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 Dundalk." Joyce (Old Irish Folk Music and Song), 1909; No. 215, pg. 105.

                       

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. England, Northumberland. G Mixolydian (most versions): G Major (O’Malley). Standard tuning. AB (O’Malley): AABB (Vickers): AABBCD (Athole, Cranford/Holland, Gow): AABBCC'D (Kerr). A flagon is a drinking vessel with a handle and often a spout and a cover, usually for intoxicants such as ale or beer, sometimes wine. "This is still a very popular tune in Ireland, where it is known as the 'Flogging Reel'" (Seattle)—see "The Floggin'” for more information about Irish variants, which are generally different in modality (Scottish versions tend to keep to double-tonic modality to suit the pipes). It’s interesting to speculate on the reasons for the similar but meaningfully different versions of the title between Scotland and Ireland—the Irish title is perhaps heard through the lens of their history of oppression. A version called “Alonby Lasses” appears in the music manuscripts of the Browne family of Troutbeck, England, and appears to be a local Lake District name for the tune. Paul Stewart Cranford (2000) says the tune is sometimes attributed to Niel Gow. I have not seen evidence of this, but perhaps it is said on the strength of its first printing by the Gow’s in their 1784 collection. Cape Breton fiddler Donald MacLellan recorded the tune on 78 RPM. Carlin (The Gow Collection), 1986; No. 254. Cranford (Jerry Holland: The Second Collection), 2000; No. 212, pg. 78. Gow (First Collection of Strathspey Reels), 1784 (revised 1801); pg. 4. Kerr (Merrie Melodies), vol. 2; No. 131, pg. 16. O’Malley Collection, 1976; No. 37, pg. 19. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 482. Seattle (William Vickers), 1987, Part 3; No. 488. Stewart-Robertson (The Athole Collection), 1884; pg. 170. Green Linnet GLCD 1128, Brendan Mulvihill & Donna Long - “The Morning Dew” (1993). Tannahill Weavers – “Dancing Feet.” Rounder 82161-7032-2, Bill Lamey – “From Cape Breton to Boston and Back: Classic House Sessions of Traditional Cape Breton Music 1956-1977” (2000).

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 DUBLIN, THE. AKA and see "Austin Tierney's,” "The Cherry Tree [1],” "Down with the Tea Tacklings,” "Farewell to Erin,” “Lass of Ballintrae [2].” Irish, Reel. D Major. Standard tuning. AB (Mulvihill): AABB (Black). Also recorded by Seamus Ennis, who had the tune from his father, James Ennis (1887-1964). A part of the tune appears in O’Neill’s Dance Music of Ireland under the title “The Miller’s Maid,” although with a different turn. See also the related Scottish tune “Lass of Ballintrae [2].” Source for notated version: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Black (Music’s the Very Best Thing), 1996; No. 21, pg. 11. Breathnach (CRÉ III), 1986; No. 198. Breathnach (CRÉ V), 1999; No. 192. Mulvihill (1st Collection), 1986; No. 67, pg. 18. Néillidh Mulligan – “The Leitrim Thrush.”
X:1

T: Flags of Dublin

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, County Galway, hard by the Turoe Stone, a famous Iron Age monument. “Flagstone of Memories” is one of Broderick’s more popular tunes. Broderick (The Turoe Stone). Keenan 1, Paddy Keenan - “Na Keenan Affair.”

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 Limerick names for the tune. Source for notated version: fiddlers Paddy Reynolds and Andy McGann (New York) [Breathnach]. Breathnach (CRÉ III), 1985; No. 224, pg. 102. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 144, pg. 72. Shanachie Records 22904, Andy McCann & Paddy Reynolds ‑ "Traditional Music of Ireland" (1976).

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, Cape Breton. He further states that influential fiddler Angus Chisholm (Margaree, Cape Breton) played it in scordatura tuning (AEae). Source for notated version: fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton) [Cranford]. Cranford (Brenda Stubbert’s), 1994; No. 37, pg. 13.

 

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 France in the 1920’s and 1930’s, and this piece remains one of the most recognized and popular of all musettes.

                       

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. New York City researcher, writer and musician Don Meade finds the title to be from a 19th century song, with a chorus that goes:

***

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). USA, Louisiana. A Major. Standard tuning. One part. The tune was recorded by Francois' source, Austin Pitre, in 1959, though it was a much older song, "Adieu Roza," dating back at least before 1922 when Francois' mother heard it before her marriage. The tempo was originally slow, but has been changed into a faster one after 'Flames of Hades' was recorded by Aldus Roger" (Francois). A related song is Austin Pitre's "Two-Step a Tante Adele". Source for notated version: Austin Pitre (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 136-138. Arhoolie, Joseph Falcon (La., accordion) c. 1963. Swallow Records SW-LP6041, Austin Pitre.

                       

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 Cape Breton musicians. The title “Flanagan’s Jig” refers to the Flanagan Brothers Band, who recorded the two-jig medley (under the title “The Wanderer”) in 1929. Philippe Varlet says the second jig in the medley was recorded by early button accordion recording great John J. Kimmel as “The Smash” (also recorded under that title again by the Flanagan Brothers and accordion player Joe Flanagan). Green Linnet SIF 1113, De Danann – “1/2 Set in Harlem.”

X:1

T:Mike Flanagan's Jig
R:Jig
S:De Dannan, 1/2 Set in Harlem
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 (Baltimore, Md.) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 113, pg. 30.

           

FLANDER’S DREAM. Old-Time, Breakdown. USA, Kentucky. A Major. AEae tuning. ABB. The tune is sometimes confused with another Kentucky tune called “Flannery’s Dream” because of the similarity in titles, however, the melodies themselves have little in common. Source for notated version: a 1941 home recording of Salyersville, Magoffin County, (southeastern) Kentucky, fiddler John Salyers (1882-1952) [Titon]. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 43, pg. 75. Berea College Appalachian Center AC003, “John M. Salyer: Home Recordings 1941-1942” (1993).

                       

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. Ireland, county Limerick. USA, southwestern Pa. G Major. Standard tuning. AABB (Allan's, Ford): AA'B (O'Neill): AB (Bayard, Joyce, Roche). Bayard (1981) thinks it of Irish origin, while Petrie (1855) gives a note saying it is no older than the 18th century. Joyce (1873) remarks “this was a favourite dance tune, twenty-five or thirty years ago in the county Limerick, where I learned it from constantly hearing it played by fiddlers and pipers. I also heard it often called by the name of ‘The Peeler’s Jacket’.” Cape Breton fiddler Johnny Wilmot recorded the tune in the 1960’s. Sources for notated versions: Walter Neal (Armstrong County, Pa., 1952) [Bayard]; “From P. Carew’s MS” [Stanford/Petrie]. Allan's Irish Fiddler, No. 63, pg. 16. Bayard (Dance to the Fiddle), 1981; No. 229, pgs. 189‑190. Cole (1001 Fiddle Tunes), 1940; pgs. 28 (2nd tune), 32 (7th tune) & 43 (2nd tune). Ford (Traditional Music in America), 1940; pg. 29. Harding's Original Collection, 1928; No. 78. Joyce (Ancient Irish Music), 1873/1890; No. 6, pgs. 6-7. O'Neill (Music of Ireland: 1850 Melodies), 1903/1978; No. 1184, pg. 223. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 279, pg. 141. Petrie, 1855, Vol. 2; pg. 39.. Robbins, 1933; No. 117. Roche Collection, 1982, Vol. 1; No. 141, pg. 57. Stanford/Petrie (Complete Collection), 1905; Nos. 584 & 893, pgs. 147 & , respectively. Rounder CD 11661-7033-2, Natalie MacMaster – “My Roots Are Showing” (2000).

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, Bluegrass; Breakdown. A Minor/Mixolydian. Standard. There are several tunes played by Kentucky fiddlers called “Flannery’s Dream,” sometimes under the title “Flander’s Dream” (although that is also the name of a different tune in the key of ‘C’) or “Flandery’s Dream.” Warner Waton tells the story that Flannery was supposedly a Revolutionary War fiddler who was under a sentence of death. The commanding officer, knowing he could play, agreed to set him free if Flannery could play him a tune he hadn’t heard. Flannery dreamt this tune the night before his scheduled execution. John Hartford thinks Flannery may have been a Civil War figure rather than a Revolutionary War soldier, and the story is similar to one told about Solly Carpenter (see note for “Camp Chase”). Hartford notes the Flannery family is a large and old one from Elliott County, Kentucky.  Another common story attached to the tune (and told by Alva Greene, for one) is that a man named Flannery dreamed this tune and won a contest with it (Hartford, 1996). Bluegrass multi-instumentalist Ricky Skaggs recorded a version called “Son of Hober,” however, the tune has currency among bluegrass musicians as “Flannery’s Dream,” apparently popularised by Scaggs. Alva Greene’s version is recognizable as a precursor to the bluegrass version. Berea AC007, Roger Cooper (Garrison, Ky.) – “Snakewinder.” County CD 2714, Brad Leftwich – “Say Old Man.” Rounder 0151, Ricky Skaggs (appears as “Son of Hober,” a title which honors Skaggs’ father). Rounder 0392, John Hartford - “Wild Hog in the Red Brush (and a Bunch of Others You Might Not Have Heard)” {1996. Learned from Ricky Skaggs who learned it from Sanford Kelly}. Rounder Records 036, Alva Greene (et al) – “Traditional Fiddle Music of Kentucky, Vol. 1: Up the Ohio and Licking Rivers.” CO 2714, Brad Leftwich & Linda Higginbotham – “Say Old Man.” Rounder Records 0215, James Bryan – “The First of May.” Shanachie Records 6040, Gerry Milnes & Lorriane Lee Hammond – “Hell Up Coal Holler” (1999. Learned from an old Kentucky fiddler, Santford Kelly). Yodel-Ay-Hee YOD 011, Bruce Molsky – “Warring Cats.” Gerry Milnes – “Old Time Music.” Robin Kessinger – “Road Kessinger.” The Kessingers – “Roots and Branches.” Blue Road – “Its Been a Long Road.”   

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. USA, southwestern Pa. E Minor. Standard tuning. ABBCC. The tune and its name are a derivative of the Irish tune "Lanigan's Ball;" see Bayard's extensive note for that tune for more information on this extensive tune family. Source for notated version: Asa, Mac, and Abner Hoge (Greene County, Pa., 1944) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 542B, pg. 482.

                                   

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: Michigan Tunes), Vol. 7, 1986‑87; pg. 8. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 105, pg. 68. F&W Records 2, "F&W String Band 2."

                       

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/ ||

 

FLARAUBADELOU, LA.  French, Country Dance (6/8 time). D Major. Standard tuning. AABB. From the contradance book (tunes with dance instructions) of Robert Daubat (who styled himself Robert d’Aubat de Saint-Flour), born in Saint-Flour, Cantal, France, in 1714, dying in Gent, Belgium, in 1782. According to Belgian fiddler Luc De Cat, at the time of the publication of his collection (1757) Daubat was a dancing master in Gent and taught at several schools and theaters.  He also was the leader of a choir and was a violin player in a theater. Mr. De Cat identifies a list of subscribers of the original publication, numbering 132 individuals, of the higher level of society and the nobility, but also including musicians and dance-masters (including the ballet-master from the Italian opera in London). Many of the tunes are written with parts for various instruments, and include a numbered bass. Daubat (Cent Contredanses en Rond), 1757; No. 50.

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 Lancashire tunes (Lancashire Jigs, Hornpipes, Joaks, etc.) published at the end of the 18th century.

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. USA, central West Virginia. GDgd tuning. The tune appears to have been common in Braxton County and other areas of central West Virginia. It was mentioned by William Byrne who described a chance encounter with West Virginia fiddler ‘Old Sol’ Nelson during a fishing trip on the Elk River. The year was around 1880, and Sol, whom Byrne said was famous for his playing “throughout the Elk Valley from Clay Courthouse to Sutton as…the Fiddler of the Wilderness,” had brought out his fiddle after supper to entertain (Milnes, 1999). Augusta Heritage Records AHR 004C, Harvey Sampson & Big Possum String Band – “Flat Foot in the Ashes” (1986/1994. Learned from Noah Cottrell, Calhoun County, W.Va.).

           

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.

X:1

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 Brooklyn, New York. Green Linnet 3053, De Dannan - “A Jacket of Batteries.” Rounder 0116, “Andy Statman.” Itzhak Perlman – “Fiddler’s House.”

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. USA, Ga.

           

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 (Portland Collection), 1997; pg. 79. Rounder 0213, The Tompkins County Horseflies ‑ "Chokers and Flies" (1985. Learned from Fonsee Kennemer, north Georgia, who did not call it by the title, according to Kerry Blech).

           

FLATTENING THE ACRES. AKA and see either "Rattlin’ Down the Acorns [1]" or "Shaking Down the Acorns [1]."

           


FLATWOODS [1]. Old‑Time, Breakdown. USA; Galax, Va., Roundpeak, N.C., Alabama. G Major. GDad (Tommy Jarrell) or Standard (Emmett Lundy). ABB (Seeger/Frets): AABB (Phillips). This tune, in several versions which seem loosely connected, has been found the repertoires of Galax/Mt. Airy musicians such as Tommy Jarrell (Mt. Airy, N.C.), Emmett Lundy and Luther Davis (Galax, Va.) and Alabama's Johnson Family Band (c. 1950), as well as Georgia's Skillet Lickers in the 1920's (in fact, the melody is known widely as a north Georgia tune). Mt. Airy, N.C., fiddler Tommy Jarrell learned the tune (and "Devil in the Strawsack") as a young man from southwest Va. musician Zack Payne, a Confederate Civil War veteran who was 82 at the time. Emmett Lundy's version seems to be more related melodically to "Leather Britches" in the 'B' part than Payne's version. Sources for notated versions: Tommy Jarrell via Liz Slade (Yorktown, New York) [Kuntz]; Emmett Lundy (Va.) [Phillips]. Frets Magazine, "Mike Seeger: Traditional Music", April 1983; pg. 49. Kuntz, Private Collection. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 88. Columbia 15472 (78 RPM), The Skillet Lickers. County 756, Tommy Jarrell ‑ "Sail Away Ladies" (1986). Rounder 0020, Jerry Lundy. Rounder 1005, The Skillet Lickers. String 802, Emmet Lundy ‑ "Library of Congress Recordings, 1941."

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. USA, Kentucky. G Major. Standard tuning. AABB (Phillips, Titon): AAAABB (Kuntz). Bobby Fulcher (1986) states that the tune was formerly unfamiliar outside of Wayne County, Ky., in the Cumberland Plateau region, though the name had some currency and, in fact, a number of loosely connected tunes bear this title. Jeff Titon (2001) similarly calls the title a ‘floater’ and says unrelated melodies as called “Flatwoods” have been collected in Virginia, North Carolina and Georgia. Source for notated version: Clyde Davenport via Liz Slade (Yorktown, New York) [Kuntz]; Clyde Davenport (Monticello, Wayne County, Ky.), who learned the tune from his father, Will Davenport  [Phillips, Titon]. Kuntz, Private Collection. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 88. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 44, pg. 76. County 788, Clyde Davenport (Monticello, Ky.) ‑ "Clydeoscope: Rare and Beautiful Tunes from the Cumberland Plateau" (1986).

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 Ireland around Connolly, County Clare,” notes Christy Moore (1978). The tune was released on a 78 RPM record 1927 by Sligo fiddler James Morrison, and in 1928 by the renowned button accordion player P.J. Conlon (born c. 1890’s, Bellmount, Milltown, near Tuam, County Galway). Both men recorded in New York City, and both died there; Coleman in 1945, and Conlon in 1954. “Flax in Bloom” was recorded somewhat later by Cape Breton Irish-style fiddler Johnny Wilmot, also on a 78. The third part in Breathnach’s setting, not usual for the tune, was a product of schoolteacher and fiddler Michael (“The Master”) McDermott (d. 1947), Pomeroy and Carrigmore, County Tyrone. Sources for notated versions: fiddler Michael Lennihan (b. 1917, Kilnamanagh, Frenchpark area, Co. Roscommon) [Flaherty]; accordion player Johnny O’Leary (Sliabh Luachra) who associates the tune with box-player John Brosnan [Moylan]; fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia) [Cranford]; “from my mother” [Mulvihill]; collected from local musicians in 1937 by Michael ‘Master’ McDermott (Carrickmore, southern County Tyrone) [Breathnach]; set dance music recorded at Na Píobairí Uilleann in the 1980’s [Taylor]. Breathnach (CRÉ IV), 1996; No. 114, pg. 59. Cranford (Brenda Stubbert’s), 1994; No. 57, pg. 20. Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 55, pg. 143. Flaherty (Trip to Sligo), 1990; pg. 89. Jordan (Whistle and Sing), 1975; 28. Lerwick (Kilted Fiddler), 1985; pg. 28‑29. Moylan (Johnny O’Leary), 1994; No. 20, pgs. 12-13. Mulvihill (1st Collection), 1986; No. 34, pg. 9. O'Neill (Krassen), 1976; pg. 130. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1389, pg. 258. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 633, pg. 114. Raven (English Country Dance Tunes), 1984; pg. 173 (appears as "The Lily White"). Roche Collection, 1982, vol. 2; No. 284, pg. 35 (listed as a Fling). Taylor (Music for the Sets: Yellow Book), 1995; pg. 10. Treoir, vol. 35, No. 1, 2003; pg. 29. CCE, Néillidh Mulligan – “The Leitrim Thrush” (learned from the playing of Seamus Ennis). Copely Records 9-116 (78 RPM), Paddy Cronin (195?). Green Linnett SIF‑104, Seamus Connolly ‑ "The Celts Rise Again" (1990). Brenda Stubbert - “House Sessions” (1992). Green Linnett GLCD 1020, Brendan Mulvihill - “The Flax in Bloom.” Green Linnett SIF‑1098, Seamus Connolly ‑ "Here & There" (1989). Tara 2002, Christy Moore ‑ "The Iron Behind the Velvet" (1978. Learned from concertina player Paddy Murphy, Connolly, County Clare). WS 031703, Wendy MacIsaac – “Timeline” (2003).

X:1

T:Flax in Bloom, The

L:1/8

M:C|

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 633

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. Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pgs. 174-175. O'Neill (Krassen), 1976; pg. 31. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 835, pg. 155. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 98, pg. 32. Roche Collection, 1982, vol. 1; No. 113, pg. 48.

X:1
T:Flaxdresser, The

M:6/8

L:1/8

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 98

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 village of Flaxley Green, Staffordshire, near Rugeley, is set amidst a coal mining area, active until the end of the 20th century. Flaxley Green was also the location of a POW camp, whose foundations can still be seen today. Beautiful Jo Records BEJOCD-37, Sue Harris – “Pastorela.” Big Chain BC 101, Cooper & Bolton – “Turning Point” (2001). Plant Life Records PLR 077, Dave Shepherd – “English Fiddle Players” (1988).

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; (Lancashire) Clog. England, Lancashire. G Major. Standard tuning. AA'BB' (Williamson): AABBCCDD (Ryan/Cole): AA'BBCCDD (Kerr). A Lancashire clog dance tune, which Williamson (1976) states is played slower than a hornpipe in solid 4/4 time. “Ever since there have been coal mines in Lancashire, clogs have been the miner's footwear. Thick wooden soles, steelcapped toes, laced leather uppers. Clogs come in women's and children's sizes. You can still buy them in the street markets of Lancaster. There's a well‑known Lancashire poem entitled 'Clogs'...Clog dancing is performed by male teams and is still a popular sport in Lancashire... This is a simplified version of a widely known and intricate tune which probably dates from the nineteenth century" (Williamson, 1976). New York City researcher, writer and musician Don Meade believes the title is “from Psalm 11:1 (“Flee as a Bird to your mountain, thou who art weary of sin…”) and a hymn based on it.” The melody was recorded in New York by fiddler James Morrison (1893-1947), originally from County Sligo, on August 10th, 1935, accompanied by an unknown fiddle player (whom Mick Conneely identifies as Morrison’s “star pupil”, Jackie Roche). His version is a distanced one from that appearing in Kerr’s. “Flee as a Bird” has similarities to the Irish “O’Donnell’s Hornpipe,” a shortened version of the melody printed by O’Neill in Music of Ireland (1903). Mick Conneely says this is a “difficult piece.” Cole (1000 Fiddle Tunes), 1940; pg. 116.  Kerr (Merry Melodies), vol. 2; No. 366, pg. 40. Ryan’s Mammoth Collection, 1883; pg. 154. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 27. Cló Iar-Chonnachta, CICD 148, Mick Conneely – “Selkie” (2001). Richard Thompson – “Strict Tempo.”

X:1

T:Flee as a Bird

B:Ryan's Mammoth Collection

N:Lancashire clog dance tune

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 Scotland's Wild Geese (expatriots). Carlin (The Gow Collection), 1986; No. 255. Gow (The First Collection of Niel Gow’s Reels), 1784 (revised 1801); pg. 30.

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: Chicago fiddler Liz Carroll [Black]. Black (Music’s the Very Best Thing), 1996; No. 114, pg. 59.

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. New York researcher, musician and writer Don Meade finds this tune in O’Neill as “Dancer’s Delight.” Meade notes the version in Ryan’s was one played by New York fiddler Lad O’Beirne, who passed it on to Paddy Reynolds. Cole (1000 Fiddle Tunes), 1940; pg. 48. Ryan’s Mammoth Collection, 1883; pg. 76.

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. New England, Schottische. G Major. Standard tuning. One part. McQuillen (Bob's Notebooks) Vol 1; No. or pg. 70.

                       

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 Britain and America. It can be found in John Fife’s music book (Perthshire, Scotland, 1780) and the Hardy family manuscripts (early 19th century, Dorset). In North America, it was included in Elisha Belknap’s commonplace book (Framingham, Mass., 1784), Henry Beck’s flute manuscript (1786), and Thomas Molyneaux’s flute music copybook (Shelburne, Nova Scotia, 1788). Aird (Selections of Scotch, English, Irish and Foreign Airs), vol. II, 1785; No. 162, pg. 59. Callaghan (Hardcore English), 2007; pg. 59. Trim (Thomas Hardy), 1990; No. 68. EFDSS CD13, The Committee Band – “Hardcore English” (2007. Various artists). F&W Records 3, "Canterbury Country Dance Orchestra." Working Party WPCD02, The Committee Band – “It’s About Time.”

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. USA; Galax, Va., western North Carolina. C Major. Standard tuning. AA'BB'. Played by Galax, Va., fiddler Emmett Lundy, and Mitchell Wallin (who played fiddle to Cecil Sharp in 1916) and Byard Ray, both of Madison County, N.C. Source for notated version: Byard Ray (N.C.) [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 89. String STR 802, Emmett Lundy. Venerable Records, Andy Cahan ‑ "Hits From the Mountains."

 

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:Ulster patriots or just a celebration of one of nature's recurring themes:

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 Ireland where the dance and tunes are much rarer, according to Caoimhin Mac Aoidh (1994). Flings are generally danced by a couple in Ireland, although a rare three-person version is to be found in Cuil Aodha, County Cork.

           

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 :|

           

FLINT AND FLEERISH.  Scottish, Reel. F Major. Standard tuning. AAB. Composed by the great Scots fiddler-composer J. Scott Skinner (1843-1927). Skinner explains that the flint and fleerish is “an old apparatus used for striking a light.” Skinner (Harp and Claymore), 1904; pg. 125.

X:1

T:Flint and Fleerish

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. England, Northumberland. D Major. Standard tuning. AAB. Seattle (William Vickers), 1987, Part 3; No. 420.

           

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|

L:1/8

R:Reel

S:White’s Unique Collection (1896), No. 63

Z:AK/Fiddler’s Companion

K:G

D2 | GFGA BGAB | {d}cBcd e2f2 | .g2.d2 edcB | cBA^G .A2.D2 |

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 Ireland: 1001 Gems), 1907/1986; No. 249, pg. 55.

X:1

T:Flitch of Bacon, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 249

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, Manchester, England, is a modest Georgian manor house built in 1806 by the Wright family of Flixton, newly wealthy land owners. The Wright’s closed off several ancient and publicly used footpaths across the estate in 1826, arousing the ire of the populace of the town, who saw it as an abridgement of ancient rights. They took the Wrights to court and won their case, encouraging other locales to fight closures in other parts of the country. Barnes (English Country Dance Tunes, vol. 2). 2005; pg. 44.

 

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 (Baltimore, Md.) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 70, pg. 18.

See also listings at:

Alan Ng’s Irishtune.info

           

FLOATING BRIDGE.  American, Jig. G Major. Standard tuning. AA’BB’. Composed by Seattle Irish-style fiddler Randal Bays. The tune begins on the dominant seventh chord. Miller (Fiddler’s Throne), 2004; No. 43, pg. 36. Foxglove FG0150CD, Randal Bays – “The Salmon’s Leap” (2000).

 

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. Taylor (Crossroads Dance), 1992; No. 23, pg. 18. Green Linnet GLCD 1200, Lunasa – “Otherworld” (1999). Shaskeen ‑ "My Love is in America." Artie McGlynn – “McGlynn’s Fancy” (1994).

           

FLOATING HAWKS.  American, Reel. D Major. Standard tuning. AABB. Composed by Alstead, New Hampshire, fiddler Randy Miller. Miller (Fiddler’s Throne), 2004; No. 157, pg. 101.

 

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||

X:2

T:The Floggin’

M:4/4

L:1/8

R:Reel

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: Atlantic Roar (Tuaim na Farraige)
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).

                       

FLOORS CASTLE.  Scottish, Reel. D Major. Standard. AB. Surenne (Dance Music of Scotland), 1852; pg. 118.

X:1

T:Floors Castle

M:C

L:1/8

R:Reel

S:Surenne – Dance Music of Scotland, pg. 118  (1852)

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, Bluegrass, Canadian, American; Schottische, Polka, Quadrille, Breakdown. USA, Widely known. G Major ('A' part) & D Major ('B' part) [G Major in Galax, Va., tradition]. Standard or ADae tunings. AB (Silberberg): AAB. Mark Wilson (1978) believes the tune is a polka of probable Central‑European origin, while Ford (1940) says the tune is derived from the "College Schottische," which it closely resembles. Actually, melodies from several traditions sound similar, as, for example, a Ukranian-American 78 RPM record from 1930 (Victor V-21034) called “Dowbush Kozak,” the Scandinavian “Visslarepolska fran Ydre Harad” (“Whistler’s Polska from Ydre County”), and the Irish tunes “The Curlew Hills” and “Little Pet Polka,” as well as the English “Bluebell Polka.” Lovett (Good Morning…Ford, 1943, pg. 100) gives it as “Military Schottische/Barn Dance.” Bronner (1987) states that northern United States fiddlers often mentioned to him that the piece was an old‑time tune for a schottische dance, also called "The Barn Dance," popular in New York state before World War II, though apparently that form of the tune was popular elsewhere in the country at the time (for example, Arizona fiddler Kenner C. Kartchner mentioned he played the melody in the early 1900's as a schottishe).  Paul Gifford remarks that it seems reasonable to assume that Flop‑eared Mule was derived from the "Detroit Schottische," a three-part melody written and published in 1854 by Adam Couse, a dancing master who owned a music store in Detroit. Other sources remark on the piece’s popularity as a vehicle for the quadrille before the turn of the century. Bayard (1981 & 1944) believes "Flop‑Eared Mule" to be a fairly modern tune, perhaps from the early 19th century, extremely popular in the South, and speculated that the tune spread north from there. It was recorded for the Library of Congress by musicologist/folklorist Vance Randolph in the early 1940's from Ozark Mountain fiddlers. Marion Thede, collecting in roughly the same area, gives “Monkey in the Barbershop” as an alternate title. R.P. Christeson gave untitled versions of the tune in his both volumes of Old Time Fiddler’s Repertory (as a “Breakdown” in vol. 2, pg. 74, and a “Schottische” in vol. 1, pg. 159). An early recording of “Flop Eared Mule” by the St. Louis area quadrille band Judge Sturdy Orchestra, featuring fiddler Judge John O. Sturdy, was recorded on a 78 RPM in the mid-1920’s—under the title “Old Dan Tucker” (the Judge was calling the figures for Old Dan Tucker on the recording).  The tune was in the repertories of Buffalo Valley, Pa., dance fiddler Harry Daddario, and of Black fiddler Cuje Bertram {Ky.} (as "Big‑Eared Mule").

***

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 New York State), 1987; No. 42, pg. 162. Christeson (Old Time Fiddler’s Repertory, vol. 1), 1973; pg. 110. Ford (Traditional Music in America), 1940; pg. 121 & 157. Howe (Diamond School for the Violin), 1861; pg. 56 (appears as "Detroit Schottische"). Messer (Anthology of Favorite Fiddle Tunes), 1980; pg. 44 (appears as "Long‑Eared Mule"). Phillips (Traditional American Fiddle Tunes, Vol. 1), 1994; pg. 89. Reiner (Anthology of Fiddle Styles), 1977; pg. 22 (appears as a schottisch). Ruth (Pioneer Western Folk Tunes), 1948; No. 24, pg. 10. Sannella, Balance and Swing (CDSS). Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 45. Thede (The Fiddle Book), 1967; pg. 129.

***

Recorded Sources: Bluebird 5658B (78 RPM), Gid Tanner and His Skillet Lickers (1934). Brunswick 346 (78 RPM), Lonnie Austin (1929). Cassette C-7625, Wilson Douglas - "Back Porch Symphony." County 733, Clark Kessinger‑ "The Legend of Clark Kessinger." County CO-CD-2711, Kirk Sutphin - "Old Roots and New Branches" (1994). Document Records 8055, “Grayson & Whitter, vol. 2” (Reissue. 1999). Elektra 217, Weisberg and Brickman‑ "Folk Banjo Styles." F&W Records 4, "The Canterbury Country Orchestra Meets the F&W String Band." Folkways 8826, Per's Four‑‑"Jigs and Reels." Folkways FA 2336, Clark Kessinger‑ "Fiddler." King 787, Reno and Smiley‑ "Banjo Special." Living Folk LFR‑104, Allan Block ‑ "Alive and Well and Fiddling." MCA Records MCAD 4037, “The Very Best of Don Messer” (1994). Paramount 3171 (78 RPM), 1929, Charlie Poole and the North Carolina Ramblers. Prize 498‑02, Carl Jackson‑ "Bluegrass Festival." Recorded Anthology of American Music (1978) ‑ "Traditional Southern Instrumental Styles." Rounder 0021, "Ola Belle Reed." Rounder Records, Gid Tanner and His Skillet Lickers ‑ "The Kickapoo Medecine Show" (appears as 1st tune of the Kickapoo Medecine Show skit). CD, Alan Jabbour, James Reed, Bertram Levy – “A Henry Reed Reunion” (2002).

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.

X:1

T:Flora’s Birthday

M:6/8

L:1/8

R:Jig

S:Howe – Complete Preceptor for the Accordeon (1843)

Z:AK/Fiddler’s Companion

K:C

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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