The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

_______________________________

HOME        ALPHABETICAL  FILES        REFERENCES

 

U

[COMMENT1] 

[COMMENT2] 

Notation Note: The tunes below are recorded in what is called “abc notation.” They can easily be converted to standard musical notation via highlighting with your cursor starting at “X:1” through to the end of the abc’s, then “cutting-and-pasting” the highlighted notation into one of the many abc conversion programs available, or at concertina.net’s incredibly handy “ABC Convert-A-Matic” at

http://www.concertina.net/tunes_convert.html 

 

**Please note that the abc’s in the Fiddler’s Companion work fine in most abc conversion programs. For example, I use abc2win and abcNavigator 2 with no problems whatsoever with direct cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s into the concertina.net converter results in double-spacing. For concertina.net’s conversion program to work you must remove the spaces between all the lines of abc notation after pasting, so that they are single-spaced, with no intervening blank lines. This being done, the F/C abc’s will convert to standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth it.   [AK]

 

 

[COMMENT3] [COMMENT4] 

UA CATASAIG AN FEADAIRE. AKA and see “Casey the Whistler.

 

UA CUINN AN SEANDUINE. AKA and see “Old Man Quinn.

 

UA DUBTAIG AN RINNCEOIR. AKA and see “Duffy the Dancer.

 

UA DUIBIR, AN RINNCEOIR. AKA and see “Dever the Dancer.

 

UA SPEALAIN AN BEIDLEADOIR. AKA and see “Spellan the Fiddler.

 

UAIGH A’ BHAIRD. AKA and see “The Poet’s Grave.

           

UAIGNEAS. Irish, Slow Air (3/4 time). G Minor. Standard. AABB. Composed by fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn, south County Armagh. Keegan explains that at the top of 2,000 foot Slieve Gullion is an extinct volcano with a crater lake, and the cave of the mythical Caileach Beara. The poet Rafteiri made reference to the place when he wrote ‘Uaigneach me is na Caileach Beara’ (I’m as lonely as the Caileach Beara). Keegan (The Keegan Tunes), 2002; pg. 86.

                       

UAILL-CHUMHA NA FEINNE. AKA and see “The White Cockade [1].

           

UAIR BEG/BHEAG ROIMH A’ LA (A Little Hour Before Day). Irish, Air (4/4 time). E Minor (O’Sullivan/Bunting): F Minor (Petrie). Standard. AB (Petrie): ABB (O’Sullivan/Bunting). The tune was originally published in Neale’s 1787 collection. The words to the tune give advice for childbirth: O’Sullivan translates, “Doctor dear, give me advice, a little hour before day, What is the best way to bear a child, A little hour before day?” “Draw your knees together and clench your fists, And walk nine times round the hearth, Go hiher and thither through the house—that’s the advice, A little hour before day.” O’Neill (1910) asserts the tune is “unquestionably a version of ‘Sean O Duibir an Gleanna’/’John O’Dwyer of the Glen’.” Stanford-Petrie prints two tunes by this title (Nos. 1079 & 1080), according to O’Sullivan (1983) “more or less related to Bunting’s,” along with a third (No. 1472) called “A dhochtuir dhilis.” A variant in Roche goes by the title “Uair roimh breachadh an lea” (Farewell to Ardmore). Source for notated version: noted from harper Charles Byrne in 1806. O’Sullivan/Bunting, 1983; No. 66, pgs. 101-103. Stanford/Petrie (Complete Collection), 1905; Nos. 1079 & 1080, pgs. 273-274.

 

UAIR ROIMH BREACHADH AN LEA. AKA and see “Farewell to Ardmore.”

 

UAIR TEID TU A BAILE, AN. AKA and see “When You Go Home.

 

UAIREADOIRIDE, AN. AKA and see “The Watchmaker.

 

UARNANA HORNPIPE. English. England, Northumberland. One of the “missing tunes” from William Vickers’ 1770 Northumbrian dance tune manuscript.

 

UBALLA I GEIMREAD/GEIMRID. AKA and see “Apples in Winter [1].

 

UBALLA MIC GEALAIN. AKA and see “Gillan’s Apples [1].

 

UBHAIDH ABHAIDH. AKA – “Oovee Aavee.” Scottish, Air (2/4 time). B Minor. Standard. AABB. An example of puirt a beul (Gaelic mouth music). Martin (Traditional Scottish Fiddling), 2002; pg. 10.

 


UC! OC ON! APR AN TANNAIPE BUIDE (Och och one, said the yellow tanner). Irish, Air (6/8 time). F Minor. Standard. One part. Stanford/Petrie (Complete Collection), 1905; No. 1518, pg. 380.

 

UCH NA n-UCH IS OSNA I LAR MO CHLEIBH (Alas and alas and a sigh in the depth of my breast!). AKA – “Alas the pain in my heart” (Uch nan uach is osna lar mo cleibh), “Alas, alas! The pain in my heart” (Uch nan oh! Is osna lar mo chliabh). Irish, Air (3/4 time). G Major. Standard. One part. Source for notated version: noted by Bunting from Charles Byrne in 1792. The source for the words to the air (which O’Sullivan/Bunting gives) is one McDermot, a shoemaker in Castlebar. O’Sullivan/Bunting, 1983; No. 10, pgs. 14-15.

 

UCH NAN OH! IS OSNA LAR MO CHLIABH. See “Uch Na n-Uch Is Osna I Lar Mo Chleibh.

 

UCH NAN UCACH IS OANA LAR MO CLEIBH. See “Uch Na n-Uch is Osna I Lar Mo Chleibh.

 

UGDARAS GAN EOLAS. Irish, Double Jig. D Major. Standard. AABB. Roche Collection, 1982, vol. 3; No. 99, pg. 30.

 

UGLY CUSTOMER, AN (Rocdaire Granda). AKA and see “After the Hare.” Irish, Reel. A Major. Standard. AB. The tune also appears as an untitled reel in Brendan Breathnach’s Ceol Rince na hÉireann, vol. 2, No. 151. O’Neill (Krassen), 1976; pg. 127. O’Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 623, pg. 113. O’Neill (Music of Ireland), 1903; pg. 1373.

X:1

T:Ugly Customer, An

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 623

Z:AK/Fiddler’s Companion

K:A

EacA eAcA|Eace dB B2|EacA eAcA|afed cABG|EacA eAcA|Eace dBBg|

{b}agae age|dB ed cA A||e|{b}agae fefg|afec dBBe|{b}agae age|dBed cAAe|

{b}agae age|{d}dBcA BF F2|EFED EFAB|ceBd cA A2||

 

UGLY THIEF, THE (An Gadaighe Grána) {Englished as “The Goddhee Grawna”}. AKA and see “Castlehyde.” Irish, Air (3/4 time, “rather slow”). F Major. Standard. AAB. “’The Ugly Thief, i.e. death...Written from memory, as I learned it at home when a child. There is a good setting in the Pigot Collection, where it is called ‘Castle Hyde,’ showing that that celebrated song was sometimes sung to it. There was an Irish song to this air in which Shauneen gives an account of his encouter with Death” (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 16, pg. 11.

X:1

T:Ugly Thief, The

T:An Gadaighe Grána (The Goddhee Grawna)

M:3/4

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:F

f/e/|dc A2 c/A/G/A/|FF F>G A f/e/|dc A2 c/A/G/A/|FF F2 :|

F/G/|AA f2 ef|dd d>c A A/B/|cc c2 Ac|de f3 f/e/|dc A2 c/A/G/A/|

FF F>G A f/e/|dc A2 c/A/G/A/|FF F3||

 

UILE-ÍOC, AN. AKA and see “The Perfect Cure.

 

UILIN. Irish, Air (4/4 time). E Minor. Standard. AB. “So incorrectly barred in MS. As ato be in some parts unintelligible. This is my attempt to restore it. Mr. Pigot copied it into his book of course as he found it in the Hardiman MS.” (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 761, pg. 374.

 

UILLEÁGAN DUB(H) O. Irish, Air (4/4 time). G Mixolydian. Standard. AB. A popular air composed in the early 17th century, and used for several songs. The title literally translated means “dark or black (--haired) round head”, but Bunting (1809) gives the title as “The Song of Sorrow.” It was adapted in 1746 by Donogh MacConmara (Macnamara) to the well‑known song “The Fair Hills of Dear Eire” (Ban cnuic Eireann Og). “Uilleágan Dubh O” was printed by Walker in 1786 and was one of the tunes played in a meeting of Belfast harpers in July 1792 by Denis O’Hampsey (1695-1807), Hempson or Hampson (Donnchad a Haimpsuigh) of Magilligan, County Derry, who was then aged 95 years. Bunting collected the tune from Hempson and gives two settings, one from his MS 29, pg. 44, and one from MS 33, book 3. He notes in the former that it is “The best set I ever got before of ‘ouly can do wo’…Dennis a Hampson in 1796 + 1796.” Hempson was blinded at age three, but was a skilled performer. Bunting (1840) says of him: “The pieces which he delighted to perform were unmixed with modern refinements, which he seemed studiously to avoid; confining himself chiefly to the most antiquated of those strains which have long survived the memory of their composers, and even a knowledge of the ages that produced them. Hempson was the only one of the harpers at the Belfast Meeting in 1792, who literally played the harp with long crooked nails, as described by the old writers. In playing, he caught the sting between the flesh and the nail; not like the other harpers of his day, who pulled it by the fleshy part of the finger alone.” Bunting (Ancient Music of Ireland), 1809; No. 2. Heymann (Legacy of the 1792 Belfast Harp Festival), 1992; pgs. 4-5.

 


UILLEACHAN ‘N TIG THU CHAOIDH. AKA and see “Willie Will You E’er Return.

 

UILLIAM MAC CORMAC. AKA and see “Billy McCormick(‘s Jig).

 

UILLEAM ‘S CAULM’S MÒRAG (William and Malcolm and Marion).  AKA and see “Brose and Butter.”

 

UILLIAMIN BARLAIG. AKA and see “Billy Barlow.

 

UIR-CHILL A’ CHREAGAIN (The Fair Graveyard of Creggan). AKA and see “Creggan Churchyard.

 

UIS AN CAT. AKA and see “Whish, Cat from Under the Table,” “Huish the Cat.

 

UISGE AGUS UISGE-BEATA. AKA and see “Whiskey and Water.

 

UISGE BEATA IS TU AN DIABAL! AKA and see “Whiskey You’re the Devil!”

 

UIST LASSES DARLING, THE. Scottish, Reel. D Major. Standard tuning. AAB. The islands of North Uist and South Uist are in Scotland’s Outer Hebrides Islands. Kerr (Merry Melodies), vol. 2; No. 164, pg. 19. Stewart-Robertson (The Athole Collection), 1884; pg. 116. Rounder 82161-7032-2, Bill Lamey – “From Cape Breton to Boston and Back: Classic House Sessions of Traditional Cape Breton Music 1956-1977” (2000).

X:1

T:Uist Lasses’ Darling, The

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:D

B|AGFd F/F/F d2|fdAF E/E/E B2|AGFd F/F/F d2|fdAF E2D :|

g|fdfa bggb|affa geeg|fdfa bggb|afdf e2 dg|fdfa bggb|afdf bgeg|

fgaf gabg|afdf e2d||

 

ÚLLAÍ UÍ GHIOLLÁIN. AKA and see “Gillan’s Apples [1].”

ULLMUIG AN PRIM-BEILE GO MOC. AKA and see “Boil the Breakfast Early.

 

ULLULU MO MHAILIN. AKA and see “Alas, my little bag!”

 

ULSTER AIR. Irish, Air (2/4 time). G Major. Standard tuning. AB. Roche Collection, 1982, vol. 3; No. 8, pg. 3.

 

ULSTER BLOSSOM (bLat Cuige Ulad). Irish, March. A Major. Standard tuning. AABB. Roche Collection, 1982, vol. 2; No. 327, pg. 56. 1

 

ULSTER BOYS. Scottish, Jig. A Major. Standard tuning. AAB. Kerr (Merry Melodies). vol. 3; No. 219, pg. 25.

X:1

T:Ulster Boys

M:6/8

L:1/8

R:Jig

S:Kerr – Merry Melodies, vol. 3, No. 219  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

A2c ecA|B2A GFE|A2c ecA|dBG A3:||cAc efg|agf efd|

cAc efg|agf e3|cAc efg|agf edc|ded cBA|BcA GFE||

 

ULSTER HORNPIPE (Crannciuil Ulaid). Irish, Hornpipe. G Major. Standard tuning. AABB’. Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O’Neill (Krassen), 1976; pg. 174. O’Neill (Music of Ireland: 1850 Melodies), 1979; No. 1599, pg. 297. Tolman (Nelson Music Collection), 1969; pg. 14.

X:1

T:Ulster Hornpipe

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Music of Ireland (1903), No. 1599

Z:AK/Fiddler’s Companion

K:G

dc|BGFG DGBd|cBAG FAGF|Ggfe dBAG|B2A2A2 dc|

BGFG DGBd|cBAG FAGF|Ggfe dcAc|B2G2G2 :|

||dc|BGBd gabg|abc’a gfed|egfa gbac’|bgfg e^def|gbdg egBd|

cBAG FAGF|Ggfe dcAc|B2 G2G2 dc|BGBd gabg|abc’a gfed|

(3efg (3fga (3gab (3abc’|bgfg e^def|gbdg egBd|cBAG FAGF|

Ggfe dcAc|B2G2G2|

 

ULSTER OUTCRY (Gair Ultac). Irish, Air or March (4/4 time). G Major. Standard tuning. One part. O’Neill (Music of Ireland: 1850 Melodies), 1979; No. 1846, pg. 347.

X:1

T:Ulster Outcry

M:C

L:1/8

R:Air or March

S:O’Neill – Music of Ireland (1903), No. 1846

Z:AK/Fiddler’s Companion

K:G

DEFG A/B/|cd cd cd cd|c8| c8|(3BAG E2 EFGA|B2 Bd Ad Bd|

Ad B3 c (3BAG|E2 GE AG (3BAG|AG (3BAG A2 (3BAG|

E3 E/F/ G/A/B/d/ c2|cd cd c2 BA|B2 BdBdBd|Bd B2 AG A2|

B2 Ad B2 Ad|B3 c (3BAG E2|EG AG (3BAG AG|A2 cB AG E2|

GE A>G (3BAG AG|G3 A (3BAG E2|GE AG (3BAG AG|A2 cB AG E2|

GE A>G (3BAG AG|G3 A (3BAG E2|Bz (3BAG zA (AGE|

ZB (3BAG zA (3AGE|G4 zA (3BAG|E2 GE AG (3BAG|

AG B/A/G/E/ (3DEG AG|G4||

           

ULSTER RONDO. Irish, Air (2/4 time). D Major. Standard tuning. AABB. O’Farrell (National Irish Music for the Union Pipes), 1804; pg. 37.

X:1

T:Ulster Rondo

M:2/4

L:1/8

R:Air

S:O’Farrell – National Irish Music for the Union Pipes (1804)

Z:AK/Fiddler’s Companion

K:D

AG | FD DD | DF Ad | cA AA | Ac eg | fd d/e/d/c/ | Bg gf | e/f/g/f/ ed |

c/d/e/d/ c/B/A/G/ | FD DD | DF Ad | cA AA | A/B/c/d/ e/f/g/a/ | fd f/e/d/c/ |

Bg gf | e/f/g/e/ dc | d2d2 :: f>g ff | ff a/f/e/d/ | e>f ee | ee a/e/d/c/ | ff/e/ d/c/B/A/ |

^G/A/B/c/ Be/c/ | d/e/c/e/ B/e/A/e/ | A/e/A/e/ B/e/c/e/ | d/e/c/e/ B/e/A/e/ |

A/e/A/e/ B/e/c/e/ | d/c/d/e/ f/e/f/g/ | b/a/g/f/ f/e/d/c/ | d/c/d/e/ f/e/f/g/ |

a/^g/a/b/ a/f/e/d/ | c/d/e/f/ e/d/c/B/ | A/d/c/B/ A/G/F/E/:|

                       

ULSTER SEVEN STEP POLKA. See “Seven Step Polka.”

 

ULUACHAN DUBH O’. Irish, Air (4/4 time). G Mixolydian. Standard tuning. One part. Roche Collection, 1982, vol. 3; No. 70, pg. 21.

 

ULVERSTON VOLUNTEERS. English, Jig. G Major. Standard tuning. AABB. Knowles (A Northern Lass), 1995; pg. 42.

                       


UMPUIG AN CLUMAC. AKA and see “Toss the Feathers [1].

                       

UNA. Irish, Air (4/4 time). A Minor. Standard tuning. AB. Joyce remarks the song was still current among the folk of Cork and Limerick at the time of his writing. He makes a distinction between this tune and Moore’s “Oonagh,” a different tune. Source for notated version: Learned by Joyce from his father, presumably when a boy in Limerick in the 1840’s. Joyce (Ancient Irish Music), 1873/1890; No. 97, pg. 99.

X:1

T:Una

M:C

L:1/8

R:Air

S:P.W. Joyce – Ancient Irish Music (1873), No. 97

Z:AK/Fiddler’s Companion

K:Amin

DE|G2 G>A G>EDE|G2 GA G>EDE|A2 A>B c2 E>F|

G3E D2 EG|A2 AB c2A2|d2 de f2 ed|cAGE D2 EG|A4A2||cd|

e2 ef e>dcA|d2 de f2 e>d|d>cAG E2 DE|G3E D2 EG|

A2 AB c2 cA|d2 d>e f2ed|cAGE D2 EG|A4 A2||

                       

UNA A RUIN. AKA and see “Winnie Dear [1].”

                       

UNA ARUIN. AKA and see “Dear Oona [2]” or “Dear Winnie [2].

                       

UNA BHAIN NI CHUINNEAGAIN (Una Bhain’s Wedding Reel). AKA and see “The Donegal Reel,” “Miss Brown’s Reel.” Irish, Reel. This reel is known in County Donegal by its Gaelic title. An Ceol, vol. 3.

                       

UNA BHAN. Irish, Air (3/4 time). G Major. Standard tuning. One part. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 70, pg. 62.

                       

ÚNADH. Irish, Air (cut time). G Major. Standard tuning. One part. Únadh, or Una, is a woman’s name. Source for notated version: the 1861 manuscript collection of James Goodman, an Anglican cleric who collected primarily in County Cork [Shields]. Shields (Tunes of the Munster Pipers), 1998; No. 17, pg. 10.

                       

UNANIMITY. Scottish, Scotch Measure. D Major. Standard tuning. AAB. Aird (Selection of Scotch, English, Irish and Foreign Airs), vol. II, 1785; No. 196, pg. 73.

X:1

T:Unanimity

M:2/4

L:1/8

S:Aird, vol. II (1785)

Z:AK/Fiddler’s Companion

K:D

gd gd/c/ | c/B/A/G/ d2 | G/A/B/c/ dd | e/d/c/B/ AG | gd gd/c/ | c/B/A/G/ dg/f/ |

ea/g/ g/f/e/d/ | (f/d/)(d/^c/) d2 :: dc/d/ ed | cBcA | cB/c/ dc | BABG | gg/a/ gD |

G/A/B/c/ {B}A2 | dd d/e/d/c/ | BA G2 K

                       

UNA’S LOCK. AKA and see “The Cumberland,” “Miss Gibson [2],” “Miss Nancy Gibson,” “The New Brig of Glasgow,” “Oonagh’s Waterfall.” Scottish. See note for “Onagh’s Lock.” Johnson (The Scots Musical Museum), No. 447.

X:1

T:The Cumberland Reel or Una’s Lock

S:Longman and Broderip’s Second Selection of the Most Favorite

Country Dances, Reels, &c. [c 1790/91?]

Q:1/4=80

L=1/4

M:C|

Z:Transcribed by Bruce Olson

K:Bb

F/|Bb/g/ f/d/c/B/|A/F/c/A/ d/F/c/F/|Bb/g/ f/d/c/B/|\

F/B/A/c/ d/B/B/::d/|B/G/F3/4E/4 D/E/F/D/| E/C/C/B/ B/G/F/A/|\

B3/4G/4F3/4E/4 D/E/F/D/|B,/B/A/B/ d/B/B/:]

 

UNA’S NEW GOWN. Irish, Jig and Air. D Mixolydian?. Standard tuning. AAB. Source for notated version: “Copied from a Munster MS. Lent me by the late John O’Daly, the Irish publisher of Anglesea St., Dublin” (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 192, pg. 95.

X:1

T:Una’s New Gown

M:6/8

L:1/8

R:Jig and Air

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

Z:AK/Fiddler’s Companion

K:Dmix

D|EFA BAF|dFF AFD|EFA BAF|FEE E2F|EFA BAF|dFF EFA|dfe dAF|FEE E2K

|:d|dAF Ade|fed e2 d/e/|fed edB|AdG FED|EFA BAF|dFF Ade|f/e/d/f/e/c/ dAF|FEE E2||

 

UNCLE ADAM’S BANANA. AKA and see “La Banane a None’ Adam.

                       

UNCLE BERNARD’S. English, Polka (4/4 time). G Major. Standard tuning. AABB. The tune is used for a polka step in the North‑West (England) morris dance tradition. A popular melody in English sessions, although considered somewhat of a ‘beginner’s tune’. Wade, 1988; No. 29.

                       

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

           

UNCLE GEORGE’S.  English. HTD CD29, Ashley Hutchings – “The Guvnor, vol. 2.”  Topic TSCD 752, Ashley Hutchings – “Stepping Up” (2004. Originally recorded during the Kicking up the Sawdust sessions in 1977, but not released on the album).

           

UNCLE HENRY. Old-Time, Breakdown. USA, Arkansas. D Major. DDad tuning. AB. From the playing of fiddler and violin maker Violet Hensley (b. 1916), from Yellville, northern Arkansas, learned in the 1920’s from her father, George Washington “Wash” Brumley (b. 1874). Mark Wilson says it is a ‘drastic revamping’ of the minstrel era song “Goodbye My Honey, I’m Gone.” Hensley had no title for the tune, however, until she heard a man from Dardenelle, Arkansas, call it by the “Uncle Henry” title. The tune is slightly ‘crooked’ in the first part, with an extra beat at the end of the strain. Source for notated version: Violet Hensley [Beisswenger & McCann]. Beisswenger & McCann (Ozarks Fiddle Music), 2008; pg. 55. Rounder CD 0435, Violet Hensley – “Traditional Fiddle Music of the Ozarks, vol. 1” (1999. Various artists). Rounder Heritage Series 1166-11592-2, Violet Hensley (et al) – “The Art of Traditional Fiddle” (2001).

                       

UNCLE HENRY’S JIG. Canadian, Jig. D Major. Standard tuning. AABB. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 153, pg. 102. Miller (Fiddler’s Throne), 2004; No. 110, pg. 74.

                       

UNCLE HENRY’S REEL. Canadian, Reel. A Major. Standard tuning. AABB. Sources for notated versions: Jack O’Connor [Hinds]; Jerry Robichaud (Cape Breton) [Phillips]. Hinds/Hebert (Grumbling Old Woman), 1981; pg. 12. Messer, 1952; Don Messer’s Square Dance Tunes (Canadian Music Sales, out‑of‑print). Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 247. Banff SBS 5036, Graham Townsend – “I Like Don Messer.” Canadian Cavalcade CCLP 2010, “Graham Townsend Fiddle Favorites.”

                       


UNCLE HERMAN’S HORNPIPE. AKA and see “Hirams’s Hornpipe,” “Miss Supertest’s Victory Reel.” American, Hornpipe. USA, Texas. D Major (‘A’ part) & A Major (‘B’ part). Standard tuning. AAB (Jack Tuttle/Fiddler Magazine): AA’BB’CC’ (Phillips). The tune is well-known among Texas-style fiddlers, though it apparently started out as a Canadian tune called “Miss Supertest’s Victory Reel,” composed by John Durocher. Source for notated version: Benny Thomasson (Texas) [Phillips]. Fiddler Magazine, Spring 1994; pg. 25. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 229.  Barbara Lamb – “Fiddle Fatale.”

 

UNCLE HERM’S HORNPIPE. Old‑Time, Breakdown. G Major. Standard tuning. AA’BB’. Not Benny Thomasson’s “Uncle Herman’s Hornpipe.” Source for notated versions: John Ashby {1915‑1979} (north Va.) [Phillips, Reiner & Anick]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 230. Reiner & Anick (Old Time Fiddling Across America), 1989; pg. 89. County 773, John Ashby – “Fiddling by the Hearth.”

 

UNCLE HUGH’S.  Irish, Reel. Ireland, County Fermanagh. From the playing of John McManus. The melody is “The High Road to Linton” with the parts reversed. Hidden Fermanagh.

 

UNCLE JIM. AKA and see “Steamboat March,” “Steamboat Quickstep," “Washington Quickstep.” Canadian, Jig. A Major. Standard tuning. AABB (Jarman): AA’BB’ (Perlman). Credited to John Burt by Jarman. Perlman (1996) records that these words were sung to the ‘B’ part on Prince Edward Island:

***

Mrs. MacArthur have you a daughter?

Yes, I have and a pretty one, too!

She has gone for a bucket of water,

When she comes in I will give her to you!

***

Sources for notated versions: Elliot Wright (b. 1935, Flat River, Queens County, Prince Edward Island; now resident of North River) [Perlman]; Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]. Begin (Fiddle Music in the Ottawa Valley: Dawson Girdwood), 1985; No. 32, pg. 46. Jarman (The Cornhuskers Book of Square Dance Tunes), 1944; pg. 16. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 139.

X:1

T:Uncle Jim

T:Steamboat Quickstep

M:6/8

L:1/8

K:A

{3efg|:a2e c2A|Ace a2 (3e/f/g/|agf edc|Bed cBA|a2e c2A|Ace a2 (3e/f/g/|

agf edc|edB [A2e2] [Ae] :|

|:ece efe|efe cBA|Ad[df] [d2f2] [df]|fee e2 (3e/c/B/|Ace efe|

efe cBA|a2f edc|edB [a2e2] B :|

 

UNCLE JIM’S.

X: 1
T: Uncle Jim’s
Z: Anahata <anahata@treewind.co.uk>
M: 6/8
L: 1/8
K: G
d | e2d B2d | G3 A2G | F2A c2A | F3-F2A |\
d^cd f2e | d2c B2A | G2F G2B | d3-d2d |
e2d B2d | G3 A2G |F2A c2A | F3-F2A |\
d^cd f2e | d2c B2A | G3 B3 | G3-G2 |
|: A | BBB B2G | BBB B2B | A2B c2d | f3-f2e |\
d^cd f2e | d2c B2A | G2F G2B | d3-d2c |
BBB B2G | BBB B2B | A2B c2d | f3-f2e |\
d^cd f2e | d2c B2A | G3 B3 | G3-G2 :|

 

UNCLE JOE. AKA and see “Miss McLeod’s/MacLeod’s Reel [1],” “Green Mountain [1],” “Walk Jaw Bone [1],” “Hop High Ladies (the Cakes All Dough),” “Did You Ever See the/a Devil, Uncle Joe,” “Billy Boy [2].” Old‑Time, Breakdown. USA; Arkansas, Oklahoma, Kentucky. G Major. Standard tuning. AABB. Another derivative of the British Isles’ “Miss McCloud’s Reel” and a relative of the folksong “Billy Boy” (Charming Billy).  The tune was recorded for the Library of Congress by musicologist/folklorist Vance Randolph, from the playing of Ozark Mountain fiddlers in the early 1940’s.

***

Do ya wanta go to heaven Uncle Joe, Uncle Joe,

Do ya wanta go to heaven Uncle Joe, Uncle Joe,

Do ya wanta go to heaven Uncle Joe, Uncle Joe,

Where the sun don’t shine and the wind don’t blow. (Thede)

***

Don’t you want to go to heaven, Uncle Joe, Uncle Joe!

Don’t you want to go to heaven, by and by?

Don’t you want to go to heaven, Uncle Joe, Uncle Joe!

Where the ‘possum and the sweet potatoes grow up in the sky?  (Ford)

***

Sources for notated versions: Rance Willhite (Jefferson County, Oklahoma) [Thede]; Doc Roberts (1897-1978, Ky.) [Titon]. Ford (Traditional Music in America), 1940; pg. 47. Thede (The Fiddle Book), 1967; pg. 100. Titon (Old Time Kentucky Fiddle Tunes), 2001; No. 162, pg. 187. Conqueror 8136 (78 RPM), Doc Roberts (1931). County 412, “Fiddling Doc Roberts: Old Time Tunes” (1983. Reissue of the 1931 recording). County 510, The Red Fox Chasers (1967). Heritage 25, “Albert Hash and the Whitetop Mountain Band” (1979). Marimac AHS6, Melvin Wine – “Vintage Wine” (1993). Rounder 0058, John Patterson (et al) – “Old Originals” (1978).

X:1

T:Uncle Joe

M:2/4

L:1/8

R:Reel

S:Ford – Traditional Music in America (1940)

Z:AK/Fiddler’s Companion

K:G

D|GA Bc|dB GA|B2 BA|B2 BA|GA Bc|dB GB|A2 AG|A2 BA|

GA Bc|dB GA|B2 BA|B2 dd|e2 dd|ef ge|BG AF|G4:|

|:D|G2 gf|ef ge|B2 BA|B2 BA|G2 gf|ef ge|a2 ab|a2 BA|

G2 gf|ef ge|B2 BA|B2 dd|e2 dd|ef ge|BG AF|G3:|

                       

UNCLE JOE, WILL YOUR HORSE PACK DOUBLE? Old-time, Breakdown. USA; Oklahoma, Missouri. A Major. Standard tuning. AA’BB’. The title, but not the melody, is borrowed from the well-known “Uncle Joe” (see above), which has a sung line that goes:

***

Will your horse pack double, Uncle Joe, Uncle Joe, (x3)

Don’t mind the weather when the wind don’t blow.

***

While “Uncle Joe” is a version of “Miss McLeod’s/MacLeod’s Reel [1],” however, Alton Jones’s tune is different. Mark Wilson suggests the “Uncle Joe” title for the tune is the result of a borrowing or a connection by mistake. Source for notated version: Alton Jones (1918-2002, Theodosia, Mo.), learned from Cherokee fiddler Johnny Masters (Jay, Oklahoma) [Beisswenger & McCann]. Beisswenger & McCann (Ozarks Fiddle Music), 2008; pg. 85. Rounder 0437, Alton Jones  – “Traditional Fiddle Music of the Ozarks, vol. 3: Down in the Border Counties” (2000. Various artists).

                       

UNCLE JOHN. American, March (2/4 time). USA, southwestern Pa. A Mixolydian. Standard tuning. AABB. Source for notated version: Hoge MS (a fife MS from southwestern Pa., 1944) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 221, pg. 178.


                       

UNCLE LEWIS’ TUNE NO. 1. American, Reel. USA, northern New York. D Major. Standard tuning. AA’BB. Source for notated version: a “family tune” learned by fiddler Vic Kibler (Hamilton County, New York) from his Uncle Lewis Nichols (1886‑1963) [Bohrer]. Bohrer (Vic Kibler), 1992; No. 13, pg. 13.

                       

UNCLE MAURICE’S TUNE NO. 1. American, Reel. USA, northern New York. D Major. Standard tuning (fiddle). AABB (Phillips): AA’BB’(Bohrer/Kibler). Source for notated version: a “family tune” learned by fiddler Vic Kibler (Hamilton County, New York) from his uncle Maurice Fountain (1905‑1970); “One of the first tunes that Uncle Maurice learned. I’ve never seen it written or heard anybody else play it” [Bohrer, Phillips]. Bohrer (Vic Kibler), 1992; No. 3, p. 3. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; p. 247.

                       

UNCLE NOAH JAMISON.  Old-time, Breakdown. Sourced to fiddler Audrey Cable (late of Dade City, FLA), whose version may be heard at the Digital Library of Appalachia (http://www.aca-dla.org). Kentucky fiddler, collector and researcher Bruce Greene popularized the tune among old-time musicians.

 

UNCLE PADDY.  French-Canadian, Jig. A mixolydian. Standard tuning (fiddle). AABB. A crooked tune from the playing of Eric Corrigan (Valcartier, Québec), who learned it from the lilting (mouth music) of his Uncle Paddy. It appears to be a derivation of the old Irish jig “Langstrom’s Pony,” certainly in the first strain, although the second strain diverges somewhat. The Valcartier area, northwest of Quebec City, was settled by Irish immigrants in the 19th century.  30 Below TB 001CD, Les têtes de violon (Bouchard et al) – “Airs Tordus/Crooked Tunes” (1998).

 

UNCLE PAUL. Old‑Time, Quadrille (Jig). USA, Oklahoma. G Major. Standard tuning (fiddle). AABB. Thede speculates the tune “...may have had an Irish name in earlier years.” Thede (The Fiddle Book), 1967; p. 158.

 

UNCLE PAT.  French-Canadian, Jig. A crooked tune from the playing of Eric Corrigan (Valcartier, Québec), who learned it from his Uncle Pat. Valcartier was settled by Irish immigrants in the 19th century.  30 Below TB 001CD, Les têtes de violon (Bouchard et al) – “Airs Tordus/Crooked Tunes” (1998).

                       

UNCLE PIG. Old-Time, Breakdown. F Major. Standard tuning (fiddle). AB. Source for notated version: Gary Lee Moore (Seattle) [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; p. 161.

                       

UNCLE STEWART’S WALTZ. Waltz.  Flying Fish 586, “Trian.”

                       

UNCLE TOM’S BEST. American, Sand Jig (2/4 or 4/4 time). G Major. Standard tuning (fiddle). ABA (Cole/Ryan): AABB’ (Kerr). The melody is listed as a ‘jig’ in Ryan’s Mammoth Collection, referring not to the familiar 6/8 time Irish jig, but rather to a type of syncopated, duple-time, 19th century banjo tunes often employed as the vehicles for a kind of clog dancing. They were sometimes called ‘straight’ or ‘sand’ jigs—the latter derived from the practice of strewing sand on the stage floor to reduce friction and facilitate foot movements. Cole (1000 Fiddle Tunes), 1940; pg. 83. Kerr (Merry Melodies), vol. 2; No. 431, p. 49. Ryan’s Mammoth Collection, 1883; p. 117.

X:1

T:Uncle Tom’s Best

M:C|

L:1/8

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

D | GBdf gbzb | afge dBzc | DFAB ceze | dBcA G2zD | GBdf gbzb | afge dBzc |

DFAB ceze | dBcA G2z || D | G2 BG AG E2 | G2 BG FAzD | G2 BG AG zf |

Gedc BGAF | G2 BG AG E2 | G2 BG FAzD | G2 BG AG zf | gfaf gedB ||

           

UNCLE’S JIG. AKA and see “Louisberg Square.” English, Jig. G Major (‘A’ and ‘C’ parts) & D Major (‘B’ part). Standard tuning (fiddle). AA’BBCC’. Rob Murch – “Still Frettin’”.

X:1
T:Uncle's Jig
S:As played by Bob Cann
Z:Nigel Gatherer
L:1/8
M:6/8
K:G
B | ddd dcB | ddd d2d | g2g f2e |  d3- dcB | c2e e2c |

B2d G2B | A2B cBA |1 GAG F2 :|2 G3- G2 ||
K:D
A | FAd c2e | d2f a2f | e2f gfe |  d2f A3  |

A2d c2e | d2f a2f | e2f gfe |  d3- d2 :|
K:G
B | ddd dcB | ddd d2d | g2g f2e |  d3- dcB |

c2e e2c | B2d G2B | A2B cBA |1 GAG F2 :|2 G3- G2 ||

           

UNCONSTANT ROGER. AKA and see “An old woman clothed in gray,” “Through all the employments of life.

                       

UNDER AND OVER. AKA and see “A Man Had Three Sons,” “Jacob Hall’s Jig.” English, Country Dance Air (6/4 time). D Minor. Standard tuning. AAB. The tune appears in Playford’s Dancing Master of 1650, and, in D Major, in Pills to Purge Melancholy (under the title “Joan’s ale is new”). In many of the MSS containing songs written to the air it is described as a “Northern tune,” which tunes when so described Chappell states are north English in origin, not Scottish. As “Joan’s ale is new” the tune appears (set in D Major) in D’Urfey’s Pills to Purge Melancholy. The “Under and Over” song begins:

***

Under and over, over and under,

Or a pretty new jest and yet no wonder;

Or a maiden mistaken, as many now be,

View well this glass, and you may plainly see.

***

Chappell (Popular Music of the Olden Time), vol. 1, 1859; pgs. 304‑305.

X:1

T:Under and Over

M:6/4

L:1/8

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

Z:AK/Fiddler’s Companion

K:Dmin

D2 | D4d2 c4B2 | A6 G3F E2 | F3G A2 G3A F2 | E6 ^C4C2 |

D4d2 ^c4d2 | e6 A4A2 | B3c d2 d3e ^c2 | (d6 d4 ) :|

d2 | c4c2 c3B A2 | G4 G2 G3F E2 | F3G A2 G3A F2 | E6 ^C4C2 |

D4d2 ^c4d2 | e6 A4A2 | B3c d2 d3e^c2 | (d6d6) ||

                       

UNDER THE BLANKETS. English, Jig. C Major. Standard tuning. AABB. In addition to London publisher Charles and Samuel Thompson’s 1765 collection, the melody appears in the 1786 commonplace book of American flute player Henry Beck. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 48.

X:1

T:Under the Blankets

M:6/8

L:1/8

N:Play AABA

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)

Z:Transcribed and edited by Flynn Titford-Mock, 2006-9

Z:abc’s:AK/Fiddler’s Companion

K:C

e2g gfe|f2a agf|e2g gfe|fdd d3|e2g gfe|f2 a agf|ege dfd|ecc c3:|
|:gez gez|fdd d3|fdz fdz|ecc c3|gez gez|fdd d2d|efg gfe|d3 d2z:||

 


UNDER THE DOUBLE EAGLE. AKA – “Double Eagle March.” Old‑Time, March. C Major (modulates to ‘F’ in the second part). A multi-part march that found its way into the old‑time repertoire, where it has usually been known as a guitar piece. The melody was originally composed in 1893 by Franz Joseph Wagner {1856-1908} (as “Unter dem Doppeladler, Op. 159”) while he was bandmaster of the 47th Austrian Regiment. It was said to be, for a time, the national anthem of Germany {?}. It was a popular brass band piece in Europe, where the double eagle of the Habsburgs was featured on the Austro-Hungarian flag. Bill Boyd’s Cowboy Ramblers’ 1935 version of the tune became the fourth best-selling country music record for that year, and the tune was often heard played by Allied bands in World War II. “Under the Double Eagle” was particularly popular in Texas in the 1930’s and 1940’s, where it was perhaps introduced by German or Austrian immigrants. Later, a popular version was recorded by guitarist Doc Watson in the 1960’s. Several old-time versions do not change key in the second part. Taylor Kimble (Va.), for example, played the tune in D Major throughout. African-American fiddler Cuje Bertram (Ky.) played a march similar to “Double Eagle” on a home tape in 1970, made for his family.

***

West Virginia musicians knew “Under the Double Eagle”: the tune was recorded by Kanawha County fiddler Clark Kessinger, who recorded several marches as well as breakdown pieces. It was learned by itinerant West Virginia fiddler John Johnson (1916-1996), originally from Clay County, from fiddler Dorvel Hill who lived in a coal-mining town called Pigtown, not far from Clay, W.Va. Anecdotally, it was popular with Minnesota fiddlers in the early 20th century. Southern Indiana fiddler Lotus Dickey played a version in four parts (most rural versions are in two parts, according to Paul Tyler).

***

I was bashful back then and wouldn’t go in anybody’s house hardly. I’d

sit on the railroad and listen to Dorvel play the fiddle at night. And I

learned most all of Dorvel’s tunes. I just set down there and listened

to all his tunes and then go home and play them. (Michael Kline, Mountains of Music, John Lilly ed. 1999).

***

Duncan, Craig – Advanced Fiddling (Mel Bay Publications). Recorded by Herbert Halpert for the Library of Congress (2739-A-2), 1939, from the playing of the Houston Bald Knob String Band (Franklin County, Va.). County 747, Clark Kessinger – “Sweet Bunch of Daisies.” Front Hall FHR‑021, John McCutcheon – “Barefoot Boy with Boots On” (1981. Learned from Jimmy Cooper, Coatbridge, Scotland). Paramount 3184 (78 RPM), 1929, Charlie Poole and the North Carolina Ramblers.  Pinecastle Records, Chubby Wise – “Chubby Wise: An American Original, the ’94 Sessions.” Johnny Gimble – “Texas Fiddle Collection.” The Skirtlifters – “Wait for the Wagon.”

 

UNDER THE GREENWOOD TREE. American, Reel. USA, southwestern Pa. D Major. Standard tuning. AB. Source for notated version: Walter Neal (Pa., 1952) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 415, pg. 395.

 

UNDER THE OLD MYRTLE TREE. English, Morris Dance Tune (6/8 time). D Major. Standard tuning. AB(x4). Collected from the village of Bampton, Oxfordshire, in England’s Cotswolds. Bacon (The Morris Ring), 1974; pg. 47.

 

UNDER THE PEACH TREE. Old‑Time. The title appears in a list of Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

 

UNDER THE ROSE. AKA and see “The Greenfields of America [1],” “Miss Wedderburn(‘s Reel) [1],” “Molly Brallaghan [1],” “Captain Rock(e’s) [1],” “Pratie Apples,” “Napoleon’s Farewell to Paris,” “The Bold Sportsman,” “The Carpenter’s March,” “McKenna’s Dream,” “The Grand Conversation of Napoleon.

           

UNDER THE STARS.  Irish, Reel. Composed by County Tipperary fiddler Seán Ryan (d. 1985). Ryan (Seán Ryan’s Dream), 17.

           

UNDER THE WATER. English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABB. The melody first appears in print in David Rutherford’s Choice Collection of Sixty of the Most Celebrated Country Dances (London, 1750). Subsequently it was published in John Johnson’s 200 Favourite Country Dances, vol. 7 (London, 1756), Charles and Samuel Thompson’s 1757 country dance collection, and Rutherford’s Complete Collection of 200 Country Dances, vol. 2 (London, 1760). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 76.

X:76

T:Under the Water

M:2/4

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)

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

Z:abc’s:AK/Fiddler’s Companion

K:G

(gf)(ed)|cB AG|(gf) (ed)|e2 g2|(gf) (ed)|cB AG|gg GG|B2 d2:|

|:(G/A/B/c/) dB|dBdB|(A/B/c/d/) ec|ec g2|(G/A/B/c/) dB|dBdB|gfed|e2g2:||

 

UNDER THE WILLOWS SHE WAS SLEEPING. AKA and see “Under the Willow Tree Night and Day.” Irish, Waltz or Slow Air. The melody appears in the Alex Sutherland manuscript of County Meath/Leitrim, and in Walton’s Tutor and Selection of Irish Airs for the Bagpipes (Palmer, 1967) under the alternate title. Harding’s Dublin Songster, Vol. 1, reprints a 19th century ballad sheet giving lyrics for a song called “Under the Willows She Was Sleeping.” Drumlin Records, Brian McNamara – “A Piper’s Dream.”

                       

UNDERHAND HORNPIPE, THE. AKA and see “The Redesdale Hornpipe.” English, Hornpipe. G Major. Standard tuning. AABB. Composed by 19th century fiddler James Hill, originally born in Dundee, Scotland. Hill lived much of his life in Gateshead, northern England (near Newcastle), and is particularly famed for his hornpipe compositions. The tune is attributed to him in Kohler’s Violin Repository (Edinburgh, 1881-1885). Underhand, like several of Hill’s compositions, was named for a famous race horse (for this, see also “Beeswing,” “XYZ”, “The Flying Dutchman”). Dixon (The Lads Like Beer), 1987. Miller (Fiddler’s Throne), 2004; No. 321, pg. 188.  RM-1C, Randy Miller – “Lore of the Fingerboard” (1990).

X:1

T:Underhand Hornpipe, The

M:4/4

L:1/8

R:Hornpipe

C:James Hill

K:G

(3def|gdBd GB (3def|gdBd G2AB|cAFA DFAc|ed^cd B2 (3def|

gdBd GB (3def|gdBd G2AB|cAFA DFAB|A2G2G2:|

|:GA|BGFG DGFG|BGFG D2 AB|cAFA DFAc|ed^cd B2 GA|

BGFG DGFG|BGFG D2 AB|cAFA DFAB|A2G2G2:|

                       

UNDERHILL, DA. Shetland, Shetland Reel. G Major. Standard tuning. AABB. ‘Underhill’ is what Shetland Islanders usually call peat or turf. In the repertory of Shetland fiddle band, and therefore widely known on the islands. Source for notated version: Peter Fraser (West side of the main island, Shetlands) [Bain/Boys of the Lough]. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 20. Bain (50 Fiddle Solos), 1989; pg. 29. Brody (Fiddler’s Fakebook), 1983; pg. 282. Rounder 3006, The Boys of the Lough‑ “Second Album” (1974).

X:1

T:Underhill, Da

M:C

L:1/8

K:G

ge |: ”G”dBBA GABG | ”D”(3AAA BG Abde | ”G”dBBA GABG |1

“D”AGAB “D”G2 ge :|2 ”D”AGAG “G”G3 g |: ”D”faea fe d2 |

”D”(3fga ea faea | ”D”faea fedB |1”D”AGAB “G”G3 g :|2 “D”AGAB “G”G4 ||

                       

UNDERNEATH THE WATER. English, Reel. A Major. Standard tuning. AABB. The melody can be found in the music manuscripts of both James Biggins (Leeds, west Yorkshire, 1779) and J. Winter (Stanton, Gloucestershire, 1833). Callaghan (Hardcore English), 2007; pg. 53.

 

UNE AUT’ CHANCE. Cajun, Waltz. USA, southwestern Louisiana. D Major. Standard tuning. A(Vocal)ABA(Vocal)A’. The song was composed by Johnnie Allan (John A. Guilot). Source for notated version: Aldus Roger; Phillip Alleman (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pg. 334. La Louisiane Records LL-LP114, Aldus Roger.

                       

UNEXPLAINED BLUES. Old-Time, Country Blues. Lowe Stokes (1898-1983) was a north Georgia fiddler who was a member of the famous Skillet Lickers but who also fronted his own bands and made recordings in his own name. “Unexplained Blues” was originally recorded on Halloween, 1927, and was (with “Home Brew Rag [1]”) his first recording as leader, although it featured a jazzy clarinet played by Stranger Malone and vocals by Hoke Rice. Document 8045, “Lowe Stokes, vol. 1: 1927-1930” (reissue).

                       

UNFINISHED JOURNEY. Scottish, Air. Scotland, Shetland Islands. B Flat Major. Standard tuning. AAB. Composed by the late collector, fiddler, composer and teacher Tom Anderson, when he thought, mistakenly, that his life was coming to a premature end.

X:1
T:Unfinished Journey
C:Tom Anderson, Shetland
B:Gie’s An A (Lerwick 1995)
Z:Nigel Gatherer
M:4/4
L:1/8
K:Bb
Bc | d2 B2 e2 c2 | B2 AG   F3  D | E2 c2 F2 d2 | edcB c2 Bc |

d2 B2 e2 c2 | B2 AG   F2 D2 | E2 c2 A2 F2 | B4-  B2 :|
de | f2 B2 g2 c2 | f2 A2   B3  F | E2 c2 F2 d2 | edcB c2 de |

f2 B2 g2 c2 | f3 g/a/ b3  d | e2 g2 f2 A2 | B4-  B2 de | f2 B2 g2 c2 |

f2 A2   B3  D | E2 c2 F2 d2 | edcB AGFE | D2 B2 E2 c2 |

B3 A/G/ F2 ED | E2 c2 F2 A2 | [B4D4] [B4D4] |]

                       

UNFORTUNATE CUP OF TEA. AKA and see “Cup of Tea [1],” “The Green Cup of Tea,” “Mayobridge.” Irish, Reel. E Dorian. Standard tuning. AABB. This reel appears in Haverty’s Three Hundred Irish Airs (1858-1859), according to O’Neill, and is a rather truncated version of the modern “Cup of Tea” version. O’Neill (1913), pg. 135.

X:1

T:Unfortunate Cup of Tea

M:C
L:1/8

R:Reel

S:O’Neill – Irish Minstrels and Musicians (1913)

Z:AK/Fiddler’s Companion

K:Emin

BAGF GEBE | GEBE BAGF | BAGF GAB^c | d2 AG (FD) D z :|

|: e2 eg fd e^c | d2 AG FD Dz | e2 eg fde^c | dB AF BE Ez :|

                       

UNFORTUNATE DOG, THE. AKA and see “Rye Straw [1].” Old‑Time, Breakdown. USA, Nebraska. A Major. Standard tuning. ABCC. Seattle fiddler and musicologist Vivian Williams writes: "’The Unfortunate Dog’ was played by fiddler Jake Lake (originally from Cook County, Illinois) at the wedding of Henry Van Asselt and Catherine Jane Maple in a cabin on the Duwamish River, near Seattle, on Christmas Day, 1862, according to an account written by the bride's brother, John Wesley Maple.  Other tunes played at that wedding:  ‘Devil's Dream’, ‘Fishers Hornpipe’, ‘The King's Head’, ‘Gal on a
Log’, ‘Arkansas Traveller’.”
Source for notated version: Bob Walters (Burt County, Nebraska) [Christeson]. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; pg. 17.

                       

UNFORTUNATE JOCK. Scottish, Country Dance Tune (6/8 time). The melody appears in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed “A Collection of Country Dances for the use of his Grace the Duke of Perth by Dav. Young, 1734;” it also appears in the 1768 Gillespie Manuscript of Perth.


 

UNFORTUNATE LIFE, THE. AKA and see “La Vie Malheureuse.

 

UNFORTUNATE PUP, THE. AKA and see “Rye Straw [1].”

 

UNFORTUNATE RAKE [1], THE (“An Rioboid Mio-Admarac” or “Reice an Mhi-adha”).  AKA and see “Basket of Turf,” “Bundle and Go [3],” “An Cliab(an) Móna,” “The Disconsolate Buck.

The Lass from Collegeland,” “Up Sligo [1],” “The Wandering Harper,” “Wee, Wee Man.  Irish, Jig. E Minor/Dorian. Standard tuning. AABB (Cole, Kennedy, Kerr, Levey): AABB’ (O’Neill). Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. Cole (1000 Fiddle Tunes), 1940; pg. 59. Kennedy (Traditional Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 191, pg. 44. Kerr (Merry Melodies), Vol. 1; No. 27, pg. 38. Levey (Dance Music of Ireland, 2nd Collection), 1873; No. 39, pg. 17. O’Neill (Krassen), 1976; pg. 48. O’Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 970, pg. 180. Ryan’s Mammoth Collection, 1883; pg. 89.

X:1

T:Unfortunate Rake, The [1]

M:6/8

L:1/8

R:Jig

S:O’Neill – Music of Ireland (1903), No. 970

Z:AK/Fiddler’s Companion

K:E Minor

B|Bee efg|dcB AGF|Eee efg|f^df e2E|Eee efg|dcB AGF|GAB B^cd|AGF E2 :|

|:F|GBB B>AG|FDF A>GF|GAB B^cd|AGF E2F|EBB B>AG | FDF ABd |

f>ed edB|A>GF E2 :|

X:2

T:Unfortunate Rake [1]

M:6/8

L:1/8

R:Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion
K:E Minor

E | (EB).B BAG | FDF AGF |(EB).B BAG | FDF E2E | (EB).B BAG | FDF AGF |

GAB AdB | AGF E2 :: B | (Be).e efg | fdB AGF | (Be).e efg | fdB d2B |

(Be).e efg | fdB AGF | GAB AdB | AGF E2 :|

 

UNFORTUNATE RAKE [2], THE. AKA and see “Apples in Winter [1].” Irish, Jig. The tune usually known under the alternate title appears as “The Unfortunate Rake” in Holden’s Collection of the most esteemed old Irish Melodies (Dublin, 1807)

 

UNFORTUNATE RAKE [3], THE. AKA and see “The Bard of Armagh,” “The Streets of Laredo.” Irish, Air.

           

UNGKONESLATTEN. Norwegian, Lydarslatt (listening tune).

           

UNHITCHING HORNPIPE, THE. Old‑Time, Breakdown. USA, Missouri. B‑Flat. Standard tuning. AABB. George Morris (“The Fiddlin’ Sheriff”){Boone County, Missouri; Christeson). R.P. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; pg. 29.

           

UNION, LE. English, Quadrille Set. G Major. Standard tuning. ABC. The fourth part of a quadrille set, in 2/4 time. See entries for individual tunes in the set: “The Commerce,” “(Les) Beaux Arts,” “(Le) Industrie,” “(Le) Union,” and “Manchester Quadrille, Part 5.” Source for notated version: a c. 1847 music manuscript by Ellis Knowles, a musician from Lancashire, England [Plain Brown]. Plain Brown Tune Book, 1997; pg. 51. 

X: 1
T:Manchester Quadrille p4 Le Union
M:2/4
L:1/16
Q:100

N:Posted to Tradtunes 01/01/03 by Tony Doyle
K:G
g2d2 cBce | B3d cBcd | Bdgd cdfa | g2 z2 bgdB | A2 z2 cdfa | g2 z2 edBG | FGA cdef | g6 z2 ||!
dBGB d2^d2 | ecAc e2e2 | dBGB dBGB | a2 {^c}d2G2 z2 | dBGB d2^d2 | ecAc
e2e2 | d3B AGAB | G2B2G2 z2 ||!
dfag fedc | Bdgb d2B2 | c2dc B2cc | Ad^cd E2 z2 | dfag fedc |

Bdgb d2g2| a3g fgaf | g2b2g2 z2 ||

                       

UNION HORNPIPE [1]. American, Hornpipe. G Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 88. Ryan’s Mammoth Collection, 1883; pg. 121.

X:1

T:Union Hornpipe [1]

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

G | D/G/B/G/ d/G/B/G/ | e/f/g/e/ d/B/A/B/ | G/F/G/A/ B/A/B/G/ | A/B/A/F/ G/F/E/D/ |

D/G/B/G/ d/G/B/G/ | e/f/g/e/ d/B/A/B/ | G/B/d/g/ e/c/A/F/ | GGG :: d |

g/b/e/g/ d/g/B/d/ | d/B/g/e/ d/B/A/B/ | G/B/d/B/ e/d/c/B/ | A/^G/A/B/ .AD/C/ |

B,/D/G/B/ d(c/B/) |A/B/c/d/ e(g/e/) | d/B/G/B/ A/G/F/A/ | GGG :|

 

UNION HORNPIPE [2]. AKA and see “Bantry Bay Hornpipe.” Irish, Hornpipe. A Major (Roche): G Major (O’Neill). Standard tuning. AABB. The earliest appearance of the tune in print is in Church of Ireland cleric James Goodman’s mid-19th century music manuscripts. Goodman (1828-1896) was an uilleann piper, and an Irish speaker who collected locally in County Cork and elsewhere in Munster. He also obtained tunes from manuscripts and printed collections. O’Neill (1915 ed.), 1987; No. 309, pg. 153. Roche Collection, 1982, vol. 2; No. 219, pg. 13. Shields/Goodman (Tunes of the Munster Pipers), 1998; No. 502, pg. 194.

X:1

T:Union Hornpipe [2]

M:C

L:1/8

R:Hornpipe

S:James Goodman manuscripts (mid-19th century) [Ed. Hugh Shields, 1998]

Z:AK/Fiddler’s Companion

K:G

dc|BABG EGDE|G2GG G2EG|A2 AB (cA)(BG)|E2 AA A2 AB|

c2 ec B2 dB|BcAB E2 Dc|BABG EGDE|G2 GG G2:|

|:Bc|dBGB dBGB|d2 dd e2 ef|gfed Bdef|g2 gg g2z2|

gfed edcB|gfed edcB|{c}BABG EGDE|G2 GG G2:|

 

UNION HORNPIPE [3]. See “The Kildare Fancy,” “Dundee Hornpipe,” “The Pantomime Reel.” Scottish, Hornpipe. D Major. Standard tuning. AA’BB’. Kerr (Merry Melodies), vol. 2; No. 355, pg. 39. “Fiddlers Three Plus Two.”

X:1

T:Union Hornpipe [3]

M:C

L:1/8

R:Hornpipe

S:Kerr – Merry Melodies, vol. 2, No. 355  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

(FG)|AFDF AFdB|AdFA|fedc|BdGB gefd|ecdB A2FG|

AFDF AFdB|AdFA fedc|BdGB gefd|ecAc d2:|

|:(de)|fdcd BdAd|FAde fdcd|eAfA gAfA|ecdB A2 de|

fdcd BdAd|FAde fdcd|eAfA gAfA|ecAc d2:|

           

UNION IS WELCOME TO IRELAND, THE.  Irish, Reel. E Minor. Standard tuning. AB. The melody appears in the mid-19th century music manuscript collection of Church of Ireland Canon James Goodman (1828-1896). Goodman, an Irish speaker and uilleann piper, collected in tradition in County Cork and elsewhere in Munster, but also obtained tunes from manuscripts and printed sources. Shields (Tunes of the Munster Pipers), 1998; No. 98, pg. 42.

 

UNION JIG. English, Country Dance Tune (6/8 time). G Dorian/Minor. Standard tuning. AAB. The melody dates to the year 1713. Barnes (English Country Dance Tunes), 1986.

                       

UNION PIPE GAVOTTE. Irish (?), Gavotte. G Major. Standard tuning. AABB. ‘Union pipe’ refers to what are now better-known as the uilleann pipes, thought the term seems to have been common in O’Farrell’s day. O’Farrell (Pocket Companion, vol. II), c. 1806; pg. 116.

X:1

T:Union Pipe Gavotte

M:C

L:1/8

R:Gavotte

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

Z:AK/Fiddler’s Companion

K:G

d | g2 b/a/g/f/ gG Bd | gdad bb/a/ g>b | a/b/a/b/ g/a/g/a/ (f/g)(f/e/) (d/e/)(f/g/) |

a/b/a/b/ g/a/g/a/ (f/g/)(f/e/) (d/e/)(f/g/) | addd bd de/f/ | g2f2 ec df/g/ |

a2 ba/g/ f/e/d/c/ dg | f2 “tr”e2 d3 :: d | gagf ec c f/g/ | abag fd d g/a/ | bc’ba ge e>{a}b |

c’2b2a3d | gb ba/g/ faad | gb ba/g/ f/g/a/b/ ad | e/g/f/g/ d/g/f/g/ c/g/f/g/ Bd |

g2f2ed ec’ | b2a2g3B | ce ed/c/ BddG | ce ed/c/ B/A/G/F/ G>c | B2A2G3 :|

 

UNION PIPE GRAND MARCH AND QUICKSTEP.  English, March. G Major. Standard tuning. AABBCCDDEEFF. Composed by “S.T.C.”, perhaps a relative of Henry Colclough, the author of the pipe tutor. Colclough (Tutor for the Irish Union Pipes), c. 1830; pg. 15.

X:1

T:Union Pipe Grand March and Quickstep

M:C|
L:1/8

R:March

N:”Maestoso”

S:Colclough – Tutor for the Irish Union Pipes (c. 1830)

Z:AK/Fiddler’s Companion

K:G

B>A | G2 G>G G2D>G | B2 B>B B2 G>B | d2 d>d dgdB | Add>d d2zD | G2 G>G “tr”G2 D>G |

B2 B>B B2 G>B | d2d>d dgdB | G2 G>G G2 :: (B>c) | d2 d>d dgdB | G2G>G G2 B>d |

E2 e>e eaec | A2 A>A A2 G>A | B2B>B cBAG | D2D>D DABc | d>gg>g gdBd | G2G>G G2 :|

“Trio”

|: (B>c) | d2Bz B2Gz | Addd B2zd | gdgc g/f/e/d/ “tr”cB | A>GAB A2 z(B/c/) | (d2d)z (B2G)z |

Ad{d}dd B2zG | GG/A/ G/A/B/c/ dd/e/ d/e/f/g/ | fe “tr”(e2d) :: d | g2d d2Bz | egga d2Bz |

Dd/e/ dd/e/ d/e/f/g/ fe | d(dcB) “tr”B2 Az/d/ | g2dz d2Bz | dg>{a}g>g d2Bz | Aedc | BAGF | G2zGz G2 ||

M:2/4

L:1/8

R:Quickstep

K:G

D | GG/G/ BB/B/ | dd/d/ dg/g/ | d/g/B/g/ d/g/b/g/ | a/g/a/b/ aB/A/ | GG/G/ BB/B/ | dd/d/ d/e/f/g/ |

d/g/b/g/ a/g/a/b/ | c’/a/g/f/ g2 :: B/c/ | dd/d/ d/^c/d/e/ | dd/d/ d/^c/d/e/ | d/e/f/g/ e/d/c/B/ |

A/G/A/B/ AB/c/ | dd/d/ d/^c/d/e/ | dd/d/ d/e/f/g/ | e/d/c/B/ A/G/A/B/ | GBG :|

 

UNION QUICKSTEP. American, Quickstep March (2/4 time). D Major. Standard tuning. AABB. The melody appears in the American Veteran Fifer (1902), pg. 54.

X:1

T:Union Quickstep

M:2/4

L:1/8

Q:1/8=180

K:D

|: ((3A/B/c/)|ddd c/d/|e/c/A/c/ ee|d/c/B/c/ A/c/e/c/|d d/f/ aa/f/|

ddd c/d/|e/c/A/c/ ee|d/c/B/c/ A/c/e/c/|dfd :|

|: A|gg g/f/e/d/|ff f/e/d/c/|ee ed/e/|f2-fa/f/|

ddd c/d/|e/c/A/c/ ee|d/c/B/c/ A/c/e/c/|dfd :|

           

UNION REEL [1]. Irish, Reel. G Major. Standard tuning. ABCD. Carlin (Master Collection), 1984; No. 209, pg. 123.

 

UNION REEL [2] (Ríl na hAontachta). AKA and see “The Moher Reel.” Irish, Reel. A Mixolydian {Vallely}: A Mixolydian (‘A’ part) & D Major (‘B’ part) {most versions}. Standard tuning. AB (Vallely): AABB (Breathnach): AA’BB’ (Miller): AABAACCAA (Black). Bill Black (1996) notes the tune was originally played by New York button accordion player John “Dutch” Kimmel in the early 1900’s. Sources for notated versions: whistle player Mary Bergin (Ireland) [Breathnach]; D/C# accordion player Joe Derrane (Boston) [Black]. Black (Music’s the Very Best Thing), 1996; No. 312, pg. 167. Breathnach (CRÉ III), 1985; No. 197, pg. 88. Breathnach (CRÉ V), 1999; No. 186. Miller (Fiddler’s Throne), 2004; No. 262, pg. 157. Vallely (Armagh Pipers Club Play 50 Reels), 1982; No. 37, pg. 18. Gael‑Linn Records CEF 071, Mary Bergin – “Feadoga Stain” (1979).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Union Reel

M:4/4

L:1/8

R:Reel

Z:transcribed by Bernard Chenery

K:D

~e2 cA eAcA|eAcA Bcdf|~e2 cA eAcA|Bcdc BAFA|

e2 cA e2 cA|eAcA Bcdf|~e3 c  dcBA|FABc d3 z :|

d ~f3 d2 ec|d ~f3 afeA|a ~f3 dfec|dcBA FABc|

d ~f3 d2 ec|d ~f3 afeA|d ~f3 dfec|dcBA Fadf :|

X:2

T: Union Reel

S: Joe Derrane

Q: 350

R: reel

%% Played AA / B / AA / CC / AA

M: 4/4

L: 1/8

K: A

P: “A” Part

eA (3cBA eA (3cBA | eA (3cBA Bcdf | eA (3cBA eA (3cBA |

BdcA BAFA | eA (3cBA eA (3cBA | (3efe (3cBA Bcdf | (3efe ce dcBA |

|1 FABc dcdf  :|2 FABc d2 z2 ||

P: B

K: D

P: “B” Part

dAFA dfec | dAFG A^Abc | dAFA dfec | dcBA Fadf |

dAFA dfec | dAFG (3AdA Bc | dAFA dfec | dcBA Fadf ||

P: “A” Part

eA (3cBA eA (3cBA | eA (3cBA Bcdf | eA (3cBA eA (3cBA |

BdcA BAFA | eA (3cBA eA (3cBA | (3efe (3cBA Bcdf | (3efe ce dcBA |

|1 FABc dcdf  :|2 FABc d2 z2 ||

P: “C” Part

(3GBG BG (3FAF AF | (3GBG (3Bcd g2 z2 | (3ege ce dBGB | (3AdA FA DAFA |

(3GBG BG (3FAF AF | (3GBG (3Bcd gdBd | (3ege ce dBAB |1 (3AdA FA G3 D :|

|2 (3AdA FA Gacf ||

P: “A” Part

eA (3cBA eA (3cBA | eA (3cBA Bcdf | eA (3cBA eA (3cBA |

BdcA BAFA | eA (3cBA eA (3cBA | (3efe (3cBA Bcdf | (3efe ce dcBA |

|1 FABc dcdf  :|2 FABc d2 z2  :|3 “last time” (3efe ce afec | (3BcB Bc A2 z2 ||

           

UNION STREET BRIDGE. Scottish, Strathspey. F Sharp Minor. Standard tuning. AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 162, pg. 56.

           

UNION STREET JIG. American, Jig. A Major. Standard tuning. AABB. Composed by Seattle fiddler Vivian Williams. East Union Street is in Seattle. Songer (Portland Collection), 1997; pg. 204.

           

UNION STREET SESSION. Canadian, Reel. Canada, Cape Breton. D Major. Standard tuning. AAB. Composed by Light House keeper, fiddler, music publisher and composer Paul Stewart Cranford. In 2002 Paul de Grae reported the tune was popular in sessions in Ireland, while Nigel Gatherer commented it had popped up in Edinburgh sessions recently. Cranford (Lighthouse Collection: Original Melodies in the Cape Breton, Irish and Scottish Tradition), 1996.

X:1
T:Union Street Session
C:Paul Stewart Cranford
B:Lighthouse Collection (Cranford Publications 1996)
N:”...written a couple of days after a late night bash at
N:fiddler Kyle MacNeill’s home in Sydney [Cape Breton]”
R:Reel
M:4/4
L:1/8
K:D
c|{c}d2 AG ~F2 DF|EA, ~A,2 GFED|{DE}F2 AF GABd|
AE ~E2 cdec|{c}d2 AG ~F2 DF|EA, ~A,2 GFED|
{DE}F2 AF GABd|AE ~E2 FDD :: c|
{c}d2 fd gdfa|eA A/A/A cdec|{c}d2 fd ~g2 fg|aeeg ~f2 ec|
{c}d2 fd gdfa|eA A/A/A cdeg|~f2 ed {d}e2 cd|{d}e2 dc {c}d2 A :|

X:2
T:Union Street Session
C:from Geraldine & Martha Clancy
S:session in Cleary’s, Friday afternoon, WCSS 2001
R:Reel
Z:Transcription Johannes Schiefner (jschiefner@web.de)
Z:id:js_1039
M:4/4
L:1/8
K:D
d2AG FD~D2|EA,~A,2 GFED|FGAF ~G3B|AE ~E2 {B}cdec|
d2AG FD~D2|EA,~A,2 GFED|FGAF GABd|AFEG FDD2 :||
d2fd gdfd|eA ~A2 .B/.c/d eg|df ~f2 gdeg|ae ~e2 df{g}fe|
dcdf gefd|eA ~A2 .B/.c/d eg|df ~f2 edcd|eddc dA{d}BA|
d2fd gefd|eA ~A2 .B/.c/d eg|df ~f2 gefg|ae ~e2 ~f3e|
dcdf gefd|eA ~A2 .B/.c/d eg|df ~f2 edcd|.e/.f/e dc d4|]

                       

UNION WALTZ. AKA and see “Buy-a-Broom Waltz.

 

UNION WALTZ [2].  English, Waltz. AABBCCDD. A Major. Standard tuning. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 185, pg. 49.

                       

UNITED STATES MARCH, THE. American, March. B Minor. Standard tuning. AABB. Source for notated version: fiddler Bob Holt (with the State of the Ozarks String Band) {Missouri} [Fiddler Magazine]. Fiddler Magazine, vol. 5, No. 2 (Summer 1998); pg. 36. State of the Ozarks String Band – “The Way I Heard It.”

X:1

T:United States March

M:C|

L:1/8

K:A

de |f2B2B2 de|fgfe c3B|AcAc e2e2|AcAc e2de|f2B2B2 de|fgfe c3B|AcAc ed (3cdc| B6 B2 :|

|: de |f2b2b2 fg|agfe a3c|AcAc e2e2|AcAc e2de|f2b2b2 fg|agfe a3c|AcAc ed (3cdc|B6 B2 :|

           

UNKNOWN QUICKSTEP, THE.  English, Quickstep march (2/4 time). G Major. Standard tuning. AABB. The original key in the mss. is ‘C’ major. Source for notated version: the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 7.

X:1

T:Unknown Quickstep, The

M:2/4

L:1/8

R:March

S:Joshua Gibbon’s mss (1823-26)

Z:AK/Fiddler’s Companion

K:C

ga/b/|c’geg|fddf|ecge|e2d ga/b/|c’geg|fddf|ecdB|c3:|

|:c|Bddd|fddd|ceee|geee|aac’a|ggeg|fdcB|c3:|

 

UNLUCKY ONE’S WALTZ, THE. AKA and see “Valse de Malchanceux.

           

UNST BRIDAL MARCH. See “Wedding March From Unst.

           

UNST WEDDING MARCH. See “Wedding March From Unst.

           

UNTO THE EAST INDIES WE WERE BOUND. Irish, Air (6/8 time). D Major. Standard tuning. One part. The first verse goes:
***

Unto the East Indies we were bound our gallant ship to steer,

And all the time we sailed on, I thought on my Polly dear;

‘Tis pressed I was from my truelove the girl whom I adore,

And sent unto the raging seas where stormy billows roar.

***

Joyce (Old Irish Folk Music and Songs), 1909; No. 115, pg. 58‑59.

X:1

T:Unto the East Indies we were bound

M:6/8

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:D

A|d2d B2G|A2A F2D|EFE D2D|(D3 D2)F|E2D E2F|G2F G2A|BAB E2 E|

(E3 E2)F|A2F D2F|A2F G2A|Bcd e2c|(d3 d2) c/d/|e2c dcB|A2F D2D|

EFG A2F|(D3 D2)||

           

UP AGAINST THE BOUGHALAUNS. AKA and see “Thar an gCnoc,” “Over the Hill,” “Sonny Brogan’s Favorite,” “The Early Breakfast,” “Knocknagree Reel,” “Miss Lyon’s Fancy,.” “Larry Redigans/Redican’s (Reel) [1].” Irish. A ‘boughalaun’, or ‘buachalán’, is commonly called a ragwort and is a plant that grows 2‑3 feet high, with bright yellow flowers. It is very common in the west of Ireland but is generally considered a weed, especially in farmed land; in fact, though the weed is noxious to cattle, goats are unaffected by it and are sometimes let wild into pastures to consume the plant before cattle can get to it. Columbia Legacy CK 48693, The Chieftains – “The Best of the Chieftains” (1992). Chieftains – “Boil the Breakfast Early.”

X:1
T:Up against the Boughalauns
T:Knocknagree Reel, The
R:reel
D:Sully & John Keenan: Dublin Banjos
D:Dervish: Harmony Hill
D:Noel Hill & Tony McMahon: \’I gCnoc na Gra\’I
Z:id:hn-reel-267

Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
K:D
D2FA D2FA|dfed cABc|d2cA (3Bcd AF|GBAF GFEF|
D2FA D2FA|dfed cABc|d2cA (3Bcd AF|GFEG FDD2 :|
|:a2fd faaf|gfed (3Bcd ef|a2fd faaf|bg (3efg fddf|
a2fd faaf|gfed cdef|afge fded|age EDD2 :|
”Variations:”
D2FA DAFA|dfed cABc|d2cA (3Bcd AF|~G3F GBAF|
D2FA DAFA|dfed cABc|d2cA (3Bcd AF|GBAG FDD2 :|
|:a2fa dafa|gfed (3Bcd A2|a2fa dafa|bg (3efg fddf|
a2fa dafa|gfed BdA2|agec dBAF|GBAG FDD2 :|

X:2
T:Up against the Buachalawns
T:Thar an gCnoc
C:from the playing of Mick O’Brien
S:Mick O’Brien at Dutch Piping Tionol 2002, De Lindenhorst
B:CRE Vol.1 #158
D:Chieftains 9
Z:transcription Johannes Schiefner (jschiefner@web.de)
Z:id:js_1326
M:4/4
K:D
D2FA D2FA|dfed cABc|d2cA BdAF|~G2AF GFEF|
DE{F}ED ADFA|dfed cdec|d2cA BdAF|1GBAG FDDA :|2~G2AG FDDf||
~a3f dfaf|{a}gfed cdef|~a3f dfaf|bgeg fddf|
a{b}afa d2fa|gfed (3.B.cd ef|afef dBAF|1~G2AG FDDf :|2~G2AF GFEF|]
”variations Mick O’Brien”
~D2BD ADFA | d2ed cABc | dBcA ~B3A | GA{B}AF GFEF |
DFA DFA DA|dfed (3B.c.d ec|dBcA BdAF|1~G2AF GFEF :|2~G2AG FDDf||
a{b}a fa dfaf | {a}gfed cdef | a{b}a fa defa | bgeg fddf |
adfa dfaf|gfed (3.B.cd ef|afec dBAF|1~G2 AG FDDf :|2~G2AF GFEF|]
”variations Stefan Kayat”
fg | a{b}afd faaf | {a}gfed (3.B.cd ef | a{b}afd faaf | bgeg fddf |]

           

UP AND ABOUT. Irish, Kerry Slide(s). RCA 5798-2-RC, “James Galway and the Chieftains in Ireland” (1986).

           

UP AND ABOUT IN THE MORNING [1]. Irish, Double Jig. D Major. Standard tuning. AABBCC. Cranitch (Irish Fiddle Book), 1996; No. 13, pg. 129. Cranitch (Irish Session Tunes: Red Book), 2000; 13. Green Linnet 1058, Matt Molloy & Sean Keane – “Contentment is Wealth” (1985).

 

UP AND ABOUT IN THE MORNING [2].  Irish, Slide (12/8 time). Breathnach (CRÉ II), 1976; No. 74 (appears as untitled slide). 

           

UP AND AWAY [1]. AKA and see “Killoran’s Polka [2],” “Mary Girl." Irish, Polka. G Major. Standard tuning. AABB. An influential 78 RPM recording of the tune was made by flute player John McKenna (1880-1947), originally from County Leitrim. This is the second tune in McKenna’s set, following “Up and Away [3],” and is usually known by the title “Mary Girl,” although by association in the medley, the name “Up and Away” is also used. Source for notated version: De Dannan [Sullivan]. Bulmer & Sharpley (Music from Ireland), vol. 3, No. 85. Mallinson (101 Polkas), 1997; No. 4, pg. 2. Miller & Perron (Irish Traditional Fiddle Music), 1978; No. 23. Sullivan (Session Tunes), vol. 3; No. 47, pg. 19. CEF 103, Frankie Gavin – “Up and Away.”

 

UP AND AWAY [2]. AKA and see "The Boys from the West," "(Kenmuir's) Up and Awa," "Hexham Races," “I Will If I Can [1]." “Kenmore Lads," "Land of the West" “Pins and Needles.” Irish, Double Jig. G Major. Standard.

 

UP AND AWAY [3].  Irish, Polka. G Major. Standard tuning. AABB. The first tune on an influential 78 RPM recording of the tune made by flute player John McKenna (1880-1947), originally from County Leitrim (see also “Up and Away [1]”). Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 136.

See also listing at:

Alan Ng’s Irishtune.info

X:1

T:Up and Away [3]

R:polka

D:John McKenna & Michael Gaffney 1934 (Decca)

D:Paul McGrattan: The Frost is All Over

Z:id:hn-polka-48

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

M:2/4

L:1/8

K:G

d2B2|B/A/B/c/ BD|A>B A/F/D/F/|AG G/A/B/c/|

d2B2|B/A/B/c/ BD|A>B A/F/D/F/|1 AG GB:|2 AG G2||

|:b/a/g/b/ a/g/f/e/|db b/a/b|da a/g/a|dg g/f/g|

b/a/g/b/ a/g/f/e/|db b/a/b|da a/g/a/b/|ag g2:|

           


UP AND DOON DA HARBOUR. Shetland, Reel. A Minor/Mixolydian. Standard tuning. AABB. Source for notated version: J. Irvine via Tom Anderson (Shetland) [Anderson & Georgeson]. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 19. Carlin (Master Collection), 1984; No. 121, pg. 77.

           

UP AND DOWN AGAIN (Suas Agus Sios Aris). AKA and see “Brose and Butter,” “Cuddle Me, Cuddy,” “Cummilum,” “Here We Go Up (Up, Up),” “Mad Moll [1],” "The Peacock Followed/Follows the Hen." “Virgin Queen,” “Yellow Stockings.” Irish, Slip Jig. G Major (O’Neill): C Major (Stanford/Petrie). Standard tuning. One part (Stanford/Petrie): AABB (O’Neill). Stanford (1902) notes this melody is called “Mad Moll” in the 1721 (17th) edition of Playford’s Dancing Master, though it also appears in the 1698 edition. O’Neill (Krassen), 1976; pg. 85. O’Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1160, pg. 219. O’Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 436, pg. 85. Stanford/Petrie (Complete Collection), 1905; No. 101, pg. 25 (appears as untitled slip jig).

X:1

T:Up and Down Again

M:9/8

L:1/8

R:Slip Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 436

Z:AK/Fiddler’s Companion

K:G

GAB EFE EFE|GAB EFE AFD|GAB EFE EFE|FED AdB AFD :|

|:GAB BdB BdB|GAB BdB AFD|GAB BdB BdeB|cBA AdB AFD :|

                       

UP AND DOWN OLD EAGLE CREEK. AKA and see “Washington Quadrille,” “Taylor’s Quickstep [2].” Old‑Time, Breakdown. USA, Kentucky. The tune was collected under this title from Owen County, Kentucky.

           

UP AND DOWN THE BROOM. American. USA, Michigan. Recorded for the Library of Congress by Patrick Bonner, St. James, Beaver Island, Michigan, in 1938.

           

UP AND DOWN THE BROOM STICK. Old‑Time. The title appears in a list of Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

           

UP AND DOWN/DOON THE/DA HARBOUR. AKA and see “Templehouse (Reel),” “Captain Campbell(‘s Strathspey)” (?). Shetland. The late Tom Anderson (1978) said, “The fiddler imagines a Shetland model boat sailing up and down the harbour.”  Topic 12TS379, Aly Bain & Tom Anderson – “Shetland Folk Fiddling, vol. 2” (1978).

           

UP AND DOWN THE STAIRS (Suas agus Síos an Staighre).  Irish, Slide (12/8 time). D Major. Standard. AB. Jackie Small, editor of CRÉ V, says this tune “is an example of the great store of old Leinster single jigs that (Kilmurry) had.” Source for notated version: whistle player and piper Joe Kilmurry (Baile na Carraige, County Westmeath) [Breathnach]. Breathnach (CRÉ V), 1999; No. 70, pg. 36.

           


UP AND WAUR THEM A’, WILLIE [1]. AKA‑ “Up and Worst them all Willy.” AKA and see “There’s Nae Luck About the House [2],” “Washing Day [1],” “Mind What You Do.” Scottish, Reel and Strathspey: English, Shetland; Reel. England, Northumberland. A Major (Athole, Bremner, Gow): G Major (Kerr). Standard tuning (fiddle). AB (Gow, Cole): AABB (Athole, Bremner, Kerr, Vickers): AABB’ (Kerr). Popular in both 6/8 and 4/4 time from the early 18th to the early 19th century (especially in Scotland), the tune was based on a chord progression originally created in the 18th century in Italy, called passamezzo moderno. This Whig tune was the choice of William Augustus, the Duke of Cumberland and victor at Culloden (1745), when he partnered at a dance the Jacobite Lady Anne Mackintosh, who had been brought to London during the rebellion. It was meant as a pointed message. She went him one better by immediately inviting him to dance to her choice of tune, the Jacobite melody “The Old Stuart’s Back Again” (Winstock, 1970). Surviving directions to the country dance to this tune were written down in 1752 by John McGill, a dancing master in Girvan, for his students. The tune appears in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed “A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734;” it also can be found in Robert Bremner’s 1757 collection, and in the McLean Collection published by James Johnson in Edinburgh in 1772. Title appears (as “Up Willie, War Them A’”) in Henry Robson’s list of popular Northumbrian song and dance tunes (“The Northern Minstrel’s Budget”), which he published c. 1800. Bremner (Scots Reels), c. 1757; p. 60. Carlin (The Gow Collection), 1986; No. 416. Cole (1000 Fiddle Tunes), 1940; p. 125. Gow (Complete Collection), Part 3, 1806; p. 26. Kerr (Merry Melodies), vol. 3; Nos. 53 & 54, p. 8 (strathspey and reel versions). Mooney, vol. 2; p. 22. Northumbrian Piper’s Tune Book, 1970; p. 40. Ryan’s Mammoth Collection, 1883; p. 164. Stewart-Robertson (The Athole Collection), 1884; p. 20. Seattle (William Vickers), 1987, Part 3; No. 445.

X:1

T:Up and Waur Them A’ Willie

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:A

a|A/A/A cA d2df|A/A/A cA B2 Bc|A/A/A cA defa|edcB A2A :|

|:g|afec defg|afec B2Bg|afec defa|edcB A2A :|

 

UP AND WAUR THEM A’ WILLIE [2]. Scottish, Jig.

 

UP COUNTRY. Canadian, Jig. G Major. Standard tuning (fiddle). AABB. Composed by Maritime fiddler Don Messer. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 156, p. 105.

 

UP DA STROODS DA SAILORS GO. Shetland, Shetland Reel. Shetland; Whalsay, Bressay and Tingwall.

 

UP GOES ELY. English, Country Dance Tune (9/8 time). D Major. Standard tuning (fiddle). AB. Sharp (Country Dance Tunes), 1994; p. 48.

X:1

T:Up Goes Ely

M:9/8

L:1/8

R:Jig

S:Sharp – Country Dance Tunes  (1909)

Z:AK/Fiddler’s Companion

K:D

d/c/|d2d F2G A2A|d2d c2d e>fe|d2d F2G A>BA|B2G G2E G2 d/c/|

d2d F2G A2A|d2d c2d e>fe|d2d F2G A>BA|B2G G2E G2||F|

D2A A2F A2F|D2A A2B =c3|D2A A2F A>Bc|d2A F2E D2F|

D2A A2F A2F|D2A A2B =c3|D2A A2F A>Bc|d2A F2E D2||

 

UP IN SMOKE. Canadian, Reel. Canada, Cape Breton. B Major. Standard tuning (fiddle). AABBCC’. Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 57, p. 17.

 

UP IN THE GARRET I AM. AKA and see “Hey My Nanny.” Irish, Slip Jig. D Major. Standard tuning (fiddle). AABB. Roche Collection, 1982, vol. 2; No. 262, p. 27.

X:1

T:Up in the Garret I am

M:9/8

L:1/8

R:Slip Jig

S:Roche – vol. 2, No. 262  (1928)

Z:AK/Fiddler’s Companion

K:D

c | d2B AFA AFA | d2B AGF E2c | d2B AFA AFA | d2B AFD D2 :|

|: g | fed faf g2e | fed faf e2g | fed faf g2e | d2B AFD D2 :|

 

UP IN THE BATTEN HOUSE. Old‑Time, Breakdown. USA, southwestern Pa. G Major. Standard tuning (fiddle). AAB. A rhyme was attached to this tune of which Bayard’s source could remember only two lines:

***

Up in the batten house, upon my knees,

The very first time I heard a chicken sneeze—

***

Source for notated version: Emery Martin (elderly fiddler from Dunbar, Pa., 1946; learned from his father) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 120, p. 67.


                       

UP IN THE MORNING. Irish, Jig. A Major. Standard tuning (fiddle). AABC. Composed by fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn, south County Armagh. Keegan (The Keegan Tunes), 2002; p. 59.

                       


UP I(N) THE MORNING EARLY. AKA – “Cauld Blaws the Wind Frae East to West,” “Up in the Morning’s No for Me.” Scottish, English; Air (6/8 o r 6/4 time) or Jig. England, Northumberland. E Minor (Kerr): A Minor (O’Farrell): G Minor/Dorian (Gow). Standard tuning (fiddle). AABB. Kidson (Groves) says the tune is a version of an old melody called “Stingo” (AKA “Cold and Raw”) that had sustained much alteration in Scotland. John Glen (Early Scottish Melodies, 1900) argues that Chappell miss-represented Scottish sources and indications in English publication that the melody was of ‘Northern’ origins, concluding “it is entirely doubtful which country produced the melody.” He believes that the “Stingo” or “Cold and Raw” melody, in any case, is inferior to the Scottish “Up in the morning early.”  It is based on an imported Italian chord progression from the 16th century called passamezzo antico (though slightly altered), and is said by some to be the song “Johnny Cope” was created in parody of. Jack Campin believes the melody to be part of a ‘wildly ramified tune family’ which includes “Lulle me beyond thee” and “Stingo” in Playford, and “Katherine Ogie” as well as a “Johnny Cope.

***

“Up in the Morning Early” appears in the Bodleian Mancuscript (in the Bodleian Library, Oxford), inscribed “A Collection of the Newest Country Dances Performed in Scotland written at Edinburgh by D.A. Young, W.M., 1740,” in McGibbon’s third Collection (1755), and in the 1768 (James) Gillespie Manuscript of Perth. James Oswald included the melody in his Caledonian Pocket Companion, published in London in 1760. The title “Up in the Morning Early” appears in Henry Robson’s list of popular Northumbrian song and dance tunes (“The Northern Minstrel’s Budget”), which he published c. 1800. A song by this name (set in D Minor) appears in the George Skene manuscript, 1715

***

Words and music for “Up in the Morning” appear Johnson’s Scots Musical Museum (vol. Ii, 1788), said to have been written by the poet Robert Burns, stated in the music volume to be an old song with additions. It goes:

***

Cauld blaws the wind frae north to south,

The drift is drivn sairly;

The sheep are cowerin’ in the heugh,

O sirs, ‘tis winter fairly.

Then up in the mornin’s no for me,

Up in the mornin’ early;

I’d rather go supperless to my bed,

Than rise in the mornin’ early.

***

The sun peeps owre yon southland hills

Like any timorous carlie;

Just blinks a wee, then sinks again,

An’ that we find severely.

Now up in the mornin’s no for me,

Up in the mornin’ early;

When snaw blaws in at the chimley cheek,

Who’d rise in the mornin’ early?

***

A cosy house and cantie wife

Aye, keep a body cheerly;

An’ pantries stowed wi’ meat and drink,

The answer unco rarely.

But up the the mornin’—na, na, na!

Up in the mornin’ early;

The gowans maun glent (daisies must shine) on bank an’ brae,

When I rise in the mornin’ early.

***

People did get up early in the morning, considering it was an age where artificial lighting was costly and relatively scarce and that most activity was relegated to daylight. Jack Campin found the following passage in the memoirs of Elizabeth Grant of Rothiemurchus. She grew up in a manor in the Highlands in the early 19th century, and here she writes about the year 1812, when at age fifteen she and her sister arose under the direction of her governess:

***

In winter we rose half an hour later, without candle, or fire,
or warm water.  Our clothes were all laid on a chair overnight
in readiness for being taken up in proper order.  My Mother
would not give us candles, and Miss Elphick insisted we should
get up.  We were not allowed hot water, and really in the high-
land winters, when the breath froze on the sheets, and the water
in the jugs became cakes of ice, washing was a cruel necessity,
the fingers were pinched enough.  As we could play our scales
well in the dark, the two pianofortes and the harp began the
day’s work.  How very near crying the one whose turn set her at
the harp I will not speak of; the strings cut the poor cold
fingers so that the blisters often bled.  Martyr the second put
her poor blue hands on the keys of the grand-pianoforte in the
drawing room, for in those two rooms the fires were never lighted
till near nine o’clock – the grates were of bright steel, the
household was not early and so we had to bear our hard fate.

***

Gow (Complete Repository), Part 3, 1806; p. 4. Kerr (Merry Melodies), vol. 3; No. 298, p. 32. McGibbon (Scots Tunes, Book 1), c. 1746; pp. 8-9. O’Farrell (Pocket Companion, vol. III), c. 1808; p. 56.

X:1

T:Up in the Morning Early

M:6/8

L:1/8

R:Air

S:Gow – 3rd Repository  (1806)

Z:AK/Fiddler’s Companion

K:Gmin

D|G2A B2c|~d>=ef F2F|G>AG d>cB/A/|G3 d2D|G2A B2c|~d>=ef F2F| G>AG d>cB/A/|(G3 d2) :|

|: F/2G/2A)|B>cB B2B|c>dc c2c|~d>ef gfe|(d3f2)F|B>cB ~c2B|cdf gfe| d>cB A>G^F|(G3 d2) :|

X:2

T:Up in the Morning Early

M:6/8

L:1/8

N:”Slow”

S:McGibbon – Scots Tunes, Book 1 (c. 1746)

Z:AK/Fiddler’s Companion

K:Gmin

(D/4=E/4^F/) | G>AG B>c (B/4c/4d/) | FcF {d}c(B/A/)(G/^F/) | G>AG (B/4c/4d/) c/>B/A/B/ | “tr”G3 {B/c/}d2 :: (F/4G/4A/) |

B>cB/c/ “tr”B>AB/F/ | c>d(c c)(d/c/)”tr”(B/A/) | B>cd/e/ f>gf/e/ | “tr”d3 {f/e/}f2F | B>cB {d}”tr”c2B |

(cd)f g2b | d>cB c(B/A/)(G/^F/) | “tr”G3 {B/c/}d2 :: (3D/=E/^F/) | (G/^F/G/)A/B/G/ (B/A/)(B/c/d/)B/ |

(c/B/)A/(=e/f/)d/ {d}c(B/A/)(G/^F/) | G(g/f/)(e/d/) (e/d/)(c/B/)(A/B/) | “tr”G3 {B/c/}d2 :: (F/E/) | D/B/F/B/d/c/ B/A/G/A/B/G/ |

(c/4d/4c/4d/4 e/)d/e/d/ c/d/c/B/c/A/ | B(FE) “tr”D(f/e/)(d/c/) | “tr”d3 {d/e/}f2 (F/4G/4A/ | BFd/e/ {d}”tr”c2B |

c (c/4B/4c/4d/4) (e/4d/4e/4g/4) g>ab | (d/f/b/)d/”tr”(c/B/) (A/B/4c/4) | “tr”G3 {B/c/}d2 :: (D/4=E/^4F/) |

G(e/c/)”tr”(B/A/) G/>A/B/>c/ (B/c/4d/4) | F/c/(d/c/)(f/d/) {d}c(B/A/G/^F/) | G (g/4a/4/b) ag (^f/g/)(d/c/)(B/A/) | “tr”G3 {B/c/}d2 :|

|: (F/4G/4A/) | B/F/D/F/(B B)A/G/A/B/ | (c/d/e/f/)(e/d/) {d}c(B/A/)(G/F/) | B/(f/g/)(a/b/)g/ (g/b/)(a/g/)(f/e/) |

“tr”d3 {d/e/}f2F | B/f/(g/f/)(e/d/) {d}”tr”c2B | c (c/4d/4c4d/4) (e/4f/4e/4/f/4) g>a(b/4a/4b) |

d>c (B/4/c/4d/) c/B/ c/>B/ (A/4B/4c/) B/A/ | “tr”G3 {B/c/}d2 :|

N:”Brisk”

D | G>AG Bcd | F>GF cBA | G>AG dcA | “tr”G3d2 :: F | B>cB B2B | c>dc c2c |

B>cd/e/ fge | “tr”d3 f2F | B>cB “tr”c2B | cdf g2b | dcB cBA | “tr”G3d2 :|

 

UP IN THE MORNING’S NO FOR ME. AKA and see “Up in the Morning Early.

 

UP JUMPED JINNY AND SHE RUN LIKE HELL. American, Reel. USA, southwestern Pa. G Major. Standard tuning (fiddle). AB. A rhyme once accompanied the tune that went:

***

Up jumped Jinny (or Sally) and she run like hell,

Run like hell, she run like hell,

And she jumped over a big fat man...

***

Source for notated version: Brown Hall (Fayette County, Pa., 1956) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 382, pp. 366‑367.

 

UP JUMPED JINNY WITH HER SHIRT TAIL TORN. AKA and see “Phoebe Ice.” Old‑Time, Breakdown. USA, southwestern Pa. G Major. Standard tuning (fiddle). AB. Bayard (1981) thinks this is probably an American tune as he cannot trace it in British tradition. He sees some resemblances in Ford’s “Hell Among(st) the Yearlings [1],” Thede’s “Sugar in My Coffee(-O),” and the first part of Christeson’s “Katy Hill.” Sources for notated versions: Issac Morris (fiddler from Greene County, Pa., 1930’s), Hiram White (elderly fiddler from Greene County, Pa., 1930’s), George Strosnider (elderly fiddler from Greene County, Pa., 1930’s {two versions}) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 290A‑D, pp. 243‑244.


 

UP JUMPED JOE IN THE MIDDLE OF IT. AKA and see “The Hog Rocks [2].” American, Reel. USA, southwestern Pa. A Major. Standard tuning (fiddle). AB. The 'B' parts of “Hog Rocks (1) and  and #2 seem to Bayard (1981) as though they were derived from a common ancestor.Source for notated version: Irvin Yaugher (fiddler from Fayette County, Pa., 1946; learned from fiddler Bill Lowry) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 70, p. 47.

 


UP JUMPED SUSIE. AKA and see “Wake Up Susan [1].

 

UP JUMPED THE DEVIL. Old‑Time, American; Breakdown or Reel. USA; Arkansas, Texas, Virginia, northern New York. A Major (Brody, Phillips): G Major (Bayard). Standard tuning (fiddle). One part (Brody, Phillips): AB (Bayard). Bayard (1981) says this tune is a compound of familiar melodic formulas. Thede’s “Berlin Polka [2]” has a first part that sounds like the first part of this tune. Mike Yates (2002) points out ‘A’ part similarities between Pug Allen’s (of Stuarts Draft, Augusta County, Va.) version of the tune and a strain of “Wake Up, Susan” coupled with the second strain of “Black Mountain Rag.” Yates remarks he has also heard Allen’s version played by Oscar ‘Red’ Wilson of Ledger, North Carolina, who called it “Up Jumped Trouble.” The tune appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. It was first recorded by Byron Parker’s band on a 78 RPM, although Parker was not a musician in the band, but its announcer and manager. The band featured Snuffy Jenkins on banjo and Homer ‘Pappy’ Sherrill on fiddle. Glen Godsey says he learned the tune as a youngster in Texas around 1947—“All of the Amarillo fiddlers played it”—and Vivian Williams says the tune formerly was “fairly popular among the old timers at (the national fiddle contest in) Weiser in the 1960’s.” Sources for notated versions: Bradley Grimshaw (northern N.Y., 1958) [Bayard]; New Lost City Ramblers [Brody]; Tommy Jackson [Phillips]. Bayard (Dance to the Fiddle), 1981; No. 359, pp. 355‑356. Brody (Fiddler’s Fakebook), 1983; p. 282. Kuntz, Private Collection. Phillips (Traditional American Fiddle Tunes, vol 1), 1994; p. 249. Adelphi 2002, Hickory Wind‑ “At the Wednesday Night Waltz.” Folkways FA 2397, New Lost City Ramblers‑ “Vol. 2.” Musical Traditions MTCD321-2, Pug Allen (et al) – “Far in the Mountains” (2002). Voyager VRDC 347, “Vivian and Phil Williams Live.”

X:1

T:Up Jumped the Devil

L:1/8

M:C|

K:A

e2 ee f2 f2 | a2 a2 f2 e2 | e2 a2 f2 e2 | g4 g4 | e2 ee f2 f2 | a2 a2 f2 e2 |

e2 a2 e2 a2 | f4 f3a | a3b a2 f2 | e3f e2 f2 | afed cABc | A4 A4 ||

                       

UP JUMPS JOHNNY. AKA and see “Siecle Nouveau Reel.” New England, Reel. D Major. Standard tuning (fiddle). AABB.

                       

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

                       

UP ON A LOFTY MOUNTAIN. English, Country Dance Tune (cut time). D Dorian. Standard tuning. AABB. Barnes (English Country Dance Tunes), 1986.

                       

UP ON THE WAGON. Irish, Polka. D Major. Standard tuning. AA’BB’. Mallinson (101 Polkas), 1997; No. 18, pg. 8. Globestyle Irish CDORBD 085, Billy Clifford – “The Rushy Mountain” (1994. A reissue CD of Topic recordings from Sliabh Luachra musicians).

                       

UP ROSCOMMON. AKA and see “Lady Kelly’s Reel,” “Northern Lasses.

                       

UP SHE GOT AND OFF SHE WENT. AKA and see “Off She Goes [1],” “Off She Goes For Butter and Cheese,” “Peel the Willow.” American, Jig or Quadrille. USA, southwestern Pa. D Major. Standard tuning. ABB. Source for notated version: George Strosnider (elderly fiddler from Greene County, Pa., 1930’s) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 544H, pg. 487.

                       

UP SLIGO [1]. AKA and see Basket of Turf,” “Bundle and Go [1],” “The Creel of Turf [2],” “Disconsolate Buck,” “The Green Meadow,” “The Lark’s March,” “Sligo Lassies,” “The Unfortunate Rake [1],” “The Wandering Harper,” “Wee, Wee Man.  Irish, Jig. E Dorian. Standard tuning. AB (Miller & Perron): AABB’ (DeMarco & Krassen). The first in a pair of jigs recorded in New York by Sligo fiddler Michael Coleman, under the single title “Up Sligo.” Source for notated version: composite from John Vesey and John McGreevy [DeMarco & Krassen]. DeMarco & Krassen (Trip to Sligo), 1978; pgs. 26, 40, 54. Miller & Perron (Traditional Irish Fiddle Music), 1977; vol. 3, No. 21. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 22. O’Neill (Krassen), 1976; pg. 48 (appears as “The Unfortunate Rake”). Intrepid Records, Michael Coleman. John & James Kelly – “Irish Traditional Music.” Shanachie Records, John Vesey. “Kevin Burke in Concert.”

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Up Sligo

L:1/8

M:6/8

R:Jig

K:Edor

D|:EBB BAG|Fdd AFD|EBB EBB|AGF EFD|EBB BAG|Fdd ABc|

dcd B/A/GB|1 AGF E2 D :|2 AGF E2A||

|:Bee ede|~f3 dBA|Bee Bee|fec d2A|1 Bee ede|f/f/ef dBA|~B3 GBd|

AGF E3 :|2 Bcd efg|f/g/af dBA|BdB GBd|AGF E2||

 

UP SLIGO [2]. Irish, Jig. The second in the pair of jigs recorded under the single title “Up Sligo” in New York by Sligo fiddler Michael Coleman. The melody is related to “The Geese in the Bog [2].” Smithsonian Folkways SFW CD 40481, Brian Conway – “First Through the Gate” (2002).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

 

 

UP STAIRS AND INTO BED. Shetland, Shetland Reel. Shetland, Delting.

 


UP TAILS ALL. English, Scottish; Country Dance Tune (cut time). D Major (Johnson): G Major (Chappell, Sharp). Standard tuning. One part (Chappell, Sharp): AABBCCDDEEFFGGHHIIJJKK, (Giga) LL {Johnson}. This once‑popular sixteenth century tune English dance tune was published by Playford in his English Dancing Master (1650) and in the Fitzwilliam Virginal Book. The tune was mentioned in accounts from the early 17th century, but the original words are not known. Chappell (1859) finds it alluded to in Sharpham’s Fleire of 1610:‑‑“She every day sings ‘John for the King’, and at ‘Up, tails all’ she’s perfect.” He notes that several political songs of the Cavaliers were written to this air, “but none of them are suitable for republication.” Johnson’s version, an air‑jig by William Forbes of Disblair, is highly ornate and a “far remove” from the simple 16th century tune. Forbes lived on an estate in Aberdeenshire, and apparently took up composing in his old age, perhaps to supplement his meagre income which had been depleted through alimony payments. Johnson says his compositions were “full of original methods of mixing Italian and Scottish ideas in the same piece” (pg. 37). Source for notated version: anonymous fiddle MS of c. 1770 [Johnson]. Chappell (Popular Music of the Olden Times), vol. 1, 1859; pg. 149. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 27, pgs. 78‑79. Raven, (English Country Dance Tunes) 1984; pg. 47 (a facsimile copy of Playford’s printing). Sharp (Country Dance Tunes), 1909/1994; pg. 28.

X:1

T:Up Tails All

L:1/8

M:2/2

Z:AK/Fiddler’s Companion

S:Sharp – Country Dance Tunes (1909)

K:G

d2|d4 B2 AB|c2c2 A2A2|d2d2 B3c|d6 e2|d4 B4|c4 A4|d4 D4|G6 :|

 

UP THE HEATHERY MOUNTAIN AND THROUGH THE RUSHY FIELDS. Irish, Air (6/8 time, “with life”). G Dorian. Standard tuning. AB. Source for notated version: Hugh O’Beirne, professional fiddler from Ballinamore, Co. Leitrim, c. 1846. Joyce (Old Irish Folk Music and Songs), 1909; No. 597, pg. 310.

 

UP THE MOOR AMONGST THE HEATHER. AKA and see “Over the Moor Among the Heather.

 

UP THE RAW. English, Air (6/8 time). England, Northumberland. E Flat Major. Standard tuning. AB.

***

Up the Raw, down the Raw,

Up the Raw lass, ev’ry day,

For shape and colour, ma bonny hinny,

Thou bangs thy mother, ma canny bairn.

Black as a craw, ma bonny hinny,

Thou bangs them a’, lass, ivry day,

Thou’s a’ clag candy, ma bonny hinny,

Thou’s double japanded, ma canny bairn.

Up the Raw, &c. (Bruce & Stokoe)

***

Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pgs. 116‑117.

X:1

T:Up the Raw

M:6/8

L:1/8

R:Air

S: Bruce & Stokoe – Northumbrian Minstrelsy  (1882)

Z:AK/Fiddler’s Companion

K:E_

E2G A3|G2B F3|(EF)G Abc|B2G E3|EEG AA2|GGB FF2|

EFG Abc|B2G E3||_ddB (c2e)|FFE FA2|_ddB c2e|G2B E3|

ddB c2e|FFE FA2|_dd/d/B c2e|GGB E3||

 

UP THE RIVER. AKA and see “Rolling Off a Log [1].” American, Jig. USA, Maine. G Major (‘A’ part) & D Major (‘B’ part). Standard tuning. AABB. Perhaps the title was miss-remembered by Ms. Lindsay, for the melody is “Rolling Off a Log,” found in Ryan’s Mammoth Collection (1883), albeit in a different key. Source for notated version: Creighton Lindsay (Portland, Oregon), who told Susan Songer (Portland Collection) she learned the tune while living in Maine [Songer]. Songer (Portland Collection), 1997; pg. 205.

 

UP THE STAIRS IN A TENT. See “Upstairs in a Tent.” Irish, Reel.


 

UP THE TOWN. English, Reel. England, Northumberland. G Major. Standard tuning. AAB. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 7. Raven (English Country Dance Tunes), 1984; pg. 184.

X:1

T:Up the Town

M:C|

L:1/8

R:Reel

K:G

B|d2 BG BGGB|d2 BG cAAc|d2BG BGGB|gfed dGG:|

f|geeg fddf|gedB cAAf|geeg fddf|gedc BGGf|

geeg fddf|gedc cAAf|gaba gedB|ceAc BGG||

 

UP THE WALLS OF THE WORLD.  English,

X:1
T:Up the Walls of the World
C:Traditional?
S:Learned at a Whittlesea Straw Bear session
Z:played at a steady pace, but it also works well at speed.
Z:Si Garbutt, 27/3/2009
M:4/4
L:1/8
Q:1/4=200
K:G
f|gfed eBBB|cBBB EGBe|gfed eBcB|AGFG E3 f|
gfed eBBB|cBBB EGBe|EGBe gedB|AGFG E3 :|
f|g2 e2 d2 e2|BBAG F3 f|g2 e2 d2 e2|EGBe g3 f|
g2 e2 d2 e2|a2 ab agef|g2 ga gedB|1AGFG E3:|2AGFG E4:|

X:3
T:Up the Walls of the World (again)
M:4/4
L:1/8
K:Em
|:f2|gfed eBBc|cBBe EBBg|gfed eBcB|AGFG E3 f|
gfed eBBc|cBBe EBBe|EGBe gedB|AGFG E2:|
|:f2|gBeB dB eB|dBAF D3 f|gBeB dB eB|EGBd e3 f|
gBeB dB e2|a3 b agef|gfg a gedB|AGFG E2:|

 

UP THE WATER.  English, Country Dance Tune (2/4 time). A Major. Standard tuning. AABB. Originally published in Charles and Samuel Thompson’s third country dance collection (London, 1773). It also appears in Straight and Skillern’s Two Hundred and Four Favourite Country Dances, vol. 1 (London, 1775). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 63.

X:1

T:Up the Water

M:2/4

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:A

A(cc)e|B(dd)f|ecBA|GBGE|A(cc)e|B(dd)a|geB^d|e2 E2:|
|:f(dd)f|e(cc)e|d(BB)c|dBGE|f(dd)f|e(aa)d|cAEG|A2 A,2:||

 

UP TO YOUR KNEES IN SAND (Chuig na Glúine I nGaineamh Thú). AKA and see “The West Clare Reel.” Irish, Reel. G Major/E Dorian. Standard tuning. AABB. The melody bears some similarity to the better-known “Temperance Reel.” Source for notated version: whistle player Mary Bergin (Ireland) [Breathnach]. Black (Music’s the Very Best Thing), 1996; No. 1, pg. 1. Breathnach (CRÉ III), 1985; No. 159, pg. 74. Treoir, II, 5; pg. 13 (untitled tune). Gael‑Linn Records CEF 071, Mary Bergin – “Feadoga Stain” (1979). Green Linnet GLCD 1184, Patrick Street – “Made in Cork” (1997. Appears as “Up to Your Neck in Sand”).

X:1

T: Up to Your Knees in Sand

Q: 350

R: reel

M: 4/4

L: 1/8

S: Mary Bergin

Z: transcribed by B.Black

K: G

D | G2 GF GABc | dBeB dBAF | D2 FD ADFD | DEFD AFEF |

G2 GF GABc | dBeB dBAF | Be e2 dBAF | DEFD E3 :|

D | GB B2 eBdB | FA A2 AfdA | GB B2 eBdB | AGFG E3 F |

GB B2 eBdB | FA A2 AfdA | G2 GF GBdB | AGFG E3 :|

X:2

T:Up to your knees in Sand

M:4/4

L:1/8

Z:Chris Corrigan

R:Reel

K:G

G2 GF GABc|dBeB dBAF|DFAF BFAF|ABAF GFEF|

G2 GF GABc|dBeB dBAd|(3Bcd ec dBAF|DEFD E3 F||

GBBA GBEG|FAAG FADF|GBBA GBdB|AGFA E3 F|

GBBA GBEG|FAAG FADF|G2 GF GBdB|AGFG E3 F||

 

UP WE, NEWCASTLE. English. England, Northumberland. One of the “missing tunes” from Vickers’ 1770 manuscript. Perhaps it is “Hey, Then Up Go We”?? or “Up Wi(th) Newcastle”??

 

UP WEAT. HEALS OF MY CUMMOTHER {?}. English. England, Northumberland. One of the “missing tunes” from William Vickers’ 1770 Northumbrian dance tune manuscript.

 

UP WENT AILY.  See “Up with Aily [2].”

 

UP WI’ THE SOUTERS. AKA and see “The Souters O’ Selkirk.

 

UP WILLIE, WAR THEM A’. See “Up and Waur Them A’, Willie.

 

UP WITH A HAVY (sic) HEART. English. England, Northumberland. One of the “missing tunes” from William Vickers’ 1770 Northumbrian dance tune manuscript.

 

UP WITH AILY. AKA and see “The Hare’s Maggot.” English, Country Dance Tune (3/2 time). A Minor. Standard tuning. AAB. The tune dates from 1703 with the above title, though it was previously published in 1701 under the title “The Hare’s Maggot.” Barnes (English Country Dance Tunes), 1986. Sharp (Country Dance Tunes), 1909; pg. 78.

X:1

T:Up with Aily

M:3/2

L:1/8

S:Sharp – Country Dance Tunes  (1909)

Z:AK/Fiddler’s Companion

K:Amin

e4A4a4 | ga b2e2^g2 a4 | e2 gf e2g2e2c2 | d2 g4 d2B2G2 | c2e2 f4 e2f2 | d8 c4 :|

e2c4 e2g2e2 | d2B4 d2g2d2 | c2e2A2c2 E2A2 | ^G6 A2 B4 |

c2e4 B2c2A2 |^f2 b4 f2^g2e2 | a2e2 fe d2 ed c2 | c6 B2 A4 ||

 

UP WITH AILY [2].  AKA – “Up went Aily.” English, Jig (9/8 time). D Major. Standard tuning. AABB. “Up with Aily [2]” first appears in print in Henry Playford’s 12th volume of the Dancing Master (London), and continued to appear in the long running series through the 18th edition (1728, at which time it was published by John Young). John Walsh picked it up for his Compleat Country Dancing Master (London, 1718, also in editions of 1731 and 1754). James Aird printed it in his Glasgow-published Selection of Scots, English, Irish, and Foreign Airs, vol. 1 (1782), as “Up Wi’t Ailly Now,” and, as “Up went Ailey” (or simply “Ailey”) it was published in the same year as Aird, in John Fielding’s Convivial Songster (London, 1782). The “Up went Aily” title (and tune) were included by London musician Thomas Hammersley in his copybook of 1790. Breathnach (1996) finds “Up with Aily [2]” cognate with an untitled slip jig in Ceol Rince na hÉireann (1996, No. 37), although the relationship seems extremely distant. The “The Irish Frolic” is cognate with Breathnach’s tune.  Barlow (The Complete Country Dance Tunes from Playford’s Dancing Master), 1985; No. 517, pg. 116. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 136.

X:1

T:Up with Aily [2]

M:9/4

L:1/8

R:Playford – Dancing Master 12th edition (1703)

K:D

D4d2 A4F2 A4F2|D4d2 A4F2 G2F2E2|D4d2 A4F2 G2A2B2|=c6 G2E2=C2 G2E2C2:|

|:d3ef2 f3ef2 f3ef2|d3ef2 f3ga2 e2c2A2|d3ef2 f3ef2 f3ed2|e6 E4F2 G2F2E2:|

 

UPLANDS RANT. English, Rant or Reel. England, North‑West. A Minor. Standard tuning. AABB. A modern composition by Ian Ball. Knowles (Northern Frisk), 1988; No. 147.

 

UPON A SUMMER’S DAY. AKA and see “The Garland [1],” “Gipsie’s Round.” English, Country Dance Tune (6/4 or 6/8 time). D Dorian (Chappell, Raven): F Minor (Barnes, Sharp). Standard tuning. AB (Chappell, Raven): AABB (Sharp): AABBB (Barnes). The air (whose title comes from a ballad) was published by Playford in his first edtion of The English Dancing Master, which dates from 1650; in later editions (1670‑90) it is called “The Garland” after another ballad written to it. The air also appears in Musick’s Delight on the Cithren (1666). Barnes (English Country Dance Tunes), 1986. Chappell (Popular Music of the Olden Time), vol. 1, 1859; pg. 318. Raven (English Country Dance Tunes), 1984; pg. 37 (a facsimile copy of the Playford original). Sharp (Country Dance Tunes), 1994; pg. 34.

X:1

T:Upon a Summer’s Day

M:6/8

L:1/8

S:Sharp – Country Dance Tunes (1909)

Z:AK/Fiddler’s Companion

K:Fmin

|:c|c2c A2F|(c3 c2) =d/e/|f2e f2g|(a3 a2)A|A2A G2F|e3 f3|g2A G2 F|(F3 F2) :|

|:g|g2g e2c|(g3 g2)e|f2e f2g|(a3 a2)A|A2A G2F|e3 f3|g2A G2F|(F3 F2) :|

                       


UPPER DENTON (HORNPIPE), THE. English (originally), Scottish, Canadian; Hornpipe. England, Northumberland. Canada; Prince Edward Island, Cape Breton. D Major. Standard tuning. AABB. Perlman (1996) collected the following ditty, sung to the ‘A’ part of the tune:

***

Did you ever see the devil with his wooden spade or shovel,

Did you ever see the devil with his tail cocked out?

The potatoes were so big that the devil couldn’t dig,

So he ran through the fields with his tail cocked out!

***

A note in the Plain Brown Tune Book suggests the title refers to Upper Denton in Northumberland (not Denton in Manchester, England), and this seems right, as the tune is nearly identical to the one printed by Dixon (1995) and attributed to Robert Whinham (1814-1893), a musician, teacher, composer, dancing master and fiddler originally from Morpeth, Northumberland. The attribution, however, is only verbal, from Northumbrian fiddler George Hepple, whose grandfather was taught to step-dance by Whinham. Dixon says that Upper Denton is a hamlet on a railroad crossing south west of Gilsland, Northumberland. Canadian fiddlers may have picked the tune up from Kerr’s collection, or from New England fiddlers. Bill Lamey played it in Boston, where a young Jerry Holland heard him. Sources for notated versions: Peter Chaisson, Jr. (b. 1942, Bear River, North-East Kings County, Prince Edward Island) [Perlman]. Cranford (Jerry Holland: The Second Collection), 2000; No. 118, pg. 45. Dixon (Remember Me), 1995; pg. 68. Kerr (Merry Melodies), vol. 3; No. 319, pg. 35. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 70. Plain Brown Tune Book, 1997; pg 8. EAR 015-2, Joe Hutton – “Northumbrian Piper.”

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

X:1

T:Upper Denton

M:C

L:1/8

R:Hornpipe

S:Kerr – Merry Melodies, vol. 3, No. 319  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

(ag)|fadf AdFA|DFAd FAdf|gfga bged|c2A2A2 (fe)|dAFA GBAG|

FAdf Adfa|gfed cbag|f2d2d2::(cd)|ecfd gece|fdge afdf|gfba gfed|

cdec A2(fe)|dAFA GBAG|FAdf Adfa|gfed cbag|f2d2d2:|

                       

UPPER LEHIGH. Old‑Time, Polka. Joel Shimberg remembers this tune being played at Lenape Park, Pennsylvania, quite a bit in the early 1970’s. The Lehigh valley is in Pennsylvania. Alcazar Dance Series ALC‑202, Sandy Bradley – “Potluck and Dance Tonite!” (1979. Learned from C. Peter Kraus).

                       

UPPER ROOM, THE (An Seomra in Uachtar). AKA and see “Flowers of Limerick [3],” “The Moving Bog(s) [5],” “The Wallace Twins,” “Miss Wallace [1].” Irish, Reel. D Mixolydian/Major. Standard tuning. AB. Source for notated version: piper Seán Potts (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 130, pg. 53. Cotter (Traditional Irish Tin Whistle Tutor), 1989; 67.

                       

UPPERCHURCH POLKA [1], THE. AKA and see “1, 2, 3, 4, 5, Once I caught a fish alive.” Irish, Polka. G Major. Standard tuning. AA’BB’. Upperchurch is in County Tipperary, where source Billy Clifford (originally from Kerry) now lives. Breathnach (CRÉ IV), No. 85 (appears as untitled polka). Mallinson (100 Polkas), 1997; No. 30, pg. 12. Globestyle Irish CDORBD 085, The Billy Clifford Trio – “The Rushy Mountain” (1994. A reissue CD of Topic recordings from Sliabh Luachra musicians).

X:1

T:Upperchurch Polka [1]

M:2/4

L:1/8

Q:240

S:Billy Clifford Trio

R:polka

K:G

B2 B2|AG G2|FG AB|dc c2|c2 c2|BA A2|GF E>F|ED B,D|

B2 B2 |AG G2FG AB|dc c2|c2 c2|BA A2|GF EF|AG G2||

dB Bc|dB B2|dB eB|dc c2|cA A>B|cA A2|dc BA|GD B,D|

dB Bc|dB B2|dB eB|dc c2|cA A>B|cA A2|dc BA|G2 G2||

 

UPPERCHURCH POLKA [2], THE. Irish, Polka. G Major. Standard tuning. AABB. Mallinson (100 Polkas), 1997; No. 31, pg. 12. Globestyle Irish CDORBD 085, The Billy Clifford Trio – “The Rushy Mountain” (1994. A reissue CD of Topic recordings from Sliabh Luachra musicians).

X:1

T:Upperchurch Polka [2]

M:2/4

L:1/8

Q:240

S:Billy Clifford Trio

R:polka

K:G

B/A/|GD GA|B2 B/c/B/A/|GD GA|B2 Be/e/|ed BG|

A2 Ae/e/|ed BA|G2 GB/A/|

GD GA|B2 B/c/B/A/|GD GA|B2 Be/e/|ed BG|

A2 Ae/e/|ed BA|G2 GB/d/||

g2 ge|f2 f2|e>e fe|d2 d^c/d/|ed BG|A2 Ae/e/|ed BA|G2 GB/d/|

g2 ge|f2 f2|e>e fe|d2 d^c/d/|ed BG|A2 Ae/e/|ed ef|g2 g2||

                       

UPPERMILL MORRIS.  English, Reel. England, North‑West. G Major. Standard tuning. AAB. Knowles (Northern Frisk), 1988; No. 137.

                       

UPSTAIRS IN A TENT [1] (Thuas Staighre I bPuball). Irish, Reel. G Major. Standard tuning. AB (Roche): AA’B (Breathnach). Breathnach (1976) notes that his source, Micko Russell, did not have a name for it but said that this is what Jimmy Mucaí called it. “Jimmie Ward said that this was not the correct name.”  Martin Mulvihill called it “Peg McGrath’s Reel” in his 1985 collection, after hearing it played by that musician in a session at a Fleadh Cheoil in Listowel. Source for notated version: flute and whistle player Micko Russell, 1966 (Doolin, Co. Clare, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 190, pg. 99. Roche Collection, 1982, vol. 1; No. 179, pg. 69.

 

UPSTAIRS IN A TENT [2]. AKA and see “Jenny Tie your Bonnet,” “Tie the Bonnet,” “Down with the Mail,” “The Rambler’s Rest,” “In and Out the Harbour,” “Jenny Lace your Tight,” “Lassie(s) tie your Bonnet(s),” “Lizzie’s Bonnet,” “The Faraway Wedding [1],” “The Gravelled Walks to Granny,” “The Highland Man That Kissed his Grannie [1],” “The Cottage in the Grove [2].” Irish, Reel. Ireland, County Sligo. A Dorian (‘A’ part) & D Major (‘B’ part). Standard tuning. AB. A different tune than “Upstairs in a Tent [1].” Source for notated version: flute player James Murray (b. 1947, Ougham outside Tubbercurry, Co. Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 172. Giblin (Collection of Irish Traditional Dance Music), 1928; No. 30.

                       

UPTON-ON-SEVERN STICK DANCE. English, Morris Dance Tune (6/8 time). G Major. Standard tuning. AA’BB. A morris dance tune from the village of Upton-on-Severn, the vehicle for a dance featuring dancers with sticks in what was once perhaps a ritual-combat sequence.

X:1

T:Upton-on-Severn Stick Dance, The

M:6/8

L:1/8

R:Jig

O:England

K:G

P:A

d|\

dBB BAG|AGA BGE|DED GBd|edB A2d|

dBB BAG|AGA BGE|DED GBd|[1 edB G2:|[2 edB G3|

P:B

GBd g2d|edc BAG|GBd g2d|edB A3|\

GBd g2d|edc Bcd|ege dBG|AGA G3:|

                       


URDBO-URDI. Norwegian, Springar. A tune composed by the renowned Telemark, Norway, harding fiddle player Johnannes Dahle, named after a great pile of rocks (urdi) that may still be seen on the Urdbo farm in Arabygd. The legend of the stones goes that the god Thor paid a visit to the community in the early days of Christianity. He demanded, and of course received, refreshment in the form of beer which, unfortunately, was served to him in bowls so inadequate to the thirst of the god that he, feeling slighted and in a rage, demolished the new church with boulders he picked up and hurled against it.

 

URQUHART CASTLE (Caisteal Urchudainn). Scottish, Strathspey. G Minor. Standard tuning. AB (Athole): AAB (Fraser, MacDonald). The composition is credited to Captain Fraser by Lowe {c. 1840}, although Fraser never specifically made any claim in print {so too, with other tunes thought to be his}; nevertheless, his name appears appended to the tune in many collections. “Urquhart Castle is one of the first objects that strike the traveller’s eye, on getting a full view of Loch Ness. It is interesting in history, from the defence made by its governor against Edward Longshanks, King of England, who acquired possession of all our forts and garrisons. It forms, with the objects around it, one of the grandest and most interesting landscapes in that country; nor will the memorial of it die the sooner of having this popular melody associated with it” (Fraser).

***

The ruins of the castle still stand brooding on the western shore of Loch Ness and are often photographed. Urquhart, however, was a ruin even before the rising of 1715, when it was reported to be “blowen down by the last storme of wind, the south west side thereof to the laich woult.” The castle was located in the strategically important Great Glen, from Inverness to Fort William, and it appears to have had its hey-day as a royal fortress from around the year 1200, though there is evidence it was a prehistoric site. Attesting to its importance, during Robert the Bruce’s struggle the castle changed hands four times in twelve years. King James VI restored the structure and bestowed lordship to John Grant of Freuchie. Urquhart was plundered in 1545, and again a century later in 1644. Finally, during the first Jacobite rising in 1691 some of the structure was blown up to deny it to the enemy.

***

Stories about the castle are several. One vault is supposed to contain the plague, still virulent, while another is said to conceal buried treasure. The area around the loch was well-known as the center of a powerful coven of witches, state Kieth Sanger and Allison Kinnaird (Tree of Stings, 1992), and the castle was said to have been built—and cursed—by these witches. As the legend goes, at the behest of Conachar MacNessa, a semi-mythical character of the 12th century, they dragged stone for the structure from Abriachan and Caiplich. On the edge of the loch is a rock known as An Clairsach (The Harp), and it was there that the witches gathered to celebrate their Sabbaths, dancing while Satan sat enthroned on the rock, playing his harp. Fraser (Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 51, pg. 18. Henderson (Flowers of Scottish Melody), 1935. MacDonald (The Skye Collection), 1887; pg. 192. Stewart-Robertson (The Athole Collection), 1884; pg. 279.

X:1

T:Urquhart Castle

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:Bb

A,|B,>C D<B F>B D<e|d>B A<B F<B D>C|B,>C D<B F>B D<d|

B<G A>^F G<G, G,>A,|B,>C D<B F>B D<e|d>B A<B F<B D>C|

B,>C D<B F>B D<d|B<G A>^F G<G,G,||f|e/d/c/B/ f>B g>Bf>c|

d<g g>a b>ag>f|dc/B/ f>B g>B f<b|f<d d>c d<gg<b|d<bc<a B<gA<f|

G<BA<B F<B D>C|B,>CD>E F<E D<d|B<G A>^F G<G,G,||

 

USHAG VEG RUY (The Little Red Lark). Scottish, Slow Air. Scotland, Isle of Man. G Minor. Standard tuning. One part. “Ushag Veg Ruy” (Little Red Lark) originally comes from a book of Manx songs and dances, Kiauall yn Theay. Source for notated version: Scottish style fiddler Elke Baker (Washington, D.C.) [Matthiesen]. Matthiesen (Waltz Book II), 1995; pg. 35.

 

USURPER, THE.  English, Waltz. G Major (‘A’ ‘C’ and ‘D’ parts) & D Major (‘B’ part). Standard tuning. AABBCCDD. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 186, pg. 49.

 

UTAH TRAIL. American, Two‑Step. USA, Arizona. F Major. Standard tuning. Arizona fiddler Kenner C. Kartchner said it was a “good two‑step of later vintage” (Shumway).

 

UTPICK WALTZ. AKA and see “Ookpik Waltz,” “Ootpik Waltz.

 

________________________________________

HOME        ALPHABETICAL  FILES        REFERENCES

 

© 1996-2010 Andrew Kuntz

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

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


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

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

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

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