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]

 

 

 

FARGO, THE. Canadian, Polka. D Major. Standard tuning. AABB. Messer (Way Down East), 1948; No. 55. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 96, pg. 62.

X: 1

T:The Fargo Polka

R:Polka

M:2/4

L:1/16

Z:Transcribed by Bruce Osborne

K:D

A2|:A2FA d2F2|A2G2 B2z2|A2ce a2c2|e2d2 f2z2|

A2FA d2F2|A2G2 B2z2|A2ce a2c2|d2f2 d2z2:|

|:fgfe d2ef|g2fg B2z2|g2ge c2eg|b2a2 a^ga2|

fgfe d2ef|g2fg B2z2|g2ge cABc|d2f2 d2z2:|

                       

FARINELL'S GROUND. AKA and see "Joy to Great Ceasar," "The King's Health [1]," "The Loyal Health." English, Country Dance Tune (3/4 time). D Minor. Standard tuning. One part. The air was used for the songs "The King's Health" (which appears in Pills to Purge Melancholy, vol. II, 1719) and "Joy to great Caesar." Published before 1730. Raven (English Country Dance Tunes), 1984; pg. 16.

                       

FARM HORNPIPE, THE (Crannciuil an Feilm). Irish, Hornpipe. D Major. Standard tuning. AABB. Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1643, pg. 305.

X:1

T:Farm Hornpipe, The

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Music of Ireland (1903), No. 1643

Z:AK/Fiddler’s Companion

K:D

a>g|(3faf d>f a>fd>f|(3gbg e>g b>ge>g|(3faf d>f a>fd>f|(3efe (3dcB A2 a>g|

(3faf d>f a>fd>f|(3gbg e>g b>ge>a|(3ad’c’ (3bag f>ed>c|(3dba (3gfe d2:|

|:z(g|f>)ed>B (3ABA (3GFE|(3G,B,D (3GBd g3z|(3gbg e>g (3faf d>f|(3efe (3dcB A3 (g|

f>)ed>B (3ABA (3GFE|(3G,B,D (3GBd g3 z|(3gbg e>g (3faf d>f|(3efg (3ABc d2:|

                       

FARM HOUSE, THE.  English, Slip Jig. F Major. Standard tuning. AABB. The melody is unique to Charles and Samuel Thompson’s Compleat Collection, vol. 3 (London, 1773). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 124.

X:1

T:Farm House, The

M:9/8

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:F

f3a f gec|d3 f2d ecA|B3 d2B cef|cBA BAG F3::G3 E2F GE[Cc]|c3 A2B cAF|

def gab efg|fed A=B^c d3|f3 c2A dBG|BABDEF GE[Cc]|FGA Bcd efg|agf cde f3:||

 

FARMER, THE. AKA and see “Farmer’s Reel [1].” Canadian, Reel. G Major. Standard tuning. AABBC. Messer (Way Down East), 1948; No. 14. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 34, pg. 28.

X:1

T:Farmer, The

M:C|

L:1/8

R:Reel

Z:AK/Fiddler’s Companion

K:G

d>c|:BGBd BGBd|gfge dBGB|ecdB cABG|E2A2A2 dc|BGBd BGBd|

gfge dBGB|ecdB cABG|D2G2G2z2:||g2|:dgBg dgBg|dgba gfed|

ea^ca eaca|e2 ag fed^c|dgBg dgBg|dgba gfed|eaba gfef|g2g2g2z2:||

B>c|dBgB dgBd|ecgc egce|dBgB dgBd|AGFE D2 Bc|

dBgB dgBd|ecgc egce|dBGB cAFA|G2B2G2||

                       

FARMER HAD A DOG. AKA and see "Too Young to Marry [1]," "My Love Is/She's but a Lassie Yet [1]," "Chinky Pin." American, Reel. D Major. ADae tuning. AB. Bronner (1987) states that this tune may have some ties with the play‑party tune "Bingo" (from the opening line "There was a farmer who had a dog"), but the melody of that simple tune bears little resemblance to the one he collected from Kouf. Kouf's father, from whom he learned the tune, may have elaborated "Bingo" for use as a dance tune, but at any rate the tune was known among Tompkins County, New York, fiddlers of Kouf younger's generation by the title "Farmer Had a Dog." Bronner connects the tune with the "Mason's Apron"/"Wake Up Susan" family of tunes. Source for notated version: Milo Kouf, 1977 (New York State; learned from his father) [Bronner]. Bronner (Old Time Music Makers of New York State), 1987; No. 44, pg. 165.

                       

FARMER HAYES (Feilmoir Ui Aeda). AKA and see "A Fig For All My Foes," "God Be with Old Ireland," "I'm Now in the Land of Liberty," "Poor Pat Must Emigrate." Irish, Slow Air (6/8 time). D Major. Standard tuning. AB. “Raking Paudheen Rue” is a cognate tune, according to Francis O’Neill, who thought they came from a common origin, along with “McKenna’s Dream,” “Raking Red-haired Pat,” and “The Bold Undaunted Fox.” O'Neill (O’Neill’s Irish Music), 1915/1987; No. 50, pg. 34. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 63, pg. 11.

X:1

T:Farmer Hayes

M:6/8

L:1/8

R:Air

N:”Slow”

S:O’Neill – Music of Ireland (1903), No. 63

Z:AK/Fiddler’s Companion

K:D

D/E/|FEF D2d|A2G E2E|D2D DCD|G2 {A/G/}E C2 D/E/|FEF D2d|

A2G E2D|EFE D2D|(D3 D2) D/E/|FEF D2d|A2G E2E|D2D DCD|

G2E C2 d/c/|A2A ABA|G2E C2D|EFE D2D|(D3 D2)||C|D2E F2G|

A2A ABc|d2c BAG|A2F D2C|D2E F2G|A2A ABc|d2c BAG|A3 ABc|

D2c B2d|c2B A2G|FEF DFA|G2E C2 D/E/|FEF DFA|G2E C2D|EFE D2D|(D3 D2)||

                       

FARMER KILLED HIS OX TODAY, THE. Canadian, Reel. Canada, Cape Breton. E Minor/G Major. Standard. AAB. Editor Paul Cranford (1994) identifies this tune as a variant of “The Morning Star [1].” Source for notated version: learned by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia) as a teenager from Irish-style fiddler John Walker (born in Cape Breton c. 1885) [Cranford]. Cranford (Brenda Stubbert’s), 1994; No. 70, pg. 25.

                       

FARMER'S BARN, THE. English, Jig. England, Northumberland. G Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 3; No. 555.

                       


FARMER'S DAUGHTER [1]. AKA and see “Aberarder’s Rant.” Scottish, Reel. D Major. Standard tuning. AAB. Paul Cranford (1997) states the “Farmer’s Daughter” title seems to be a 20th century appellation first used in The Seaforth Highlanders (1936). Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 62, pg. 27. Miller & Perron (101 Polkas), 1978; No. 36. Temple TP021, Battlefield Band ‑ "On the Rise" (1986) and Green Linnett GLCD 1146, The Tannahill Weavers - "Capernaum" (1994). Green Linnet GLCD 1182, The Tannahill Weavers - “Choice Cuts” (1997). Breton Books and Records BOC 1HO, Wintson “Scotty” Fitzgerald - “Classic Cuts” (reissue of Celtic Records CX 59).

X:1

T:The Farmer's Daughter

M:4/4

L:1/8

C:Scottish Traditional

R:Reel

K:D

B|d2 de f2 ef|dedB d/d/d AB|d2 de f2 ea|cAeA cAAB|

d2 de f2 ef|dedB d/d/d dg|fgag f2 ef|A/A/A eA cAA:|

c|d2 f2 B/B/B fB|cBfB cBBc|d2 eA A/A/A eA|cAeA cAAc|

d2 f2 B/B/B fB|cBfB cBBc|d2 ag f2 ef|A/A/A eA cAA:|

 

FARMER'S DAUGHTER [2]. AKA and see "Cold and Raw." English, Air. The air appears under this title in Vol. III of Pills to Purge Melancholy (1719).

                       

FARMER'S DAUGHTER OF MERRY WAKEFIELD. AKA and see "Down in the North Country."

                       

FARMER'S JAMBOREE, THE. AKA and see “Daisy’s Jig.” Canadian, American; Jig. USA, New England. A Major. Standard tuning. AABB. Composition credited to John Burt by Jarman. Begin (Fiddle Music from the Ottawa Valley: Dawson Girdwood), 1985; No. 34, pg. 47. Jarman (Cornhusker’s Book of Square Dance Tunes), 1944; pg. 18. Welling (Welling’s Hartford Collection), 1976; pg. 8.

X:1

T:Farmer’s Jamoree, The

M:6/8

L:1/8

K:A

c2d|:efe dcB|A2c E2A|cBc edc|e3 ecd|efe dcB|A2c E2e|gfe dcB|[A3e3] [Ae]cd:|

|:e2c a2g|f2B b2a|g3B Bdf|e3 ecd|e2c a2g|f2d b2a|gfe dcB|[A3e3] ecd:|

                       

FARMER’S LAMENT. Irish, Air (6/8 time). E Minor. Standard tuning. One part. O’Farrell (Pocket Companion, vol. IV), c. 1810; pg. 73.

X:1

T:Farmer’s Lament, The

M:6/8

L:1/8

R:Air

S:O’Farrell – Pocket Companion, vol. IV (1810)

Z:AK/Fiddler’s Companion

K:Emin

G/A/ | B>cB B2 A/G/ | A>GE GEE | E2F G>AB | g2 (f/e/) f2e | dB (B/A/) B2A |

G>AB g2 f/e/ | f2e dB A/G/ | A3 G/A/ B>cB | B2 A/G/ A2 G/E/ | GEE E2 :|

                       

FARMER'S MEDLEY QUADRILLE. Old‑Time, Quadrille Medley. Edison 51548 (78 RPM), 1923, John Baltzell. Also includes the tunes "Cows in the Corn Quadrille" and "Kentucky Quadrille." Baltzell was taught to play the fiddle by minstrel Dan Emmett (d. 1904), who was born in Mt. Vernon, Ohio, the same town as Baltzell. Emmett had returned, poor, in 1888.

                       

FARMER'S REEL [1]. AKA – “The Farmer.” Canadian, Reel. G Major. Standard tuning. AABB. Messer (Anthology of Favorite Fiddle Tunes), 1980; pg. 55.

X: 1

T:Farmer's Reel, The

R:Reel

M:4/4

L:1/8

Z:Transcribed by Bruce Osborne

K:G

d>c|BGBd BGBd|gfge dBGB|ecdB cABG|E2A2 A2dc|

BGBd BGBd|gfge dBGB|ecdB cABG|D2G2 G2:|

|:g2|dgBg dgBg|dgba gfed|ea^ca ea^ca|e2ag fed^c|

dgBg dgBg|dgba gfed|faba gfef|g2g2 g2:|

|:B>c|dBgB dgBg|ecgc egce|dBgB dgBd|AGFE D2Bc|

dBgB dgBd|ecgc egce|dBGB cAFA|G2B2 G2:|

 

FARMER’S REEL [2]. AKA and see “The Golden Wedding Reel [1],” “Richibucto Reel.” Canadian, Reel. Canada, Prince Edward Island, New Brunswick. G Major. Standard tuning. AA’BB’. No relation to “Farmer’s Reel [1]." Perlman (1996) states this is a very widely played “good old tune” on Prince Edward Island, and believes the tune originated in the Canadian Maritimes (though it is also found in the northeastern United States). It aappears that New Brunswick radio and TV fiddler Don Messer claimed the tune as his own composition (titled “Golden Wedding Reel”). Source for notated version: Stephen Toole (1927-1995, Green Road, Queens County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 48. Rounder CD 7014, Leonard McDonald – “Fiddlers of Western Prince Edward Island” (1997).

                       

FARMER'S STOMP. Old‑Time, Fiddle Tune. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.


                       

FARMER'S WIFE. American, Polka?. USA, New York State. D Major. Standard tuning. AA'BB'. Source for notated version: Vic Kibler's Uncle Echtor (Hamilton County, N.Y.). Kibler only heard it in his own family [Boher/Kibler]. Bohrer (Vic Kibler), 1992; No. 29, pg. 29.

                       

FARNIE HOUSE. Scottish, Reel. G Major. Standard tuning. AABB’. Kerr (Merry Melodies), vol. 4; No. 114, pg. 14.

X:1

T:Farnie House

M:C|

L:1/8

R:Reel

S:Kerr – Merry Melodies, vol. 4, No. 114  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

GABc d2 (Bc)|dBgd bgdB|GABc d2 (Bd)|cAaf dcBA:|

|:(BG)GG (DG)GG|(BG)GB (de)dc|1 (BG)GG (DG)GG|

FGAB cedc:|2 Bdgf edcB|AGFE DcBA||

                       

FAROE RUM. Shetlands, Shetland Reel. The tune was in the repertory of the locally infulential Shetland Fiddle Band, and therefore has a wide currancy in those Islands. Tom Anderson (1978) identifies it as a reel from the time when a thriving Cod fishing industry was extent on Faroe Island, and tobacco and rum were smuggled to the Island for "home consumption." Topic 12TS379, Aly Bain & Tom Anderson ‑ "Shetland Folk Fiddling, Vol. 2" (1978).

                       

FARRAH! FARRAH! AKA and see "Thomond Tribe March," "Dalcassian Tribe March."

                       

FARRAL GARA. See “Farrel O’Gara(‘s Reel).”

                       

FARR-AWA WEDDING, THE. See “Faraway Wedding [1].”

                       

FARRELL O’GARA(‘S REEL) {Fearghal Ó Gadhra}. AKA and see "Falcarragh Reel," "Faral O'Gara,” "Fearghal Ó Gadhra,” "La Grondeuse [2],” “Last Night’s Fun,” “The Silver Spire.” Irish, Reel. D Major. Standard tuning. AAB (Miller & Perron): AABB’ (O’Malley). A very popular session tune. Brendan Breathnach (1963) remarks that it has been said that the Farrell O’Gara of the title was Lord Moy O’Gara who gave shelter to the Four Masters. A Scottish variant goes by the title “Last Night’s Fun” in Kerr’s Merry Melodies (c. 1886)—the same tune and title is printed in Ryan’s Mammoth Collection (1883) along with the variants “Old Joe Sife’s” and “Pretty Jane.” “Farrell O’Gara” was recorded several times during the 78 RPM era by the great New York City based Sligo fiddlers: Michael Coleman recorded it in 1927 (paired with “Good Morning to Your Nightcap”), James Morrison under the title “Roderick,” and Paddy Killoran as “Shannon’s Favorite.” See also the recording below by John McGrath, who emigrated to the United States in 1928 and was a contemporary and friend of Coleman and Morrison. The melody was recorded famously on 78 RPM by fiddlers Paddy Sweeney and Paddy Killoran in New York in 1931, paired with another reel called “The Silver Spire,” so influential was the pairing that there was occasionally confusion of titles with the latter tune.  Around the same time a Highland fling version was recorded by fiddler John McGettigan, originally from Glenree, Donegal. Sources for notated versions: John Clancy (Bronx, N.Y.) [Mulvihill]; accordionist Sonny Brogan (County Sligo/Dublin, Ireland) [Breathnach]; County Sligo fiddler Michael Coleman (1891-1945) [Miller & Perron]; Mary Carolan, Kevin O’Connor & Joe Flynn [O’Malley]. Breathnach (CRÉ I), 1963; No. 131, pg. 53. Mallinson (Essential), 1995; No. 16, pg. 7 (appears as “Faral O’Gara”). Lyth (Bowing Styles in Irish Fiddle Playing), 1981; 45. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 70. Mulvihill (1st Collection), 1986; No. 36, pg. 9. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 61, pg. 31. Peoples (Fifty Irish Fiddle Tunes), 1986; 19. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 22 (appears as “Fearghal Ó Gadhra”). Coleman Music Center CHC 009, John McGrath {born Co. Mayo, 1900-1955} & Lad O’Beirne (on fiddle and piano, respectively) – “The Coleman Archive, vol. 2: The Home Place” (2005. Various artists). Nimbus NI 5320, Tommy Peoples & Seamus Gibson - “Fiddle Sticks: Irish Traditional Music from Donegal” (1991). Philo 2001, "Jean Carignan" (learned from a 78 by fiddlers Paddy Killoran & Patrick Sweeney). Tara 2002, Christy Moore ‑ "The Iron Behind the Velvet" (1978. Learned from Pat Linnane of Corofin). Yazoo Records, Paddy Killoran & Paddy Sweeney – “The Wheels of the World, vol. 2.” Tommy Peoples - "Traditional Irish Music" (appears as first tune of track 10).

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:Farrell O’Gara

M:C|

L:1/8

K:D

A,D (3DDD A,DFA|BFAF EFAc|(3dcB (3cBA BFAF|(3GFE (3FED ECDB,|

A,D (3DDD A,DFA|BFAF EFAc|(3dcB (3cBA BdAF|GFEG FD D2:|

|:fd (3dcd fdgd|fdgf edBc|(3dcB (3cBA Bcde|fdge e^deg|1 fd (3dcd fdgd|fdgf edBc|

(3dcB (3cBA (3Bcd AF|GFEG FD D2:|2 fagf edBc|dfed BAFA|A,D (3DDD A,DFA| BFAF D2||

X:2

T:Farrel O’Gara

M:2/4

L:1/8

R:Highland Fling

S:Jerry O’Brien’s Accordion Instructor (1949)

Z:AK/Fiddler’s Companion

K:A

A/F/ | E/A/A/c/ B/A/a/f/ | e/c/B/d/ c/A/F/A/ | E/A/A/c/ B/A/a/f/ | e/c/B/c/ AA/F/ |

E/A/A/c/ B/A/a/f/ | e/c/B/d/ c/A/F/A/ | E/A/A/c/ B/A/a/f/ | e/c/B/c/ A :|

|: (3e/f/g/|a/g/a/f/ e/a/c/e/ | d/B/c/A/ B/A/F/A/ | a/g/a/f/ e/a/c’/a/ | b/a/b/c/’ aa/b/ |

c’/a/f/a/ e/a/c/e/ | d/B/c/A/ B/A/F/A/ | E/A/A/c/ B/A/a/f/ | e/c/B/c/ A :|

X:3

T:Farrel O’Gara

M:C|

L:1/8

R:Reel

S:Brian Conway

Z:AK/Fiddler’s Companion

K:D

DB,|A,D (3DDD (A,D)FA|B(FA)(F E)(FA)(c|{e}dc)d(A B)(FA)F|

                       

FARRELL O'GARA'S FAVORITE REEL. AKA and see “Last Night in Leadville,” "Last Night's Fun [1]," "The Macroom Lasses," "Old Joe Sife’s Reel," “Stick it in the Ashes.” AKA – “Farrell O’Gara Schottische.” Irish, Reel or Schottische. A Major. Standard tuning. AABB. See also “More Power to Your Elbow” in O’Neill for a version in the key of ‘G’ major, and Coleman’s “Killarney Wonder Schottische [1].” This is not the “Farrell O’Gara” reel famously recorded by Sligo fiddler Michael Coleman (1891-1945)  in 1927 in New York, but rather the first tune in his “Killarney Wonder” set, where it is called “Farrell O’Gara Schottische.” Cole (1000 Fiddle Tunes), 1940; pg. 47. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 150. Ryan’s Mammoth Collection, 1883; pg. 76.

X:1

T:Farrell O’Gara’s Favorite Reel

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

K:A

A/F/ | E/A/A/c/ B/A/a/f/ | e/c/B/d/ cA/F/A/ | E/A/A/c/ B/A/a/f/ | e/c/B/c/ AA/F/ |

E/A/A/c/ B/A/a/f / | e/c/B/d/ c/A/F/A/ | E/A/A/c/ B/A/a/f/ | e/c/B/c/ A :|

|:(3e/f/g/ | {b}a/g/a/f/ e/a/c/e/ | d/B/c/A/ {c}B/A/F/A/ | {b}a/g/a/f/ e/a/c’/a/ |

b/a/b/c’/ aa/b/ | c’/a/f/a/ e/a/c/e/ | d/B/c/A/ B/A/F/A/ | E/A/A/c/ B/A/a/f/| e/c/B/c/ A :|

X:2

T:Farrel O’Gara

M:2/4

L:1/8

R:Highland Fling

S:Jerry O’Brien’s Accordion Instructor (1949)

Z:AK/Fiddler’s Companion

K:A

A/F/|E/A/A/c/ B/A/a/f/|e/c/B/d/ c/A/F/A/|E/A/A/c/ B/A/a/f/|e/c/B/c/ AA/F/|

E/A/A/c/ B/A/a/f/|e/c/B/d/ c/A/F/A/|E/A/A/c/ B/A/a/f/|e/c/B/c/ A:|

|:(3e/f/g/|a/g/a/f/ e/a/c/e/|d/B/c/A/ B/A/F/A/|a/g/a/f/ e/a/c’/a/|b/a/b/c/’ aa/b/|

c’/a/f/a/ e/a/c/e/|d/B/c/A/ B/A/F/A/|E/A/A/c/ B/A/a/f/|e/c/B/c/ A:|

                       

FARRELL’S FAVORITE MINUET. Irish (?), Minuet (3/4 time). G Major. Standard tuning. AABB. O’Farrell (Pocket Companion, vol. 1), c. 1805; pg. 64.

X:1

T:Farrell’s Favorite Minuet

M:3/4

L:1/8

R:Minuet

S:O’Farrell – Pocket Companion, vol. 1 (c. 1805)

Z:AK/Fiddler’s Companion

K:G

dc | B2 Bc/A/ G/B/d/g/ | d2c2B2 | (c>d) (B>c) Ad | G>FGAGA | B>c d/B/c/A/ G/B/d/g/ |

d2c2{B/c/}B2 | cA BG AF | F2 {E/F/} G3 :: (3d/e/f/ | g2 gg gg |  f2 ff ff |

e2 eg/f/ a/g/f/e/ | ed d3B | c2 cB/c/ A>c | B/G/A/B/ c/d/e/f/ g>d | {f}ed/c/ B>G A2 | “tr”A2 G3 :|

                       

FARRELL'S PIPES. AKA and see "Langstern Pony," "Lastrum One," "Langstrom's Pony," "Lostrum Poinia," “(A) Draught of Ale,” "The Fourpenny Girl,” “Grania’s Welcome Home [2],” “Highway to Dublin,” “The Priest’s Leap [3],” “Right Way to Dublin,” “Saddle the Pony [3],” “Sweet Tibby Dunbar.” Irish, Jig. D Major. Standard tuning. AABBCCDDEEFF. O’Farrell (National Irish Music for the Union Pipes), 1804; pg. 23.

X:1

T:Farrell’s Pipes

M:6/8

L:1/8

R:Jig

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

Z:AK/Fiddler’s Companion

K:D

g | fed cAA | cAA ecA | fed cAA | BGB/c/ dBG :: cec dfd | cde ecA | cec dfd | BGB dBG ::

cAg fed | cde ecA | cAg fed | BGB/c/ dBG :: cBA a2e | a/b/af ecA | BAG g2e | g/a/be dBG ::

A2d cAA | cAA ecA | A2d cAA | BGB/c/ dBG :: f/g/af g2e | f2d ecA | f/g/af g2c | BGB/c/ dBG :|

                       


FARTHER AND DEEPER. AKA and see “The Further in the Deeper.” Irish, Jig. Ireland, County Donegal. Caoimhin Mac Aoidh (1994) retells the John Doherty tale of a Donegal piper who responded to a challenge to explore a cave outside Glenties which had never been fully explored, and from which men who sought to plumb its depths never returned. The piper decided to take along his pipes and dog, and the next morning, with the townspeople gathered outside the cave mouth, he entered playing his pipes all the while with his dog at his side. The townspeople kept vigil for a time, then appointed a guard to wait should the piper emerge. They heard his pipes skirling for three days, growing more and more faint until they could be heard no more, and, although they kept watch for several weeks, no sign was ever seen or heard again of the piper. The dog, however, emerged some weeks later from another cave, without its skin (this aspect is quite specific in the motif, according to Mac Aoidh). The tune the piper played was well-remembered by the townsfolk, who called it “Farther and Deeper” in memory of the event. A similar story is attached to the march “The Piper in the Cave.” CCF 31, John Doherty – “The Floating Bow.”

                       

FARTING BADGER, THE. AKA and see “The King of the Pipers [1],” “The Kilraine Jig.”

                       

FASCADH A’ LEINE. Irish, Reel. Ireland, County Donegal. Caoimhin Mac Aoidh (1994) retells Vincent Campbell’s story of the origins of the tune title in a chance meeting of two women who were washing clothes and a fiddler from the Croaghs. The three began chatting and one of the women lilted a reel. This inspired the fiddler who had not played the tune in some time, and he brought out his instrument, which in turn motivated the women to dance a two-hand reel. They incorporated their work into their fun, however, and while dancing took a shirt between them and wrung it tight during the movements. They had no name for the tune so the fiddler called it “Fascadh a Leine.”

                       

FASHION O DA DELTING LASSES, DA. AKA and see "The Duke of Perth." Shetland, Reel. Shetlands, Mainland district. D Major. Standard tuning. AAB. Aly Bain states “it must have been composed in honour of some new fashion in the Delting area.” Source for notated version: A. Peterson (Shetland) [Anderson & Georgeson]. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 22. Green Linnet GLCD 3105, Aly Bain - “Lonely Bird” (1996).

                       

FASHION WHICH THE LASSES HAVE, THE (Am fasan th'aig na Caileagan). Scottish, Reel. F Sharp Minor ('A' part) & A Major ('B' part). Standard tuning. AAB. "This air is furnished with Gaelic verses, giving a ludicrous account of all the excentricities of female dress. It makes an admirable medley with No. 223 ('The Darling')" {Fraser}. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 220, pg. 90. Carl MacKenzie – “Music from the Simon Fraser Collection.” Rounder CD 11661-7033-2, Natalie MacMaster – “My Roots are Showing” (2000).

X:1

T:Fashion which the Lasses have, The

T:Am fasan th’ aig Caileagan

M:C

L:1/8

R:Reel

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:A

c|:AF F/F/F AEEc|AF F/F/F c2 Bc|AF F/F/F AEEA|1 FGAB c2 Bc:|2

FGAB c2 Bf||eAfA cBBf|e<A f>e c2 ea|eAfA cAB<c|AFAB c2 cf|

EAfA cBBf|e<Afe c2 cb|agfa eacA|FGAB cABc||

                       

FAS(H)IONABLE LOVER. English. England, Northumberland. One of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript.

  


FAST, THE. English, Country Dance Tune (6/8 time). England, Yorkshire. D Major. Standard tuning. AABB. Source for notatated version: an MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helerby), 1994; No. 69, pg. 45.

 

FAST TO THE MOORINGS. Shetland, Shetland Reel. Shetland, Unst. Cooke (1986) says it is like the "Morris Rant."

 

FASTEN THE LEG IN/ON HER (Daingnig an Cos Orti). AKA and see "Fasten the Leggin'."

 

FASTEN THE LEGGIN'. AKA ‑ "Daingnig An Cos Orrti," "Fasten the Leg in Her," “Fasten the Leg on Her,” "Fasten the Wig on Her," "Johnny is so long at the fair [2],” “The Noonday Feast," “Paddy Taylor’s (Jig) [4].” Irish, Double Jig. G Major. Standard tuning. AAB (Tubridy): AABB (Allan, Harker/Rafferty, Mallinson, Mulvihill, O’Neill): AA’BB’ (Kennedy, Mitchell). The curious title variant “Fasten the Leg in Her,” often used since the melody appeared in O’Neill’s under that title, is perhaps a reference to horse racing, but may also be a garbled version (or vice versa) of “Fasten the Wig on Her” or perhaps “Fasten the Legging” (referring to an article of clothing). Of course, it may be a double entendre title. The tune was once very popular, and was recorded by famed Irish-American piper Patsy Tuohey on a cylinder in 1919, and in the 78 RPM era by County Sligo fiddler Michael Coleman (1891-1945) in New York (c. 1924). Sources for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; a reissue of the Michael Coleman recording [Miller & Perron]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Allan's Irish Fiddler, No. 6, pg. 3. Cole (1000 Fiddle Tunes), 1940; pg. 52 (appears as “Fasten the Wig on Her”). Giblin (Collection of Traditional Irish Dance Music), 1928; No. 71. Harker (300 Tunes from Mike Rafferty), 2005; No. 193, pg. 60 (appears as “Paddy Taylor’s”). Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 43, pg. 12 (appears as “Fasten the Wig on Her”). Mallinson (Enduring), 1995; No. 40, pg. 17 (“Fasten the Leg in Her”). Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 1, No. 20. Mitchell (Willie Clancy), 1993; No. 73, pg. 71. Mulvihill (1st Collection), 1986; No. 63, pg. 78 (appears as “Fasten the Leg”). O'Neill (Krassen), 1976; pg. 35 (appears as "Fasten the Leg in Her"). O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 860, pg. 160 (appears as "Fasten the Leg in Her"). O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 120, pg. 35 (appears as "Fasten the Leg in Her"). Ryan’s Mammoth Collection, 1883; pg. 81 (appears as “Fasten the Wig on Her”). Tubridy (Irish Traditional Music, Book Two), 1999; pg. 33. Ace of Hearts AH-95, Michael Coleman – “Irish Dance Party” (various artists). Claddagh Records, Paddy Taylor - "Boy in the Gap" (an unusual, old West Limerick, setting). Gael-Linn CEF 165, Maire O'Keeffe - "Coisir/House Party" (1993). Green Linnet GLCD 1110, “The Boston College Irish Music Festival: My Love is in America” (1991). CCE, Néillidh Mulligan – “The Leitrim Thrush.” Larraga MMR112000, Mike & Mary Rafferty – “The Road from Ballinakill” (2001). Patty Furlong – “Traditional Irish Music on the Button Accordion” (1999. Learned from the playing of Limerick/London flute player Paddy Taylor).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Fasten the leg in her

S:Marie O'Keeffe - "Coisir/House Party" (based on fluteplayer Paddy Taylor's old Limerick version).

M:6/8

L:1/8

Z:Barbara Rubenstein

K:G

~B3 GDD|GBd edB |ABA DFA |DFA cBA|

~B3 GDD|GBd edB |ABA DFA |1 AGF G2A:|2 AGF GBd

|:~f3 def|~g3 efg|fAA AFA |BAF Ade|

~f3 def |~g3 efg|fed ^cBc|1 dfe dfa:|2 dfe d2c||

X:2

T:Fasten the Leg in Her

L:1/8

M:6/8

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 120

Z:AK/Fiddler’s Companion

K:G

d/c/|B2B BAB|GBd gdB|A2A AGA|Bee dBA|B2B BAB|GBd gfg|efg f<ag|fdd d2:|

|:e/f/|gag fgf|ede fdB|ABA AGA|Bee dBA|gag fgf|ede fdB|def e<ag|fdd d2:|

 

FASTEN THE WIG ON HER. AKA and see "Fasten the Leggin’”, “Fasten the Leg on Her.” Irish, Jig.

 

FAT BACK MEAT AND DUMPLINGS. See "Fat Meat and Dumplings."

 

FAT CAT, THE.  Irish, Hornpipe. A Major. Standard tuning. AABB’. Composed by Donegal fiddler Tommy Peoples (who paired it with another hornpipe of his composition, “The Mouse in the Attic”).

X:1

T:The Fat Cat

C:Tommy Peoples

S:Tommy Peoples

D:The Quiet Glen

Z:Juergen.Gier@post.rwth‑aachen.de

L:1/8

R:Hornpipe

M:4/4

K:A

A,2CE FEcB|AEFA FECE|cBBA F2EC|B,2A,B, CEEC|\

A,2CE FEcB|AEFA FECE|cBBA F2EC|B,A,CB, A,3 B,::\

~C2EC A,CEA|~c2Bc AF E2|"*"a6 fe|c2BA F2AF|EA,CE EFFA|\

c2Bc AF E2|"*"a6 BA|1F2EF A4:|2F2EC A,4|]

 

FAT HOG IN THE PEN. AKA and see "Going to Get Some Corn."

 

FAT MAN'S FANCY, THE (Roga An Fir Rogmar). Irish, Double Jig. A Major. Standard tuning. ABB. The ‘A’ part is shared with “Jackson’s Bottle of Claret.” Source for notated version: Stack [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 907, pg. 169.

X:1

T:Fat Man’s Fancy, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Music of Ireland (1903), No. 907

Z:AK/Fiddler’s Companion

K:A

E | A3 BAB | c>ef/g/ agf | gec BAG | AcA BGE | A3 BAB |

c>ef/g/ agf | gec BAG | AcB A2 || c | f2f fec | efg agf | agf edc |

BcB Bce | f2f fec | efg a2b | c’ba gba | gfg a2 ||

                       

FAT MEAT AND DUMPLINGS. AKA ‑ "Fat Back Meat and Dumplings". AKA and see "Knocking on the Door." Old‑Time, Breakdown. USA, Missouri. C Major. Standard tuning. AB (Siblerberg): AABB (Christeson, Phillips): AA’BB’ (Beisswenger & McCann). The tune is related to “Green Corn.” Some fiddlers play all or some of the ‘f’ notes sharp instead of natural. Sources for notated versions: Cyril Stinnett (Oregon, Missouri), who learned it from his father [Christeson]; Art Galbraith (Mo.) [Phillips]; Glenn Berry [Silberberg]; Vesta Johnson (b. 1922), learned from Cyril Stinnett [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 71. R.P. Christeson (Old Time Fiddler’s Repertory, vol. 1), 1973; pg. 43. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 83. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 43. Marimac 9017, Vesta Johnson (Mo.) ‑ "Down Home Rag." Missouri State Old Time Fiddlers' Association, Cyril Stinnet (1912-1986) - "Plain Old Time Fiddling." Missouri State Old Time Fiddlers’ Association VFFA 1001, Vest Johnson – “I’m Old But I’m Awfully Tough” (1977). Rounder C‑11565, Art Galbraith (Springfield, Mo.) ‑ "Rounder Fiddle" (1990). Rounder 0157, Art Galbraith ‑ "Simple Pleasures." Red Mountain White Trash – “Sweet Bama” (2002).

See also listing at:

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

X:1

T:Fat Meat and Dumplings

M:2/4

L:1/16

Q:120

R:Breakdown

S:Old Time Fiddler’s Repertory, vol. 1, 1973; pg. 43

K:C

ef|:g2gg gagf|edcA GFED|[CE]2[CE][DC] EGBd|[dg]2[dg][dg][dg]2ef|

g2g2 aged|cBAF GFED|[CE]2[CE][DC] EGcd|ed[ec][de] [ce]2 [1ef:][2GF]::

E2c2 G2cG|EGcG AG^FG|D2B2 G2BG|DGBG AG^FG|

E2c2 G2cG|EGcG AG^FG|D2BA GABc|dB[ce][de] [ce]2 [1 GF:] [2z2] ||

                       

FATE’S REEL. Irish, Reel. G Major. Standard tuning. AABBCC. Levey (Dance Music of Ireland, 2nd Collection), 1873; No. 40, pg. 17.

X:1

T:Fate’s Reel

M:2/4

L:1/8

R:Reel

S:Levey – Dance Music of Ireland, 2nd Collection (1883)

Z:AK/Fiddler’s Companion

K:G

d | d(g/f/) gB | B(d/^c/) dG | Aedc | B/A/B/c/ dd | d(g/f/) gG |

B(d/^c/) dG | AedF | G2 :: d | (df) fd | (dg) gd | (da) ad | (db) bd |

d(g/f/) gB | B(d/^c/) dG | AedF | G3 :: d |

(^c/d/)(c/d/) ef | (a/g/f/g/) dB | (d/c/B/c/) AF | (G/D/G/B/) dd |

(^c/d/)(c/d/) ef | (a/g/f/g/) dB | (d/c/B/c/) AF | G2 :|

                       

FATH MO BHUARTHA. Irish, Air (4/4 time). G Major/Mixolydian. Standard tuning. One part. Ó Canainn (Traditional Slow Airs), 1995; pg. 11.

                       

FATHACH EIREANNACH, AN (The Irish Giant). Irish, Jig. D Major. Standard tuning. AABB. The tune was named in honor of Charles Byrne, a 7 ft., 7 in., Derryman who died in London in 1783. He had a mortal fear of being dissected by anatomists and directed his body be flung into the sea upon his death. Cranitch (Irish Fiddle Book), 1996; No. 17, pg. 131. Green Linnett GLCD 3090, Mairead Ni Mhaonaigh & Frankie Kennedy - "Ceol Aduaidh" (1983/1994. Learned from Vincent McLaughlin from Magherafelt, Co. Derry, via his nephew Caoimhin MacAodha).

 

FATHER AHEARN’S. AKA and see “Aggie Whyte’s,” “Paddy Kelly’s.” Irish, Reel. G Major.

 

FATHER BEDD JIGG. English. England, Northumberland. Probably "Feather Bed Jig." One of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript.

 

FATHER BOURKES. Irish, Slip Jig. G Major/Mixolydian. Standard tuning. AAB. Composed by Co. Offaly musician Paddy O’Brien for his E.P. “The Banks of the Shannon.”

                       

FATHER BRIAN MACDERMOTT ROE. Irish, Planxty (3/4 time). G Major. Standard tuning. ABB. Composed by blind Irish harper Turlough O'Carolan (1670-1738). Complete Collection of Carolan's Irish Tunes, 1984; No. 84, pg. 68.

                       

FATHER BURKE('S). Irish, Slip Jig. G Major. A modern composition by accordian player Paddy O'Brien. Comhaltas Ceoltoiri Eireann #CL‑6, Paddy O'Brien & Seamus Connolly. Front Hall 018, How to Change a Flat Tire‑ "Traditional Music of Ireland and Shetland" (learned from the playing of Dan Collins). Philo FI 2018, "Jean Carignan Plays the Music of Coleman, Morrison & Skinner."

                       


FATHER DOLLARD'S FAVORITE (Roga An T-Atar Dollaird). Irish, Double Jig. D Major. Standard tuning. AABB. Father W.K. Dollard was a fiddler and flute player, and a member of Chicago’s Irish Music Club in the first decade of the 20th century, to which Captain Francis O’Neill also belonged. O'Neill (Krassen), 1976; pg. 21. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 748, pg. 140. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 36, pg. 23.

X:1

T:Father Dollard’s Favorite

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 36

Z:AK/Fiddler’s Companion

K:D

DFA dcd|AFA BGE|DFA dcd|AFA gfe|DFA dcd|AFA BGE|afd bge|AFD E2D:|

|:fef gfg|afd AFD|fef gfg|DFA B2A|fef gfg|afd bge|fga Bcd|AFD E2D:|

 

FATHER DOLLARD'S HORNPIPE (Crannciuil An Atar/T-Atair Dollard/Dollaird). AKA and see “The Harlequin.” Irish, Hornpipe. D Major. Standard tuning. AABB. Father W.K. Dollard was a fiddler and flute player, and a member of Chicago’s Irish Music Club in the first decade of the 20th century, to which Captain Francis O’Neill also belonged. Terry Moylan (Johnny O’Leary) gives the alternate title “The Harliquin.” Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border), recorded in recital at Na Píobairí Uilleann, February, 1981 [Moylan]. Cranitch (Irish Fiddle Book), 1996; No. 88, pg. 161. Moylan (Johnny O’Leary), 1994; No. 62, pgs. 35-36. O'Neill (Krassen), 1976; pg. 190. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1669, pg. 310. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 881, pg. 152. Topic 12T310, John, Billy and Julia Clifford - “The Star of Munster Trio.”

X:1

T:Father Dollard’s Hornpipe

L:1/8

M:C|

R:Hornpipe

S:O’Neill – 1001 Gems (881)

Z:AK/Fiddler’s Companion

K:D

D2|D2 (3DDD DFAA|defe dcBA|FA A2 BA A2|GFED CEA,C|

D2 (3DDD DFAA|defe dcBA|FAAA BAGE|D2 (3DDD D2:|

|:de|f<d (3dcd A<d (3dcd|f>d (3dcd bgaf|gfec Acef|(3gag b>g agfg|

Adcd (3Bcd AF|Adcd (3Bcd A2|Adfa gece|d2 (3ddd d2:|

 

FATHER EUGENE’S WELCOME TO CAPE NORTH. Canadian, March (2/4 or cut time). Canada, Cape Breton. A Dorian. Standard tuning. AABB (Shears): AABBCCDD (Cranford/Holland). Composed by the late Ingonish, northside Cape Breton, fiddler Mike MacDougall (Ingonish, Cape Breton, 1928-1982). Barry Shears says Father Eugene Morris is a noted step-dancer. Cape North is at the northernmost tip of Cape Breton, jutting into the St. Lawrence Sound, looking toward Newfoundland. Cranford (Jerry Holland’s), 1995; No. 36, pg. 11. Shears (Gathering of the Clans Collection, vol. 1), 1986; pg. 33. Traditional Music of the Maritimes TM044C, Nancy Roach – “Double Scotch.”

 

FATHER FIELDING’S FAVORITE (Roga An {T-}Atar Fielding/Fitceallaig). AKA and see "Ella Rosenberg," "I'll Tell My Mammy," “Katie’s Donkey.” Irish, Double Jig. G Major. Standard tuning. AABB (Harker/Rafferty, O’Neill): AA’BB’ (Connolly & Martin). Named in honor of Fr. James K. Fielding of Kilkenny, a friend of compiler Captain Francis O’Neill’s in Chicago, who, like O’Neill, played the flute and was interested in preserving traditional Irish music. Fielding was also a Gaelic League activist and believed in ‘Ireland for the Irish.’ The original title of the tune was “Ella Rosenberg,” found in Mooney’s History of Ireland—this title is the name of a melodrama in two acts by William Kenney, written in 1807. O’Neill (1910) says that Fielding was so taken by the tune, and promoted it so enthusiastically, that it became known as “Father Fielding’s Favorite.” O’Neill says: “His Reverence induced the good sisters of the parish to teach it to their most promising music pupils, while he cheerfully accompanied them on the flute.” The title “Katie’s Donkey” comes from flute player Mike Rafferty, who identified it as an old Ballinakill (County Galway) tune, but who couldn’t find a title for it and so named it after a woman who owned a donkey near Loughrea (Harker, 2005). Fiddler Seán Maguire (accompanied by pianist Eileen Lane) recorded the melody on a 78 RPM in the late 1950’s. Source for notated version: New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Connolly & Martin (Forget Me Not), 2002; pgs. 32-33. Harker (300 Tunes from Mike Rafferty), 2005; No. 221, pg. 68 (appears as “Katie’s Donkey”). O'Neill (Krassen), 1976; pg. 52. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1004, pg. 187. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 219, pg. 50. Larraga MMR112000, Mike & Mary Rafferty – “The Road from Ballinakill” (2001).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:John Byrne's

T:Father Fielding's Favorite

M:6/8

L:1/8

R:Jig

S:James Byrne and Roisin McRory

Z:Transcribed by Larry Sanger

K:G

GFG BcA|BGF GBc|dBG cAF|GDC B,CD|GFG BcA|

BGG fed|cAG FGA|1 BGF G2D:|2 BGFGBd||

gfg afd|cBc dBG|g2b afd|cBc def|gdg fdf|ece gfe|

ded BcA|1 BGF GBd:|BFGG2D||

 

FATHER FRANCIS CAMERON. Canadian, Reel. Canada; Cape Breton, Prince Edward Island. A Major. Standard tuning. AABB. The composition has been credited to Nova Scotia musician John Allen Cameron, and (by Perlman & Alasdair Fraser) to Cape Breton fiddler John Campbell. Source for notated version: Hughie MacPhee (b. 1924, Elmira, North-East Kings County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 88. Culburnie Records CUL102c, Alasdair Fraser & Jody Stecher – “The Driven Bow” (1988). Green Linnet SIF 1075, Eileen Ivers ‑ "John Whelan & Eileen Ivers: Fresh Takes" (1987. Learned from Mark Simos). Green Linnet SIF 1101, Eileen Ivers ‑ "Playing with Fire: The Celtic Fiddle Connection" (1989).

 

FATHER FRANK OF GOREY. Irish, Air (4/4 time). D Major. Standard tuning. AB. "The name of a song of Ninety‑eight written to this air" (Joyce). Source for notated version: "...from a MS. collection lent to Mr. Pigot by James Hardiman, the historian of Galway and editor of Hardiman's Irish Minstrelsy" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 758, pg. 373.

 

FATHER GRADY'S VISIT TO BOCKAGH. Irish, Reel. Ireland, County Sligo. D Major. Standard tuning. AABB. Source for notated version: flute player Colm O'Donnell (b. 1962, Aclare, Co. Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 11.


 

FATHER HALPIN'S TOPCOAT [1]. Irish, March (3/4 time, "Gaily"). G Major. Standard tuning. AABB. Roche Collection, 1982, vol. 2; No. 342, pg. 60.

 

FATHER HALPIN'S TOPCOAT [2]. AKA and see "The Varsovienne [1]" (Roche).

 

FATHER HANLEY'S JIG. AKA and see “House in the Glen [3],” "The Rambler [2]." Irish, Jig. A Major. Standard tuning. AABB. The tune was composed by Tommy Sullivan of Springfield, Mass., according to Jerry O’Brien’s tutor. O’Brien was Boston button accordion player Joe Derrane’s mentor, and Derrane remembers Sullivan writing out the tune for O’Brien for his publication. “Father Hanley” was recorded on 78RPM disc in 1924 by Sligo fiddler James “The Professor” Morrison in New York under the title “The Rambler.” The melody shares a similar second part with the Scottish “Teviot Bridge.” Cranford (Jerry Holland: The Second Collection), 2000; No. 230, pg. 85. O’Brien (Jerry O’Brien’s Accordion Instructor), 1949. O’Brien (Irish Folk Dance Music). Cló Iar-Chonnachta CICD 173, Brian Conway – “Consider the Source” (2008). Copley 78 RPM, Joe Derrane. Shanchie 34008, Andy McGann & Paddy Reynolds.

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:Father Hanley’s Jig

M:6/8

L:1/8

R:Jig

S:Jerry O’Brien’s Accordion Instructor (c. 1940)

Z:AK/Fiddler’s Companion

K:A

C/E/|FEC E2A|FEC E2 c/e/|fec ABc|BAF AFD|

FEC E2A|FEC E2 c/e/|fec ABc|BAA A2:|

|:c/d/|ece Ace|afa faf|ece fec|BcB Bcd|ece Ace|afa faf|ece fec|ABA A2:|

X:2

T: Father Hanley's

S: J. O'Brien: "Irish Folk Dance Music"

Z: Transcribed by Bill Black

M: 6/8

L: 1/8

Q: 325

R: jig

K: A

C/E/ | FEC E2 A | FEC E2 c/e/ | fec ABc | BAF AFE |

FEC E2 A | FEC E2 c/e/ | fec ABc | BAA A2 :|

c/d/ | ece Ace | afa faf | ece fec | BcB Bcd |

ece Ace | afa faf | ece fec | ABA A2 :|

K:G %Transposed from A

B,/D/ | EDB, D2 G | EDB, D2 B/d/ | edB GAB | AGE GED |

EDB, D2 G | EDB, D2 B/d/ | edB GAB | AGG G2 :|

B/c/ | dBd GBd | geg ege | dBd edB | ABA ABc |

dBd GBd | geg ege | dBd edB | GAG G2 :|

X:3

T:Father Hanley’s

M:6/8

L:1/8

R:Jig

S:Brian Conway (3/06)

Z:AK/Fiddler’s Companion

K:A

(F|E)CE [C2E2] A|FEC [C2E2] e|fe(c A)B(c|{cB}B)AF FAF|

ECE [C2E2] A|FEC [C2E2] a|fe(c A)Bc|BA(G A2)F|ECE [C2E2] A|

F/F/EC [C2E2] a|fec AB(c|d)cd BAF|ECE A,C(E|{G}F)EC E2e|

{g}fec AB(c|B)AG [E2A2]||f|ece Ace|{b}aga faf|ece fec|B/c/BA Bcd|

ece Ace|~a3 faf|e^ce {g}fe(c|{Bc}B)AG [E3A3]|ece [E2A2] g|

aga faf|ece fec|B/c/BA Bcd|ece Ace|[c3a3][d3f3]|ece fec|({Bc}B)AG A2||

 

FATHER HENEBRY'S REEL. AKA and see "Lady O'Brien's Reel," "The Frieze Kneebreeches," "The Mountain Lark [4]," "Fuiseog an tSleibhe," "The Gauger," "The Connacht Rangers," "O'Connell's Reel [1]," "An Colamo(i)r Sugach," "The Steampacket."

 

FATHER JACK WALSH (An T'Atair Sean/Seagan Breatnac). AKA and see "Tatter Jack Walsh," "To Cashel(l) I'm Going [1]," "Kitty of Ballinamore." Irish, Double Jig. D Major (Kerr, O’Neill): D Mixed modality (Cranford): B Flat Major/Mixolydian (Stanford/Petrie). Standard tuning. AB (Stanford/Petrie): AAB (O'Neill/1850 & 1001): AABB (Cranford, Kerr). Cranford (Jerry Holland’s), 1995; No. 241, pg. 69. Kerr (Merry Melodies), vol. 1; No. 42, pg. 39. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 152, pg. 86. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 885, pg. 164. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 136, pg. 37. Stanford/Petrie (Complete Collection), 1905; No. 731, pg. 183. Edison 51041 (78 RPM), John H. Kimmel (accordion player from N.Y.C.) {appears as one of tunes of "Contentment is Wealth" Medley}.

X:1

T:Father Jack Walsh

T:Tatter Jack Walsh

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 136

Z:AK/Fiddler’s Companion

K:D

d/e/|fef ded|cAB c2d|cAF GFG|Ade f2a|gec ded|cAB c2d|cAF GFG|A<dd d2:|

||A|dfg afd|dfg a2d|cde ged|cde f2a|gec ded|cAB c2d|cAF GFG|Add d2A|

dfg afd|dfg a2c’|bgb afd|cde f2a|gec ded|cAB c2d|cAF GFG|A<dd d2||

X:1

T:Father Jack Walsh

M:6/8
L:1/8

R:Jig

S:Stanford/Petrie (1905), No. 731

Z:AK/Fiddler’s Companion

K:Bb

e | dcB BcB | _AFG A2B | _AFE D2E | FBB B2e | dcB Bd/c/B | _AFG A2B |

AFE {E}D2E | (FB).B .B2 || F | (Bd).f (fd).B | (Bd).f f2d | e>fe ege | c_Ac e2 f/4>e/4 |

d>cB BdB | _AFG A2B | GFE EDE | FBB B2 ||

 

FATHER JOHN ANGUS RANKIN. Canadian, Reel. Canada, Cape Breton. B Minor. Standard tuning. AB. Composed by the late fiddler Jerry Holland (1955-2009, Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 62, pg. 18. Boot Records, Jerry Holland - “Master Cape Breton Fiddler” (1982). Rounder RO7023, Natalie MacMaster - “No Boundaries” (1996. Learned from Jerry Holland). WMT002, Wendy MacIsaac – “That’s What You Get” (1998?).

 

FATHER JOHN ANGUS RANKIN’S MARCH. Canadian, March (4/4 time). Canada, Cape Breton. A Major. Standard tuning. AABB’. Composed by the late fiddler Jerry Holland (1955-2009, Inverness, Cape Breton) in honor of Father John Angus Rankin, pianist, Cape Breton music enthusiast and former parish priest at Glendale, Inverness County, Cape Breton. Cranford (Jerry Holland’s), 1995; No. 26, pg. 8. Fiddlesticks cass., Jerry Holland - “Fathers and Sons” (1992). Green Linnett, Jerry Holland - “The Fiddlesticks Collection” (1995). Rounder Records , John L. MacDonald – “Formerly of Foot Cape Road: Scottish Fiddle Music in the Classic Inverness County Style” (2005).

 

FATHER JOHN MACMILLAN OF BARRA. Scottish, March (2/4 time) or Highland Schottische. A Major. Standard or AEae (‘high bass’) tunings. AABB'CCDD'. A popular pipe tune in the Scottish Highlands. Composed by Norman MacDonald. Martin (Ceol na Fidhle), vol. 1, 1991; pg. 27. Culburnie Records CUL 102, Alasdair Fraser & Jody Stecher – “The Driven Bow” (1988).

 

FATHER KELLY NO. 1. Irish (?). Shanachie Shan‑79017, John & Phil Cunningham ‑ "Against the Storm" (1980).

 

FATHER KELLY’S FAREWELL. Irish, Jig. Composed by Co. Tipperary fiddler Seán Ryan (d. 1983) and contained in Brian Ryan’s book The Hidden Ireland, No. 7.

 

FATHER KELLY'S (JIG). AKA and see “Lough Derg Jig.” Irish, Double Jig. G Major. Standard tuning. AAB (Miller): AABB'CC (Mulvihill). Composed by the late Father P.J. Kelly (1926-2006, originally from Graigue, Woodford, County Galway), who originally entitled it “Lough Derg Jig.” Kelly was ordained a priest in the Columban order in 1950 and was assigned to a post in Fiji, where he stayed for some 20 years, subsequently serving in Pakistan and Perth before returning to Ireland. His first piece was composed in 1960, when he returned to his home in Woodford for a holiday. The story goes:

***

He had been playing with a group of local musicians when they joked

about what would happen when they reached the end of O’Neill’s

1001 Tunes. So, PJ half-joked that they could write their own. They

all agreed to meet up the following week with their attempts at new

pieces. When the time came, PJ was the only one who had written

something, which he named “The Lough Derg Jig,” called after the

lake near his Woodford home.           (Dearbhla Geraghty, Connacht Tribune. Treoir, vol. 38, no. 2, 2006, pg. 6).

***

Sources for notated versions: John Clancy (Bronx, N.Y.) [Mulvihill]. McNulty (Dance Music of Ireland), 1965; pg. 18. Miller (Fiddler’s Throne), 2004; No. 40, pg. 35. Mulvihill (1st Collection), 1986; No. 83, pg. 82. Taylor (Crossroads Dance), 1992; No. 44, pg. 33. Shaskeen ‑ "The Mouse Behind the Dresser." Wild Asparagus WA 003, Wild Asparagus - "Tone Roads" (1990).

X:1

T:Father Kelly’s (Jig)

T:Lough Derg Jig

S:Paul O'Shaughnessy

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

C:Father Kelly

M:6/8

L:1/8

R:Jig

K:G

D|GFG BAG|F2G AFD|GFG BAG|BdB cAF|\

G2c BAG|~F3 AFD|d^cd fed|cAF G2:|

A|:B2d gdB|dgB dgB|c2e gec|egc ege|d2f afd|\

fad fad|1gfg efg|afd cBA:|2d^cd fed|cAF G2|:c|\

~B3 BGE|F2G AFD|BdB BAG|BdB cAF|\

~B3 BGE|F2G AFD|d^cd fed|cAF G2:|

                                   

FATHER KELLY'S MARCH. Irish, March (4/4 time). G major. Standard tuning. AA’BB’.

X: 1

T: Father Kelly's March

M: 4/4

L: 1/8

R: march

S: Jack Doyle

K: G

GA |: B2 A>B AGEG | D2 G>F GABG | E2 c2 BAGB | A2 d>e d2 DG |

B2 A>B AGEG | D2 G>F GABG | E2 c2 BAGF |1 G2 G>F G2 DG :|2 G2 G>F G2 GB ||

d2 Bd gdBd | g2 g>a gdBd | c2 a>b agfe | d2 d2 d2 ef |

g2 g>a gdBd | c2 a>b agfe | d2 d>e fdfa |1 g2 g>f g2 Bc :|2 g2 g>f g2 ||

                                   

FATHER KELLY'S (REEL) [1]. AKA and see “The Rossmore Jetty.” Irish, Reel. G Major. Standard tuning. AABB (Harker/Rafferty, Mallinson): AABBCC (Flaherty). Galway cleric Father P.J. Kelly called this tune, his composition, “The Rossmore Jetty,” named after a place he went swimming from as a child in Woodford, County Galway. The late (d. 2006), legendary Father Kelly spent time missioning in the South Pacific before returning to Ireland. The second part of the tune is similar to the third part of “Mulvihill’s Reel [2],” also a Kelly composition from 1960, originally titled “Derry Craig Wood.” Sources for notated versions: tenor banjo player Tommny Finn (b. 1964, Marlow, Ballymote, Co. Sligo) [Flaherty]; Kerry Elkin (Massachusetts) [Songer]. Bulmer & Sharpley (Music from Ireland), 1974, vol. 3, No. 1 (appears as “Father Kelly’s No. 1”). Flaherty (Trip to Sligo), 1990; pg. 48. Harker (300 Tunes from Mike Rafferty), 2005; No. 157, pg. 48. Mallinson (Essential), 1995; No. 22, pg. 9. Songer (Portland Collection), 1997; pg. 78. Wild Asparagus – “Tone Roads.”

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Father Kelly's [1]

R:Reel

S:P. Haverty

Z:Jeffrey Myers (jmyers@GOUCHER.EDU)

M:C|

L:1/8

K:G

GA|B2 GB AGEG|DGGF GABd|c2AB cBAG|EAAG ABcA|\

B2GB AGEG|DGGF GABc|d2 Bd gdBd|cAFA G2:|*

Bc|d2Bd gdBd|d2 Bd gdBd|e2 ce agfe|defg agfe|\

d2Bd gdBd|d2 Bd gdBd|c2Ac B2 GB|AGFA G2:|**

 

FATHER KELLY’S (REEL) [2].  AKA and see “Ben Hill [1].” Irish, Reel. G Major. Standard tuning. AABB. See note for “Ben Hill [1]” for more. Bulmer & Sharpley (Music from Ireland), 1974, vol. 3, No. 2 (appears as “Father Kelly’s No. 2”).

X:1

T:Father Kelly’s (Reel) [2]

M:C|

L:1/8

R:Reel

K:G

BddB cBAF|G2 BG DGBG|A3B cBAG|EAAG ABcA|

~d2 Bd cBAF|~G2 BG DGBG|~A2 AB cdef|1 gedc BG ~G2:|2 gedc BGGB||

|:dggf gfed|eaag ageg|edad bdad|gfge dcBc|

dggf gfed|eaag agef|~g2 ge dcBc|dBcA BG G2:|

 

FATHER KELLY’S (REEL) [3] (Ríl an Athar Uí Cheallaigh).  AKA and see “The Monsignor’s Blessing,” “Over the Bog Road.” Irish, Reel. G Major. Standard tuning. AB. Breathnach (CRÉ V), 1999; No.138, pg. 70. Green Linnet GLCD 1026, James Keane – “Roll Away the Reel World.”

See also listing at: 

Alan Ng’s Irishtune.info

X:1

T:Father Kelly’s (Reel) [3]

M:4/4

L:1/8

R:Reel

S:CRÉ V, No. 138

K:G

F | FEDE G3A | (3Bcd gd BGGB | AGEG AGAc | (3Bcd gd BcAB |

GEDE G2 GA | (3Bcd eg BG G2 | (3Bcd ed (3Bcd gB | cedc BGG :|

|: f | gede g2 ga | (3bag (3agf gede | agea a^gab | c’abg agea |

gede gfga | (3bag (3agf gfed | (3Bcd ed (3Bcd gB | cedc BGG :|

 

FATHER KELLY’S (REEL) [4]. Irish, Reel. G Major. Standard tuning. AABB. No relation to “Father Kelly’s (Reel) [1].” Sources for notated versions: John Clancy (Bronx, NY) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 225, pg. 61.

X:1

T:Father Kelly’s (Reel) [2]

M:C|

L:1/8

R:Reel

K:G

(Bc) | d~G3 dGBd | c~F3 cFAc | d~G3dGBG | BdcA G2 Bc |

d~G3 dGBd | c~F3 cFAc | dG (3GGG dGBG | BdcA G2 :: Bc |

dggf agfe | fdcB AFAc | d~g3 a~g3 | d~f3 d~f3 |

d~g3 a2 ge | fdcB AFAc | d~G3 dGBG | BdcA G2 :|

 

Father Kelly’s Reel (6).  AKA and see “Derry Craig Wood.”

                       

FATHER MARTIN MACDOUGALL.  Canadian, Jig. Canada, Cape Breton. A Dorian. Standard tuning. AABB. Composed by the late Cape Breton fiddler and composer Jerry Holland (1955-2009). Cranford (Jerry Holland: The Second Collection), 2000; No. 242, pg. 88.

 

FATHER McCONVILLE’S FAVOURITE.  Irish, Jig. Composed by the late fiddler Seán Ryan. Ryan (The Hidden Ireland), No. 14.

 

FATHER MORRISON'S DELIGHT. AKA and see "O'Connell's Welcome to Dublin."

                       

FATHER MURPHY OF THE COUNTY WEXFORD. Irish, Air (3/4 time). D Major. Standard tuning. AB. "This song commemorates Father John Murphy of Kilcormick in Wexford, who for a time headed the rebellion in Ninety‑eight, but who in the end was taken and hanged., I give the words, partly from memory, and partly from an old printed ballad‑sheet. An account of the various places, persons, and battles mentioned in it will be found in any moderately detailed History of Ireland, or in a History of the Revellion of 1798. The air I give from my own memory. So far as I know, the song‑‑both air and words‑‑now appears for the first time" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 429, pg. 241.

                       

FATHER MURPHY’S QUICK STEP.  AKA and see “The Banks of Inverness.” Irish, March (2/4 time). C Major. Standard tuning. AABA. The title may refer to Father John Murphy , Wexford, of 1798 fame (see note above for "Father Murphy of County Wexford"). Shields/Goodman (Tunes of the Munster Pipers), 1998; No. 199, pg. 82.

 

FATHER NEWMAN’S FAVORITE. AKA and see “John Brady’s.” Irish, Reel.

                       

FATHER O'CARROLL (An T-Atair Ua Cearbaill). Irish, Double Jig. G Major. Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 32. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 846, pg. 157. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 107, pg. 33.

X:1

T:Father O’Carroll

M:6/8

L:1/8
R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 107

Z:AK/Fiddler’s Companion

K:G

B/c/|ded edB|GAG GED|DEG GAB|BAA A2 B/c/|

dge dBA|GAG GED|DEG ABc|BGG G2:|

|:c|BAG Bcd|e<ge dBG|BAG GFG|BAA A2c|

BGG dGG|e<ge dBG|DEG ABc|BGG G2:|

 

FATHER O'FLYNN. AKA and see "Cork Road," "Bonny Green Garters [1]," "The Rollicking Irishman," "To Drink With the Devil," "The Top of Cork Road [1]," "Trample Our Enemies," "Yorkshire Lasses [1]." Irish (originally), English, American, Jig. USA, southwestern Pa. D Major. Standard tuning. AABB. The title comes from popular lyrics written to the tune “The Top of Cork Road” by Alfred Perceval Graves, first published in 1874. The original for the priest in Graves song was Father Michael Walsh, a native of Buttevant, County Cork, who was a parish priest in Sneem, County Kerry, for over thirty-seven years until his death in 1866 (he is buried in the parish church). Walsh was said to have been a good violinist by one source, but Graves himself identified the clergyman as a piper “who played delightfully” and who had a love for Irish music.  This last statement is borne out by the fact that twenty-seven pieces are credited to him in the Stanford/Petrie collection (1906). There is an account of him in Éigse, IV (1944), pp. 157-60.

***

The words to Graves’ song go:

***

Of priests we can offer a charmin' variety,

Far renown'd for learnin' and piety;

Still, I'd advance ye widout impropriety,

Father O'Flynn as the flow'r of them all.

Chorus:

Here's a health to you, Father O'Flynn,

Slainte and slainte and slainte agin;

Pow'rfulest preacher, and tenderest teacher,

And kindliest creature in ould Donegal.

***

Don't talk of your Provost and Fellows of Trinity,

Famous forever at Greek and Latinity,

Dad and the divils and all at Divinity

Father O'Flynn 'd make hares of them all!

***

Come, I venture to give ye my word,

Never the likes of his logic was heard,

Down from mythology into thayology,

Truth! and conchology if he'd the call.

***

Och Father O'Flynn, you've a wonderful way wid you,

All ould sinners are wishful to pray wid you,

All the young childer are wild for to play wid you,

You've such a way wid you, Father avick.

***

Still for all you've so gentle a soul,

Gad, you've your flock in the grandest control,

Checking the crazy ones, coaxin' onaisy ones,

Lifting the lazy ones on wid the stick.

***

And tho quite avoidin' all foolish frivolity;

Still at all seasons of innocent jollity,

Where was the playboy could claim an equality,

At comicality, Father, wid you?

***

Once the Bishop looked grave at your jest,

Till this remark set him off wid the rest:

"Is it lave gaiety all to the laity?

Cannot the clergy be Irishmen, too?”

***

Bayard (1981), in tracing the tune, thinks that it is perhaps not Irish in origin but English, as English published versions (from 1778) predate the Irish (1798). As “The Yorkshire Lasses” it can be found in English country dance collections. This was the first tune learned by piper Willie Clancy (1909-1973, Miltown Malbay, west Clare), taught to him at age five by his flute-playing father, Gilbert Clancy. An early recording of “Father O’Flynn” was by Ballybay, County Monaghan, piper Robert William “Willie” Clarke (1889-1934) for Columbia Records of London in 1928, for a series of records entitled “The Pipes of Three Nations” (which included a Highland piper and a Northumbrian small-piper).

***

Source for notated version: Hoge MS and Hiram Horner (fifer from Westmoreland and Fayette Counties, Pa., 1960) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 450B‑C, pg. 430. Cranitch (The Fiddle Book), 1996; pg. 125. Cranitch (Irish Session Tunes: The Red Book), 2000; pg. 2. Kerr (Merry Melodies), vol. 4; No. 189, pg. 22. Ryan’s Mammoth Collection, 1883; pg. 85. Sweet (Fifer’s Delight), 1964/1981; pg. 22. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 32. Pibroch MacKenzie – “The Mull Fiddler” (1969). Shanachie 79093, Paddy Galckin & Robbie Hannan – “Whirlwind” (1995. Learned from piper Leo Rowsome).

X:1

T:Father O'Flynn

T:The Top of Cork Road

T:The Yorkshire Lasses

B:Traditional Irish Guitar, Paul de Grae (Ossian)

D:ditto

N:extended transcription to show variations

Z:Transcribed by Paul de Grae

R:Jig

M:6/8

L:1/8

K:D

dAF DFA|Bed cBA|Bcd efg|fed edc|dAF DFA|Bed cBA|Bcd efg|fdd d2 c||

dAF DFA|Bed cBA|Bdd efg|fed edc|dAF DFA|Bed cBA|Bcd efg|fdd d2 e||

fed fga|ecA ABc|dzd Bcd|cAA AB=c|B2 G Bcd|AFF DFA|Bcd efg|fdd d2 e||

~fed fga|ecA ABc|dcd Bcd|cAA A2 =c|BGG Bcd|AFF DFA|Bcd efg|agf gfe||

dAF D2 A|Bed cBA|Bcd efg|agf gfe|dAF D2 A|Bed cBA|Bcd efg|fdd d2 c||

dAF DFA|d2 B cBA|Bcd efg|fed edc|dAF DFA|Bed cBA|Bcd efg|fdd d2 e||

fde fga|ecA ABc|dcd Bcd|cde A2 =c|B2 G Bcd|AFF DFA|Bcd efg|fdd d2 e||

~fed fga|ecA ABc|dcd Bcd|cee A2 =c|BGG Bcd|AFF DFA|Bcd efg|fdd d2 c||

dAF DFA|d2 B cBA|Bcd efg|faa eaa|dAF DFA|Bed cBA|Bcd efg|ABc d2 c||

dAF DFA|Bed cBA|Add Aee|Aff gfe|dAF DFA|Bed cBA|Bcd efg|fdd d2 e||

fde fga|ecA ABc|dzd Bcd|cAA AB=c|B2 G Bcd|AFF DFA|Bcd efg|fdd d2 e||

~fed fga|ecA ABc|dcd Bcd|cAA A2 =c|BGG D2 B|AFF D2 A|Bcd efg|fdd d3||

                       

FATHER O’GRADY’S VISIT TO BOCCA. AKA – “Father O’Grady’s Visit to Bockagh.” Irish, Reel. D Major. Standard tuning. AABB. Composed by Ballyfarnon, County Sligo, flute player Josie McDermott (d. 1992), who also was a lilter, singer and saxophone player. According to Brian McNamara (2004), “The title recalls the occasion of a visit by a missionary priest to his home townland of Bocca, near Ballydreen, County Roscommon during which he presented Josie with a flute with which to compose this tune for him.” Source for notated version: New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No. 119, pg. 36. Treoir, 1992. Drumlin Records BMNCD2, Brian McNamara – “Fort of the Jewels” (2004). Green Linnet SIF 1095, Altan – “Horse with a Heart.” Josie McDermott – “Darby's Farewell” (1977). Larraga Records MMR112000, Mike and Mary Rafferty – “The Road from Ballinakill” (2001). Catherine McEvoy with Felix Dolan.

X:1

T:Father O'Grady's visit to Bocca

R:Reel

C:Josie McDermott

Z:Transcribed by Andrew Pickering

M:4/4

L:1/8

K:D

FG|Adde fdec|ABAG EFAe|fded cAAG|EFGE D2 de|

fdec ABAG|EFGE ABde|fded cAAG|EFGE D2:|

FG|Adde fage|dfed cAAF|G2 GA GE E2|edcA GE E2|

Adde fage|dfed cAAe|f2 fa ge e2|fage d2:|

                       

FATHER PAT AHERNE. Irish, Slide. D Major. Standard tuning. AAB.

X:1

T:Father Pat Aherne

D:Plancstaí Bhaile na bPoc, James & Maire Begley w/ Steve Cooney

N:Fr. Aherne is the founder and long-time artistic director of Siamsa

N:Tíre, the National Folk Theatre of Ireland, based in Tralee

R:Slide

M:12/8

Z:Transcribed by Paul de Grae

L:1/8

K:D

B|AFA d2 B AFA d2 f|efe B2 c B2 A F2 B|AFA d2 B AFA d2 f|efe B2 c d3 d2:|

f|a3 afa b3 a2 f|efe B2 c  B2 A F2 f|a3 afa b3 a2 f|efe B2 c d3 d2 f|

a3 afa b3 a2 f|efe B2 c B2 A F2 B|AFA d2 B AFA d2 f|efe B2 c d3 d2||

                       

FATHER PAT'S TOP COAT. Irish, Waltz. GN1, Joe Thoma ‑ "Up the Track: Traditional Music from Kenmare."


                       

FATHER QUINN (An t-Atair Ua Cuinn). AKA and see "Whenever I See Those Smiling Eyes," "Breath Not Again That Dreadful Word." Irish, Slow Air (4/4 time). G Major/Mixolydian. Standard tuning. AAB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 375, pg. 65.

X:1

T:Father Quinn

M:C

L:1/8
R:Air

N:”Slow, with expression”

S:O’Neill – Music of Ireland (1903), No. 375

Z:AK/Fiddler’s Companion

K:G

G|c2 ed {c}B2 AG|cB AG {F}E2 G>A|B d3 D3E|GA/B/ {B}A>G G2 z:|

||G|B3d e2 =f2|e3d cB AG|B2d2e2f2|g3 B {B}A2 zf|g2 e{f/e/}d B2 A{B/A/}G|

cB A{B/A/}G {F}E2 G>A|B d3 D3E|GA/B/ {B}A>G G2 z||

                       

FATHER QUINN’S. AKA – “Gerry Conroy’s.” Irish, Jig. Composed by the late fiddler Seán Ryan. Ryan (The Hidden Ireland), No. 9.

 

FATHER STEWART’S. Irish, Jig. A Dorian. Standard tuning. AABB. Composed by Falmouth, Massachusetts, musician Bill Black, dedicated to his friend Father Eddie Stewart. Black (Music’s the Very Best Thing), 1996; No. 118, pg. 61.

X:1

T: Father Stewart's

C: © B. Black

Q: 300

R: Jig

M: 6/8

L: 1/8

K: Dmix

^c | dAA cAA | cde f2 g | agf efe | ded cAG |

dAA cAA | cde fga | ged cAG | A3 A2 :|

e | faa gfe | dAB c2 g | agf efe | ded cde |

faa gfe | dAB cde | ged cAG | A3 A2 :|

                       

FATHER TOM O’NEILL. Irish, Air (6/8 time). D Major. Standard tuning. AB. See note for “The Enniskillen Dragoons.” O’Neill (1922) says: “A ballad of 19 verses sung to this air recited the conspiracy of an infatuated wealthy heiress in County Armagh to inveigle or coerce a young clergyman, the son of a widow, into matrimony; and the frustration of her designs by the confession of an accomplice.” O’Neill (Waifs and Strays of Gaelic Melody), 1922.

X:1

T:Father Tom O'Neill

M:6/8

L:1/8

S:Capt. F. O'Neill

Z:Paul Kinder

R:Air

K:D

"Con spirito"(3B/2c/2d/2|e2 e f2 e|d2 B BAF|A2 F E2 E|E3-E2 F/2G/2|

A2 F A2 c|B2 A F2 A|B2 d cBA|B3-B2||

F/2G/2|A2 F A2 c|B2 A F2 A|B2 d cBA|B3-B2 c/2d/2|

e2 e f2 e|d2 B BAF|A2 F E2 E|E3-E2||

                       

FATHER TOM'S WAGER (Geall An T-Atar Tomais). AKA and see "Close to the Floor," “Frog in the Well [1]." Irish, Double Jig. Ireland, County Sligo. G Major. Standard tuning. AABB. The melody appears in Ryan’s Mammoth Collection (c. 1880’s) as “Close to the Floor.” Philippe Varlet finds that under the title “The Frog in the Well” it was recorded on a 78RPM in America by Francis Cashen and Tom Cawley in 1929. Source for notated version: fiddler Johnny Henry (b. 1922, Cloonlairn, Doocastle, Co. Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 148. O'Neill (Krassen), 1976; pg. 52. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 1005, pg. 187. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 220, pg. 50. Ryan’s Mammoth Collection, 1883; pg. 86.

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:The Frog in the Well

T:Father Tom’s Wager

M:6/8

L:1/8

R:jig

D:Rose Murphy, "Milltown Lass", Ossian OSS-21, track 3(b)

K:G

B/c/|dge dBG|AEF GDB,|G,B,D GAB|cBc ABc|

dge dBG|AEF GDB,|G,B,D GAB|cAF G2:|A|

Bdg bag|fed cAF|DGG FAA|GBB ABc|

Bdg bag|1fed cAF|DGG FGA|BGG G2:|

2fed cAB|cec BdB|cAF G3||

                       

FATHER WALSH'S HORNPIPE. Irish, Hornpipe. G Major. Standard tuning. AABB. Not "Father Jack Walsh." Father Walsh of the title was the Reverand J.T. Walsh, pastor of St. Patrick’s parish, East Hampton, Connecticut, a native of County Waterford and a fiddler in his younger days. The tune comes from an MS. collection he sent to Francis O’Neill after O’Neill’s first publications, hoping O’Neill would help preserve the music. O’Neill himself gave the tune this title in honor of the cleric. O'Neill (O’Neill’s Irish Music), 1915; No. 336, pg. 165.

X:1

T:Father Walsh’s Hornpipe

M:C|

L:1/8

R:Hornpipe

S:O’Neill – O’Neill’s Irish Music (1915)

Z:AK/Fiddler’s Companion

K:G

Bc | dcBA GBdg | e2 cc c2d2 | edcB Aceg | f2 dd d2 dc | BGDG BdcB | AFDF ABcA |

(3Bcd BG (3ABc AF | G2 GG G2 :: c2 | BGBd gdBc | Acaf gedc | BGBd gdcB |

AGFE DFAc | BGBd gdBc | Acaf gedc | (3Bcd BG (3ABc AF | G2 GG G2 :|

                       

FATHER'S GOT A HOME. Old‑Time, Piece (a "happy meeting" song). USA, Oklahoma. A Major. AEac# tuning. AA.

***

Father's (mother's, sister's, brother's) got a home home, home,

Father's got a home sweet home;

Father's got a home home home,

Lord I want to join the angel's beautiful home.

***

Thede (The Fiddle Book), 1967; pg. 107.

                       

FATHER'S POLKA. English, Polka. G Major (Carlin): D Major. Standard tuning. AAB (Miller & Perron): AA'BB (Carlin). The source for the tune is Billy Harrison (1898-1986), a fiddle and cello player, singer and gardener from Pocklington, East Yorkshire. Carlin (Master Collection), 1984; No. 10, pg. 19. Miller & Perron (101 Polkas), 1978; No. 97. Musical Traditions Cassette 201, Billy Harrison & Jim Eldon – “Yorkshire Fiddle Tunes and Songs.” Topic 12TS382, New Victory Band ‑ "One More Dance and Then" (1978. Learned from Border fiddler Ned Pearson). Topic Records TSCD 550, Brass Monkey – “Flame of Fire” (appears as “Billy Harrison’s Father’s Polka”).

X:1

T:Father’s Polka

M:4/4

L:1/8

R:Polka

S:Billy Harrison (1898-1986)

K:G

GA|B2B2 BAGB|e2d2 dBGB|d2c2 cAFA|c2 Bc BAGA|B2B2 BAGB|

e2d2 dBGB|d2c2 cAFA|G2B2G2::D2|G2 Bd g3g|f2A2A2G2|

FGAc f3e|e2d2 dcBA|G2 Bd g3g|f2A2A2G2|FGAB cdef|g2G2G2:|

|:ef|g4 G3A|B2A2 A4|BcBc D2 EF|GABc d2 ef|g4 G3A|B2A2 A4|BcBc D2 EF|G2B2G2:|

           

FAUBOURG REEL. French-Canadian, Reel. G Major. Standard tuning. AA’BB.

X:1

T:Faubourg Reel

M:4/4

L:1/8

K:G

b3b bagf | ggg3dBd | gdBd gBdg | fedB e4 | a3b a2g2 |1 f3g f2ed | f2ed fedf | ed^ce d4 :|2 f3gf2e2 |d2d2e2f2| g6 ||

AG | FAdfa2FF | FAdfa2AA |A^cef ge^cA | AB^cA (3B^cB AG | FAdfa2FF | FAdfa2AA | A^cef ge^ce |dfe^cd2 :||

                                   

FAUN EYES. American, Country Rag. Composed by Charles Johnson of Kansas City c. 1900.

                       


FAUQUIER COUNTY HORNPIPE. Old-Time. Fauquier County is in northern Virginia, famous as, among other things, being the haunt of the Confederate irregular John Mosby during the Civil War. County 733, John Ashby (Va.) and the Free State Ramblers - “Fiddling by the Hearth.”

                       

FAVORITE [1]. Scottish, "Fling" (Strathspey). F Major. Standard tuning. AABB. Hardings All-Round Collection, 1905; No. 192, pg. 60‑61.

X:1

T:Favorite [1]

M:C

L:1/8

R:Fling

B:Harding’s All Round Collection, No. 192  (1905)

Z:AK/Fiddler’s Companion

K:F

(c<A) A>G A>G (A<d)|(c<A) A>F G>F (G<A)|(c<A) G>F f>g a>g|(f<d) c>A G>F (G<A):|

|:(3cde f>a g>f (g<a)|(3cde f>A G>F (G<A)|(3cde f>a g>f (g<a)|(3cde f>A G>F G<A:||

 

FAVORITE [2], THE. American, "Straight Jig" (2/4 time). C Major. Standard tuning. AA'BB'. Appears to be a type of old‑time banjo tune, not to be confused with an Irish jig. The nomenclature “straight jig” perhaps for the type of dance that went to it ('jig dancing', or solo stepping) or from a derogatory term for African Americans. Hardings All-Round Collection, 1905; No. 64, pg. 20.

X:1

T:Favorite [2]

M:2/4

L:1/8

R:Straight Jig

B:Harding’s All Round Collection, No. 64  (1905)

Z:AK/Fiddler’s Companion

K:C

z/4 G/<c/e/4 fe |z/4 A/<e/A/4 d2|z/4 G/<B/d/4 ed|z/4 G/<d/G/4 c2|z/4 E/<F/G/4 dc|(D2 A)z|1

z/4 A/<B/c/4 ed|g^f=fd:|2 z/4 G/<d/f/4 AB|cGcz||:d^de^e|^f(D/>c/) (^FE)|d^de^f|gD/>B/ (ED)|1

d^de^f|b(a a/>)b/c/>e/|d^de^f|a(g g/>b/g/>e/:|2 ee(=fe)|ba g/>e/c/>A/|B/>d/c/>B/ E^F|GBGz||

 

FAVOURITE [3]. English, Reel. B Flat Major. Standard tuning. AABB. Raven (English Country Dance Tunes), 1984; pg. 189.

X:1

T:Favourite [3]

M:C

L:1/8

R:Reel

K:Bb

F2|B2d2 decd|B2F2 F2 FE|DFBF EDEG|FGFE D2B,2|dFdB fdgf|

bagf edcB|Acfc BABd|cBAG F2::f2|fbfd BdBF|EDEF GFED|

C2 gf edcB|ABcA F2 (3fga|bfdf gece|dfBd cA F2|fgfe dcBA|B2B2B2:||

 

FAVOURITE [4], THE.   English, Jig. A Major. Standard tuning. AABB. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 54.

X:1

T:Favourite, The

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:A

F/e/|c>AA B>AA|c>AA B>AA|fec ABc|B>BB B2f/e/|c>AA B>AA|c>AA B>AA|fga efe|e>cA A2:|
|:A|A>BA e>fe|fga ecA|A>BA ef=g|(f/=g/a)f e2A|A>BA e>fe|fga ecA|Ace fga|fbg a2:||

 

FAVOURITE [5], THE.  English, Country Dance Tune (cut time). B Flat Major. Standard tuning. AABB. The melody was originally published in Charles and Samuel Thompson’s Compleat Collection, vol. 3 (London, 1773). As with numerous other tunes from the Thompsons’ 1773 collection, it was entered into the 1788 music copybook of fiddlers John and William Pitt Turner (Norwich, Conn.). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773; No. 183.

X:1

T:Favourite, The [5]

M:C|

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:Bb

B>FD>F B>dc>B|c>AF>A c>ed>c|d>bf>d e>ge>c|d>fA>c B>AGF|B>FD>F B>dc>B|

c>AF>A c>ed>c|dbfd g2 fe|dcBA B2 B,2::B>AB>c B>AB>c|Bcde f3F|

G>FG>A G>FG>A|GABc d3D|E>DE>F E>DE>F|EFGA B3 [B,d]|[C3c3]g f>de>c|B2 FD [B,4B4]:||

                       

FAVOURITE (WALTZ), THE.  English, Waltz. A Major (‘A’, ‘B’ parts) & D Major (‘C’ and ‘D’ parts). Standard tuning. AABCCD. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 120, pg. 29.

 

FAVORITE DRAM, THE. AKA ‑ "Ho rò mo bhoban an dràm." Scottish, Jig (9/8 time). G Major. Standard tuning. AABB'CC'. Fraser appends to the title: “A Highland Bumpkin.” This tune "is a well known and popular bacchanalian Highland melody; but Culduthel's set of the words and music are so superior to any the editor has heard, that it is rather fortunate his edition of the air happens to be in print before an imperfect standard came forward" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 164, pg. 67.

X:1

T:Favorite Dram, The

T:Ho rò mo bhoban an dràm

M:9/8

L:1/8

R:Jig

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:G

c|B2c dBG G2f|g2e dBG G2c|B2c dBG GAB|c2B AFD D2:|

|:c|(B>AB) (B>AB) G2 c|B2c dcB G2c|1 (B>AB) (B>AB) G2B|

c2B AFD D2:|2 B2c dBG gdB|c2B AFD D2||

|:d|gdB gdB G2f|g2e dBG G2f|1 gdB gdB G2B|c2B AFD D2:|2

c|Bcd def gdB|c2B AFD D2||

                       

FAVORITE HORNPIPE [1]. Old‑Time, Hornpipe (irregular measures). USA, Mo. B Flat Major. Missouri State Old Time Fiddler's Association 001, Pete McMahan ‑ "Ozark Mountain Waltz."

 

FAVORITE HORNPIPE [2]. American, Hornpipe. G Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 103. Ryan’s Mammoth Collection, 1883; pg. 140. White’s Unique Collection, 1896; No. 138, pg. 24.

X:1

T:Favorite Hornpipe [2]

M:2/4

L:1/8

R:Hornpipe

S:White’s Unique Collection (1896), No. 138

Z:AK/Fiddler’s Companion

K:G

(B/c/) | d/B/c/A/ G/g/f/e/ | (e/d/).d/.d/ dc/B/ | A/c/e/d/ c/B/A/G/ | (F/A/)(G/E/) D(B/c/) |

d/B/c/A/ G/g/f/e/ | (e/d/).d/.d/ (d/g/).f/.e/ | d/B/c/A/ B/G/A/F/ | GB [B,G] :|

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

(e/d/).d/.d/ (d/g/).b/.a/ | g/b/f/a/ e/g/d/f/ | c/e/B/d/ A/c/G/B/ | A(c/B/) A/D/F/A/ | GB [B,G] :|

                       

FAVOURITE PANDEAN DANCE, A. English, Jig. England; Shropshire, Dorset, Sussex. D Major. Standard tuning. AABA. Very similar melodies may be found in the Hardy MSS under the title "Pandean Dance in Tekeli" and in the Welch MSS (1800) as "Pedean Dance in Tekile." Pandean, Ashman explains, means of the Greek god Pan. Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 62a, pg. 24.

                       

FAVORITE POLKA. Canadian, Polka. D Major. Standard tuning. AABB. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 104, pg. 67.

                       

FAVOURITE QUICKSTEP [1]. English, Quickstep. D Major. Standard tuning. AABBCC. Raven (English Country Dance Tunes), 1984; pg. 143.

 

FAVORITE QUICKSTEP [2]. Scottish, Quickstep. C Major. Standard tuning. AABB. Carlin (Master Collection), 1984; No. 174, pg. 101.

                                   

FAVORITE STRATHSPEY, A. Scottish, Strathspey. D Major. Standard tuning. AAB. Aird (Selection), vol. II, 1782; No. 50, pg. 18.

X:1

T:Favorite Strathspey, A

M:C

L:1/8

S:Aird, vol. II (1782)

Z:AK/Fiddler’s Companion

K:D

A>FDA F>DAF | A>BAF E/E/E E2 | A>FDA F>DAF | d>efA F/F/F F2 :|

|| d>ef>d e>cdB | A>FdF E/E/E E2 | d>efd e>cdB | AfdA F/F/F F2 |

d>efd e>cd>B | A>FdF E/E/E E2 | A>FD>A F>DA>F | d>efA F/F/F F2 ||

                                   

FAVORITE TUNE, A. English, Jig. England, Northumberland. D Major. Standard tuning. AABB. Hall & Stafford (Charlton Memorial Tune Collection), 1974; pg. 12.

                       

FAYETTE’S MINUET. American (?), Minuet (3/4 time). G Major. Standard tuning. AABB. Source for notated version: the late 18th century manuscript copybook of Henry Livingston, Jr.  Henry Livingston purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 Livingston was a Major in the 3rd New York Regiment, which invaded Canada in Montgomery’s 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 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.

X:1

T:Fayette’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:G

|: D2 | G3 ABc | d3 cBA | G2 (3gab ag | “tr”(f2e2)d2 | e2d2 (3gab | c2B2 (3efg |

edcBAG | {B}A4D2 | G3 ABc | d3 cBA | G2 (3gab ag | f2e2d2 | e2d2 (3gab |

c2B2g2 | (3edc B2A2 | G4 :: d2 | ga b2g2 | fg a2d2 | (ef) g2B2 | (cd) e2 (dc) |

Bd g2f2 | ed c2B2 | edcBAG | {B}A4D2 | G3 ABc | d2 cBA | G2 (3gab ag |

“tr”f2e2d2 | e2d2 (3gab | c2B2 (3efg | (3edc B2A2 | G4 :| 

                       

FAYMOUTH HOUSE. Scottish?, Reel. A Major. Standard tuning. AABBCCDD. Hardings All-Round Collection, 1905; No. 127, pg. 40.

X:1

T:Faymouth House

M:2/4

L:1/8

R:Reel

S:Harding’s All-Round Collection, No. 127 (1905)

K:A

c/(e/e/)a/ f/a/e/a/|f/a/e/g/ fB|c/(e/e/)a/ f/a/e/a/|f/e/a/c/ BA:|

|:c/(e/e/)c/ c/A/e/c/|d/(f/f/)B/ d/B/f/B/|c/(e/e/)c/ c/A/e/c/|d/f/c/e/ BA:|

|:c/(e/e/)a/ f/a/e/a/|f/a/e/g/ fB|c/(e/e/)a/ f/a/e/a/|f/a/e/c/ BA:|

|:c/e/A/e/ c/A/e/c/|d/f/B/f/ d/B/f/B/|c/e/A/e/ c/A/e/c/|f/d/e/c/ BA:|

                       


FAY'S HORNPIPE. AKA and see “Da Peerie Hoose Ahent da Burn.” English, Scottish; Hornpipe. G Major. Standard tuning. AABB (Honeyman, Raven): AABB’ (Perlman). Source for notated version: Roland Jay (b. 1906, Mt. Stewart, Queens County, Prince Edward Island) [Perlman]. Honeyman (The Strathspey, Reel, and Hornpipe Tutor), 1898; pg. 47. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 66. Raven (English Country Dance Tunes), 1984; pg. 183.

X:1

T:Fay’s Hornpipe

L:1/8

M:C

S:Honeyman – Strathspey, Reel and Hornpipe Tutor

Z:AK/Fiddler’s Companion
R:Hornpipe

K:G
D| GABc dBGB| gfge dBGB| c2 ec B2 dB| A2 cA GFED| GABc dBGB|

gfge dBGB| cedc BdcB| A2 AB G2 :: d2| g2 gf gfgd| gfgd edcB| c2 ec B2 dB|

A2 cA GFED| g2 gf gfgd| gfgd edcB| c2 ec B2 dB| A2 Ac G2:|

                       

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