The Fiddler’s
Companion
© 1996-2010 Andrew Kuntz
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ABER - ACT |
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] |
ABERARDER RANT. AKA and see “The Farmer’s
Daughter.” Scottish, Reel. D Major. Standard tuning. AABB'. A pipe tune,
better known in the 20th century as “The Farmer’s Daughter,” under which title
it first appears in The Seaforth
Highlanders (1936). MacDonald (The
Skye Collection), 1887; pg. 70.
X:1
T:Aberarder Rant
M:C
L:1/8
R:Reel
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:D
B|d2 ag f2 ef|d2 dB d2 de|d2 ag f2
ef|A<AeA cAA:|
|:B|d2 fd B<BfB|dBfB dBB>c|1
d2 [fg]B B<BfB|c<AeA cAA:|2 dcde faef|A<AeA cAA||
ABERCAIRNEY HOUSE [1]. Scottish, Strathspey. G Minor. Standard tuning. AAB. Composed by Niel
Gow (1727-1807). See note for “Abercairney House [2]”, below and "Niel Gow's Lamentation for James
Moray, Esq., of Abercairny” for more. Carlin (The Gow Collection), 1986; No. 1. Gow (Fifth Collection of
Strathspey Reels), 1809; pg. 7.
X:1
T:Abercairney House [1]
M:C
L:1/8
R:Strathspey
C:Niel Gow (1727-1807)
B:Gow – Fifth Collection of
Strathspey Reels (1809)
Z:AK/Fiddler’s Companion
K:Gmin
B/c|d<GB>G dGBg|c<FA>F
cFA<f|d<GB>G dGBg|f>d {d}cB/A/ {A}G2 G:||
d|g>dgb g<af<g|fadf cF
{d}cB/A/|gdgb gafg|f>c {d}cB/A/ {A}G2 Gd|
g>dgb g<af<g|fadf c>F
{d}cB/A/|d<GB>G dGB<g|f>d {d}cB/A/ {A}G2G||
ABERCAIRNY HOUSE [2].
Scottish, Strathspey. C Minor. Standard tuning. AB. The melody appears in Malcolm MacDonald of Dunkeld’s 3rd Collection, dedicated to
Miss Drummond of
X:1
T:Abercairny House
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Cmin
C|C<c c>G c>d ed/c/|B>cB>G F/E/D/C/ B,>D|C<c c>G c>d ed/c/|BF/B/ G/F/E/D/ E<C C>G,|
C<c c>G c>d ed/c/|B>cB>G F/E/D/C/
B,>D|C<c c>B c>d ed/c/|d>B g/f/e/d/ e<cc||
|:G|c>de>c g>ce>c|B>df>b f/e/d/c/ B>d|1 c>de>c
g>ce>c|d>B g/f/e/d/ e<cc:|2
e>cd>=B c/B/c/d/ ed/c/|B/G/F/E/ D/E/F/G/ E<CC||
X:2
T:Abercairney House
M:C|
L:1/8
R:Strathspey
N:”Slow”
S:MacDonald – 3rd Collection of Strathspey Reels (c. 1792)
Z:AK/Fiddler’s Companion
K:Eb
C | CccG c>d ed/c/ | B>cBG
F/E/D/C/ B,>D | CccG c>d ed/c/ | BF/B/ G/F/E/D/ ECCG, |
C(cc)G c>d ed/c/ | BcBG F/E/D/C/
B<D | CccB c>d ed/c/ | dB g/f/e/d/ ecc |: G | “tr”c>dec gcec |
Bdfb f/e/d/c/ Bd |1 “tr”c>dec
gcec | dB g/f/e/d/ eccG :|2 e>cd>=B c/B/c/d/ ed/c/ | B/G/F/E/ D/E/F/G/
ECC ||
ABERCARNEY'S REEL. Scottish, Reel. A Dorian. Standard
tuning. AAB. The melody first appears in McGlashan's Collection. McGlashan (Collection
of Strathspey Reels), c. 1780/81; pg. 25.
X:1
T:Abercarney’s Reel
M:C|
L:1/8
R:Reel
S:McGlashan – Strathspey Reels (c.
1780-81)
Z:AK/Fiddler’s Companion
K:Ador
e | A<A c>(e e)A/B/ ce |
G<G B>A G2 GB | A<A c>(e e)A/B/ ce | ae/f/ gB A2 A :|
e | ^c>B Af/g/ a>egB | G<G
B>A G2 GB | ^c>B Af/g/ aegB | ae/f/ gB A2 Ae |
^c>B Af/g/ ae/f/ gB | G<G
B>A G>ABG | A>Bc>e d>eg>a | g<e g>B A2 A ||
X:1
T:
M:C|
L:1/8
S:John & William Neal – Choice
Collection of Country Dances (
K:F
F3G A2c2|f4 e2d2|f4 e2d2|ef
g2G2A2|F3G A2c|
f3g a2g2|f2d2c2A2|G4 d4::F3G
A2B2|c2F2 ABcA|
c2F2 ABcA|dcBA G2A2|F3G A2c2|f3g
a2g2|f2d2c2A2|G4 d4:|
X:1
T:
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Gmin
D<G G>A B>de>=e | f<d c>B A<fA<F | D<G G>A B>c d<^f | g<d f>A G2G :|
d | g/a/b g>d B<dg<b | a/b/f/=e/ f<c A>cf>a | g/a/b f>d B<d b>g |f<d f>A G2 G>d |
g/a/b g>d B<dg<b | a/g/f/=e/ f>c A>c f<a |g<b^f>a g>=ed>c | d>D d/c/B/A/ B<GG ||
X:2
T:
C:Robert Petrie (?)
S:Petrie's Collection of Strathspey Reels and Country Dances &c., 1790
Z:Steve
Wyrick <sjwyrick'at'astound'dot'net>,
N:Petrie's First Collection, page 3
L:1/8
M:C
R:Strathspey
K:Bb
D<GG>A B>cd>=e | f<dc>B A<fA<F | D<GG>A B>cd<^f | gd=fA {A}G2Gd :|
%The original doesn't have a repeat sign at the end of the above line -SW
(g/a/b) g>d B<dg<b | (a/g/f/=e/) f>c A>cf<a | (g/a/b) g>d B<db>g | f<df>A G2Gd |
(g/a/b/a/)
gd B<dg<b | (a/g/f/=e/) fc
A>cf<a | g<b^f<a
g>ed>c | dD d/c/B/A/ BGG |]
ABERDEENSHIRE
VOLUNTEERS. Scottish, Strathspey. D Major.
Standard tuning. AB. Composed by J. Scott Skinner.
MacDonald (The Skye Collection),
1887, pg. 53.
X:1
T:Aberdeenshire Volunteers, The
M:C
L:1/8
R:Strathspey
S:MacDonald - Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:D
A,|D<D F>B A<F
F>A|B/c/d/c/ B/A/G/F/ G/F/E/D/ C<E|D<D F>B A<F F>A|
(3Bec (3ABc (3dAG (3FGE|D<D
F>B A<F F>A|B/c/d/c/ B/A/G/F/ G/F/E/D/ C<E|
D<D F>B A<F F>A|(3Bec
(3ABc (d2d)||A|d<d d>g f/g/a/f/ d<f|g<B e>d c<A A>c|
d<d d>g f/g/a/f d>f|(3efg
(3ABc d2 d>A|d<d d>g f/g/a/f/ d<f|g<B e>d c<A A>c|
(3dfd (3cec (3BdB (3AGF|(3GAB (3ABc
[F2d2] [Fd]||
ABERDEIN'S CURRANT. Scottish. The title likely refers to the dance
currant, named for
ABERGENNY. English, Welsh; Country Dance Tune (2/2 time). G Minor. Standard
tuning. AB (Mellor): AABB (Barnes, Raven). The Welsh or Brittonic prefix
‘Aber-‘ means ‘mouth’, and was attached to names of rivers. Thus Abergenny
means the ‘mouth of the Genny,’ but probably refers to Abergavenny in Monmouth
according to Kidson, “which is sufficiently Welsh county in manner and customs
to be musically included.” Kidson also points out the tune bears a strong
resemblance to “Cold and Raw.” The tune
appears in the 1665 and later editions of Playford’s Dancing Master. Barnes (English
Country Dance Tunes), 1986. Mellor (Welsh
Dance Tunes), 1935; pg. Raven (English
Country Dance Tunes), 1984; pg. 18.
ABERLOUR'S SQUEEZE. Scottish, Strathspey. C Major. Standard tuning. AAB (Marshall, Skye):
AABB' (Kerr). Composed by William Marshall (1748-1833). The town of
X:1
T:Aberlour’s Squeeze
M:C
L:1/8
R:Strathspey
B: Stewart-Robertson - The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:C
d|c2 c>e d>B c2|G<c c>e ~d>ef>g|e<c c>e e/d/c/B/ c<A|A<c G>E D>EF:|
e/f/|g>ce>c g>c e2|g>ce>g a>df>a|g<ce<g c<g e>g|c>A G<E D>E Fe/f/|
g>ce>c
g>c e2|~g>c e<g a>df>a|(3efg (3def (3edc (3dcB|(3ABc (3GFE
E>EF||
ABER-NANT WALTZ, THE. Welsh, Waltz. From the manuscript of ‘Llewelyn
Alaw’, Aberdâr (held at the National Libarary at Aberystwyth). Flying Fish FF70610, Robin Huw Bowen – “Telyn Berseiniol Fy
Ngwlad/The Sweet Harp of My Land” (1996).
ABE'S RETREAT. AKA and see "The Battle
of Bull Run," "Manassas
Junction." Old‑Time, Breakdown.
X:1
T:Abe’s Retreat
M:C|
L:1/8
K:A Mix
AdBG A2 cd|efgd e4|A2BA GABA|G E2 G
E4|
AcBG A2 cd|efgd e3a|B2a2g2 ed|c A2 B
A4:|
|:a3g agef|g2f2 e4|agba gaba|g e2 g
e4|
a3g agef|g2f2 e3a|b2a2g2 ed|c A2 B
A4:|
X:2
T:Abe’s Retreat
R:Reel
M:4/4
L:1/8
N:Transcribed by Bruce Thomson from
Laurie Phillips
K:A
||z4 z2 cB|:”A”ABcB ABcd|ef=gf
edcB|A2A2 B3A|”E”GE3 E2cB|
“A”ABcB ABcd|ef=gf eAaA|”E”bAaA
=g2ed|1 “A”cA3 A2cB:|2 “A”cA3 A4||
|:”A”a3b a=gef|=g2f2 e4|a4
b3a|”E”=ge3 e4|
”A”a3b a=gef|=g2f2e2aA|”E”bAaA
=g2ed|”A”cA3 A4:|
ABHRAN BUADHA. AKA and see "Song of Victory."
ABHRAN SHLIGIGH. AKA and see "Sligo Tune."
ABHRAN SHLOIN. AKA and see "Sloans Lamentation."
ABIGAIL JUDGE. Irish, March or Air (4/4 time). G Minor. Standard tuning. AB. Composed
by blind Irish harper Turlough O'Carolan (1670-1738). O'Neill (Krassen), 1976;
pg. 232. O'Neill (Music of Ireland: 1850
Melodies), 1903/1979; No. 649, pg. 116.
X:1
T:Abigail Judge
M:C
L:1/8
R:Air
N:”Animated”
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:Gmin
GF|D2G2G2B2|A3G ^F2d2|d2c2
cBAG|G2^F2D2 zD|
G3A B2c2|d2 dc B2A2|G2 AB D2
dc|B2A2G2||
d2|g2d2d2g2|f3d G2d2|c2 BA
G2c2|B2A2G2^F2|
G2A2 B2^c2|d2d2g2d2|edcB dcBA|G3
B/A/ G2||
ABITHA MUGGINS
FAVORITE. American?, Reel. Loosely in G Major.
Standard tuning. AABA. Cole (1000 Fiddle
Tunes), 1940; pg. 8. Ryan’s Mammoth
Collection, 1883; pg. 31.
X:1
T:Abitha Muggins’ Favorite
M:2/4
L:1/8
R:Reel
B:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:D
(d/B/)~B A/B/d/B/|G/B/d/f/ gf/g/|e/c/d/B/
A/B/c/d/|d/f/g/^g/ a=g/e/|
(d/B/)~B A/B/d/B/|G/B/d/f/ gg/b/|b/g/a/f/ g/f/e/d/|e/f/g/^g/ a=g/e/:|
d/g/g/g/ ga/f/|g/b/a/f/
g/f/e/d/|e/a/a/a/ c/a/a/a/|B/a/c/a/ a/g/e/d/|
B/g/g/g/ g/f/a/f/|{a}g/f/e/
{a}g/f/g/a/|b/g/a/f/ g/f/e/d/|e/f/g/^g/ a=g/e/||
ABOUT/ABOOT THE BUSH, WILLY. English, Air (6/4 time).
***
Aboot the bush Willy, Aboot the beehive,
Aboot the bush Willy, I'll meet the belyve.
Then to my ten shillings, Add you but a groat,
I'll go to
***
Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 110.
X:1
T:Aboot the Bush, Willy
M:6/4
L:1/8
R:Air
S: Bruce & Stokoe – Northumbrian Minstrelsy (1882)
Z:AK/Fiddler’s Companion
K:Bb
c2|d2B2c2A2F2c2|d2B2c2 A4c2|d2B2c2A2F2f2|e2c2A2 B4||
c2|d2e2f2A2F2c2|d2e2f2A4c2|d2e2f2A2F2f2|e2c2A2
B4||
ABOUT SHE GOES. English, Jig.
X:1
T:
S:Petrie's
Collection of Strathspey Reels and Country Dances &c., 1790
Z:Steve
Wyrick <sjwyrick'at'astound'dot'net>,
N:Petrie's First Collection, page 21
L:1/8
M:2/4
K:Eb
"^Allegro"
(E//F//G//A//)
| B3 G | EEEG | CF/G/ A/G/F/E/ | D/E/F/E/ B,(E//F//G//A//) | BBBG |
EEEG
| CA G/F/E/D/ | EEE :: B | ee/e/ eg | fBTB2 | ff/f/ f/g/a/f/ | ge e2 | bggb |
aff>a
| ge f/e/f/g/ | [Ge][Ge][Ge] :|
K:Cm
"^Minore
Pia."
|:
G | c3d | edge | fedc | =B3G | "^cres:" g3a | f3g | "^For."edc=B | ccc :|
K:Eb
"^Maggiore"
|:
(c//B//c//d//) | "^Pia"[Ge] [G/e/] [G/e/] [Be][GB] | [Ac]
[A/c/][A/c/][Ac][Ac] |
"^For."[=Af][=A/f/][=A/f/][cf][ce]
| [Fd] [F/d/][F/d/][Bd][Bd] | [Be]
[B/e/] [B/e/] [Ge][GB] |
[Ac]
[Bd] [Be][Ac] | [GB] [FA] [EG][DF] | [G,B,E][G,B,E] [G,B,E] :|
%The
original does not note the return to major -SW
ABRAHAM BROWN [1]. English, Morris Dance Tune (6/8 time). D Major. Standard tuning. AAB.
The dance and tune are from the
ABRAHAM BROWN [2]. English, Morris Dance Tune (6/8 time). G Major. Standard tuning. AAB.
An alternate tune for the dance from Bidford, different from version #1. Bacon
(The Morris Ring), 1974, pg. 67.
ABRAISEAC, AN. AKA and see "The Flaxdresser."
ABRAN-GRAD
DOIRE-CALGAIC. AKA and see "Londonderry Love Song."
ABSENT MINDED MAN, THE
(An Fear Dearmadac). AKA and see "The House in/on the Corner,"
"The Little
House (A)round the Corner [1]," "The Royal Irish Jig," "O as I was kiss'd Yestreen [2],"
"The Hare in the Corn [3],"
"The Hare in the Corner,"
"Fhiach an Mhada Rua."
Irish, Double Jig. A Major. Standard tuning. AABB. Old Scottish variants can be
found in the Trotter Manuscript of
1780 and the Skene Manuscript of c.
1630-1640 under the “Hare in the Corn” title. O'Neill (Krassen), 1976; pg. 21.
O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 758, pg. 141. O'Neill (Dance
Music of
X:1
T:Absent Minded Man, The
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:A
d|cAc efg|aed c2A|dfd cec|dBB
B2d|cAc efg|aed c2A|Bba gfg|aAA A2:|
|:c|ecc Acc|ecc Acc|dBB GBB|dBB
GBB|ecc fdd|gee aff|ecc dBG|ABA A2:|
ABSENT-MINDED (WALTZ), THE.
English (?), Waltz. D Major (‘A’ and ‘B’ parts) & B Minor (‘C’ and
‘D’ parts). Standard tuning. AABBCCDD. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 92, pg. 21.
ABSENTMINDED WOMAN, THE (An Bean Dearmadac). Irish, Reel. G Major. Standard
tuning. AB. O'Neill (O’Neill’s Irish
Music), 1915/1987; No 268, pg. 137. O'Neill (Dance Music of
X:1
T:Absent-Minded Woman, The
L:1/8
M:C|
R:Reel
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:G
G2 GA BGBd|edgd edBA|G2 GA
BABd|(3efg dB AGEF|G2 GA BGBd|edgd e2 dB|
dega bage|d2 BG AGED||g2 bg agbg|g2
bg aged|g2 bg agbg|{a}gedB AGED|g2 bg agbg|
g2 bg aged|bgaf {a}gedB|{d}cABG
AGED||
ACACIA. American, Reel. G Major. Standard tuning. AABB. An acacia is a tree or
shrub of the mimosa family, often cultivated as an ornamental. Cole (1000 Fiddle Tunes), 1940; pg. 40. Ryan’s Mammoth Collection, 1883; pg. 67.
X:1
T:Acacia
M:2/4
L:1/8
R:Reel
B:Ryan’s Mammoth Collection, pg. 67
(1883)
Z:AK/Fiddler’s Companion
K:G
(3D/E/F/|GG/A/ B/c/d/B/|{d}c/B/c/d/
.e(3d/e/f/|{a}g/f/g/e/ d/B/G/B/|c/B/A/G/ F/A/D/F/|
GG/A/ B/c/d/B/|{d}c/B/c/d/
e/d/e/f/|g/f/g/e/ d/B/G/A/|B/G/A/F/ G:|
|:(3d/e/f/|{a}g/f/g/a/ b/g/d/B/|{d}c/B/c/d/
e/d/e/f/|{a}g/f/g/a/ b/c’/a/g/|f/d/e/f/ g/f/g/a/|
b/a/g/b/ a/g/f/a/|{a}g/f/g/e/
d/B/G/B/|d/g/f/g/ e/c/A/F/|GGG:|
ACADEMY JIG, THE. Scottish (?), Country Dance Tune (6/8 time). G
Major. Standard tuning. AABB. Composed by J. Rule, according to Kerr’s.
Although the title probably refers to a dancing academy, an ‘academy’ was also
early 19th century slang for a brothel [Grose, 1811 Dictionary of the Vulgar Tongue]. Kerr (Merry Melodies), vol. 1; No. 28, pg. 30.
X:1
T:Academy Jig, The
M:6/8
L:1/8
R:Country Dance Tune
B:Kerr – Merry Melodies, vol. 1, pg. 30
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
E|D2G GAB|c2A d2c|B2g dcB|A2E
GFE|D2G GAB|
c2A d2c|Bgf edc|B2G G2::B|d2B
gfe|d2g B2d|c2a B2g|
A2d cBc|d2B gfe|d2g B2d|c2a Adc|B2G
G2:|
ACADIAN BREAKDOWN. Canadian, Reel.
ACADIAN REEL, THE. Canadian, Reel.
ACADIAN(A) TWO-STEP. Cajun, Two‑Step.
ACCOMPLISHED MAID, THE. English, Country Dance Tune (6/8 time). G
Major. Standard tuning. AAB. First published around 1790. Barnes (English Country Dance Tunes), 1986.
ACCURSED KERRYMAN, THE (An Ciarraioch Mallaithe). Irish, Air (3/4 time). G Major.
Standard tuning. AAB. The melody appears in Bunting’s second collection of
Irish tunes (1809). Ó Canainn (1978) bemoans Joyce’s cavalier treatment of the
text of this famous song in the latter’s Ancient
Irish Music (1875) wherein he writes:
***
Of the Irish song I retain only a few fragments, which are not
worth preserving. Perhaps the reader will be better pleased if
I give instead a song of my brother’s, composed to suit the air.
***
Ó Canainn (Traditional Slow Airs of
ACE AND DEUCE OF
PIPERING [1], THE (“Aon's Do Na
Piobaireacda” or “A hAon sa dó na píobaireachta”). Irish, Set or Long Dance (cut time).
G Major/Mixolydian. Standard tuning. AB (Joyce): AABB (Mulvihill, O’Neill). The
title means the highest quality of performance on the Uillean pipes, and the
tune was considered “the perfection of music when well played on the bag-pipes,
and its correct performance was believed to be a sufficient test of the
instrumental skill of a piper” {Joyce). Joyce (1873) specifies hornpipe time
for the melody. Source for notated version: noted in 1853 from the whistling of
John Dolan, Glenosheen,
X:1
T:Ace and Deuce of Pipering, The [1]
M:C|
L:1/8
R:Set Dance
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:G
dc|B2 cA BGcA|BdcA B2 AG|d2 ec d2
ec|dfec dcBA|e2 fd edcA|
Adde dcBA|BgcA B2 AG|FGAB cBcA|G2 ge
fdcA|FGAB {d}cAFG|
AG{A}GF G2 FG|AG{A}GF G2:|
|:GF|G2 =f2 e2f2|G2 =fg fdcA|G2
g2f2g2|d2 ga gfdc|
A2=f2e2f2|d^cde fefg|agfa gfdc|BgcA
B2 AG|G2 ge fdcA|
FGAB {d}cAFG|AG{A}GF G2 FG|AG{A}GF
G2:|
ACE AND DEUCE OF
PIPERING [2], THE. Irish, Long Dance (cut time). A
Major. Standard. AA'BB'CC'. Source for notated version: Hartnett [O’Neill].
O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1782, pg. 333.
X:1
T:Ace and Deuce of Pipering, The [2]
M:C|
L:1/8
R:Set Dance
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:A
c>B | B>AA>G A2 A>A |
B>AA>G A2 A>B | (3cBA d>B (3cBA d>B | (3cBA d>B c2 (3Bcd |
e>ef>d e>ef>d |
e>gf>d edBf | ~(g2 g)e ~(f2
f>)d | e2 f>d e>dB>d | c>Ad>B c2 B>A | G>AB>c d2
c>B | A2a2 g>ed>B |1
G>AB>c d2 :|2 A2 AA A2 |:
c>B | B>AA>G A2 A>A | B>AA>G A2 A>c | B2g2f2g2 | B2 g>a
g>fe>d |
e2a2 (a/b/a/g/) a>g | e2 a>b a>ge>d | B2g2f2 g>f |
e>ag>b a2 a>b | c’>ab>g a2 e>d | c>Ad>B c2 B>A |
G>AB>c d>cd>B | A2
a>f g>ed>B |1 G>AB>c d2 :|2 A2 A>A A2 |: c>B |
B>AA>G A2 A>A |
B>AA>G A2 A>c | B2g2
f>ed>B | (3cBA d>B c2 (3Bcd | e2f2 e>dB>d | (3cBA d>B c2
B>A |
g2 g>e f>ed>f |
e>gf>d e>dB>d | (3cBA d>B c2 B>A | G>AB>c d>cd>B
| A2 a>f g>ed>B |1 G>AB>c d2 :|2 A2 A>A A2 ||
ACE OF DIAMONDS. American, Contra Dance Tune (4/4 time). F Major. Standard tuning.
AABBC. Laufman seems indicates the dance, and presumably the tune, are from
ACE OF SPADES. AKA and see "Billy Wilson [1]." American,
Schottische. A Major. Standard tuning. AABB. Although perhaps not the meaning
of the title, an ‘ace of spades’ referred to a widow in early 19th
century slang [Grose, 1811 Dictionary of
the Vulgar Tongue]. Silberberg (93
Fiddle Tunes I Didn’t Learn at Tractor Tavern), 2004; pg. 1.
ACHARNAC. AKA and see "Lady Mary
Menzies." The melody appears in Angus
Cumming's collection (pg. 2).
ACHIL AIR (Fonn Aicle). Irish, Slow Air (3/4 time). D Mixolydian
(O'Neill): B Flat Minor {?} (O'Sullivan/Bunting). Standard tuning.
X:1
T:Achil Air (Fonn Aicle)
M:3/4
L:1/8
R:Slow Air
S:O’Neill – Music of Ireland (1903), No. 274
Z:AK/Fiddler’s Companion
K:D
Add|d3 ded|c3 ccB|A3 GAB|c3 Add|d3
ded|c3 ccB|A3 G E>D|(D2 D)||
AAA|A4 ABA|d3 AAA|B3 ABc|d3 ddd|=f3
ffe|ed dcBG|A3 G E>D|(D2 D2)||
ACHNACARY CASTLE. American, Slow Air (6/8 time). C Major. Standard tuning. AABB&Coda.
Composed in Cape Breton Scottish style by piper Heather Cameron, originally
from Maryland but now a student at Acadia University in Wolfville, Nova Scotia.
Cook (Night in the Kitchen Collection),
1986; pg. 28.
ACHONRY LASSES (Gearrchailiú Achadh Conaire). Irish, Reel. G Major. Standard
tuning. AB. Source for notated version: fiddler Sonny McDonagh, 1966
(Bunanadden, Co. Sligo, Ireland) [Breathnach]. Breathnach (CRE II), 1976; No. 158, pg. 84. Tacar
Port, i.
ACHORACHAN. Scottish, Strathspey. F Major. Standard tuning. AAB. Composed by William Marshall (1748-1833). Moyra Cowie (The Life and Times of William Marshall,
1999) finds that Achorachan is the name of a farm situated on a steep slope
with views to the River Livet and the Glen Livet distillery. In Marshall’s time
the farm was occupied by a friend, William Grant, a tenant farmer. Incidently,
Achorachan was also the site of an illicit whisky still, says Cowie, one of
many in the area and an important economic factor in the sustenance of the
small farms of the time. Marshall, Fiddlecase
Edition, 1978; 1822 Collection, pg. 53.
X:1
T:Achorachan
L:1/8
M:C
S:Marshall – 1822 Collection
Z:AK/Fiddler’s Companion
K:F
f|c>BA>G FCC(D/E/)|FF B/A/G/F/
dGGf|c>BA>G FCC(D/E/)|FFFd c2 A:|
c|fffa cAAc|dB B/A/G/F/
EGGe|f/e/f/g/ fa cAAc|dcAc f2 (fc)|fcfa cAAc|
dB c/A/G/F/ E(GG)A/B/|cABG
FCA,C|FFFd c2A||
A COLD FROSTY MORNING. See "Cold Frosty Morning."
ACORN HILL (BREAKDOWN). Old‑Time, Bluegrass; Breakdown. D Major. Standard tuning. AB.
Composed by fiddler Tommy Jackson, named for the town his wife's family came
from. The tune appears to be a variant of "Soppin' the Gravy [1]." Source
for notated version: Cathy Cisco [Silberberg]. Silberberg (Tunes I Learned
at Tractor Tavern), 2002; pg.1. Bee Balm 302, “The
Corndrinkers.”
ACORN STOMP. Old‑Time, Country Ragtime. F Major. Standard tuning. ABCD (Silberberg):
ABBCCDD (Phillips). This two-tune medley has been attributed to East Texas
Serenaders' fiddler Huggins Williams in the early 20th century,
recorded in Dallas, Texas, on October 25th, 1928. However, variants
of the 2nd melody were earlier printed as “Essence of Sugar Cane” in Ryan’s Mammoth Collection (1883), and
also as “Darky’s Dream.” See
also the Irish barndance derivative “Offally
Favorite.” Phillips (Traditional
American Fiddle Music), vol. 2, 1995; pg. 13. Silberberg (Tunes I
Learned at Tractor Tavern), 2002, pg. 2. County
410, "The East Texas Serenaders, 1927‑1936" (1977). DOCD 8031,
The East Texas Serenaders. Marimac 9008, The Lazy Aces String Band ‑
"Still Lazy After All These Years" (1986). Run of the Mill String
Band - "Along the Way."
ACROBAT, THE. See "Acrobat's
Hornpipe [1]."
ACROBAT'S HORNPIPE [1]. AKA ‑ "Acrobat's Clog," "The Nightingale." American, Irish; Hornpipe. B Flat Major ('A' part) & F Major ('B' part). Standard tuning. AABB (Cole, McNulty, Mulvihill): AA’BB (Cranford). This tune was called "The Nightengale" until P.T. Barnum began using an adapted version as a theme for his circus acrobats. The attribution "As performed by G.L.Tracy" appears in Ryan’s/Cole’s. George Lowell Tracy (1855-1921) was a young man who later composed light opera and composition books, according to musicologist Charles Wolfe. Evidently Tracy arranged music as well, for one publication from the 1880’s indicates a Sir Arthur Sullivan (of Gilbert and Sullivan fame) work was arranged by him. "Can be used as a Clog" (Cole). Perhaps the earliest recording is from 1905 by violinist Charles D’Alamaine, born in 1871 in England, who died in 1943. D’Alamaine immigrated to the United States in 1888, and by 1890 had established himself as “instructor on violin” in Evanston, Illinois; by 1910 he had removed to Yonkers, and in 1920 was a chiropractor in New York City (info. from Paul Gifford). Source for notated version: Winston Fitzgerald (Cape Breton) [Cranford]. Cole (1000 Fiddle Tunes), 1940; pg. 97. Cranford (Winston Fitzgerald), 1997; pg. 4. McNulty (Dance Music of Ireland), 1965; pg. 23. Mulvihill (1st Collection), 1986; No. 35, pg. 99 (appears as “The Acrobat”). Ryan’s Mammoth Collection, 1883; pg. 133.
X:1
T:The Acrobat [1]
R:Hornpipe
M:4/4
L:1/8
K:Bb
F>E|D>FB>c d>Bg>f|(3ecA (3ecA a2a>g|f>=e_e>c A>ag>f|=e>fg>f d>BF>E|
D>FB>c d>Bg>f|(3ecA (3ecA a2a>g|f>=e_e>c A>ag>A|B2b2B2:|
c>B|A>cd>c a>f=e>f|d>Bd>g b>g^f>g|=e>c=B>c ^c>d=ef|(3gf=e (3f=ed c2c>B|
A>cd>c a>f=e>f|d>Bd>g b>g^f>g|=e>c=B>c ^c>d=ef|f2a2f2:|
ACROBAT'S HORNPIPE [2]. Scottish, Hornpipe. A Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 350, pg. 38.
X:1
T:Acrobat’s Hornpipe [3]
M:C
L:1/8
R:Hornpipe
B:Kerr – Merry Melodies, vol. 3, No. 350 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
e2|a2 ed (cB)Ac|(BA)GB A2 AF|EFGA BcdB|cBAc B2e2|a2 ed (cB)Ac|
(BA)GB A2 AF|EFGA BcdB|cABG A2::(ef)|e(cAc) ecfc|e(cAc) ecac|
e(cAc) ecfc|EFGA Bcd^d|e(cAc) ecfc|e(cAc) ecac|agfe dcBA|GABc d2:|
ACROBAT'S REEL. AKA and see “Baker’s Reel,” "Spit-Fire Reel," “The Whistler and His Dog.” This title was recorded for His Master's Voice in the 1930's by the Canadian group George Wade and his Cornhuskers.
ACROSS THE BRIDGE TO
CONNAUGHT. Irish, Jig and Air. C Major.
Standard tuning. AAB. Joyce (Old Irish
Folk Music and Song), 1909; No. 203, pgs. 100‑101.
X:1
T:Across the Bridge to
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:C
g/f/|ecc dcA|Gcc dcA|Gcc cBc|def
agf|ecc dcA|Gcc dcA|Gee dcB|c3 c3:|
|:cd|edc edc|Bgf g2f|edc cBc|Bcd G2
c/d/|edc edc|Bgf g2f|edc dcB|c3 [c2c’2]:|
ACROSS THE DIVIDE. AKA and see “Eileen ní Riordan.”
ACROSS THE FENCE. AKA - “Cross the Fence,” “Reilly’s (Hornpipe).” Irish,
Hornpipe. G Major. Standard tuning. AABBCC (Mulvihill): AABBCC’ (Cranitch).
Composed by Brendan McGlinchy. The tune is in Bulmer & Sharpley as
“Reilly’s Hornpipe.” Source for notated version: Brendan Mulvihill (Baltimore,
Md.) [Mulvihill]. Cranitch (Irish Fiddle
Book), 1996; No. 91, pg. 162. Mulvihill (1st Collection), 1986; No. 45, pg. 102. Mulligan LUN 033, Dolores Keane, with Eamonn Currann and
Kieran Crehan - "Broken Hearted I'll Wander" (1979).
ACROSS THE PLAINS. AKA and see “Old Red Rooster.”
Old-Time, Breakdown. USA, Kentucky. G Major. Standard tuning. ABB’. Source
Phelps played the tune at a moderate tempo, slower that dance timing. Jeff
Titon (2001) notes that Phelps learned his repertoire from other Todd County
fiddlers, including Will Stegall (born c. 1869), a fiddler who had much of his own
repertoire from the Purchase section of western Kentucky. According to Bruce
Greene, the title “Across the Plains” was more common among fiddlers in the
western part of Kentucky, while the alternate title “Old Red Rooster” was more
common in the south-central part of the state. Greene notes the similarity of
the tune with the better known “Fort
Smith [1].” See also related melodies “Grey Cat on a Tennessee Farm”
and “Big-Footed
Man in the Sandy Lot.” Source for notated version: field recorded in 1974 by
Bruce Greene from the playing of W.L. “Jake” Phelps (Elkton, Todd County, Ky.)
[Titon]. Titon (Old-Time Kentucky Fiddle
Tunes), 2001; No. 1, pg. 32. BG-CD1, Bruce Greene.
ACROSS THE RIVER. Old‑Time, Quadrille (6/8 time). C Major. Standard tuning. AABB.
Bayard (1944) prints a tune (#26) collected around Dunbar, Western Pa., which
is similar to the 'A' part. Bayard's (1981) No. 512, pg. 464, untitled tune
also resembles "Across the River" in Ford. Ford (Traditional Music in America), 1940; pg. 49.
ACROSS THE SEA. AKA ‑ "Goin'
Across the Sea." Old‑Time; Breakdown. USA; Oklahoma, Cumberland
Plateau (Ky./Tenn border region). D Major. ADae tuning. One part. The tune was
also recorded by Lusk, Gribble and York. Source for notated version: Billy
Evans (Kiowa County, Okla.) [Thede]. Thede (The
Fiddle Book), 1967; pg. 106. County 787, Clarence
Ferrill Band ‑ "Five Miles Out of Town: Traditional Music From the
Cumberland Plateau."
ACTIVE OLD MAN, THE. Irish, Double Jig. G Major. Standard tuning.
One part. O'Neill (Krassen), 1976; pg. 37. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 882, pg. 164.
X:1
T:Active Old Man, The
M:6/8
L:1/8
R:Jig
B:O'Neill – Music of Ireland (1903), No. 882
Z:AK/Fiddler’s Companion
K:G
(G~GG) GBG|(G~GG) AFD|(G~GG)
(G~GG)|GcA {B}AFA|(G~GG) GBG|
(G~GG) AFD|G2g {a}gfe|dcB AFA|G2d
{e}dAc|BGB AFA|G2d {e}dAc|
(B~BB) AFD|G2d dAc|BGB AFA|G2g
{a}gfe|dcB AFA|G2g {a}gdc|BGB AFA|
G2g {a}gdc|(B~BB) AFD|G2g {a}gdc|BGB
AFA|G2g {a}gfe|dcB AFA|def gdf|
dfg (G~GG)|efg {a}gd=f|efg| A2g|geg
=fd=f|ece dBd|dcB gfe|dcB AFA||
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