The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

AU - AY

[COMMENT3] 

 

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]

 

[COMMENT4] 

AU GRAND CAFE. French Canadian, Air or Polka (2/4 time). F Major. Standard tuning. One part. Learned by French-Canadian fiddler Omer Marcoux (Concord, N.H.) after he heard the song sung as a prelude to a movie show. Miskoe & Paul (Omer Marcoux), 1994; pg; 1.

AU LONG DE LA RIVIERE. Cajun, Waltz. Swallow SW-6131, The Tracy Schwarz Trio - "Mes Amis!

AU VISIT LOU LOUP. Breton, Bourrée. Barnes (A Little Coupledance Music). Popcorn Behavior – "Journeywork" (1997).

AUBEY FOLEY’S JIG. Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AABB. A traditional tune. Cranford (Jerry Holland’s), 1995; No. 229, pg. 66. A & M Records 79602 2000-2, Ashley MacIsaac - "Close to the Floor" (1992).

AUBEY FOLEY’S REEL. Canadian, Reel. Canada, Cape Breton. B Flat Major. Standard tuning. AB. Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 50, pg. 15. Rounder Records, "Jerry Holland" (1976).

AUBEY FOLEY’S STRATHSPEY. Canadian, Strathspey. Canada, Cape Breton. B Flat Major. Standard tuning. AB. Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 49, pg. 15. Rounder Records, "Jerry Holland" (1976).

AUCHDON HOUSE. AKA- "Twa Craw" (song). AKA and see "Haughton House." Scottish, March. G Major. Standard tuning. AABB. Played in the Shetland Islands (especially Uist) as a wedding march, and sometimes labeled a “Shetland tune”. However, the melody is mainland Scottish in character and appears to have been originally called “Haughton House” (the “Auchdon House” probably being a miss-hearing). Haughton House is a manor in Aberdeenshire, near the village of Alford on the banks of the Don. Nigel Gatherer notes it was composed by a James Mitchell, and was published on a single sheet with variations by James Scott Skinner. The tune is similar to the melody of the Scottish folksong "Twa Craw:"

***

There were twa craw, sitting in a tree,

Sitting in a tree, sitting in a tree;

There were twa craw, sitting in a tree,

On a cold and frosty morning.

***

It was recorded by County Clare fiddler Joe Ryan (on "An Buchaille Dreoíte", where he lists it as a Shetland tune)—much in the rhythm of a barndance—and as a result has some currency in Irish sessions, however, all Irish sources seem to lead back to Ryan, who is said to have learned the tune in Dublin from a musician who had learned the tune in the Shetlands.

***

Carlin (Master Collection), 1984; No. 134, pg. 82. Cló Iar Chonnachta CICD 165, John Wynne & John McEvoy – “Pride of the West” (2007). Greentrax C9004, Jimmy Johnson (fiddle, with harmonium accompaniment by Pat Sutherland) – “Scottish Tradition – Shetland Fiddle Music."  Philo 1031, Boys of the Lough – “Lochaber No More” (appears as “Haughton House,” identified as a Shetland tune).

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:Auchdon House

M:2/4

L:1/8

R:March

Z:Transcribed by Paul de Grae

K:G

GB/G/ DG/D/ |B,/C/ D/B,/ G,A/B/ | cBAG | E2 EF |

GB/G/ DG/D/ | B,/C/D/B,/ G,A/B/ | c/B/c/e/ dF |1 G2 GD :|2 G2 Ge/f/ |:

gfed | ed B>d | cBAG | E2 EF | GB/G/ DG/D/ |

B,/C/D/B,/ G,A/B/ | c/B/c/e/ dF |1 G2 Ge/f/ :|2 G2 G2 ||

                       

AUCHENCRUIVE'S WELCOME. Scottish, March (4/4 time). A Major. Standard tuning. AB. Composed by William Hardie, Jr. Bill Hardie, William Jr.'s grandson, says "I could only have been in my early teens when I first heard my grandfather play this march. On inquiring as to its origins he replied: 'I composed this tune for you, Bill.' It has been in my memory ever since..." Hardie (Caledonian Companion), 1986; pg. 26.

                       

AUCHINDOUN CASTLE. Scottish, Reel. B Minor. Standard tuning. AAB. Composed by Alexander Walker. Auchindoun Castle, a three story tower house which in modern times is a ruin in poor condition, has had a tragic history. It was built in the 15th century for the unfortunate Earl of Mar, soon murdered by his brother, James III. Upon Mar’s death, the structure passed to Robert Cochrane, another unfortunate who was hanged in 1482. The Ogilvie clan held it for some years, but control passed to the Gordons in 1535, who in turn held it for 50 years until the Macintoshes ravaged the castle in 1591 in revenge for the murder of the Bonnie Earl o’ Moray. Although the castle was restored after the depredations of the Mackintishes, Gordon was killed a few years later in 1594 in the Battle of Glenlivet. By the 18th century the castle had fallen into disrepair and was abandoned, and stones from it were being appropriated for local building projects. The tune has some modern currency with Cape Breton fiddlers according to Paul Stewart Cranford (1991). Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 57, pg. 21.

                       

AUCHTERTYRE HOUSE. Scottish, Strathspey. D Major. Standard tuning. AA'B. Stewart-Robertson (The Athole Collection), 1884; pg. 123.

                       

AUDENARD BATTLE, OR LONDON SPY.  English, Jig. G Minor. Standard tuning. AABB. The town of Audenaerd is in Flanders. In 1708 an engagement was fought between British and French forces, resulting in a victory for the former. Narcissus Luttrell writes in A Brief Historical Relation of State Affairs (1857)

***

A general thanksgiving is appointed to be on Thursday, the 19th of August,

for our late victory over the French, near Audenard, when her majestie, ‘tis

said, will goe to St. Pauls, and hear Dr. Fleetwood, bishop of St. Asaph,

preach upon that occasion. An officer in our army in Flanders writes, that

‘tis in their power to invest which of the enemies towns they please, but

have not battering guns nor mortars nearer than Sas van Ghent, from whence

‘twill be difficult to get them, so long as the French lye on the canal near Bruges;

 and that a strong detachment was sent to inlarge the ways for our marching to

Rousselaer to straighten them. Tis said their army is diminish’d at least 20,000

men since the battle.

***

The melody was first published by I. Walsh and P. Randall in The New Country Dancing Master, 2nd Book (London, 1710). It subsequently appeared in several of the Walsh publications, including The Second Book of the Compleat Country Dancing Master (London, 1719), The Second Book of the Compleat Country Dancing Master, 3rd Edition (London, 1735), and The Second Book of the Compleat Country Dancing Master, 3rd Edition (London, 1749). It also appears in the later Playford editions, published by John Young: entitled The Dancing Master, or Directions for Dancing Country Dances (London, editions of 1713, 1714, 1718, and 1728). The second part only consists of six measures. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 6.

X:1

T:Audenard Battle, or London Spy

M:6/8

L:1/8

R:Jig

S:Walsh – Second Book of the Compleat Country Dancing Master, 3rd Edition (1735)

K:G Minor

g|g2d d2g|fdB B2e|ecA A2d|dBG G2g|g2d d2g|

fdB Be|ecA Bd^F|(G3 G2)::A|B>cB d2B|d/e/fB A2d|

G/A/BG A2D|G/A/Bc d2g|fdB AG^F|(G3 G2):|

 

AUGHACASHEL. Irish, Reel. G Major. Standard tuning. AABB’. Composed by fiddler and piano player Josephine Keegan (b. 1935), Mullaghbawn, south County Armagh, in remembrance of music played and heard in Aughacashel, outside Drumshanbo, County Leitrim. Keegan (The Keegan Tunes), 2002; pg. 23.

X:1
T:Aughacashel
C:Josephine Keegan
M:4/4
L:1/8
N:The first part is rather like "Bill Harte's," also called "Sarah Hobbs'"
K:G
DEGA BG (3GGG|AGBG AGEG|DEGA Bded|gedB ABGE|
DEGA BG (3GGG|AGBG AGEG|(3Bcd ed Bdge|dBAc BG G2 :|
gG (3GGG GABd|eBdB GABG|A2 AB AE (3EEE|cABG AGED |
g2 ga bg e2|gedB ABGE|DEGA Bdge|dBAc BG G2 :|
"variation, 2nd part"
gBB2 GABd|egdB GABG|A2 BG AGEG|cABG ABcd |
g3a bgaf|gedB ABGE|DEGA Bdge|dBAA GABd :|

                       

AUGHAMORE. Irish, Reel. D Major. Standard tuning. AA’BB’. Composed by County Cavan/Philadelphia fiddle player and composer Ed Reavy (1898-1988). Reavy (The Collected Compositions of Ed Reavy), No. 15, pg. 16.

X:1

T:Aughamore

M:2/2

L:1/8

C:Ed Reavy

S:The Collected Compositions of Ed Reavy

R:Reel

N:Delia's town, just a short distance from her native village of Aughtaboy.

N:Like so many beautiful Irish places names, Aughamore could fit nicely

N:into any charming line of verse.  No wonder the immigrant takes pride

N:in rehearsing the sound of his own native place.  He has lost much, but

N:certainly not all. No feeling can quite match that stirring of the heart

N:when an exile hears his "won place home" spoken on the lips of those he loves.

Z:Joe Reavy

K:D

FG | ADFA dAFG | ADFA fedc | BEED EFGf | gfed cAAc | dfdf cece |

BcdB AFDF | EFGA B2 (3dcB |1 cAGE D2 :|2 cAGE FD D2 ||

fgaf gece | dfed cAAg | fg (3agf bgec | dfeg fddf | afdf gece |

dfed cage | FGAB (3ccd ed |1 cAGE FD D2 :|2 cAGE D2 :||

                       

AUGHDARRA, THE. AKA and see "The Otter’s Den," "The Otter’s Hole," "The Water Dog’s Hole," "The Otter’s Holt," "Ríl an Madra Uisce," "The Water Hole," "The Windy Lane." Irish, Reel. Composed by Clare fiddler Junior Crehan. Source for notated version: Leitrim fiddler and piano player Charlie Lennon [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), vol. 4, No. 12.

                       

AUGHTABOY. Irish, Jig. G Major. Standard tuning. AABB’. Composed by County Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988). Reavy’s wife, Delia Morley (b. 1902), came from the village of Aughtaboy, County Monaghan, near the Cavan border. Reavy (The Collected Compositions of Ed Reavy), No. 87, pgs. 95-96.

X: 1

T:Aughtaboy

R:jig

C:Ed Reavy

M:6/8

L:1/8

Z:Joe Reavy

N:The village the Morleys came from Delia (Brigid),

N:Ed's wife, was born there February 18, 1902. The old

N:house still stands after these many years, though no

N:one now lives there. Four of the eight children are

N:still living: Delia and Margaret here in the States,

N:and Jim and Eileen in England.

K:G

D | GAG BGB | d^cd gdB | GFG BAG | FDF AGF |

GDB, G,B,D | DAF FEF | BdB cAF | AGF G2 :||

A | Bdg fdf | ece dBG | Bdg fdf | agf g2 A | Bdg fdf |

ece dBG | c/2c/2AG FEF | AGF G2 A ||

Bdg fdf | ece dBG | Bdg fdf | agf g2 a | bag faf |

gdc BAF | GBB FAA | cAF G2 ||

                       

AUGUSTA STAFF LADIES.  Canadian, Waltz. F Major. Standard tuning. AABB’. Composed by the late Cape Breton fiddler and composer Jerry Holland (1955-2009) in honor of the staff at the Augusta Heritage Festival held during the summer at Elkins, W.Va.  Cranford (Jerry Holland: The Second Collection), 2000; No. 321, pg. 116.

 

AULD... See also "Old ..."

                       

AULD BESSY. AKA and see "The Scotch Laddie," "Finnegan's Dream," "Garryowen."

                       

AULD BOB MORRIS. Scottish. The tune appears in Thomson's "Orpheus Caledonius" (1725) where it is ascribed to David Rizzio (Queen Mary's secretary and an accomplished lutenist and singer). The ascription was removed by Thomson from his second edition, and the veracity of Rizzio's authorship is questionable.

           

AULD BRIG O' AYR, THE. AKA and see "Johnnie Steele," "Benholm Castle," "The New Brig o' Dee," "Bob Steele," "The Miller o' Dervil." Scottish,  Strathspey. F Major. Standard. AB. The tune is paired on the page with “The New Brig o’Ayr.” Kerr (Merry Melodies), vol. 3; No. 155, pg. 18.

X:1

T:Auld Brig O’ Ayr, The

M:C

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 3, No. 155 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:F

(C2 C>)D F<F F>G|A>AG>F (D<F) (C<A,)|(C2 C>)D F<F F>G|A>G (A<c) d2 (3def|

(C2 C>)D F<F F>G|A>AG>F (A<c) (c<f)|d>ef>d c<A A>F|G>A B/A/G/F/ (D2 D)c||

A<c c>d f>ed>c|A>AG>F (D<F) (C<A,)|A<c c>d f>ed>c|A>G (A<c) (d2 d)c|

A<c c>d f>ed>c|A<A G>F (A<c) (c<f)|d>ef>d c<A A<F|G>A B/A/G/F/ (D2 D)C||

                       

AULD BRIG O' DON, THE. Scottish, Slow Air (‘Pastoral’). E Flat Major. Standard. AAB. Composed by J. Henry (1860-1914), who lived in Aberdeenshire and lead the Aberdeen Strathspey and Reel Society from its inception in 1903 until his death, according to Hunter. The author also reports that the old bridge at Balbownie, which spans the River Don, was built in the 13th and 14th centuries, and features a beautiful gothic arch, anchored on bedrock on either side and spanning sixty-seven feet. Henderson (Flowers of Scottish Melody), 1935. Hunter (Fiddle Music of Scotland), 1988; No. 60.

                          

AULD CHAPEL BRAE. Scottish, Air (4/4 time). G Major. Standard. AB. Composed by Bert Murray in memory of his grandfather, Alexander (Sandy) Murray of Banchory, Kincardine-shire. The air takes its name from the hill called Chapel Brae, where Murray's old cottar house was situated. Sandy was a fiddler who played at Lowlands social gatherings, often accompanied by his brother on the cornet and cousin on double bass. J. Murray Neil (1991) relates:

***

Sandy was an acquaintance of James Scott Skinner, who visited

him regularly. On those occasions, the children would sit

under the bed, which had been raised on blocks, while the

two men chatted and perhaps had a 'dram'. Scott Skinner

would often pass a small plug of tobacco through the spars

to the boys, which they would smoke in their clay pipes.

Sandy composed a number of fiddle tunes, which he wrote

out on strips of paper and left on the mantle‑piece, and which

occasionally could not be found after such a visit.

***

Neil (The Scots Fiddle), 1991; No. 95, pg. 128.

 

AULD CLETTEN ROE. AKA - "Auld Clett on Roe." AKA and see "I Went to the Well." Shetland, Wedding tune. Shetland, Mainland (district). D Major ('A' part), D Mixolydian ('B' part). Standard. AB. Shetland fiddler Tom Anderson said: "This tune was used as a 'test' tune at weddings in the old days. If the fiddler couldn't play it, or his playing was deteriorating, his 'supply' was cut off until he recovered." Anderson (Ringing Strings), 1983; pg. 62.

                       

AULD EAGE AND YOUNG NEVER GREES THE GITHER. See “Old Age and Young (Never Agrees).”

 

AULD FIDDLER, THE (BERT MURRAY). Scottish, Reel. A Major. Standard. AAB. Composed by Billy McGuire, formerly fiddler with the Scottish band the Whistlebinkies. Willie Hunter (with Violet Tulloch) – "Leaving Lerwick Harbour" (1995). Green Linnet SIF 3107, Aly Bain & Phil Cunningham – "The Pearl." X:1

T:The Auld Fiddler

C:Billy McGuire

S:Aly Bain \& Phil Cunningham

D:The Pearl

Z:Juergen.Gier@post.rwth-aachen.de

L:1/8

M:C|

K:A (3efg|a2ed cdBc|ABcd eaga|be (3eee c'e (3eee|d'ec'e be (3efg|\

a2ed cdBc|ABcd eaga|be (3eee ^de=de|cecB A2:|Ac|\

BE (3EEE BEcE|dEeE dEcE|BE (3EEE BEBc|dBGB A2Ac|\

BE (3EEE BEcE|dEeE dEcE|BE (3EEE ^DE=DE|CECB, A,3 c|\

BE (3EEE BEcE|dEeE dEcE|BE (3EEE BEBc|dBGB A2Ac|\

BE (3EEE cE (3EEE|dEeE fBgB|aeee ^dede|^defg a2|]

X:2

T:The Auld Fiddler

M:C

L:1/8

C:Billy McGuire

S:Arr G Blair

R:Reel

K:A

eg | a2 ed cdBc | ABcd eaga | beee c'eee | d'ec'e befg | a2 ed cdBc |

ABcd eaga | beee _e=ede | ceBe A2 :||: GA | BEEE BEcE | dEeE dEcE |

BEEE BEcE | dBGB A2 GA | BEEE cEEE | dEeE dEcE | BEEE _E=EDE |

CEB,E A,2GA | BEEE BEcE | dEeE dEcE | BEEE BEcE | dBGB A2GA |

BEEE cEEE | dEeE fEgE |1 aeee _e=ede | ceBe A2 :|2 aeee _e=e_e=e | _e=efg a2 ||

                       

AULD FOULA REEL, DA. AKA and see "Foula Reel," "Da Auld Reel," "Shaalds o' Foula." Shetland, Reel. A Major. AEae. AAB. The melody is the traditional accompaniment for a special dance from the Island of Foula, in the Shetlands. On the Island of Yell, also in the Shetlands, the tune in known as "Da Auld Reel," according to Alastair Hardie. Flett & Flett (1964) state that The Auld Reel was a Shetland dance for three couples (in Whalsay) traditional to the isles which, by 1900, had almost disappeared as a separate dance and survived in combination only with the Shetland Reel, having been supplanted by dances from the mainland of Scotland. The traditional Shetland wedding incorporated the Auld Reel and was performed into the last decade of the 19th century; these first Auld Reels were known as the Bride's Reels and were performed by the womenfolk present who danced them in turn. These were followed by the Bridegroom's Reels, with the men taking the place of the women and danced again in turn. "At the end of each of the Bride's Reels, the 'married woman' collected the 'fiddler's money' from the dancers. The bride and the other dancers in the first Reel usually gave a shilling, those in the next Reel gave a sixpence, and so on, descending to threepence from the last dancers of all...in the same way the 'married man' collected...from the men at the end of each of the Bridegroom's Reels. This 'fiddler's money' was the only payment which the fiddler received in those days, but with a big company it was a more than sufficient reward" (Flett & Flett, 1964). The whole series of dances could take up to two hours. In later years the Auld Reel was supplanted by Shetland Reels for most of the ritual, though it still was featured for a portion of the dancing. For an extensive and thorough treatise on the subject see Flett & Flett pgs. 70-74. Source for notated version: Tom Anderson (Shetland) [Hunter]. Hardie (Caledonian Companion), 1992; pg. 123. Great Meadow Music GMM 2002, Rodney Miller & David Surette – "New Leaf"

(2000).

                       

AULD GRADEN KIRN.  Scottish, Waltz. D Major. Standard tuning. AABB. The tune was in the repertoire of Borders fiddler Tom Hughes. A ‘kirn’ is an end-of-harvest celebration. Liner notes to Hughes 1981 recording give: "When Tom and his father played for dances this was the common tune for the St Bernard's Waltz.  Tom had no title to the tune but the kirn at Old Graden near Yetholm was always a great gathering.”

X:1
T:Auld Graden Kirn, The
S:Lori Watson, Fiddle 2003
Z:Nigel Gatherer
L:1/8
M:3/4                 
K:D
fe dB AG | FA df ed | B2 d3 B | A6 |
f3 efg | a2 f2 d2 | Bc dB cd | e6 |
fe dB AG | FA df ed | B2 d3 B | A6 |
g3 fga | a2 f2 e2 | d3 edc | d4 z2 :|
a3 eae | a2 e2 d2 | c2 B2 A2 | g6 |
g3 fgf | g2 f2 e2 | d2 c2 B2 | A6 |
a3 eae | a2 e2 d2 | c2 B2 A2 | g6 |
f2 e2 d2 | e2 B2 c2 | d3 edc | d4 z2 :|]

X:2
T:Auld Graden Kirn
S:LP, Tom Hughes and his Border Fiddle (1981)
Z:Nigel Gatherer
L:1/8
M:3/4
K:D
A2 | f>e d>B A>G | F>A d>f e>d | B2  d2  B2  | A4
f2 | g2  f2  a2  | a2  f2  d2  | B>c d>B c>d | e4
A2 | f>e d>B A>G | F>A d>f e>d | B2  d2  B2  | A4
f2 | g2 f2 a2 | a2 f2 e2 | d3 edc  | d3 ||
ef>g | a3 faf  | a2 f2 d2 |c2 B2 A2 | g6  |
g3  fgf  | g2  f2  e2  | d2  c2  B2  | A4
d>f | a3  faf  | a2  f2  d2 | c2 B2  A2 | g4
(3gag | f2 e2 d2 | e2 B2 c2 | d4 d2  | d4 |]

                       

AULD GRAY MARE, THE. English, Slip Jig. G Major. Standard tuning. AABB. The melody appears in the 1840 music manuscript collection of Cumbrian musician John Rook.

X:1

T:Auld Gray Mare, The

M:9/8

L:1/8

S:John Rook manuscript (Cumbria, 1840)

Z:AK/Fiddler’s Companion

K:G

e|dBG BdB A2e|dBG BdB A2e|dBG BdB GAB|cde gdB A2:|

|:g|gf/e/f/g/ BgB G2g|gf/e/f/g/ BgB A2g|gf/e/f/g/ BgB GAB|cde gdB A2:|

                       

AULD HOUSE, THE. Scottish, Highland Schottische. G Major. Standard tuning. One part (Neil): AABB (Kerrs). The tune and song in the traditional style are by Lady Nairne, popular until before the Second World War.

***

The mavis still doth sweetly sing,

The bluebells sweetly blaw,

The bonny Earn's clear winding still,

But the Auld House is awa'.

The Auld House, the Auld House,

Deserted tho' ye be,

There ne'er can be a new house

Will seem sae fair to me?

***

Kerr (Merry Melodies), vol. 3; No. 207, pg. 24. Neil (The Scots Fiddle), 1991; No. 109, pg. 146.

 

AULD INN, THE. Scottish, Jig. A Major. Standard. AABB. Kerr (Merry Melodies), vol. 4; No. 265, pg. 28.

X:1

T:Auld Inn, The

M:6/8

L:1/8

R:Jig

S:Kerr – Merry Melodies, vol. 4, No. 265  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

E | EFG AGA | F2B B3 | G2e e3 | c2A AGF | EFG AGA | F2B B2A |

GAB AGF | (E3 E2) :: d | cBc ABc | (d3 d2)c | BAB GAB | (c3c2)B |

A2A ABc | d2F B2A | G2e dcB | (A3 A2) :|

                       

AULD JEW, THE. AKA and see "Black Headed Dearie" (Ceann Dub Oilir), "The Irish Round," "Kennington Wells." Scottish. Williamson got the tune from a 'very old' Scottish manuscript printed by Stenhouse. It was known in the Scottish Highlands as "Cuir, a Ghaoil Dileas, Tharrum do Lamh," which translates as 'Place, True Love, Thine Arm About Me'. A similar tune was apparently known to Irish harpers, according to the Scottish fiddler and composer Fraser (1816) who states that, notwithstanding their own national prejudices, on hearing his Scottish rendition they at once relinquished all claim to it "considering their own an imperfect imitation of the original." Flood (1906) claims Irish composition for the tune, dating it to the first decade of the 17th century or earlier, but indicating it was known as "The Auld Jew" in Scotland. Flying Fish FF358, Robin Williamson ‑ "Legacy of the Scottish Harpers, vol. 1."

                       

AULD JOE OF HARESHAWHEAD. AKA – “Old Joseph of Hareshawhead.” English, Strathspey. England, Northumberland. G Major. Standard tuning. AABBCCDD. Composed by musician, teacher, composer, dancing master and fiddler Robert Whinham (1814-1893), originally from Morpeth. Graham Dixon (1995) discovers that Hareshawhead is a farm on the Bellingham-to-Otterburn Road, Northumberland, and that “Auld Joe” is reputed to have referred to Joe Armstrong, the farmer. See also note for “The Coal Fiddle.” Source for notated version: an unattributed 19th century manuscript in the collection of Tommy Breckon [Dixon]. Dixon (Remember Me), 1995; pg. 44.

                       

AULD KIRK, THE. Scottish, Strathspey. E Major. Standard tuning. AABB’. Kerr (Merry Melodies), vol. 4; No. 133, pg. 16.

X:1

T:Auld Kirk, The

M:C

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 4, No. 133  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:E

g>ed>B (c<e) d2 | c>BA>G F<A F>D | g>fe>d (e<g) d2 | c<A d>B G3d :|

|: B<G G>A B<d d>B | c>BA>G F<A F>D | B<G G>A B<d d<g |1

c<A d>B G3d :|2 (3efg (3fga g3 z ||

                       

AULD LANG SYNE. Scottish, Air (2/4 time) or Strathsepy. F Major (Neil): G Major (O’Farrell, Sumner): A Major (Stewart-Robertson). Standard tuning. AABB. Robert Burns (1759-1796) had the air to which he wrote his famous lyrics from an old man's singing, and immediately wrote it down upon hearing as he thought it "exceedingly expressive" and which he later remarked "has often thrilled through my soul." The song was sent by him to Johnson for inclusion in the Scots Musical Museum with a note that it was an old song with additions and alterations (Neil, 1991). Fuld (1966) states that the extent of Burns' responsibility for the words and tune has always been controversial, and states that it is "generally agreed that he was not the author of the words of the first verse," which he points out is the only one everyone knows. According to Robert Chambers [Scottish Songs Prior to Burns, 1890], the earliest printing of a song called "Old-Long-Syne" [sic] with the famous opening line is in James Watson's Scots Poems, Part III, pg. 71 (Edingburgh, 1711). Chambers wrote that he song appears "as early as the reign of Chas. I, its associations conveyed in a song of many (10) stanzas", finally "brought together (in Watson’s book) in a song of many stanzas." In fact, there were ten stanzas given in Scots Poems. These early printings, including Burns’ version, were to melodies other than the air famous in modern times (interestingly, Burns wrote another song to the "Auld Lang Syne" melody that is substantially the one we know today, which he called "O Can Ye Labor Lea, Young Man," also known as "I Fee'd a Man at Martinmas," found in the Scots Musical Museum [Edinburgh, 1792-1793]). See abc’s below.

***

Fuld finds identifying motifs for the modern melody for "Auld Lang Syne" in Playford's "The Duke of Buccleugh's Tune" in Appolo's Banquet (1687), and subsequently and more elaborately as "The Miller's Wedding" (in Bremner's Scots Reels, c. 1765), "The Miller's Daughter [1]," "The Lasses of the Ferry," "Sir Alexander Don's Strathspey," "Roger's Farewell," an the "Overture" to William Shield's opera Rosina (London, 1783). A minor-key tune called "Old Lang Syne, by Mr. Beck" is in the Balcarres manuscript (a lute manuscript at Balcarres House in Fife), and shows some similarities to the tune in Volume 4 of the Scots Musical Museum. The Balcarres tune also appears in Playford’s A Collection of Original Scots Tunes (1700) and the Sinkler Manuscript (1710). According to Fuld the words and the present melody were first printed together in 1799 in George Thompson's A Select Collection of Original Scottish Airs (London), but, Fuld states, "it is not clear whether Thomson or Burns brought the words and melody together," and it is not clear exactly which air Burns heard the aforementioned old man singing. The late Bruce Olson, however, found another version of the song called "Auld Lang Syne" in both editions of Orpheus Caledonius (c. with the tune, and called “The Soldier's Welcome Home” in Walsh's British Musical Miscellany, III, n.d. (1735).

***

Stewart-Robertson prints a strathspey version of the tune arranged by John MacAlpin of Killin, for dancing. Ludwig van Beethoven arranged a setting of "Auld Lang Syne" early in the 19th century.

***

As a young man Mark Twain thought to learn music and tried first one instrument, then another, before finally settling down with an accordion. After determining its rudiments, he learned the popular air “Auld Land Syne,” and for about a week he continued to torture his unwilling listeners with the melody, when he, being of an ingenious turn of mind, endeavoured to improve upon the original melody by adding some variations of his own device. Just as he finished the tune with a suitable flourish, his landlady stepped into his room and said, “Do you know any other tune but that, Mr. Twain?” He told her meekly he did not. “Well then,” said she, “stick to it just as it is; don’t put any variations on it; because it is rough enough on the boarders the way it is now.” As it happened, half the boarders left anyway, while the other half would have had not the landlady discharged Twain first. The aspiring musician went from house to house, but none would undertake to keep him after one night’s music, so, at least, in sheer desperation he went to board with an Italian lady--Mrs. Murphy, by name. He says:

***

The first time I stuck up the variations, a haggard care-worn,

cadaverous old man walked into my room and stood beaming

upon me a smile of ineffable happiness. Then he placed his hand

upon my head, and looking devoutly aloft, he said with feeling

unction: “God bless you, young man! God bless you! for you

have done that for me which is beyond all praise. For year I

have suffered from an incurable disease, and knowing my doom

was sealed, and that I must die, I have striven with all my power

to resign myself to my fate, but in vain--the love of life was too

strong within me. But heaven bless you, my benefactor! For since

I heard you play that tune and those variations, I do not want to

live any longer--I am willing to die--in fact, I am anxious to die.”

And then the old man fell upon my neck and wept a flood of happy

tears. I was surprised at these things, but I could not help giving the

old gentleman a parting blast, in the way of some peculiarly lacerating

variations, as he went out of the door. They doubled him up like a

jackknife, and the next time he left his bed of pain and suffering he

was all right, in a metallic coffin.

***

At last Twain gave up the instrument, and from then on gave amateur musicians a wide berth.

***

Burns verses (from a letter of 1793 to publisher George Thomson) go:

***

Should auld acquaintance be forgot,

And never brought to mind?

Should auld acquaintance be forgot,

And days o' lang syne?

Chorus:

For auld lang syne, my Dear,

For auld lang syne,

We'll tak a cup o' kindness yet,

For auld lang syne -----

***

We twa hae run about the braes,

And pu't the gowans fine;

But we've wander'd mony a weary foot

Sin auld lang syne -----

***

We twa hae paidlet i' the burn,

Frae mornin' sun till dine:

But seas between us braid hae roar'd,

Sin auld lang syne.----

***

And there's a hand, my trusty feire, 

And gie's a hand o' thine,

And we'll tak a right gude-willie waught,

For auld land syne ----

***

And surely ye'll be your pint-stowp,

And surely I'll be mine;

And we'll tak a cup o' kindness yet,

For auld lang syne. ---

***

Source for notated version: the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Ashman (The Ironbridge Hornpipe), 1991; No. 72b, pg. 30. McGibbon (Scots Tunes, Book 1) c. 1762; pg. 14. Neil (The Scots Fiddle), 1991; No. 189, pg. 244. O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 9 (appears under the title “Why should Old acquaintance be forgot”). Stewart-Robertson (Athole Collection), 1884; pg. 1. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 83 (originally set in the key of ‘C’ major). Tannahil Weavers IV (1981. See abc X:2).

X:1

T:Auld Lang Syne

M:C

L:1/8

N:”As arranged by John McAlpin, Killen”

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

Z:AK/Fiddler’s Companion

R:Strathspey

K:A

E|A2A>c B>AB>c|AAA>a f2f>a|e<cc>A B>AB>c|A>FE>F A2A:|

|:a|e<cc>A B>AB>c|e<cc>e f>ga>f|e>cc>A B>AB>c|A>FE>F A2A:|

X:2
T:Auld Lang Syne
S:??, heard on Thistle and Shamrock and possibly misremembered

N: (AK)This is the Tannahill Weavers (IV) version
Z:Jerome Colburn
M:2/4

L:1/8
K:D
DE | F3 G | A2 F2 | E3 D | D3 D | D2 d2 | c2 d2 | B4 |-B2  \
Bc | d3 d | c2 BA | B3 A | E4 |-E2 \
dc | B3 A | FEFA | B4 |-B2 :|**

X:3

T:Auld lang Syne

M:C

L:1/8

R:Air

N:”Slow”

S:McGibbon – Scots Tunes, Book 1 (c. 1762)

Z:AK/Fiddler’s Companion

K:F

cd | f3g (fg) a2 | c2A2 “tr”G2F2 | f2d2 (fg/a/) ”tr”(g>f) | d3f d2 :: fg | a2F2 (Ac)dF | A2(GA) G3A | c3d (cd)cA |

(cA)(cd) f2 (cB) | A2 (GF) A>BcA | (dc)”tr”(BA) G(BAB) | (cA)(cd) (fc)(dA) | c3d c2 :: cd | fcfg (f>ga)A |

(cA)cd (cA)”tr”(GF) | fcfg (f/g/a) “tr”(g>f) | d3f d2 :: fg | (a/g/f/g/ a)F Acdf | A2 (GA) G3A | (c/B/A/B/ c)d (f/d/c) (d/c/A) |

cAcd f2 (cB) | Ac (B/A/)(G/F/) (A/G/A/B/) (A/B/c/A/) | (dc/)d (BA/)B (GB)(AB) | (c/A/G/A/) cd (f/d/c) (d/c/A) | c3d c2 :|

           

AULD LUCKIE. Scottish, Strathspey. C Major. Standard tuning. AB. Kerr (Merry Melodies), vol. 3; No. 123, pg. 15.

X:1

T:Auld Luckie

M:C

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 3, No. 123  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:C

c<c e>c g>ce>c | G>AG>F (E<G) G2 | c<c e>c g>ce>c | d>ed>c (B<d) d2 |

c<c e>c g>ce>c | G>AG>F (E<G) G>c | A>Bc>d e>fg>a | (3gfe (3def e<c ce ||

g>g e>g a>ge>c | G>AG>F (E<G) G2 | g>g e>g a>ge>c | d>ed>c (B<d) d2 |

g<g e>g a>ge>c | G>AG>F (E<G) (G<c) | (3agf (3gfe (3fed (3edc | B<d g>f (e<c) c2 ||

                       

AULD MAID OF FIFE. Scottish, Jig. Bayard (1981) considers this Oswald tune a variant of "Muirland Willie."

           

AULD MAID WAD BE MARRIED. AKA and see “My Mither/Minnie is Aye Glowren O’er/Ower Me.” Scottish, Air (6/8 time). G Minor. Standard tuning. AB. Howe (1000 Jigs and Reels), c. 1867; pg. 120.

X:1

T:Auld Maid Wad be Married

M:6/8

L:1/8

R:Air

S:Howe – 1000 Jigs and Reels (c. 1867)

Z:AK/Fiddler’s Companion

K:Gmin

G>AG F2D | B>cB A>Bc | d>ed c2B | f3d3 | Bcd/e/ f2d | c>AF FGA | B2G AFD | B3G3 ||

g>ag f2d | g>ab a2g | fdb fdB | f3 gab | f<dB Bfd | cAF FGA | BAG AFD | B3G3 ||

           

AULD MAN ILL NE’ER DIE, THE.  See “The Old Man Will Never Die.”

                       

AULD MAN IS LONG A DYING, THE. See “Old Man Will Never Die, The.”

                       

AULD MAN’S FROM HOME, THE.  English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABB. The melody is unique to London publishers Charles and Samuel Thompson’s 1757 country dance collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 46.

X:1

T:Auld Man’s from Home, The

M:2/4

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:G

d2 BG|e2 d2|e/f/ g2 f|g2 G2|b2 ge|a2 fd|e/f/g fe|d2 D2:|

|:d2 D=F|ED E2|e2 EG|FE D2|E/F/G F/G/A|G/A/B A/B/c|G/A/B DF|G2 G,2:||

                         

AULD MAN'S MARE'S DEAD, THE. Scottish, English; Strathspey ("Slowish"). England, Northumberland. E Minor (Alburger, Emmerson, Gow): A Minor (Johnson): A Dorian (Aird). Standard tuning. AB (Aird, Alburger, Emmerson, Gow): AABB (Johnson). The composition is generally credited to one of the first famous Scottish fiddlers, Patrick ('Patie') Birnie of Kinghorn (for whom various dates have been given, including c. 1660-1730 and c. 1635-1721). Ramsay introduced him as:

***

The Famous Fiddler of Kinghorn,

Wha alaid the stick out o’er the string,

With sic an art,

Wha sang sae sweetly to the Spring,        [Ed.: Spring=tune, melody]

And rais’d the heart.

***

An 18th  century writer described Birnie as having a face that mingled "cleverness, drollery, roguery and impudence," which has certainly been captured in the one portrait of him that still exists (reproduced in Emmerson 1971), painted by William Aikman (1682-1731). For more on Patie, who seems quite a character, see Alburger, pgs. 29-30. There are some doubts, however, that the tune we now know by the “Auld Man’s Mare’s Dead” title was Patie’s composition. The only attribution to him is from Alan Ramsay, in his “Elegy on Patie Birnie” dated January 25th, 1721, and the tune itself does not appear until Aird’s vol. II (1782), according to John Glen (Early Scottish Melodies, 1900). The song (without music) appears in The Scots Nightingale (1779), where it is attributed to a “Mr. Watts” (by what authority it is not known). James Dick (The Songs of Robert Burns, 1903) concluded Birnie was not the author of the song.

***

 The title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he wrote c. 1800, and it is song number 485 in J. Johnson’s Scots Musical Museum, the notes to which Stenhouse ascribes a date of 1660 to the song (although with what evidence it is not known). Collinson (1966) says the wide intervals (10th and 9th in the sixth and seventh bars) "points clearly to its fiddle origin."

***

The auld man's meer's dead

The puir man's meer's dead

The puir man's meer's dead

A mile aboon Dundee

***

She was cut luggit painch lippit

Steel waimit, staincher fitit

Chanler chafit, lang neckit

Yet the brute did dee!

***

Source for notated version: Dr. John Turner, director of the Jink and Diddle School of Scottish Fiddling, held yearly in Valle Crucis, North Carolina [Johnson/2003]. Aird (Selection of Scotch, English, Irish and Foreign Airs), vol. II, 1782; No. 158, pg. 58. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 11, pg. 30. Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 57, pg. 148. Carlin (The Gow Collection), 1986; No. 6. Johnson (The Kitchen Musician's No. 10: Airs & Melodies of Scotland's Past), 1992 (revised 2001); pg. 12. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 1. Fiddletree F2580, John Turner ‑ "Fiddling Rogues and Rascals, vol. 1" (1981).

X:1

T:Auld Man’s Mare’s Dead, The

M:C

L:1/8

S:Aird, vol. II (1782)

Z:AK/Fiddler’s Companion

K:Ador

z | EAA>B A2 g>f | d<B A>G G>AdG | cBcd e>fg>a | g<e g>B A2 A :|

g | a>bag a>bae | g>ab>a ge d(g/a/) | b>age deg>a | g<e g>B A2 A :|

                       

AULD NOOST, THE. Shetland, Air. Whirlie Records CD2, Aly Bain - "First Album" (1984).

                       

AULD PEAT ROD, DA. Shetland, Jig. A Dorian. Standard tuning. AABB. Composed by Tom Anderson (1974). Anderson (Ringing Strings), 1983; pg. 25.

                       

AULD REEL, DA. See "Da Auld Foula Reel."

                       

AULD RESTIN' CHAIR, DA. Shetland, Air. B Minor. Standard tuning. Composed by the late Shetland teacher, collector, composer and fiddler Tom Anderson, in memory of his grandfather, who first taught him the instrument. Cottey Light Industries CLI-903, Dexter et al - "Over the Water" (1993). GN1, Joe Thoma - "Up the Track: Traditional Music from Kenmare." Green Linnet SIF-1051, Jackie Daly, Seamus & Manus McGuire - "Buttons and Bows" (1984). Topic Records, Tom Anderson & Aly Bain - "The Silver Bow" (1976).

                       

AULD ROAD TO TOWIE, THE. See "Tigh Eachinn."

                       

AULD ROB MORRIS. AKA and see "Jock the Laird’s Brother." Scottish, Slow Air (3/4 time). G Major. Standard tuning. AABB. The tune first appears in the Leyden Manuscript (c. 1690) and subsequently appeared in Orpheus Caledonius (1725) and other manuscripts. It was frequently printed in 19th century Scottish songsters. Under the title "Jock the Laird’s Brother” the tune was printed in the Blaikie Manuscript (1692). McGibbon (Scots Tunes, Book 1), c. 1746; pg. 4.

X:2

T:Auld Rob Morris

M:3/4

L:1/8

R:Air

N:”Slow”

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

Z:AK/Fiddler’s Companion

K:G

(G/A/B) | G3ED2 | E2G2(ge) | “tr”d3B AG | A4 (G/A/B) | (G>A)(G>E) D2 | (E2G2)g2 |

(d>e)(d>B)(A>B) | G4 :: c>B | A2A2(Bd) | e2e2g>a | (b/a/g) (a/g/e) g>B |

({B}A4) “tr”(BA) | G>AG>E D2 | E2G2 (e/f/g) | (d>g)(B>g)(A>B) | G4 :|

                       

AULD ROBIN GRAY [1]. Scottish, Slow Air (4/4 time). G Major (Hunter): F Major (Neil). Standard. One part (Hunter): AB (Neil). The air which superseded the older air was composed by Englishman Reverend William Leeves (1748-1828), rector of Wrington in Somerset, to words composed by the Lady Anne Barnard (nee Lindsay, 1750-1825, the eldest daughter of the 5th Earl of Balcarres in Fife). The melody (which, while technically English in provenance, is accepted as Scottish) was set to a song by Lady Barnard, who wrote her lyrics to the favorite tune of one Suphy Johnson of Hilton. Suphy, incidentally, became "one of the intelligent eccentrics of Edinburgh society--the girl who, as an experiment, was left to educate herself, who dressed in an oddly masculine manner, who practiced blacksmithing as a hobby, and played the fiddle!" (Emmerson, 1971). Lady Barnard had the reputation of being comely, quick witted, and vivacious and has been referred to as 'the daughter of a hundred earls' (Neil, 1991). She married at the rather advanced age of 43 to one Andrew Barnard, Bishop of Limerick, who died in 1807. Lady Anne apparently preferred her work to remain anonymous and shunned publicity, however, Neil (1991) tells the story that, on one occasion, she sang "Auld Robin Gray" for Lady Jane Scott (the writer of the modern "Annie Laurie"), who remarked "that she had sung it as if it were her own, and if Lady Barnard would give her a copy, she would keep the secret" (Neil, 1991). The following is the last verse of the song composed by Lady Anne (who originally set the words to the Scottish tune "The Bridgroom Grat"):

***

I gang like a ghaist and I carena to spin,

I darena think o' Jamie, for that wad be a sin;

But I'll do my best a gude wife to be,

For auld Robin Gray is kind to me.

***

The real Robin Grey was a shepherd on her father's estate of whom the children were rather fond, but the tale related in the song seems to have been fashioned from fantasy. It tells of a young woman, forced by poverty to wed an elderly man, Auld Robin Grey, though she loves young Jamie. She is forced to endure a number of travails, such as Jamie going off to sea, her father breaking his arm, her mother sick, her marriage, but the final sorrow was supplied by Lady Anne's younger sister, Elizabeth, who suggested "steal the cow, sister Anne", and the verse was completed.

***

The melody was a favorite piece de resistance of many Scottish fiddlers, including J.S. Skinner in the latter 1800's, and fiddler Peter Milne (-1908), the ‘Tarland Minstrel’, who received a silver medal from Queen Victoria at Balmoral for his rendering of “Auld Robin Gray.” A hornpipe setting was also recorded in 1910 by melodeon great Peter Wyper (paired with an untitled hornpipe now called “Peter Wyper’s”). In America, the song was included in the music manuscript copybook of Henry Livingston, Jr.  Livingston purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 he was a Major in the 3rd New York Regiment, which participated in Montgomery’s invasion of Canada in a failed attempt to wrest Montreal from British control. An important land-owner in the Hudson Valley, and a member of the powerful Livingston family, Henry was also a surveyor and real estate speculator, an illustrator and map-maker, and a Justice of the Peace for Dutchess County. He was also a poet and musician, and presumably a dancer, as he was elected a Manager for the New York Assembly’s dancing season of 1774-1775, along with his 3rd cousin, John Jay, later U.S. Chief Justice of Governor of New York.

***

“Auld Robin Gray” was the march past in slow time of the 99th Lanarkshire Regiment. Through a series of amalgamations in the re-organizing of the British army the Lanarkshire’s became The Duke of Edinburgh’s Regiment in 1874, the 2nd Battalion The Wiltshire Regiment in 1881, the Duke of Edinburgh’s Royal Regiment in 1959, and most recently the Royal Gloucester, Berkshire and Wiltshire Regiment; through it all “Auld Robin Gray” has been retained [David Murray, Music of the Scottish Regiments, Edinburgh, 1994; pg. 210].

***

Davie's Caledonian Repository. Hunter (Fiddle Music of Scotland), 1988; No. 8. Neil (The Scots Fiddle), 1991; No. 15, pg. 21.

X:1

T:Robin Gray [1]

M:C

L:1/8

R:Air

S:Henry Livingston’s manuscript copybook, late 18th century

Z:AK/Fiddler’s Companion

K:D

D | F>GA>B A3A | B>G d>B BA zD | (F>G) A>B ({B}A2) G>F | E>DG>F (F2E) D |

F>GA>B {G}A3A | B>c d>F {A}G2 D>E | (F<A) (d>f) (g<e) (c>d) | F>GE>F D2 z ||

 

AULD ROBIN GRAY [2]. Scottish, 'Guaracha' Waltz. G Major. Standard tuning. One part. Kerr (Merry Melodies), vol. 3; No. 315, pg. 34.

X:1

T:Auld Robin Gray [2]

M:3/4

L:1/8

R:Waltz

S:Kerr – Merry Melodies, vol. 3, No. 315  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

G2 | (B4c2) | (d4e2) | e6 | d4d2 | (e4c2) | (g4e2) | (d6 | d4)G2 | (B4c2) | (d4e2) |

(e4d2) | (c4B2) | (A4G2) | (c4B2) | B6 | A4G2 | (B4c2) | (d4e2) | e6 | d4d2 |

(e4f2) | (g4B2) | d6 | (c4A2) | (B4d2) | (g4b2) | (c’4a2) | (f4g2) | B6 | A6 | (G6 | G2) z2 :|

 

AULD SCOTCH SANGS, THE. Scottish. Beltona BL2135 (78 RPM), Edinburgh Highland Reel and Strathspey Society (1936).

 

AULD SNATWELL. Shetland, (Slow) Jig. G Major. Standard tuning AABBCCDD. Perhaps a wedding tune. Anderson (Ringing Strings), 1983; pg. 59. Great Meadow Music GMM 2002, Rodney Miller & David Surette – “New Leaf” (2000).

                       

AULD SPRINGS (TUNES) GEES NAE PRICE. Scottish, Strathspey. G Major. Standard tuning. AAB. Spring is a Scots term for tune. Carlin (The Gow Collection), 1986; No. 7. Gow (Complete Repository), Part 2, 1802; pg. 11.

X:1

T:Auld Springs Gees Nae Price

M:C

L:1/8

R:Strathspey

S:Gow – 2nd Repository (1802)

Z:AK/Fiddler’s Companion

K:G

G2{G}g>e (e/d/)c/B/ d2|GA/B/ gB A>GAB|G2 {f}g>e e/d/c/B/ d2|(g>a/2b/2) ag e>deg:|

(gb)(eg) de {c}B2|de/f/ gB A>GAB|gbeg de {c}B2|de/f/ gd e>deg|(gb)(eg) de/d/ (c<B)|

de/f/ gB A>GAB|G2{G}g>e (e/d/)c/B/ d2|(g>a/2b/2) ag e>deg||

 

AULD STEWART'S/STUART'S BACK AGAIN. AKA and see "Old Stewart's Back Again." Scottish, Reel. D Mixolydian. Standard tuning. AB (Surenne): AAB (Gow, Vickers): AABB' (Athole). According to John Glen the piece was first published in Neil Stewart's 1761 collection (pg. 23), however, the tune appears to be popularly known somewhat earlier than that, as evidenced by this excerpt from a letter written by Ralph Bigland in 1749 of an entertainment on the London stage (quoted by Emmerson, 1972):

***

I have since I came here [London] been lately two or three times at the play

and what invited me most was to see a new dance called the Scots Dance

consisting of about 20 lads and lasses dress'd after the Highland fashion. The

scene represents a very romantic, rocky, or mountainous country seemingly,

at the most distant view you behold a glorious pair (which far surpass all the

other actors) sitting among the rocks, while the rest are dancing below among

groves of trees. Some are also representing with their wheels a spinning; all

the while the music plays either Prince Charlie's minuet or the Auld Stewarts

Back Again. At last descends from the mountains the glorious pair which to

appearance is a prince and princess. Then all the actors retire on each side

while the royal youth and his favourite dance so fine, in a word that the

whole audience clap their hands for joy. Then in a moment the spinning

wheels are thrown aside and every lad and lass join in the dance and jerk

it away as quick as possible while the music briskly plays--Over the Water

to Charlie, a bagpipe being in the band. In short it was so ravishing seemingly

to the whole audience that the people to express their joy clap their hands in a

most extraordinary manner indeed.

***

Carlin (The Gow Collection), 1986; No. 525. Gow (Complete Repository), Part 2, 1802; pg. 37. Seattle (William Vickers), 1987, Part 3; No. 516.  Stewart-Robertson (The Athole Collection), 1884; pg. 102. Surenne (Dance Music of Scotland), 1852; pg. 74.

X:1

T:Auld Stewart’s Back Again, The

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:D

=c|BGAG F>GA=c|BGAF BEE=c|BGAG F>GAg|fdec dDD:|

|:g|f>gaf gabg|f>gaf beeg|1 f>gaf gabg|fdec dDD:|2 fgaf gabg|faef dDD||

 

AULD STEWARTS OF FORTHERGILL. Scottish, Cape Breton; Reel. USA, New Hampshire. C Major. Standard tuning. AAB. The melody has long been a favorite among Cape Breton fiddlers. Source for notated version: Cape Breton style fiddler Harvey Tolman (Nelson, New Hampshire) [Little]. Cranford (Jerry Holland: The Second Collection), 2000; No. 71, pg. 29. Little (Scottish and Cape Breton Fiddle Music in New Hampshire), 1984; pg. 2. Stewart-Robertson (The Athole Collection), 1884.

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index 

X:1

T:Auld Stewarts of Forthergill

M:C|

L:1/8

C:James Stewart-Robertson

R:Reel

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

Z:AK/Fiddler’s Companion

K:C

E|C2EG c2eg|agec dAAc|C2EG c2eg|gede c/c/c ~c:|

g|agec dcAc|GcEc Addg|agec dcAc|GEDE CC/C/ C3g|

agec dcAc|GcEc Adde|C2EG c2ea|gede c/c/c ~c||

                       

AULD STOER'S BACK AGAIN, DA. Shetland, Reel. G Mixolydian. Standard tuning. AAB. A 'stoer' was a copper coin. Anderson (Ringing Strings), 1983; pg. 53.

           

AULD STYLE’S AWA’, THE.  Scottish, Air (4/4 time). A Major. Standard tuning. AAB. Composed by James Scott Skinner. Skinner (Harp and Claymore Collection), 1904; pg. 13.
X:1

T:Auld Style’s Awa’, The

M:C

L:1/8

R:Air

N:”Andante”

S:Skinner – Harp and Claymore Collection  (1904)

Z:AK/Fiddler’s Companion

K:A

A,2 (C>B,) A,/C/E/A/ c/e/a/z/ | ({G}A).E./.C/ .F.D/.B,/ E.C/.A,/ .D.B,/.G,/ | A2 (C>B,) .A,/.C/.E/.A/ .c/.e/.a/(C |1

D)CB, (Ee)d c>(A A)z :|2 D)CB, (Ee) c>(A A)e || (eac’) (e’c’a) d’2c’2 | c’2b’2 (a>g) (f>e) | (eac’) (e’c’a) d’2c’2 |

(c’>b) (a>g) (b2a) e | (eac’) (e’c’a) (f>d’) (e>c’) | (d>b) (c>a) (6f/e/d/c/B/A/ (6G/F/E/D/C/B,/ |

(A,2 C>)B, (A,/C/E/A/ c/e/a/)(C/ | D)CB, Eed c>(A A2) ||

                       

AULD SWARRA. AKA – "Da Auld Swarra Jupie." Shetland, Air ("Lament"). G Major. Standard tuning. ABB’. The tune is a lament for fishermen who died in the many disasters during the Haff Fishing in the 19th century, when men set out in sixtereens, six-oared open fishing boats. "Superstition forbade any man to be mentioned by name," explain Aly Bain and Tom Anderson, and instead his clothes were lamented; as Purser (1992) says, "probably the only thing he could have been identified by anyway." Swaara refers to the thick woolen undergarment worn by fisherman of that time. Anderson states the melody was played in the North Isles of Shetland for many years, but thinks it might be a variant of a tune from outside the borders of the Islands. Anderson prints Peter Fraser's version, which is "somewhat similar" to John Stickle's published tune. Cooke (1986) says: "...The abrupt pitch changes suggest Norse origins and the name 'Swarra' is Norse." Purser (1992) states: "Its uneven phrases and rough-hewn shape are dignified at the same time, and have echoes of the Norwegian style too." Sources for notated versions: from the playing of "the late" Peter Fraser of Finnigarth, Waas, Shetland [Anderson]; John Stickle (Shetland) [Purser]. Anderson, 1979 (Haand Me Doon Da Fiddle). Purser (Scotland’s Music), 1992; Ex. 5, pg. 231. Topic 12TS379, Aly Bain and Tom Anderson ‑ "Shetland Folk Fiddling, Vol. 2" (1978).

 

AULD TOUN/TOON O' AYR, THE. Scottish, Strathspey. D Major. Standard tuning. AB (Hunter): AA'B (Kerr). Hunter (The Fiddle Music of Scotland), 1988; No. 88. Kerr (Merry Melodies), vol. 2; No. 161, pg. 19. Stewart-Robertson (The Athole Collection), 1884; pg. 111.

X:1

T:Auld Toun o’ Ayr, The

M:C|

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:D

F|D<DF<A d3c|B/A/B/c/ d>B A<F F>d|D<DF<A d3f|(3efg (3gfe d<B B>d|

D<DF<A d3c|B/A/B/c/ d>B A<F F>A|B/A/B/c/ d>B A<F F>d|A<F F>D ~E2E:|

F|D>dF>d A<F F>A|B/A/B/c/ d>B A<F F>d|D>dF>d A<F F>A|d>B A<F ~E3F|

D>dF>d A<F F>A|B>AB>c d3f|(3efg (3gfe d<B B>d|A<F F>D ~E2E||

 

AULD TOON O' EDINBURGH. AKA and see "Lady Mary Ramsay."

 

AULD WATTIE. AKA and see “Highland Pibroch.” Scottish, Jig. A Minor. Standard. AABB. Kerr (Merry Melodies), vol. 3; No. 300, pg. 32.

X:1

T:Auld Wattie

M:6/8

L:1/8

R:Jig

S:Kerr – Merry Melodies, vol. 3, No. 300 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:Amin

e3 ABd|e2d B2d|e2 ABd|BAG ABd|e3 ABd|e2d B2d|eeg ddg|BAG ABd:|

|:eAB eAB|eAB e2d|eAB eAB|dBG ABd|eAB eAB|eAB e2d|egg dgg|BAG ABd:|

 

AULD WHEEL, THE. AKA and see "Mill O' Hirn, Cathes." Scottish, Reel. D Major. Standard tuning. AB. Composed by J. Scott Skinner (1843-1927). Hunter notes it was one of the "birling" reels which so pleased Scott Skinner. The birl is an accent in Scottish music, much like a short drum roll. Hunter (Fiddle Music of Scotland), 1988; No. 205. Skinner (The Scottish Violinist); pg. 7. MacDonald (The Skye Collection), 1887; pg. 67. Topic 12T280, J. Scott Skinner "The Strathspey King.”

X:1

T:Auld Wheel, The

M:C|

L:1/8

R:Reel

C:J. Scott Skinner

Z:AK/Fiddler’s Companion

K:D

A|d/d/d (AG FG).A.d|B/B/B (ed) cAAc|d/d/d (AF) GABd|cdec dDDA|d/d/d (AG FG).A.d|

B/B/B (ed) cAAc|d/d/d (AF) GABg|fedc dDD||g|fDFA dfaf|eEGB efge|fDFA dfaf|

Efga fddg|fDFA dfaf|eEGB efga|bagf edcB|AGFE DABc||

                       

AULD WIFE AYOND/AHUNT THE FIRE, THE. AKA and see "Aald Wife Ahunt the Fire," "Old Wife Beyond the Fire,” “Old Wife Behind the Fire,” “Set the old wife beyond the fire,” “Welcome Royal Charlie.” Scottish, Reel, Slow Strathspey or Country Dance Tune (4/4 time); Shetland, Reel. G Major (Barnes, Bremner, Cranford, Gow, Kerr): F Major (Hunter). Standard tuning. One part (Hunter): AAB (Gow): AABB (Barnes, Bremner, Kerr): AA’BB (Cranford). Once popular throughout Britain, albeit in different versions. According to Glen the tune was first published by Robert Bremner (1757) and Neil Stewart (1761, pg. 12), however, the melody appears earliest in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed "A Collection of Country dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734.” All the Scottish printings are predated by the tune’s appearance in John and William Neal’s Choice Collection of Country Dances (Dublin, c. 1726), where the tune is given as “Old Wife Behind the Fire.” English appearances in print (with the Neal title) are numerous, including Johnson’s edition of Daniel Wright’s Compleat Collection of celebrated country Dances (London, 1740), Longman, Lukey & Broderip’s edition of Bride’s Favourite Collection of 200 Select Country Dances, Cotillons (London, 1776), and Longman & Broderips Compleat Collection of 200 Favorite Country Dances (London, 1781). In manuscript form, the tune was included in the collections of Northumbrian musician William Vickers (1770) and London musician Thomas Hammersley (c. 1790). Known also throughout the Shetlands. Cooke (1986) prints the following text to this dance tune, in oral tradition in the Shetlands in the 1970's:

***

The aald wife behunt the fire,

The aald wife behunt the fire,

The aald wife behunt the fire,

She deed for want of sneezing

She neether deed for kale or salt

She deed for a werrer fault

She deed for want of sneezing.

***

Source for notated version: Neal’s c. 1726 collection [Barnes]. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 97. Bremner (Scots Reels), c. 1757; pg. 90. Carlin (The Gow Collection), 1986; No. 8. Cranford (Jerry Holland’s), 1995; No. 164, pg. 47. Gow (Complete Repository), Part 1, 1799; pg. 14. Gow (Complete Repository), Part 2, 1802; pg. 6 (slow strathspey). Hunter (Fiddle Music of Scotland), 1988; No. 43. Kerr (Merry Melodies), vol. 2; No. 115, pg. 14. Fiddlesticks cass., Jerry Holland - “A Session with Jerry Holland” (1990).

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:Auld wife ayont the Fire, The

M:C|

L:1/8

R:Reel

S:Gow – 1st Repository  (1799)

Z:AK/Fiddler’s Companion 

K:G

c|{c}B2 AG E/E/E cA|{c}B2 AG G/G/G gd|{c}B2 AG E/E/E (cA)|(B/c/d) A>B G2G:|

c|B(dd)e c>dcB|Bddg (g/f/e/f/) g>d|B(dd>)e c>dcA|(B/c/d) (AB) G2 Gc|B(dd>)e c>dcA|

Bddg (g/f/e/f/) g>d|B>cde c>dcA|B<d A>B {F}G3||

X:2

T:Auld wife ayont the Fire

L:1/8

M:C

R:”Very Slow” Strathspey

S:Gow – 2nd Repository  (1802)

Z:AK/Fiddler’s Companion

K:G

d|{c}B2 ~A>G FGA{B}c|{c}B2 ~A>G Gg g>d|(cB) ~AG F>GAc|(B<d) A>B {F}G2G:|

c|B>cde ~c>dcA|(Bc)de de/f/ gd|B>cde c>dcA|(B<d) A>B {F}G2 G>c|

B>cde ~c>dcA|B>c de/f/ (g/f/)g/a/ g>d|B>cde ~c>d cA|(B<d) A>B G2G||

X:3

T:Old Wife Beyond the Fire, The

M:C|

L:1/8

R:Reel

S:William Vickers’ music manuscript collection, pg. 44 (Northumberland, 1770)

Z:AK/Fiddler’s Companion

K:G

c|B2 AG FAAc|B2 AG Bgec|B2 AG FAAc|dBcA G2c2:|

|:Bcde fA c2|Bcde fd g2|Bcde fAcA|BgAF G2c2:|

 

AULD WIFE, AULD WIFE, WILL YOU GO A SHEARING?  Northumbrian. Title appears in Henry Robson's list of popular Northumbrian song and dance airs, which he wrote c. 1800.

 

AULD YOWE JUMPT O'ER THE TETHER. John French (1753‑1803) had a set of this tune which so impressed the poet Robert Burns (who was always on the lookout for good tunes to set his songs to) that he tried in 1793 (via the town provost) to get copies of it (Alburger, 1983).

 

AUNT ADELE'S WALTZ. AKA and see "Valse a Tante Adele."

 

AUNT ALEEN'S WALTZ. AKA and see "Valse a Tante Aleen."

 

AUNT HAGAR’S BLUES.  Old-Time. The tune was recorded in Atlanta by the Scottdale String Band, named in honor of the mill village of Scottdale, near Atlanta, and home to the band members (Wayne W. Daniel, Pickin’ on Peachtree, 1990). Their first recording was made for the OKeh studios on October 28, 1926, and between that date and 1932 the group recorded nearly thirty sides (all but two—released by Paramount—for OKeh). Bill Rattray wrote about the group in Old Time Music magazine (“Scottdale Boys,” OTM, Summer, 1971) and said the group’s records sold “well, or at least fairly well,” and that “their instrumentation was profoundly different from that of the other, more well-known Georgia bands like the Skillet-Lickers, and gave their music a more sophisticated sound that that of the ‘rough North Georgia’ school.” The group’s repertoire varied more than usual for string bands from the region, and included “a wider range of material including tunes used chiefly by the jazz bands…the more traditional breakdowns, songs and ballads are hardly featured at all.” [quoted by Daniel].

 

AUNT HILDA’S WALTZ. Canadian, Waltz. Canada, Prince Edward Island. G Major. Standard tuning. AABB. Source for notated version: Hild MacPhee MacDonald (b. 1904, Selkirk, North-East Kings County, Prince Edward Island; now resident of Souris) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 168.

 

AUNT KATY. Old‑Time, Fiddle Tune. Appears in a list of traditional Ozark Mountain fiddle tunes recorded by folklorist Vance Randolph for the Library of Congress in the 1940's.

 

AUNT LUCY DEAL. Old‑Time, Fiddle Tune. Appears in a list of traditional Ozark Mountain fiddle tunes recorded by musicologist Vance Randolph for the Library of Congress in the 1940's.

 

AUNT MARY'S HORNPIPE.  Old‑Time, Breakdown. USA, Missouri. D Major. Standard or ADae tunings. AABB. On Charlie Walden’s list of ‘100 essential Missouri fiddle tunes’. Source for notated version: fiddler Vee Latty, (Little Dixie area, Missouri) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; pg. 60.

 

AUNT MAY'S (MARY'S) CANADIAN JIG. New England, Jig. D Major. Standard tuning. AA'BB'. Sanella, Balance and Swing (CDSS). Sweet (Fifer’s Delight), 1964; pg. 24.

 

AUNT SUE’S SCHOTTISCHE .  American, Schottische. D Major. Standard tuning. AABB. Composed by Vermont fiddler Pete Sutherland. Sutherland (Bareface), 1984; pg. 5.

 

AUNTY/AUNTIE MARY. Irish, Jig. The Irish version of the English "Joan's Plackett (is Torn)" and the Scotch "Cock of the North [1]." The tune is known as a fiddle/accordion tune in eastern Canada today and has risqué words, which begin:

***

My Aunt Mary got a canary

Up the leg of her drawers...

 

AUNT ROSE’S REEL. Canadian, Reel. Canada, Prince Edward Island. G Major. Standard tuning. AABB. Composed by Dromore, Queen’s County, Prince Edward Island fiddler Emmett Hughes (b. 1921). Source for notated version: Emmett Hughes [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 58.


 

AURE FRANCOISE. French, Valse (3/4 time). France, Central France. G Major. Standard tuning. AABB. Stevens (Massif Central), 1987; No. 56.

 

AURETTI'S DUTCH SKIPPER. AKA and see "Dutch Skipper [2].”  English, Jig. G Major (Johnson): B Flat Major (Barnes, Thompson, Vickers). Standard tuning. AABB. The tune was first published by David Rutherford in (Daniel) Wright’s Compleat Collection of celebrated country Dances, vol. 2 (London, 1742, pg. 100), Walsh’s Fourth Book of the Compleat Country Dancing Master (London, 1747), Simpson’s Delightful Pocket Companion, vol. 2 (London, c. 1750), and in c. 1756 in Rutherford’s Compleat Collection of the Most Celebrated Country Dances. Daniel Wright (1742) gave the title as “Widow’s Jigg” and “Auretti’s Dutch Skipper” as the alternate title, so perhaps the melody was originally called by the former. Nevertheless, “Aurettie’s Dutch Skipper” is by far the most frequent name for the jig and commemorates Anne Auretti, a stage dancer in the mid-18th century London with whom the melody is strongly associated (see note for “Auretti’s Minuet”, below, for more). A ‘dutch skipper’ was a type of country dance, in imitation of dances from Holland, and known to the London stage since at least the season of 1709-10, when a ‘dutch skipper’s dance’ was performed by Miss Santlow. The ‘Dutch Skipper’ was advertised in the Spectator of June 11, 1712, as being one of the entre-act dances performed during a production of the comic Revenge, or Love in a Tub, to be danced by Mr Thurmond and Mrs. Bicknell. “By the 1740’s it had become a stage standard for the celebrated Madame Auretti, a dancer from a famous touring family” (Diane Dugaw, Deep Play: John Gay and the Invention of Modernity, 2001). “Auretti’s Dutch Skipper” can even be found in a collection of dance music published in 1755 by G. Willsim (who was perhaps from Amsterdam) entitled Recueil de 24 Contredances Angloise Les Plus Usite. 

***

John Gay used the tune as a vehicle for a song in his ballad opera  Achilles. The jig was entered into the music manuscript copybooks of London fiddlers Walter Rainstorp (1747, Cheapside), and Thomas Hammersley (1790), as well as Northumbrian musician William Vickers (1770). In recent times the melody can be heard arranged by John Gale in the movie Emma (1996). Source for notated version: William Vickers, about whom, unfortunately nothing is known [Seattle]. Barnes (English Country Dance Tunes), 1986. Johnson (Twenty‑Eight Country Dances as Done at the New Boston Fair), vol. 8, 1988; pg. 3. Johnson (The Kitchen Musician No. 14: Songs, Airs and Dances of the 18th Century), 1997; pg. 2. Seattle (William Vickers), 1987, Part 2; No. 350 (appears as “Dutch Skipper”). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 173. F&W Records 3, "Canterbury Dance Orchestra" (1972). Topic TSCD 707/8, Brass Monkey – “Folk Collection” (1999. Reissue recording). Topic Records TSCD501, Brass Monkey – “Sound and Rumour” (1998).

X:1

T:Auretti’s Dutch Skipper

M:6/8

L:1/8

R:Jig

K:G

D|G>DG BAG|AFD c3|BAG F/G/AF|GDB, G,2D|G>DG BAG|

AFD ABc|BAG DGF|G3G2::D|G>Bd dBG|Ace e2D|

G>Bd dBG|FAA A2D|G>Bd dBG|Agf g2c|B>AG DGF|GDB, G,2:|

X:2

T:Dutch Skipper, The [2]

M:6/8

L:1/8

R:Jig

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

K:Bb

F|BFB dcB|cAF e3|dcB A/B/cA|BFD B,2D|BFB dcB|

cAF cde|dcB FBA|(B3 B2)::F|Bdf fdB|ceg g2F|

Bdf fdB|Acc c2F|Bdf fdB|cba b2e|dcB FBA|BFD B,2:||

X:3

T:Auretti’s Dutch Skipper

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:Bb

F|BFB dcB|cAF e3|dcB (A/B/c)A|BFD B,2F|BFB dcB|cAF cde|dcB FBA|(B3 B2):|
|:F|Bdf fdB|ceg g2F|Bdf fdB|Acc c2F|Bdf fdB|cba b2e|dcB FBA|BFD B,2:||

                       

AURETTI'S MINUET. English, Minuet (3/4 time). D Major. Standard tuning. AABB. The title commemorates Anne Auretti, one of the most widely travelled ballerinas of the 18th century. She appeared with her husband in Paris in the Opéra Comique in the 1750’s, with a mostly Italian company that also performed in London and Vienna, however, she was a sensation in England in the 1740’s after her appearance at Covent Garden in 1742. There is an engraving of Auretti dancing in a glen, arms outstretched, c. 1745 by Gerard Jean-Baptiste Scotin (born 1690). In London she was a member of David Garrick’s company, and a number of melodies in period collections are associated with her, including “Auretti’s Dance” (Walsh’s Compleat Country Dancing Master, Fourth Book, c. 1747, and Wright’s Compleat Collection of Celebrated Country Dances, vol. 2, c. 1742), “Auretti’s Dutch Skipper” (Wright’s Compleat Collection of Celebrated Country Dances, vol. 2, c. 1742; Walsh’s Compleat Country Dancing Master, Fourth Book, c. 1747; Walsh’s Caledonian Country Dances, 4th ed., 1744); and Thompson’s Collection of 200 Favourite Country Dances, vol. 1, c. 1780-90), and “Auretti’s Maggot” (Walsh’s Compleat Country Dancing Master, Fourth Book, c. 1747; Walsh’s Caledonian Country Dances, 4th ed., 1744). Theatrical impresario Tate Williamson, writing in his Memoirs of 1790, notes that at Drury Lane in 1747 Madam Auretti (“in serious style”) was one of several “capital dancers” that season and was held in “great estimation…Madame Auretti continued only the season following, when her benefit was commanded by his Majesty George the Second.—Play, the Stratagem—Mr. Garrick acted Archer—After which she retired from the stage…” 

***

The melody appears in a few American music manuscript books from the late 18th century, such as those of George Bush and Henry Livingston, Jr. Livingston purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 he was a Major in the 3rd New York Regiment, which participated in Montgomery’s invasion of Canada in a failed attempt to wrest Montreal from British control. An important land-owner in the Hudson Valley, and a member of the powerful Livingston family, Henry was also a surveyor and real estate speculator, an illustrator and map-maker, and a Justice of the Peace for Dutchess County. He was also a poet and musician, and presumably a dancer, as he was elected a Manager for the New York Assembly’s dancing season of 1774-1775, along with his 3rd cousin, John Jay, later U.S. Chief Justice of Governor of New York. Source for notated version: the music manuscript of Captain George Bush (1753?-1797), a fiddler and officer in the Continental Army during the Revolutionary War [Keller]. Johnson (The Kitchen Musician No. 14: Songs, Airs and Dances of the 18th Century), 1997; pg. 2. Keller (Fiddle Tunes from the American Revolution), 1992; pg. 12.

X:1

T:Aurettie’s Minuet

M:3/4

L:1/8

R:Minuet

S:Henry Livingston’s manuscript copybook, late 18th century

Z:AK/Fiddler’s Companion

K:D

{f/g/}a2g2f2 | e4d2 | cdefgf | e2 dcBA | {f/g/}a2g2f2 | e4d2 | cdefgf | “tr”e6 :|

|:ceAcBd | ceAcBd | ceAcBd | c2 Bc A2 | fadfeg | fadfeg | fadfeg |

f2ef d2 | b2 {e}^d2e2 | a2 {d}c2d2 | GBAGFE | D6 :|

                       

AURORA WALTZ. Old‑Time, Waltz. G Major. Standard tuning. ABB. Ford (Traditional Music in America), 1940; pg. 145.

                       

AUSTIN BARRET’S. AKA and see "The Blasket Sound Jig," "Dusty Windowsill," "Harding’s Jig," "Harland’s," "Johnny Harling’s," "The Howling Jig," Tim Harding’s.” Irish, Jig. G Major. Standard tuning. AABBCC. An alternate title for Chicago tin-whistle player Johnny Harling’s “Dusty Windowsill.”

X:1

T:Austin Barret's

M:6/8

L:1/8

R:Jig

K:G

|:A2B cBA|eAB cBA|GFG EGG|DGG EFG| A2B cBA|e2d efg|age dBG|ABAA3:|

|:a3age|dBdg3|gag gfe|dBA GFG| EGG DGG|EGG ABc|Bed BAG|ABAA3:|

|:A3gAf|A3ged|G3eGd|G3edB| A3gAf|A3efg|age dBG|ABAA3:|

                       

AUSTIN BREAKDOWN. AKA and see "Blue Mule." Old-Time, Breakdown. The tune under this title is fiddler and guitarist Jess Johnston’s name for the Ozark favourite “Blue Mule.” Johnston played with Roy Harvey, sometimes calling themselves The West Virginia Ramblers.

                       

AUSTIN TIERNEY'S (Ríl Aibhistin Uí Thiarnaigh). AKA and see "Farewell to Erin [1]," "The Cherry Tree [1]," "Down with the Tea Tacklings," "The Flags of Dublin," “The Flying Column [2].”  Irish, Reel. D Major. Standard. AB. The tune appears as "Maid in the Cherry Tree [2]" in Bernard Flaherty’s "Trip to Sligo." Michael Coleman recorded this tune for Columbia in 1921 in a medley with "Farewell to Ireland" (see "Farewell to Erin [2]") although the label reads only "Farewell to Ireland." Source for notated version: fiddler Frankie Gavin (Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 111, pg. 55. Shanachie 29008, Frankie Gavin - ‑ "Traditional Music of Ireland" (1977).

 

AUSTIN WHITE’S. Canadian, Jig. Canada, Cape Breton. A Major. Standard tuning. AA’BB. Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 201, pg. 58. Fiddlesticks cass., Jerry Holland - "A Session with Jerry Holland" (1990). Fiddlesticks cass., Jerry Holland - “A Session with Jerry Holland” (1990). Fiddlesticks cass., Jerry Holland - “Fathers and Sons” (1992).

                       

AUSTRALIAN LADIES. Scottish, Pipe March (2/4 time). D Major. Standard tuning. AABB'CCDD'. Composed by Pipe Major W. Ferguson. Martin (Ceol na Fidhle), vol. 1, 1991; pg. 25.

 

AUSTRALIAN WATERS. AKA and see “Dewdrops on the Corn,” “Vincent Campbell’s (Jig).” Irish, Jig. D Mixolydian. The tune was originally recorded by Donegal fiddler Jimmy Lyons on the album “The Donegal Fiddle,” and was subsequently recorded by the group Altan and others. Larry Sanger says it is a popular jig in County Donegal. Gael-Linn Records, Paddy Glackin & Michael O Domnail – “Reprise.” Green Linnet Records, Matt Molloy & Sean Keane – “Contentment is Wealth.”

                       

AUTOCRAT HORNPIPE. Scottish, Hornpipe. Fiddler FRLP001, Tom Doucet (Nova Scotai/eastern Mass.) - "The Down East Star" (Doucet learned the piece from a Beltone 78 RPM by a Scottish fiddler, Hiram Hosie, who paired it with “The Recluse”).

 

AUTOGRAPH HORNPIPE. American, Hornpipe. B Flat Major. Standard tuning. AABB (Cole): AABB’ (Cranford). “Can be used as a Clog” notes Ryan’s. Perhaps the earliest recording is from 1904 by violinist Charles D’Alamaine, born in 1871 in England, who died in 1943. D’Alamaine immigrated to the United States in 1888, and by 1890 had established himself as “instructor on violin” in Evanston, Illinois; by 1910 he had removed to Yonkers, and in 1920 was a chiropractor in New York City (info. from Paul Gifford). Source for notated version: Winston Fitzgerald (Cape Breton) [Cranford]. Cole (1000 Fiddle Tunes), 1940; pg. 98. Cranford (Winston Fitzgerald), 1997; pg. 4. Ryan’s Mammoth Connection, 1883; pg. 134. Rounder RO7023, Natalie MacMaster - “No Boundaries” (1996. Learned from a recording of Winston Fitzgerald).

X:1

T:Autograph Hornpipe

M:C|

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:B_

F2 | B>dc>B A>cB>A | Bd (f2 f>)FG>A | B>dc>B A>cB>A | Bd(f2 f>)de>f |

(3g=fg _e>g (3=f=ef d>f | (3_ede c>e (3dcd B>d | (3cBc (3dcB (3ABc (3FGA |

(3Bde (3fga b2 :: c2 | c3A F>Ac>e | d>Bf>d (3bag (3fed | (3cdc (3ABA F>Ac>e |

d>Bf>d (3bag (3fed | g>ec>G (3EGB (3egb | f>dB>F (3DFA (3dfb |

g>ed>c f>dc>A | B2[d2b2]B2 :|

                       

AUTUMN LEAF. Canadian, Reel. Composed by New Brunswick fiddler Eddie Poirer. Atlantica Music 02 77657 50222 26, Eddie Poirer - "Atlantic Fiddles" (1994). Caronda HP-004, Eddie Poirer - “Eddie Poirer & Sons” (1990).

 

AUTUMN LEAVES, THE (Duilliúr an Fhómhair). AKA and see "The Merry Thatcher," "Miss Kelly’s Favourite," "The New Potatoes," "Old Tom," "Sally Grant," "Through the Heather." Irish, Reel. E Dorian. Standard tuning. AB. Related to "Ginley’s Fancy," "Handsome Sally [1]," "The Man of the House," and “Paddy Carthy’s Reel.” Breathnach (CRÉ IV), 1996; No. 132, pg. 65.

                       

AUTUMN SKY (Ciel d’automne). Canadian, Air. Composed by La Bottine Souriante fiddle player André Brunet. La Bottine Souriante – “Rock and Reel.”

                       

AUTUMN WALTZ [1]. American, Waltz. USA, Massachusetts. A Major. Standard tuning. ABB. Composed in 1981 by Massachusetts musician Dave Kaynor for the wedding of Michael and Karen McKernan, a year before Karen's death. Says Kaynor: "I've played this waltz for her ever since." Matthiesen (The Waltz Book), 1992; pg. 15. Front Hall Records, "Fourgone Conclusions."

 

AUTUMN WALTZ [2]. American, Waltz. G Major ('A' part) & D Major ('B' part). Standard tuning. AA'AA'B. Source for notated version: Stuart Williams and Bob Fast [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 239. 

 

AUTUMN WOODS (Coillte an Fogmair). Irish, Hornpipe. G Major. Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 199. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1709, pg. 318. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 900, pg. 154.

X:1

T:Autumn Woods

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1909), No, 900

Z:AK/Fiddler’s Companion

K:G

Bc|dedc BcBA|GFGD EDB,D|cBce dBgB|AGAB A2 Bc|

dedc BcBA|GFGD EDB,D|Ggfe dcBA|G2G2G2:|

|:cB|ABAG FGAB|cBce defg|afge fdec|dcde dcBc|dcBd cBAc|

BAGF GABc|dgfe dcBA|G2G2G2:|

 

AVALANCHE. Bluegrass, Breakdown. G Major. Standard tuning. AA'BB'CC'DD'EE'. Composed by bluegrass fiddler Vasser Clements. Related to "Paddy on the Turnpike." Brody (Fiddler’s Fakebook), 1983; pg. 28‑29.

 

AVALANCHE (Lancashire) CLOG). American, Clog. A Major. Standard tuning. AABB. Composed by F.A. Morrison. Al Smitley suggests it is possible the tune may have been named for the clipper ship Avalanche, a name that appears in American Clipper Ships 1833-1858 by Howe and Matthews. Cole (1000 Fiddle Tunes), 1940; pg. 119. Ryan’s Mammoth Collection, 1883; pg. 158.

X:1

T:Avalanche

M:C

L:1/8

R:Clog

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:A

(C>.A)(E>.c) A>EC>E | D>FA>d A3E | C>AE>c A>EC>E | F>dc>B A>GF>E |

C>AE>c A>EC>E | D>A>F>d A3E | E>cA>c E>AC>E | E>GB>G A2 z2 :|

|: (B>.c)(B>.G) E>GB>e | c>ec>B A>ce>c | B>cB>G E>FG>E | F>B^A>c B>F^DB. |

B>cB>G E>GB>e | c>ec>B A>ce>c | B>eG>e B>^df>d | e2g2e2 z2 :|

 

AVALON QUICKSTEP. AKA and see "New Charleston No. 1." Old-Time, Breakdown. USA, Mississippi. D Major. Standard or ADae tunings. AABB (irregular). The melody was first recorded in 1929 by W.T. (Willie) Namour and S.W. Smith, Mississippi musicians, and named for the town of Avalon, Mississippi (the name Avalon is the mythological isle to which King Arthur was borne after his death). The Avalon area was home to a number of influential musicians, including blues guitarist John Hurt and the string band the Mississippi Possum Hunters, who all knew each other (Narmour and Smith helped Hurt to get signed with the OKeh Records). Apparently, the town was so obscure by the latter part of the 20th century that it could only be located with the help of old maps. The alternate title was an attempt by them to cash in on the Charleston dance craze of the 1920's. The 'B' part has ten measures instead of the usual eight. Sources for notated versions: Arm and Hammer String Band (Vermont) [Brody], W.T. Narmour (Miss.) [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 30. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 16. County 528, Namour and Smith- "Traditional Fiddle Music of Mississippi, vol. 1." Kicking Mule 216, Arm and Hammer String Band‑ "New England Conta Dance Music" (1977).

 

AVIMORE. Scottish, Strathspey. A Major. Standard tuning. AAB. Composed by Joseph Lowe. MacDonald (The Skye Collection), 1887; pg. 21.

X:1

T:Avimore

M:C

L:1/8

R:Strathspey

S:MacDonald – Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:A

e | c>A c/d/e f>d e<c | B>=gd>g B<G G>B | c>A c/d/e f>de>c | e>agb aAA :|

g | a>e c<A c<e a>f | =g>fg>d B<G G>B | e<a g/a/b a2 eg | a>f e<d c<A A>g |

a>e c<A c<e a>f | =g>fg>d B<G G>B | (3a=gf (3gfe (3fed (3edc | d>c B<e cAA ||

 

AVON BREAKDOWN, THE. Canadian, Breakdown. G Major. Standard tuning. AABB. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 11, pg. 12.

 

AVONDALE, THE. AKA and see "Flaherty's Hornpipe," "A New College Hornpipe."

 

AVONMORE, THE (Abainn-mor). AKA and see “Blackwater,” "Blackwater Foot," "The Banks of Avonmore." Irish, Reel. G Major. Standard tuning. The name Avonmore means ‘great river’ (as opposed to the nearby Avonbeg, or ‘little river’). AB (O'Neill/1850 & 1001): AABB (O'Neill/Krassen). O'Neill (Krassen), 1976; pg. 94. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1189, pg. 224. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 468, pg. 90. Ryan’s Mammoth Collection, 1883; pg. 39.

X:1

T:Avonmore, The

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 468

Z:AK/Fiddler’s Companion

K:G

Dc|BG (3GGG G2G2|BGBd gdec|BG (3GGG G2 cB|AGFG ABcA|

BG (3GGG G2G2|BGBd g2 fg|afge fdec|AGFG ABcA||Bd (3ddd d2 dc|

BGBd gdec|Be (3ddd d2 cB|AGFG ABcA|Bd (3ddd d2 dc|BGBd g2 fg|

afge fdec|AGFG ABcA||

                                   

AWA’ WHIGS AWA’. Scottish, Air. The tune was played by a Highland piper in Claverhouse’s army at the Battle of Bothwell Bridge in an attempt to rally his fellow troops.  In brave Highland style he paraded along the banks of the Clyde until he finally fell in the river mortally wounded and drowned.

                                   

AWAY AND OVER. Irish. Ireland, County Donegal. According to Larry Sanger, this is a version of the tune also known as “Bill Harte’s.” Duval & Jones (A Dossan of Heather: Irish traditional music from Packie Manus Byrne of Donegal for tin whistle, fiddle or flute), 2000.

                                   

AWAY BACK. Canadian, Reel. A Major. Standard tuning. AABB. The 'A' part is shared with "The Saratoga Hornpipe," "Old Time (Clog) [1]," and "Kitty O'Neil." Messer (Way Down East), 1948; No. 8. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 28, pg. 27.

X:1

T:Away Back

M:2/4

L:1/16

Z:Transcribed by Bruce Osborne

K:A

(3efg|a2g2 a2e2|fedf ecAc|B2^A2 B2E2|EGBc Aceg|

a2g2 a2e2|fedf ecAc|B2^A2 B2E2|EGBc A2:|

|:(3dcB |A2a2 A2a2|fedf ecAc|E2e2 E2e2|ABcd edcB|

A2a2 A2a2|fedf ecAc|E2e2 E2e2|gefg a2:|

           

AWAY MY GALLANT PAGE. American, “Gallopede Waltz” (2/4 time). C Major. Standard tuning. One part. From the music manuscripts of Setauket, Long Island, painter and fiddler William Sidney Mount, on a page dated 1840.

X:1

T:Away my gallant page

M:2/4

L:1/8

R:”A Gallopade (sic) Waltz”

S:William Sidney Mount manuscripts; page dated 1840.

Z:AK/Fiddler’s Companion

K:C

G | Gfed | cEGc | BdGB | c2 zG | Gfed | ceGc | Bgfd | c2 zc |

GDFB | cEGc | GDFB | c2 zG | Gfed | cEGc | BdGB | c2 zG |

(3GGG AG | GGAG | Gc G/>c/e | d2 zG | (3GGG AG | GG cG/c/ | ec/e/ g>B | c2 z2 ||

                       

AWAY TO THE BOGS. AKA and see “The Boys of Thomastown,” "Buachaillí Bhaile Mhic Anndáin," "The Caffler's Courtship." Irish, Jig. The tune appears under this title in the Collection of Traditional Irish Dance Music by P.J. Giblin (Dublin, 1928).  See also the related “Angry Peeler.”

 

AWAY WITH MELANCHOLY. Scottish, Country Dance (2/4 time). G Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 392, pg. 43.

X:1

T:Away with Melancholy

M:2/4

L:1/8

R:Country Dance

S:Kerr – Merry Melodies, vol. 3, No. 392  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

(d/c)|BBBB|dc zc/B/|AAAA|cB zB/c/|dddd|c>dec|B/B/B A/A/A|GBG:|

|:(c/B/)|AAAA|cB zB|cccc|cB zB/c/|dddd|e>fgc|B/B/B A/A/A|GBG:|

 

AWAYS MY HEART THAT WE MUN SUNDER. Scottish. One of the tunes published in Henry Playford's 1700 collection of Scottish tunes.

 

AXTON SHOTTISH. Old-Time. Flying Cloud FC-023, Kirk Sutphin - "Fiddlin' Around."

 

AXUM REEL. Scottish. An colloquial name on North Ronaldshay in the Orkney Islands for the Scottish 'Eightsome' Reel, which contains the most intricate traveling figure of all Scottish Reels (Flett, 1964). 

 

AYE, MARRY, AND THANK YE TOO. English, Air (6/8 time). E Minor. Standard tuning. One part. This air appears in Youth's Delight on the Flagelet (1697) and the ballad operas "Silvia" (1731), and Robin Hood (1730). Chappell could find nothing of the original ballad (the title was the burden), except the first line: "I live in the town of Lynn", though a variation appeared in the 1707 edition of Pills to purge Melacholy. Several other ballads were sung to the tune, including "'The May Morning Ramble' or 'Robin and Kate' (Pepys Collection), "'Nells Humble Petition' or 'The Maiden's kink and courteous Courtship to honest John the Joyner, whose love she earnestly desired'" (Pepys Collection), "'The London Lass's Lamentation' or "Her fear she should never be married'" (Roxburghe Collection/ Evans Collection). Chappell (Popular Music of the Olden Times), vol. 2, 1859; pg. 70.

X:1

T:Aye, Marry, and Thank Ye Too

M:6/8

L:1/8

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

Z:AK/Fiddler’s Companion

K:E Minor

B,|EFG AGF|(E3 E2)A|Bed c2A|(B3 B2)A|Bed c2B|AGF ^D3|G3 EcB|AGF E2||

 

AY(E) ME. AKA - "The Simphony" [sic]. English, Country Dance Tune (cut time). C Major. Standard tuning. ABB (Sharp): AABB (Kidson, Raven). A "longways for eight" dance tune first published in Playford's English Dancing Master of 1651 and later editions. Apparently not much more is known about the tune. The great 19th century English collector Chappell is silent about it and Kidson could find no references to it, though he supposed it to be the tune to "some plaintive ditty of the 17th century." Kidson (Old English Country Dances), 1890; pg. 1. Raven (English Country Dance Tunes), 1984; pg. 44. Sharp (Country Dance Tunes), 1994; pg. 45.

X:1

T:Aye Me

T:Symphony, The

M:2/2

L:1/8

S:Sharp – Country Dance Tunes  (1909)

Z:AK/Fiddler’s Companion

K:C

g4 e4|d2 BA G2 AB|c2c2 d2d2|e6 ee|e2 fg a2 cc|c2 de f2 AA|BF e2 d3c|c6 z2:|

|:A2 AB c2 Bc|d2 G2 G2 ee|e2 de fged|d6 gg|a2 ee f2 ^ff|g2 dc B2 gg|a2 e2 d3 c|c6 z2:|

 

AYR RACES. AKA – “Air Races.” Scottish, Jig. D Major. Standard tuning. AABB. One of the few enduring compositions by Niel Gow's youngest son, John Gow (1764-1826). He was named for Niel’s father, John, a plaid weaver. John went to London in 1788 and established a publishing and music-selling firm with his brother Andrew.  They were the English distributor for Nathaniel Gow’s publications. Racing at Ayr, Ayrshire, on the Firth of Clyde, appears to have taken place as early as the 16th century, however, the first official meeting of the Racing Calendar took place in 1777. A special race, the Ayr Gold Cup was instituted in the early 19th century, and won on the first two occasions by Chancellor, in 1804 and 1805. The racecourse is still the premier course in Scotland. The popularity of the venue drew musicians to help entertain at pre- and post- event festivities, sometimes days in advance, and even at the race itself. The following was noted for September, 1805, at the Ayr races:
***

The company in the race stand were entertained by the celebrated Murphy, Lord

Elginton’s Piper with many favourite airs on the Irish bagpipe in his best style.

***

A few years later, in 1809, Murphy published A Collection of Irish Airs and Jiggs with Variations by John Murphy, performer on the Union Pipes at Eglinton Castle.  His obituary in 1818 gave: “Mr. John Murphy long celebrated as an eminent professor of the Union pipes. A man steady in friendship and of sound integrity. His loss will be long felt by the admirers of Scots and Irish music” (Edinburgh Evening Courant, Thurs. 15 Oct., 1818,). [Quotations from Brian McCandless, “Historical Links among Pastoral, Union and Uillean Bagpipes,” 2005]. 

***

Carlin (The Gow Collection), 1986; No. 319. Gow (The First Collection of Niel Gow’s Reels), 1784 (revised 1801); pg. 33 (appears as “Air Races”).

See also listing at:

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

X:1

T:Ayr Races

M:6/8

L:1/8

R:Jig

S:Gow – First Collection of Niel Gow’s Reels (1784, revised 1801)

Z:AK/Fiddler’s Companion

K:D

(A/4B/4c/)|~d>cB AFA|(DF).A (AF).D|EFA “tr”B2 (A/4B/4c/)|{Bc}d>cB AFA|(DF).A (AF).D|

(GB).G (FA).F|EFA “tr”B2::(A/4B/4c/)|~d2(a a)fd|~c2(e e)cA|d2(a a)fd|

AFA “tr”B2A|d2(a a)fd|~c2(e e)cA|{Bc}d>cB AFD|(EF).A “tr”B2:|

           

AYRE.  English, Country Dance Tune (cut time). C Major. Standard tuning. AABB. Composed in 1680 by Jeremiah Clarke (1674-1707). Clarke was a younger contemporary of English composer Henry Purcell. He died at age 32, shooting himself over a hopeless love affair with a pupil of high rank. Clarke began as a boy chorister and rose to membership in the Gentleman of the Chapel Royal (musicians to the King), and, like Purcell, he was a cathedral organist. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 27.

           

AYRSHIRE LASSIE [1], THE. Scottish, Reel. G Major. Standard tuning. AB. From Scots fifer David P. Henderson. Source for notated version: Hiram Clinton Horner (Western Pa.) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 187, pg. 144.

 

AYRSHIRE LASSES [2]. Scottish, Strathspey. C Major. Standard tuning. AB (Surenne): AAB (most versions). Composed by Hugh Montgomerie (1739-1819), the twelfth Earl of Eglinton. He was a Scottish peer, politician, musician and composer, and was a member of Parliament for Ayrshire for 16 years, after which, in 1796, he became Lord-Lieutenant for Ayrshire. Mongomerie was one of the backers of the partially built Glasgow, Paisley and Ardrossan Canal, which facilitated shipping to the Scottish interior. Montgomerie fought in the American wars of the latter 18th century and was had a reputation for being a fine cellist and fiddler, and an exponent of the national music (Emmerson, 1971). As MP he would have wanted to promote Ayrshire, and so added yet another tune title extolling the "beauties" of one region or another. Perhaps there was some merit to this particular affection, however, for Robert Burns mentioned the town of Ayr in "Tam o'Shanter:"

***

(Auld Ayr, wham ne'er a town surpasses

For honest men and bonny lasses.)

***

Gow (Complete Repository), Part 4, 1817; pg. 31. Kerr (Merry Melodies), vol. 2; No. 74, pg. 11. MacDonald (The Skye Collection), 1887; pg. 112. Stewart-Robertson (The Athole Collection), 1884. Surenne (Dance Music of Scotland), 1852; pgs. 24-25.

X:1

T:Ayrshire Lasses

M:C|

L:1/8

R:Strathspey

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

K:C

c | G<c E>c d>c d<e | c<c e>d c<A A>c | G>cE>c d>c d<e | c>A G<c E<CC :|

f | g>ec>g e<g c>g | f>ec>g d<D D>f | gece d<f e>d | c<AG>F E<C C>f |

g>e c<g e<g c>g | g>ec>g d<D De/f/ | g>ef>d e>cd>B | c<A G>c E<CC ||

 

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