The Fiddler’s Companion

© 1996-2009 Andrew Kuntz

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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]

 

 

 

AS A SOLDIER AND A SAILOR (WERE WALKING ONE DAY). Irish, Air (3/4 time). A Major. Standard tuning. AB. The melody appears in George Petrie’s Music of Ireland (Dublin, 1882) with four related tunes collected by Joyce, who referred to them in his Ancient Irish Music. See also “The Prison of Clonmel” for a related air. Source for notated version: “From Mr. Joyce” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 771, pg. 193.

X:1

T:As a sailor and a soldier

M:3/4

L:1/8

R:Air

S:Stanford/Petrie (1905), No. 771

Z:AK/Fiddler’s Companion

K:A

E>G | A2A2 BA | G2A2B2 | c2d2c2 | B4 EG | A2A2 BA | G2A2 Bd | e2c2B2 | A4 ||

cd | e2e2c2 | d2c2B2 | A A3 c2 | B4 cd | ec dB cA | BG E2 EG | A2c2B2 | A4 ||

                       

AS A THÒISEACH (Keep it Up) AKA and see “Keep it Up [1].” Scottish, Reel. E Minor. Standard tuning. AB (Surenne): AABB' (most versions). Composition of the melody is credited to Captain Simon Fraser by MacDonald in the Skye Collection (1887). The alternate title given is “Be off, MacIntosh!.” MacDonald (The Skye Collection), 1887; pg. 83. Stewart-Robertson (The Athole Collection), 1884; pg. 253. Surenne (Dance Music of Scotland), 1852; pg. 133. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976, pg. 62.

X:1

T:As a Thòiseach (Be Off, MacIntosh!)

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:E Minor

^c | dEBE dEB^c | dEBE FDD^c | dEBE GBeB | ^cAdA FDD :|

|: f | gebe geef | gebe fddf |1 gebe gefd | ^cAdA FDD :|2 ebgb faeg | f^cdA FDD ||

                       

AS ATT NOONE DULCINA RESTED. AKA and see "Dulcina."

                       


AS BLACK AS A COAL. Scottish, Jig (9/8 time). D Major. Standard tuning. AABB. The piece first appears published in Bremner's c. 1757 collection, according to John Glen (1891). Bremner (Scots Reels), c. 1757; pg. 60.

X:1

T:As Black as a Coal

M:9/8

L:1/8

R:Jig

S:Bremner – Scots Reels (c. 1757)

Z:AK/Fiddler’s Companion

K:D

B | (AG/F/E/D/) (D>FE/D/) A,2B | (AG/F/E/D/) (D>FE/D/) G2B |

(AG/F/E/D/) (DG/F/E/D/) A,2e | efe E2F G2 :: g | “tr”f>ef def A2g |

fef def gag | fef def ABd | efe E2F G2 :|

                       

AS DOWN IN THE MEADOWS. English, Air (6/8 time). E Flat Major. Standard tuning. AAB. The song appears in The Merry Musician (ii. 129), Watts's Musical Miscellany (i. 62), Polly (1729), "and many other Ballad Operas" according to Chappell.

***

Her age, I am sure, it was scarcely fifteen,

And she on her head wore a garland of green;

As down in the meadows I chanc’d for to pass,

O there I beheld a young beautiful lass.

Her lips were like rubies, and as for her eyes,

They sparkled like diamonds or stars in the skies;

And then, O her voice, it was charming and clear,

As sadly she sung for the loss of her dear.

***

Chappell (Popular Music of the Olden Times), Vol. 2, 1859; pg. 127.

X:1

T:As Down in the Meadows

L:1/8

M:6/8

S:Chappell – Popular Music of the Olden Time

Z:AK/Fiddler’s Companion

K:E_

B,|B,EE E>DC|CFF F2 E/F/|G>FE C>DE|B,ED E2:|

||A|G>AB BGE|Ecc c2 B/A/|G>AB BGE|Eed e2B|c>Be BGE|

F>GA G2 E/F/|G>FE CDE|B,ED E2||

                       

AS I CAME IN BY AUCHINDOUN. AKA and see “The Haughs of Cromdale.”    

                                   

AS I ROVED OUT {One Morning} [1] (Mar Siublais Amac!). AKA and see "Cold and Rough the North Wind Blows," “The Maid of Timahoe.” Irish, Air (4/4 time). A Major/Mixolydian. Standard tuning. AAB. 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. 169, pg. 29.

X:1

T:As I Roved Out

M:C

L:1/8

R:Air

N:”With expression”

S:O’Neill – Music of Ireland (1903), No. 169

Z:AK/Fiddler’s Companion

K:A

ag | e2 dB A2E2 |G3A B2 =g>f | e2 dB A2 A2 A6 :|

||AB | =c2 AB ^cdef | g2 d2 e2 ef/g/ | a2 ab agec | d2c2 A3 B |

=c2 AB ^cdef | =g2 d2 e2 f^g | a3b agec | d6 a>g | e2 d>B A2 E2 |

G3A B2 =g>f | e2 dB A2 A2 | A6 ||

                       

AS I ROVED OUT [2]. AKA and see "Seventeen Come Sunday." Irish, Air. Ireland, Connemara. A Connemara version of a song recorded by sean-nos singer Joe Heaney in 1980, the first part of which is based on the old ballad "The Boyne Water."

                       

AS I ROVED OUT ON A MAYDAY MORNING. Irish, Moderate or Slow Air (4/4 time). F Major/Mixolydian. Standard tuning. One part. "County Wicklow air" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 292, pg. 138.

                       

AS I ROVED OUT ON A SUMMER MORNING. AKA and see "Colleen Rue [1]."

 

AS I ROVED OUT ONE MORNING [1] (Mar Siublais Amac Air Maidin). AKA and see “As I walked out one morning, I heard a dismal cry.” Irish, Air (2/4 time, "with spirit"). G Major. Standard tuning. AB. Source for notated version: “From Mr. R. A. Fitzgerald” [Stanford/Petrie]. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 236, pg. 41. Stanford/Petrie (Complete Collection), 1905; No. 658, pg. 165 (appears as “As I walked out one morning, I heard a dismal cry”).

X:1

T:As I Roved Out One Morning [1]

M:2/4

L:1/8

R:Air

N:”With spirit”

S:O’Neill – Music of Ireland (1903), No. 236

Z:AK/Fiddler’s Companion

K:G

D | GG AB/c/ | dd/c/ AB/c/ | dB/G/ FG | F3 D | GG AB/c/ | dd/c/ AB/c/ |

dc/A/ GG | G3 || B/c/ | dg dc/B/ | cd cD/E/ | FG A/B/c/A/ | F3 d/c/ |

BA/B/ cB/c/ | dd/c/ AB/c/ | dc/A/ GG | G3 ||

 

AS I ROVED OUT ONE MORNING [2]. AKA and see “The Maid of Timahoe.” Irish, Air (4/4 time). B Flat Major. Standard tuning. One part. Petrie notes this tune is a variant of his “Maid of Timahoe.” Source for notated version: “From Mr. Joyce” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 657, pg. 165.

X:1

T:As I roved out one morning [2]

M:C

L:1/8

N:”Andante”

S:Stanford/Petrie (1905), No. 657

Z:AK/Fiddler’s Companion

K:B_

F | B2 Bc d2 FG | _A2 BA F2 DE | F2 GA B2B2 | B6 e2 | d2B2 Bc de |

f2 fd e2 fe | d2 cB BA FG | F6 e2 | d2B2 Bc de | f2 fd e2 fe | d2 cB BA FG |

_A6 F2 | B2 Bc d2 FG | _A2 BA F2 DE | F2 GA B2B2 | B6 ||

 

AS I STRAYED OUT ON A FOGGY MORNING IN HARVEST. Irish, Air (3/4 time). D Major. Standard tuning. AB. Stanford/Petrie (Complete Collection), 1905; No. 664, pg. 166.

X:1

T:As I strayed out on a foggy morning in harvest

M:3/4

L:1/8

S:Stanford/Petrie (1905), No. 664

Z:AK/Fiddler’s Companion

K:D

A/B/4/c/4d/e/ | f2 eg fe | d2 cA Ac | d2 cA GA | FD D2 FG | A2 Ac de |

f2 ed cB | Ad d2d2 | d4 || de | f2 eg fe | d2 cA Ac | d2 cA GA | FD D2 FG |

Ad d2 ce | dc AG FD | {F}E2 D2D2 | D4 ||

 

AS I WALKED ON THE ROAD TO SLIGO (Air Mo Ghabháil Dhom Air an m-Bóthar Shligigh). Irish, Jig. G Dorian. Standard tuning. AB. Joyce (Old Irish Folk Music and Songs), 1909; No. 123, pg. 62.

X:1

T:As I walked on the road to Sligo

M:6/8

L:1/8

R:Air

N:”Playful”

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

Z:AK/Fiddler’s Companion

K:G Dorian

D2|G2A B2c|d2e fef|g2G c2B|AcA F2D|G2A B2c|d2e f2d|gab agf|g3g2||ga|

B2g a2f|g2f d2e|f2d c2B|AcA F2D|G2A B2c|def g2 a/g/|fed c2A|G3G2||

 

AS I WALKED OUT ONE EVENING. Irish, Air (4/4 time). Ireland, County Wexford. E Flat Major. Standard tuning. One part. Source for notated version: “From Mr. R.A. Ftizgerald” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 659, pg. 165.

X:1

T:As I walked out one evening

M:C

L:1/8

N:”County of Wexford

S:Stanford/Petrie (1905), No. 659

Z:AK/Fiddler’s Companion

K:E_

B | e3f gfed | c3 B AB c>B | B3 G A2 FG | E2 E2 E3 G | A2F2G2B2 |

e3c d2e2 | fe dc d2 cB | c3d B3B | A2 GF EG Bd | e3c d2e2 |

fe dc d2 cB | =A2 Bc B2 c>d | e3f gfed | c3B A2 Bc | B3G A2 FG | E2E2E2 ||

 

AS I WALKED OUT ONE MORNING, I HEARD A DISMAL CRY. AKA and see “As I roved out one morning [1].”

 


AS I WALKED OUT ONE MORNING IN SPRING. Irish, Air (6/8 time). F Major. Standard tuning. One part. Source for notated version: “(The Irish collector) P.W. Joyce, Esq.” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 666, pg. 167.

X:1

T:As I went a waling one morning in Spring

M:6/8

L:1/8

S:Stanford/Petrie (1905), No. 666

Z:AK/Fiddler’s Companion

K:F

f | fef gfe | fdc A2f | fef dcA | AGG G2f | fef gfe | fdc Add |

cAG GA=B | c3 f2d | cAG AFG | (F3F2) ||

 

AS I WALKED OUT YESTERDAY EVENING. Irish, Air (9/8 time). D Major. Standard tuning. AB. Stanford/Petrie (Complete Collection), 1905; No. 665, pg. 167.

X:1

T:As I walked out yesterday evening

M:9/8

L:1/8

S:Stanford/Petrie (1905), No. 665

Z:AK/Fiddler’s Companion

K:D

A | AAA ddd d2 d/e/ | fff e>fd edd/e/ | fff efe dcB | cBA BA”tr”F AFD ||

{d/e/}fdA/G/ F2G {D/F/}E2D | C>DE/F/ GEE EAd/e/ | fff efe dcB |

cBA BAF A>FD ||

 

AS I WALKED OVER THE COUNTY CAVAN. Irish, Air (3/4 time). E Flat Major. Standard tuning. ABB. Source for notated version: “From James MacCloskey, Dungiven” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 661, pg. 166.

X:1

T:As I walked over the County Cavan

M:3/4

L:1/8

N:”Andante”

S:Stanford/Petrie (1905), No. 661

Z:AK/Fiddler’s Companion

K:E_

B AF | E>D EF BB | B>c de dB | A>F EF EE | E3 BAF |

E>D EF BB | B>c de dB | A>F EF EE | E3 ||

|: FAB | e2 de fe | e>d BF AB/d/ | e2 de fe/d/  | B3 A/B/ dB |

A>F EF BB | B>c de dB | A>F EF EE | E3 :|

 

AS I WAS BY THE BAY WESTWARDS (Siar Cois Chuain Dom). Irish, Moderate Air (4/4 time). D Minor. Standard tuning. AB. "Compare with 'Cois taoibh a chuain'" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 719, pg. 358‑359.

 

AS I WAS KISSED YESTREEN. See “Kissed Yestreen.”

 

AS I WAS WALKING BESIDE DUBLIN (Air Mo Ghabhail Dhom Taoibh Bhaile-atha-cliath). Irish, Moderate Air (3/4 time). G Major. Standard tuning. One part. "From Lewis O'Brien of Coolfree Co. Limerick: 1845" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 173, pg. 87.

X:1

T:As I was walking beside Dublin

T:Air mo ghabhail dhom taoibh Bhile-Atha-Cliath

M:3/4

L:1/8

R:Air

N:”Moderate time”

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

Z:AK/Fiddler’s Companion

K:G

g/f/e|d2 d>cBc|B>AGBdB|A2G2G2|G4G2|Bcdefd|gfedcB|c2d2 e>c|d4 d/e/f|

g2 efg>e|=fedc B2|c2d2 ef|g4 eg|=f>edcBc|BAGBd>B|A2G2G2|G4||

 

AS I WAS WALKING ONE MORNING IN MAY. Irish, Air (3/4 time). C Mixolydian. Standard. One part. Source for notated version: “From P. Coneely” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 663, pg. 166.

X:1

T:As I was walking one morning in May

M:3/4

L:1/8

N:”Andante”

S:Stanford/Petrie (1905), No. 663

Z:AK/Fiddler’s Companion

K:C

EF | G2e2 GA | _BG F2 EF | G2e2 d>c | c4 ef | g2e2c2 | f2e2d2 |

c2 cB G^F | G4 ef | g2e2c2 | f2e2d2 | c2 cB GF | G4 EF |
GA _B2 c2 | _BG F2 EF | G2e2 d>c | c4 ||

 

AS I WENT OUT UPON THE ICE (Ag Dul amach ar an Leac Oighir dom). AKA and see “The Glin Cottage Polka [2],” “Johnny O’Leary’s [1].” Irish, Polka. Ireland, Sliabh Luachra region of the Cork-Kerry border. A Dorian. Standard. AABB. Editors Moylan and Breathnach suggest a connection with the comic song “Taglioni,” which goes:

***

As I went out upon the ice,

The ice being rough and stony,

The ice it broke and down I went

And wet my tanlee ownee.

***

or:

***

One day as I went out to skate,

The ice was rough and stony;

And the ice it bent so in I went

And wet my Taglioni.

***

Moylan, however, notes that all versions of the song he heard were sung to slide tunes, not polkas. The tune is usually played with “Jimmy Doyle’s [1]" in Sliabh Luachra tradition. See also the related “Dálaigh’s Polka.” Sources for notated versions: fiddler Denis Murphy,1966 (Gneeveguilla, Co. Kerry, Ireland) [Breathnach]; accordion player Johnny O’Leary (Sliabh Luachra region), recorded in recital at Na Píobairí Uilleann, February, 1981 [Moylan]. Breathnach (CRE II), 1976; No. 122, pg. 65. Coel, Vol. 5, No. 1. Mallinson (101 Polkas), 1997; No. 19, pg. 8. Moylan (Johnny O’Leary), 1994; No. 52, pg. 31. RTE CD174, “The Sliabh Luachra Fiddle Master Padraig O’Keeffe.”

X:1

T:As I Went Out Upon the Ice

M:C

L:1/8

R:Polka

K:Ador

||: e2A2 B2d2 | e2A2 A2Bd | e2A2 B2A2 | G3A B2d2 |
e2A2 B2d2 | e2A2 A2B2 | G2A2 d2B2 | A4 A4 :||:
e2a2 a2ga | b2a2 g4 | e3f g2a2 | g2e2 e2d2 |
e2a2 a2ga | b2a2 g4 | efge d2B2 | A4 A4 :||

                       

AS I WENT TO WASHINGTON. English, Country Dance (3/4 time). A Minor. Standard tuning. One part. Published before 1730. Raven (English Country Dance Tunes), 1984; pg. 8.

                       


AS I WENT UP TO DUBLIN CITY. Irish, March (2/4 time). D Major. Standard tuning. AABB. Mulvihill gives this tune as an alternate accompaniment for the set dance Walls of Limerick. Mulvihill (1st Collection), 1986; No. 35, pg. 126.

                       

AS JIMMY AND NANCY ONE EVENING WERE STRAYING. Irish, Air (3/4 time). F Major/Mixolydian. Standard tuning. One part. Stanford/Petrie (Complete Collection), 1905; No. 687, pg. 172.

X:1

T:As Jimmy and Nancy one evening were straying

M:3/4

L:1/8

S:Stanford/Petrie – Complete Collection (1905)

Z:AK/Fiddler’s Companion

K:F

A>B | c2F2 GF | A2 cB GE | F2F2GF | E2F2 ce | f2 de f2 | _e2c2 cB |

A2 FG AB | c4 cd/e/ | f2 de f2 | _e2c2 cB | A2 FA GF | E3F GB |

AG AB cd | _e2 c2 fc | A2 FA G>F | F4 ||

           

AS LUCK WILL HAVE IT.  English, Jig. D Major. Standard tuning. AB. Composed by English collector, choreographer, musician and teacher Pat Shaw in 1977. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 56 (appears as “Halsway Sicilian”, the name of a dance, also by Pat Shaw, set to the tune).

           

AS QUICK AS YOU PLEASE. English, Country Dance Tune (6/8 time). A Minor. Standard tuning. AABB. The tune was first published in 1728. Barnes (English Country Dance Tunes), 1986.

                       

AS SLOW OUR SHIP. AKA and see "Spailpin Fanac(h) [1]," "The Girl I Left Behind Me [1]." Irish, Set Dance.

                       

AS SOON AS YOU PLEASE.  English, Jig. G Major. Standard tuning. AABB. The melody, like many in Charles and Samuel Thompson’s 1757 collection, first appeared in John Johnson’s 200 Favourite Country Dances, vol. 7 (London, 1756). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 93.

X:1

T:As soon as you please

M:6/8

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

d|gba gba|gdd d2B|egf agf|gdB G2d|gba gba|gfe agf|(3e/f/g)f ed^c|d3 D2:|

|:d|dDd cDc|BDB ADA|dDd cDc|”tr”B3 A2d|dDd cDc|BDB ADA|(E/F/G)E (A/B/c)A|G3 G,2:||

 

AS THE SUN WAS SETTING. Scottish, Slow Air. A Minor. Standard tuning. AAB. Composed by John Kirkpatrick (English button accordionist), 1972. Lerwick (The Kilted Fiddler), 1985; pg. 74.

                       

AS THROUGH THE WOODS I ROAMED. AKA - “As through the woods I chanced to roam.” Irish, Air (4/4 time). G Minor (O’Neill): F Minor (Stanford/Petrie). Standard tuning. AB. Source for notated version: “From (the Irish collector) Mr. Joyce” [Stanford/Petrie]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 487, pg. 85. Stanford/Petrie (Complete Collection), 1905; No. 667, pg. 167 (appears as “As through the woods I chanced to roam”).

X:1

T:As Through the Woods I Roamed

M:C

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 487

Z:AK/Fiddler’s Companion

K:G Minor

GF|D2G2G2 FG|A2A2 f2 dc|B2B2B2G2|c3A F3A|G2G2G2 FG|A2A2 f3d|

d>c AG A3G|G4 G2||dc|d2g2g2 fg|a2g2g2 fg|a2 gf d2 cd|=e3f d3e|

g2 dc A2G2|Ac d=e f3a|gf dc A3G|G4 G2||

                       

AS 'TIS DANC'D AT THE PLAYHOUSE. AKA and see "Trip to the Jubilee."

                       

AS WE GO ABOUT OUR WORK. Irish, Slow Air (4/4 time). G Major. Standard tuning. AB. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 27, pg. 22. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 65, pg. 12.

X:1

T:As We Go About Our Work

M:C

L:1/8

R:Air

N:”Slow, with expression”
S:O’Neill – Music of Ireland (1903), No. 65

Z:AK/Fiddler’s Companion

K:G

d ef | gedB AGGE | DGGA G3G | EAAB cdea | fdde ddef | gbaf gedB |

AGGE G3G | DGBG cAEF | G4 z || F ED | EGce d2dd | gedB G2 GG |

Gcea f2 e>d | d4 zdef | gGGG GDDD | EAAB c3c | BgcA E2 F2 | G4 z ||

                       

AS WE SAILED FROM THE DOWNS. Irish, Air (3/4 time). E Flat Major. Standard tuning. AB. “The song tells of the wreck of a vessel on the coast of the County Down on its way from London to Belfast.”
***

As we sailed from the Downs near fair London town,

It’s then we had fine pleasant weather;

For two days or three we’d a very calm sea,

And our good ship she wrought with much pleasure.

Buth then rose a fog, and our vessel did log,

You could scarcely observe our slow motion;

When to our surprise the storm did arise,

And the billows did foam through the ocean
***

Source for notated version: “Mr. J. McKenzie of Newtownards, a great lover of Irish Music and of the corresponding folk songs, sent me the (air) about 30 yeards ago” (i.e. 1875). Joyce (Old Irish Folk Music and Songs), 1909; No. 319, pg. 149.

X:1

T:As we sailed from the downs

M:3/4

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:E_

BA|G2G2G2|F4F2|F2E2E2|A4B2|c2B2A2|B2A2F2|F2E2 BA|G2G2G2|

F4F2|F2E2E2|A4B2|c2B2A2|B2A2F2|F2E2||EF|G2A2B2|e4e2|c2B2c2|

E4 EF|G2A2B2|e2_d2c2|c2 B2 zA|B2A2F2|E4 C2|E2E2F2|A4B2|c2B2A2|

B2A2F2|F2E2||

 

AS YOU LIKE IT.  English, Reel. D Major. Standard tuning. AABB’. The tune appears in the 1770 music manuscript collection of Northumbrian musician William Vickers, about whom, unfortunately, nothing is known.

X:1

T:As You Like Itt

M:C|

L:1/8

R:Reel

S:William Vickers’ music manuscript collection (Northumberland, 1770)

Z:AK/Fiddler’s Companion

K:D

A|F/E/D AF GABG|F/E/D AF G2 EG|F/E/D AF GABG|Adec d2D:|

|:A|defd efge|fg/a/ fd c2 AB/c/|1 dfdB cecA|GBAG F2 DF:|2 afge fdec|dBAG F2D2||

 

ASA HOGE TUNE. AKA and see "Such A Gettin' Upstairs [1]." American, Breakdown. USA, Pa. G Major. Standard tuning. AAB. "From Asa Hoge, Green County, Pa., as he fiddled it in the 1870's" (Bayard). Source for notated version: Thomas Hoge (Green County, Pa.) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 170E, pg. 123.

 

ASEY'S PIECE. AKA and see "Oho, Oho, I've Found You Out," "Hunnell's Double Drag." American, Jig. USA, Pa. A Mixolydian. Standard tuning. AB. The title comes from "its being a favorite piece of Asa Sellers, a crippled cobbler of Waynesburg, Greene County, who was a devoted and famed fifer, and used to march, with a pronounced limp, in every martial‑band parade possible" (Bayard). Bayard traces the tune to Northumbria. Source for notated version: Charles Ganiear (orig. Greene County, Pa.) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 610B, pg. 540.

 

ASGILL’S RANT.  English, Jig. D Major. Standard tuning. AABB. The melody is unique to Charles and Samuel Thompson’s third country dance collection (London, 1773). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 51.

X:1

T:Asgill’s Rant

M:6/8

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:D

(def) (edc)|(dAF) D2A|(def) (efg)|fdd e3:|
|:(ecA) (ecA)|(Bcd) “tr”d3|(bge) (afd)|cec A2G|(FAd) (BAG)|FGE D3:||

                       


ASH GROVE (Llwyn Onn). AKA ‑ "Ashtree Grove"?? AKA and see “Llewellyn,”  "Sir Watkin William Wynn."  Welsh (originally), Scottish, New England; Waltz. C Major (Laufman): G Major (Johnson). Standard tuning. AB (Kerr): AAB (Johnson, Laufman). The air is considered by some to be an early 18th century melody from Wales, perhaps because it is attributed to that country in Gow’s Strathspey Reels (book 4, pg. 24), where it appears as "Sir Watkin William Wynn." In fact the earliest Welsh printing is not until Jones’s Bardic Museum (1802), where it is given that it was named after ‘Mr. Jones’s mansion near Wrexham’. Robin Huw Bowen says it is played in the form ‘theme and variations’, a form poular with Welsh harpists of the early 18th century. It appears under different guises in period publications and can be found in Gay’s Beggar’s Opera (1729) and in the repertoire of Irish harper Turlough O’Carolan (1670-1738). “The Ash Grove” was used as a vehicle for English morris dancing, and various words were set to it, bawdy and otherwise. One set begins:

***

Down yonder green valley, where streamlets meander

Where twilight is fading, I pensively rove‑‑

Or at the bright noontide, in solitude wander

Amid the dark shade of the lonely ash tree.

***

Johnson (The Kitchen Musician's Occasional: Waltz, Air and Misc.), No. 1, 1991; pg. 1. Kerr (Merry Melodies), vol. 3; No. 309, pg. 33. Laufman (Okay, Let's Try a Contra, Men on the Right, Ladies on the Left, Up and Down the Hall), 1973; pg. 23. Matthiesen (Waltz Book I), 1992; pg. 13. Flying Fish FF70610, Robin Huw Bowen – “Telyn Berseiniol Fy Ngwlad/The Sweet Harp of My Land” (1996). [COMMENT3] [COMMENT4] Green Mountain Volunteers ‑ "New England Country Dance Music."

X:1

T:Ash Grove

R:Waltz

C:Trad.

M:3/4

L:1/8

K:D

|:"A"A|"D"d2f2ag|f2d2d2|"G"e2gfed|"A"c2A2A2|"D"d2fedc|"G"B2G2B2|"D"A2d2"

A"c2|"D"d4:||:efg||"D"a2fgab|a2g2f2|"A7"g2efga|g2f2e2|"D"f2defg|"Bm"f2e2

d2|"A"c2a2^"E"g2|"A"a4A|"D"d2f2ag|f2d2d2|"G"e2gfed|"A"c2A2A2|"D"d2fedc|"

G"B2G2B2|"D"A2d2"A"c2|"D"d4:||

 

ASH MALEY HOUSE. AKA and see "Ashmolean House."

 

ASH PLANT. See "The Ashplant."

 

ASHER. American, Reel. D Major (‘A’ part) & D Minor (‘B’ part).  Standard tuning. AA’BB. Composed by Antrim, New Hampshire fiddler Rodney Miller, for his son, to “honor the next generation.” Songer (Portland Collection), 1997, pg. 20. Rounder 0193, Rodney Miller - “Airplang.”

 

ASHEVILLE. AKA and see "Flop-Eared Mule [1]." Old‑Time, Breakdown. USA, North Carolina. Learned by Madison County, North Carolina fiddler Tommy Hunter from his grandfather. The name appears to be a local re-titling of the well‑known "Flop Eared Mule," and Hunter’s version is the same as Osey Helton’s Broadway recording. Broadway 5119‑B (78 RPM), Osey Helton c. 1924 (Asheville, North Carolina fiddler). June Appal 007, Tommy Hunter ‑ "Deep in Tradition" (1976).

                       

ASHFORD ASSEMBLY, THE. English, Country Dance Tune (6/8 time). E Minor/G Major. Standard tuning. AABB. Barnes (English Country Dance Tunes), 1986.

           

ASHLAND BREAKDOWN. Bluegrass, Breakdown. C Major. The tune requires playing in the second position on the violin. Kenny Baker – “Kenny Baker Plays Bill Monroe.”

                                   

ASHLEY MACISAAC’S REEL. Cape Breton, Reel. Ashley MacIsaac is a young fiddler who grew up in Creignish, Inverness County, Cape Breton, N.S. He first recorded in 1992, and went on to become a somewhat controversial and sensational recording and concert artist. Celestial Entertainment CECS001, Brenda Stubbert (Cape Breton) - “In Jig Time!” (1995).

                       

ASHLEY MACISAAC’S REQUEST. Canadian, Pipe Reel. Canada, Cape Breton. A Dorian. Standard tuning. AABBCC. Composed by Inverness, Cape Breton, fiddler Jerry Holland (b. 1955) for fiddler Ashley MacIsaac, in response to MacIsaac’s request for Holland to compose a tune for him, communicated on MacIsaac’s album “Hi, How are You Today?” Cranford (Jerry Holland: The Second Collection), 2000; No. 46, pg. 19. Odyssey ORCS 1051, Jerry Holland – “Fiddler’s Choice” (1998).

                       

ASHLEY'S FLAG. AKA – “Astley’s Flag,” “Distillery Hay.” English, Reel. England, North‑West. B Flat Major. Standard tuning. AABB. The tune first appears in Longman, Lukey & Broderips’s Bride’s Favourite Collection of 200 Select Country Dances, Cotillions and Allemands (London, 1776). Transported to America it appears as “Astley’s Flag” in Joshua Cushing’s Fifer’s Companion (pg. 49) printed in 1805 in Salem, Massachusetts, and in the Elisha Belknap manuscript, compiled in Framingham, Massachusetts, in 1784 as “Distillery Hay” (a title which refers probably to the circle-eight dance figure called a ‘hey’ or ‘hay’). The title may refer to Sergeant Major Philip Astley, who is credited with creating the first modern circus in London during the sencond half of the 18th century. Knowles (Northern Frisk), 1988; No. 100.

 

ASHLEY'S HORNPIPE. AKA and see "Astley's Hornpipe< /a>."

ASHLEY'S RIDE. See "Astley's Ride."

 


ASHLEY’S SWING. Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AABB. Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 231, pg. 67. Fiddlesticks cass., Jerry Holland - “Fathers and Sons” (1992).

 

ASHMOLEAN HOUSE (Teach Ashmolean). AKA ‑ "Ash Maley House,” “The Ashmolean." Irish, Reel. D Major. Standard tuning. AABB. Breathnach (1996) attributes the composition to Belfast and Derrylin, County Fermanagh, fiddler and singer Tommy Gunn. The Ashmolean is the university museum of Oxford, University, England. A cousin to the tune "Mullingar Races." Sources for notated version: Martin Mulvihill (Bronx, NY), Joe & Willie Kelly, Jerry O’Sullivan (Yonkers, NY) [Black]; County Fermanagh & Belfast fiddler Tommy Gunn via the mid-20th century Liam Donnolly (County Tyrone & Belfast) collection [Breathnach]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Black (Music’s the Very Best Thing), 1996; No. 87, pg. 45. Breathnach (CRÉ IV), 1996; No. 200, pg. 92. Harker (300 Tunes from Mike Rafferty), 2005; No. 12, pg. 4. Taylor (Crossroads Dance), 1992; No. 25, pg. 19. Green Linnet GLCD 1175, Cherish the Ladies – “New Day Dawning.” Green Linnet SIF‑1074, Jerry O'Sullivan ‑ "The Invasion" (1987). Green Linnet SIF‑104, Jerry O'Sullivan ‑ "The Celts Rise Again" (1990). Green Linnet GLCD 1187, Cherish the Ladies – “One and All: the Best of Cherish the Ladies” (1998. Appears as “Ashmaleen House”). Green Linnet GLCD  1211, Kevin Crawford – “In Good Company” (2001. Learned from New Jersey fiddler Willie Kelly). Shaskeen ‑ "My Love is in America."

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T: Ashmolean House

C: Tommy Gunn

S: J. O'Sullivan / Kelly Bros.

Z: transcribed by B.Black

Q: 350

R: reel

M: 4/4

L: 1/8

K: D

AF F2 EDB,A, | D2 FD FA A2 | defd efdB | AFDE FE E2 |

AF F2 EDB,A, | D2 FD FAAB | ABde dBAF | A,CEG FD D2 :|

defg a3 b | afdf eB (3BAB | defg a3 b | afdf e3 f |

fd (3ddd ad (3ddd | edBd egfe | dBAF A3 F | A,CEG FD D2 :|

X:2

T:Ashmolean, the

C:Tommy Sands

R:reel

S:Mike Rafferty

H:The Ashmolean is a museum in York (UK),

H:named after its founder, a fellow named Ashmole.

N:Ashmolean House title courtesy of Andrew Kuntz.

D:Jerry O'Sullivan

Z:Lesl Harker [lmh@rcons.com]

M:C

L:1/8

K:Dmix

d3B|:AF~F2 EDBA|D2ED FA A2|defd efdB|AFDE FEE2|

AF~F2 EDBA|D2EDFA A2|ABde dBA2|BDEG FDD2:|

|:defg a~a2b|afdf edBA|defg a2ab|afdf e2eg|

fdd2 Addf|edAd e2fe|dBAF A~A3|BDEG FDD2:|

X:3

T:Ashmolean House

R:reel

C:Tommy Gunn (fiddle), Derrylin, Co. Fermanagh

B:Ceol Rince na hÉireann 4, no. 200

M:4/4

L:1/8

K:D

AF (3FFF EDB,A,|D2 (3FED FAAB|defd efdB|AFDE FEEE|

AF (3FFF EDB,A,|D2 (3FED FAAB|ABde dBAF|A,B,DF ED D2:|:

defg a2 ab|afdf eB{c}BA|defg a2 ab|afdf {g}feef|

fd (3ddd ad (3ddd|edBd egfe|dBAF ABAF|A,B,DF ED D2:|

X:4

T:Ashmolean House

R:reel

Z:Transcribed by Bill Reeder

M:4/4

L:1/8

K:D

"D"AF~F2 EDBA|"D"D2 (3FED FAA2|"D"d2 fd efdB|"D"AFDE "A"FEE2|!

"D"AF~F2 EDBA|"D"D2 (3FED FAAB|"D"ABde dBAF|"A"AFEG "D"FDD2:||!

"D"defg a2ab|"D"afdf "Em"eBB2|"D"defg a2ab|"D"afdf "A"e4|!

"D"fd~d2 Ad~d2|"A"ed^cd egfe|"D"dBAF A2AB|"A"AFEG "D"FDD2:||

 

ASHOKAN FAREWELL. American, Air or Waltz (3/4 time). D Major. Standard tuning. AA'B. The tune was chosen by Ken Burns as the theme for 1992's celebrated PBS series "The Civil War." However, rather than a melody from that era, it is a 1983 Grammy winning piece by fiddler Jay Ungar (West Hurley, New York), who composed it at the end of an emotional year at the 1982 music and dance camp run by he and Molly Mason at Ashokan, New York. The tune has since become the traditional ‘last dance’ at the camp each year. “Ashokan Farewell” has become hugely popular, and can even frequently be heard rendered by school string programs. The name Ashokan first appears in Dutch records from the 17th century and may be a corruption of an Indian word. The town of Ashokan itself was largely inundated by the vast Ashokan Reservoir, one of New York City’s watersheds in the Catskill Mountains. The ‘folk process’ has yielded several titles based on miss-hearings of the word Ashokan, including “The Choking Farewell,” and “I’m Choking, Farewell.” Various sets of words have been attached to the tune, including ones by Grian MacGregor, written in 1991 and sung by Priscilla Herdman, on her Flying Fish Records CD "Forever & Always." Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 74 (appears as “Leah’s Waltz”, the name of a dance by Fried de Metz Herman composed in 1989 to the tune). Matthiesen (The Waltz Book), 1992; pg. 14. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 238. Flying Fish, "The Best of Fiddle Fever."

X:1

T:Ashokan Farewell

M:3/4

L:1/8

C:Jay Ungar, 1983, used by permission.

K:D

Ac || d3  c BA | F4 EF | G3 F ED | B,2 D3 B,|A,2 D2 F2 | A2 d2 f2 | f3 g f2 | e4 Ac|

d3  c BA | F4 EF | G3 F ED | B,2 D3 B,|A,2 D2 F2 | A2 d2 f2 | A2 c2 e2 | d4 FG|A3 F D2 |

d4 A2 | B3 c d2 | A F3 E2 | F3 E D2 | B,4 G,2 | A,6 | A4 FE | D2 F2 A2 | =c6 | B3 c d2 |

A2 F2 D2 | A,2 D2 F2 | A2 d2 F2 | E3 D C2 | D4 ||

 

ASHPLANT [1]. AKA and see "An Maide Fuinnseoige." Irish, Reel. E Minor. Standard tuning. AB (Breathnach, Flaherty, McNulty): AABB (Carlin, Miller & Perron). An ashplant was the name for a common implement among farmers and drovers of cattle in Ireland, made from a sapling of an ash tree. The root ball would be trimmed to a knob which fit easily in the hand, and the length trimmed into a switch. It would be applied to the hide of the buttocks of an animal as a means of motivating and steering them. The implement has been known to be employed in brawls on fair days, grasped at the opposite end with the knob then the business end! See also the related “Tom Dowd’s Favourite.” Sources for notated versions: piper Pat Brophy (Ireland) [Breathnach]; flute player Noel Tansey (b. 1940, Cuilmore, Co. Sligo, Ireland) [Flaherty]; a 1969 recording of Galway fiddler Máirtín Byrnes [Miller & Perron]. Breathnach (CRÉ I), 1963; No. 116, pg. 48. Carlin (Master Collection), 1984; No. 211, pg. 124. Flaherty (Trip to Sligo), 1990; pg. 94. McNulty (Dance Music of Ireland), 1965; pg. 5. Miller & Perron (Traditional Irish Fiddle Music), 1977; vol. 1, No. 63. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 47. Gael-Linn CEF 114, Noel Hill & Tony MacMahon - "I gCnoc na Graí." Leader LEACD 2004, “Martin Byrnes” (1969). Topic TSCD 602, The Belhavel Trio – “Irish Dance Music” (1995. A reissue of the 1938 original).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Ashplant, The

R:reel

D:Noel Hill & Tony McMahon: \'I gCnoc na Gra\'I

M:C|

L:1/8

Z:id:hn-reel-285

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

K:Edor

BE~E2 BAGA|BE~E2 ~G3A|1 BE~E2 BABd|gedB A2GA:|2 ~B3A (3Bcd ef|gedB A2GA||

|:B2eB fBeB|~B2ed BAGA|1 B2eB ~f3d|efdB A2GA:|2 (3Bcd ef ~g3a|gedB A2GA||

X:2

T:The Ash Plant
M:2/2
L:1/8
R:Reel

Z:Transcribed by Rob Greenway
K:F#m
c3B cBAB|cF~F2 EFAB|c3B cdfg|afec B2AB:|
|c2ac bcac|c2ac cBAB|c2ac bcab|afec B2AB|
c2ac bcac|c2ac cBAB|cefg a3b|afec B2AB||

 

ASHPLANT [2], THE. AKA and see “Coleman’s (Reel) [2]", “Denis Murphy’s Favourite,” “Dicky Sherlock’s Reel,” “Jim Kelly’s” [2], “Maguire’s,” “Matt Molloy’s [2],” “(A/The) Night in Ennis,” “Packie Duignan’s Reel.” Irish, Reel. D Major. Standard tuning. AABB. The tune has many names, usually from famous musicians who have played the reel. The “Ashplant” title is from Bulmer & Sharpley’s volume, and is probably a mistake. The “Night in Ennis” title is from Vincent Griffin, from his Topic album of the same name. “Dicky Sherlock’s” is the title the tune is under in Breathnach’s CRE II, No. 200 (from John Loughran). Source for notated version: John Doonan [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1974, Vol. 1, No. 30. Moylan (Johnny O’Leary), 1994; 208. Transatlantic Records, Mick Moloney – “We have Met Together” (1973. Appears as “Reel on Mandolin,” identified as a unnamed Sligo reel).

X:1

T:Ashplant, The

R:Reel

D:Ashplant: Autographed

M:C|

L:1/8

K:D

AF~F2 BFAF|DEFA BABd|eB~B2 egfe|dfed BcdB|

AF~F2 BFAF|DEFA BABd|(3efg fg efdB|AFGE FDD2:|

|:d3e ~f3g|afbf afdf|eB~B2 FB~B2|fedf edBd|

AF~F2 ABdf|afbf afed|(3efg fg efdB|AFGE FDD2:|

 

ASHTREE GROVE, THE (Coillte Oinseoga). Irish, Slow Air (3/4 time). D Mixolydian. Standard tuning. AB. Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and O’Neill’s collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 420, pg. 73.

X:1

T:Ashtree Grove, The

M:3/4

L:1/8

R:Air

N:”Slow”

S:O’Neill – Music of Ireland (1903), No. 420

Z:AK/Fiddler’s Companion

K:D

DE|F2 D2 EF|G2 A2 AG|E2D2D2|D4 (3ABc|d2d2 ed|=c2B2 AG|E2G2B2|

A4 (3ABc|d2d2 ed|=c2 BA GE|G2A2B2|A4 AG|F2D2 EF|G2A2 AG|E2D2D2|D4||


 

ASHUELOT HORNPIPE.  American, Hornpipe. D Major. Standard tuning. AABB. Composed by Ralph Page (1903-1985, New Hampshire), the “dean of the contra dance callers,” and a seminal figure in New England traditional dance and music for 40 years (see www.izaak.unh.edu/nhltmd/pagehome.htm). It appears in Page’s periodical Northern Junket, vol. 7, No. 10, 1963. Ashuelot is a town in south western New Hampshire. Miller (Fiddler’s Throne), 2004; No. 273, pg. 164.

 

ASIAN CAMP. AKA and see "Hessian Dance [1]."

 

ASK MAMMA POLKA. English, Polka. G Major ('A' part) & C Major ('B' part). Standard tuning. AABB. Trim (Thomas Hardy), 1990; No. 73.

 

ASK ME/MY FATHER ("Fiafraigh de m'Athair é" or "Fiafruig Do'm Ataire"). AKA and see "With All My Heart." Irish, Single Jig (6/8 or 12/8 time) or Slide (12/8 time). D Major (O'Neill): D Mixolydian (Breathnach, Mitchell). Standard tuning. AB (Breathnach): AA’B (Mitchell): AABB (O'Neill). See also "Will you come home with me/Tiocfaidh ty Abhaile liom," where the fourth part of Breathnach’s version is related to the second part of “Ask My Father.” Sources for notated versions: Chicago police patrolman, piper and flute player John Ennis, originally from County Kildare [O’Neill]; piper Seán Potts (Ireland) [Breathnach]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Breathnach (CRE I), 1963; No. 62, pg. 27. Breathnach (Folk Music and Dance of Ireland), 1971; 16. Mitchell (Dance Music of Willie Clancy), 1993; No. 143, pg. 113. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 941, pg. 175. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 367, pg. 75. Compass Records 7 4446 2,Oisíin McAuley – “From the Hills of Donegal” (2007). Island ILPS9432, The Chieftains - "Bonaparte's Retreat" (1976).

X:1

T:Ask My Father

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 367

Z:AK/Fiddler’s Companion

K:G
A2G|F2D DED|A2D DED|ABA B2G|ABA A2G|F2D DED|A2D DED|G2B A2F|G3:|

|:z2g|f2d efg|f2d cAG|ABA B2G|ABA A2g|f2d efg|f2d cAF|G2B A2F|G3:|

 

ASK OUR DAN. AKA and see “Knocknaboul Polka” [2], “Knocknabower,” “Liam Browne’s.”

 

ASLACHA' NA BAIN-TIGHEARNA. AKA and see "Heiress's Expostulation with Rob Roy."

 

ASPINWALL HORNPIPE. American, Hornpipe. G Major. Standard tuning. AABB. The most famous American Aspinwall, who lived just prior to the publication of Ryan’s Mammoth Collection, was William Henry Aspinwall (1807-1875), a shipping magnate whose steam vessels formed the backbone of the California gold rush passage, and who built the first railroad across the Isthmus of Panama. A philanthropist, he was a founder of the Society form the Prevention of Cruelty to Animals (SPCA), and in 1869 helped found the Metropolitan Museum of Art in New York City. (Cole (1000 Fiddle Tunes), 1940; pg. 96. Kerr (Merry Melodies) vol. 2; No. 371, pg. 41. Ryan’s Mammoth Collection, 1883; pg. 131.

X:1

T:Aspinwall Hornpipe

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

d/>c/ | B/>G/(3G/G/G/ D/>G/(3G/G/G/ | B/>G/d/>B/ g/>d/B/>d/ | c/>A/(3A/^G/A/ F/>A/(3A/G/A/ |

c/>e/d/>c/ B/>c/A/>c/ | B/>G/(3G/F/G/ D/>G/(3G/F/G/ | B/>G/d/>B/ g/>d/B/>d/ |

c/>e/d/>c/ B/>c/A/>B/ | GBG :: d/>c/ | B/>d/(3d/^c/d/ B/>d/(3/d/c/d/ | B/>d/e/>f/ g/>d/c/>B/ |

c/>e/(3e/^d/e/ c/>e/(3e/d/e/ | c/>e/a/>g/ f/>e/d/>c/ | B/>d/(3d/^c/d/ B/>d/(3d/c/d/ |

B/>G/A/>B/ c/>d/e/>f/ | g/>d/e/>c/ B/>c/A/>B/ | GBG :|

 

ASSIST ME ALL YE MUSES. Irish, Air (4/4 time). Ireland, County Derry. G Major. Standard tuning. AB. Stanford/Petrie (Complete Collection), 1905; No. 840, pg. 210.

X:1

T:Assist me all ye muses

M:C

L:1/8

N:”A county of Londonderry air.”

S:Stanford/Petrie – Complete Collection (1905)

Z:AK/Fiddler’s Companion

K:G

GA | B2G2A2 EF | G3A B2d2 | e2 g>f edBG | “tr”A4 G3G |

G2g2g2 ag | f4 d3e | f2 e>f d2d2 | (d4 d2) || gf | e2 dB d2 ef |

g3 a g2e2 | d2g2 B>A GE | G3A B2d2 | e2 d>e g2 ge | d3e B>A GE |

G2 A>B G2G2 | G4 G2 ||

 

ASSIZE ASSEMBLY.  English, Jig. B Flat Major. Standard tuning. AABB. The melody is unique to London publisher Charles and Samuel Thompson’s 1765 collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 61

X:1

T:Assize Assembly, The

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, 2006-9

Z:abc’s:AK/Fiddler’s Companion

K:Bb

f|dBb fdB|(A/B/c)A B2F|GAB FED|ECC C2f|dBb fdB|(A/B/c)A B2F|GAB FGE|DB,B, B,2:|

|:D/E/|FED EFG|ABc F2B|EGc DFB|GEC “tr”C2 D/E/|FED GFE|AGF GAB|cde FGE|DB,B, B,2:||

 

ASTLEY'S FLAG. AKA and see “Ashley’s Flag.”

 

ASTLEY'S HORNPIPE. AKA and see "Ashley's Hornpipe,” “Bonnie Annie [2]." English, Hornpipe. England; Sussex, Shropshire, Lancashire. G Major. Standard tuning. AABB. A very popular hornpipe found in a large number of English printed and manuscript collections. The name Ashley derives from the Old English name (still in use) for the ash tree coupled with the word leah, meaning glade or clearing, however, the title probably refers to Sergeant-Major Philip Astley, credited with creating the first circus in London in the second half of the 19th century (see note for “Astley’s Ride”). It is unclear whether the title was originally “Ashley’s Hornpipe” (under which it appears in the Thomas Hardy manuscript, for example) and later became associated with the famous equestrian and therefore underwent a slight name change through association. In print the earliest appearance seems to be in Thompon’s Compleat Collection of 200 Fashionable Country Dances, vol. 5 (1788, pg. 41). Shropshire fiddler John Moore had it as “Astley’s Hornpipe” in his 1837-40’s manuscript. George Spencer (Leeds, Yorkshire) included both titles in his 1831 music manuscript. Fiddler, poet and writer John Clare (1793-1864, of Helpstone, East Midlands) had two versions in his music manuscript, both under the titles “Ashley’s Hornpipe” and “Asley’s Hornpipe” (one version generally corresponds to the “Ashley’s Hornpipe” in the Hardy ms.). Likewise, under the “Ashley’s” title it appears in the 19th century music manuscripts of G. Huddswell (Yorkshire) and William Mittell (Kent). Seamus Connolly remarks that he first heard “Astley’s Hornpipe” on a Irish radio broadcast of Seán Ó Murchú’s Céilí House program of the Eamonn Ceannt Céilí Band from Dublin, regularly featured on the program. Connolly says they had a penchant for playing tunes that were seldom heard.

***

Sources for notated versions: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]; copied from Wilson’s Companion to the Ballroom (1816) [O’Neill]; a c. 1847 music manuscript by Ellis Knowles, a musician from Radcliffe, Lancashire, England [Plain Brown]. Ashman (The Ironbridge Hornpipe), 1991; No. 67, pg. 27 (appears as "Astley's Hornpipe). Connolly & Martin (Forget Me Not), 2002; pgs. 12-13. Loughran & Gammon (A Sussex Tune Book), 1982; No. 1. Kerr (Merry Melodies), vol. 1; pg. 42 (appears as "Hornpipe"). O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 332. Plain Brown Tune Book, 1997; pg. 42 (appears as an untitled hornpipe). Trim (Thomas Hardy), 1990; No. 3. Big Chain BC103, Cooper & Bolton – “The Savage Hornpipe” (2006).

X:1

T:Astley's Hornpipe

M:4/4

L:1/8

S:Wilson's Companion to the Ballroom 1816

Z:Paul Kinder

R:Hornpipe

K:G

GABc dcBd|gfge e2 d2|BdBG cecA|BdBG GFED|

GABc dcBd|gfge e2 d2|BdBG cecA|G2 F2 G2 z2:|

|:defg fafd|gbge fafd|defg a2 c2|BdBG GFED|

BdBG cecA|fafd gbge|dgfe dcBA|G2 F2 G2 z2:||

 

ASTLEY'S RIDE. AKA and see "Astley's (Hornpipe)," "Drumley's Ride," "Ashley's Ride," "Leslie's Hornpipe." English, Country Dance (2/4 time) or Hornpipe. D Major (Huntington, Kennedy, Raven): C Major (Harding’s). Standard tuning. AABB.

***

Philip Astley was one of the remarkable personages of the 18th century, credited with founding the modern circus. Born the song of a cabinet maker from Newcastle-Under-Lyme, Astley early on developed a fascination with horses. At the age of seventeen he borrowed a horse and joined the 15th Dragoons as a rough rider and horse-breaker and was soon sent overseas with the unit to serve under the King of Prussia. Astley proved to be independent and resourceful, and aquired a reputation for bravery on and off the battlefield (he was also said to have been a sturdy six feet tall with a booming voice). He enhanced his career by saving the life of the wounded Duke of Brunswick and when he was discharged from the cavalry in 1768 he was given the regimental commander’s white charger, Gibralter, as a leaving present.

***

Still a young man, Astley’s ambition next was to start a riding school, although he lacked the funds to go into business directly by himself. He started by securing a position as a horse breaker with a riding school master in the fashionable resort of Islington (which featured tea gardens and other amusements). This and simlar resorts provided recreation for the well-to-do and attracted many riding masters who provided public entertainment with demonstrations of skill in order to build up a clientele. It was at Islington that Astley met and married an accomplished horsewomen, whose name is only known to us as “Petsy.” Luck was the vehicle for his next career move, however, when he found a diamond ring on Westminster Bridge. The item brought him £60, with which he bought a second horse, and he and Petsy began to give unlicensed open-air equestrian displays at Glover’s “Halfpenny Hatch” field in Lambeth. The hat was passed at every performance. Luck again smiled on Astley when he helped King George III subdue a spirited horse, again near Westminster Bridge, earning a reward of a performing license.

*** 

Only a year or two after his discharge from the military Astley was in a position launch his career. He purchased land close to his lucky Westminster Bridge and constructed a roped-off enclosure that he surrounded with stands, later adding a canvas roof. Those wishing to be entertained at his “Royal Grove,” as he called it, could sit in the stands or, for a lesser amount, secure a standing space.  Astley hired a drummer-boy to accompany his act, to add punctuation to his tricks. His main inspiration of his early period, however, was to realize that a circular ring rather than a straight list would allow his audience consistently better viewing and a more cohesive, flowing performance, and, in addition, a larger audience could be accommodated. Best of all, Astley discovered performing in a circular ring generated centrifugal force, a fact Astley quickly capitalized on in his routines. Through experimentation, he discovered the optimum diameter for the performance ring was forty-two feet.

***

In 1777 Astley expanded his equestrian show to include a strongman, Signor Colpi, and by 1780 had employed two clowns but the name of Fortunelly and Burt, and a number of acrobats who performed rope-vaulting tricks. He hired other noted equestrians, Miller, Griffin and Jones, but it was Astley who was the artistic creator and director of the show.

***

The title of the melody, “Astley’s Ride,” refers to yet another innovation by this talented performer. Although he was judged to be the greatest horseman of his age, Astley was not prideful, and was able to poke fun at himself in his art. He developed an act, a clown act called Billy Buttons, or The Tailor’s Ride to Brentford, based on the popular tale of a tailor with rather poor riding skills, who attempts to ride a horse to Brentford to vote in an election. The tailor, acting the buffoon, has difficulty in mounting, then falls off the horse when it starts up at a fast pace. The Billy Buttons act became an institution at Astley’s circus (though Astley had other of his performers learn the act after a time), and indeed it survived for a century as an integral part of circus offerings.

***

Astley’s luck did stumble at times. His Royal Grove burned in 1794, was rebuilt (as “Astley’s Royal Ampitheatre”) and burned again in 1803 followed by yet another rebuilding. In 1782 a former member of Astley’s company, Charles Hughes, struck out on his own with “The Royal Circus,” much to the discomfort of his old employer, but Astley was at the same time opening a venue in Paris for his brand of entertainment.

***

When the antiquarian Jean-Baptiste Malchair was in Oxford in 1789 he noted the melody from street musicians playing on “Flute a bec and Tambour.” “Astley’s Ride” also appears in the (writer Thomas) Hardy family music manuscripts. The second strain of the Pennsylvania collected "Frank Keeney" appears in in this tune. Harding's All Round Collection, 1905; No. 2, pg. 1 (Hornpipe). Huntington (William Litten's), 1977; pg 23 (appears as "Ashley's Ride"). Kennedy (Fiddlers Tune Book), vol. 2, 1954; pg. 26. Raven (English Country Dance Tunes), 1984; pg. 145. North Star Records NS0038, "The Village Green: Dance Music of Old Strubridge Village."

X:1

T:Astley’s Ride

M:2/4

L:1/8

K:D

|: (a/f/) | dd dc/d/ | ee e(f/e/) | d/c/B/A/ Bc | d/e/f/g/ a/g/f/e/ | dd d(c/d/) |

ee e(f/e/) | d/c/B/A/ Bc | (d2 d) :: A | ff f(e/f/) | gg g(b/g/) | ee e(d/e/) |

ff f/g/a/f/ | dd dc/d/ | ee ef/e/ | d/c/B/A/ Bc | (d2 d) :|

 

ASTOREEN MACHREE (O Treasure of my heart). AKA and see “(A) Stoir Mo Chroi [1].”

 

ASTRONAUT’S BREAKDOWN.  Canadian, Reel. Composed by Sarnia, southwestern Ontario, fiddler John(ny) Durocher (1934-1989); one of several tunes he composed in honor of the c. 60’s-70’s space program. Durocher was born the youngest of sixteen children, to a modest family of few resources. He quit school in his young teens to help make family ends meet and remained a factory worker for most of his life, not even possessing a drivers license. John came to fiddling when he found a broken fiddle in the trash one day and asked the owner for permission to retrieve it; with some repair work he had his first instrument. A few lessons from a local teacher (which served to teach him how to read and write music), were all the formal music education John received. He was a prolific composer of fiddle tunes, however, and named them for sports and current events, family and friends and topics of his day, explains Ritchie. Durocher’s music was picked up by radio fiddler Don Messer, who included many of his tunes in his broadcasts and printed collections, helping Durocher to become quite influential in the Ontario scene for his over 400 compositions. [For more see Ron Ritchie, “John Durocher: A Gifted Composer,” Fiddler Magazine, vol. 12, No. 2, Summer 2005, pgs. 25-27].

 

ASTROPE WELLS THE NEW WAY.  See “Merry Making [2],” “Why Did You Promise to Marry.”

 

AT A GEORGIA CAMP MEETING. AKA and see "Georgia Camp Meeting."

 

AT CLOONE CHURCH GATE THE FIGHT BEGAN. Irish, Air (6/8 time). G Dorian. Standard tuning. One part. "Cloone in County Leitrim, near Mohill. This tune has much in common with Grainne Waile" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 639, pg. 324.

 

AT HOME WAD I BE. Northumbrian. Title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he wrote c. 1800.

 


AT LENGTH I CROSSED THE FERRY. Irish, Air (2/4 time). Ireland, “From Bondsglen, County Derry.” E Flat Major. Standard tuning. One part. Stanford/Petrie (Complete Collection), 1905; No. 289, pg. 72.

 

AT THE BEND IN THE ROAD. Irish, Slide. D Major. Standard tuning. AA’B. Source for notated version: set dance music recorded at Na Píobairí Uilleann, mid-1980’s [Taylor]. Taylor (Music for the Sets: Yellow Book), 1995; pg. 35.

 

AT THE MID-HOUR OF NIGHT. Irish, Air. The title is from a song by Thomas Moore to the air "O Molly My Dear" (O Maire Dhilis).

 

AT MIDNIGHT HOUR. AKA and see "On a Dark and Lonely Road." Irish, Slow Air (4/4 time). A Minor. Standard tuning. AB. Source for notated version: Chicago Police Sergeant and fiddler James O’Neill, originally from County Down [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 41, pg. 8.

X:1

T:At Midnight Hour

M:C

L:1/8

R:Air

S:O’Neill – Music of Ireland (1903), No. 41

Z:AK/Fiddler’s Companion

K:Amin

A | (AEAB) (cded) | (cAB{d}c) A3B | (cde^f) (^gaea) | c’c’ba (be)(ed) | (cg)(BA) G3 (A/B/) |

(ca)(ag) (ef)(de) | (cA)(B>A) A2 z || A | GGcd e(.A.A.A) | EAcB A3 A | G2 (B>c) (dg)(dc) |

~(BA)E^F G3G | A2 (c>B) A3E | c2 (d>e) d3d | (ea)(ae) (fd)(ed) | c2 (B>A) A3 ||

 

AT THE BROW OF A HILL.  English, Air (3/4 time). G Major. Standard tuning. One part. Perhaps a ballad opera song. Geoghegan (Compleat Tutor for the Pastoral or New Bagpipes), c. 1745-46; pg. 27.

X:1

T:At the Brow of a Hill

M:3/4

L:1/8

R:Air

S:Geoghegan – Compleat Tutor for the Pastoral or New Bagpipes (c. 1745-46)

Z:AK/Fiddler’s Companion

K:G

ef | {e/f/}g2 fedc | {c}B3c d2 | {c/d/}e2G2G2 | “tr”G4cB | {B}A4Bc2 | de f2e2 | fagedc |

d4 Bc | d2”tr”d3 e/^f/ | g2d2e2 | {e}d2 cB AG | A4 Bc | {B/c/}d2 cBAG | g2G2G2 |

AedBcA | G4Bd | g2fe de/f/ | edcdef | gfedc_B | {_B}A4 fg | afdagf | gec2G2 | AfedcB | c4 ||

 

AT THE FAIR [1]. English?, Contra Dance (2/4 time). C Major. Standard. AABB. Hardings All Round Collection, 1905, No. 42, pg. 12‑13.

X:1

T:At the Fair [1]

M:2/4

L:1/8

R:”Contra Dance”

S:Harding’s All Round Collection (1905)

Z:AK/Fiddler’s Companion

K:C

Gc ce | d/c/d/e/ Ac | Bc c/d/e/f/ | geeg | a>b a/g/f/e/ | f/e/d/c/ Ac | Gc c/B/c/d/ | eccz :|

|: e/f/ | geae | gee e/f/ | ge c’e | g/a/g/e/ gg | a>b a/g/f/e/ | f/e/d/c/ Ac | Gc c/B/c/d/ | ecc :|

 

AT THE FAIR [2]. English? Reel. C Major. Standard tuning. AABB'. Hardings All Round Collection, 1905; No. 102, pg. 32.

X:1

T:At the Fair [2]

M:2/4

L:1/8

R:Reel

S:Harding’s All Round Collection (1905)

Z:AK/Fiddler’s Companion

K:C

ce/c/ ge/c/ | ce/c/ B/c/d/e/ ce/c/ gf/e/ | f/e/d/c/ B/c/d/e/ :| ce/c/ Be/B/ |

Ac/A/ GA/G/ | FG/F/ E/G/c/e/ | d/A/B/c/ e/d/B/G/ | ce/c/ B/B/e/B/ |

Ac/A/ GA/G/ | FG/F/ E/G/c/e/ |1 A/d/B/G/ cG :|2 A/d/B/G/ cz ||

 

AT THE SIDE OF THE ROAD. AKA and see "Lannigan's Ball."

 

AT THE TREE I SHALL SUFFER WITH PLEASURE. AKA and see "When first I laid siege to my Chloris." English, Air. The air appears in D'Urfey's Beggar's Opera of 1729. The original words of the song ("When first I laid siege to my Chloris") are by Sir Charles Sedley. The air appears in D’Urfey’s Pills to Purge Melancholy (vol. VI, 1720).

 

AT THE YELLOW BOREEN. AKA and see "Little Yellow Road."

 

AT WINCHESTER WAS A WEDDING. AKA and see "The King's Jig [1]."

 

ATA DUIM AN OIR. AKA and see "The Golden Pass."

 

ATA NA MUILLTE AG MEILT. AKA and see "The Mills are Grinding."

 

ATA SEAGANIN IMTIGTE GO DON FRAINNC. AKA and see "Johnny Has Gone to France."

 

ATAIREACHD ARD, AN. Scottish, Slow Air or Lament (3/4 time). G Major. Standard. One part. A relatively rare major-mode lament composed by Donald McIver. Martin (Ceol na Fidhle, Vol. 3), 1988; pg. 21.

 

ATHENS. AKA and see "Victor Wild," "The Clogher Reel," "The Union Reel," "The Westmeath Hunt," "The Twelve Locks." See also "The Shuffle Reel," "Miss Daly's Reel," "The Twister," "The Dublin Lasses [3]," "The Dublin Reel," "Jackson's Reel [2]."

                       

ATHLONE BRIDGE, THE. Irish, Hornpipe. E Flat Major. Standard tuning. AABB. Mulvihill (1st Collection), 1986; No. 5, pg. 88.

                       

ATHLONE HORNPIPE, THE. AKA and see “Paddy O’Brien’s Hornpipe [1],” “The Tara Brooch,” “The Western Hornpipe.” Irish, Hornpipe. Source for notated version: M. Reilly [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1974, vol. 1, No. 70.

                       

ATHOL...  See also "Athole" or "Atholl."

                       

ATHOL HIGHLANDERS JIG. See "The Atholl Highlanders."

                       

ATHOL(E) BRAES. See "Atholl Braes."

                       

ATHOLE AND BREADALBANE GATHERING, THE. Scottish, March (2/4 time). A Major. Standard tuning. AABBCCDD. Composed by W. Ferguson. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 36.

                       


ATHOLE BROSE. AKA and see "Buckingham House,” “The Dogs Amongst the Bushes,” "Niel Gow's Favorite.” Scottish, Canadian; Reel or Strathspey. Canada; Prince Edward Island, Cape Breton. D Mixolydian or D Mixolydian/Major (Cranford/Holland, Dunlay & Greenberg, Jones, Perlman): A Minor (‘A’ and ‘C’ parts) & A Major (‘B’ part) {Skinner}. Standard tuning. AB (Cranford/Holland): ABB (Jones, Skye): AABB (Gow, Kerr): AA'BB (Athole): AA’BB’ (Perlman): AABBCC (Skinner). "Athole Brose is, according to one recipe, a drink made from the water in which oatmeal has been soaked, mixed with honey and whisky. Stirred with a silver spoon, it is bottled and kept until needed" (Alburger, 1983). Alburger (1983) and Collinson (1966) credit composition to Abraham MacIntosh {b. 1769} (whose father was Robert 'Red Rob' Macintosh, also a fiddler and composer of notable ability), who first published it under the title "Buckingham House," first appearing in his father's A Third Book of Sixty-Eight New Reels and Strathspeys: Also above forty old Famous Reels (Edinburgh, 1796) where it is credited to “Mackintosh Junior”. Glen (1891) and Emmerson (1971) remark that such belief is largely based on an ascription to 'Mackintosh, junior' in his father's third book, though it could refer to Abraham's brother Robert (though the latter did not publish any collection). Since the sub‑title was "Niel Gow's Favourite," and it appears in Gow’s Third Collection of Strathspey Reels (Edinburgh, 1792), it has often been mistakenly credited to that famous fiddler. The following lines appear in Alexander Whitelaw's Book of Scottish Song (1844):

***

You've surely heard o' the famous Niel,

The man that played the fiddle weel;

I wat he was a canty chiel,

And dearly loved the whisky, O

And aye sin' he wore tartan hose,

He dearly lo'ed the Athole Brose;

And wae was he, yu may suppose,

To bed 'farewell to whisky', O.

***

Cape Breton fiddlers play it as a strathspey in the key of D, where it is often the vehicle for stepdancing. It is also often the practice on the island to play the reel “General Stewart” (AKA “Lady Muir MacKenzie”) following it (Dunlay & Greenberg, 1996). Cape Breton fiddler Jackie Dunn, in her thesis “Tha Bals na Gaidhlig air a h-Uile Fidhleir” (The Sound of Gaelic is in the Fiddler’s Music), 1991, remarks that there is known to have been Gaelic words to “Athole Brose.” In Ireland the melody is known as “The Dogs Amongst the Bushes.” Sources for notated versions: Fr. Angus Morris (Cape Breton) [Dunlay & Greenberg]; Peter Chaisson, Jr. (b. 1942, Bear River, North-East Kings County, Prince Edward Island) [Perlman]. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 73, pg. 111; Robert Mackintosh’s 1796 collection [S. Johnson]. Carlin (The Gow Collection), 1986; No. 5. Cranford (Jerry Holland: The Second Collection), 2000; No. 87, pg. 35. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pg. 75. Gow (Third Collection of Niel Gow’s Reels), 1792; pgs. 22-23 (3rd ed.). Jones [Ed.] (Complete Tutor Violin), c. 1815; pg. 5. S. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 19. Kerr (Merry Melodies), vol. 2; No. 148, pg. 17. MacDonald (The Skye Collection), 1887; pg. 73 & 74. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 189. Skinner (Harp and Claymore), 1904; pg. 113 (includes a variation set). Stewart-Robertson (The Athole Collection), 1884; pg. 118. ATL 8835, Dave MacIsaac & Scott MacMillan - “Live” (1993). Capelhouse Records, James Kelly – “Traditional Irish Music” (1996). CAT-WMR004, Wendy MacIsaac - “The ‘Reel’ Thing” (1994). Decca 14030, CX 005, Angus Allan Gillis (c. 1936). DMP6-27-2-4, Doug MacPhee - “The Reel of Tulloch” (1985). Nimbus NI 5383, Buddy MacMaster - “Traditional Music from Cape Breton Island” (1993). Paddledoo Music PAD 105, Alasdair Fraser - “Scottish Fiddle Rally, Concert Highlights 1985-1995" (1996). Rounder Records , John L. MacDonald – “Formerly of Foot Cape Road: Scottish Fiddle Music in the Classic Inverness County Style” (2005).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

Alan Ng’s Irishtune.info

X:1

T:Athole Brose

M:C|

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:D

A|:F>D D/D/D A,>DD>G|F>D D/D/D G<B A>G|1 F>D D/D/D A,<D D>=F|

E/=F/G C>E c>GE>G:|2 F>D D/D/D A,<D D>=F|E/=F/G C>E c<G E>C||

|:D<d d>c d>ed>c|A<d d>e =f>de>c|dd=f>d e>df>d|=c>dc>G E<C G>E:|

X:2

T:Athole Brose

M:C

L:1/8

R:Strathspey

C:Abraham MacIntosh (1769-?)

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:Amin

e |: c>A A/A/A EAAB | c>A A/A/A d/e/f ed | c>A A/A/A EAAc | B/c/d Gd gdBd :|

K:A

c>A A/A/A E>AA>d | c>A A/A/A ({^g}a>)e f>d | c>A A/A/A E>AA>c | (B/c/d) =G>f ({f}=g>)dB<d :|

K:Amin

E<(aa>)g a>ba>g | e<(aa>)b c’>ab>^g | a>bc’a bgaf | ({G,/D/B/}g>)ed<g B<Gd>B :|

X:3

T:Athole Brose, or Niel Gow’s Favorite Strathspey

M:C

L:1/8

R:Strathspey

B:Gow – 3rd Collection of Niel Gow’s Reels, 3rd ed., pgs. 22-23  (orig. 1792)

Z:AK/Fiddler’s Companion

K:Dmix

 A|F>D D/D/D A,DDG|F>D D/D/D (G/A/B) AG|F>D D/D/D A,DD=F|1 (3E=FG CE cGEG:|2

(3E=FG CE cGEC||:Dd”tr”d>c dedc|Ad(d>e) =fdec|d<d=fd ecfd|(c>dc>)G ECGE||

 


ATHOLE CUMMERS [1], THE. AKA and see "Bog an Lochan," “Lady Grant of Grant.” Scottish, Strathspey. E Minor. Standard tuning. AABBCCDD (Bremner): AABBCDD (Macintosh/Johnson): AABBCDD' (Kerr): AA'BB'CD (Athole). The title first appears in Bremner's 1757 collection (pg. 78), according to Glen. Athole (or Atholl) derives from the Gaelic ath Fodla, generally translated as New Ireland, and stems from the first invasion of the northern land by the Irish tribe the Scots in the 7th century (Matthews, 1972). The Scottish dialect word 'cummer' probably refers to a girl or woman, the title then meaning 'Athole Lasses'. It has been suggested that 'cummer' was derived from the Old French word 'commere', which itself is probably an elided form of 'comme mere', which translates as "like mother.” Bremner (Scots Reels), 1757; pg. 78. S. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 35. Kerr (Merry Melodies), vol. 1; 4th Set, No. 3, pg. 5. Robert Macintosh (Fourth Book of New Strathspey Reels), 1804; pg. 35. McGlashan (Collection of Strathspey Reels), c. 1780/81; pg. 10. Stewart-Robertson (The Athole Collection), 1884; pg. 252.

X:1

T:Athole Cummers [1]

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:Emin

F|:E/E/E ~E2 E>FB>F|E/E/E ~E2 F<D A>F|E/E/E ~E2 D>FB>A|1 B<d A>d F>DA>F:|2 B<dA<d F<D D>d||

|:B<E B>A B<E E>e|B<E B>A F<D D>d|B<E B>A d>ef>e|1 d/^c/B/A/ d>A F<D D>d:|2 d/^c/B/A/ d>A F<D D>f||

e/e/e e2 d>fb>f|e/e/e e2 f>da>f|e/e/e d2 d>fb>f|g<eb<e df/g/ a>f|g>eb>e g<e b>e|g<e b>e df/g/ a<f|

g<eb<e d>ef>e|d/^c/B/A/ d>A F<DD<d||B<E B>A B<E E>e|B<E B>A F<D D>d|B<E B>A d>ef>e|

d/^c/B/A/ d>A F<D D>d|B<E B>A B<E E>e|B<E B>A F<D D>d|B<E B>A d>ef>e|d/^c/B/A/ dA F>DD||

 

ATHOLE CUMMERS [2], THE. Scottish, Highland Schottische. A Mixolydian. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 208, pg. 24.

X:1

T:Athole Cummers, The [2]

M:C
L:1/8

R:Highland Schottische

S:Kerr – Merry Melodies, vol. 3, No. 208  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:Amin

A/A/A A>ce>c A/A/A B>Gd>B|A/A/A A>ce>c|e<g d<g B>Gd>B:|

|:e<A e>d e<A A<a|e<A e>d B<G G<g|e>Ae>d g>ab>a|g/^f/e/d/ g>d B<G G<g:|

 

ATHOLE HIGHLANDER'S FAREWELL TO LOCH KATRINE, THE. AKA – “Atholl Highlanders March to Loch Katrine.” AKA and see "The Heids o Vigon" (Shetland). Scottish, March. A Major/Mixolydian. Standard tuning. AAB (Skinner): AABB (Brody): AABCCD (Hunter): AABCCDD’ (Martin). Composed by William Rose, this march has become one of the most popular and recognized Scottish pipe marches. Loch Katrine and the surrounding area is called the Trossachs, and it was this picturesque setting that was Sir Walter Scott’s inspiration for his poem “Lady of the Lake.” Reputedly, the Loch derived its name from the Gaelic word cateran, meaning a freebooter or robber. The MacGregors have a clan graveyard at one end of the ten-mile long lake, and Rob Roy MacGregor was born at nearby Glengyle House. An island in the middle of the loch was employed to secret away cattle they had stolen on forays to the lowlands, although the numerous glens and lochs in the area served the same purpose. The Athole Highlanders were raised in 1778 by the Duke of Athole for the purpose of serving the British in the colonies during the American Revolution. They were instead posted to Ireland for the duration. Expecting to be disbanded after that time, the government attempted to post the regiment to the East Indies, which did not go well with the homesick Highlanders, who invoked a successful mutiny. In 1783 the men were marched to Berwick, Scotland, and there disbanded. The unit survived as the personal army of the Duke. Christine Martin (2002) says the tune could be employed as a vehicle for a Canadian Barn Dance if played at a slightly faster tempo. Brody (Fiddler’s Fakebook), 1983; pg. 27. Hunter (Fiddle Music of Scotland), 1988; No. 346. Martin (Ceol na Fidhle, vol. 3), 1988; pg. 30. Martin (Traditional Scottish Fiddling), 2002; pg. 68. Skinner (Harp and Claymore), 1904; pg. 46 (includes variation sets). Skinner (The Scottish Violinist), pg. 32. Greentrax CDTRAX, Donald MacDonell (1888-1967) - “Scottish Tradition 9: The Fiddler and his Art” (1993. Appears as “Atholl Highlander’s March to Loch Katrine”). Rounder 7006, Theresa and Marie Maclellan‑ "A Trip to Mabou Ridge." Topic 12T280, J. Scott Skinner‑ "The Strathspey King" (first tune of 'Bagpipe Marches' and third tune of 'Cradle Song' medleys).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

X:1

T:Athole Highlanders Farewell to Loch Katrine, The

M:2/4

L:1/8

R:March

S:Skinner – The Scottish Violinist

Z:AK/Fiddler’s Companion

K:A Mixolydian

a/f | {f}(ec/A/) (e/A/c/A/) | A/B/c/d/ ea/f/ | {f/|(ec/A/) (e/A/c/A/) | G/A/B/c/ (d{g/}f) |

{f}(ec/A/) (e/A/c/A/) | (f/a/d/f/) {f}(ec/A/) | {d}c/B/c/a/ e/f/e/A/ | {A}cAA :| (3e/f/=g/ |

a2 (ea) | (Aa) (ec/A/) | {f}=g2 (dg) | (Bg) (dB/G/) | {^g}a2 (ea) | (df) (ec/A/) |

{d}c/B/c/a/ e/f/e/A/ | {A/B/}cAA (3e/f/g/ | {g}a2 (.ea) | (ca) (ec/A/) | {f}g2 (dg) |

(Bg) (dB/G/) | A/B/c/d/ e/f/e/c/ | f/a/d/f/ {f}(ec/A/) | {d}c/B/c/a/ e/f/e/A/ | {A}cAA ||

“variations”

{g}a | (A/<A/c/A/ e/A/c/e/) | (a/e/c/e/ A{f}g) | (G/<G/B/G/ d/G/B/d/) | (g/d/G/d/ G{f}e) |

(A/<A/c/A/ e/A/c/e/) | (a/f/d/f/ {f}ec/A/) |  {d}(c/B/c/a/ e/f/e/A/ ) | {A}cAA :|

(3e/f/g/ | a/g/a/e/ c/e/A/e/ | a/e/A/F/ “tr”a(g/f/) | g/f/g/d/ B/d/G/d/ | g/d/B/G/ “tr”g(f/g/) |

a/g/a/e/ c/e/A/e/ | f/a/d/f/ {f}ec/A/ | {d}c/B/c/a/ e/f/e/A/ | {A}cAA (3e/f/g/ |

a/g/a/e/ c/e/A/e/ | a/e/c/A/ a(g/f/) | g/f/g/d/ B/d/G/d/ | g/d/B/G/ gB/G/ |

A/B/c/d/ e/f/e/c/ | f/a/d/f/ {f}eC/A/ | {d}c/B/c/a/ e/f/e/A/ | {A}cAA ||

 


ATHOL(L) HOUSE. AKA - “Athole House.” Scottish, Reel. F Major. Standard tuning. AB (Surenne): AAB (most versions). One of the most famous compositions of Edingburgh music teacher Daniel (or perhaps Donald) Dow (c. 1783). Little is known about Dow, who was born in Kirkmichael, Perthshire, but "his compositions were highly esteemed in their time and still live" (Emmerson, 1971). The tune was originally published as a country dance in the Edinburgh Magazine and Review in 1773. Originally printed without dotted rhythms, the Gows later added them in places to change the tune to a strathspey (Alburger says this may illustrate Niel Gow's up‑driven bowing style). The piece first appears published by Dow (pg. 1) in his c. 1775 collection.

***

Athole (or Atholl) House was the seat of the Duke of Atholl, who in the mid-18th century was the first patron of the famous Scots fiddler and composer Niel Gow, who besides his noted skill on his instrument, also possessed an earthy frankness and who was not intimidated by social standing. On one occasion when he was playing for dancing at Atholl, a portion of the invited party lingered in the ballroom, loath to forsake the dancing. Gow, not impressed with the fashionable indifference to the waiting supper, soon became exasperated and called out to the remaining crowd: “Gang doun to your supper, ye daft limmers, and dinna hand me reelin’ here, as if hunger and drouth were unkent i’ the land--a’body can naethin’ done for you!” The name Athole (or Atholl) derives from the Gaelic ath Fodla, generally translated as New Ireland, and stems from the first invasion of the northern land by the Irish tribe the Scots in the 7th century (Matthews, 1972).

***

Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 60, pg. 97. Glen (The Glen Collection of Scottish Dance Music), Vol. II, 1895; pg. 25. Gow (Complete Repository), Part 1, 1799; pg. 31. MacDonald (The Skye Collection), 1887; pg. 151. McGlashan (A Collection of Reels), c. 1786; pg. 27. Stewart-Robertson (The Athole Collection), 1884; pg. 211. Surenne (Dance Music of Scotland), 1852; pg. 69.

X:1

T:Athole House

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:F

f|cFAF cF d/c/B/A/|cFAF EGGf|cFAF cAfc|d/c/B/A/ cC DFF:|

c|~f2 a/g/f/e/ fcAc|Fc d/c/B/A/ BGGc|~f2 a/g/f/e/ fcAc|d/e/f e/f/g cf~fc|

fcaf ecbg|afcf eggb|afcf dBGB|AFcC DF~F||

X:2

T:Athole House

S:Petrie's Second Collection of Strathspey Reels and Country Dances &c.

Z:Steve Wyrick <sjwyrick'at'astound'dot'net>, 6/5/04

N:Petrie's Second Collection, page 7

% Gore's Index gives earliest publication as Daniel Dow's "20 minuets

% and 16 reels or C.D.s for the Vn., Hchd., or G.Fl.",1773

L:1/8

M:C

R:Reel

K:F

f|cFAF cF (d/c/B/A/)|cFAF (EGGf)|cFAF cAfc|d/c/B/A/ cC DFF:|

c|f2 (a/g/f) fcAc |Fc d/c/B/A/ (BGGe)|f2 (a/g/f/e/) fcAc|dfeg (cffc)|

fcaf ecbg |afcf (eggb)|afcf dBGB|AFcC DFF |]

 

ATHOLE HOUSE. See “Athol(l) House.”

 

ATHOLE LADS. Scottish, Reel. A Major. Standard tuning. ABB'. McGlashan (A Collection of Reels), c. 1786; pgs. 24-25. Stewart-Robertson (The Athole Collection), 1884; pg. 12.

X:1

T:Athole Lads, The

M:C|

L:1/8

R:Reel

S:McGlashan – Reels (c. 1786)

Z:AK/Fiddler’s Companion

K:A

e|c2 Ac/d/ ecAB|c2 Ac/d/ ecBd|c2 Ac/d/ ecAa|acA>f ecB>e|c2 Ac/d/ ecAB|

c2 A/c/d/ ecBd|c2 Ac/d/ ecAa|ace>c acBe||c2 Af/g/ acAB|c2 Af/g/ acBd|

c2 Af/g/ acAa|acAf ecBe|c2 Af/g/ acAB|c2 Af/g/ acBd|cAAf efae|faef ceBe||

cA A/A/A e>cAB|cA A/A/A e>CBd|c>A A/A/A e>cAa|AcAf e>cBe|

c>A A/A/A e>cAB|c>A A/A/A ecBd|cAAf efae|faef ceBe||c>A a>a acAB|

cA a>a acBd|c>A a>a acAa|acec acBe|c>A a>a acAB|c>A a>a acBd|

cA aA a>bae|faef ceBe||c<A E>f ecAB|c<A E>f ecBd|c<A E>f ecAa|

acAf ecBe|c<A E>f ecAB|c<A E>f ecBd|c<A E>f efae|faef ceBe||

c<A a>b acAB|c<A ~a>B acBd|c<A a>a a>bae|faef ceBe|c<A ~a>b acAB|

c<A a>b acBd|c<A aA aba>e|fag>e ceBe||

X:2

T:Athole Lads

M:C|

L:1/8

S:Reel

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

Z:AK/Fiddler’s Companion

K:A

e/d/|c2 (ef ecAd|c2 (ef ecBd|c2 (ef ecce|fddf ecAd|c2 (ef ecAd|

c2 (ef ecBd|c2 (ef efae|faef ecBd|: cA A/A/A ecAd|cA A/A/A ecBd|1

cA A/A/A ecce|fddf ecAd:|2 cA A/A/A efae|faef ecBd||

 

ATHOLE VOLUNTEERS MARCH. Scottish, March. F Major. Standard tuning. AAB. Composed by Niel Gow (1727-1806). There is some similarity between this tune and "Staten Island (Hornpipe)," wrote Samuel Bayard, although some see it only cursorily. This from George Penny’s Traditions of Perth, Containing Sketches of the Manners and Customs of the Inhabitants (1836, pg. 61):

***

An Englishman in a journey through Athole, one morning, observed a poor fellow running to

the hills as for his life, closely pursued by half a dozen of human blood hounds. Turing to his

guide, the gentleman anxiously inquired as the meaning of what he saw? “Ou,” replied the

imperturbable Celt, “It’s only the Duke raising the royal Athole’ volunteers’.” These men were

enlisted for four years, or during the war. They were under orders for the East Indies, and were to

be immediately embarked at Portsmouth, where they had arrived, together with some other regiments,

under similar circumstances; when the news of the conclusion of the war was proclaimed. That

moment the troops refused to a man to go on board, demanding their discharge, in accordance with

the terms of their enlistment. Many attempts were made to circumvent them, which was the occasion

of a serious mutiny, in which several lives were lost. Nothing could prevail upon them to embark;

the officers lost all authority, and durst not be seem amongst them. Instead of being brought back

and disbanded in Perth, the corps was broke up on the spot, and each man was left to find his way

home the best way he could. From this circumstance, a dreadful outcry was raised against the Athole

family, and a prejudice existed amongst the working classes for many years; it being currently

reported that the regiment had been sold by the Duke to the East India Company.

***

Carlin (The Gow Collection), 1986; No. 584. Gow (Fifth Collection of Strathspey Reels), 1809; pg. 4. Hunter (The Fiddle Music of Scotland), 1988; No. 352.

X:1

T:Athole Volunteers March

M:C
L:1/8

R:March

C:Niel Gow (1727-1809)

N:”Pomposo”

B:Gow – Fifth Collection of Strathspey Reels (1809)

Z:AK/Fiddler’s Companion

K:F

C2 | F2 F>F c2 c>c | (f>g/2a/4) gf  (ed)(cB) | A>F c>A f>cd>A | ~B2 G>G G2 (c/B/A/G/) |

F2 F>F c2 c>c | (f>g/2a/4) gf ed c2 | dB b>g a>fg>e | f2 f>f f2 :| (fg/a/) b3g {f/g/}a3f |

(fg/a/) gf (ed)(cB) | A>F c>A f>cd>A | B2 G>G G2 “tr”f>g | a>gfa g>feg | f>edf ed c2 |

dBb>g a>fg>e | f2 f>f f2 (fg/a/) | b3g {f/g/}a3f | (fg/a/) gf (ed)(cB) | A>F c>A f>cd>A |

B2 G>G G2 (c/B/A/G/) | F2 F>F c2 c>c | (f>g/2a/4) gf ed ~c2 | dB b>g a>fg>e | f2 f>f f2 || 

 

ATHOLE VOLUNTEERS QUICKSTEP, THE.  Scottish, March (6/8 time). F Major. Standard tuning. AAB. The ‘B’ part is identical with the ‘B’ part of the Irish jig “The Eavesdropper,” except for the last four measures. Since the part is a repetition of chord outlines in descending thirds, however, it may simply be a coincidence and not an imitation. Or not. Gow (Fifth Collection of Strathspey Reels), 1809; pg. 5.

X:1

T:Athole Volunteers Quickstep, The

M:6/8

L:1/8

R:Quickstep March

C:Niel Gow (1727-1831)

B:Gow – Fifth Collection of Strathspey Reels (1809)

Z:AK/Fiddler’s Companion

K:F

F|C(.FF) A.(.F.F)|C.F.F f2d|cAF “tr”E2C|DG[DG] ~[E2G2]A|C(.F.F) A,(.F.F)|CFF f2d|cAF “tr”E2C|D<FF ~F2:||

c|faf gec|~d>ef cAF|~B>cd cAF|DG[DG] ~[E2G2]c|faf gec|~d>ef cAF|”tr”B>cd cAF|CFE F2 (c/4d/4e/|

faf gec|”tr”d>ef cAF|”tr”B>cd cAF|DG[DG] ~[D2G2]A|C(.F.F) A,(.F.F)|CFF f2d|cAF “tr”E2C|D<FF ~F2||

 

ATHOLE'S BONNIE LASSES. Scottish, Reel. G Major. Standard tuning. AAB. Composed by James Stewart-Robertson, editor of The Athole Collection. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 167, pg. 66. MacDonald (The Skye Collection), 1887; pg. 96. Stewart-Robertson (The Athole Collection), 1884; pg. 180.

X:1

T:Athole’s Bonnie Lasses

M:C|

L:1/8

R:Reel

C:James Stewart-Robertson

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

K:G

B|G2DG B,G,DB,|A,A,EA, AA,EA|G2DG B,G,DB,|EGFA BGG:|

c|BG B/c/d g2dB|cedB cAAc|BG B/c/d g2 dB|cedc BGGc|

BG B/c/d g2dB|cedB cAAB|GDEG DGB,G|EGFA BGG||

 

ATHOLE'S HONEST MEN. Scottish, Strathspey. G Major. Standard tuning. AAB. Composed by James Stewart Robertson, editor of The Athole Collection, who included 25 of his own compostions along with mostly traditional tunes. Kerr (Merry Melodies), vol. 3; No. 37, pg. 7. MacDonald (The Skye Collection), 1887; pg. 95. Stewart-Robertson (The Athole Collection), 1884; pg. 180.

X:1

T:Athole’s Honest Men

M:C|

L:1/8

R:Reel

C:James Stewart-Robertson

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

Z:AK/Fiddler’s Companion

K:G

D|G2 D>G D<G, B,>G,|A,<A,C<A, E<A,C<A,|G2 D>E D<C B,>D|(3EFG (3FGA B<GG:|

B|G<G B>d g>dB>G|(3cde (3dcB c>AA>B|G<GB<d g>dB>G|c>ed>B G/G/G G>B|

G<G B>d g>dB>G|(3cde (3dcB c<AA>B|G>DB,>G (3B,CD (3EFG|(3ABc (3BdA B<GG||  

 

ATHOLIAN HILLS. Scottish. The piece was first published by Dow (pg. 12) in his c. 1775 collection, according to Glen.

 

ATHOLL BRAE(S). AKA ‑ "Athol Bray." AKA and see "Braes of Athole," "The Pigeon on the Gate [1]." Scottish, English; Reel. England, Northumberland. G Major. Standard tuning. AABBCCDD. Not a version of "Athole Brose." Printed in the Drummond Castle Manuscript (sometimes called Duke of Perth MS because it is inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734." In the early 1970's the MS was in the possession of the Earl of Ancaster at Drummond Castle. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 17, pg. 388. Seattle (William Vickers), 1987, Part 2; No. 376.

 


ATHOLL HIGHLANDERS, THE. AKA ‑ "Athol Highlanders Jig." AKA and see “Duke of Atholl’s March,” "Lord Athlone's March," "The Three Sisters [1]" (Shetland). Scottish (originally), Irish; Pipe March (6/8 time) or Jig. Scotland, Perthshire. Ireland, Donegal. A Major/Mixolydian (Brody, Hinds, Martin, Neil, Songer, Sweet): G Major (Kerr). Standard tuning. AABB (Kerr): AABB' (Neil): AABBCC (Brody): ABCD (Sweet): AABBCCDD (Hinds, Martin, Songer). The name Athole (or Atholl) derives from the Gaelic ath Fodla, generally translated as New Ireland, and stems from the first invasion of the northern land by the Irish tribe the Scots in the 7th century (Matthews, 1972). The tune, described sometimes as a Scottish warpipes melody, is dedicated to the private army of the Duke of Atholl, the last private army still legally existing {albeit on a token level} in the British Isles (Boys of the Lough). Musically, the tune contains a characteristic melodic cliché in Scottish music in which a figure is followed by the same or a related figure on the triad one tone below or above (Emmerson, 1971). The original Athole Highlanders (and the ones associated with the tune) were the old 77th Highland Regiment, raised in 1778 and commanded by Colonel James Murray. The 77th served in Ireland and was not engaged in active service, though its garrison services were apparently useful in freeing other units for the conflicts with America and France. They were disbanded in 1783 after those conflicts ended (although the disbanding may have come about because of a mutiny). The tune was later taken up as a march past by the 2nd Battalion of the Cameronians, the 90th Light Infantry, who over the years had shed their Scottish origins. However, when pipers were introduced in 1881 they recollected their Perthshire origins and chose to play “The Atholl Highlanders” (also known in pipe literature as “The Gathering of the Grahams”). Susan Songer notes that when played for contra dances once through the tune is twice through a dance. The tune is associated in modern times with the dance called The Duke of Gordon’s Reel, so much so that Scottish dance musicians will sometimes call “Atholl Highlanders” by the name “Duke of Gordon’s Reel” (despite the fact that “Atholl Highlanders” is a jig). See also the early printing of the tune in Morison’s Highland Airs and Quicksteps, vol. 1 (No. 19), where it appears as “Duke of Atholl’s March.” Source for notated version: the tune was first brought to the Portland, Oregon, area by Seattle accordion player Laurie Andres and Olympia fiddler John Culhane in 1989 when playing at the first Spring Festival, and subsequently entered contra dance repertoire in that region [Songer]. Brody (Fiddler’s Fakebook), 1983; pg. 27. Hinds/Hebert (Grumbling Old Woman), 1981; pg. 20 (appears as "Athol Highlanders Jig"). Kerr (Merry Melodies), Vol. 3; No. 265, pg. 29. Martin (Ceol na Fidhle), vol. 1, 1991; pg. 23. Neil (The Scots Fiddle), 1991; No. 117, pg. 155. Songer (Portland Collection), 1997, pg. 21. Sweet (Fifer’s Delight), 1964; pg. 37. Banff SBS5406, "Graham Townsend, Champion Folk Fiddler." Green Linnett GLCD 3090, Mairead Ní Mhaonaigh & Frankie Kennedy - "Ceol Aduaidh" (1983/1994). Nimbus NI 5320, Ciaran Tourish et al. - “Fiddle Sticks: Irish Traditional Music from Donegal” (1991). Philo 1042, Boys of the Lough‑ "Piper's Broken Finger" (1976). Tradition 2118, "Scottish Dances: Jigs, Waltzes and Reels" (1979). Transatlantic 341, Dave Swarbrick‑ "Swarbrick 2."  “Bob Smith’s Ideal Band, Better Than an Orchesta” (1977).

 

ATKINS POLKA #1. Canadian, Polka. D Major ('A' part) & A Major ('B' part). Standard. AAB. Messer (Way Down East), 1948; No. 43. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 87, pg. 60.

X:1

T:Atkin's Polka No.1

R:Polka

M:2/4

L:1/16

Z:Transcribed by Bruce Osborne

K:G

A2|ffff g2f2|f2e2 e^de2|gggg a2g2|g2f2 fef2|

aaaa b2f2|a2g2 gfe2|AA^GA f2e2|d2d^c d2:|

K:A

|:d2|cde2 c'ae2|cde2 c'ae2|d'2c'2 b2a2|g2f2 e2d2|

cde2 c'ae2|cde2 c'ae2|d'2c'2 b2a2|gefg a2:|

 

ATKINS POLKA #2. Canadian, Polka. D Major ('A' part) & A Major ('B' part). Standard tuning. AAB. Messer (Way Down East), 1948; No. 44. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 88, pg. 60.

X: 5

T:Atkin's Polka No.2

R:Polka

M:2/4

L:1/16

Z:Transcribed by Bruce Osborne

K:D

A2|DFAd f2d2|d2c2 cBc2|CEGB c2B2|B2A2 A^GA2|

DFAd f2d2|d2c2 cBc2|CEGB c2c2|d2d2 d2:|

K:A

|:e2|f2e2 c3A|E2A2 c3e|f2e2 c3A|E2A2 c3e|

a2g2 g3a|g2f2 f3a|g2f2 f3g|f2e2 e3e|

f2e2 c3A|D2A2 c3e|f2e2 c3A|E2A2 c3e|

a2g2 g3a|g2f2 f3g|f2e2 B3c|A2c2 A2:|

 

ATKINS POLKA #3. Canadian, Polka. D Major ('A' and 'B' parts) & A Major ('C' part). Standard tuning. ABC. Messer (Way Down East), 1948; No. 45. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 89, pg. 60.

X:1

T:Atkin's Polka No.3

R:Polka

M:2/4

L:1/16

Z:Transcribed by Bruce Osborne

K:D

B2|A2d2 f3d|d2c2 e3B|A2f2 g3g|f2d2 a3B|

A2d2 f3e|c2c2 e3c|Aceg gecA|d2d2 d2:|

K:A

z2|eee2 fff2|eee2 abc'2|c'b^ab d'2g2|baga c'2a2|

eee2 fff2|eee2 abc'2|c'b^ab d'2g2|a2a2 a2:|

 

ATKINS POLKA #4. Canadian, Polka. D Major. Standard tuning. AB. Messer (Way Down East), 1948; No. 46. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 90, pg. 60.

X:1

T:Atkin's Polka No.4

R:Polka

M:2/4

L:1/16

Z:Transcribed by Bruce Osborne

K:D

A2|ffff f2e2|(3efe d2 A4|cccc c2B2|(3BcB A2 F4|

ffff f2e2|(3efe d2 A4|cccc c2fe|d2f2 d2:|

|:f2|f2e2 d2F2|(3BcB A2 A4|G2E2 c3c|B2A2 f3f|

f2e2 d2F2|(3BcB A2 A4|G2E2 c3c|d2f2 d2:|

 

ATKINS POLKA #5. Canadian, Polka. D Major ('A' and 'C' parts) & G Major ('B' parts). Standard tuning. ABC. Messer (Way Down East), 1948; No. 47. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 91, pg. 61.

X:1

T:Atkin's Polka No.5

R:Polka

M:2/4

L:1/16

Z:Transcribed by Bruce Osborne

K:D

A2|a2a2 f2f2|d2d2 A4|f2e2 gfe2|e2d2 fed2|

a2a2 f2f2|d2d2 A4|f2e2 gfe2|d2f2 d2:|

K:G

A2|Bdce d2f2|Bdce d2f2|f3g a2g2|f2e2 d2c2|

Bdce d2g2|Bdce d2g2|f3g a2f2|g2g2 g2:|

K:D

z2|A3B A3G|FAdf a4|gfe2 ede2|fed2 dcd2|

A3B A3G|FAdf a4|gfe2 edc2|d2f2 d2:|

                       

ATLANTA HORNPIPE. AKA and see "Batchelders (Reel)," "Quigley's Reel." American, Hornpipe. USA, New England. F Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 109. Ryan’s Mammoth Collection, 1883; pg. 146. Sanella, Balance and Swing (CDSS). Rounder 0175, James Bryan ‑ "Lookout Blues" (1983).

X:1

T:Atlanta Hornpipe

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)           

Z:AK/Fiddler’s Companion

K:F

c | fa/f/ eg/e/ | fcc d/c/ | d/c/B/A/ B/A/G/F/ | E/F/G/A/ G/E/C/E/ | fa/f/ eg/e/ | fcc d/c/ |

d/c/B/A/ G/F/E/G/ | FFF :: F/A/c/A/ c/A/c/A/ | G/B/d/B/ d/B/d/B/ | F/A/c/A/ c/A/c/A/ |

G/F/E/D/ .C.C | F/A/c/A/ c/A/c/A/ | G/B/d/B/ d/B/d/B/ | A/c/f/a/ b/g/e/g/ | fff :|

                                   

ATLANTA SCHOTTISCHE. American, Schottische. Kentucky fiddler Darley Fulks was one of the few old-time fiddlers from that state to include schottisches in his repertoire. He did so, he told John Harrod, because once, when he was in Michigan he was asked to play a schottische and had to decline because he didn’t know any. To avoid future such embarrassments he learned several schottisches, including “Atlanta Schottische.” Rounder 0377, Darley Fulks (et al) – “Traditional Fiddle Music of Kentucky, Vol. 2: Along the Kentucky River” (1997).

                       


ATLANTIC HORNPIPE. AKA and see “Atlantic Roar,” “Atlantic Wave,” “Tuam na Farraige.”

 

ATLANTIC POLKA NO. 1. Canadian, Polka. D Major. Standard tuning. AB. Messer (Way Down East), 1948; No. 48. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 92, pg. 61. MCA Records MCAD 4037, “The Very Best of Don Messer” (1994).

X:1

T:Atlantic Polka (first change)

R:Polka

M:2/4

L:1/16

Z:Transcribed by Bruce Osborne

K:D

A2|fdfa g2c2|e2d2 Add2|f2e2 Acef|g2fg fed2|

fdfa g2c2|e2d2 Add2|f2e2 gece|d2f2 d2:|

|:z2|A4 F3G|A2fg fed2|g4 e3c|d2fg fed2|

A4 F3G|A2fg fed2|g4 e3c|d2f2 d2:|

 

ATLANTIC POLKA (Second Change). Canadian, Polka. D Major. Standard tuning. One part. Messer (Way Down East), 1948; No. 49. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 93, pg. 61. MCA Records MCAD 4037, “The Very Best of Don Messer” (1994).

X:1

T:Atlantic Polka (second change)

R:Polka

M:4/4

L:1/8

Z:Transcribed by Bruce Osborne

K:D

A>d|c2A2 efec|d2A2 f3g|a2g2 edeg|f2d2 A3d|

c2A2 efec|d2A2 f3g|a2A2 B2c2|d6:|

|:A2|f8-|f2g2 f2e2|d2cd e2d2|B6B2|

e6d2|c6c2|B3c B3c|B2A2 F2D2|

f8-|f2g2 f2e2|d2cd e2d2|B6B2|

e6d2|c6B2|AA2g f2e2|d6:|

 

ATLANTIC POLKA (Third Change). Canadian, Polka. D Major. Standard tuning. AB. Messer (Way Down East), 1948; No. 50. MCA Records MCAD 4037, “The Very Best of Don Messer” (1994).

X:1

T:Atlantic Polka (third change)

R:Polka

M:2/4

L:1/16

Z:Transcribed by Bruce Osborne

K:D

A2|AAFA f2d2|BABd g2e2|cdec A2Bc|defg a4|

AAFA f2d2|BABd g2e2|cdec A2Bc|d2f2 d2:|

|:A2|f2a2 f3f|e2g2 B4|cdec A2Bc|ddcB A4|

f2a2 f3f|e2g2 B4|cdec A2Bc|d2f2 d2:|

 

ATLANTIC POLKA (Fourth Change). AKA and see "The Winnipeg Reel." D Major. Standard tuning. AABB. Canadian, Polka. Messer (Way Down East), 1948; No. 51. MCA Records MCAD 4037, “The Very Best of Don Messer” (1994).

 

ATLANTIC POLKA (Fifth Change). AKA and see "Turkey in the Straw." Canadian, Polka. D Major. Standard tuning. AABB. Messer (Way Down East), 1948; No. 52.

 

ATLANTIC REEL. Canadian, Reel. Canada, Prince Edward Island. G Major. Standard tuning. AA’BB. Composed by young East Royalty, Queens County, Prince Edward Island, fiddler Richard Wood (b. 1978). Source for notated version: Richard Wood [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 59.

 

ATLANTIC ROAR, THE (Tuam na Farraige). AKA and see “Atlantic Hornpipe,” “Atlantic Wave,” “Tuam na Farraige.” Irish, Hornpipe. Ireland, County Donegal. G Major. Standard tuning. ABB (Feldman & O’Doherty): AABB (Kennedy). A County Donegal hornpipe popularized by fiddler John Doherty and recorded by him on a CCE LP. Caoimhin Mac Aoidh, a Donegal musicologist who has studied Doherty, states that the translation is Doherty’s but that the Irish title translates loosely as “The Roar of the Sea.” He records that at different times Doherty credited the tune to the travelling fiddle masters Anthony Helferty (of the Inishowen and Ardara areas) and John Mhosai McGinley (a native of Glencolmcille). The evidence would seem to award composition of the tune to Helferty, who may have called it “The Roar of Loughros Mor” (a peninsula near Ardara). According to Mac Aoidh, the inspiration for the melody arose from the circumstance of Helferty finding himself too fatigued and inebriated while making his way home from playing all night for a dance--he stopped for a nap near the sea cliffs and the rhythm of the waves heard in his sleep formed the basis of the tune. Mac Aoidh maintains it is important to play the melody with G string double stops to get the effect of the droning of the waves, and also points out that most Donegal musicians play the tune at a slower tempo than a hornpipe, almost as a slow march, rendering it a listening piece rather than a dance tune. Source for notated version: fiddler John Doherty (1895-1980, County Donegal) [Feldman & O’Doherty]. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 83. Kennedy (Traditional Dance Music of Britain and Ireland: Rants & Reels), 1997; No. 2, pg. 3.   

                       


ATLANTIC WAVE, THE (Tonn an Atlantaigh). AKA and see "The Atlantic Hornpipe," “Atlantic Roar,” “Lad O’Beirne’s Favorite,” "Tuam na Farraige." Irish, Reel. G Major. Standard tuning. AABB (Breathnach, Mulvihill): AA’BB’ (O’Malley). Composition credited to Martin Muhaire in publisher Mel Bay’s Irish Session Tune Book. Some similarities to “Buckley’s Fancy” in Ryan’s Mammoth Collection (1883). Sources for notated versions: Gus Collins (Bronx, NY) [Mulvihill]; Larry Redican (d. 1975, Bronx, NY) [O’Malley]; Donegal fiddler John Doherty [Jordan]; Kerry fiddler Denis Murphy [Breathnach]. Breathnach (CRÉ V), 1999; No. 166, pg. 81. Jordan (Whistle and Sing!), vol. 2. Mulvihill (1st Collection), 1986; No. 230, pg. 62. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 10, pg. 5. Green Linnet GLCD 1111, various artists – “The Rights of Man.”

See also listing at:

Alan Ng’s Irishtune.info

X:1

T:Atlantic Wave, The

M:4/4

L:1/8

R:reel

Z:Transcribed Jeffrey Myers, from the playing of Billy McComiskey

K:G

(3DEF|G3 B d3B|cBcd efge|d2 BG dGBG|FDAD BDAD|G3 B d3 B|

cBcd efge|d2 (3gfe dcBA|(3GAG FA G2:|

|:(3Bcd|gfgd ed^ce|dfab adfa|bagf gdBG|FDAD BDAD|

G3 B d3 B|cBcd efge|d2(3gfe dcBA|(3GAG FA G2:|

X: 2

T: Atlantic Wave

M: 4/4

L: 1/8

Q: 350

S: Luke O'Malley vol 1

Z: Transcribed by Bill Black

R: Reel

K: G

(3DEF | G2 BG dGBG | cBcd efge | d2 BG DGBG | (3FED AD BDAF |

G2 BG dGBG | cBcd efge | dgfg ecAF | G2 GF G2 :|

|: (3def | g2 fg ed^ce | dfab afdf | bagf gdBG | (3FED AD BDAF |

G2 BG dGBG | cBcd efge | dgfg ecAF | G2 GF G2 :|

                       

ATTENTION, C'EST MON COEUR QUI VA CASSER (Be Careful, You're Breaking My Heart). Cajun, Waltz. USA, southwestern Louisiana. D Major. Standard tuning. A(Vocal)ABAA(Vocal)AA. Source for notated version: Aldus Roger and Phillip Alleman (La.) [Francois]. Francois (Yé Yaille Chère!), 1990; pgs. 332-333. Swallow Records SW-10196, Aldus Roger.

                       

ATTRAPEZ-MOI, JE TOMBE. See "Donnez-moi Mon Chapeau."

                       

ATTRAPEZ-MOI MON CHAPEAU. See "Donnez-moi Mon Chapeau."

                       

ATTWOOD (HORNPIPE). AKA and see “Charles Attwood.” Scottish, Hornpipe. G Major. Standard tuning. AABB. The melody was composed by Tyneside fiddler and composer James Hill. Kerr (Merry Melodies), vol. 1; No. 12, pg. 43.

 

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