The Fiddler’s Companion
© 1996-2010 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] |
FLAG DANCE, THE. Scottish?, Jig. C Major. Standard tuning. AA'.
Source for notated version: copied from Aird’s
Selections of Scotch, English, Irish and
Foreign Airs (1782-97) [O’Neill]. Hardings
All Round Collection, 1905; No. 144, pg. 45. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 90
X:1
T:Flag Dance, The
M:6/8
L:1/8
S:Aird's Selections 1782-97
Z:Paul Kinder
K:D
a|f2 d ded|f2 d ded|e2 f g2 f|e2 d cBA| d2 e f2 g|a2 a agf|e2 f g2 f|e2 f g2 a|
f2 d ded|f2 d ded|e2 f g2 f|efd cBA| d2 e f2 g|a2 a abc'|d'2 a abg|f2 d d2||
FLAG OF GREEN, THE. Irish, Reel. D Minor. Standard tuning. AB.
Source for notated version: "...sent by an anonymous correspondent from
FLAG OF THE FIRE. AKA and see "Tea in the
Morning."
FLAG(G)ON, THE. AKA and see “Alonby Lasses,” "The
Floggin'". Scottish, Irish, English; Reel.
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:Flagon, The
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:G
c|:BG G/G/G BGdG|BG G/G/G G2gd|BG G/G/G BGd_B|A/_B/c =Fc AfcA:|
|:g2 dB GBdB|g2 dB gbaf|g2 dB GBd_B|A=fcf AfcA:|
B/c/d gd B/c/d gd|B/c/d gd BGG_B|A/_B/c =fc A/B/c fc|A/_B/c =fc AFFc|
B/c/d g>d B/c/d gd|B/c/d gd BGGe|=fgag fgfd|cA=fc AFF||
c|B/c/d Gd BdGd|BdGd BGG_B|A/_B/c =Fc AcFc|Ac=Fc AFFc|
B/c/d Gd BdGd|BdGd BGGe|~=fgag ~fgfd|cA=fc AFF||
X:2
T:Flagon, The
M:C|
L:1/8
S:O’Malley Collection
K:G
dc | BG ~G2 BGdc | BG~G2 (3Bcd gd | BG~G2 BGcB | AF~F2 AB (3cBA |
BG~G2 dG~G2 | BG~G2 (3Bcd gd | (3Bcd (3Bcd GBdB | AGFG ABcA ||
gfgd (3BdB (3GBd | g2 dg fgaf | gd~g2 BcdB | Ac~c2 ABcA |
gfgd BGBd | g2 dg fa~a2 | bgaf gedB |A GFG ABcA ||
X:3
T:Flaggon real [sic]
M:C|
L:1/8
R:Reel
S:William Vickers’ music manuscript, pg. 147 (1770)
Z:AK/Fiddler’s Companion
K:G
BG G/G/G BG dc|BG G/G/G BGgd|BG G/G/G BG dB|Ac Ec AF cA:|
|:g2 gd G/B/c dB|g2 gd gbaf|g2 gd G/B/c dB|cgBg AFcA:|
FLAGS OF
X:1
T: Flags of
S: Seamus Ennis
Z: transcribed by B.Black
Q: 350
R: reel
M: 4/4
L: 1/8
K: D
B | A2 FA BcdB | (3ABA FDEB, B,2 | A2 FA Bcde | fdec d2 dB |
A2 FA BcdB | (3ABA FDEB, B,2 | A2 FA Bcde | fdec d3 ||
A | dcdf edef | gefd edBA | dcdf edef | gece d2 dA |
dcdf edef | gefd edBA | A2 FA Bcde | fdec d3 ||
FLAGSTONE OF MEMORIES, THE. Irish, Reel. G Major. Standard tuning. AABB. Composed
by flute player Vincent Broderick, originally from Bullaun, near Loughrea,
X:1
T:Flagstone of Memories, The
R:Reel
C:Vincent Broderick
B:The Turoe Stone
S:(Exact transcription of the
version in the book, p.5)
M:4/4
L:1/8
Z:transcribed by Michael Anthony
K:G
| B4 BAGA| BDDD EGGA| BDDD EGGA|
BddB A2GA|
B2BA BAGA| BDDD EGGA| Bdd2 egge|
dBAB G2GA:|
|:g2ge f2fd| e2ed BAGA| Bdef gfgd|
Bdef gdBd|
g2ge f2fd| e2ed BAGA| Bdd2 egge|
dBAB G2 z2:|
FLAHERTY'S HORNPIPE (Cornphíopa an Fhlaitheartaigh). AKA and see "A New College Hornpipe," "The Avondale." Irish, Hornpipe. D Major.
Standard tuning. AABB. Breathnach (1985) says the titles “A New College
Hornpipe” and “The Avondale” are
X:1
T:Flaherty’s Hornpipe
M:C|
L:1/8
R:Hornpipe
B:Luke O’Malley’s Collection of Irish Music, vol. 1, No. 144 (1976)
Z:AK/Fiddler’s Companion
K:D
(3EFG|:(3ABA FD A,DFA|dced BcdB|A2
FD A,DFA|BAGF E2 FG|
(3ABA FD A,DFA|dced BcdB|AdcB AGFE|1
(3DED CE D2 (3EFG:|2 D2F2D2 z2||
|:B^ABc dcdf|bagf edcB|({d}c)EEF
GABc|(3edc (3dcB AFEF|
(3ABA FD A,DFA|dfed BcdB|AdcB (3ABA
(3GFE|(3DFA (3dAF D2 z2:|
FLAIL [1], THE. AKA and see “Mr. John Stewart of Grantully.”
Scottish, Pipe Reel (cut time). A Mixolydian. Standard or AEae tunings. AAB.
Paul Cranford (1994) remarks that the tune was part of Cape Breton Gaelic
tradition where it was sung as port-a-beul (mouth music), according to Joe Neil
MacNeil of Big Pond,
FLAIL [2], THE. Irish, Jig. Composed by Vincent Broderick. Philo 1051, Boys of the Lough ‑ "Good Friends,
Good Music" (1977). Chris Norman – “The Man with the Wooden Flute.”
FLAITEAS NA
BEIDLEADOIRI. AKA and see "Fiddlers' Heaven [1]."
FLAMBEE MONTALBANAISE. French (?), Musette (3/4 time). B Minor, D Major and B Major. A fast
‘waltz’. Musette pieces were popular in
FLAME IN THE FIDDLE, THE. Composed by R.B. Mathieson.
FLAMES OF HADES. See "Les Flammes d'Enfer."
FLAMES OF HELL. See "Les Flammes d'Enfer."
FLAMING O’FLANIGAN’S
JIG.
Irish, Jig. C Major. Standard tuning. AABA.
***
Hooroo! Whack!
For that was the way with the Flaming O’Flannagans,
From the first illigant boys of that name;
For kissing and courting, and filling the can again,
Drinking and fighting like cocks of the game.
Hooroo! Whack!
***
Cole (1000 Fiddle Tunes), 1940; pg. 67. Ryan’s Mammoth Collection, 1883; pg. 98.
X:1
T:Flaming O’Flanigan’s
M:6/8
L:1/8
R:Jig
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:C
(c/d/) | efe ded | cdc ceg | abc’
gfe | edd dgf | e3 decd | cdc ceg |
abc’ gfe | fdB c2 :|| (g/f/) | efg
g2g | g>ag abc’ | gfe edc | Bcd d2g |
efg g2g | g>ag abc’ | g>fee dc
| Bcd dgf ||
FLAMMES d'ENFER, LES (The Flames of Hell).
AKA and see "Adieu Roza." Cajun,
Two-Step (4/4 time).
FLANAGANS’ BANSHEE, THE. AKA “Flanagan Chased the Banshee.” Irish, Reel. G Major. Standard tuning. AABB. Recorded by the Flanagan Brothers band in the 1920's. Black (Music’s the Very Best Thing), 1996; No. 10, pg. 5.
X:1
T: The Flanagans' Banshee
S: Flanagan Brothers
Z: transcribed by B.Black
Q: 350
R: reel
M: 4/4
L: 1/8
K: G
GA | B2 BA BAGA | BAGE D2 DE | G2 FG A2 GA | BddB A2 GA |
B2 BA BAGA | BAGE D2 DE | G2 FG A2 GA | BGGF G2 :|
GA | BddB d2 Bd | egge g2 ge | d2 ge dBGA | BAAG A2 GA |
BddB
d2 Bd | egge g2 ge | d2 ge dBAc | BGGF G2 :|
FLANAGAN'S JIG [1]. Scottish, Jig. D Major. Standard tuning. AA'B. Kerr (Merry Melodies), vol. 3; No. 240, pg.
27.
X:1
T:Flanagan's Jig
B:Kerr's Merry Melodies Bk 3
N:Slightly evolved over time
Z:Nigel Gatherer <gatherer@argonet.co.uk>
M:6/8
L:1/8
K:D
Add Bdd|Add Bdd|ABc def|gee e3|Add Bdd|Add Bdd|
ABc def|edc d3||d2 a agf|ged cBA|dfa agf|gab a2 f|
gbg faf|efd cBA|ABc def|edc d3|]
FLANAGAN'S (JIG) [2]. AKA – “Mike Flanagan’s Jig.” Irish, Jig. D Major. Standard tuning. AABBCCDD.
The last two parts of the tune (in reverse order) comprise “The Champion (Jig) [3],” played by
X:1
T:Mike
Flanagan's Jig
R:Jig
S:De Dannan, 1/2 Set in
Z:Philippe Varlet
M:6/8
L:1/8
K:D
E|DFA DFA|GBc dcB|Add cde|fdf ecA|
DFA DFA|GBc dcB|Add cde|fdc d2:||
e|fdd dcd|eAA ABc|~d3 Bcd|eaa a2g|
fdd dcd|eAA ABc|dcA GFG|1 Adc d2:|2 Adc d3||
FBc dcB|fBc dcB|cfF f2e|fgf edc|
FBc dcB|fBc dcB|cff fec|1 dBB BAG:|2 dBB ~B3||
AFA BGB|AFA fed|cBA gfe|dfe dcB|
AFA BGB|AFA fed|cBA gfe|1 dfe d2B:|2 dfe d3||
FLANAGAN’S (POLKA). AKA and see “Church
Street Polka [1]," “St. Mary’s.”
FLANAGAN’S REEL. Irish, Reel. D Mixolydian/Major. Standard tuning. AB. Source for
notated version: Brendan Mulvihill (
FLANDER’S DREAM. Old-Time, Breakdown.
FLANDERY'S DREAM. See “Flannery’s Dream.”
FLANNEL JACKET, THE. AKA and see "Peeler's Jacket [2]," "Peeler's Cap," "Hibernia's Pride." Irish
(originally), American; Reel.
X:1
T:Flannel Jacket, The
T:Peeler’s Jacket, The
M:C
L:1/8
S:Stanford/Petrie (1905), No. 584
Z:AK/Fiddler’s Companion
K:G
GF | D2 BG DGBG | FGAB c2 Bc | defe dcde | fdcA BGAF |
D2 BG DGBG | FGAB c2 Bc | defe dcde
| fdcA G2 || de |
gfge d2 ef | gfga bgaf | gfge d2 eg
| fdcA BG Gd | gfge d2 ef |
gfga bgaf | gbag fdde | fdcA G2 ||
FLANNERY’S DREAM. AKA - “Son of Hober.” Old-Time,
X:1
T:Flannery’s Dream
M:2/4
L:1/8
S:John Hartford
Z:AK/Fiddler’s Companion
K:A Minor
E/D/ | E/A/G/E/ D/E/D/C/ |
A,/G,/A,/G,/ A,E/D/ | E/A/G/E/ D/E/D/C/ |
A,/G,/(A, A,)E/D/ | E/A/G/E/
D/E/D/C/ | E/D/A,/G,/ A,E/D/ | E/A/G/E/ D/E/D/C/ | A,3 :|
|: A/A/ | A/B/^c/d/ eA/B/ | ^c/A/d
e2 | ed/B/ AA/A/ | A/B/^c e>d | ^c/B/A/B/ (A2 |
M:1/4
L:1/8
A2) |
M:2/4
L:1/8
A/B/^c/d/ e>e | g/a/a aa/b/ | ag
e/d/c/A/ | c/A/G AA/c/ | A/G/E/D/ C/D/E/D/ |
E/G/A AA/c/ | A/G/E/D/ C/E/D/C/ |
(A,2 A,) :|
E/D/ | E/A/G/E/ D/E/D/C/ | A,/G,/(A,
A,)E/D/ | E/A/G/E/ D/D/E/G/ |
E/C/(A, A,)E/D/ | E/D/E G2 |
A/G/E/C/ A,E/D/ | E/A/G/E/ D/G/E/C/ | (A,2 A,)E/D/ |
E/G/A/G/ D/E/G/E/ | D/C/(A, A,)E/D/
| E/G/A/G/ D/E/G/D/ | (A,2 A,) ||
FLANNIGAN. AKA and see "Lan(n)igan's
Ball." American, Jig.
FLANNIGAN'S POLKA. AKA and see "Celina Le
Blanc." Canadian, Polka. C Major ('A' part) & G Major ('B' part).
Standard tuning. AA'BB'. Johnson (The
Kitchen Musician's No. 7:
FLAP OF THE EAGLE’S
WING, THE.
Scottish, Pipe Reel. A Mixolydian. Standard tuning. AAB. Composed by
Scots fiddler-composer J. Scott Skinner
(1843-1927), dedicated to Mr. William Maclennan, a Highland dancer. Skinner
indicated the composition was his interpretive expression of Maclennan’s
“vigorous style.” Skinner (Harp and
Claymore), 1904; pgs. 50-51.
X:1
T:Flap of the Eagle’s Wing, The
M:2/4
L:1/8
R:Pipe Reel
C:J. Scott Skinner (1843-1927)
S:Skinner – Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:A Mix
A/<A/e/c/ A/>A/f/d/ |
A/<A/e/A/ A/<A/a | A/<A/e/A/ f/A/e/A/ | B/G/B/d/ g/d/B/G/ :|
A/<A/a (B/e)c/e/ | (A/e/c/e/)
a/e/c/A/ | G/<G/g (G/d/B/d/) | G/d/B/d/) (g/d/B/G/) |
A/<A/a (A/e/)c/e/ | (a/e/c/e/)
.a/.e/.c/.A/ | (a/g/f (g/f/e f/e/d e/d/c) | B/G/B/d/ g/d/B/G/ ||
X:1
T:Flaraubadelou, La
M:6/8
L:1/8
S:Daubat – Cent Contredanses en Rond (1757), No. 50
Z:AK/Fiddler’s Companion
K:D
A, | D>ED F2G | A2d AFD | G2d F2d | EFD CB,A, | D>ED F2G | A2d AFD |
FdF Edc | d2 D3 :: A | ded f2g | aba fed | B>cB c2d | e>(fe/d/) cBA | (ded) f2g |
a2g
fed | (B/c/)dB (c/d/)ec | {e}d3D3 :|
FLASH AWAY THE
PRESSING GANG. Irish, Reel. A Mixolydian. See
O’Neill’s “Slash Away the
Pressing Gang.” Shanachie SH-78010, Solas - “Sunny
Spells and Scattered Showers” (1997).
FLAT CAP. English, (Old) Hornpipe (3/2 time). F Major. Standard tuning.
AABBCCDDEE. The melody appears in Walsh’s third collection of
X:1
T:Flat Cap
B:Walsh
M:3/2
L:1/8
K:F
DEFG A2 D2 FG A2| c2 G4 C2 EFGE| DEFG A2 D2 FG A2| c2 A4 GF EFGE::\
DEFG ABAG ABAG |c4 C4 C2 EFGE|DEFG ABAG ABAF| d2 A4 GF EFGE::\
f2 d2 g2 e2 f2 d2 | g2 e4 c2 efge|f2 d2 g2 e2 f3 d |d2 A4 GF EFGE::\
defd efge fgaf | g2 e4 c2 efge|defd efge agfe |d2 A4 GF EFGE::\
F2
A2 G2 B2 F2 A2| c2 A4 C2 EFGE|F2 A2 G2 B2 F2 A2| e2 A4 GF EFGE:|
FLAT
FOOT IN THE ASHES. Old-Time.
FLAT FOOT REEL. American, Reel or Schottische. G Major. Standard tuning. AABB. Howe lists the tune in the schottische section and credits “C. Hutchinson” as the composer. Howe (1000 Jigs and Reels), c. 1867; pg. 54. Ryan’s Mammoth Collection, 1883; pg. 62.
T:Flat Foot Reel
M:2/4
L:1/8
R:Schottische
S:Howe – 1000 Jigs and Reels
Z:AK/Fiddler’s Companion
K:G
(G/c/) | B/G/A/G/ B/G/A/G/ | c/e/d/B/ (A/G/F/G/) | B/G/A/G/ B/G/A/G/ |
c/e/d/B/ G(G/c/) | B/G/A/G/ B/G/A/G/ | c/e/d/B/ A>c | B/d/e/f/ {a}g/f/g/e/ |
d/c/A/F/ G :: G | “tr”g4 | f/g/a/g/ b/g/e/d/ | B/d/e/f/ {a}g/f/g/e/ | d/c/A/c/ .B/(G/F/G/) |
B/d/e/f/ {a}g/f/g/e/ | f/g/a/g/ b/g/e/d/ | “tr” g4 |
d/c/A/F/ G :|
FLATBUSH WALTZ. American, Waltz. G Minor. Standard tuning. Composed by Klezmer and
Old-time mandolin and clarinet player Andy Statman, named for a community in
X:1
T:Flatbush Waltz
M:3/4
L:1/8
C:Andy Statman
R:Waltz
Z:Naka Ishii
K:G min
d3 g dc|B2 G4|d3 g (3dcB|c3 e dc|GA
Bc dB|cG c4|B3 c _AB|GG, B,D GB|
d3 g dc|B2 G4|d3 g (3dcB|c3 f
(3edc|Bc de fd|cG c4|B3 c _AB|GG, B,D GB|
b4 ag|aD ^FA d^f|g2 f3 e|d6|e2 d2
c2|d2 g2 a2|b3 a bc'|a6|
b4 ag|aD ^FA d^f|g2 f3 e|d6|e2 d2
c2|d2 G2 c2|B3 c _AB|GG, B,D GB||
FLAT-FOOTED NIGGER. AKA ‑ "Big‑Footed
N....r" (?). Old‑Time.
FLATFOOTED HENRY. Old‑Time, Breakdown. C Major. Standard tuning. AABBCC. It has
become fashionable to add a II chord (D) to the accompaniment of the tune,
although not original. Source for notated version: from an amateur tape of
Jonathan Bekoff and Kirk Poweel on fiddle and banjo, Galax, 1986 [Songer].
Phillips (Traditional American Fiddle
Tunes), vol. 1, 1994; pg. 88. Songer (
FLATTENING THE ACRES. AKA and see either "Rattlin’ Down the Acorns [1]"
or "Shaking Down the
Acorns [1]."
FLATWOODS [1]. Old‑Time, Breakdown.
X:1
T:Flatwoods
M:2/4
L:1/8
S:Liz Slade
N:GDad tuning
Z:Transcribed by Andrew Kuntz
K:G
B|:(B/ d) (B/ d)(d|d)e dB/(A/|B/c/d/)(c/ d/)B/d/(A/|B/)D/G/A/ AG:|
|:(A/ B) (D/ G>)(D|B)B AG|(A/ B) (D/ G)G/D/|E/D/E/D/ AG|
(A/
B) (D/ G>)(D|B)B AG|(B/ d) (B/ d/)B/d/(A/|B/)A/G AG:|
FLATWOODS [2]. Old‑Time, Breakdown.
X:1
T:Flatwoods [2]
M:2/4
L:1/8
Z:Transcribed by Andrew Kuntz
K:G
G/(E/|D/)(E/G/)(A/
B/)A/B/(D/|G)(A/B/) A/G/E/(E/|D/)(E/G/)(A/ B/A/)B/(B/ |
A/)D/G [GB] :: A/B/A/|B(d d)d|e(d
d/)A/B/A/|B(d d/)e/d/B/|A(G [G/B/]) :|
FLATWORLD. English, Mazurka. B Minor. Standard tuning. AA’BB’. Composed by English
musician Andy Cutting. May be played slower as an air. Blowzabella
– “Vanilla.”
X:1
T:Flatworld
M:3/4
L:1/8
C:Andy Cutting
R:Mazurka
Z:Steve Mansfield May 2001
K:Bm
f ef | de cd Bc | B2 Bc dB | {f}g2
gf ed | c3 f ef |
de cd Bc | B2 Bd cB | c2 ce dc |1 B3
:|2 B3 F GF
|: Bc dB ba | g2 gf ed | cd ec ag |
f2 fe dc |
Bc dB gf | e2 ed cB |1 c2 ce de | c2
cc dc :|2 c2 ce dA | B3 ||
FLAUNTING TWO. AKA and see “The Hemp Dressers,” “." Scottish—Strathspey; Irish—Slide, Reel or Fling. D
Mixolydian or D Major (Breathnach, Cranford, Flaherty, Moylan, Mulvihill,
O'Neill/1850, Taylor). Standard. AB (Emmerson, Flaherty, O'Neill, Roche): AAB
(Lerwick, Raven): AABB (Cranford,
Moylan, Taylor): AABB (Mulvihill): AABBCC (Breathnach). The melody has been set
in several forms in Ireland, Scotland and England, including a hornpipe (“Lily
White”), reel (“Flax in Bloom”), fling (Kohler’s “Highland Fling”, Roche’s
“Fling”), slide (“Julia Clifford’s Slide [1]”),
and strathspey (“Marquis of Huntley’s”). Lerwick (1985) attributes composition
to George Jenkins. The melody is “always associated with that part of
X:1
T:Flax in Bloom, The
L:1/8
M:C|
R:Reel
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:D
D2 (3FED FAAf|(3gfe (3fed edBd|(3ABA
FA dfaf|gafd edBd|D2 (3FED FAAf|
(3gfe (3fed edBd|ABAF ABde|faeg fd
d2||(3fgf df (3efe ce|dcdB AGFG|
DFAd FAdf|(3gfe (3fed edBd|(3fgf df
(3efe ce|dcdB AGFG|DFAc defg|afeg fd d2||
X:2
T:Flax in Bloom, The
M:C
L:1/8
R:Reel
S:Treoir – vol. 35, No. 1, 2003
K:D
D2 ED FA A2 | gefd edBd | A2 FA dfaf
| gefd edBd |
D2 ED FA A2 | gefd edBd | A2 FA ABdf
| afeg fd d2 :|
|: f2 df e2 ce | dcdB A2 FA | DFAd
FAdf | gefd edBd |
f2 df e2 ce | dcdB A2 FA | DEFG ABdf
| afeg fd d2 :|
FLAXDRESSER, THE ("An T-SisTealoir" or "An
Abraiseac").
AKA and see “Have a Drink with Me.”
Irish, Double Jig. G Major. Standard tuning. AAB (Roche): AABB (Flaherty):
AABBCC (O'Neill). Source for notated version: flute player James Murray (b.
1947, Ougham, outside Tuppercurry, Co.
X:1
T:Flaxdresser, The
M:6/8
L:1/8
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:G
d/c/|BAG AGE|DGA BAG|BAG dcB|BAA
AGA|BAG AGE|DGA BAG|Bdg dBG|AGG G2:|
|:B|GBd efg|dBG AGE|GBd efg|fdd
def|gfe dcB|AGA BGE|DcB AGA|BGG G2:|
|:B/c/|d2 e/f/ gfe|dBG AGE|DEG
GAB|BAA A2 B/c/|d2 e/f/ gfe|dBG AGE|DcB AGA|BGG G2:|
FLAXLEY GREEN DANCE. English, Country Dance Tune. A
Minor (Aeolian). Standard tuning. AABB. From the Robert Buckley music
manuscripts (c. 1857-58), Staffordshire, who is said to have noted the tunes
from the playing of Abbots Bromley fiddler and wheelwright William (or Henry)
Robinson (c. 1790-c. 1860). See “Abbot’s Bromley Horn Dance”
for another of Robinson’s tunes. The
X:1
T:Flaxley Green Dance
M:6/8
L:1/8
R:Jig
S:William Robinson (c. 1790-c.
1860), Abbott’s Bromley, Staffordshire
K:A Minor
ABc d2c|BAG A2G|FGA GAB|A3 A2A|Bcd
e2d cBA B2c|
dfe dcB|1 A3 A3:|2 A3 A2||:B|cea
g2f|edc d2c|Bdg f2e|
dcB c2B|Acf Bdg|cea dfb|efe dcB|1 A3
A2:|2 A3 A3||
FLEADH ARMS. Irish, Reel. D Major. Standard tuning. AABB.
X:1
T:Fleadh Arms
M:4/4
L:1/8
S:learned from David Kidd
R:reel
D:Joe McKenna
Z:Lorna LaVerne
K:D
|: f2df edce | dcdB ADFA | BAGB ADFA
| BAGF E4 |
f2df edce | dcdB ADFA | BABd ABde |
faeg fdd e :|
faba fddf | gege f3d | faba fddf |
gecA d3e |
faba fddf | gege f3d | faba fddf |
gecA
FLEADH CHEOL POLKA [1]. Irish, Polka. G Major. Standard tuning. AA'BB. Miller & Perron (101 Polkas), 1978; No. 4. Miller &
Perron (Irish Traditional Fiddle Music),
2nd Edition, 2006; pg. 129.
FLEADH CHEOL POLKA [2]. AKA and see “Danny Green’s,” “Darby’s Cross,” “John Clifford’s (Polka) [1],”
“John Egan’s (Polka) [2],"
“Scartaglen Polka [2],” “Tripping
to the Well.” Irish, Polka. D Major. Standard tuning. AABB. Miller &
Perron (101 Polkas), 1978; No. 5.
Miller & Perron (Irish Traditional
Fiddle Music), 2nd Edition, 2006; pg. 129.
FLEASGAICH OG A'S
CAILEAGAN. AKA and see "Merry Lads and Bonny Lasses."
FLEE LIKE/AS A BIRD. Check alternatives under "Free Like a Bird." Scottish,
English; (
X:1
T:Flee as a Bird
B:Ryan's Mammoth Collection
N:
R:hornpipe
Z:Transcribed by Paul de Grae
M:4/4
L:1/8
K:G
(3Bc^c|(3dba (3gfe
d>^ce>d|B>GD>B, G,>B,D>G|
E>cA>F
D>cA>F|G>Bd>e d2 (3Bc^c|(3dba (3gfe d>^ce>d|
B>GD>B,
G,B,D>G|E>cA>F D>cA>F|G2 B2 G2:|:(3B^AB|
g>ba>g f>ag>f|e>gf>e
f>^d B2|g>ba>g f>ag>f|
e>gf>e f>^d B2|(3cde A>c
(3Bcd G>B|
(3ABc F>A (3GAB D>F|(3GAB
(3DEF (3GBA (3GFE|
(3DED (3CB,A, G,2:|:e>f|
g2 {a}g2 f2 {g}f2|e>Be>g b2
z2|b>^ab>c' b>af z|
b>^ab>c' b>af z|g2 {a}g2 f2
{g}f2|e>Be>g b2 z2|
(3bbb (3c'c'c' (3bbb
(3c'c'c'|f>ba>f e2:|:D>C|
B,>DG>D
B>D{F}E>D|B,>DG>D B>D{F}E>D|
(3D^CD F>E
D>=CB,>A,|G,>GF>A G2 D>C|
B,>DG>D
B>D{F}E>D|B,>DG>D B>D{F}E>D|
(3D^CD F>E
D>=CB,>A,|G,>GF>A G2:|
FLEE OVER THE WATER. Scottish, Reel ("Slowish"). A Major. Standard tuning. AAB.
Unusual part structure, with each part having twelve measures rather than the
more typical sixteen. A reference undoubtedly to Bonnie Prince Charlie and
X:1
T:Flee Over the Water
M:2/4
L:1/8
R:Reel
S:Gow – First Collection of Niel Gow’s Reels (1784, revised 1801)
Z:AK/Fiddler’s Companion
K:A
a/f/|eA (d/c/)B/A/|eA
(d/c/)B/A/|G(BB)a/f/|eA (d/c/)B/A/|aA (d/c/)B/A/|EAA:||
c/d/|ef/g/ (a/g/)f/e/|(f/e/)d/c/
(d/c/)B/A/|G(BB)c/d/|ef/g/ (a/g/)f/e/|
(f/e/)d/c/
(d/c/)B/A/|E(AA)c/d/|ef/g/ (a/g/)f/e/|(f/e/)d/c/ (d/c/)B/A/|
G(BB)c/d/|ef/g/
(a/g/)f/e/|(f/e/)d/c/ a>E|FAA||
FLEERISH, THE. Scottish, Jig or Two‑Step. D Major.
Standard tuning. AB. Composed by Bert Murray and named after a 'fleerish' (or
flourish), the term used for a cigarette lighter by a saxophonist friend of the
composer who "never got his 'fleerish' to work when they were travelling
by car and would make appropriate comments to this effect" (Neil, 1991).
Neil (The Scots Fiddle), 1991; No.
67, pg. 92.
FLEET'S A COMING, THE. AKA and see "A Mile to Ride," "Stannerton Hopping," "Stanhope i' Weardale."
FLEMING’S JIG. See “Tom Fleming’s,” “Matt Hayes’s Jigs.”
FLEMING’S REEL. AKA and see “John
Brosnan’s (Reel).” Irish, Reel. A Dorian. Standard tuning. AABB. Composed
by Kerry accordion player Tom Fleming. Source for notated version:
X:1
T: Fleming's
S: Liz Carroll
Z: transcribed by B.Black
Q: 350
R: reel
M: 4/4
L: 1/8
K: Ador
AG | EA A2 EA (3Bcd | egdB cBAG | EG G2 DGBG | DGBG dGBG |
EA A2 EA (3Bcd | egdB cBAG | e2 de ceBe | EAAG A2 :|
Bd | eA (3AAA eA (3Bcd | eaaf ge d2 | eA A2 eAge | d2 BG DG B2 |
eA
(3AAA eA (3Bcd | e2 af gedB | e2 de ceBe | EAAG A2 :|
FLETCHER’S DELIGHT. AKA and see “Dancer’s Delight.” American, Reel. A
Major. Standard tuning. AABA.
X:1
T:Fletcher’s Delight
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:A
e/A/(3A/A/A/ e/A/c/e/ | f/a/e/c/
B/A/B/c/ | e/A/(3A/A/A/ e/A/c/e/ | f/a/e/c/ BA |
e/A/(3A/A/A/ e/A/c/e/ | f/a/e/c/
B/A/B/c/ | e/A/(3A/A/A/ e/A/c/e/ | f/a/e/c/ BA :|
A/c/e/g/ aa/e/ | f/a/e/c/ B/A/F/E/ |
A/c/e/g/ aa/e/ | f/a/e/c/ BA |
A/c/e/g/ aa/e/ | f/a/e/c/ B/A/F/E/ |
A/c/e/g/ aa/e/ | f/e/f/g/ a/g/a/f/ ||
FLETT FROM FLOTTA. Scottish, March (4/4 time). A Major. Standard. AB. Composed by Pipe
Major Donald MacLeod. Flotta is a place-name from Orkney. The title references George
(Dode) Flett, who was a Highland Piper in the Seaforth, along with the tune’s
composer, Donald MacLeod. A famous
photograph exists of Flett from Flotta marching troops in desert operations
during WW2. Martin (Ceol na Fidhle, Vol. 3), 1988; pg. 11.
FLEUR DE LIS
SCHOTTISCHE.
FLEUR DE MANDRAGORE. French-Canadian,
Reel. A Major. The melody was composed by Michel Bordeleau, a
multi-instrumentalist with the Québec band La Bottine Souriante.
X:1
T:Fleur de Mandragore
C:Michel Bordeleau,Lunasa
I:,id:hn-reel-707,reel
Q:1/4=173
V:1
M:C|
L:1/8
R:Reel
K:A
E2 AE GABc |Aeed cAAF |E2 AE GA ~B2 |~B3 d cAAF |
E2 AE GABc |Aeed cAAF |E2 AE GA ~B2 |1~B3 d cAAF :|2
~MB3 d cA ~A2 ABce ::a3 a a2 ga |gabA aAgA |eAdf edcA |
Bcde fgag |fe a3 a a2 |gabA aAgA |eAdf edcA |1|3
Bcdc BcBA :|2|4A2 dc BcBA ||:|AF z6 |]
FLICKEN PA BEMANT'S RO. Scandinavian. In the repertoire of Wisconsin Swedish musician Fritz
Swenson.
FLICKSTEIN. American. Folkways FA 3281, "The Hammered
Dulcimer as played by Chet Parker" (1966).
FLIGHT, THE. AKA and see "Mutual Love." English, Jig. D Major.
Standard tuning. AABB. The melody appears in several printed collections of the
latter 18th century, including Charles and Samuel Thompson’s Compleat Collection of 200 Country Dances,
vol. 4 (London, 1780), Niel Stewart’s Select
Collection of Scots, English, Irish and Foreign Airs, Jiggs & Marches
(Edinburgh, 1788), and James Aird’s Selection
of Scotch, English Irish and Foreign Airs, vol. 2 (Glasgow, 1785). Thompson
also published in a 1777 volume under the title “Mutual Love.” In addition,
“The Flight” appears in several musicians’ manuscript collections in both
X:1
T:Flight,
The
M:6/8
L:1/8
R:Jig
S:Aird,
vol. II (1782)
Z:AK/Fiddler’s Companion
K:D
A | dfe dfe | d2A A2G | FAd Bcd | egf e2A | dfe dfe | d2A A2G | FAd Adc | d3 d2 :|
|:
a | a2f dfa | b2g efg | a2d c2d | ecA A2a | a2f dfa | b2g efg | afd Adc | d3 d2
:|
FLIGHT OF THE EARLS. AKA and see "Boys of Wexford,"
"In Comes the
Captain's Daughter."
FLIGHT OF THE WILD
GEESE [1]. AKA and see "Wild Goose Chase [1]." Old‑Time,
Breakdown.
FLIGHT OF THE WILD
GEESE [2], THE. 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. 42, pg. 44.
X:1
T:The Flight Of The Wild Geese
R:Reel
C:Ed Reavy
M:2/2
L:1/8
Z:Joe Reavy
N:It could be a title that recalls the flight of those
N:
N:the departure of a wild flock to some distant shore. The tune is superbly
N:built and fitting to honor both occasions.
K:D
FG | A2 FA gfe c | dBAF E2 FG | (3ABA FA BGBc | dBcA G2 FG |
AF (3FEF EFGA | BGFG E2 ef | gece bged |1 cdfe d2 :|2 cdfe defg ||
a2 fd DFAG | FAdf afdf | g2 e=c Gceg | fagf eAce | a^gab afdf |
gfga gece | (3fga fd bged |1 cdfe defg :|2 cdfe d2 ||
FLIGHT OF THE WILD GEESE [3], THE.
AKA and see “Paddy
O’Carrol{‘s Jig} [1].”
FLIGHTS OF FANCY. English, Country Dance Tune. C Major. Standard
tuning. AAB. Goulding (Twenty Four Country Dances for the Year 1808),
1808; No. 15.
X:1
T:Flights of Fancy
M:C
L:1/8
B:Goulding & Co. – Twenty Four Country Dances for the Year 1808 (London)
N:”With proper Tune & Directions to each Dance (as they may be
N:performed at Court, Bath, and all Public Assemblys.”
Z:Transcribed and edited by Flynn Titford-Mock
Z:abcs’s:AK/Fiddler’s
Companion
K:C
G|ccec
gcec|ccec B(dd)f|ccec geec|B/c/d Gd ec c:||
g|egcg
afge|gcec B(dd)f|egcg afge|G>Acd e(cc)g|
egcg
afge|fdec|Bcde|fadf egce|G>ABd ec c||
FLING. A dance form particular to Scottish, and to some extent Irish, music.
An Irish fling, borrowed from the Scots, is usually a simple reel with a dotted
crotchet/semiquaver feel, often a 'catchy' melody and sometimes has words and
not unusually lilted. Irish flings are generally written in 4/4 time and,
although played slower than a reel, retain the reel-like swing. Some familiar
examples are the tunes "The Keel Row," "Some Say the Devil's
Dead" or "Johnny Won't/Will You Marry Me." In northern Ireland
it is sometimes called a “Highland” or
“German,” though elsewhere in Ireland it goes by the name highland
schottische, highland fling, or simply ‘highland.’ In Conamara it is sometimes
called “The Johnny.” The term is used in the south and west of
FLING-DANG. American, Reel. G Major. Standard tuning. AABB. Composition credited to
one H.F. Williams in Ryan’s Mammoth
Collection, and sounds like a minstrel-show piece. The first half is the
same as the third part of Bayard's "Bummer's Reel." Cole (1000 Fiddle Tunes), 1940; pg. 44. Ryan’s Mammoth Collection, 1883; pg. 70.
X:1
T:Fling-Dang
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G
D | D/GG/ G>A | B/G/A/F/ G/F/E/D/
| D/AA/ A>c | B/G/A/F/ G/F/E/D/ |
D/GG/ G>A | B/G/A/F/ G/F/E/D/ |
[.Ec][.Ec] [.EB>]c | B/G/A/F/ G :|
|: D | Dd d>e | d/B/G/A/ BG |
BB/B/ z/A/G | D/GB/ AG | Dd d>e |
d/B/G/A/ BG | [E2c2] [D2B2] |
.A/.A/.A/F/ G :|
X:1
T:
M:2/4
L:1/8
R:Reel
C:J. Scott Skinner (1843-1927)
S:Skinner – Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:F
B/ | A/F/B/G/ c/d/e/f/ | e/c/f/d/
.e/(c/c/)_e/ | d/B/f/d/ c/F/A/c/ | B/G/c/B/ A/F/F/ :|
b/ | a/g/f/a/ g/c’/e/g/ | f/e/d/g/
.e/(c/c/)_e/ | d/e/f/d/ e/f/g/b/ | a/f/e/c’/ a/f/f/b/ |
a/c’/f/c’/ g/c’/e/c’/ | f/a/d/g/
e/(c/c/)f/ | d/b/a/g/ f/F/A/c/ | d/f/e/c’/ a/f/f/ ||
FLINTLOCK. English, Country Dance Tune (4/4 time). G Major. Standard tuning. AABB.
Raven (English Country Dance Tunes),
1984; pg. 171.
X:1
T:Flintlock
M:C
L:1/8
K:G
D2 | G2G2 B<d d2 | c>A B>G
A>F E>D | G2G2 B<d d2 | e>g f>a g2 |
|: d2 | g>a b>a g>f e>d
| e>f g>e d>B A>G | g>a b>a g>f e>d |
e>g f>a g2 ga | b2a2g2f2 |
e2d2c2 BA | G2G2 B>d d2 | e>g f>a g2 :|
FLIP McGILDER’S REEL. AKA and see “"Bonnie Annie [3]," "Lethen's Reel,” “Follow Me Down to Carlow [1],
"Follow Me Down to
Carlow [2]" (jig version), "The
Crooked Reel” (An Ríl Cam), "Miss Murphy [2]." Scottish,
Irish; Reel. A Minor. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 38. Ryan’s Mammoth Collection, 1883; pg. 64.
X:1
T:Flip McGilder’s Reel
M:C|
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:A Minor
(3.A.A.A (AG) EFGB | (3.A.A.A (AB)
cded | cBcG EFGB | Aa{b}a^g aAAB |
(3.A.A.A (AG) EFGB | A^GAB cded |
{d}cBcG EFGB | Aa{b}a^g aAAB :|
|: ecgc acgc | BGGA Bcdf | ecgc acgc
| aged (cA).Az | agea gedB |
{B}cBcG EFGB | A^GAB cdea | gede
cAAB :|
FLIRT, THE. English, Reel.
FLIRTATION, THE. English, Jig. A Major. Standard
tuning. AABB
X:104
T:Flirtation, The
M:6/8
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:A
E|ABA GFE|BcB (BB)c/d/|ecA Aec|”tr”c3 B2::c/d/|edc edc|
agf
ecA|BGE BGE|d3 c2 c/d/|ecA Aec|”tr”B3 A2:||
FLIRTATION REEL. American, Reel. G Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 39. Ryan’s Mammoth Collection, 1883; pg. 67. White’s Unique Collection, 1896; No. 63, pg. 12.
X:1
T:Flirtation Reel
M:C|
S:White’s Unique Collection (1896), No. 63
Z:AK/Fiddler’s Companion
K:G
GFGA BGAB | {d}cBcd e2f2 | (gd)ec (Bd)cA | (GB)(AF) [B,2G2] :|
|: d2 | {a}gfga bagf | {f}e^def .g2.d2 | {a}gfga bagf | {f}edef .g2.D2 |
GFGA
BGAB | {d}cBcd e2f2 | (gf)gd (ec)Ac | (BG)(AF) [B,2G2] :|
FLITCH OF BACON, THE (An Taob Muic-Feoil). Irish, Double Jig. G Major.
Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 59. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1039, pg. 194. O'Neill (Dance
Music of
X:1
T:Flitch of Bacon, The
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:G
DGG BAB|cAG FGA|DGG BAB|cAF G2G|DGG BAB|cAG
FGA|fed f2d|cAF G2z:|
|:def gag|fed g2B|def gag|fed
cAF|def gag|fed g2d|fed f2d|cAF G2z:|
FLITTER DANCE. English, Country Dance? (4/4 time). D Dorian. Standard tuning. AABB.
Carlin (Master Collection), 1984; No.
54, pg. 40. Maggie's Music MM107, "Music in the
Great Hall" (1992).
FLIXTON HOUSE. English, Country Dance Tune
(3/2 time). G Major. Standard tuning. AA’B. The name of a dance and tune
composed by Brian Wedgbury (1928-2002) in 1989. Flixton House,
FLOATING BOTTLE, THE. AKA and see “The Master’s Return,” "Rising Sun [1].” Irish, Reel. D Major. Standard tuning. AABB. Paul de Grae notes
the tune is perhaps better known as “The Master’s Return.” Source for notated
version: Brendan Mulvihill (
See also listings at: Alan Ng’s Irishtune.info |
FLOATING BRIDGE. American, Jig. G Major.
Standard tuning. AA’BB’. Composed by
FLOATING CROWBAR, THE. AKA and see "The Rathcroghan Reel." Irish,
Reel. D Major/Mixolydian. Standard tuning. AABB. Cairan Carson (Last Night’s Fun, 1996) says he has
heard this tune attributed to fiddle player Brendan McGlinchey. Some say it was
originally called the “Rathcroghan Reel” and is of North Connacht origin. The
tune is closely related to "The Cameronian." Taylor (1992) speculates
that "It is quite possible that the title is a tongue‑in‑cheek
name given by some wag when no name was known by him or her." However, it
seems that the term ‘floating crowbar’ has meaning in the building trades,
where it refers to either a type of switch employed by electrical engineers, or
to setting concrete (i.e. the concrete is ready when it can support, or ‘float’,
the weight of a crowbar). Source for notated version: fiddler Paddy Ryan
[Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1976, vol. 4, No. 24.
FLOATING HAWKS. American, Reel. D Major.
Standard tuning. AABB. Composed by
FLOCK OF BIRDS. Old-Time, Country Rag. USA, Missouri. G Major. Standard tuning. AA’B. The
melody was known to a few Missouri fiddlers. Art Gabraith said he had known the
tune since the 1930’s. Source for notated version: Raymond Campbell (1905-1977,
Christian County, Missouri) [Beisswenger & McCann]. Biesswenger &
McCann (Ozark Fiddle Music), 2008; gp. 173. Rounder
0157, Art Galbraith (Springfield, Mo.) - "Simple Pleasures."
FLOCK OF BUDGIES, THE. Irish, Hornpipe. G Major. Standard tuning.
AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black. The title
references the Irish-made movie The
Commitments. Black (Music’s the Very
Best Thing), 1996; No. 178, pg. 94.
X:1
T: The Flock of Budgies
C: © B. Black
Q: 300
R: hornpipe
M: 4/4
L: 1/8
K: G
(3DEF | GBdB cBAG | EDEG FAdc | Bdgd cege | dfag fecA |
GBdB cBAG | EGFG EGBe | dBgB dcBA | GBAF G2 :|
(3DEF | GBdg ecAc | Bdga bagf | e^cac ecac | agfe d2 (3def |
gdBd
ecAc | Bdga bagf | edBd dcBA | GBAF G2 :|
FLOCK OF WILD GEESE. AKA and see “Swans Among the
Rushes.” Irish, Jig.
FLOCKTON’S HORNPIPE.
American, Hornpipe. A Major. Standard. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 99. Ryan’s Mammoth Collection, 1883; pg. 123.
X:1
T:Flockton’s
Hornpipe
M:C|
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:A
E2 |
(E>.e)(c>.A) E>dB>G | E>ec>A E>dB>G | F>fE>e
D>dC>c | B>dc>B A>GF>E |
E>ec>A
E>dB>G | E>ec>A E>dB>A | G>AB>c d>ef>g |
(g>a)e>c A2 :|
|: (3A/G/A/ | (B>,E)(c>.E) | B>cB>A A>GF>E | F>fE>e
D>dC>c | B>dc>B A>GF>E |
E>ec>A
E>dB>G | E>ec>A E>dB>A | G>AB>c d>ef>g |
(g>a)e>c A2 :|
FLOGGIN', THE (“An Seisd Buailteac” or “Ríl na Lasctha”). AKA – “The Flogging Reel.” AKA and
see "The Flag(g)on" (Scottish),
"Flogging Reel" (Ire.), "Humours of Bantry Bay,"
"The Newry Lass," "The Slashing Reel." Irish, Reel. G
Major ('A' and 'B' parts) & G Mixolydian ('C' part). Standard. ABC
(Breathnach, Mallinson, Mitchell): AABC (O'Neill/1915 & 1001, Taylor):
AABCC (Allan's, Gow): AABBC (O'Neill/1850): AABB'CC (O'Neill/Krassen). As “The
Flogging Reel” the tune is a popular reel in County Donegal. Breathnach (1976)
says it is related to “The Fife Reel;”
see also the first part of “Pirrie Wirrie.” O’Neill (1913) mentions this tune
in an anecdote about uilleann piper Patrick Ward, a 19th century farmer-piper
of Blackbull, Drogheda. Ward was an accomplished fiddler before he picked up
the pipes, but learned, as most did, by ear. His first lesson in writing music
was not without difficulty; “having neither pen nor ink, he was told by his
teacher, ‘a dark man’, to burn a furze stick and write with its calcined end.
This expedient served fairly well. From that day to this he says that whenever
he takes a pen in his hand to write music his mind reverts to “the Flogging
Reel,” which was the first tune set down in the manner mentioned.” The
reel was remembered by Kilmaley, County Clare, fiddler, flute player and
uilleann piper Peader O’Loughlin as one of the tunes he listened to his father,
a flute player, play in the 1930’s (Blooming
Meadows, 1998). The title
appears in a list of tunes in his repertoire brought by Philip Goodman, the
last professional and traditional piper in Farney, Louth, to the Feis Ceoil in
Belfast in 1898 (Breathnach, 1997). The melody was cited as having commonly
been played for country dances in Orange County, New York, in the 1930's (under
the title "Flogging Reel") {Lettie Osborn, New York Folklore Quarterly}. Sources for notated versions:
concertina player Paddy Murphy, 1969 (Béal an Chreaga, Co. Clare, Ireland)
[Breathnach/CRÉ II]; piper Willie
Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; set dance music
recorded live at Na Píobairí Uilleann, mid-1980’s [Taylor]; piper Liam Ó Floinn
(Kildare) [Breathnach/Man & his Music].
Allan's Irish Fiddler, No. 58, pg.
14. Breathnach (CRÉ II), 1976; No.
184, pg. 96 ("Ril an Lasctha" {The Flogging Reel}). Breathnach (The Man & his Music), 1996; No. 7,
pg. 104. Carlin (The Gow Collection),
1986; No. 254 (appears as "The Flaggon"). Cole (1000 Fiddle Tunes), 1940; pg. 7. Giblin (Collection of Traditional Irish Dance Music), 1928; 26. Mallinson (Essential), 1995; No. 26, pg. 12.
Mitchell (Dance Music of Willie Clancy),
1993; No. 118, pg. 98. O'Neill (O’Neill’s
Irish Music), 1915/1987; No. 263, pg. 135 (appears as "The Flogging
Reel"). O'Neill (Krassen), 1976; pg. 97 (appears as "Flogging
Reel"). O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No.
1206, pg. 227 (appears as "Flogging Reel"). O'Neill (Dance Music
of Ireland: 1001 Gems),
1907/1986; No. 482, pg. 92 (appears as "The Flogging Reel"). Ryan’s Mammoth Collection, 1883; pg. 27.
Taylor (Music for the Sets: Yellow Book),
1995; pg. 28. Compass
Records 7 4407 2, Ciaran Tourish – “Down the Line” (2005). Edison 52499 (78
RPM), John H. “Dutch” Kimmel (accordion player from New York City), 1929. Island
ILPS 9501, "The Chieftains Live" (1977). Rounder 7004, Joe Cormier ‑
"The Dances Down Home" (1977. Appears as "The Flaggon").
Mick Coyne – “Both Sides of the Coyne.”
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:Flogging Reel, The
M:C
L:1/8
S:Breathnach (1996)
K:G
A|BG G2 (3BAG cA|BG G2 (3Bcd gd|BG G2 (3BAG dB|AD F2 AB (3cBA|
BG G2 (3BAG cA|BG G2 (3Bcd gd|(3BcB BG BdcB|AF F2 ABcA||
g3 d BGBd|g2 dg faaf|g3d BG G2|AD F2 AB (3cBA|g3d BGBd|g2 dg faaa|
bgaf (3gfe dB|AGFG AB (3cBA||
(3Bcd gd (3Bcd gd|(3Bcd gd BG G2|(3AcA fc (3AcA fc|(3AcA fc BG G2|
(3Bcd gd edgd|(3Bcd ef g3a|bgaf (3gfe dB|AGFG AB (3cBA||
T:The Floggin’
M:4/4
L:1/8
S:Brian Conway
Z:AK/Fiddler’s Companion
K:G
(A||B)G (3GGG B(Gd)(G|B)G (3GGG B(dg)d|B(G({A}G))F ~G3B|
A(G E/F/)G A(Bc)d|BG (3GGG B(Gd)(G|B)G (3GGG B(dg)d|
(3BdB A(d B2) ({d}c)B|A(GF)G (AB)cA||[G,2G2] gd B(GB)d|
g2 e(g fg)af|~g3(d B2) ({d}c)B|A(GF)G (AB)cA|[G,2G2] gd B(GB)d|
g2 e(g fg)af|b(g({a}g))f ged(B|c)BA(G FG)Ac|| (3Bcd gd (Bd)gd|
(Bd)gd (BG)G2| Ac(3ccc a(cg)c|A(ca)c BGGA|(3Bcd gd edgd|
Bde(f ({a}g))fga|b(g({a}g))f ged(B|c)BA(G FG)Ac||
FLOGGING REEL, THE ("Ril an Lasctha" or "Cor an
Scotbualad"). See "The Floggin'."
FLOOD ON THE HOLM. Irish, Reel. From the playing of
Donegal fiddler John Doherty. The piece consists of bits of three reels by the
Scots fiddler/composer J. Scott Skinner.
FLOODED ROAD TO GLENTIES. Irish, Reel. B Dorian. Standard.
AABB. Composed by Jimmy McHugh.
X:1
T:The Flooded Road to Glenties
R:Reel
D: Paul Bradley:
C: Jimmy McHugh
M:C|
L:1/8
K:Bdor
A|FBB2 cafe|cfec cBAB|FBB2 ceaf|gfeg f3e|
fafe cfec|cBBA cefg|aff2 eafe|cfec B3:|
c|dBB2 aBgB|fBB2 cBAB|FBB2 ceaf|gfeg f3e|
fafe cfec|cBBA cefg|aff2 eafe|cfec B3:|
FLOOD’S HORNPIPE (Cornphíopa Uí Mhaoltuile). Irish,
Hornpipe. The tune appears in
the County Leitrim collected Alex Sutherland manuscript. Drumlin Records, The McNamara Family –
“Leitrim’s Hidden Treasures” (1999).
FLOO'ER O' TAFT, DA. Shetland. Collected in 1947 by Pat Shuldham Shaw from Shetland fiddler
John Stickle, whose grandfather, Friedmann (or Fredemann) Stickle, a German
seaman and fiddler whose family lore had it that he had been thrown overboard
near the Shetlands due to his shipmate's exasperation at his constant playing,
or perhaps because they just didn't like him. "Da Floo'er O' Taft" is
very similar to a German dance tune called "The Seven Steps." Topic 12TS442, Brass Monkey ‑ "See How It
Runs" (1986).
X:1
T:
M:C
L:1/8
R:Reel
S:Surenne –
Dance Music of
Z:AK/Fiddler’s Companion
K:D
g |
(f/4g/2<a) A>B ABdF | ({F}E)DEF B3g | (f/4g/2<a) A>B ABdF |
E>DEF A3g |
(f/4g/2<a)
A>B ABdF | ({F}E)DEF B3g | (f/4g/2<a) A>B ABdF | E>DEF A3 ||
e | f2 fd
g2 ge | f2 fd B2 de | f2 fd g2 ge | (f/4g/2<a) e>f d3e | f2 fd g2 ge | f2
fd B2 de |
fffd ggge |
(f/4g/2<a) e>f d3 ||
FLOP-EARED MULE [1]. AKA and see "Karo," "Asheville" (western N.C. title), "Big‑Eared Mule [1],"
"Long‑Eared Mule" (Don Messer's {Canada} title), "Lop‑Eared Mule"
(Pennsylvania), "Bluebell Polka,"
"College Schottische,"
"Detroit Schottishe,"
"Ranger's Hornpipe [2],"
"Monkey in the Barbershop,"
"Hell Over the Mountain," "Peach
Tree Limb," "Comin'
Over the Mountain," "Hell Amongst the Slavish,"
"D‑A Quadrille" (N.Y.). Old‑Time,
***
The melody was often recorded in the
78 RPM era. Gus Meade (Country Music Sources, 2002) lists some 40 recordings,
the earliest being William B. Houchens (1923, as “Big-Eared Mule”), followed by
Uncle Jimmy Thompson (1926), Ernest Stoneman (1927), Fiddlin’ John Powers
(1927), Doc Roberts (1928), the Kessinger Brothers (1929), and the Skillet
Lickers (1930). Arkie the Arkansas Woodchopper recorded it in 1940.
***
Sources for notated versions: Charles Hagan (Oakland,
California) [Thede]; John Dingler and Milo Kouf, 1977 (New York State)
[Bronner]; Robert Crow, Claysville, Pennsylvania, September 13, 1943 (learned
in that region) [Bayard]; Clark Kessinger (W.Va.) [Phillips]; Emanuel Wood
(1900-1981, Taney County, Missouri) [Beisswenger & McCann].
***
Print Sources: Adam, 1928; Nos. 25 & 34.
Bayard (Hill Country Tunes), 1944;
No. 56. Bayard (Dance to the Fiddle),
1981; No. 164A‑S, pgs. 101‑107. Beisswenger & McCann (Ozark
Fiddle Music), 2008; pg. 163. Brody (Fiddler’s
Fakebook), 1983; pg. 108. Bronner (Old
Time Music Makers of
***
Recorded Sources: Bluebird 5658B (78 RPM),
Gid Tanner and His Skillet Lickers (1934).
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
X: 1
T:Flop-Eared
Mule [1]
R:Reel
M:2/4
L:1/16
Z:Transcribed
by Bruce Osborne
K:D
A2|^e2f2
c2d2|ABAF D2F2|EDEF GECE|DEFG A4|
^e2f2
c2d2|ABAF D2F2|EDEF GABc|d2f2 d2:|
K:A
cd|efec
efec|efec A2c2|BABc dBGE|ABcd e2cd|
efec
efec|efec A2c2|BABc defg|[c2a2][c2a2] [c2a2]:|
FLOP EARED MULE [2]. AKA and see "Peach Tree Limb."
Old-Time, Breakdown. D Major ('A' part) & A Major ('B') part. Standard
tuning. AA'BB'. This version retains some of the character, beside the key
change, of version #1. Phillips (Traditional
American Fiddle Tunes), vol. 1, 1994; pg. 89.
FLORA, LA. English, Country Dance. G Major.
Standard tuning. AABB. Colclough (Tutor
for the Irish Union Pipes), c. 1830; pg. 12.
X:1
T:La Flora
M:2/4
L:1/8
S:Colclough – Tutor for the Irish Union Pipes (c. 1830)
Z:AK/Fiddler’s Companion
K:G
(B/c/) | (d/B/)(c/A/) G/g/f/e/ |
[c/e/][B/d/][B/d/][B/d/] [Bd](c/B/) | A/c/e/d/ c/B/A/G/ | A/G/F/E/ DB/c/ |
d/B/c/A/ G/g/f/e/ | e/d/d/d/
d/g/e/c/ | d/B/c/A/ B/G/A/F/ | GBG :: (c/B/) |
B/[D/A/][D/A/][D/A/] [DA](B/c/)
|e/d/d/d/ d/g/e/c/ | B/A/A/A/ A(B/c/) | e/d/d/d/ db/a/ |
(g/b/)(f/a/) (e/g/)(d/f/) | (c/e/)(B/d/)
(A/c/)(G/B/) | AA (A/G/)(A/B/) | GBG :|
FLORA MACDONALD. AKA and see "Thearlaich!
Nan Tigeadh Tu [1]," "Charlie, If You Would Only
Come,” “Charlie’s Welcome,” “MacDonald’s Quickstep,” “MacDonald’s Reel [2],” “Miss Flora McDonald’s Reel,”
“Miss Macdonald’s
(Reel) [4].” Canadian, Scottish; Reel. Canada, Cape Breton. E Minor/Dorian.
Standard tuning. AB (Athole, Skye): AAB (AABB (Kerr): AABBCCD (Dunlay &
Greenberg, Dunlay & Reich). “Flora MacDonald” can be found in numerous
collections as a two part tune, the Bremner
Collection (c. 1770) being the earliest. The last two parts have been
attributed (by Bill Lamey) to Donald John "The Tailor" Beaton (1856‑1919),
legendary Mabou Coal Mines, Cape Breton, fiddler. Dunlay & Greenberg (1996)
find that the alternate title given in MacDonald’s Skye Collection, “Thearlaich! Nan Tigeadh Tu!” (Charlie, if only
you would come), can be found as a two-part pipe strathspey in MacDonald’s
other publication, the Gesto Collection
of Highland Music. The editors say: “The ...first turn (of the Gesto strathspey) is recognisably
equivalent to that of ‘Flora MacDonald’. If the second part of ‘Thearlaich’ is
transposed to a tonic of E to match ‘Flora’, it can be seen that it must have
been the inspiration for the fourth part of the Cape Breton setting(s) of
‘Flora MacDonald’, although it is a bit simpler.” Peter Kennedy lists Ryan’s
four-part “Miss McDonald{’s}
[1] as a version, but I do not see the resemblance. Source for notated
version: Buddy MacMaster (Cape Breton) [Dunlay & Greenberg, Dunlay &
Reich]. Dunlay & Greenberg (Traditional
Celtic Violin Music from Cape Breton), 1996; pg. 86. Dunlay & Reich (Traditional Celtic Fiddle Music from Cape
Breton), 1986; No. 49, pg. 58. Kennedy (Traditional
Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 50, pg. 14.
Kerr (Merry Melodies), vol. 1; Set 4,
No. 2, pg. 5. MacDonald (The Skye
Collection), 1887; pg. 84 (appears under the "Thearlaich" title).
Stewart-Robertson (The Athole Collection),
1884; pg. 247. ACC-49130, Howie MacDonald - “A Few
Tunes by Howie MacDonald.” Culburnie Records CUL 121D, Alasdair Fraser &
Natalie Haas – “Fire and Grace” (2004). JC 123, John Campbell - “Heritage
Remembered” (1978). Rodeo (Banff) 1257 (Celtic 13) Cape Breton Magazine's Tape,
The MacLellan Trio‑ "The Music of Cape Breton" (c. 1950's).
Shanachie 14002, Bill Lamey‑ "Classic Recordings" (1979).
X:1
T:Thearlaich! Nan Tigeadh Tu!
T:Flora MacDonald
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Emin
F|~E2 EF BFDF|~E2 B^c dBAF|~E2 EF EFGA|BdAd FDDF|
~E2 B^G BEEe|~E2 B^c dBAF|~E2 EF EFGA|BdAG FDDF||
Eee^d BEEF|Eee^c dBAF|Eee^d B^cde|faef dBAF|EeBe dEBE|
EeBe
dBAF|EeBe deBe|faef dBAF||
FLORA
MACDONALD'S ADIEU TO THE PRINCE (Tha
mi fodh ghruaim).
Scottish, Slow Air (6/8 time). F Sharp Minor. Standard tuning. AAB. This air
"is attributed, the editor knows not with what truth, to the celebrated
Miss Flora MacDonald, on bidding adieu to Prince Charles. There is a degree of
virtue, highly honorable to the national character for sincerity and integrity,
perceptible in the universal disregard of the high rewards offered for
delivering up the Prince" (Fraser). In fact, Flora Macdonald (b. c. 1721)
was a celebrated heroine of the 1745 Jacobite rebellion, instrumental in saving
Bonnie Prince Charlie after the battle of Culloden. Flora was born on the
Hebridean side of South Uist, to which isle Charlie fled to, hotly pursued by
the English forces who had offered a reward of the staggering sum of 30,000
pounds for his capture. The island was patrolled by warships and 2,000
Hanoverian troops were combing the countryside looking for him. Flora was
persuaded to his cause and helped him elude his pursuers by dressing him as her
Irish maidservent under the alias 'Betty Burke'. For three days she travelled
with him under the constant fear of capture until he was able to make his way
to Skye and then Inverness, where he was eventually rescued by a French ship
which transported him to safety in Brittany.
***
“Prince Charles’s Farewell to Flora MacDonald,” by George W. Joy.
***
"Before leaving Portee, Flora
and the Prince said their goodbyes. He was most grateful to her for risking her
life for him during the three eventful days, and for looking after him with
great tenderness and affection during the many dangers that had beset them. He
presented her with his own portrait in miniature and after thanking her,
expressed the hope that they might meet again" (Neil, 1991). They apparently never did, for Flora
returned to Skye and five years later married Macdonald of Kingsburgh, with
whom she had five sons and two daughters. The family soon found themselves in
North Carolina, where Macdonald served with the Royal Highland Emigrant
Regiment in the years prior to the American Revolutionary War. They returned to
Scotland in the early 1770's and were visited by Dr. Johnson and Boswell on
Skye in 1773. Flora was aged 51 at the time and was described by Johnson as
"a woman of middle statue, soft features, gentle manners and elegant
presence", and by Boswell as "a little woman of genteel appearance
and uncommonly mild and well‑bred." Flora died in 1790. Fraser (The Airs and Melodies Peculiar to the
Highlands of Scotland and the Isles), 1874; No. 219, pg. 98 & No. 219,
pg. 90. Neil (The Scots Fiddle),
1991; No. 162, pg. 209.
X:1
T:Flora Macdonald’s Adieu to the Prince
T:Tha mi fo ghruaim
M:6/8
L:1/8
R:Slow Air
S:Fraser Collection
(1874)
Z:AK/Fiddler’s Companion
K:A
F|AFF F>ED|d>ed c<e z/ c|Bce f>ea|f>ed (c<B) z/F|AFF F>ED|
d>ed
c<ez/||c|Bce f>aa|fed e>dc|d>ed c>ea|f>ed (c<B)z/||
FLORA MACDONALD'S
LAMENT. AKA and see "Lament for Flora MacDonald."
Scottish, Slow Air. The tune was composed by Neil Gow, junior, son of Nathaniel
and grandson of the scion of the fiddling clan, Niel Gow (who spelled his first
name differently). Young Gow was born around 1795, entered the medical
profession and was an accomplished amateur musician, and stayed in Edinburgh
with his father. He died untimely at the age of 28. The title of the tune comes
from words set by the poet James Hogg, also a fiddler, whose song appears in Jacobite Relics of Scotland, vol. 2,
1821 (No. 92, pg. 179). In a note to the song Hogg relates:
***
I got the original of these verses from my friend Mr. Niel Gow,
who told me they were a translation from the Gaelic, but so rude
that he could not publish them, which he wished to do on a single
sheet, for the sake of the old air. On which I versified them anew,
and made them a great deal better without altering one sentiment.'
***
See also note for "Flora MacDonald's Adieu to the
Prince" for more on Flora MacDonald.
FLORA McDONALD’S REEL. Irish, Reel. Ireland, County Donegal. E Dorian. Standard tuning. AABB.
See also untitled reel, also in the Northern
Fiddler, pg. 172. Source for notated version: fiddler Danny O’Donnell
(County Donegal) [Feldman & O’Doherty]. Feldman & O’Doherty (The Northern Fiddler), 1978; pg. 187.
FLORA’S BIRTHDAY. American (?), Jig. C Major (Howe/1843): D Major (Howe/1867). Standard tuning. AABB. Howe (Complete Preceptor for the Accordeon), 1843; pg. 9. Howe (1000 Jigs and Reels), c. 1867; pg. 70.
T:Flora’s Birthday
M:6/8
R:Jig
S:Howe – Complete Preceptor for the Accordeon (1843)
Z:AK/Fiddler’s Companion
G | e2e edc | g2g gfe | agf edc | Bcd G2G | e2e edc | g2g gfe |
dfa Bcd | c2e c2 :: (B/d/) | d2d gfd | c2c ceg | fdf ece | (e3 d2) (e/f/) |
g2g
geg | a2a ac’a | geg fdB | c2e c2 :|
FLORENCE KILLEN’S
WALTZ. AKA
and see “Gotell’s Waltz.” Canadian,
Waltz. Canada, Prince Edward Island. G Major. Standard tuning. AABB’. Composed
by Clifford Manley in honor of Nova Scotia musician Florence Killen. The
alternate title, “Gotell’s Waltz” (for a local fiddling family) is from south
Kings County, PEI. Source for notated version: Eddy Arsenault (b. 1921, St.
Chrysostom, East Prince County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island),
1996; pg. 167.
FLORIDA CRACKERS. American, Hornpipe. F Major. Standard tuning. AABB. Composition
credited to Frank Livingston, who contributed many pieces to Ryan’s Mammoth Collection, many of which
have titles that have to do with the southern states. To date, nothing
definitive is known about the composer. See note for “Georgia Crackers” for more on the title.
Cole (1000 Fiddle Tunes), 1940; pg.
111. Ryan’s Mammoth Collection, 1883;
pg. 148.
X:1
T:Florida Crackers
M:2/4
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:F
c/A/ | F/A/c/A/ F/A/c/A/ | B/d/f/d/
B/d/f/d/ | c/e/g/e/ c/e/g/e/ | f/c’/a/f/ c/B/A/G/ |
F/A/c/A/ F/A/c/A/ | B/d/f/d/
B/d/f/d/ | c/b/g/e/ c/B/A/G/ | Faf :|
|: g/a/ | b/g/e/c/ =B/c/_B/c/ |
A/c/f/c/ a/c/f/c/ | B/c/e/c/ b/c/d/c/ | A/c/f/a/ c’/a/f/c/ |
b/g/e/c/ =B/c/_B/c/ | A/c/f/c/
a/c/f/c/ | e/b/g/e/ c/B/A/G/ | Faf :|
FLORIDA BLUES. AKA and see "Tupelo Blues."
Old‑Time, Bluegrass; Breakdown. USA; Missouri, Tenn. D Major. Standard
tuning. One part (Lowinger): AABB (Brody): AA'BB' (Reiner & Anick): ABAC
(Beisswenger & McCann). A twelve bar structure, blues‑based tune
composed by Fiddlin' Arthur Smith (Tenn.) and recorded by him in 1937. Drew
Beisswenger (2008) points out the tune is fairly challenging, and only played
by the more accomplished Ozark fiddlers. The name Florida is the oldest
European name in America and was given to the area by the Spanish explorer Juan
Ponce de Leon. It was Easter time, which in Spain was called the feast of
flowers, Pasque Florida, and as he
gazed at the green land he thought it must be filled with flowers, hence
Florida, the land of flowers (Matthews, 1972). Sources for notated versions:
Buddy Pendleton [Brody]; Dean Johnston (1919-2007, Lamar, Barton County, Mo.)
[Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music),
2008; pg. 75. Brody (Fiddler’s Fakebook),
1983; pg. 108. Lowinger (Bluegrass Fiddle),
1974; pg. 24. Reiner & Anick (Old
Time Fiddling Across America), 1989; pg. 105. Ruth (Pioneer Western Folk Tunes), 1948; No.
92, pg. 33. BlueBird 6844 (78 RPM), Arthur Smith Trio. Caney Mountain CEP 212
(privately issued extended play album), Lonnie Robertson (Mo.), 1965‑66.
County 546, Arthur Smith, "Fiddlin' Arthur Smith and His Dixieliners, vol.
1." County 705, Buddy Pendleton‑ "Virginia Breakdown."
Rebel 1528, Buck Ryan‑ "Fiddler on the Rocks." Rounder 1016,
Jim Eanes and the Shenandoah Boys‑ "Early Days of Bluegrass."
Rounder 1016, Vasser Clements‑ "Crossing the Catskills."
Rounder 0436, Dean Johnston – “Traditional Fiddle Music of the Ozarks, vol. 2”
(2000. Various artists). Vetco 502, "Fiddlin' Van Kidwell." Voyager
316‑S, Vivian Williams and Barbara Lamb‑ "Twin Sisters."
See also listing at: Jane Keefer’s Folk Music Index: An Index
to Recorded Sources |
X:1
T:Florida Blues
M:2/4
L:1/8
S: Viola “Mom” Ruth – Pioneer Western Folk Tunes (1948)
Z:AK/Fiddler’s Companion
K:D
{(^e/=f/}^f/)a/f/e/ d/B/A/d/|{(e/=f/} ^f/)a/f/e/ d/B/A|F/F/E/F/ D/B,/A,/D/|
GA/B/ d/e/d/B/|G/A/B/d/ e/d/B/G/|DE/F/ A/G/F/E/|D/E/F/A/ B/G/A/F/|
E/c/c/B/ c<a e/e/|c/B/A/B/ c<e|ae/f/ d/B/A/B/|d3||[d/(f/]e/)|[Fd][Fd] [F/d/]B/A/F/|
D>E D[(d/f/]e/)|[Fd][Fd] [F/d/]B/A/F/|D2 E/D/E/F/|G/AB/ d/e/d/B/|
G/A/B/d/ e/d/B/G/|D/EF/ A/G/F/E/|D/E/F/A/ B/G/A/F/|E/c/B/c/ d<c|
c/B/A/B/ c<[ce]|[ca](e/f/) d/B/A/B/|[F4d4]||
FLORIDA POLKA. American, Polka. G Major. Standard tuning. AB. The name Florida is the
oldest European name in America and was given to the area by the Spanish
explorer Juan Ponce de Leon. It was Easter time, which in Spain was called the
feast of flowers, Pasque Florida, and
as he gazed at the green land he thought it must be filled with flowers, hence
Florida, the land of flowers (Matthews, 1972). Source for notated version:
Robert Wise (Fla.) [Phillips]. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 345.
FLORIDA RAG. American, Country Rag. F Major ('A' part), C Major ('B' part) & A
Major ('C' part). Standard tuning. AABAACAA. Composed by fiddler/banjoist John
Hartford. The name Florida is the oldest European name in America and was given
to the area by the Spanish explorer Juan Ponce de Leon. It was Easter time,
which in Spain was called the feast of flowers, Pasque Florida, and as he gazed at the green land he thought it
must be filled with flowers, hence Florida, the land of flowers (Matthews,
1972). Source for notated version: John Hartford [Phillips]. Phillips (Traditional American Fiddle Tunes), vol.
2, 1995; pg. 51.
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