The Fiddler’s Companion

© 1996-2009 Andrew Kuntz

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ADAM - AH

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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]

 

 

 

ADAM BUCKHAN, O!  English, Air (4/4 time). England, Northumberland. D Major. Standard tuning. AB. Bruce and Stokoe print lyrics, beginning:

***

Its doon the Lang Stairs, And strite alang the Close,

All in Baker's Entry, Adam Buckham knows.

O Adam Buckham, O, O Adam Buckham, O;

O Adam Buckham, O, Wiv his bow legs.

***

Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 124.

X:1

T:Adam Buckhan O!

M:C

L:1/8

R:Air

S: Bruce & Stokoe – Northumbrian Minstrelsy (1882)

Z:AK/Fiddler’s Companion

K:D

G|FA (Ac) (dA) (AF)|GB Bc d3z|ce ef (ge) (ed)|cA Bc d3||

Z|{d/e/}f2 ed cA (Ac)|{B/c/}d2 cB AF (FA)|{G/A/}B2 AG FA (dA)| Bg (ec) d2||

 

ADAM FERGUSON’S REEL. AKA and see “Lads of Laois,” “Lads of Leith,” “Sic a Wife as I hae Gotten,” “Sir Adam Ferguson.” The tune appears under this title in John Riddell’s 1766 collection. See note for “Sir Adam Ferguson.”

                       

ADAM’S FAVORITE. American, Reel. USA, New England. B Flat Major (‘A’ part) & E Flat Major (‘B’, ‘C’ & ‘D’ parts). Standard tuning. ABBCCDD. The melody was used for the dance “Plain Quadrille,” notes Linscott (1939). Source for notated version: from the manuscript of Elizabeth Foster Reed, probably of New England origin [Linscott]. Linscott (Folk Songs of Old New England), 1939; pgs. 106-107.

 

ADAM’S HORNPIPE.  English, Hornpipe. F Major. Standard tuning. AABB. Goulding (Twenty Four Country Dances for the Year 1808), 1808; No. 12.

X:1

T:Adam’s Hornpipe

M:C

L:1/8

R:Hornpipe

B:Goulding & Co. – Twenty Four Country Dances for the Year 1808 (London)

N:”With proper Tune & Directions to each Dance (as they may be

N:performed at Court, Bath, and all Public Assemblys.”

Z:Transcribed and edited by Flynn Titford-Mock

Z:abcs’s:AK/Fiddler’s Companion

K:F

cefa gedc|defd dAGF|BcdB ABcA|dcBA A2G2|cefa gedc|defd dcBA|

BcdB cagf|gece f2F2::afcA cfaf|gecA FAcf|defd cefc|

cBAG A2G2|afcA cfaf|gecA FAcf|dbca BgAf|cBAG A2F2:||

 

ADELE BLANC-SEC. French, Scottish (2/4 time). F Major. Standard tuning. AA'BB'. Composed by Frederic Paris. Stevens (Massif Central), 1987; No. 4.

                       

ADELINE. Old-Time, Breakdown. USA, Kentucky. A Mixolydian. Standard tuning. AB. From the repertoire of Luther Strong, a fiddler from southeastern Kentucky, from the Harlen/Hayden region.

X:1

T:Adeline

M:C|

L:1/8

S:Bruce Molsky, based on Luther Strong’s version

Z:AK/Fiddler’s Companion

K:A Mix

[e4e4] [e4e4] | efec e3f | edcA BABc | dcBA [G,G]ABc |

d2 ef gefg | e2c2 dcBA | E2 EF GABG | [A6A6] [A2B2] ||

M:6/4

L:1/8

[Ac][AA][AB][Ac] [A3A3][A3A3][AB] |

M:C|

L:1/8

[Ac][AA][AB][Ac] [A2A2] [A2e2] | A,G,A,B, =CDEE | G2 E4 EG |

A2 A2 A,2 A2 | ^CDEC A,3A, | [C3E3] A, G,A,B,G, | A,3 A,B, (A, G,3) |

[A4A4] A,4 | ^C4 A,3 G,| A,G,A,B, =CDEE | G2 E4 EG | A2A2A,2A2 |

^CDEC A,2 A,2 | [C3E3] A,2 G,A,B,G, | A,2 A,B, A,4 ||

                       

ADELINE WALTZ. Old‑Time, Waltz. E Flat Major. Standard tuning. AB. The melody was composed by Clef Hamman, guitarist for the East Texas Serenaders of the late 1920's/early 1930's. Although originally played in the key of E Flat, most modern versions are in D Major. Silberberg (93 Fiddle Tunes I Didn’t Learn at Tractor Tavern), 2004; pg. 1. County 410, "The East Texas Serenaders, 1927‑1936" (1977).

                       


ADEW DUNDEE. See "Adieu Dundee."

           

ADIEU, THE.  English, Country Dance Tune (cut time). B Flat Major. Standard tuning. ABCD. The melody appears in Charles and Samuel Thompson’s Compleat Collection of 200 Country Dances, vol. 4 (London, 1780). Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 2.

           

ADIEU,  ADIEU THOU FAITHLESS WORLD. AKA and see “The Hermit of Killarney.”  Irish, Air (4/4 time).  A Major. Standard tuning. AABB. O’Farrell (Pocket Companion, Vol. 1), c. 1805; pg. 25. Jerry O’Sullivan – “O’Sullivan Meets O’Farrell” (2005).

X:1

T:Adieu, Adieu Thou Faithless World

M:C

L:1/8

R:Air

S:O’Farrell – Pocket Companion (c. 1805)

Z:AK/Fiddler’s Companion

K:A

cB | (A>B)AF (E>F)(AB) | c>ecA B2 (e/d/c/B/) | (A>B)AF (E>F)(AB) |

ce”tr”B>c A2 :: A | Acee (f>e)ce | f>e (d/c/B/A/) B2 (e/d/c/B/) | A>BAF (E>F)(AB) |

ce (B/A/B/c/) A3 :|

                       


ADIEU DUNDEE. AKA – “Adew Dundee.” AKA and see "Bonnie Dundee/Bonney Dundee," “The Hearty Boys of Ballymote,” “Laccaroo Boys,” “Mary of Castlecary,” "Saw Ye My Wee Thing," "The Laccarue Boys" (Ire.). Scottish, March. E Minor. Standard tuning. AABB. A march tune appearing in the fifth part of the Skene MS (a lute MS), c. 1615‑1620 (appears as "Adew Dundee"), the Appendix of Playford's Dancing Master of 1688, and O'Neill's Dance Music of Ireland. The title comes from a ballad called "Jockey's Escape from Dundee," which ends, "Adieu to bonny Dundee." Gatherer (Gatherer’s Musical Museum), 1987; pg. 22. Flying Fish, Robin Williamson ‑ "Legacy of the Scottish Harpers, vol. 2."

 

ADIEU MY LOVELY PEGGY. Irish, Air (2/4 time). E Flat Major. Standard tuning. AB. Stanford/Petrie (Complete Collection), 1905; No. 430, pg. 108.

X:1

T:Adieu My Lovely Peggy

M:2/4

L:1/8

S:Stanford/Petrie (1905), No. 430

Z:AK/Fiddler’s Companion

K:E_

E | E>G Bc | ee eG | AG/F/ EG | B>G FG | B/G/ F/E/ EG/B/ | e>d {d}c>B |

G>E F>E | E2 || Bc/d/ ee fe | dc B>c | GF EG | BG F>G | B/G/ F/E/ EG/B/ |

e>d {d}c>B | GE F>E | E3 ||

 

ADIEU ROZA. Cajun. A tune developed into "Les Flammes d'Enfer."  An influential version of “Adieu Roza” was recorded by Dennis McGee.

 

ADIEU TO O'REILLY. Irish, Air (3/4 time). C Mixolydian. Standard tuning. AABB. Joyce (Old Irish Folk Music and Songs), 1909; No. 257, pg. 124.

X:1

T:Adieu to O’Reilly

M:3/4

L:1/8

R:Air

N:”Tenderly”

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

Z:AK/Fiddler’s Companion

K:C Mixolydian

CD|EFG>edc|BAG>ECD|EFG>EFD|CC C2:|

|:EF|G c e2 dc|dcc>B G2|Gc e>dcB|GA/=B/ c>d|e>dc>BGE|

FAG>EC>D|EFG>EFD|CC C2:|

 

ADIEU YE YOUNG MEN OF CLAUDY GREEN. Irish, Air (3/4 time). Ireland, Derry. A Major. Standard tuning. AB. “Set in the County of Derry, 1834.” Stanford/Petrie (Complete Collection), 1905; No. 757, pg. 189.

X:1

T:Adieu ye young men of Claudy green

M:3/4

L:1/8

R:Air

N:”Set in the County of Derry, 1834.”

S:Stanford/Petrie (1905), No. 757

Z:AK/Fiddler’s Companion

K:A

A/4B/4c/4d/4 e/f/g/f/ | e>d cd e/d/c/B/ | c>A GE G/A/B/c/ | d>c Bc/B/ AA |

A3 c/d/ e/f/g/f/ | e>d cd e/d/c/B/ | c>A GE G/A/B/c/ | ed/c/ Bc/>B/ AA | A3 :|

c/d/ eg | a>f ge fg | e2 dc/d/ eg | a>f g/f/e/d/ cA | B3 A/4B/4c/4d/4 e/f/g/f/ |

e>d cd e/d/c/B/ | cA GE G/A/B/c/ | d>c Bc/>B/ AA | A3 ||

 

ADMIRAL, THE. American? Hornpipe. C Major. Standard tuning. AABB. Not "Admiral's Hornpipe" in Ryan’s Mammoth/Cole's 1000. Harding’s All-Round Collection, 1905; No. 89, pg. 28.

X:1

T:Admiral, The

M:C

L:1/8

R:Hornpipe

S:Harding’s All-Round Collection (1905), No. 89

Z:AK/Fiddler’s Companion

K:C

G2|c2 ec d2 fd|e2 ge c2e2|f2 af e2 ge|dedc cBAG|c2ec d2 fd|

e2 ge f2 af|gedc G2B2|c2e2c2::c2|cBcA Ggfe|fefg agfe|

fd2f ec2e|d2 ec cBAG|c2 ec d2 fd|efge f2 ag|gedc G2B2|c2e2c2:|

                       

ADMIRAL BENBOW. English, Air (3/4 time). G Major. Standard tuning. AB. Walker (History of Music in England, 1924) dates the tune to about 1700. He points out that the melody is also known as a religious carol {“The Land o’ the Leal” (Church of England, English Hymnal, 1906), which is simply “Scots wha hae” sung slowly.} Admiral Benbow was an English admiral who defeated a fleet of French warships in West Indian waters at the turn of the 16th century, the only thing marring the victory was the fact that four of this men‑of‑war refused to join the fight, instead standing-too to watch. The commanders of those ships did not fare well; two were executed, one imprisoned for life, and the last died before punishment could be meted out. The "Admiral Benbow" is the name of the inn in which we first meet Long John Silver in Robert Louis Stevenson's novel Treasure Island. See also note for the air "Benbow, the Brother Tar." Chappell collected the ballad from Dale's collection, i. 68. Chappell (Popular Music of the Olden Times), vol. 2, 1859; pg. 92.

X:1

T:Admiral Benbow

L:1/8

M:3/4

K:G

G>D|G2B2d2|d>c B2 G>A|B2 cB A>G|G4:|

F>G|A2E2 A>G|F>E D2 GD|G2 GABG|c4 BA|

G2B2d2|d>c B2 GA|B2 cB A>G|G4||

           

ADMIRAL GAMBIER’S WALTZ. English, Waltz. F Major. Standard tuning. AABB. Admiral Lord James Gambier (1756-1833), 1st Baron Gambier, was a career Royal Navy officer, first attaining his Captain’s rank during the American Revolution. During the wars with Napoleon, Gambier served in the Channel Fleet, as Governor of Newfoundland, Lord of the Admiralty, and in various actions including the 2nd Battle of Copenhagen and the Battle of Basque Roads. In the latter action Gambier (who had command of the Channel Fleet) refused to commit his force to shelling the French fleet which had been driven aground by Lord Cochrane. The latter was furious and made such a fuss that Gambier demanded a court martial to clear his name. At the time of Goulding’s publication Gambier had just been awarded the thanks of Parliament and a peerage, becoming Baron Gambier of Iver. Goulding (Twenty Four Country Dances for the Year 1808), 1808; No. 11.

X:1

T:Admiral Gambier’s Waltz

M:3/8

L:1/8

R:Waltz

B:Goulding & Co. – Twenty Four Country Dances for the Year 1808 (London)

N:”With proper Tune & Directions to each Dance (as they may be

N:performed at Court, Bath, and all Public Assemblys.”

Z:Transcribed and edited by Flynn Titford-Mock

Z:abcs’s:AK/Fiddler’s Companion

K:F

C|{G}F/E/F/A/G/E/|{G}F/E/F/G/A/B/|c/d/c/B/A/G/|{G}F/E/F/A/G/E/|{G}F/E/F/A/G/E/|F/A/c/f/G/E/|F2:|

|:[F/A/][G/B/]|[Ac][Ac][Ac]|[d2f2] e/d/|c/d/c/d/c/A/|[C2G2\ [F/A/][G/B/]|[Ac][Ac][Ac]|[d2f2] e/d/|c/d/c/B/A/G/|F2 :||

           

ADMIRAL NELSON. AKA and see “Miss Baker’s (Hornpipe).” Scottish, Reel. F Major. Standard tuning. AB. Attributed to Dunkeld, Perthshire, fiddler-composer Niel Gow (1727-1807) by Hunter.

Hunter (Fiddle Music of Scotland), 1988; No. 335.

                       

ADMIRAL RODNEY'S DELIGHT. English, Jig. G Major. Standard tuning. AA'BBCC. Admiral Rodney won a spectacular victory (the Battle of the Saints) against a French fleet under Admiral Comte De Grasse in the West Indies in the year 1782.

***

Admiral Lord Rodney

***

See note for “Rodney’s Glory [1]” for more information. The tune was included by Northumbrian musician William Vickers in his large manuscript collection of 1770, although it originally appeared in London publisher Charles and Samuel Thompson’s 1765 collection. Seattle (William Vickers), 1987, Part 3; No. 508. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 62.

X:1

T:Admiral Rodney’s delight

M:6/8

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:G

gdB ecA|dBG AFD|gdB ecA|1 efg cBG:|2 BdF G3||

|:def gbg|faf e^cA|def gbg|fa^c d2g:|

|:d2e dBG|F2G AFD|d2g dBG|cAF G2g:||

                       

ADMIRAL'S HORNPIPE. American, Hornpipe. G Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 101. Ryan’s Mammoth Collection, 1883; pg. 136.

X:1

T:Admirals’ Hornpipe

M:C|

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

d2 | gdBd gdbg | afdf afc’a | bgfg bgd’b | agfe defd | gdBd gdbg | afdf afc’a |

bgd’b afc’a | b2g2g2 :: (Bc) | dgfe dgfe | dcBc d2 (Bc) | dfeg fagb |

c’ad’b a2 (Bc) | dgfe dgfe | dcBc d2 (bc’) | d’bd’b c’agf | g2g2g2 :|

                       


ADRIAN'S HORNPIPE.  Old‑Time, Hornpipe or Breakdown. USA; Missouri, Nebraska. G Major. Standard tuning. AABB. The original name having been forgotten, the melody was called by Nebraska fiddler Uncle Bob Walters for his source for it, Fred Adrain (not ‘Adrian’, as is sometimes miss-heard). It was popularized through the playing of Walters and Missouri fiddler Cyril Stinnett. R.P. Christeson noted it from the playing of the former in November, 1949, and did not hear it again until 1968, when he heard a fiddler on a live TV program in Missouri play it. Source for notated version: Bob Walters (Burt County, Nebraska) [Christeson, Phillips]. Christeson (Old Time Fiddler’s Repertory, vol. 1), 1973, vol. 1.; No. 121, pg. 87. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 178. Marimac 9017, Vesta Johnson (Mo.) ‑ "Down Home Rag." Rounder 0529, Dwight Lamb – “Hell Agin the Barn Door” (2005).

X:1

T:Adrian’s Hornpipe

M:2/4

L:1/8

R:Breakdown

S:Christeson – Old Time Fiddler’s Repertory, vol. 1, No. 121 (1973)

Z:AK/Fiddler’s Companion

K:G

e/f/|gb/a/ ga/g/|e/f/g/e/ d/B/G/B/|A/B/c/d/ e/f/g/f/|e<ab/ a/g/e/f/|

gb/a/ ga/g/|e/f/g/e/ d/B/G/B/|A/B/c/d/ e/f/g/e/|d/B/A/F/ G:|

|:B/A,/|G,/A,/B,/A,/ B,/C/B,/G,/|CC/B,/ C/B,/A,|D>D D/E/F/G/|A/c/B/A/ G/E/D/B,/|

G,/A,/B,/A,/ B,/C/B,/G,/|CC/B,/ C/B,/A,|D>D D/E/F/G/|A/c/B/A/ G:|

                       

ADSON'S SARABAND, NEW. AKA ‑ "New, New Exchange," "Royal Exchange." English, Country Dance (2/2 time). A Minor. Standard tuning. AABB. Published before 1730. Raven (English Country Dance Tunes), 1984; pg. 13.

                       

ADSON'S SARABAND (Old). AKA and see "The New New Exchange." English, Country Dance (2/2 time). F Major. Standard tuning. AABB. Published by Playford in his English Dancing Master (1651) as a dance tune, "longways for six." The melody is quite old and was considered part of the traditional repertoire in John Playford's day (Pulver, 1923). Barnes (English Country Dance Tunes), 1986. Raven (English Country Dance Tunes), 1984; pg. 39. Sharp (Country Dance Tunes), 1909/1994; pg. 31.

X:1

T:Adson's Saraband

M:4/4

L:1/8

Q:160 

K:F

agfe f2 c2| defg e2 ag | fe d2 d3 c| d6 A2| d2 e2 f3 f| g2 a2 b3 b| ag f 2 e3 d| d6:|

|: c2 de f3 A |Bc d2 c3 c| de f2 e3 f| g6 a2 | b2 a2 g3 f| e3 d c3 c| de f2 e3 f f6:|

                       

ADVENT.  English, Air or March. D Major. Standard tuning. AA’BB’. A hymn by English composer John Callcott, employed by Miller as a march. Miller (Fiddler’s Throne), 2004; No. 326, pg. 193.

                       

ADVENTURE AT MARGATE, AN.  English, Jig. C Major. Standard tuning. AABB. The melody appears in T. Skillern’s Compleat Collection of Two Hundred & Four Reels…Country Dances (London, 1780). The title perhaps comes from the play Summer Amusement, or an Adventure at Margate written by Miles Peter Andrews (1742-1814) in conjunction with William Augustus Miles, performed in 1779 in the Haymarket. Andrews was a playwright, gunpowder manufacturer and a Member of Parliament (1796-1814) from Bewdley. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 2. Brass Monkey – “Sound and Rumour” (1999).

X:1

T:Adventure at Margate, An

M:6/8

L:1/8

R:Jig

S:Skillern – Compleat Collection of Two Hundred & Four Reels…(London, 1780)

K:C

gec gec|a2g g3|gec gec|f2e e3|gec gec|afc afc|efg gfe|c3 c3:|

|:def fed|gec gec|def fed|gec ceg|afa afa|geg geg|agf efd|ccc c3:|

 


ADVICE, THE. Irish, Air (2/4 time). G Mixolydian (O’Neill): F Mixolydian (Stanford/Petrie). Standard tuning. AB. 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 (Music of Ireland: 1850 Melodies), 1903/1979; No. 519, pg. 91. Stanford/Petrie (Complete Collection), 1905; no. 764, pg. 191.

X:1

T:Advice, The

M:2/4

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 519

Z:AK/Fiddler’s Companion

K:G

DGG A/B/ | DE=F G/>F/ | DGG A/B/ | Bc/>B/ AG | DGG A/B/ | DE =F2 |

DGG A/B/ | Bc/B/ {B}AG || GB/>c/ d>d | ec/>e/ d2 | GB/>c/ dB | dc/B/ BA |

GB/>c/ d=f | ec/>e/ d>B | cBA G/>B/ | dB/G/ AG ||

                       

ADVICE TO THE LADIES. English, Jig. G Major. Standard tuning. AABBCC.

X:1

T:Advice to the ladies

M:6/8

L:1/8

R:Jig

O:Bcd d2

H:via Cock and Bul

K:G

G2B AGF|G2B ABc|B3d3|ABc cBA|G2B AGF|G2B ABc|B3d3|cBA G3:|

|:B2B dBG|ABA Adc|BcB Bcd|e2d efg|B2B dBG|ABA Adc|B3d3|cBA G3:|

|:gfe dcB|ABc def|gfg efg|fdd def|g2de2c|d2B ABc|B3d3|cBA G3:|!

X:2

T:Advice to the ladies - countermelody

M:6/8

L:1/8

C:Jean-Pierre Rasle / Steve Mansfield

R:Jig

K:G

Bcd efg|d6|gfg d3|cBc A3|Bcd efg|d6|gfg d3|edc B3:|

|:BGB BGB|AFA AFA|BGB d3|cde efg|BGB BGB|AFA AFA|BGB d3|edc B3:|

|:Bcd d2g|gfe dcB|Bcd GAB|BAA ABc|d2B c2A|B2G ABc|gfg d3|edc B3:|

                       

AE FOND KISS. AKA and see "Rory Dall's Port [1]." Scottish, Air (3/4 time). G Major. Standard tuning. One part. The melody was originally "Rory Dall's Port," a triple time tune taken from Oswald (and which some say was Oswald’s own) and used by Robert Burns for his song of the above name. Rory Dall was an ancient harper, originally from Ulster, who composed and played primarily in Scotland. Emmerson (1971) notes the tune is of the character of the ancient 'ports' of the harp, a slow Gaelic air, rather than the vulgarly termed 'Scottish Waltz.' Burns composed the heartfelt words, which he set to the tune, in 1791, just after the departure of the young and beautiful Calrinda, Mrs. M'Lehose, who was journeying to Jamaica to meet her husband.  Clarinda and the poet were warm friends who had met soon after Burns' poems were first published, and the two were "obviously attracted to one another."

***

Glad we never love sae kindly

Had we never loved sae blindly

Never met‑‑or never parted

We had ne'er been broken‑hearted.

***

Burns’ words were in fact an adaptation or remolding of the poem “One Kind Kiss before we Part” by Robert Dodsley, and English butler who had risen to be a poet, playwright and major literary publisher, and whose lines were set to music by James Oswald (1710-1769). Neil (The Scots Fiddle), 1991; No. 175, pg. 229.

           

AEDHEAR CHARRAIC MHIC CHROISE. AKA and see "Carrickmacross Air."

           

AELION NA RUAEN. AKA and see "Aileen Aroon," "Eileen Aroon." Irish, Air. This famous Irish melody was recorded (with this spelling) by the Belfast Northern Star of July 15th, 1792, as played by one of ten Irish harp masters at the last great convocation of ancient Irish harpers, the Belfast Harp Festival, held that week (Flood, 1906).

           

AELTESTER GALOPP. German, Dance Tune. AKA and see "Ben Walker's Walk‑Around."

           

AER NA MAIDNE. Irish, Air. G Minor. Standard tuning. AB. Roche Collection, 1982; vol. III, pg. 18.

           

AERIDEACT NA bPIOBAIRI. AKA and see "The Pipers' Picnic."

           

AFFAIRE DE PERRODIN, L'. Cajun, Reel. USA. D Major. Standard tuning. AABB. Greenblatt (The Cajun Fiddle Book), 1985; pg. 11.

           

AFTER THE BALL. AKA and see "After the Ball is Over."

           


AFTER THE BALL IS OVER. AKA and see "Life On the Ocean Wave," "Over the Ocean Waves." American; Air, Waltz or Quadrille. USA; Pa., Arizona. C Major (Kartchner): G Major (Bayard). Standard tuning. ABB. Played by Arizona fiddler Kenner C. Kartchner, who said "I remember this back to 1892. Guess it is much older." In fact, the song was not at all older, having been copyrighted in November, 1892, the composition of Poughkeepsie, New York, born composer, banjo player and lyricist Charles K. Harris (popularized on the variety stage by J. Aldrich Libby). Music researcher James J. Fuld (The Book of World Famous Music, 1971) says that numerous parodies were written to this sentimental favorite, reducing it to nonsense. Source for notated version: McCullough (Pa.), 1959 [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 637B, pg. 561. Ruth (Pioneer Western Folk Tunes), 1948; No. 133, pg. 47.

           

AFTER THE BATTLE OF AUGHRIM. AKA and see "Battle of Aughrim."  Irish, Reel. Ireland. A Dorian (Am). Standard tuning. AABB. Brody picked up this title from the Chieftains recording. Source for notated version: the Chieftains [Brody].  Brody (Fiddler’s Fakebook), 1983; pg. 21. Kicking Mule 209, Andy Cahan ‑ "Melodic Clawhammer Banjo." Claddagh 14, Chieftains ‑ "Cheiftains 4." Bay 203, Jody Stecher‑ "Snake Baked a Hoecake."

           

AFTER THE BLIZZARD. Irish, Jig. D Major. Standard tuning. AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black after weathering the winter of 1996--a particularly harsh one on the North American east coast. Black (Music’s the Very Best Thing), 1996; No. 311, pg. 166.

X:1

T: After the Blizzard

C: © B. Black

Q: 325

R: jig

M: 6/8

L: 1/8

K: D

A | ded BAF | ADD D2 A | ded cBA | FAd B2 A |

ded cdc | Bcd ABc | dAF EDE | FDD D2 :|

A | eff dcB | Add FED | DFA def | baf e2 A |

eff dcB | Add FED | DFA BGE | FDD D2 :|

           

AFTER THE HARE. AKA and see “The Ugly Customer.” American, Reel. A Major. Standard. AABB. Nigel Gatherer notices similarities with the Scottish tune “Duchess of Athols’s Slipper.” Cole (1000 Fiddle Tunes), 1940; pg. 34. Ryan’s Mammoth Collection, 1883; pg. 60.

           

AFTER THE SUN GOES DOWN (Tareis Luide Na Greine). AKA and see “Albany Beef,” “Buckley’s Fancy,” “Buckley’s Favorite,” “From Night Till Morn,” “Lord St. Clair’s Reel.” Irish, Reel. G Major. Standard. AB (O'Neill/1001 & 1850): AA'B (O'Neill/Krassen). “Buckley’s Fancy” is a related tune. O'Neill (Krassen), 1976; pg. 145. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1471, pg. 272. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 700, pg. 124.

X:1

T:After the Sun Goes Down

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 700

Z:AK/Fiddler’s Companion

K:G

G2 BG EGBG | egfa gedB | G2 BG EGBG | AcBA GE E2 | G2 BG DGBG |

egfa gedB | (3efg (3fga gedB | AcBA GE E2 || gfeg fedB | gfga bgef | gfeg fedB |

AcBA GE E2 | gfeg fedB | gfga beeg | bgaf gedB | AcBA GE E2 ||

 

AFTON WATER. Scottish, Air (6/8 time). D Major. Standard tuning. One part. The air used today for this 1786 pastoral song of Robert Burns is not the one he originally set the song tune, but was substituted by a later editor who thought it more agreeable. The later air was composed in 1850 by Alexander Hume, of Edinburgh, a self‑taught musician "who enjoyed an excellent reputation as a chorister and composer of psalms" (Neil, 1991). Burns' original setting was to the melody "The Yellow‑Haired Laddie", and presented to Johnston, the editor of the Scots Musical Museum. Neil (1991) reports that it appears to have been part of a collection of 12 songs the poet first presented to an admirerer named Mrs. Stewart of Stair and Afton, and that the Mary named in the song was probably Mary Campbell (Highland Mary), who was courted by Burns at the time the song was written. Neil (The Scots Fiddle), 1991; Nos. 182 & 183, pg. 237 (old and newer melodies).

 

AG BOGADH LINN GO MEASÚIL. AKA and see "Moving in Decency."

 

AG CORNAD AR AN BRAIMFEAR. AKA and see "Rolling on the Ryegrass."

 

AG CORNAD SIOS AN CNOC. AKA and see "Rolling Down the Hill."


 

AG DUL AMACH AR AN LEAC OIGHIR DOM. AKA and see "As I Went Out Upon the Ice."

 

AG DUL CHUIG NA RASAI. AKA and see "Off to the Races."

 

AG FANACHT LEAT ATA ME. AKA and see "I'm Waiting for You."

           

AG IMTEACD GO DI AN SEILG. AKA and see "Off the the Hunt."

           

AG IMTEACD GO D'I DOMNAC BROC. AKA and see "Going to Donnybrook."

           

AG IONFAIRT SA TSEAGAL. AKA and see "Rolling on the Ryegrass."

           

AG LOMAIRT NA GCAORAC. AKA and see "Shearing the Sheep."

           

AG LUASCANACT FA CUAIRT. AKA and see "Swinging Around the Circle."

           

AG MEASGAD NA DIGE. AKA and see "Mixing the Punch."

           

AG RINNCE AN LEANB. AKA and see "Dancing the Baby."

 

AG ROLLADH SA BHAIRILLE.  AKA and see “Rolling in the Barrel.”

           

AG SUIRÍ LEO AR FAD. AKA and see "Courting Them All."

           

AG TEACD ON POSAD. AKA and see "Coming from the Wedding."

           

AG TEACD TREASNA NA GCNOC. AKA and see "Coming Over the Hills."

           

AG TEACHT ABHAILE ON BPORTACH. AKA and see "Coming Home From the Bog."

           

AG TRASNÁIL NA CAOILE. AKA and see “Crossing the Channel.”

           

AGGIE AND NEIL MACLENNAN. Canadian, Jig. Canada, Cape Breton. G Major. Standard tuning. AAB. Composed by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia). Cranford (Brenda Stubbert’s), 1994; No. 84, pg. 31. Brenda Stubbert - “Tamerack ‘er Down” (1985).

           

AGGIE WHYTE'S (JIG). Irish, Jig. D Major. Standard tuning. AA’BB’. The tune was unnamed, and O’Malley called it after his source. Source for notated version: a 1964 tape of fiddler Aggie Whyte [O’Malley]. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 107, pg. 54.

X: 1

T: Aggie Whyte's

M: 6/8

L: 1/8

Q: 325

S: Luke O'Malley vol 1

Z: Transcribed by Bill Black

R: jig

K: D

A, | DFA dcd | edc dAF | DFA dAF | A,CE GFE |

DFA dcd | edc d2 f | afd gec | dAF D2 :|

|: f/g/ | afd gec | dcd AFD | fdB gec | dcB A2 f/g/ |

a^ga ba=g | fdf ecA | dcd AFD | A,CE D2 :|

                       

AGGIE WHYTE'S (REEL). AKA - “Aggie White’s.” AKA and see “Father Ahearn’s,” "Paddy Kelly's." Irish, Reel. D Major. Standard tuning. AB. Aggie Whyte was a fiddler player from Ballinakill, County Galway, who lived for many years in New York. She died in the 1960's, but not before becoming the first woman to win the All-Ireland Senior Fiddle title, in Cavan in 1954. The tune was recorded as “Father Aheam’s” by James Keane and was printed in Treoir as “Paddy Kelly’s.” According to the liner notes on Mary Bergin’s “Feadoga Stain 2” it would seem that Paddy Kelly composed this tune. Sources for notated versions: Galway fiddler Aggie White (whom Breathnach mentions is also “Mrs. S. Ryan,” referring not to the famous Sean Ryan but to her spouse Seamus ‘Jimmy’ Ryan, a schoolteacher) [Breathnach]; fiddler John Loughran [Feldman & O’Doherty]. Black (Music’s the Very Best Thing), 1996; No. 342, pg. 182. Breathnach (CRÉ II), 1976; No. 186, pg. 98 (appears as “Gan anim/Untitled”). Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 242a (appears as untitled tune). Green Linnet SIF‑1110, Paddy Reynolds ‑ "My Love is in America: The Boston College Irish Fiddle Festival" (1991).

X:1

T: Aggie Whyte's

S: Mike/Mary Rafferty

Q: 350

R: reel

M: 4/4

L: 1/8

K: D

fage d2 Bd | ADFD EFGB | AGAB =cA (3B^cd | eA (3Bcd efge :|

f2 df afdf | f2 df efge | f2 df afdf | eA (3Bcd efge :|

 

AGGIE WHYTE’S (REEL) [2].  AKA and see “Séamus Connolly’s (Reel),” The New Found Out,” “Satin Slipper.”

           

AGGIE WHITE’S CHATTERING MAGPIE. AKA and see “The Chattering Magpie.”

           


AGGRAVATIN' PAPA. Old‑Time, Country Blues. Adapted by West Virginia fiddler Oscar Wright from a blues piece on a record. Rounder 0089, "Oscar & Eugene Wright."

           

AGHAVAS REEL [1] (Ríl Achadh an Mheasa).  Irish, Reel. E Dorian. Standard tuning. AB. Breathnach (CRÉ V), 1999; No. 144, pg. 72. Gael-Linn CEFCD 146, Séamus McGuire & John Lee – “The Missing Reel” (learned from flute player John Blessing). 

 

AGHAVAS REEL [2] (Ríl Achadh an Mheasa). Irish, Reel. G Major. Standard tuning. AB. No relation to “Aghavas Reel [1].” Source for notated version: fiddler Jim McKiernan (Cloon, County Leitrim) [Breathnach]. Breathnach (CRÉ V), 1999; No. 145, pg. 73.

 

l’AGREABLE.  French, Country Dance (2/4 time). D Major. Standard tuning. AABB. From the contradance book (tunes with dance instructions) of Robert Daubat (who styled himself Robert d’Aubat de Saint-Flour), born in Saint-Flour, Cantal, France, in 1714, dying in Gent, Belgium, in 1782. According to Belgian fiddler Luc De Cat, at the time of the publication of his collection (1757) Daubat was a dancing master in Gent and taught at several schools and theaters.  He also was the leader of a choir and was a violin player in a theater. Mr. De Cat identifies a list of subscribers of the original publication, numbering 132 individuals, of the higher level of society and the nobility, but also including musicians and dance-masters (including the ballet-master from the Italian opera in London). Many of the tunes are written with parts for various instruments, and include a numbered bass. Daubat (Cent Contredanses en Rond), 1757; No. 56.

X:1

T:l’Agreable

M:2/4

L:1/8

S:Daubat – Cent Contredanses en Rond (1757), No. 56

Z:AK/Fiddler’s Companion

K:D

af ~fe/2f/2 | af ~fe/2f/2 | gfed | cdeA | af ~fe/2f/2 | af ~fe/2f/2 | gfed | Ac d2 :|

|: fd a2 | ec a2 | c/e/f/^g/2a/2 bd | cBA2 | fd^ge | b^ged | caB^g | a4 :|

                       

AGRINA’S GREEN VALES. A place name from County Leitrim. Recorded under this title by Leitrim flute player John McKenna (1880-1947), who recorded in New York many tunes with Leitrim place-names.

                       

AGUS HO 'MORAG.'  Scottish, Air (4/4 time). F Major. Standard. ABC. Morison remarks: “’Morag’ the name by which, for security, Prince Charles Edward (Stuart) was spoken of by his West Highland followers.” Morison (Highland Airs and Quicksteps, vol. 2), c. 1882; No. 11, pg. 6.

X:1

T:Agus ho “Morag”

M:C

L:1/8

R:Air

N:”Briskly”

S:Morison – Highland Airs and Quicksteps, vol. 2, No. 11  (c. 1882)

Z:AK/Fiddler’s Companion

K:F

A2 A>F G>F DC | DF G2A2F2 | A2 A>F G>F DC | DF G2A2F2 ||

F>F F>F F/>D/C DF | G>G A>A G>F AA | F2F2 G>F DC |

DF G2A2F2 || C>C DF ((3G/A/G/F) DC | C>C DF Gc AF | (DF) G2A2F2 ||

 

AH! LES FRAISES ET LES FRAMBOISES. See “Fraises et les Framboises.”

           

AH! SURE SUCH A PAIR. AKA and see “The Lowland Lads.” Irish, Jig or March (6/8 time). G Major. Standard tuning. AABB. The jig was originally English, appearing as the air for the song “Ah, sure a pair was never seen” from Richard Sheridan’s (1751-1816) comic opera The Duenna (1775). The work was staged at Drury Lane and Covent Garden, London. The music of it was composed by a father and son, both named Thomas Linley, although the opera is chiefly remembered for its libretto, the work of Sheridan. In fact, the libretto was well-enough thought of to form the basis of an opera by Roberto Gerhard, and for Prokofiev’s Betrothal in a Monastery. Linley the son was a friend of the young Mozart, while the elder Linely was Sheridan’s father-in-law.

***

The melody appears in the American publication Riley’s Flute Melodies (New York, 1814). New Hampshire flute player Newt Tolman, author of  Quick Tunes and Good Times (1972) and the Nelson Music Collection (1969), was wont to spontaneously launch into this tune when playing at contra dances (no matter what anyone else was playing!), just as a buxom young lass would dance by the band (Dudley Laufman, Fiddle-L 2007).

***

A Buchan Horseman with Clydesdale working pair, c. 1930

***

Johnson (A Further Collection of Dances, Marches, Minuetts and Duetts of the Latter 18th Century), 1998; pg. 5. O'Neill (Music of Ireland), 1903; No. 1835, pg. 345. Tolman (Nelson Music Collection), 1969; pg. 3.

X:1

T:Ah, Sure, Such a Pair!

M:6/8

L:1/8

S:O’Neill – Music of Ireland (1903), No. 1835

Z:AK/Fiddler’s Companion

K:G

G|:G>AG B>cB|d>ed g<ba|gdB cde|dgB A2G|G>AG B>cB|dba g2d|gdB cde|dBG A2G:|

|:B2c d2g|baf gdc|B2 b bag|f2g adc|BAB cBc|dba g2d|gdB cde|dBG A2G:|

           

AH, SURELY [1] (Cinnte le Dia). AKA and see "Bearna na Gaoithe," "Killabeg's House," "Killaghbeg House," "The Boys of Twenty‑Five [2]," [2] "The Windy Gap," "The Bonfire [2]." Irish, Reel. G Major. Standard tuning. AABB. Sources for notated versions: accordion player Sonny Brogan (County Sligo/Dublin, Ireland) [Breathnach, Vol. 1]; whistle player Mary Bergin (Ireland) [Breathnach, vol. 3]; Co. Sligo flute player Sonny McDonagh (b. 1926, Rinnarogue, Bunninadden, Co. Sligo, Ireland) [Flaherty]. Breathnach (CRE I), 1963; No. 81, pg. 36. Breathnach (CRE III), 1985; No. 129, pg. 61. Cotter (Traditional Irish Tin Whistle Tutor), 1989; 71. Flaherty (Trip to Sligo), 1990; pg. 124. Taylor (Where’s the Crack), 1989; pg. 13. Gael‑Linn CEF 071, Mary Bergin ‑ "Feadoga Stain" (1979). MKM7590, Mike McHale – “The Schoolmaster’s House” (2000. Learned from his father, a button accordion player from County Roscommon). Yazoo Records, Paddy Killoran & Paddy Sweeney – “The Wheels of the World, Vol. 1.”

X: 1
T: Ah Surely!
S: "Where's the Crack v/1" (DJ Taylor)
Z: B.Black
L: 1/8
M: 4/4
R: reel
K: G
A3 c BG G2 | BGBd g2 fg | eA A2 BGBd | (3efg dB AcBG |
A^GAc B=G G2 | BGBd g2 ga | (3bag ag (3efg fa |\
gedc BG G2 :|
bg g2 agef | gfge dega | bgdg bgdg | eaag a2 ga |
bg g2 agef | gfge dega | (3bag af (3efg fa |\
gedc BG G2 :|

 

AH! SURELY [2]. Irish, Jig. The tune was recorded on 78 RPM by fiddler Batt Henry and his Traditional Quartet Orchestra in Dublin in 1930 for the Parlophone label. Reg Hall (1995) says Henry was from the small village of Doocastle, on the Sligo/Mayo border, the same area that was the birthplace of London fiddler Michael Gorman.Topic TSCD602, Batt Henry’s Traditional Quartet Orchestra – “Irish Dance Music” (1995. A reissue of the 1930 original).

           

AH! THE SIGHS THAT COME FRO' THE HEART. English, Air (4/4 time). F Major. Standard tuning. One part. From the appendix to the King's Manuscripts, kept in the British Museum ‑‑ the King being Henry VIII, an accomplished musician and composer of airs. William Cornyshe (1480‑1524), of whom Gibbon (Fall of the Roman Empire) said was an "admirable poet, musician and occasional jailbird" at the court of Henry VIII, also has a setting of the song. Kines (Songs From Shakespeare's Plays and Popular Songs of Shakespeare's Time), 1964; pg. 70.

           

AHERLOW JIG. AKA and see "Quinn's Jig," "The Spirits of Whiskey [2]," "Connie O'Connell's (Jig) [1]," "The Two‑and‑Sixpenny Girl," "The Money I Want," "The Three Little Drummers [4]," "Ryan's Travels." Irish, Jig. This was the title printed by Joyce.

           

AHUNT THE DECKS O'VOE. Shetland, Reel. D Major. Standard tuning. One part. Flett and Flett identify the tune as "an old family version of Mr. (Tom) Anderson's."  Source for notated version: the late fiddler, composer and teacher Tom Anderson (Lerwick, Shetland) [Flett & Flett]. Flett & Flett (Traditional Dancing in Scotland), 1964; pg. 218.

                       

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