GAcd e2a2|agea aged|
cAGA c3d|efed dcAG|EDEG A3||a|agea
agea|age^f g2 gg|aged dcA^F|
GAcd e2a2|agea aged|cAGA cBcd|efed
dcAG|EDEG A2||
JOHNNY GALBRAITH. Scottish, Strathspey. C Major. Standard tuning (fiddle). AABBCCDD'.
MacDonald (The Skye Collection),
1887; p. 160.
X:1
T:Johnny Galbraith
M:C
L:1/8
R:Strathspey
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:C
G,|C<C~E>G c>GA>c|G<E
c<e f/e/d/c/ d<e|C<C ~E>G c>G A<c|f/e/d/c/ A/c/G/E/ Gcc:|
|:e|g>e c>G A<A
a2|g>c’e>g c<e G2|g>e c<G A<A a2|(a/g/)f/e/ (f/e/)d/c/ G<c
c>e:|
|:C>GE>c
G<ge<c|D>AF>A D>gd>B|C>GE>c G<ge<c|(f/e/)d/c/
(A/c/)G/E/ Gcc<e:|
|:C>ge>c (3Gce
(3gec|D>fd>B (3GBd (3fdB|(C>ge>c (3Gce (3gec| (f/e/)d/c/ (A/c/)G/E/
G<cc<e:|
C>ge>c (3Gce
(3gec|D>fd>B (3GBd (3fdB|C>ge>c (3Gce (3gec| (3gec (3fdB (3ecA
(3dBG||
JOHNNY GET YOUR GUN
[1]. Scottish, Hornpipe. A Major.
Standard tuning (fiddle). AABB. The tune appears to be related to the numerous
tunes known in the United States by a number of titles such as “High Betty
Martin” or “Tip Toe Fine.” Kerr (Merry
Melodies), vol. 4; No. 271, p. 29.
X:1
T:Johnny Get Your Gun [1]
M:C|
L:1/8
R:Hornpipe
S:Kerr – Merry Melodies, vol. 4, No. 271 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
AcBA F2E2|F2EE F2EE|AcBA F2
EE|F2G2A2z2:|
|:ABcd e2e2|fedc BdcB|ABcd e2e2|fedc
B2E2|ABcd e2e2|
fedc BdcB|AcBA F2EE|F2G2A2z2:|
JOHNNY GET YOUR GUN
[2]. Old‑Time. A fiddle tune in
the repertoire of L.D. Snipes, Georgia long‑bow fiddler.
JOHNNY GET YOUR HAIR
CUT. AKA and see "Granny Will Your Dog Bite?"
"Chippy/Gippy/Hippie Get
Your Hair Cut." American, Reel. D Major. Standard tuning (fiddle).
AABC. Samuel Bayard (1944) reported that the first part of this tune
(unaccompanied by any other strain) was sung in southwestern Pennsylvania to
the ditties:
***
Johnny get your hair cut, hair cut, hair cut,
Johnny get your hair cut, just like me!
***
and
***
Granny will your dog bite, etc.‑‑No, child, no!
***
Joel Shimberg reports that West
Virginia fiddler Melvin Wine sang a similar snatch of verse to the tune, “Gippy
get your hair cut short like mine.” Bayard: “These little refrains are current
all over the country, often to entirely different strains of music. In
Pennsylvania a playparty song was also sung to this melodic fragment‑‑a
set is in Bayard Coll., No. 245; and other sets of this strain, associated with
differing secvond parts, are Bayard, Nos. 104, 309. This is the only version
known to the editor which is furnished with a third part. It well be noticed
that the third section appears to be more modern than the others, and is
distinctly inferior‑‑something which can frequently be observed in
extra sections arbitrarily tacked onto traditional instrumental airs. The
player was rather proud of knowing a set containing three parts instead of the
normal two: this attitude is likewise often encountered in similar
circumstances. The first part of (this tune), with notes about the various
little jingles with which the strain has been associated is in Sandburg, 'The
American Songbag' (edition of 1927), p. 158; and a version of the same strain,
with a different second part attached, is in Linscott, p. 85" (Bayard,
1944). Some Appalachian fiddler believe “Johnny Get Your Hair Cut” and “Granny
Will Your Dog Bite” are different tunes. Source for notated version: Mrs. Sarah
Armstrong (Derry, Pa., 1943) [Bayard]. Bayard (Hill Country Tunes), 1944; No. 71.
JOHNNY GHABHA. Irish, Polka. D Major. Standard tuning (fiddle). AABB. Mallinson (100 Polkas), 1997; No. 50, p. 19.
JOHNNY GOING TO CEILI. Irish, Reel. Ciaran Carson mentions the tune in his book Last Night’s Fun (1996), played in a set
with “The Long Slender Sally” and “The Gosson that Beat His Father,”
obtained from flute player Cathal McConnell “of Ballanaleck on the shores of Lough
Erne.” Carson thought McConnell had the set from the late John Maguire, father
of fiddle ‘maestro’ Sean
McGuire [sic].
JOHNNY GORMAN’S. See “The Beauty Spot.” Irish, Reel.
JOHNNY GORMAN’S
(POLKA).
Irish, Polka. Gorman was an itinerant professional uilleann piper
originally from Derrylahon, County Roscommon, who was nicknamed ‘Jack the
Piper’. He was quite influential on his circuit of Counties Mayo, Sligo,
Roscommon and Leitrim, teaching and playing until his tragic death outside
Drumshambo, County Leitrim, in 1917. Esteemed Sligo fiddler Michael Coleman was
one who was greatly influenced by him, and it is said that Coleman incorporated
the piper’s ornamentation into his fiddle playing. Cló
Iar-Chonnachta CICD 167, Peter Horan & Gerry Harrington – “The Merry Love
to Play” (2007. Learned from a recording of Sligo fiddler Michael Coleman).
JOHNNY GROAT'S (HOUSE). AKA and see “John
O’Groat’s House.” Scottish, Reel. C Major. Standard tuning (fiddle). AAB
(Athole): AABB' (Kerr). Probably composed by Capt. Simon Fraser. Kerr (Merry Melodies), vol. 3; No. 124, p. 15.
Stewart-Robertson
(The Athole Collection), 1884; p. 73.
X:1
T:Tigh Iain Ghròit
T:Johnny Groat’s House
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:C
Gccd e2dc|BGdc BcdB|Bccd e2dc|GcBc dB~c2:|
gfeg fagf|ecgc Bcdf|gfeg fagf|gefd BG ~c2|gfeg fagf|
ecgc
Bcdf|ecBc BcEc|GEFD B,G,C2||
JOHNNY HALL. Irish, Air (4/4 time). G Major. Standard tuning (fiddle). AB. Source
for notated version: “Co. Tyrone, from Lord Dunraven {Mr. Stephen de Vere}”
[Stanford/Petrie]. Stanford/Petrie (Complete
Collection), 1905; No. 747, p. 187.
X:1
T:Johnny Hall
M:C
L:1/8
N:”Con Spirito”
S:Stanford/Petrie (1905), No. 747
Z:AK/Fiddler’s Companion
K:G
GA | {G/A/}BA GE D2 EG | A2 AG
A<d z2 | {G/A/}BA GE D2 EF | G6 || zc |
{c}BA Bc d2 dd | (AB) GE c2 (Bc) |
(AB) GE D2 (EG) | A2 (AG) (A<d) z2 |
{G/A/}BA GE D2 EF | G6 ||
JOHNNY HAMLIN'S
BREAKDOWN. Canadian, Breakdown. D Major.
Standard tuning (fiddle). AABB. Composed by Johnny Hamlin. Messer (Anthology of Favorite Fiddle Tunes),
1980; No. 21, p. 23.
JOHNNY HARLING’S. AKA and see “Austin Barret’s,”
“The Blasket Sound Jig,” “Dusty Windowsill,” “Harding’s Jig,” “Harland’s,”
“The Howling Jig,” “Tim Harding’s.” Johnny Harling is a
tin-whistle player from Chicago.
JOHNNY HAS GONE TO
FRANCE. AKA and see "Johnny's Gone to France."
JOHNNY HAND'S. American, Jig. G Major. Standard tuning (fiddle). AABB. Composed by J.
Hand himself as the initials “J.H.” are printed with the tune in Ryan’s Mammoth Collection. New York City
researcher, writer and musician Don Meade believes James and John Hand may have
been brothers (or perhaps father-son) and fiddlers from Boston, Massachusetts,
in the mid-19th century. There are several tunes attributed to the
Hands in Ryan’s. Cole (1000 Fiddle Tunes), 1940; p. 69. Ryan’s Mammoth Collection, 1883; p. 100.
X:1
T:Johnny Hand’s
M:6/8
L:1/8
R:Jig
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G
(3D/E/F/ | G2g edc | Bce dBG | EAA
ABA | EAA ABA | G2g edc |
Bce dBG | DGG ({A}G)FG | DEF G2 :: d
| g2g agf | eag fed |
gfg eag | fef g2a | bag agf | gfg
e2d | Bce dBG | AEF G2 :|
JOHNNY HAY'S BONNIE
LASSIE. English. England, Northumberland.
Title appears in Henry Robson's list of popular Northumbrian song and dance
tunes ("The Northern Minstrel's Budget"), which he published c. 1800.
JOHNNY HENRY’S. AKA and see “Johnny Watt Henry’s.”
JOHNNY I DO LOVE YOU. AKA and see “Johnnie I Do Miss You!”
JOHNNIE I DO MISS YOU! AKA and see “Johnny I Do Love You.”
Irish, Polka. Ireland, West Kerry. D Major (Black, Mallinson, Sullivan): G
Major (Mac Amhlaoibh). Standard. AAB (Black, Sullivan): AABB (Mac Amhlaoibh):
AABB’ (Mallinson). Black (Music’s the
Very Best Thing), 1996; No. 204, pg. 109. Mac Amhlaoibh & Durham (An Pota Stóir: Ceol Seite Corca Duibne/The
Set Dance Music of West Kerry), No. 48, pg. 32 (appears as “Gan Ainm”
{untitled}). Mallinson (100 Polkas),
1997; No. 86, pg. 33. Sullivan (Session
Tunes), vol. 2; No. 16, pg. 7.
X:1
T: Johnny I Do Miss You!
S: De Danaan
Q: 300
R: polka
Z:Transcribed by Bill Black
M: 2/4
L: 1/8
K: D
d>B | AF ED | F2 A,2 | FB AF | E3 B |
AF ED | F2 A,F | G2 FE | D2 :|
E2 | FA A/B/A/G/ | FA AE | FA Bc | d3 A |
FA A/B/A/G/ | FA d>e | fe ed | e3 A |
FA A/B/A/G/ | FA AE | FA Bc | d2 cB |
AF
ED | F2 A,2 | GA/G/ FE | D2 :|
JOHNNY I HARDLY KNEW YE. AKA and see “When Johnny Comes Marching Home.” Irish, American; March (6/8 time). C Major. Standard tuning. One part. O’Neill (1922) notes: “Classed as a street ballad in Halliday Sparling's Irish Minstrelsy, London 1887, the editor adds, in a note on page 366,
***
Johnny I Hardly Knew
Ye ! This favorite old song is here
for the first time given
complete. It dates from the beginning
of the present century
(19th), when Irish regiments were so
extensively raised for the East India service.
***
This spirited air almost forgotten in Ireland blossomed into new popularity during the American Civil War, and, after its arrangement by a master hand - Patrick Sarsfield Gilmore - it became a great favorite with military and volunteer bands. Parodies on the original song such as ‘When Johnny comes marching home again’, ‘Johnny fill up the bowl’ etc., were sung to it by the Union soldiers. After the manner of the "Loobeens" and occupational songs of olden days in Ireland, additional verses were improvised, some possibly crude, yet always mirth-provoking, and well-calculated to keep up their spirits on the march, or relieve the monotony of camp life. The circumstance of its arrangement as above stated no doubt led Adair FitzGerald to refer to it in his Stories of Famous Songs in qualified words:
***
When Johnny comes
marching home again, said to have been
composed by the celebrated Patrick S. Gilmore.
***
The latter, a native of Dublin quite probably had memorized the tune in his youth. The original, it may be observed, included a refrain of four lines not found in the parodies.”
***
O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 69.
X:1
T:Johnny I Hardly Knew Ye
M:6/8
L:1/8
S:Capt. F. O'Neill
Z:Paul Kinder
R:March
K:C
A/2G/2|E2 A A2 B|c2 B c2 A|G3-G2 E|G3-G2 A|E2 A A2 B|c2 B c2 d|
e3-e2 c|e3-e2 c/2d/2|e2 e edc|d2 d dcB|c2 c cBA|B2 B GBd|
e2 e d2 d|c2 c BAG|EAA A2 ^G|A3-A2 B|c2 E EGE|G2 E EGE|
AGA c2 d|e3-e2 c/2d/2|ege d2 B|cBA B2 ^G|EAA A2 ^G|A3-A2||
JOHNNY IN THE NETHER
MAINS. Scottish, "Slow" Reel. F
Major. Standard tuning. AB (Hunter): AABB (Carlin/Gow). This kind of title form
was inherited by American fiddlers; witness "Billy in the Lowground,"
and in fact, Alan Jabbour sees similarities between the two tunes. Carlin (Gow Collection), 1986; No. 260. Gow (Complete Repository), Book 2, 1802; pg.
2. Hunter (Fiddle Music of Scotland),
1988; No. 321. The Scottish Country Dance
Book, 1930‑57, Book 19, No. 1.
X:1
T:Johnny in the Nether Mains
M:C
L:1/8
R:Slow Reel
S:Gow – 2nd Repository (1802)
Z:AK/Fiddler’s Companion
K:F
C|F4 ~F2A>c|(dc)(Ac) d2f2|c2A2
{B}A2GF|(A2G2)F2D2|F4 ~F2Ac|dcAc d2e2|
f3g fgab|A2g2 f3:|
|:c|f3g fedc|d2c2 {B}A4|f3g
(af)(ga)|~d4 c2de|(fd)(gf) (ec)(fe)|(dc)(Ac) (de)(fg)|
a3A BAGF|A2G2F3:|
JOHNNY INCHIN' ALONG. Old‑Time. Gennett 7049 (78 RPM), Doc
Roberts.
JOHNNY IS SO LONG AT
THE FAIR. AKA and see "Johnny's So Long at the Fair,"
"Fasten the Leggin'."
JOHNNY JIGAMY. Scottish, Air (4/4 time). A song went to this tune, going in part:
***
'Guid claret best keeps oot the cauld
Makes a man baith gash and bold...'
***
X:1
T:Johnnie Jigamy
S:Greig-Duncan Collection Vol.7
Z:Nigel Gatherer
M:4/4
L:1/8
K:Amix
A<AA>B A>B e2|d>eg>B
A<G E2|G<GG>A G>A B2|D>EG>A B<A A2:|]
A<aa>g b>a a2|g>ab>g
a>g e2|g>ag>e d>e g2|G<GG>A B>A A2:|]
JOHNNY JOE CHAISSON’S
REEL. Canadian, Reel. Canada, Prince
Edward Island. A Major. Standard tuning. AABB. Perlman (1996) believes the tune
is locally composed on Prince Edward Island. Source for notated version: Johnny
Joe & Foncey Chaisson (1918 & 1929, Souris, North-East Kings County,
Prince Edward Island) [Perlman]. Perlman (The
Fiddle Music of Prince Edward Island), 1996; pg. 100.
JOHNNY JOE LEM’S JIG. Canadian, Jig. Canada, Prince Edward Island. A Major. Standard tuning.
AA’BB. A Kings County, Prince Edward Island, tune. Source for notated version:
Johnny Joe and Foncey Chaisson (b. 1918 & 1929, Souris, North-East Kings
County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 139.
JOHNNY, JOHNNY, DON’T
GET DRUNK. AKA and see “Johnny, Don’t Come Home Drunk.”
JOHNNIE KARO. AKA and see "Karo"? Old‑Time, Breakdown. USA, S.W. Va. In
the repertiore of Russell County, Va. fiddler Cowan Powers 1877‑1952?,
and recorded by him with his family band for OKeh Records in September, 1927
(unissued).
JOHNNIE KNOCKED OVER
HIS UNCLE. Scottish, Hornpipe. G Major ('A'
part) & D Major ('B' part). Standard tuning. AB. Composition credited to D.
Williams by Kerr. Kerr (Merry Melodies),
vol. 1; No. 23, pg. 45.
X:1
T:Johnnie Knocked Over his Uncle
M:C
L:1/8
R:Hornpipe
C:D. Williams
B:Kerr – Merry Melodies, vol. 1, pg. 45
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
Bdgb agfe|agfe edBG|ecAF cAFD|GFGB
D2 (dc)|
Bdgb agfe|Agfe ed^cd|fedc
BAGF|G2B2G2 z2||
K:D
Adcd Be^de|bgec (de) f2|Adcd
Be^de|efed (ce) a2|
Adcd Be^de|bgec defa|gfed cABc|d2f2d2z2||
JOHNNY/JOHNNIE LAD. Scottish, Reel. E Minor. Standard tuning. AAB (Athole, Kerr): AABB
(Honeyman, Kohler). Honeyman (Strathspey,
Reel and Hornpipe Tutor), 1898; pg. 15. Kerr (Merry Melodies), vol. 1; Set 15, No. 6, pg. 10. Laybourn (Kohler’s
Violin Repository), 1881-1885. Stewart-Robertson
(The Athole Collection), 1884; pg.
249. Olympic 6151, The Angus Strathspey and Reel
Society ‑ "Scottish Traditional Fiddle Music" (1978).
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:Johnnie Lad
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Emin
d|B2 BG A2 Ad|B2 Bd efgd|B2 BG A2Ad|BAB^d e2 eB:|
B|efge fddf|efge f2 df|efge afge|dBB^d e2 eB|
efge fddf|efga f2 df|efge afge|dBBd efgd||
X:2
T:Johnny Lad
M:C|
L:1/8
R:Reel
B:Kohler’s Violin Repository (Edinburgh, 1881-1885)
Z:AK/Fiddler’s Companion
K:G
d|B2 BG A2 Ad|(BA)Bd
(ef)gd|B2 BG A2 Ad|(BA)Bd e2 e:|
|:B|(ef)ge (af)df|(ef)ge f2 ed|(ef)ge (af)df|(ed)Bd e2e:||
JOHNNY LEARY’S (JIG). Irish, Jig. Shanachie 78030, Danú – “Think
Before You Think” (2000. Learned from the playing of Aidan Coffey).
JOHNNY LEARY’S (POLKA)
[1]. AKA and see “John Brosnan’s (Polka).”
Irish, Polka. Ireland, West Kerry. G Major. Standard tuning. AABB. Named for
west Kerry accordion player Johnny O’Leary (Gneevgullia, Kerry). Mac Amhlaoibh
& Durham (An Pota Stóir: Ceol Seite
Corca Duibne/The Set Dance Music of West Kerry), No. 29, pg. 24 (appears as
“Gan Ainm” {untitled}). Globestyle Irish CDORBD 085,
Jackie Daly - “The Rushy Mountain” (1994. Reissue of Topic recordings).
JOHNNY LEARY’S (POLKA)
[2]. AKA and see “Bridgie Con Matt’s Favourite.”
Irish, Polka. G Major.
JOHNNY LEARY’S (POLKA)
[3]. AKA – “Julia Clifford’s Polka.” Irish,
Polka. D Major. Standard tuning. AABB. Black (Music’s the Very Best Thing), 1996; No. 205, pg. 110.
X:1
T:Johnny Leary's [3]
D:Julia and Billy Clifford,
"Ceol as Sliabh Luachra"
R:polka
M:2/4
L:1/8
K:D
f/e/d/c/ e/d/c/B/|Af dc/d/|cA GE|BA
FD|
f/e/d/c/ e/d/c/B/|Af dB|cA GE|FD
D2:|
|:FA de|f/e/d/c/ BA|GB E>F|GA BA|
FA de|f/e/d/c/ BA|GB E>F|ED D2:|
X:2
T: Johnny Leary's [3]
S: De Danaan
Q: 300
R: polka
Z:Transcribed by Bill Black
M: 2/4
L: 1/8
K: D
B/c/ | f2 ge | f2 ge | fd ed | e/f/e/d/ BA |
f2 ge | f2 ge | fd e/f/e/c/ | df d :|
B |: AF AB | Af af | ef/e/ ef/e/ | dA B/c/d/B/ |
AF
AB | Af af | ef gb | ef/e/ dB :|
JOHNNY LEARY’S (POLKA)
[4]. AKA and see “Bridgie Con Matt’s Favourite,”
“Willie Doherty’s.” Irish, Polka. D
Major. Standard tuning. AA’BB. Mallinson (100
Polkas), 1997; No. 87, pg. 34.
[See other titles under the spelling “Johnny O’Leary”, below.]
JOHNNY LEARY’S (SLIDE). “The Worn Torn Petticoat.”
Irish, Slide (12/8 time). A Dorian. Standard tuning. AAB. Named for west Kerry
accordion player Johnny O’Leary (Gneevgullia, Kerry). However, Paul de Grae
points out it is the “Worn Torn Petticoat” that appears as No. 82 in Moylan’s Johnny O’Leary of Sliabh Luachra (1994).
Mulvihill (1st Collection),
1986; No. 1, pg. 115.
JOHNNY LOUGHRAN’S. AKA and see “Over the
Bridge to Peggy [2].” Irish, Reel. C Major. Standard tuning. A similar
version is played in County Donegal in D Major. Compass
7 4287 2, Cathal McConnell – “Long Expectant Comes at Last” (2000. Learned from
Pomeroy, County Tyrone, fiddle player Johnny Loughran).
JOHNNY LOVER. See "John Lover's Gone."
JOHNNY LOVES MOLLY (Tá Seáinín i ngrá le Mailí). Irish, Slip Jig. D Major. Standard
tuning. AABB. Breathnach’s note states the melody was written down in a
manuscript by William Joseph King between 1860 and 1880. Breathnach (CRÉ IV), 1996; No. 41, pg. 21.
JOHNNIE MACCLEJOHN. Irish, Reel. D Major. Standard tuning. AAB (Mallinson): AABB
(Sullivan). Mallinson (Enduring),
1995; No. 23, pg. 9. Sullivan (Session
Tunes), vol. 2; No. 11, pg. 5.
JOHNNY MACDONALD'S
REEL. AKA and see "John MacDonald's Reel,"
"Lord MacDonald's Reel."
Scottish, Reel. Flying Fish FF299, Battlefield Band ‑
"There's A Buzz" (1982).
JOHNNY MADE A WEDDING
O’T. Scottish, Reel. G Mixolydian.
Standard tuning. AAB. Source for notated version: an 1845-47 music manuscript
by Ellis Knowles, a musician from Radcliffe, Lancashire, England [Plain
Brown]. Gow (Complete Repository),
Part 4, 1817; pg. 30. Plain Brown Tune Book, 1997; pg. 19
(appears as “Johnny Make a Wedding”).
X:1
T:Johnny made a Wedding o’t
M:C|
L:1/8
R:Reel
S:Gow – 4th Repository
(1817)
Z:AK/Fiddler’s Companion
K:G
(c|B)GdG BGGB|A=FcF AFFc|BGdG
BGGg|egdg BGG:|
g|bgaf g(dd)e|=fdc>B AFFg|(b/a/g)
(a/g/f) gddg|(e/f/g) (f/g/a) gGGg|
(b/a/g) (a/g/f)
gdd>e|=f>dc>_B AFFA|GBAc Bdce|dgfa gGG||
JOHNNY MAKE A WEDDING. See “Johnny Made a Wedding O’t.”
JOHNNY/JOHNNIE McGILL/MACGILL. AKA and see "Come
Under My Plaidie," "The Black
Rogue [1]," "An Rogaire Dubh," "Before I Was Married," "Billy O'Rourke's Jig [1]."
Scottish & Irish, Jig: American, March. USA, southwestern Pa. G Major
(Aird, Bayard, Carlin, Howe, Johnson {1992 & 2003}, Skye): F Major
(Alburger, Athole, Gow, Sharp, Skye): E Flat Major (Emmerson, Johnson).
Standard tuning. AB (Emmerson, Johnson): AAB (Sharp): AABB (Aird, Alburger,
Athole, Bayard, Carlin, Gow, Howe, Johnson, Skye). "A splendid jig
tune" says Collinson (1966). It is generally accepted to have been the
composition of Ayrshire musician John McGill (c. 1707‑1760), from Girvin.
Besides being a fiddler, he has also been described (by Robert Riddell of Glenriddell, 1794,
with whom his name is said to have been associated) as the town piper, and,
elsewhere, a violincello player. What is certain is that he was a dancing
master in Girvan in 1752 as there is a MS of country dance and reel
instructions for his pupils (Alburger, 1983). The tune was used by Burns for
his song "Tibbie Dunbar"
("O, Wilt thou go wi' me, sweet Tibbie Dunbar"), and by Hector
Macneil of near Roslin, Midlothian, for "Come Under My Plaidie." John
Glen (1891) finds the first appearance of the tune in print in Joshua Campbell's 1778 collection (pg.
31). Bayard (1981) called the tune a "fifer's favorite" as well as a
popular song and dance tune in slow and quick versions. The tune is properly
categorized as a Scotch jig, as its phrases are punctuated in the manner of a
Scottish Measure (see Emmerson, 1971, pg. 159). The melody is close to the
Irish jig “Battering Ram.” Sources for
notated versions: Hiram Horner (fifer from Westmoreland and Fayette Counties,
Pa., 1944) [Bayard]; Dr. John Turner, director of the Jink and Diddle School of
Scottish Fiddling, held yearly in Valle Crucis, North Carolina [Johnson/2003]. Aird (Selections of Scotch, English,
Irish and Foreign Airs), vol. II, 1785; No. 119, pg. 44. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 88, pgs. 141‑142.
American Veteran Fifer, 1902 &
1927; No. 98. Bayard (Dance to the Fiddle),
1981; No. 635, pgs. 540‑550. Carlin (Master
Collection), 1984; No. 168, pg. 98. Cole (1000 Fiddle Tunes), 1940; pg. 71. Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 83, pg. 160. Gow (Complete Repository), Part 1, 1799; pg. 28.
Graham, 1908; pg. 269. Howe (1000 Jigs
and Reels), c. 1867; pg. 120. Johnson (Scots
Musical Museum), vol. 3, 1787‑1803; No. 207. S. Johnson (The Kitchen Musician's No. 10: Airs &
Melodies of Scotland's Past), vol. 10, 1992 (revised 2001); pg. 6. S. Johnson (A Twenty
Year Anniversary Collection), 2003; pg. 2. McGlashan (Collection of Scots Measures),
c. 1780; pg. 33 (appears as “Johnny McGill”). MacDonald (The Skye Collection), 1887; pg. 175. Stewart-Robertson (The Athole Collection), 1884; pg. 141. Fiddletree F2580, John Turner ‑ "Fiddling Rogues
and Rascals, vol. 1" (1981).
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:Johnny MacGill
M:6/8
L:1/8
R:Jig
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:F
f|cAA AGF|cAA A2f|cAA AGA|FDD D2f|cAA AGF|cAA AGF|
G3 AGA|FDD D2:|
|:c|f3 g3|afd dAF|f3 g3|afd d2 f/g/|afa geg|fde f2d|cAF G2A|FDD D2:|
X:2
T:Johnny Macgill (sic)
M:6/8
L:1/8
S:Aird, vol. II (1785)
Z:AK/Fiddler’s Companion
K:G
g | dBB BAG | dBB B2g | dBB BAB | GEE E2g | dBB BAG |
dBB BAG | A3 BAB | GEE E2 :: f | g3 aga | bge dBG |
g3
aga | bge ega | bgb afa | geg g2e | dBB BAB | GEE E2 :|
JOHNNY McGOOHAN’S. Irish, Reel. G Major. Standard tuning. AA’BB’. Composed by County
Cavan/Philadelphia fiddle player and composer Ed Reavy (1898-1988) in honor of
appreciative friends and Irish music affectionados, Johnny and Katie McGoohan.
Reavy (The Collected Compositions of Ed
Reavy), No. 9, pg. 9.
X:1
T:Johnny McGoohan's
M:2/2
L:1/8
C:Ed Reavy
S:The Collected Compositions of Ed Reavy
R:Reel
N:Good musicians need good listeners, and two
N:of the best listeners where Johnny and his wife Katey. Johnny would
N:be waiting on his front porch hours before "the fellows" were
N:expected on an evening for a session of music; and no matter how
N:long they played, it was never too late for a few more tunes at
N:the McGoohans. Tea and skohn did not mean (as it usually does) that
N:the fiddling would stop. As Johnny would put it, "We'll have a bite
N:to eat and be back at it for a few more before the night is done."
N:And Katey would never disagree.
Z:Joseph Reavy
K:G
DF | G2 Bd gdBG | DGBd cAFA | G2 Bd gdBd | cBAG FADF | GABd gfaf |
gedB A2 Bc | (3dcB (3cBA BGAF |1 ACB,A, G,A,B,D:|2 G2 Ac BGGA ||
B2 GA Bdef | gfga gedc | B2 GA B2eB | dBAG EGGA | B2 GA Bdef |
gfe^c d2 ef |gbag fagf |1 e^cAF G2 GA :|2 e^cAF G2 ||
JOHNNY McGREEVEY’S
FAVORITE. AKA and see “The Corn Boy.” Irish, Reel. D Dorian. Standard
tuning. AA’BB. The tune is called “The Corn Boy” in Luke O’Malley’s collection.
X:1
T:Johnny McGreevey’s Favorite
R:Reel
Z:Adrian Scahill
M:4/4
L:1/8
K:D Dorian
DEF^F d2cA|GEED E^FGB|Adde d^cAB
|(3cBA GE EDCE|\
DEF^F d2cA|GEED E^FGB|Adde d^cAB |1 (3cBA
GE EDCE:|2 (3cBA GE EDD^g||\
a=ged (3B^cd ed|=c3d egg2|aged
(3B^cd ed|cAGE EDDg|\
ed (3e^fg age^c|d^cAB =cAGE|FGEG
FGAB|(3cBA GE EDD2:||
JOHNNY McILJOHN’S [1]. Irish, Reel. D Major. Standard
tuning. AABB. A variant of “The Silver Spear.” According to the Boys of
the Lough (“Recorded Live, 1975”) the tune is sourced to Leitrim musician Tommy
Maguire, who had it from his father John Maguire, known as Johnny McIljohn. “He
lilted the tune regularly at country house ceilidhs so his nam became
associated with the tune.”
X:1
T:Johnny McIljohn's No.1
S:Sessions, records
Z:Nigel Gatherer
M:4/4
L:1/8
K:D
FA A2 BAFA | BAFA Bd d2 | FA A2 BAFA | BdAF E2 D2 :|
f3 e d3 A | BAFA BAFA | f3 e d3 A | BdAF E2 D2 :|
JOHNNY McILJOHN’S [2]. Irish, Reel. G Major. Standard
tuning. AAB.
X:1
T:Johnny McIljohn's No.2
D:Boys of the Lough, Welcoming Paddy Home
Z:Nigel Gatherer
M:4/4
L:1/8
R:Reel
K:G
G2 GF GBdB | G2 BG A2 GE | G2 GF GABd | egdB AcBA :|
GB B2 GBdB | GBdB A2 GE | GB B2 GBdB | egdB A2 BA |
GB B2 GBdB | GBdB A2 GE | G2 GF GABd | egdB AcBA |]
JOHNNY MHOSAI'S REEL (Ril Sheain Mhosai). AKA and see “The Ladies of Tullybardee,” “The Monaghan Switch,” “Monaghan Twig [1].” Irish, Reel. The title
refers to John Mhosai McGinley. Green Linnet GLCD
3090, Mairead Ni Mhaonaigh & Frankie Kennedy - "Ceol Aduaidh"
(learned from the fiddling of the late John Doherty).
JOHNNY MICK DINNY’S. AKA and see “Art O’Keeffe’s [2],”
“Biddy Crowley’s Ball,” “My Love in the Morning.” Irish,
Slide (12/8 time). Ireland, Sliabh Luachra region of the Cork-Kerry border. A
Dorian. Standard tuning. AB. Source for notated version: accordion player
Johnny O’Leary (Sliabh Luachra region) [Moylan]. Breathnach (CRÉ I); No. 57, pg. 25 (appears as “Mo
Ghrasa Ar Maidin/My Love in the Morning”). Moylan (Johnny O’Leary’s), 1994; No. 95, pgs. 54-55. Topic 12T311, John and Julia Clifford - “The Humours of
Lisheen” (appears as “Biddy Crowley’s Ball”). Topic 12T357, Johnny O’Leary -
“Music for the Set” (1977. Appears as “Art O’Keeffe’s”).
JOHNNY MICKEY BARRY’S. See “Johnny Mickey’s.”
JOHNNY MICKEY'S. AKA – “Johnny Mickey Barry’s.” AKA and see “Polca an dreoillín,” “Tourniore Lasses,” “The Wren.” Irish, Polka. A Major. Standard tuning.
AABB. David Taylor (1992) remarks that the tune was named after Johnny Mickey
Barry, a renowned concertina player from the Sliabh Luachra area. Recorded in a
set with the tune “Salmon Tails” by the Oyster Band. Mallinson (100 Polkas), 1997; No. 37, pg. 14
(appears as “Johnny Mickey Barry’s”). Taylor (Half‑door), 1992; No. 70, pg. 50. Shaskeen
‑ "Shaskeen Live."
X:1
T:Johnny Mickey Barry's
M:2/4
L:1/8
R:polka
Z:Neil Brookes/Si Garbutt
K:G
GBDE|G-G/ A/G e|dBAG|d/e/d/B/ AG|
GBDE|G-G/ A/G e|dBAG/A/|BGG2:|
Bd B/c/d|eg2e|dBAG|d/e/d/B/ AG|
Bd B/c/d|eg2e|dBAG/A/|BGG2|
Bd B/c/d|eg2e|dBAG|d/e/d/B/ AG|
GBDE|G-G/ A/G e|dBAG/A/|BGG2||
JOHNNY MICKY'S SLIDE (Sleamhnán Sheáinín Mhicí). Irish, Slide. D Major. Standard
tuning. AABB. Source for notated version: fiddler Seamus Creagh & accordion
player Jackie Daly (County Cork, Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 43, pg. 21.
Mallinson (Enduring), 1995; No. 68,
pg. 28. Tubridy (Irish Traditional Music,
Book Two), 1999; pg. 31. Vallely (Learn
to Play the Fiddle with the Armagh Pipers Club), 25. Gael‑Linn Records ‑ "Jackie Daly &
Seamus Creagh" (1977).
X:1
T:Johnny Micky’s Slide
M:12/8
L:1/8
R:Slide
K:D
E|FAF F2E D3 D2E|FAF F2D E3 E2F|GFG
B2G FEF A2F|EDE F2E D3 D2:|
|:F|ABd A2F A3 A2F|ABd A2F G3
G2D|GFG B2G FEF A2F|EDE F2E D3 D2:|
JOHNNY MORGAN. American, Reel and Air. E Major. Standard tuning. AABB. Sounds like a
tin‑pan alley tune. Ford (Traditional
Music in America), 1940; pg. 101 (verses on pg. 404). Voyager VRCD 342, Rodney Miller – “Rodney Miller’s All-Round
Collection of Jigs, Reels and Country Airs.”
JOHNNY MUISE’S REEL. Canadian, Reel. Canada, Cape Breton. A Major. Standard tuning. AABB.
Composed by fiddler Jerry Holland (Inverness, Cape Breton). The tune has some
currency in modern Cape Breton sessions. Johnny Muise was originally from the
Inverness, Cape Breton, area, and had a reputation as the best ‘bones’ or
clappers player on the island. The Muise household in Roslindale, Boston, where
they removed to for many years, was a hub of expatriate Cape Breton music.
Janine Randall, who runs the Ceilidh Trail School of Celtic Music, is Johnny’s
daughter. Cranford (Jerry Holland’s),
1995; No. 23, pg. 7. Fiddlesticks cass., Jerry Holland
- “Fathers and Sons” (1992). Green Linnet, Jerry Holland - “The Fiddlesticks
Collection” (1995). Roger Landes – “Dragon Reels.”
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:Johnny Muise’s Reel
M:C|
L:1/8
R:Reel
C:Jerry Holland
K:A
af|ec c/c/c ecAB|c2 (Bc)
BAFB|AEE/E/E ABcA|dfaf edcd|!
ec c/c/c BcAB|(Bc)(Bc) BAFB|AE E/E/E
ABcA|BABc A2:||!
cd|ea a/a/a a2ga|baga fedf|ec c/c/c
acec|fedc Bcdf|!
ea a/a/a/ a2ga|baga fedf|ec c/c/c
acec|BdcB A2:||!
JOHNNY MURPHY’S SLIDE. Irish, Slide (12/8 time). G Major. Standard tuning. AABB. Cranitch (Irish Fiddle Book), 1996; No. 23, pg.
134. Cranitch (Irish Session Tunes: Red
Book), 2000; 23.
JOHNNY NELSON'S
FAVORITE. American, Reel or Breakdown. USA,
North Dakota. A Major ('A' part) & D Major ('B' part). Standard tuning.
AABB. Composed by Johnny Nelson, one of the fiddling Nelson brothers who
homesteaded near Grinnell, North Dakota, and who had reputations as dance
fiddlers in Northwestern North Dakota in the early 20th century. Pancerzewski (The Pleasures of Home), 1988; pg. 16.
JOHNNIE NITTLE. AKA and see "Jenny Nettles
[1]."
JOHNNY OF COCKALIE. AKA and see “Johnny Cox.”
JOHNNY O’LEARY’S [1]. AKA and see “As I went
out upon the Ice,” “Glen
Cottage Polka [2]," "Green
Cottage [2]." Irish, Polka.
JOHNNY O’LEARY’S [2]. Irish, Polka. G Major. Standard tuning. AABB. Taylor (Music for the Sets: Blue Book), 1995;
pg. 9
JOHNNY O’LEARY’S [3] (Polca Sheáin Uí Laoghaire).
Irish, Polka. D Major. Standard tuning. AB. Source for notated version:
melodeon player Denis O’Keeffe (Rathmore, County Kerry) [Breathnach].
Breathnach (CRÉ V), 1999; No. 99, pg.
50. Gael-Linn CEFC 123, Brendan Begley – “Sean
Choirce.”
[See other titles under the spelling “Johnny Leary”, above]
JOHNNY O'SHEA (Seanin Ua Seagda). Irish, Slip Jig. E Minor. Standard tuning.
AABB. Levey (1873) gives the direction that the tune should be played
“Piperly,” leading to the speculation that this piece was a staple of the
uilleann piper’s repertoire and/or that Johnny O’Shea was a famous piper. This
appears confirmed by its appearance in O’Farrell’s volume Collection of National Music for the Union Pipes (1804), where it
is identical to O’Neill’s printing, save that O’Farrell (mistakenly) prints it
the key of one flat. Levey (Dance Music
of Ireland, 2nd Collection), 1873; No. 59, pg. 26. O’Farrell (National Irish Music for the Union Pipes),
1804; pg. 35 (appears as “Shauneen o Shea or Johnny O Shea”). O'Neill
(Krassen), 1976; pg. 87. O'Neill (Music
of Ireland: 1850 Melodies), 1979; No. 1173, pg. 221.
X:1
L:1/8
S:O’Neill – Music of Ireland (1903), No. 1173
Z:AK/Fiddler’s Companion
K:G Dorian
d | efe edB BAG | efe edB efg |
e/f/ge edB BAG | dBA AB^d e2 :|
|: e | gag gdB BAG | gbg gdB gab |
bag agf edB | dBA AB^d e2 :|
JOHNNY, PASS THE JUG. Rounder 0437, Jess
Silvey – “Traditional Fiddle Music of
the Ozarks, vol. 3: Down in the Border Counties.”
JOHNNIE PEARSON. English, Hornpipe. England, Northumberland. D Major. Standard tuning.
AABB. Composed by Robert Whinham (1814-1893), a musician, teacher, composer,
dancing master and fiddler, originally from Morpeth. Source for notated
version: an unattributed 19th century manuscript in the Beamish
Museum [Dixon]. Dixon (Remember Me),
1995; pg. 30.
JOHNNY PEYTON. Irish, Air (2/4 time). G Mixolydian. Standard tuning. One part. Source
for notated version: Hugh O'Beirne, professional fiddler from Ballinamore, Co.
Leitrim, 1846. Joyce (Old Irish Folk
Music and Songs), 1909; No. 618, pg. 317.
JOHNNY PRINGLE. AKA and see "Miss
Burnet's Reel," "Miss Jane
Stewart('s Strathspey—Pittyvaich) [1]" (Marshall's titles), "Miss Jane Campbell's
Strathspey." Scottish; Strathspey or Medley. G Major. Standard tuning.
AAB (Athole, Gow, Skye): AABB' (Kerr). One of the first tunes composed by William Marshall, who titled it in his First Collection (1781) "Miss
Burnet's Reel," but retitled it for his 1822 collection "Miss Jane
Stewart's Strathspey--Pittyvaich." It was called "Miss Jane
Campbell's Strathspey" by John Pringle for whom authorship was claimed
when the tune was published in 1801. Perhaps in honor of Pringle it was titled "Johnny
Pringle" when the Gow's included it in Repository
(Part Third, 1806), though they declined to credit either Marshall or Pringle.
Carlin (The Gow Collection), 1986;
No. 383 (listed as a medley). Gow (Complete
Repository), Part 3, 1806; pg. 15. Kerr (Merry Melodies), vol. 2; No. 108, pg. 14. MacDonald (The Skye Collection), 1887; pg. 88
(listed as a strathspey). Marshall, Fiddlecase
Edition, 1978; 1822 Collection, pg. 42 (appears as "Miss Jane
Stewart's Strathspey ‑ Pittyvaich"). Stewart-Robertson
(The Athole Collection), 1884; pg.
160.
X:1
T:Johnnie Pringle
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:G
D<GG<g d<G B2|D<GG<g d<GB<g|d<GG<g d<G B2|c>AB>G A>GE>A:|
G<g g>a b/a/g/f/ g2|e>fg>a b>ga>b|e>fg>e d<Bc>d|e<g d>B A>GE>A|
G<g
g>a b/a/g/f/ g2|e>fg>a b>ga>b|g>be>g
d>gB>g|c>aB>g A>GE>A||
JOHNNIE QUEEN'S CLOG. American, Clog. A Major. Standard tuning. AABB. Johnny Queen was a famous 19th century
clog dancer. Edward Le Roy Rice, in his book Monarchs of Minstrelsy (New York, 1911), gives this brief bio:
***
Queen and West constituted one of the great song and dance teams in
minstrelsy.
They formed a partnership about 1868, which was terminated by the death
of Mr.
Queen. Together they played several prominent minstrel engagements, and
later
went to Harrigan and Hart’s in New York, where Mr. West remained, all
told,
about twenty-two years. Mr.
Queen was an exceptionally clever black-face
comedian, while Mr. West, in addition to his ability as a dancer and
comedian,
was proficient on the banjo. John Queen made his first appearance as a
clog
dancer in Boston with Morris Bros., Pell and Trowbridge’s Minstrels.
While with
that company, he, in conjunction with R.M. Carroll, did the first double
clog dance
ever seen in minstrelsy. William
West began his theatrical career in 1857 as a black-
face performer, and until about 1863 played mostly with circuses. His firs
minstrel
engagement was with Duprez and Green. Subsequently he played with Hooley
at
the Novelty Theatre in Brooklyn; with the San Franciso’s in New York,
and with
Bryant’s, Wood’s, and Morris Brothers.
Mr. West’s last stage appearance was
about 1901. John Queen (McQueeny) was born in St. Albans, Vt., November
19,
1843; he died in New York, February 11, 1884. William West (Cox) was
born in
Leicester, England, May 3, 1837. (pg. 135).
***
Douglas Gilbert (1891-1948) mentions
Queen in his volume entitled American
Vaudeville: Its Life and Times (Dover Publications, New York, 1940). In
this passage Gilbert talks about the various and numerous contests between
performers in the mid-latter 19th century, who competed usually for
silver cups—a winner aided his booking time:
***
Most popular and most numerous were the clog-dancing contests:
Lancashire clog,
American clog, hornpipe clog, trick clog, pedestal clog, and statue
clog. Dancing was
judged according to time, style, and execution, and separate judges
checked each
feature. It was the habit of some judges to go beneath the stage and
listed to the beat.
Sand jig dancing was judged in the same manner. Possibly clog did not
originate in
America, but America made it its own, and our performers were
unbeatable. A clog
dancer named Queen electrified the English music halls when he went
abroad for a
tour in the eighties. They found his triples, rolls, and nerve steps
uncanny, refused to
believe he accomplished them unaided by tricks, and caused him no end of
embarrassment
by demanding to see his shoes. Queen stopped all that by making his
entrance in slippers
and passing around his shoes for the audience to examine, as proof that
he used no
clappers or other Yankee gadgets. When the shoes were returned he put
them on in
full view of the audience and went into his act.
(pg. 24).
***
Cole (1000 Fiddle Tunes), 1940; pg. 120. Ford (Traditional Music in America), 1940; pg. 89 (appears as
"Johnny Queen's Clog"). Ryan’s
Mammoth Collection, 1883; pg. 159. White’s
Unique Collection, 1896; No. 148, pg. 26.
L:1/8
R:Clog
S:White’s Unique Collection (1896), No. 148
Z:AK/Fiddler’s Companion
K:A
f2 | (e>.c)(A>.f) e>cA>f | e>cA>a e>cA>c | d>BG>d c>AE>c | (3Bcd (3efg a>ec>f |
e>cA>f e>cA>f | e>cA>a e>cA>c | d>BG>d c>AE>c | (3Bcd (3efg a2 :: (e>.a) |
(c’>.b)(a>.c’) b>ag>b | a>gf>a e>cA>a | c’>ba>c’ b>ag>e | (3fga (3bc’^d’ e’2 (e>a) |
c’>ba>c’
b>ag>b | (a>g) (3fga e>cA>a | c’>ba>c’ b>ag>e |
(3fga Bc^d e2 :|
JOHNNY REIDY. AKA and see "Touch
Me If You Dare [2]."
JOHNNY
REIDY’S SLIDE. Irish, Slide (12/8). E Dorian. Standard tuning. AABB.
From the playing of banjo and accordion player Sean O Driscoll, originally from
Blarney, who lived in Minneapolis and lately in County Cork. Sean O’Driscoll – "Sticking Out A Mile.”
X: 1
T: Johnny Reidy's Slide
S: S. O Driscoll
M: 12/8
L: 1/8
Q: 350
Z: Transcribed by Bill Black
R: slide
K: Edor
ed | Bee e2 f e2 d B2 A | B2 c dBA B2 c dBA |
Bee e2 f e2 d B2 c | def a2 f e3-e :|
fa | b3 b2 a b2 a f2 e | d2 f fef d2 f agf |
b3
b2 a b2 a f2 e | def a2 f e3-e :|
JOHNNIE SEÁN THE RAKE. AKA and see "The Old
Slipper Shoe."
JOHNNY SHOOTING IN THE
GLEN. AKA and see "The Barrow Castle," "Belles of Tipperary [2]"
"The Blea‑berry Blossom,"
"Connacht Lasses,"
"The Connacht Star,"
"The Dandy Girl/Lass/Lasses,"
"The Four Courts of Dublin,"
"Green Fields to America,"
"Lamont's Reel,” "Jackson's Welcome to Cork [1],"
“Kerry Star,” “Lamont’s,” “Mel Roddy’s Tune” (northeast Kings
County, PEI), “Miss
Mona(g)han(‘s Reel),” "O'Connell
in Clare," “Shannon’s Shores,”
"Stormy Weather," "The White‑haired Piper.”
JOHNNY SPILLANE’S
FAVOURITE. AKA – “Julia Clifford’s.” Irish,
Polka. D Major. Standard tuning. AABB’.
X:1
T:Johnny Spillane’s Favourite
R:polka
M:2/4
L:1/8
K:D
Ad f/e/d/c/|dF A>d|cE G/B/G/B/|AD
DF|
Ad f/e/d/c/|dF A>d|cA GE|ED D2:|
|:ad d/e/d/B/|cb b>c'|bc
c/B/c/B/|Aa a/b/a/f/|
ad d/e/d/B/|cb b>c'|bc cB/c/|1 ed
d/e/f/g/:|2 ed d>B||
JOHNNIE STEELE. AKA and see "The Auld Brig of
Ayr," "Bob Steele,"
"The New Brig o' Dee," "The Miller o' Dervil," "Benholm Castle." Scottish,
Strathspey. D Major. Standard tuning. AB (Hunter): AAB (Skinner). Composed
originally by James
Barnett (1847‑1898) of Kirkwall, though developed by others under a
variety of titles. Source for notated version: Köhler’s Violin Repository [Skinner]. Hunter (Fiddle Music of Scotland), 1988; No. 102. Köhler, Violin Repository, Book II (1881‑1885).
Skinner (Harp and Claymore), 1904;
pg. 82.
X:1
T:Johnie (sic) Steele
M:C
L:1/8
R:Strathspey
S:Skinner – Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:D
A, | D<D F>A d>c .d.f |
D<D F<D E<B,B,>E | D<D F>A d>cd>A | (3Bcd (3ABG F<DD
:|
A | (d>ef>).g (a>ba>).d
| (c>de>).f (g>ag>)e | d>ef>g a>ba>f | (3.g.f.e (3b.a.g
f<dd>g |
(3fdf (3afd (3gfg (3efg | (3fdf
(3ece (3dcB (3AB=c | BGB (3dcB (3Afe (3dcB | (3ABA (3GFE F<DD ||
JOHNNY STOLE A HAM. AKA and see "Out of the
Wilderness," "The
Old Grey Mare (Came Tearing Out of the Wilderness)," "The White Horse [2]." Old‑Time,
Breakdown. A Major. Standard. ABB. Bayard (1981) gives this as one instance
where a fiddle tune developed out of a popular song to become
"traditional." Ford (Traditional
Music in America), 1940; pg. 85.
JOHN(N)IE SULLIVAN'S. Canadian, Reel. Canada; Cape Breton, Prince Edward Island. E Dorian.
Standard. AAB. This tune is frequently started by playing the second turn
first, note Dunlay & Reich. Burt Feintuch (2004) says the tune is
well-known in local Mabou, Cape Breton, tradition. Sources for notated
versions: The Five MacDonald Fiddlers (Cape Breton) [Dunlay and Reich]; Bill
Lamey (Cape Breton) [Dunlay & Greenberg]; Emmett Hughes (b. 1921, Dromore,
Queens County, Prince Edward Island) [Perlman]. Dunlay & Greenberg (Traditional Celtic Violin Music from Cape
Breton), 1996; pg. 88. Dunlay and Reich (Traditional Celtic Fiddle Music from Cape Breton), 1986; pg. 58.
Perlman (The Fiddle Music of Prince
Edward Island), 1996; pg. 109. Celestial
Entertainment CECS001, Brenda Stubbert (Cape Breton)- “In Jig Time!” (1995).
Celtic 48, The Five MacDonald Fiddlers‑ "Scottish Reels, Jigs and
Strathspeys.” Marquis ERA 181, David Greenberg - “Bach Meets Cape Breton”
(1996). Rounder 7009, Doug MacPhee‑ "Cape Breton Piano" (1977.
Appears as "Traditonal Reel"). Shanachie 14002, Bill Lamey‑
"Classic Recordings" (1979. Not listed but appears after
"Warlock's Strathspey"). SA93130, Donny LeBlanc - “Rosining Up the
Bow” (1993). Smithsonian Folkways Records, SFW CD 40507, The Beaton Family of
Mabou – “Cape Breton Fiddle and Piano Music” (2004). Tartan Tapes CDTT1004,
Karen Steven – “Heat the Hoose” (1998).
JOHNNY THE BLACKSMITH
[1]. Bluegrass, Breakdown. USA. A Major.
Standard tuning. AABB. Source for notated versions: Kenny Baker [Phillips,
Silberberg]. Brody (Fiddler’s Fakebook),
1983; pg. 149. Phillips (Traditional
American Fiddle Tunes), vol. 1, 1994; pg. 126. Silberberg (93 Fiddle
Tunes I Didn’t Learn at the Tractor Tavern), County
730, Kenny Baker‑ "Baker's Dozen."
JOHNNY THE BLACKSMITH
[2]. Unrelated to above. Front Hall 010, Fennigs All Stars‑ "The Hammered
Dulcimer Strikes Again."
JOHNNY THE JUMPER (Seaganin an Leimeadoir). Irish, Double Jig. A Dorian. Standard
tuning. AABB. O'Neill (Krassen), 1976; pg. 74. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1107, pg. 208.
O'Neill (Dance Music of Ireland: 1001
Gems), 1907/1986; No. 297, pg. 64.
X:1
T:Johnny the Jumper
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 297
Z:AK/Fiddler’s Companion
K:Ador
g/f/|:eAA cBA|eAA fga|eAA c2e|dBG
Bcd|eAA cBA|eAA B2A|GBG gfg|dBG Bcd:|
|:cBA a^ga|cBA Bcd|cBA gfg|dBG
Bcd|cBA a^ga|cBA B2A|GBG gfg|dBG Bcd:|
JOHNNY THE TAILOR’S
FANCY. AKA and see “Quarry Cross Slide [1].” Irish, Slide
(12/8 time). Ireland, Sliabh Luachra region of the Cork-Kerry border. G Major.
Standard. AA’BB’. Source for notated version: Scartaglen musician John Bresnihan
via accordion player Johnny O’Leary (Sliabh Luachra region) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 102, pg. 60. Gael-Linn CEF 132, Johnny O’Leary - “An Calmfhear/The
Trooper” (1989. Appears as first tune of “Sleamhnain Chrosaire an Chaireil”
{The Quarry Cross Slides}).
JOHNNY WAGGONER. AKA and see "Wagoner [1],"
“Wagner’s Hornpipe,” "Tennessee Wagoner" and related tunes.
Canadian, Breakdown. C Major. Standard tuning. AABB. Perlman (1996) suggests
the tune was introduced to Prince Edward Island fiddlers by the Maritime radio
and TV performer Don Messer. Source for notated version: Angus McPhee (b. c.
1920, Mt. Stewart, Queen’s County, Prince Edward Island) [Perlman]. Messer (Way Down East), 1948; No. 1.
Messer (Anthology of Favorite Fiddle
Tunes), 1980; No. 1, pg. 4. Perlman (The
Fiddle Music of Prince Edward Island), 1996; pg. 120.
X:1
T:Johnny
Wagoner's Breakdown
R:Reel
M:2/4
L:1/16
Z:Transcribed
by Bruce Osborne
K:C
gf|e[c2e2][ce]
[c2e2][c2e2]|cdef gedc|[GB][G2B2][GB] [G2B2][G2B2]|GABc d2gf|
e[c2e2][ce]
[c2e2][c2e2]|cdef gfeg|fgab aged|[c2e2][ce][ce] [c2e2]:|
|:GF|E[C2E2][CE]
[C2E2][C2E2]|EGAB cdcB|A[F2A2][FA] [F2A2][F2A2]|FGAB cBAG|
E[C2E2][CE] [C2E2][C2E2]|EGAB
cdeg|fgab aged|[c2e2][ce][ce] [c2e2]:|
JOHNNY
WALK ALONG WITH YOUR PAPER COLLAR ON. See "Walk Along John [1]."
JOHNNIE WALKER. Scottish. Composed by J. Scott Skinner,
presumably after the famous Scotch whisky; it was the last piece he published
(1924).
JOHNNY WARD’S. Irish, Reel. D Major. Standard tuning. AAB.
X:1
T:Johnny Ward's
R:Reel
S:Fisher Street
D:Fisher Street: Out in the Night
Z:Adrian Scahill
M:4/4
L:1/8
K:D
A2FD AFDF|E2 CE A,3F|A2FD A,DFA|decd BdcB:||\
BEE2 BdcB|A2FD A,DFA|BEE2 Bdce|decd BdcA|\
BEE2 BdcB|A2FD A,DFA|BEE2 Bdce|decd BdcB||
JOHNNY WATT HENRY’S. AKA and see “John Henry’s [1].”
AKA – “Johnny Henry’s.” Irish, Reel. D Major. Standard tuning. AAB. The title
references fiddler John (or Johnny) Henry (1922-1997), born at Doocastle, County
Sligo, brother of Chicago flute player and piper Kevin Henry. His father was
called Batt Henry, entitling the son to be called Watt Henry, according to
Finbar Boyle, who knew him. According to his brother Kevin (in his notes to his
CD), Johnny was born with albinism, which resulted in his remaining rather
home-bound, but giving him time to practice the fiddle. On Matt Molloy’s CD it
is recorded that Johnny was blind, and Boyle confirms that he was nearly so,
keeping his house in darkness because light did not matter. Johnny’s mentor was
fiddler Pat Kelleher, a contemporary and school-boy with Michael Coleman. A
picture of John Henry is on the cover of Reg Hall’s “’Round the House and Mind
the Dresser.” There is a section of Henry’s tunes in Bernard Flaherty’s book Trip
to Sligo. Source for notated version: flute player Colm O’Donnell (b. 1962,
outside Aclare, County Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 17 (appears as “Unknown”). Coleman Center CD CC004, Seamus O’Donnell – “The Mountain
Road” (1999. Various artists. “A Compilation of tunes popular in South
Sligo.” Appears as “Johnny Henry’s”).
Green Linnett SIF3041, Matt Molloy - “Stony Steps” (appears as “Johnny Watt
Henry’s Favourite,” paired with “Handsome Sally [1]”).
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Johnny Watt Henry’s
M:C|
L:1/8
K:D
A2~A2 B2AF|DFAF EDB,D|A2~A2
B2AB|dBAF EDB,D:|
d2fd edfd|d2fd BdAB|d2fd edfe|dBAF
EDB,D|
d2fd edfd|d2fd BdAd|fdec d2AB|dBAF
EDB,D||
JOHNNY
WHEN YOU DIE [1]. AKA and see “The Ballina Lass,” “Come into the Room, I Want
You,” "Gearrchailiu
Chontae Mhuigheo," “Girls
of County Mayo,” “The Hag’s (Reel),”
“The Mayo Lasses,” “The Old Maid(s) of Galway,” “Paddy’s Gone to France,” “Turf House Reel,” “West Mabou Reel.”Irish,
Reel. G Major/A Dorian. Standard tuning. AB. A set of words is sung to this
tune. The tonality shifts between the two keys. Source O’Leary usually paired
this tune with “Anything for John Joe” and referred to them jointly as “The
Sliabh Luachra Reels.” See also the similar tunes “The Mayo Lasses” and the
Cape Breton “West Mabou Reel” (attributed to Dan {Domhnull Iain an Táillear}
Beaton {1856-1919}). Paul de Grae reports that the melody was called by his
late friend fiddler Paddy O'Sullivan of north Kerry "Into the room, I want
you," and explains that fiddlers were often paid with drink (for playing
at house dances, etc.). O’Sullivan’s title refers to an invitation into the
"room" or parlour to be given a mug of porter. See also the related first
part of “Over the Moor to Peggy.”
Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra
region of the Cork-Kerry border), recorded in recital at Na Piobairi Uilleann,
March, 1987 [Moylan]. Moylan (Johnny
O’Leary), 1994; No. 165, pg. 95. Claddagh CC5,
Denis Murphy & Julia Clifford - “The Star Above the Garter.” Globestyle
Irish CDORBD 085, The Kerry Fiddle Trio - “The Rushy Mountain” (1994. Reissue
of Topic recordings). Topic 12T309, Padraig O’Keeffe, Denis Murphy & Julia
Clifford - “Kerry Fiddles.”
X:1
T:Johnny When You Die [1]
M:C
L:1/8
K:G
e/f/edB eBdB|ABGA BA A2|e/f/edB eBdB|…
JOHNNY WHEN YOU DIE [2]. AKA and see “The Keel Row.” Irish, Reel. A Major. Standard tuning. AB. The words to “Johnny When You Die” are sung to this melody as well. O’Neill (1922) remarks: “The (tune) is a variant of ‘Well May the Keel Row’, a North of England song tune. It is not listed in Glen's Analytical Table of Old Scotch Dance tunes. As ‘Jenny's Frolics’ it appears in Vol. 2 Paul Alday's A Pocket Volume of Airs, Duets, Songs, Marches etc., Dublin c. 1800.” Source for notated version: the Rice Walsh manuscript, a collection of music from the repertoire of Jeremiah Breen, a blind fiddler from North Kerry, notated by his student [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 267.
X:1
T:Johnny When You Die [2]
M:4/4
L:1/8
S:Rice-Walsh manuscript
Z:Paul Kinder
R:Reel
K:A
c2 Ac d2 Bd|c2 Ac BEEB|c2 Ac d2 Bd|cABG A2 A2|
c2 Ac d2 dd|c2 Ac BEEB|c2 Ac d2 Bd|cABG A2 A2||
ceeg f2 ed|c2 Ac BEEB|ceeg f2 ed|cABG A2 A2|
ceeg f2 ed|c2 Ac BEEB|cdeg f2 ef|g2 fg afed||
JOHNNY WILL/WON’T YOU
MARRY ME?
AKA - “Love Won’t You Marry Me?” AKA and see "The Braes of Mar [1]," “Some Say the Devil’s Dead.”
Scottish, Strathspey; Irish, Barn Dance (4/4 time). G Major. Standard tuning.
AB. Ireland, western Ireland. Used for the dances the Highland Fling and the
Shottische. Robin Morton (1976) says that in Ireland the tune has been
"straightened out," losing its dotted note accents "as is often
the case with strathspeys. It is particularly popular in the West for a dance
called 'the Fling.'" Kerr (Merry
Melodies), vol. 4, No. 8. Tubridy (Irish
Traditional Music, Vol. 1), 1999; pg. 12. Philo
1042, Boys of the Lough ‑ "The Piper's Broken Finger" (1976).
X:1
T:Johnny Will You Marry Me?
M:4/4
L:1/8
K:G
D2 DE GABA|GEED cEGE|D2 DE GABc|dedB
A2 GE|D2 DE GABA|
GEED cEGE|D2 DE GABc|dedB A2G2||d2
dc Bc d2|e2 ed cd e2|
d2 dc BcdB|GABG A2 GB|d2 dc Bc d2|e2
ed cd e2|d2 dc BcdB|GABG A2G2||
X:2
T:Johnny Will You Marry Me
D:Boys of the Lough
N:Aka "Johnny Won't You Marry Me" (Kerr's Merry Melodies)
N:Descended from "Braes of Mar"?
Z:Nigel Gatherer
M:4/4
L:1/8
K:G
GE | D2 DE GABA | GE (3EEE cEGE | D2 DE GABc | dedB A2 :|
z2 | BddB GBdB | e2 ed cdec | BddB GABc | dedB A2 :|
JOHNNY WILL YOUR DOG
BITE? Old‑Time, Breakdown. USA,
central Alabama. The title appears in a list of "forgotten" tunes
compiled by W.E.G. of Verbena (Chilton County, Alabama) in the Union Banner of September 19th, 1921. It
is perhaps to be another version of "Granny, Will Your Dog
Bite? [1]."
JOHNNY WILMOT. Canadian, Reel. Canada, Cape Breton Island. A version of “The Fermoy Lasses,” from the playing of Cape
Breton fiddler Johnny Wilmot (1916-1993). Compass 7
4287 2, Cathal McConnell – “Long Expectant Comes at Last” (2000).
JOHNNY WILMOT’S
FIDDLES. Canadian, Reel. Canada, Cape
Breton. E Minor. The tune can be found in “Elmer Briand’s Collection” and
Alister MacGillivray’s Cape Breton
Fiddler. Paul Cranford (1994) relates that the tune was composed by Elmer
Briand for his friend and fellow-musician Johnny Wilmot (1916-1993), who had
earlier composed “Elmer Briand’s
Favorite.” Briand’s composition reflects the first phrase of Wilmot’s tune
but alters the development. Culburnie Records CUL
121D, Alasdair Fraser & Natalie Haas – “Fire and Grace” (2004).
JOHNNY WILMOT’S JIG. Canadian, Jig. Canada, Cape Breton. G Major. Standard tuning. Composed
by Cape Breton fiddler Johnny Wilmot (1916-1993).
X:1
T:Johnny Wilmot's Jig
M:6/8
L:1/8
C:Johnny Wilmot
R:Jig
K:G
g| dBB BAB| GEE EGE| DB,D GAB| cBc
A2 g|!
dBB BAB| GEE EGE| DB,D
GAB| cBA G3:|!
c| Bdg gdB|ceg gec|Bdg gdB| cBc A2
c|!
|1 Bdg gdB| ceg gfe| dcB AGA| BGG
G:|!
|2 Bdg Bdg|ceg ceg|dcB AGA|BGG G:|
JOHNNY WITH THE QUEER
THING (Seanin/Seaganin Leis
An Rud Greannmar). AKA and see "Sailor On
The Rock." Irish, Reel. D Major. Standard tuning. AB. O’Neill (1922)
compares the first part of this tune with that of “Arkansas Traveller.” O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1294, pg. 243. O'Neill (Dance
Music of Ireland: 1001 Gems), 1907/1986; No. 559, pg. 103. O’Neill (Waifs and Strays of Gaelic Melody),
1922; No. 238-b.
X:1
T:Johnny with the Queer Thing
M:C|
L:1/8
R:Reel
S:O'Neill – Dance Music of Ireland: 1001 Gems (1907), No. 559
Z:AK/Fiddler’s Companion
R:Reel
K:D
dfed BcdB|AD (3FED FAAB|defe
B2dB|ABdf gfef|
dfed BcdB|AD (3FED FAA2|dfed
B2dB|ABdf "tr"e2d2||faag fddf|gfga beeg|
faaf gedB|ABdf
"tr"e2d2|faag fddf|gfga bgeg|agfe dcBc|ABde gfef||
JOHNNY WON’T YOU MARRY
ME. AKA and see “The Braes of Mar [1],” “Johnny Will
You Marry Me?” “Lord MacDonald’s
[1],” “Love Won’t You Marry
Me?” “Sir Alexander McDonald’s
Reel.”
JOHNNIE’S BIRTHDAY. English, Hornpipe. England, Northumberland. G Major. Standard tuning.
AABBCCDDEE. Attributed (by Tommy Breckons) to Robert Whinham (1814-1893), a
musician, teacher, composer, dancing master and fiddler, originally from
Morpeth. Source for notated version: an un-attributed 19th century
manuscript in Tommy Breckon’s collection [Dixon]. Dixon (Remember Me), 1995; pg. 30.
JOHNNY'S DOWN THE
RIVER. American, Country Dance Tune (4/4
time). D Major. Standard tuning. AA’BB. Shaw (Cowboy Dances), 1943; pg. 381.
X:1
T:Johnny’s Down the River
L:1/8
M:4/4
S:Shaw – Cowboy Dances (1943)
Z:AK/Fiddler’s Companion
K:D
F2F2A3F|G2A6|F2F2A3F|E8|F2F2A3F|G2G2
B3B|A2F2F2E2|D6 z2:|D6 z2||
d4A4|BA G2 A4|BG E2 FG A2|DE F2 EC
A,2|d4A4|BA G2 A4|BG E2 FG A2| cd e2 d4:|
JOHNNY'S FAVORITE
WALTZ. American, Waltz. USA, southwestern
Pa. D Major. Standard tuning. AA'BB. Sources for notated versions: Walter Neal
(fiddler from Armstrong County, Pa., 1948) and Edgar Work (fiddler from Indiana
County, Pa., 1949) [Bayard]. Bayard (Dance
to the Fiddle), 1981; No. 651A‑B, pg. 569.
JOHNNY'S FRIENDS ARE
NE’ER PLEASED. Scottish, Reel. G Major. Standard
tuning. AB. Gow (Complete Repository),
Part 4, 1817; pgs. 30-31. Surenne (Dance
Music of Scotland), 1852; pg. 20.
X:1
T:Johnny’s friends are ne’er
pleased
M:C|
L:1/8
R:Reel
S:Gow – 4th Repository
(1817)
Z:AK/Fiddler’s Companion
K:G
F|G3g BG (B2|B)EB>A GEEF|G3g
B<G B2|AEA>G FDDF|~G3g BG (B2|B)EB>A GEEF|
~GFGA GAB^c|dABG FDD||g|(e/f/g) dg
BG (B2|B)EB>A GEEg|(e/f/g) dg B<G B2|
AEAG FDDg|(e/f/g) dg BG
(B2|B)EB>A GEEg|egdg cgBg|Ad AG FDD||
JOHNNY'S GONE TO FRANCE [1]. English, New England; Reel. E Aeolian (Em).
Standard tuning. AABB. Brody (Fiddler’s
Fakebook), 1983; pg. 149. Kennedy (Fiddlers
Tune Book), vol. 2, 1954; pg. 17. Raven (English Country Dance Tunes), 1984; pg. 159. Front Hall 03, Dudley Laufman‑ "Swinging on a
Gate."
JOHNNY'S GONE TO FRANCE [2] (Ata Seanin/Seaganin Imtigte Go
Fraince/Frainnc). AKA and see “The Sun Behind Glenties.” Irish, Reel.
G Major. Standard tuning. AB (O'Neill/1001): AA'B (O'Neill/Krassen): AABB
(Cole). Cole (1000 Fiddle Tunes), 1940; pg. 18. O'Neill (Krassen), 1976;
pg. 138 (appears as "Johnny Has Gone to France"). O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1437, pg. 266. O'Neill (Dance
Music of Ireland: 1001 Gems), 1907/1986; No. 674, pg. 120. Ryan’s Mammoth Collection, 1883; pg. 41.
X:1
T:Johnny’s Gone to France [2]
T:Johnny Has Gone to France
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 674
Z:AK/Fiddler’s Companion
K:G
g2 fg dcAc|dBcA FGAF|dg{a}(3gfg
dcA^c|dBcA dBcA|g2 fg dcAc|
dBcA FGAF|dg{a}(3gfg dcA^c|dBcA BG
G2||dg{a}(3gfg gbag|fdcA FGAF|
dg{a}(3gfg gbag|fdcA AG G2|g2 dg
gbag|fdcA defg|(3aba ag fgag|fdcA AG G2||
JOHNNY'S GONE TO FRANCE [3] (Tá Seáinín bailithe leis chun na
France). AKA
and see “Mayo Lasses.” Irish, Reel. E
Dorian ('A' part) & D Major ('B' part). Standard tuning. ABB. Some
similarities to version #1. Breathnach says it is closely related to “Jenny picking Cockles.” Source for
notated version: accordion player Bobby Gardiner (County Clare, Ireland)
[Breathnach]. Breathnach (CRÉ III),
1985; Nop. 204, pg. 90. Comhaltas Ceoltoiri Eireann
CL21, "The Best of Bobby Gardiner" (1981).
JOHNNY'S
GREY BREEKS [1]. Scottish, March. C Major (Carlin,
Hardings, McGlashan): D Major (O’Farrell). Standard tuning. AAB (McGlashan):
AABB (Carlin, Hardings, O’Farrell). Breeks = pants ('britches'). This was the
original air to which the poet Robert Burns set his song "The Bonnie Lass
O' Ballochmyle," though it has since been supplanted in some collections
by a more modern one by William Jackson. It may be that the title refers to a
soldier in the 90th Light Infantry, the Perthshire Volunteers,
raised in 1794 and who, because the rank and file wore light grey pantaloons
with their traditional red coats, were dubbed the “Perthshire Grey Breeks.”
Carlin (Master Collection), 1984; No.
186, pg. 107. Hardings All Round
Collection, 1905; No. 22, pg. 7. McGlashan
(Collection of Scots Measures), 177?;
pg. 3. O’Farrell (Pocket
Companion, vol. II), c. 1806; pg. 129.
X:1
T:Johnny’s Gray Breeckes (sic) [1]
M:C
L:1/8
R:March
B:McGlashan – Collection of Scots Measures
(177?)
Z:AK/Fiddler’s Companion
K:C
c>d|e4 d3c|A4c4|E2DC D2E2|c2G4
c>d|e2de gedc|A4c4|E2DC D2E2| c2 A4:|
||c2|G3A c2d2|e4 d2c2|dcde gage|e2d4
eg|a2a2 bage|gega g2ed|
c2A4c2|GFGA cBcd|e4 d2c2|dcde
gage|e2d4 eg|ac’/a/ ga/g/ eg/e/ de/d/| c3a gede|c2 A4||
JOHNNY’S GREY BREEKS
[2]. AKA and see “Bhíosa lá I bport
láirge,” "The Dainty Besom Maker,"
“Forgive the muse that
slumbered,” "The Gimlet," “I’d mourn the hopes that leave me,” "The Old Lea Rigg," "Little Mary Cullinan," "Little Sheila Connellan,” “Maureen from Giberland,” “Port Láirge,” “The Rose Tree [1]," “The Rose Tree in Full Bearing."
JOHNNY'S JIG. Canadian, Jig. G Major. Standard tuning. AABB. Composed by John Fraser.
Perlman (1996) identifies this as a Cape Breton tune (??). Source for notated
version: Connie Gallant (b. early 1920's, St. Charles, North-East Kings County,
Prince Edward Island; now resident of Naufrage) [Perlman]. Messer (Anthology of Favorite Fiddle Tunes),
1980; No. 152, pg. 101. Perlman (The
Fiddle Music of Prince Edward Island), 1996; pg. 123.
JOHNNY’S LOVER’S GONE. See “John Lover’s Gone.”
JOHNNIE'S MADE A WADDIN'/WEDDING O'T. Scottish, Reel. G Mixolydian. Standard tuning. AB (Surenne): AAB
(Athole, McGlashan, Skye): AABB' (Kerr). The tonality cleverly shifts between
major and minor. John Glen (1891) finds the tune earliest in print in Joshua Campbell's 1778 collection (pg.
6), although J. Murdoch Henderson (1935) cites the tune in Neil Stewart’s 1762 collection. Henderson
(Flowers of Scottish Melody), 1935.
Kerr (Merry Melodies), Vol. 3; No.
42, pg. 7. MacDonald (The Skye Collection),
1887; pg. 131. McGlashan
(A Collection of Reels), c. 1786; pg.
18 (appears as “Johnny’s made a Wadding O’it”). Stewart-Robertson
(The Athole Collection), 1884; pg.
190. Surenne (Dance Music of Scotland),
1852; pg. 136.
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index |
X:1
T:Johnnie’s Made a Waddin’ O’t
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:G
c|BGdG BGG_B|A=FcF AFFA|BGdG BGGg|egdg BGG:|
g|bgaf gdde|~=fdc_B AFFg|bgaf gdd=f|eg^fa gGGg|bgaf gdde|
=fdc_B AFFA|G_BAc Bdc_e|dg^fa gGG||
JOHNNIE’S MADE THE
FIRE ON. English, Hornpipe. England,
Northumberland. D Major. Standard tuning (fiddle). AABBCC’. . Composed by
Robert Whinham (1814-1893), a musician, teacher, composer, dancing master and
fiddler, originally from Morpeth. A two-part version of the tune appears in the
Alnwick Pipers’ Society Collection of
Locally Composed Music, under the title “Jamie’s Made the Fire On.” Source
for notated version: an unattributed 19th century manuscript in the
Beamish Museum [Dixon]. Dixon (Remember
Me), 1995; p. 30.
JOHNNY’S REEL. Canadian, Reel. Canada, Prince Edward Island. D Major. Standard tuning
(fiddle). AA’BB’. Composed by Archie Steward (b. 1917), Milltown Cross, South
Kings County, Prince Edward Island, for his son. Source for notated version:
Archie Stewart [Perlman]. Perlman (The
Fiddle Music of Prince Edward Island), 1996; p. 74.
JOHNNY'S SO LONG AT
THE FAIR [1]. AKA and see “Oh Dear! What can the Matter be?”
English, Morris Dance Tune (6/8 time) and Air. G Major. Standard tuning
(fiddle). One Part (Mallinson): AB (Bacon). A morris jig collected in the
Bampton, Oxfordshire, area of England's Cotswolds. Bacon (The Morris Ring), 1974; p. 40. Mallinson (Mally’s Cotswold Morris Book), 1988, vol. 2; No. 10, p. 6. Topic TSCD607, Walter &
Daisy Bulwer – “English Country Music” (2000. Originally recorded 1962).
JOHNNY IS SO LONG AT
THE FAIR [2]. AKA and see "Fasten the Legging."
JOHNNY'S TRIP TO FRANCE. Scottish, March (4/4 time). A Dorian. Standard
tuning (fiddle). AABB'. O’Neill (1922) says: “The above fine marching
tune tho' manifestly in the Irish style is probably of Scotch origin because it
comes from the subconscious memory of the writer who associated in Chicago
nearly 50 years ago, with such noted Highland pipers as McLean, Cant, and
Monroe. Of the four distinct tunes named after Lochiel the Jacobite hero to be
found in old printed collections, I find that one specially arranged for the
Highland bagpipe is a variant of "Johnny's Trip to France"; dreamily
remembered by the editor since early manhood.” Gatherer (Gatherer’s
Musical Museum), 1987; p. 11. O'Neill (Waifs
and Strays of Gaelic Melody), 1922; No. 77.
X:1
T:Johnny's Trip to France
M:4/4
L:1/8
S:Capt. F. O'Neill
Z:Paul Kinder
R:March
K:G
gf | e2 A2 A2 Bd | edef "tr"gedB | G2 GA BAGA | B2 d2 d2 "tr"gf |
e2 A2 A2 Bd | edef "tr"gedB | G2 GA BAGA | "tr"B2 A2 A2 :|
|: Bd | e2 a2 a2 ga | b2 ab a2 "tr"gf | edef gfga | bc'ba g2 ed |
1e2 a2 a2 ga | b2 ab a2 "tr"gf | edef gag"tr"d | B2 A2 A2 :|
2a2 gf g2 fg | edef "tr"gedB | G2 GA BAGA |
"tr"B2 A2 A2 ||
JOHNNY'S WEDDING ("Banais Seanin" or "Posad
Seaganin").
AKA and see “Colonel McBain’s,” “Devonshire Reel [1],” “The Smoky House [1],” “Sporting Molly.” Irish, Reel. G Dorian.
Standard. AA'B. “Colonel McBain” is a closely related tune. O'Neill (Krassen),
1976; pg. 99. O'Neill (Music of Ireland:
1850 Melodies), 1903/1979; No. 1216. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 493, pg. 94. Green Linnet GLCD 1127, “Martin Hayes” (1993).
X:1
T:Johnny’s Wedding
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 493
Z:AK/Fiddler’s Companion
K:Gmin
GA | BGdG BGGB | AFcF AFFA |1 BGdG BGGB
| AF (3D=E^F G2 :|2 GBAc Bdce |
dg^fa g2 || ga | bgag fdd=e | fdcB
AFFA | bgag fddc | dg^fa g2 ga | bgag fdd=e |
fdcB AFFA | GBAc Bdce | dg^fa g2 ||
JOHNNY'S WELCOME HOME ("Failte Seanin A Baile" or "Failte a
Baile Seaganin"). Irish, Reel. A Major. Standard. AB. O'Neill (Krassen), 1976; pg. 123.
O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1346, pg. 251. O'Neill (Dance
Music of Ireland: 1001 Gems), 1907/1986; No. 601, pg. 109.
X:1
T:Johnny’s Welcome Home
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 601
Z:AK/Fiddler’s Companion
K:A
AE {F}(3EDE cE {F}(3EDE | GFEF GFED
| (3EFG AB cded |
cBcd e2 fg | abaf gbfe | dBGB ABcd |
(3efg ed cABG | AGEG A2 ea ||
{b}agea {b}agea | {b}agef g2 fg |
agbg aged | {d}cBcd e2 fg | abaf gbge |
dBGB ABcd | (3efg ed cABG | AGEG
AdcB ||
JOHNNY’S WELCOME TO
HEAVEN. Irish, Reel. G Major. Standard.
AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black in
memory of the late Kerry fiddler Johnny Cronin, who died in February, 1991.
Black (Music’s the Very Best Thing),
1996; No. 29, pg. 14.
X:1
T: Johnny's Welcome to Heaven
C: © B.Black
Q: 350
R: reel
M: 4/4
L: 1/8
K: G
A | BAGA BcdB | cABG EB,DE | G2 dG eGdG | gedB AcBA |
BAGA BcdB | cABG EB,DE | GABd gdBc | dBcA G3 :|
B | dg (3gfg eafa | gdBd eB (3BAB | eBBA GABd | egfg e3 B |
dg
(3gfg eafa | gdBd edBA | GABd gdBc | dBcA G3 :|
JOHN'S GOT A WOODEN
LEG. Old‑Time. USA, Alabama. In
the repertoire of Alabama's Johnson Family Band, c. 1950.
JOHN'S LOVER IS GONE. AKA and see "John
Lover's Gone," "Johnny Lover,"
"Poor Johnny's Gone
To (the) War," "Tommy Love."
JOHNSON BOYS. Old‑Time, Song and Fiddle Tune. USA; North Carolina, Virginia,
Arkansas. D Major. Standard. AB. Paul Clayton identifies this as an old
courting song, comic in nature. Some see similarity with the Gows’ tune “Welcome Whiskey Back Again.”
Warner (1984) says, "This is a dance tune for the fiddle and banjo ‑
one of the oldest in the mountains. The words are incidental." The title
appears in a list of traditional Ozark Mountain fiddle tunes compiled by
musicologist/folklorist Vance Randolph, published in 1954.
***
I hear them Johnson boys a‑coming,
Singing and a‑hollering and shooting off their guns,
All the other fellers scared as the devil,
Johnson boys has got 'em on the run,
Johnson boys has got 'em on the run.
***
Johnson boys went to the mountain,
They didn't reckon long to stay,
Met up with some high‑borned ladies,
Didn't get back till the break of day,
Didn't get back till the break of day.
(Warner)
***
Sources for notated versions:
banjoist Frank Proffitt (North Carolina), who learned the tune "from his
father's picking and picked up verses from prople on Beech Mountain, friends
from Virginia, and others here and there" [Warner]; Jack Aldrich
[Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg.
76. Warner (Traditional American Folk
Songs), 1984; pgs. 303‑304. Document 8040,
“The Hill Billies/Al Hopkins and His Buckle Busters: Complete Recorded Works in
Chronological Order, vol. 2” (reissue). June Appal 0067, Whitetop Mountain Band
- "Seedtime on the Cumberland" (1992). Marimac 9038, Dan Gellert
& Brad Leftwich - "A Moment in Time." Rounder CD0403, The Freight
Hoppers - “Where’d You Come From, Where’d You Go?” Tradition TLP 1007, Boone
Reid ‑ "Instrumental Music of the Southern Appalachians"
(1956).
JOHNSON CITY RAG. A variant of "Jawbone"
and "Jordon is a Hard Road to Travel." Old‑Time. USA, east
Tenn. The melody is a reworking by east Tennessee’s Roane County Ramblers of “Jordan is (am) a Hard
Road to Travel,” named for Johnson City, Tennessee, where the band
recorded. Columbia 15498-D (78 RPM), James McCarroll
and the Roane County Ramblers (1929). County 403, The Roane County Ramblers.
County 501, The Roane County Ramblers. County 507, The Roane County Ramblers ‑
"Old Time Fiddle Classics." County
CO-CD-3530, The Roane County Ramblers (2004).
JOHNSON GAL(S). Old‑Time, Breakdown. USA;
Arkansas, Mississippi. G Major. Standard tuning. ABC (Kuntz): AABBCC
(Phillips). The title appears in a list of traditional Ozark Mountain fiddle
tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. A
tune by this name was in the repertoire of fiddler Archibald Alexander Shaw
(Harnet County, N.C., located in the Sandhills section between the coastal
plain and the piedmont), though Evelyn Shaw states it was not played in other
parts of the state but was unique to Shaw's area (OTH).
***
Johnson Gals, dressed so fine,
(or: See those girls, dressed so fine,)
Ain't got Jesus on their minds.
***
No matter where in the world I go,
(or:
Don't care where in the world I go,)
I can't get around for the calico.
***
Oh my Lordy, can't you see,
Can't get to heaven with a fool
like me.
***
Wanna get to heaven, yes I do,
I wanna get to heaven with the
Johnson crew.
***
Oh my lady, can't you see?
You never get to Heaven if you do like me.
***
Want to go to Heaven, want to go straight
Want to walk through that pearly gate.
***
Source for notated
version: Allan Block, who learned it from the 1920's string band Mississippi's
Leake County Revelers [Kuntz]; Wil Gilmer with the Leake County Revelers (Miss.)
[Phillips]. Ford (Traditional Music in
America), 1940; pg. 34. Kuntz (Ragged
But Right), 1987; pg. 325‑326. Phillips (Traditional American Fiddle Tunes, vol.1), 1994; pg. 128. Columbia 15149 (78 RPM), The Leake County Revelers (1927).
Living Folk LFR‑104, Allan Block‑ "Alive and Well and
Fiddling."
X:1
T:Johnson Gals
M:2/4
L:1/8
B:Kuntz – Ragged but Right
K:G
[B/g/]e/d/B/ G/A/B/A/|B/G/A/G/
[GB]>(g|g/)e/d/B/ G/A/B/G/|[G/B/]G/A/D/ G2:|
|:D/E/G/A/ BB|B/G/A/G/ [G2B2]|D/E/G/A/
BB|B/G/A/D/ G2|D/E/G/A/ BB|
B/G/A/G/ [G2B2]|D/E/G/A/
BB/A/|B<A G2|| g/a/g/e/ d/e/g|a>a aa|a/b/a/g/ a/g/e|
a>a a(a|a/)b/a/g/ a/g/e/g/|b2
g2|a/b/a/g/ a/g/e| a>a a(a|a)d’ ef|b2 g2||
JOHNSON'S ALMAINE. AKA and see "Gathering
Peascods."
JOHNSON’S GIRL. Old-Time, Breakdown. G Major. From the
African-American stringband of Lusk, Gribble & York.
JOHNSON'S IMPEACHMENT. American, Reel. USA, southwestern Pa. A Major. Standard tuning. ABCC'.
Bayard (1981) identifies this as an American composition, based (at least in
the first part) on "Hell on the
Potomac" or "Wake Up
Susan [1]". He also suggests it may be a recombination of other
(Irish) elements, perhaps or not the work of his source's teacher Browning.
Source for notated version: Walter Neal (fiddler from Pa., 1952; learned from
Abel Browning) [Bayard]. Bayard (Dance to
the Fiddle), 1981; No. 227, pg. 185.
JOHNSON’S JIG. Irish, Jig. D Major. Standard tuning. AABB.
X:1
T:Johnson's Jig
R:Jig
C:Trad
S:Siobhan Kelly
M:6/8
L:1/8
K:D
|:G2B dBG|BAB dBA|G2B dBG|AGA BGE|
G2e dBG|BAB def|gfe dBG|AGA BGE:|
|:gag fgf|efe def|gfg efg|aga bge|
gag fgf|efe def|gfe dBG|AGA BGE:|
JOHNSON'S OLD GRAY
MULE. Old‑Time, Song Tune. USA,
north Georgia. A comic song. Kuntz (Ragged
But Right), 1987; pg. 223-224. Starday SLP 235,
Curly Fox (1963). Rounder 1032, Georgian Yellow Hammers ‑ "The
Moonshine Hollow Band" (1979. Orig. rec. 1927).
JOHNSON'S RAG. American, Country Rag. USA,
Central Pa. In the repertory of Buffalo
Valley, Pa., dance fiddler Ralph Sauers.
JOHNSON'S REEL [1]. Scottish, Strathspey. E Major. Standard. AABB'. Composed by William Marshall (1748-1833). John Glen (1891) finds
the earliest printing of the tune in Marshall's 1781 collection (pg. 10). Moyra
Cowie (1999) thinks the title may refer to a servant in Gordon Castle, where
Marshall was employed as Steward of the Household. Marshall, Fiddlecase Edition, 1978; 1781
Collection, pg. 10.
X:1
T:Johnston’s (sic) Reel [1]
M:C|
L:1/8
R:Strathspey
S:Marshall – 1781 Collection
Z:AK/Fiddler’s Companion
K:E
E>BG>B E>Be>g|b<g f>e f>cc>e|E>BG>B E>Be>g|b>gf>g e/e/e e2:|
(e/f/g/a/ b>)e g>eb>e|d<B f>B a>Bf>B|1 (e/f/g/a/ b>)e g>eb>e|c>ag>f e/e/e e2:|2
e>gf>a
g>ba>g|(f>ef>)g e/e/e e2||
JOHNSON'S REEL [2] (Ríl Mhic Eoin). AKA and see "Jackson's Reel," "The Dublin Reel," "The Dublin Lasses [3]," "The Twister," "Athens," "Victor
Wild," "The Clogher Reel,"
"The Union Reel," "The Westmeath Hunt," "The Twelve Locks," "The Shuffle Reel," "Miss Daly's Reel." Irish,
Reel. A Dorian. Standard tuning. AAB. The tune is close to "Jackson's
Reel," attributed to the 18th century piper Walter Jackson. Source for
notated version: accordion player Sonny Brogan (County Sligo/Dublin, Ireland)
[Breathnach]. Breathnach (CRÉ I),
1963; No. 201, pg. 78.
JOHNSON’S REEL [3].
AKA and see “Ivy Leaf [1].”
JOHNSON'S ROAD. American, Jig. G Major. Standard tuning. AABB. Source for notated
version: Lawrence Older [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 368.
JOHNSTON’S HORNPIPE. AKA and see “Brown Paper
Hornpipe.”
JOHNSTON'S STRATHSPEY. AKA and see "Johnson's Reel [1]."
JOHNSTOWN GALS. Old‑Time, Breakdown. USA, Pennsylvania. G Major. Standard tuning.
AB. See Bayard's note for "Buffalo
Gals [1]." Bayard thinks this tune is derivative of "Buffalo
Gals." Johnstown in a town in western Pennsylvania, the scene of the
famous flood. Source for notated version: Mrs. Sarah Armstrong, (near) Derry,
Westmoreland County, Pennsylvania, November 18, 1943 [Bayard]. Bayard (Dance to the Fiddle), 1944; No. 1B.
JOHNSTOWN REEL. AKA and see "The Rose of
Castletown," "Buachailli
na Locha," "Boys of the
Lough." Irish, Reel. D Major. Standard tuning. AB. O'Neill (O’Neill’s Irish Music), 1915; No. 304,
pg. 151.
X:1
T:Johnstown Reel
M:C
L:1/8
R:Reel
S:O’Neill – O’Neill’s Irish Music (1915)
Z:AK/Fiddler’s Companion
K:D
dB | AD (3FED FAAB | defd efdB | AF
(3FEF dBAF | EDEF E2 dB | AD (3FED FAAB |
defd efdB | AF (3FEF dBAF | EDEF D2
|| fg | a2 ag fgfe | defd efdB | ADFA dBAF |
EDEF E2 fg | (3aba ge fgec | defd
efdB | ADFA dBAF | EDEF D2 ||
_______________________________
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