The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

_______________________________

HOME       ALPHABETICAL FILES        REFERENCES

[COMMENT1] [COMMENT2] 

FLOW – FLYN

 

 

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]

 

 

 

FLOW RAIN WALTZ. Document 8028, Mumford Bean & His Itawabians – “Mississippi String Bands, vol. 2” (reissue).

                       

FLOWER FROM THE FIELDS OF ALABAMA. Old‑Time. USA, Kentucky. County 788, Clyde Davenport (Monticello, Ky.) ‑ "Clydeoscope: Rare and Beautiful Tunes from the Cumberland Plateau" (1986). Gennett Records (78 RPM), Burnett and Rutherford (1928).

                                   

FLOWER OF CALEDONIA. Scottish, Strathspey. G Minor. Standard tuning. AABB. Carlin (Master Collection), 1984; No. 138, pg. 84.

                       

FLOWER OF DONNYBROOK. Cited as having commonly been played for country dances in Orange County, New York, in the 1930's (Lettie Osborn, New York Folklore Quarterly).

                       

FLOWER OF DUMBLANE. Scottish, Jig. C Major. Standard tuning. AABCC' (Hardings): AAB (Carlin). Carlin (Master Collection), 1984; No. 160, pg. 95. Harding’s All Round Collection, 1905; No. 136, pgs. 42‑43 (appears as "Flower of Dunblane").

                                   

FLOWER OF ERIN’S GREEN SHORE, THE. Irish, Air (3/4 time). G Minor (Petrie): G Dorian (O’Neill). Standard tuning. AB. Source for notated version: “From P. MacDowell, Esq.” [Stanford/Petrie]. O’Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 486, pg. 85. Stanford/Petrie (Complete Collection), 1905; No. 809, pg. 202.

X:1

T:Flower(s) of Erin’s Green Shore, The

M:3/4

L:1/8

R:Air

N:”Slow”

S:O’Neill – Music of Ireland (1903), No. 486

Z:AK/Fiddler’s Companion

K:G Minor

G>A|B2A2B2|G2 G>F D>=E|^F2 G2 G>A|B2B2d2|c3B (3GF=E|F4 f>e|

D2B2 {d}cB|G2 A>G FD|^F2G2 G>A|B2c2 BG|A>B/4A/4 G2 G2|G4||B>c|

D2d2 d=e|f2d2 cB|G2F2 df|g2f2 dc|B2 {d}c>B (3GF=E|F4 f>e|d2B2 {d}cB|

G2 A>G (3GFD|^F2 G2 G>A|B2c2 BG|A>B/4A/4 G2G2|G4||

                       

FLOWER OF FANCY, A. Irish, Air (3/4 time). D Minor. Standard tuning. AB. O’Neill (O’Neill’s Irish Music), 1915; No. 89, pg. 50.

X:1

T:Flower of Fancy, A

M:3/4

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:D Minor

DE | F4 ED | d4 cB | {A/B/}A2 {G/A/}G2E2 | D4 de | f2d2 ^ce | d2A2AB | A2 {G/A/}GF E<A | D4 ||

A2 | d2f2 ed | {d/e/}d=c A2 AG | F2G2(3AB^c | d4 de | f2e2 {d/e/}d^c | d4 AB | A2 {G/A/}GF E<A | D4 ||

           

FLOWER OF FINAE, THE. Irish, Air. The song is from County Cavan. The theme is a young woman’s anguish over her lover who fails to return from the war. She becomes a nun, but eventually goes to seek him, only to discover him mortally wounded on the battlefield. The setting is the 18th century, during the time of the Wild Geese. Compass 7 4287 2, Cathal McConnell – “Long Expectant Comes at Last” (2000).

                       


FLOWER OF THE FLOCK [1], THE ("Blat Na Treada" or "Scot an Pobuil"). AKA - “Flowers of the Flock.” AKA and see “My Love is Such a Fair One.” Irish, Reel. G Major (Mulvihill, O'Neill): A Major (Roche). Standard. AAB. Taylor (1992) believes O'Neill's version and his, from the playing of the band Shaskeen, are, "strictly speaking," incompatible, but this statement is curious, for  the two versions are clearly closely related. Other related tunes are "The Rose in the Garden" and “My Love is Such a Fair One,” found in Breathnach’s Ceol Rince na hÉireann, vol. 2, No. 150 and vol. IV, No. 176, respectively. Sources for notated versions: Tony Smith (County Cavan & Dublin) [Mulvihill]; Francis O'Neill learned the tune from a young Limerick man named James Moore during the winter of  1875. Moore, a flute player without an instrument, lived in a cold boarding-house across the street from O'Neill and often availed himself of O'Neill's hospitality ensconcing himself on a "cozy seat on the woodbox back of our kitchen stove" while borrowing O'Neill's flute to play on. Moore, complained a frustrated O'Neill, often did not remember the names of the tunes he played ("a very common failing") and was lost track of when he moved to New York in the spring [O'Neill, Irish Folk Music]. Button accordion player Joe Derrane recorded the reel on a 78 RPM in the late 1940’s (paired with his composition “Peter Feeney’s Dream”) for Boston-based Copley Records. Mulvihill (1st Collection), 1986; No. 55, pg. 14. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 260, pg. 134. O'Neill (Krassen), 1976; pg. 102. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1238, pg. 233. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 512, pg. 96. Roche Collection, 1982, vol. 1; No. 184, pg. 71. Taylor (Through the Half‑door), 1992; No. 30, pg. 22. Shaskeen ‑ "Atlantic Breeze." Great Meadow Music GMM 2018, Frank Ferrel & Joe Derrane – “Fiddledance” (2004). Green Linnet SIF3011, Bothy Band - “1975.”  Nimbus NI5415, Martin O'Connor - "Across the Waters." Philo FI 22018, "Jean Carignan Plays the Music of Coleman, Morrison & Skinner" (Carignan learned the tune from a recording by accordionist Joe Derrane).

X:1

T:Flower of the Flock

M:C|

L:1/8

R:Reel

K:G Major

DEGA BG~G2 | cABG AGEG | DEGA ~B3 e | dBAc BGG2 :||

~g3 e d2Bd | cABG AGEG | ~g3 e d2Bd | eaag agef |

~g3 e d2Bd | cABG AGEG | DEGA ~B3 e | dBAc BGG2 ||

X:2

T:gan ainm
M:4/4
L:1/8
S:Brian Rooney

Z:Brendan Taafe
R:Reel
K:G
|| DEGA ~B3 A|c2 Bc A~E3|DEGA BABc|dBAc BGGE| DEGA ~B3 A|

c2 Bc A~E3|DEGA BABc|dBAc BA G2|| dgge dcBG| (3ABA) GB AGEA|

dgge d2 dg|eaag agef|~g3e d2dB| c2 Bc A~E3|DEGA BABc|dBAc BA G2||

 

FLOWER OF THE FLOCK [2], THE.  AKA and see "The Fairhaired Boy [2]" (An Buachaillin Fionn).

                       

FLOWER OF THE FOREST.  See “Flowers of the Forest [2].”

           

FLOWER OF THE MORNING. Old-Time, Breakdown. USA, Kentucky. A Major. Standard. AA'BB'. The tune, in the repertoire of blind northeast Kentucky fiddler Ed Hayley, incorporates elements of "Run, Johnny/N....r/Boy/Smoke, Run," according to Mark Wilson and Guthrie Meade (1976). Source for notated version: Ed Haley (Ky.) [Phillips]. Phillips (Traditional American Fiddle Tunes), 1994; pg. 89. Rounder 1010, Ed Hayley - "Parkersburg Landing" (1976).

                       

FLOWER O' THE QUERN, THE. AKA and see “Tribute to the Queen.” Scottish, Slow Air (4/4 time). A Major. Standard. One Part (Hunter, Neil, Skinner): AABB (Martin). A quern (pronounced 'kern') is Gaelic for 'hollow'. The melody was published in song form by J. Gordon Phillips, Elgin (Scotland), whose words were written as a tribute to a young woman, Mary Morrison. Mary, who lived in Forres in the latter half of the 19th century, was described as "the bonniest lass from Inverness to Aberdeen", but was widowed at an early age. She remarried David Flyslop who was the chauffeur to the Earl of Moray, and lived in a lodge at the end of one of the driveways to Darnaway Castle. The music was composed by J. Scott Skinner as a tune for the song, but the melody also became popular as a slow air. It appears in his Logie Collection, dedicated to another girl, Miss Jessie Stockwell.

***

The flo‑ers grow fair on the lowland vales,

an' green grow the wids on the braes,

an' saft an' low sing the scented gales

in the lang, lang simmer days;

But dearer to me are the mountains blue

where grow the heath an' fern,

an' the bonniest flo'er is the ane I lo'e

that blooms 'mang the braes o' the Quern.

***

Hunter (Fiddle Music of Scotland), 1988; No. 28 (arranged by James Hunter for string quintent). Martin (Ceol na Fidhle), vol. 1, 1991; pg. 14 (includes a harmony part). Neil (The Scots Fiddle), 1991; No. 88, pg. 119. Skinner (The Scottish Violinist), pg. 35.

                       

FLOWER OF THE VALE, THE. Irish, Air (6/8 time). A Minor. Standard. AB (Joyce): AABB (O’Farrell). The ‘vale’ of the title may refer to the Golden Vale of Ireland, a large fertile region. Joyce (Old Irish Folk Music and Songs), 1909; No. 689, pg. 346. O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 68.

X:1

T:Flower of the Vale, The

M:6/8

L:1/8

R:Air

S:O’Farrell – Pocket Companion, vol. III (c. 1808)

Z:AK/Fiddler’s Companion

K:A Minor

A | EAA A2G | EAA A2B | GAG BAG | dBG G3 | EAA A2G | EAA A2a |

e>dc dcB | ecA A2 :: B | cd(e/f/) gag | gfe gab | GAG BAG | dBG G2 (c/B/) |

AB(c/d/) edc | deg a3 | e>dc dcB | ecA A2 :|

X:2

T:Flower of the Vale

M:6/8

L:1/8

R:Air

N:”Mod.: time well marked”

S:Joyce – Old Irish Folk Music and Songs (1909), No. 689

Z:AK/Fiddler’s Companion

K:A Minor

A | EAA A2G | EAA A2B | GAG BAG | dBG G3 | EAA A2G | EAA A2a |

e>dd dcB | ecA A2 || B | cde/f/ gag | gfe gab | GAG BAG | dBG G2 c/B/ |

ABc/d/ edc | deg a3 | edc dcB | ecA A2 ||

                       

FLOWER OF YOUNG MAIDENS. Irish, Air (2/4 time). E Flat Major. Standard. One part. Stanford/Petrie (Complete Collection), 1905; No. 860, pg. 214.

X:1

T:

M:Flower of Young Maidens

M:2/4

L:1/8

S:Stanford/Petrie – Complete Collection (860)

Z:AK/Fiddler’s Companion

K:E_

E/>G/ | BB cB/G/ | B>e c/>B/G/F/ | E2 GF | E3 G/>F/ | EE G/B/c/d/ | ec f>e | d<B dc |

B3 G/>F/ | EE G/B/c/d/ | ec (f>e) | d>c cB/G/ | F2 EE/G/ | BB (cB/).G/ |

B>e c/>B/G/F/ | E2 G{G}F | E3 ||

                       

FLOWER POTT. English. England, Northumberland. One of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript.

                       


FLOWERS FROM HEAVEN. American, Waltz. B Flat Major. Standard. AA'BB'. Source for notated version: Art Galbraith (Springfield, Mo.) [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 254. Rounder 0157, Art Galbraith - "Simple Pleasures."

                       

FLOWERS IN MAY. See “Rover [4].”

                       

FLOWERS IN THE VALLEY, THE (Na Blata 'Nnsa N-Gleann). Irish, Air (6/8 time). D Major. Standard. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 612, pg. 108.

X:1

T:Flowers in the Valley, The

M:6/8

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 612

Z:AK/Fiddler’s Companion

K:D

d/e/|f>gf e<af|d>cd ec d/B/|A>BG FAd|d>ef e2 d/e/|f>gf e<af|dcd ec d/B/|

A>BG FAd|eBc d2||f|fde f<b a/g/|fde f<d f/e/|ecd e<af|ecB A2A|dfe f/d/ze|

f>ga g/e/ ze|gab b/a/g/f/e/d/|eBc d2 c/B/|ABG F/A/ zd/e/|f>ga g/e/ zf|

g>ab b/a/g/f/e/d/|eBc {B/c/} d2||

                       

FLOWERS OF ARDIGNE. AKA and see “Chief O’Neill’s Favorite,” “Flowers of Adrigole.”

                       

FLOWERS OF ADRIGOLE, THE. AKA and see “Chief O’Neill’s Favorite.” Irish, Hornpipe. D Major. Standard. AABB. Roche Collection, 1982, vol. 2; No. 203, pg. 8.

                       

FLOWERS OF ANTRIM [1], THE (Na Blata Antruim). AKA and see “Dunn’s Hornpipe,” “The Marquis of Lorne [1],” “McDermott’s Hornpipe [3],” “The Sligo Fancy.” Irish, Hornpipe. G Major. Standard. AABB. See also the related “McDermot’s No. 2.” O'Neill (Krassen), 1976; pg. 186. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1655, pg. 308. Yodel‑ay‑hee Records 108327, The Critton Hollow Stringband ‑ "Poor Boy" (1979).

 

FLOWERS OF ANTRIM [2]. AKA and see “The Shaskeen (Jig).” Irish, Jig. Tola Custy and Cyril O'Donoghue - “Setting Free.”

                       

FLOWERS OF BALLYMOTE, THE. AKA and see “The Maids of Donegal,” “The Sunny Banks.”

                       

FLOWERS OF BROOKLYN, THE. Irish, Reel. G Major. Standard. AABB’. Composed (originally in the key of E flat) by Brooklyn-born B/C button accordion player Billy McComiskey (Baltimore, MD). McComiskey was challenged by piano accordion player Lori Anders to produce tunes on the button box in the keys of Eb and Bb, no problem on the piano accordion, but nearly impossible on the button accordion system (who also wrote “The Palm Tree” in B flat). Source for notated version: New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No. 112, pg. 34. Green Linnet GLCD 1004, Billy McComiskey – “Makin’ the Rounds” (1981). Green Linnet GLCD 1162, Kevin Crawford – “The ‘D’ Flute Album” (1995).

X:1

T:Flowers of Brooklyn, The
C:Billy McComiskey
S:Mike Rafferty
D:Kevin Crawford: D flute album
Z:lesl
M:C|
K:G
B{c}BAB GE~E2|DAAG FAd2|dg~g2 edcB|A2FA DGBd|
B2AB GE~E2|DAAG FAd2|dg~g2 ecAF|1 GBAF G~G2A:|2 GBAF G~G2z||
d2ge agfg|ea~a2 c'aa2|ge~e2 dGBd|cAAG FAd2|
d2ge agfg|ea~a2 c'aa2|gbag fdcA|GBAF G~G2z|
d2ge agfg|ea~a2 c'aa2|ge~e2 dGBd|cAAG FAdc|
B2AB GE~E2|DAAG FAd2|dg~g2 ecAF|GBAF G4||

                       

FLOWERS OF CAHIRCIVEEN. AKA and see "The Countryman's Reel." Irish, Reel. B Flat Major. Standard. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 13. Ryan’s Mammoth Collection, 1883; pg. 36.

X:1

T:Flowers of Cahirciveen

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:B_

F | B/d/f/a/ b/f/g/f/ | e/d/c/B/ A/c/F/E/ | D/F/B/d/ A/B/c/d/ | e/c/d/B/ A/c/F |

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

|: (F/E/) | (D/F/)(B/F/) (d/F/)(B/F/) | (D/F/)(B/F/) (d/F/)(B/F/) | (E/G/)(B/G/) (e/G/)(B/G/) |

(E/G/)(B/G/) (e/G/)(B/G/) | (D/F/)(B/F/) (d/F/)(B/F/) | (D/F/)(B/F/) (d/F/)(B/F/) |

(e/A/).c/.e/ (A/c/).e/.A/ | .c/.e/.A/.c/ B :|

                       

FLOWERS OF DONNYBROOK. AKA and see "Flowers of Edinburgh."

                       

FLOWERS OF DUNGARVAN, THE (Blata Dun-Garbain). Irish, Double Jig. D Major. Standard. AABB. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 348,pg. 72.

X:1

T:Flowers of Dungarvan, The

L:1/8

M:6/8

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 348

Z:AK/Fiddler’s Companion

K:D

G|AFD DdB|AdF FED|Bcd ged|cAA A2B|ABG FED|BdB ABc|dfa gfe|fdd d2:|

|:e|fed afd|edc Bcd|AFA Daf|gfg e2a|fed ecA|dAG FGA|Bcd eag|fdd d2:|

           


FLOWERS OF EDINBURGH [1] (Blata Duin-Eudain). AKA ‑ "Flooers o' Edinburgh." AKA and see "Cois Lasadh/Leasa" (Beside a Rath), “Earl of Hopetown’s Reel,” "Flowers of Donnybrook," "My Love's Bonny When She Smiles On Me," "My Love was Once a Bonny Lad," "Rossaviel," "To the Battle Men of Erin," "Old Virginia." Scottish (originally), Shetland, Canadian, American; Scots Measure, Country Dance Tune or Reel: English, Reel, Country or Morris Dance Tune (4/4, cut or 2/2 time); Irish, Reel or  Hornpipe. Originally from Scotland, Lowlands region. USA; New England, southwestern Pa., Missouri, New York, Arizona. Canada; Prince Edward Island, Cape Breton. G Major (most versions): Morris version in D Major (Mallinson). Standard tuning. AB (Bacon, Kerr): AAB (Bain, Mitchell): AABB (most versions): AA'BB (Phillips): AA’BB’ (Beisswenger & McCann). Gow and others credit composition of the melody to James Oswald (Gow). Its earliest appearance in print is in Oswald’s c. 1742 collection of Curious Collection of Scots Tunes (II), which appeared in London and contained the “Flowers” tune as a “crude” song entitled "My Love's bonny when she smiles on me.” He printed the melody again in 1750 with the words "My love was once a bonny lad." The first version of the song and tune with the title "The Flower of Edinburgh" appeared in The Universal Magazine, April, 1749. That same year it was printed in John Johnson's Twelve Country Dances for the Harpsichord. Oswald himself republished it in 1751 in his volume Caledonian Pocket Companion under the title "The Flower of Edinburgh." Flowers of Edinburgh is a Scottish country dance, for which the namesake tune is played, often followed by “The Lass o’ Patie’s Mill,” “The East Neuk of Fife” and “Bottom of the Punch Bowl” (Martin, 2002). 

***

As regards the title, the convention “Flower of…” usually referenced a woman, although in the case of “Edinburgh” the plural form was appended at some point and stuck. The plural title appears in Herd's Scots Songs (without music) and in The Scots Musical Museum (1787, No. 13). Gow notes parenthetically in his Complete Repository (Part 4, 1817) that the 'flowers' of Edinburgh did not refer to comely females but in fact referenced the magistrates of the town. Some say the ‘flowers’ were female, although the females in question were prostitutes. It has also been suggested that the title refers to the stench of the old, overcrowded urban Edinburgh—a city fondly referred to as “Auld Reekie”, which does not bespeak of a putrid, reeking smell, but rather comes from the Norwegian word røyk, meaning smoke. Thus ‘Auld Reekie’ refers to the pall of smoke that once hovered over the city, having been constantly spewed forth by its hearths. Finally, the ‘flowers of Edinburgh’ has been taken to refer to the contents of chamber pots which were, in the days before modern sewage systems, once disposed of by being thrown into the city streets (with or without the shouted warning "Gardez l'eau!" or “Mind yourself!”). Paul de Grae finds this latter interpretation in modern times incorporated by novelist Ian Rankin in one of his Inspector Rebus crime novels.  Rebus, an Edinburgh detective, is being addressed by a "hard man" whose warning narrowly averted the Inspector’s stepping in canine excrement. It will help to know human waste is called keech or keach in Ulster and Scotland (similar to the French caca, Italian cacca, Finnish and Icelandic kakku, and German kaka):

:***

"Know what 'flowers of Edinburgh' are?"

"A rock band?"

"Keech.  They used to chuck all their keech out of the

windows and onto the street.  There was so much of it

lying around, the locals called it the flowers of Edinburgh.

I read that in a book."

***

The renowned County Donegal fiddler, John Doherty (1895-1980) had his own idiosyncratic take on the title. In the notes for the album "The Floating Bow,” Alun Evans writes of Doherty:

***

I can only say that I never found him to be other than exhilarating

company. Yet he was hard to pin down on detail, for in his mind fact and

fantasy were so tightly interwoven as to be indivisible - at least he led

you to believe so. He would tell how James Scott Skinner had composed the

tune 'The Flowers of Edinburgh' after a Miss Flowers with whom he was

besotted at the time. John must have known that this didn't ring true but a

story was a story, perhaps an example of the 'true Celtic madness' which is

said to be 'not psychotic but merely a poetic confusion of the real and the

imagined.'

***

English morris versions are from the Bampton area of England's Cotswolds and the North‑West (England) tradition (where it is used as the tune for a polka step). Cecil Sharp collected the slower Cotswalds version from Harry Taylor, mainstay of the Longborgough and Lower Siwell Morris sides in Gloucestershire. Editor Seattle remarks of William Vickers' Northumbrian country dance version that it is "A fine setting with some distinctive 18th century touches." The tune is contained in the 19th century Joseph Kershaw and the 1823-1826 Joshua Gibbons music manuscript books. Kershaw was a fiddle player who lived in the remote area of Slackcote, Saddleworth, North West England, who compiled his manuscript from 1820 onwards, according to Jamie Knowles. Gibbons was a papermaker and a musician from Tealby in the Lincolnshire Wolds.

***

In America the melody has also been used for country dances for over two hundred and twenty years. It was included by Greenland, New Hampshire, dancer Clement Weeks in his MS dance collection of 1783, and by Giles Gibbs (East Windsor, Ellington Parish, Connecticut) in his 1777 fife manuscript (Van Cleef & Keller, 1980). In the latter MS it is also called “Darling Swain.” Another early American version appears in the music manuscript copybook of Henry Livingston, Jr.  Livingston purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 he was a Major in the 3rd New York Regiment, which participated in Montgomery’s invasion of Canada in a failed attempt to wrest Québec from British control. An important land-owner in the Hudson Valley, and a member of the powerful Livingston family, Henry was also a surveyor and real estate speculator, an illustrator and map-maker, and a Justice of the Peace for Dutchess County. He was also a poet and musician, and presumably a dancer, as he was elected a Manager for the New York Assembly’s dancing season of 1774-1775, along with his 3rd cousin, John Jay, later U.S. Chief Justice of Governor of New York. As "Old Virginia (Reel)" it was printed by George P. Knauff in Virginia Reels, volume II (Baltimore, 1839). Much later it was cited as having commonly been played for country dances in Orange County, New York, in the 1930's (Lettie Osborn, New York Folklore Quarterly), and was in the repertoire of Arizona dance fiddler Kenner C. Kartchner in the early twentieth century. This famous Scottish reel is as well known to Pennsylvania fiddlers as it is to country players everywhere in the area of British folk music tradition, says Bayard (1944), and is one tune to which a single title has been transmitted intact through the generations of folk process. The title also appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Howard Marshall writes that Art Galbraith (d. 1992) of Springfield, Missouri, “had the most famous version in his area which was handed down through his family from at least 1840.  Art's version is distinctive for its retention of the old ‘extra beat’ that has been lost in other versions.” Galbraith believed the tune had come down through his family from his great-grandfather, Andrew Galbraith, who had been a dancing master in east Tennessee and a veteran of the War of 1812. Drew Beisswenger (2008) believes the reel may have been introduced to the Southern states through the settlement schools, but notes that, while it is not unknown to Southern musicians it never achieved a great deal of popularity there.

***

In Ireland “Flowers of Edinburgh” is most common rendered as a hornpipe. The Irish "Cois Leasa" (Beside a Rath) is a version of this tune, maintains O'Neill (Dance Music of Ireland), who perhaps found it in Haverty’s 100 Irish Airs, 2nd series, 1859, where “The Flowers of Edinburgh” is given in parenthesis as an alternate title for the “Rath” tune. Bayard (1981) agrees with O’Neill, though Sullivan (Bunting Collection) and Alfred Moffat do not, and the connection is not addressed in the Fleischmann index (Sources of Irish Traditional Music, 1998). Stanford/Petrie notes his Arranmore-collected Irish tune “Rossaveel” is “the old form of ‘Flowers of Edinburgh.’” Finally, a version is played under the title of “The Flower of  Donneybrook” in Ireland.

***

Early sound recordings include a waxing by Charles D’Almaine (1905), John Witzmann (1920) and Ohio fiddler John Baltzell (1928).

***

Sources for notated versions: Fennigs All Stars (New York) [Brody]; John Kubina, (near) Davistown, Pennsylvania, September 3, 1943 (learned from traditional players in Pittsburgh) [Bayard]; Gilpin, Yaugher, Hall, Wright, Shape (all southwestern Pa. fiddlers whose versions were collected in the 1940's) [Bayard]; Arnold Woodley (Bampton, England) via Roy Dommett [Bacon]; Art Stamper (Mo.) [Phillips]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; Elliot Wright (b. 1935, North River, Queens County, Prince Edward Island) [Perlman]; fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]; Borders fiddler Tom Hughes [Martin]; Charlie Pashia (1909-1994, Old Mines, Missouri) [Beisswenger & McCann].

***

Print Soucrces: Bacon (The Morris Ring), 1974; pgs. 46, 57, 81. Bain (50 Fiddle Solos), 1989; pg. 33. Bayard (Hill Country Tunes), 1944; No. 54. Bayard (Dance to the Fiddle), 1981; No. 340A=E, pgs. 326‑327. Begin (Fiddle Music from the Ottawa Valley: Dawson Girdwood), 1985; No. 46, pg. 55. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 108 (as “Flowers of Edinboro”). Brody (Fiddler’s Fakebook), 1983; pg. 109. Burchenal (Rinnce na h‑Eireann), p. 24. Calliope, pg. 28. Carlin (The Gow Collection), 1986; No. 256. Colclough (Tutor for the Irish Union Pipes), c. 1830; pg. 16. Cole (1000 Fiddle Tunes), 1940; pg. 21. Gow (Complete Repository), Part 4, 1817; pg. 16. Hardie (Caledonian Companion), 1992; pg. 32 (includes variations by Bill Hardie). Harding's Orig. Coll., No. 177. Hogg (Jacobite Relics), II, p. 129. Henderson (Flowers of Scottish Melody), 1935 (includes sets of variations). Howe's School for the Violin, p. 34. Howe's Diamond School for the Violin (1861); pg. 44. Hunter (Fiddle Music of Scotland), 1988; No. 310. Jarman (Old Time Fiddlin' Tunes); No. or pg. 6. JEFDSS, I, 82, second half of 'Birds‑a‑Building' equals the second half of No. 54. Jigs and Reels, p. 12. Johnson (Scots Musical Museum, edition of 1853), vol. I, No. 13. S. Johnson (The Kitchen Musician No. 4: Collection of Fine Tunes), 1983 (revised 1991, 2001); pg. 10. S. Johnson Twenty‑Eight Country Dances as Done at the New Boston Fair), vol. 8, 1988; pg. 5. The Joseph Kershaw Manuscript, 1993; No. 55. Kerr (Merry Melodies), vol. 1; No. 1, pg. 23. Lerwick (Kilted Fiddler), 1985; pg. 19. Levey, No. 4. Mallinson (Mally’s Cotswold Morris Book), 1988, vol. 2; No. 30, pg. 16. Mallinson (Enduring), 1995; No. 19, pg. 8. Martin (Traditional Scottish Music), 2002; pgs. 38 & 107. McGibbon (Scots Tunes, book II), c. 1746; pg. 59. Miller & Perron (New England Fiddlers Repertorie), 1983; No. 122. Mitchell (Dance Music of Willie Clancy), 1993; No. 88, pg. 79. Neal (Esperance Morris Book), pt. II, p. 29. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 350, pg. 171. O'Neill (Krassen), 1976; pg. 208. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 920, pg. 157. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1746, pg. 325. Perlman (The Fiddle Music of Prince Edward Island)  1996; pg. 61. Petrie, No. 372. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 90. Reavy (The Collected Compositions of Ed Reavy), No. 86. Reiner (Anthology of Fiddle Styles), 1979; pg. 52. Robbins, Nos. 28 & 152. Ryan’s Mammoth Collection, 1883; pg. 45. Saar, No. 29. Seattle (William Vickers), 1770/1987, Part 2; No. 384. Sharp and Macilwaine (Morris Dance Tunes), Set V, pp. 2,3 (same version printed in other Sharp folk dance books). Sharp (Country Dance Tunes), 1909/1994; pg. 6. Smith (Scottish Minstrel), III, 25. Calliope (4th edition, 1788), p. 28. Stewart-Robertson (The Athole Collection), 1884; pg. 146. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 88. Sweet (Fifer’s Delight), 1964/1981; pg. 59. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757; No. 18. Tolman (Nelson Music Collection), 1969; pg. 12. Wade (Mally’s North West Morris Book), 1988; pg. 22. White’s Unique Collection, 1896; No. 71, pg. 13. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 53.

***

Recorded Sources: Breakwater 1002, Rufus Guinchard‑ "Newfoundland Fiddler." Compass Records 7 4407 2, Ciaran Tourish – “Down the Line” (2005). Edison 52313 (78 RPM), John Baltzell (Mt. Vernon, Ohio), 1928 {appears as "Flowers at Edingurgh"} [Baltzell was taught to play the fiddle by minstrel Dan Emmett]. Front Hall 01, Fennigs All Stars‑ "The Hammered Dulcimer." Glencoe 001, Cape Breton Symphony‑ "Fiddle." Kicking Mule 209, Ken Perlman‑ "Melodic Clawhammer Banjo." North Star NS0038, "The Village Green: Dance Music of Old Sturbridge Village." Olympic 6151, The Scottish Festival Orchestra‑ "Scottish Traditional Fiddle Music" (1978). Philo 1008, "Kenny Hall." Sonet 764, Dave Swarbrick and Friends‑ "The Ceiledh Album." Springthyme Records SPRCD1005, Tom Hughes – “Fiddle Music from the Scottish Borders.” Voyager VRCD 344, Howard Marshall & John Williams – “Fiddling Missouri” (1999. Learned from the playing of Missouri fiddler Art Galbraith). Wild Goose WGS 320, Old Swan Band – “Swan-Upmanship” (2004).

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:Flowers of Edinburgh

L:1/8

M:C|

R:Country Dance

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

K:G

GE|D3E G3A|BGdG cBAG|FGFE DEFG|AFdF E3F|

D3E G3A|BGBd efge|dcBA GFGA|B2G G2:|

|:d|gfga gbag|fdfg fagf|edef gfed|B2 e>f efge|dBGB B/c/d cB|

egfa g2fe|dcBA GFGA|B2G2G2:|

X:2

T:Flowers of Edinburgggg

M:2/4

L:1/8

S:Bruce Molskey

R:Old-time

Z:M. Reid 27-Jan-199

K:G

D2|G3 D|ED B,D|G2 G2|BA Bd|cB AG|FG FE|DE FG|A4|A,4|ED EF|G3 A| BA Bc|d2

ef|ga ge|dB GB|A2 Ac|B2 F2 |1 G4-|G2:|2 G4-|G4 |:g3 a|b2 ag|fe fg|a2

A2|e3 f|gf ed|B2 e2|e2 ef|g2 e2|dB GB| Bd- dB|d2 ef|gf ef|ga ge|dB GB|A2

Ac|B2 F2|1 G4-|G4:|2 G4-|G2|]

X:3

T:Flower of Edinburgh

S:Twelve Country Dances for the Harpsichord, 1749.

Q:60 

Z:Transcribed by Bruce Olson

L:1/4

M:C|

K:G

(3 G/F/E/|D3/2E/G3/2A/|B/G/ B/d/{c/}BA/G/|{G/}F3/2E/ D/E/ F/G/|\

A/F/ d/F/EF/E/|D/E/ F/D/G3/2A/|(3B/A/G/ (3 B/c/d/ e3/2g/|\

d/B/ A/G/EG/A/|BG/A/G||d|g/f/ g3/4a/4 f/4a/4b/ a/g/|\

f/e/ f3/4g/4 f/4g/4a/ g/f/|e/d/ e/f/ g/f/ e/d/|\

Bee3/2 g/8f/8e/4|d/B/ A/G/dc/B/|e/d/ e/f/ g3/2g/8a/8b/4|\

c/B/ A/G/ EG/A/|BGG|]

X:4

T:Flowers of Edinburgh

S:Scots Musical Museum, #13 (1787)

Q:60

Z:Transcribed by Bruce Olson

L:1/4

M:C

K:F

C/|C3/2 D/F3/2G/|(A/F/) (c/F/) {B/}AG/F/|\

~E3/2D/ C3/4D/4 E3/4F/4|G/E/ c/E/ ~D3/2E/|\

C3/2D/F3/2G/|~(A3/4G/4A/) c/d (d/4e/4f/)|\

(B/A/) (G/F/) {A}/G (F/G/)|A~G3/4F/4F||(c/4d/4e/)|\

(f3/4e/4f/) g/ (f/4g/4a/) ~(g/f/)|\

~(e3/4d/4e/) f/ (e/4f/4g/) ~(f/e/)|\

(d3/4c/4d/) e/ (f/e/) (d/c/)|Ad3/4e/4 d(d/4e/4) f/|\

{c/}A G/F/c(B/A/)|d/c/d/e/ .g3/2 {g/a/} A/|\

(B/A/) G/ F/ GF/G/|A~G3/4F/4F|]

X:5

T:Flowers of Edinburgh

S:from the playing of Dave Swarbrick,

S:from "The Ceilidh Album" (?)

Z:Transcribed by Nigel Gatherer

N:An English morris version?

M:2/4

K:G

L:1/8

D|GG BG/B/|dB g>e|dB B/A/G/A/|BG ED|

GG BG/B/|dB g>e|dB B/A/G/A/|BG G:|]

d|g2 f>e|Be e>f|g2 f/g/f/e/|Be eg/e/|

d/B/G/B/ dd|e/d/e/f/ gg/e/|dB B/A/G/A/|BG G:|]

X:6

T:Flowers of Edinburgh, The

M:C

L:1/8

R:Air

N:”Slow”

S:McGibbon – Scots Tunes, book II, pg. 59  (c. 1746)

Z:AK/Fiddler’s Companion

K:G

D2 | D3E G3A | (BG) (dG) ({c}B2) AG | “tr”F3E D>EFG | AFdF “tr”E3F | D3EG3A |

“tr”(B>AG)d e2 (e/f/g) | (cB)(AG) ({B}A2) GA | B2 “tr”A>G G2 :: (d/e/f) |

g>fga (g/a/b) “tr”(ag) | “tr”(f>efg) (f/g/a) “tr”(gf) | (ede)f (gf)(ed) | B2 e>f e2 ({e/f/}g2) |

({c}B2) AG d2 (cB) | edef g>abB | (cB)(AG) A2 GA | B2 “tr”A>G G2 :|

X:7

T:Flowers of Edinburgh

M:C

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:G

(B/c/d) | D3E G3A | BGdG B2AG | F3E DEFG | AFdF E3F | D3EG3A | B2d2e2(3efg |

{c}B2 AG A2 GA | B2G2”tr”G2 :: d2 | gfga (3gab ag | fefg (3fga gf | edef gfed |

{c}B2e2e2(3efg | B2AG d2Bd | edef (3gab ag | {c}AG A2 GA | B2(G2”tr”G2) :|

X:8

T:Flower of Edinburgh

M:C|

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:G

(3GFE|D3E G3A|BGBd (cB)(AG)|F3 E DEFG|AfdF E2 FE|DEFD G3 A|

(3BAG (3Bcd e3g|dBAG E2 GA|B2 GA G2::d2|gfga g/a/b ag|fefg f/g/a gf|

edef gfed|B2e2 e3 (g/4f/4e/)|dBAG d2 cB|edef g2 (g/a/b)|cBAG E2 GA|B2G2G2:||

 

FLOWERS OF EDINBURGH [2]. American, Reel. USA, southwestern Pa. G Major. Standard. AB. No relation to version #1. Source for notated version: fiddler John Knapp via Walter Neal (Armstrong County, Pa., 1952) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 341, pg. 328.

                       

FLOWERS OF ERIN'S GREEN SHORE, THE (Fionnsgoite N-Eirinn Iat-Glaise). See “Flower of Erin’s Green Shore.”

                       


FLOWERS OF LIMERICK [1], THE (Blata Luimnig). AKA and see "Bunch of Kemp," “Bunch of Keys [1],” “Cairngorm Brooch,” "Cronin's Favorite [1]," “Dancer’s Reel,” "The Ewe with the Crooked Horn [3]," “Jackson’s Last Reel,” "The Mills are Grinding [1]," “The Old Reel,” "Old Town Reel," "Paddy On the Turnpike [2],” "Telephone Reel," “Yellow Heifer [2].” Irish, Reel. G Major (O'Neill): G Dorian/Major (Allan). Standard. ABCD (O'Neill): AABB (Allan). Bayard (1981) identifies this as belonging to the "Paddy on the Turnpike" variant tune family. Nigel Gatherer identifies the Scottish tunes “The Old Reel” and “Cairngorum Brooch” as variants. Paul de Grae identifies “Bobby Casey’s” as a related tune. Allan's Irish Fiddler, No. 60, pg. 15. Cole (1000 Fiddle Tunes), 1940; pg. 31. Giblin (Collection of Traditional Irish Dance Music), 1928; 41. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 768, pg. 134. Ryan’s Mammoth Collection, 1883; pg. 56. Green Linnet SIF‑1110, Brendan Mulvihill ‑ "My Love is in America: My Love is in America" (1991). Spin CD 1001, Eoghan O’Sullivan, Gerry Harrington, Paul De Grae - “The Smoky Chimney” (1996).

X:1

T:The Flowers of Limerick

D:The Smoky Chimney

N:played in E flat on album, on tuned‑down fiddle

R:reel

M:4/4

Z:transcribed by Paul de Grae

L:1/8

K:G

DGGF G3 A|B2 Bd cBAF|D3 E F3 G|ABcA (3BcB AG|

DGGF G3 A|B2 Bd cAAc|d2 eg fdcA|1AGGF G3 E:|

2 AGGF G3 B|:dggf g3 a|bgga bgaf|d3 e f3 g|

affg agfe|dggf g3 a|bg g2 agfe|d2 (3efg fdcA|AGGF G4:|

 

FLOWERS OF LIMERICK [2]. Irish, Air (3/4 time). A Minor. Standard tuning. AB. Howe (1000 Jigs and Reels), c. 1867; pg. 30.

X:1

T:Flowers of Limerick [2]

M:3/4

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:A Minor

E2 | A2 Ac BA | G2 A2 A>B | c2 ed B>A | G4 E2 | A2 Ac BA | G2A2 A>B |

c2 ed B>A | A4 || c>d | e2e2d2 | c2c2B2 | A2 GE D>E |

G4 E^G | A2 Ac B>A | G2A2 AB | c2 ed B>A | A4 ||

 

FLOWERS OF LIMERICK [3].  AKA and see “The Upper Room.”

           


FLOWERS OF MAY. AKA and see "Fields of Foula." Shetland, Shetland Reel. Shetland, Delting (?).

           

FLOWERS OF MICHIGAN. AKA and see "Jim Moore's Fancy."

                                   

FLOWERS OF NORMANDY. Irish, Waltz. G Major. Standard.

X:1                  

T:Flowers of Normandy

M:3/4

L:1/8

R:Waltz

C:John Shehan of the Dubliners

P:A

K:G

 D2| "G"G3F GB|"Gmaj7"F3E FB|"G6"E3D EG|"G"D4 D2| "G"G3F GB|

"Gmaj7"F3E FA|"Am"E6-|E4 E2|"Am"A3^G Ac|"Am7"G3E Gc|"Am6"F6-|

F4 D2| "Am"E3D ED|"D7"A3 D ED|"Edim"^A3D ED|"G"B5 D|

"G"G3F GB|"Gmaj7"F3E FB|"G6"E6-|E4 D2| "Fdim"=F3E ^DE|A3^A Bc|

"Am"A6-|A6|"C"e3c BA|"Cm"^d3c BA|"G"d3B AG|"E7"F4 D^D|"Am"E3^D Ec|

"D7"F3E Fd|"G"G6-|G3d ef||

P:1st B part

"G"g3d BG|"Gmaj7"f3d BG|"G6"e3d BG|"G"D3B ef|"G"g3d BG|"Gmaj7"f3d BG|

"Am"e3d cA|"Am7"E6|"Am"a3e cA|"Am7"g3e cA|"Am6"f3e cA|"Am"e3d cA|

"Am"E3D Ec|"D7"F3E Fe|"Edim"^A3A Bf|"G"d4 ef|"G"g3d BG|"Gmaj7"f3d BG|

"G6"e3d BG|"G"D4 E2| "Fdim"=F3E ^DE|"E7"A3^A Bc|"Am"A3^G Ac|e6|

"C"a3g fe|"Cm"^d3e fg|"G"d3e fg|"E7"B3c de|"Am"c3B ce|"D7"F3E FA|"G"G6-|

G3D EF||

%%newpage

P:Flowers of Normandy 2nd B part

"G"gd Bg dB|"Gmaj7"fd Bf dB|"G6"ed BG EG|"G"Dd ^cd ef|"G"gd Bg dB|

"Gmaj7"fd Bf dB|"Am"ed cB cA|"Am7"E6|"Am"ae ca ec|"Am7"ge cg ec|

"Am6"fe cf ec|"Am"ec fe cA|"Am"E5c|"D7"F5e|"Edim"A^A f3^c|"G"d6|

"G"gd Bg dB|"Gmaj7"fd Bf dB|"G6"ed BG EG|"G"D4 E2| "Fdim"=FE ^DE =FE|

A^G A^A Bc|"Am"A^G AB cd|e6|

"C"ag fg fe|"Cm"^dd ^de fg|"G"d^c de fg|"E7"B^A Bc de|"Am"cB cd ec|

"D7"F=F FG AB|"G"GF GA Bd|g4 D2||

                       

FLOWERS OF RED CLIFF, THE. AKA and see "Paddy Cronin's [1]," "Mike Anderson's [2]." Irish, Jig.

                                   

FLOWERS OF REDHILL [1] (Bláthanna an Chnoic Rua). AKA and see "Anderson's Reel [3],” "Don't be Foolish," "The Hod Carrier," "Jilly Neary's Favourite," “Maids of Fair Hill,” "Mullin's Fancy," “Paddy Taylor’s Reel,” "The Queen of May,” "The Wild Irishman [6]." Irish, Reel. A Dorian (Armagh Pipers, Breathnach/vol. 2, Flaherty): A Mixolydian (Breathnach/vol. 3). Standard tuning. AAB (Armagh Pipers): AB (Breathnach, Flaherty). The reel is associated with County Sligo. Galway flute player Tom Morrison recorded it on a 78 RPM disc in New York in the early 1920s as "Maids of Fair Hill." Breathnach’s two settings of the tune (CRÉ II and CRÉ III) are from the same district in Ireland, and he prints another version in CRE II (279) as an untitled tune. Sources for notated versions: whistle player Jimmie McGettrick, 1966 (Bunanadden, Co. Sligo, Ireland) [Breathnach, vol. 2]; flute player Roger Sherlock (Ireland) [Breathnach, vol. 3]; piper and whistle player Tommy Hunt (b. 1908, Lissananny, Ballymote, Co. Sligo) [Flaherty]. Armagh Piper’s Club (Play 50 Reels), 1982; No. 9, pg. 6. Breathnach (CRÉ II), 1976; No. 254, pg. 131. Breathnach (CRÉ III), 1985; No. 125, pg. 60. Bulmer & Sharpley (Music from Ireland), vol. 3; 36. Flaherty (Trip to Sligo), 1990; pg. 129. Claddagh CD BUACD 9501, “Michael Flatley” (reissue, originally recorded 1981). Cló Iar-Chonnachta CICD 167, Peter Horan & Gerry Harrington – “The Merry Love to Play” (2007). Coleman Center CD CC004, Gregory Daly & Ted McGowan – “The Mountain Road: A Compilation of tunes popular in South Sligo” (1999. Various artists). Inchecronin Records INC 7420, Roger Sherlock ‑ "Memories of Sligo" (1978). Paddy O’Brien/James Kelly/Daithai Sproule - “Is it Yourself?”

See also listing at:

Alan Ng’s Irishtune.info

X:1

T:The Flowers of Red Hill [1]

R:Reel

Z:transcribed by Philippe Varlet

M:C|

L:1/8

K:G

aged BGGA|BGdG BG~G2|aged BGGA|BGdB BAA2:||

eaaf ~g3 d|eaaf ged2|eaaf g2ba|gedB BAA2|

eaaf ~g3 d|eaaf gedg|bgaf gedg|eBdB BAA2||

 

FLOWERS OF RED HILL [2], THE. AKA and see “The Clogher Reel,” “Country Girls Fortune,” “Dan McCart(h)y’s Fancy,” “The Hills of Clogher,” “Jim Donaghue’s Reel.” Irish, Reel. A Dorian. Standard. AABB.

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Flowers of Red Hill, The

T:Clogher Reel

R:Reel

M:C|

L:1/8

K:G

eA ~A2 gAfA|eA ~A2 eAdA|eA ~A2 eAfA|gedB GABd:|

ea ~a2 baag|eaag egdg|ea ~a2 bgag|edef gedg|

ea ~a2 baag|eaaf g3 a|bg ~g2 aged|eaag edBd|]

                       


FLOWERS OF SPRING [1], THE ("Blata na n-Earraig" or "Blata an Earraig"). Irish, Hornpipe. D Major. Standard tuning. AABB (Breathnach, O’Neill): AABB’ (Moylan). The tune was recorded in New York by Sligo fiddler James Morrison. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 266, pg. 152. Mulvihill (1st Collection), 1986; No. 32, pg. 98. O'Neill (Krassen), 1976; pg. 195. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1692, pg. 315. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 891, pg. 153. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 347, pg. 170. Green Linnett SIF1035, Brian Conway & Tony De Marco - "The Apple in Winter" (1981. Learned from New York fiddler Andy McGann). Smithsonian Folkways SFW CD 40481, Brian Conway – “First Through the Gate” (2002).

X:1

T:Flowers of Spring [1]

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 891

Z:AK/Fiddler’s Companion

K:D

dB|(3ABA FA DFA,E|(3DED FA dfab|afdf gfec|dcBA GFEd|

AdFA DFA,E|(3DED FA dfab|afdA CEAG|F2D2D2:|

|:F>G|A>d {e}(3dcd f>d {e}(3dcd|baga f>d {e}(3dcd|(3Acd F>A dAFA|

GFED CE A,2|A>d (3ddd f>d (3ddd|baga f>d {e}(3dcd|(3Acd FD CEAG|F2D2D2:|

X:2

T:Flowers of Spring [1]

M:4/4

L:1/8

R:Hornpipe

S:Brian Conway

Z:AK/Fiddler’s Companion

K:D

dB|(3ABA FA DF A,2|(3DED (FA) dfab|afd(f {a}gf)e(c|dc)BA GBEB|

(3ABA FA DF A,2|(3DED (FA) dfab|{ab}afdE CEAG|1 (3FAF D2 [A,2D2]:|2 (3AFA D2 [A,D]FG^G||

|:A~d3 f~d3|ba^g(a f)(dc)d|(3ABA FA dAFA|(3GFE {F}ED CEA,E|

[FA]~d3 f~d3|ba^g(a f)(dc)d|(3ABA {G}FD CEAG|1 (3FAF D2 [A,D]FG^G:|2 (3FAF D2 [A,2D2]||

 

FLOWERS OF SPRING [2], THE (Blathanna an Earraigh). AKA and see "Tom Billy's (Jig) [2]." Irish, Double Jig. A Dorian (also played in E Dorian). Standard tuning (fiddle). AABB. Source for notated version: fiddler Denis Murphy, 1967(Co. Kerry, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 31, pg. 19. Bulmer & Sharpley (Music from Ireland), 1974, vol. 3; No. 67. Miller (Fiddler’s Throne), 2004; No. 44, pg. 37. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 10. Vallely (Learn to Play the Tin Whistle with the Armagh Pipers Club), vol. 3, No. 6. Recorded by De Dannan. Claddagh CC5, Denis Murphy & Julia Clifford - “The Star Above the Garter” (1969. Appears as “Tom Billy’s Jig”). Shanachie 79044, Tommy Peoples - "The Iron Man." (appears as “Tom Billy’s Jig”). Tara 2006, “Tony Linnane & Noel Hill” (appears as “Tom Billy’s Jig”).

X:1

T:The Flowers of Spring

T:Tom Billy's Jig

B:Breathnach, CRE II, no. 31

S:Denis Murphy

R:double jig

M:6/8

L:1/8

K:Ador

G|ABA ABd|edB G2 B|dBB GBB|ABd efg|

(4ABcA ABd|edB G2 B|dBB GBB|ABA A2:|

|:d|eaa {b}aga|bab age|ege GBd|ede {a}ged|

eaa {a}aga|bab age|(4efge dBG|ABA A2:|

                       

FLOWERS OF ST. PETERSBURG, THE. AKA and see “The Boston.” American, Reel. F Major. Standard tuning (fiddle). AABB. Cole (1000 Fiddle Tunes), 1940; pg. 28. Ryan’s Mammoth Collection, 1883; pg. 53.

X:1

T:Flowers of St. Petersburg, The

M:2/4

L:1/8

R:Reel

K:F

A/B/ | cc/A/ F/A/c/f/ | e/b/g/f/ f/e/f/d/ | cc/A/ F/A/c/f/ | e/b/g/e/ fA/B/ | cc/A/ F/A/c/f/ |

e/b/g/f/ f/e/f/d/ | cc/A/ F/A/c/f/ | e/b/g/e/ f :: a | a/c’/f/a/ g/b/e/g/ | c/e/g/f/ f/e/d/c/ |

a/c’/f/a/ g/b/e/g/ | c/e/g/e/ fc/f/ | a/c’/f/a/ g/b/e/g/ | c/e/g/f/ f/c/d/B/ | A/F/B/G/ c/A/d/B/ | G/b/g/e/ f :|

                       

FLOWERS OF THE BURREN. Irish, Jig. The jig was recorded by the Kilfenora Ceili Band in the 1960’s on their first LP. Gearóid Ó hAllmhuráin (1999) says it is “typical of the Kilfenora dance idiom.” Celtic Crossings CD0299-02, Gearóid Ó hAllmhuráin & Patrick Ourceau – “Tracin” (1999).

                       

FLOWERS OF THE FLOCK. See “Flower of the Flock.”

                       

FLOWERS OF THE FOREST [1]. Scottish, Lament (4/4 time). G Mixolydian (Neil): A Mixolydian (Martin). Standard tuning (fiddle). One part (Martin): AB (Niel). This melody, the "old air" (also called "The Liltin"), appears earliest under this title in the Skene Collection, a lute manuscript of c. 1615‑20. The lament makes reference to the Battle of Flodden Field, fought in Northumberland on the 9th of September, 1513, when the Scots army of James IV was soundly defeated by the English under Thomas Howard, Earl of Surray. During the fray a majority of the Scots nobility, as well as the supporting army, were slain. "'Flowers of the Forest' refers to the Scots who came from Ettrick Forest, the name given to the ancient district of Selkirkshire and Peebleshire and possibly part of Clydeside. The town of Selkirk, the 'favoured Forest Queen', dominated the area which was used by royalty for hunting and the 'Forest' boasted the finest archers in Scotland" (Neil, 1991). The melody is a more ancient version of the tune than that of version #2, which is better known. Words were set to this tune by Jane Elliot ("The Floo'ers o' the Forest") and others.

***

I've heard them liltin at the ewe milkin',

Lassies a liltin' before dawn o' day,

Now there's a moanin' on ilka green loanin,

The Flowers o' the Forest are a' wede away.      (Jane Elliot)

***

“Ritson says that “the tune Flowden Hill or The Flowers of the Forest, is one of the most beautiful Scottish melodies now extant, and, if of the age supposed, must be considered as the most ancient.’ Regarding the words of the song he says, ‘its antiquity, however, has been called in question; and the fact is, that no copy, printed or manuscript, so old as the beginning of present (eighteenth) century, can be now produced.” (quoted by John Glen, Early Scottish Melodies, 1900, p. 6).

***

Perhaps due to the subject matter of the song, coupled with the stateliness of the air, playing “The Flowers of the Forest” has been a tradition at Scottish funerals (especially military, where it is often rendered by a lone bagpiper). The tune was played by two pipers in 1903, for example, at King’s Cross in honor of the funeral train of  General Hector MacDonald (see “Hector the Hero”). It was also played by massed pipers at the funeral of Winston Churchill in the 1960’s. Christine Martin (2002) notes that it was played at the funeral of Borders fiddler Tom Hughes in 1986, by fiddler Bob Hobkirk. Neil (The Scots Fiddle), 1991; No. 51, pg. 70. Martin (Traditional Scottish Fiddling), 2002; pg. 110. Flying Fish FF358, Robin Williamson ‑ "Legacy of the Scottish Harpers, vol. 1."

X:1

T:Flowres of the Forest, The

M:C

L:1/8

S:Skene Ms. (1615-20)

K:D

d2d2 efab|afed B2A2|d2d2 efab|afed d4:||

AB =c2 Bc d2|A2 fe d/B/ A3|A2 Bd b2 af|e3 d/e/ d4||

X:2

T:The Floo'ers o' the Forest [1]
M:4/4
L:1/4
Q:50
S:Learnt from a tape of Judith Linton

Z:Philip Whittaker
K:A
E2 E>F|EFA B/2c/2|dcBA|F<AEC|
B,/2C/2EE>F|EFAB/2c/4d/4|c2 B>A|A3z|!
=G2 G/2/B/2A/2G/2 | F>EFA|EcBA|F>AEC|
=G2 G/2B/2A/2/G/2| F>EFA|EcBA|A3z|!
cee>f| fedc|ecBA| FAEC|
cee>f| fedc|B/2c/2d/2c/2 B>A| A3 B|!
cee>f| fedc|ecBA| FAEC|
B,/2C/2EE>F|EFAB/2c/4d/4|c2 B>A|A3z||

 


FLOWERS OF THE FOREST [2] (Blata Na G-Coll). AKA and see "I've Heard of Lilting." Scottish, Air (adagio) or Reel (cut time); Irish, Slow Air (4/4 time). D Major (Neil/slow pipe march, O’Farrell, O'Neill): D Mixolydian (Johnson): A Mixolydian (Neil/air). Standard tuning. One part (Neil): AABB'C (O'Neill): AABBCC' (Johnson). O’Farrell (c. 1805) lists the melody as “Scotch.” The tune was selected by Queen Victoria for widely acclaimed singer of Scottish songs John Wilson's recital during her visit to Taymouth Castle in 1842.

***

I've seen the Forest adorned the foremost,

With flowers of the fairest, both pleasant and gay;

Full sweet was their blooming,

Their scent the air perfuming

But now thy are wither'd and a' wede away.  (Alison Rutherford {Mrs. Cockburn})

***

The melody appears in the 1840 music manuscript collection of musician John Rook, of the Wigton area, Cumbria. Source for notated version: Gillespie Manuscript of Perth, 1768 (the only reel version of the tune recorded); Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 71, pg. 223. McGibbon (Scots Tunes, Book 1), c. 1762; pg. 23. Neil (The Scots Fiddle), 1991; No. 52, pg. 71. O’Farrell (Pocket Companion, vol. 1), c. 1805; pg. 80. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 538, pg. 94.

X:1

T:Flowers of the Forest [2]

M:4/4

L:1/8

R:Air

N:”Slow with expression”

N:”Irish Version”
S:O’Neill – Music of Ireland (1903), No. 538

Z:AK/Fiddler’s Companion

K:D

A2 F>B ABde/f/|gfed Bd/c/ B/A/G/F/|EFA>B ABd (3e/f/g/|f2 {f}e>d d2 z:|

f|a>g f/e/d/c/ d2 dB|Afe>d Bd/c/ B/A/G/F/|1 a>g f/e/d/c/ d2 dB|Afe<d d2 z:|2

(3EFA A>B ABd (3e/f/g|f2 {f}e>d d2 z||e|fgab afed|gfed Bd/c/ B/A/G/F/|

fgab afed|B/g/f/e/ Bc d2 ze|fgab afed|gfed Bd/c/ B/A/G/F/|(3EFA A>B ABd (3e/f/g|f2 {f}e>d d2 z||

X:2

T:Flower of the Forest

M:C

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:D

A2 A>B (3ABd (3efg | {g}f2 ed B<D (3BAF | EFA A>B (3ABd ef/g/ | f2 e2 {de}d4 :|

|: c2 c/e/d/c/ B2 (3ABd | Afe>d B>d (3BAF | =c2 c/e/d/c/ B2 (3ABd | Afe>d d4 |

=c2 c/e/d/c/ B2 (3ABd | Af !trill! e>d B>D (3BAG | EF/A/ A>B (3ABd ef/g/ | f2 e>d d4 :|

|: fg/a/ a>b {b}a2 !trill!gf | e>a (3fed B>d (3BAF | fg/a/ a>b {b}a2 !trill!gf | e/f/g/f/ e>d d3e |

fg/a/ a>b a2 gf | ea (3fed B>d (3BAF | EF/A/ A>B (3ABd ef/g/ | f2 ed/e/ d4 ||

X:3

T:Flowers of the Forrest, The

M:C

L:1/8

R:Air

N:”Slow”

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

Z:AK/Fiddler’s Companion

K:D

A2 A>B (3ABd (3efg | {g}f2 ed B>d (3BAF | (EF/A/) A>B (3ABd (e>f/2g/4) | f2!trill!e2{d/e/}d4 :: !trill! (=c2 c/)(e/d/c/) !trill!B2 (3A/B/c/ |

Af!trill!e>d B>d (3BAF | !trill! (=c2 c/)(e/d/c/) !trill!B2 (3ABd) | Af !trill!e>d d4 | “tr”(=c2 c/)(e/d/c/) !trill!B2 (3ABd |

Af!trill!(e>d) {d}B>d (3BAF | (EF/A/) A>B (3ABd (ef/g/) | f2 !trill!e>d d4 :: (fg/a/) a>b {b}a2 !trill! (gf) | {g}f>a (3fed {A}B>d (3BAF |

(fg/a/) a(d’/b/) {b}a2 !trill!(gf) | (e/f/g/f/) !trill!e>d!trill!d3e | (fg/a/) a>b “tr”a2 (gf) | {g}f>a (3fed {d}B>d (3BAF |

(EF/A/) A>B (3ABd (3e>f/2g/4) | f2 !trill!e2 {d/e/} d4 :||

X:4
T:Flowers of the Forest, The

M:C|

L:1/8

R:Air

S:John Rook manuscript (Cumbria, 1840)

K:D

A2| A2 A>B (3ABd ef|g>fed Bd (B/A/)F|E>F A>B ABd (3e/f/g/|f2 (e/d/)e d2:|

|:d2|=c2 c/e/d/c/ B2 A/B/d|Afed B>d B/A/F|=c2 c/e/d/c/ B2 A/B/d|Af e/d/e d3d|

=c2 c/e/d/c/ B2 A/B/d|a>fe>d Bd (B/A/)F|E>FA>B ABd (3e/f/g/|f2 e/d/e d2:|

|:f2|({f/g/}a2) ab a2 gf|(af)ed B>d B/A/F|{f//g}a2 a>b a2 gf|(af)ed d3e|

{f/g/}a2 ab a2 gf|af ed B>d (B/A/)F|E>FA>B ABd (3e/f/g|f2 e/d/e d2:||

                       

FLOWERS OF THE QUERN. See “Flower o’ the Quern.”

                       

FLOWERS OF THE THORN (“Blodam Drain” or “Blodau’r Drain”). Welsh, Air (3/4 time). A Minor. Standard tuning. AB. Source for notated version: Jerry Jenkins via fiddler Frank Orsini (Voorheesvelle, N.Y.) [Matthiesen]. Matthiesen (The Waltz Book), 1992; pg. 23.

X:1

T:Blodam Drain

T:The Flowers Of the Thorn

S:Dick Rutter, Edinburgh

Z:Nigel Gatherer

M:3/4

L:1/4

K:Am

E|A2B|cBA|e d/c/B/A/|B2 B|A A/c/B/d/|cBA|^G G/B/A/c/|B2:|]

B|c2 c|d2 d|e e f|e2 d|c/B/c/d/ c|d/c/d/e/ d|e/f/e/f/e/f/|g3 f/e/d/|

c/B/c/d/e/c/|d/c/d/e/f/d/|e e a|^g2 a|a e c|f e d|c d/c/B/c/|A2|]

                       

FLOWERS OF THE WEST. AKA and see “Blote’r Gorllewin.”

                       

FLOWERY GARDER. Irish. A composition credited to the 18th century Uilleann piper and composer from County Limerick (or Monaghan), Walter “Piper” Jackson.

                       

FLOWING BOWL [1], THE ("An Cupan Rolan" or "An Cupan Taoscac"). AKA and see “The Old Wild Irishman.” Irish, Reel. A Mixolydian/D Major. Standard tuning. AAB (O'Neill/1001 & 1850): AABB' (O'Neill/Krassen). Flaherty (Trip to Sligo), 1994; pg. 137. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 252, pg. 131. O'Neill (Krassen), 1976; pg. 113. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1297, pg. 243. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 562, pg. 104.

X:1

T:Flowing Bowl, The [1]

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 562

Z:AK/Fiddler’s Companion

K:D

ef | gfed cAAB | cAdB cAAf | gfed cdeg | fage d2 :|

A2 | d2 fd adfd | d2 fa gece | d2 fd adfd | fage d2 A2 |

d2 fd adfd | d2 fa gece  | f2 ff g2gg | fage d2 ||

X:2
T:Flowing Bowl, The
R:reel
D:Solas
Z:Jack Glider
M:C|

L:1/8
K:D
ef |: gfed cA~A2 | cAdA cA~A2 | gfed cA~A2 |1 fage d2ef :|2 fage dABc ||
df~f2 af~f2 | dfaf gece | df~f2 af~f2 | ~g3e cABc |
df~f2 af~f2 | dfaf gece | ~f3d ~g3e | fage d2 ||

 

FLOWING BOWL [2], THE. English, Morris Dance Tune (4/4 time). G Major. Standard. AB. The tune is the one to the famous traditional song of conviviality "Landlord Fill the Flowing Bowl." From the village of Adderbury, Oxfordshire, in England's Cotswolds. Dance directions include singing the chorus, then repeating with stick taps. Bacon (The Morris Ring), 1974; pg. 12.

X:1

T:Flowing Bowl, The [2]

M:4/4

L:1/8

R:Air/Morris Dance Tune

S:Bacon (Adderbury, Oxfordshire)

Z:AK/Fiddler’s Companion

K:G

B>A | G2D2B,2D2 | G2G2G3G | A2A2A2A2 | B4G2B>A | G2D2B,2D2 |

G2G2G3G | A2A2A2A2 | B4G2 || B3BB2d2 | d2c2c4 | A3A A2c2 | c2B2B4 |

B3BB2d2 | e2c2e2dc | B2G2A2F2 | G4G4 ||

                       

FLOWING LOCKS OF MY BROWN MAID, THE. Irish, Air (4/4 time). C Major. Standard. One part. Source for notated version: “Set in Mayo by (the collector) Forde” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 383, pg. 97.

X:1

T:Flowing locks of my brown maid, The

M:C

L:1/8

R:Air

N:”Andante”

S:Stanford/Petrie (1905), No. 383

Z:AK/Fiddler’s Companion

K:C

e | d3c BG FG | B3c dc BG | F3 D C2”tr”D2 | C2C2C3c | c2 BG GABc |

d3e f2 ed | c3B G2F2 | G2 AB c3e | dc BG GABc | d3 e/f/ gfed | c3B G2F2 |

G2 AB c2 Bc | d3c BGFG | B3 c (dc BG) | F3D C2 ~D2 | C2C2C2 ||

                                      

FLOWING TIDE [1], THE. AKA and see “Higgin’s Best,” “The Picnic,” “Seventh (7th) Regiment.” Irish, Hornpipe. G Major. Standard. AABB. A reel setting of the tune is played by Cape Breton fiddlers as “The Picnic,” set in the key of A Major. See notes for “The Picnic (Reel) [2]" and “Higgin’s Best.” Source for notated version: sessions at the Regent Hotel, Leeds, England [Bulmer & Sharpley]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Boys of the Lough, 1977; pg. 8. Bulmer & Sharpley (Music from Ireland), 1974, vol. 1, No. 66. Carlin (Master Collection), 1984; No. 289, pg. 162. Harker (300 Tunes from Mike Rafferty), 2005; No. 252, pg. 77. Mallinson (Enduring), 1995; No. 83, pg. 35. Sullivan (Session Tunes), vol. 3; No. 25, pgs. 9-10. Green Linnet SIF 1139, “Eileen Ivers” (1994). Green Linnet SIF 3064, Dick Gaughan – “Coppers and Brass.” Shanachie 79002, "Boys of the Lough" (1973). Chris Droney – “The Fertile Rock.”

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Flowing Tide, The

R:hornpipe

S:Chris Droney

M:C|

L:1/8

Q:90

K:G

dB|G2 GB dGBd|GBdg bgag|(3efg dG Bdge|dBAG edBA|\

G2 GB dGBd|GBdg bgag|(3efg dG Bdge|dBAB G2:|*

dB|G2 GB AGED|gbge dBGB|(3cdc (3BcB (3ABA GB|cABG AGEG|\

DGBd B2 AB|cABG AGEG|DGBd gdBG|DFAF G2:|**

X:2

T:Flowing Tide, The

M:4/4

L:1/8

Q:160

S:Fr. Charlie Coen, Augusta 1997

R:Hornpipe

Z:Paul Kinder

K:G

D|"G"G2 (3BAG dGBd|"G"GABd b2 ag|

"Em"egdG "G"Bdge|"G"dB (3AGF "Em"EGDE|!

"G"G2 BG dGBd|"G"GABd b2 ag|

"G"(3efg dG Bdge|"D"dBAB "G"G3:|!

|:D|"G"G2 GB AG"Em"ED|"G"gage dB (3GAB|

"C"=c2 Bc "G"ABGB|"C"=cA (3BAG "Am"AGEG|!

"G"DGBd "C"=c2 Bd|"G"=c'abg "Am"ageg|

"G"DGBd gdBG|"D"DFAF "G"G3:||!

 

FLOWING TIDE [2]. AKA and see “Tide Come In [2].”

 

FLOWING TIDE [3]. AKA and see “Lad O’Beirne’s.” Irish, Hornpipe. Sean Ryan recorded Ed Reavy’s composition “Lad O’Beirne’s (Hornpipe) under the title “Flowing Tide” on one of his c. 1960’s albums.

                                      

FLOWIN' WATER. Shetland, Air. C Minor. Standard tuning. AAB. "A descriptive piece for the tide flowing over a sandy beach, and how the little marine creatures come to life when the sea flows over them" (Anderson). Anderson (Ringing Strings), 1983; pg. 54. Great Meadow Music GMM 2002, Rodney Miller & David Surette – “New Leaf” (2000).

                       


FLUGGA [1]. Shetland, Dance Tune (4/4 time). G Major. Standard tuning. One part. "One of the tunes for the dance 'Da Flugga', which used to be danced in the little village of Collafirth, in the Delting area" (Anderson). The Flugga dance accually used tunes that crisply changed from jig time to reel time; see also "Doon the Burn Davie" and "Saw Ye Nae My Peggie." Anderson (Ringing Strings), 1983; pg. 68.

 

FLUGGA [2], DA. Shetland, Dance Tune (6/8 time). G Major. Standard tuning. AABB. "Another tune for the same dance" (Anderson. See note for the "Flugga"). Anderson (Ringing Strings), 1983; pg. 68.

 

FLUNKY BUTT.  AKA – “Buddy Bolden’s Blues,” “St. Louis Tickle.” Old-Time, Country Rag. USA, Missouri. C Major. Standard tuning. AAB. Drew Beisswenger (2008) pulls together some threads for this tune, which Mark Wilson believes derived from late-19th century ragtime.  Source for notated version: Raymond Campbell (1905-1977, Christian County, Missouri) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 174.

           

FLURRY REEL, THE. AKA and see “Micho Russell’s (Reel) [5],” “The Sporting Days of Easter [2].” Irish, Reel. D Mixolydian. Standard tuning. AAB. "Written from memory" (P.W. Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 64, pg. 35.

X:1

T:Flurry Reel, The

M:C

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:D Mix

Ad d2 cAGE|ABGA EG G2|Ad d2 cAGE|ABGA E2D2:|

edcd eg g2|eaag eg g2|edcd eg g2|eaag e2d2|

edcd eg g2|eaag efgf|edcB cdef|(3gfgag e2d2||

           

FLUSH THE CAT FROM UNDER THE TABLE. Probably “Huish the Cat,” “Jackson’s Humours of Panteen.”

           

FLUSHING. American, March (2/4 time). USA, southwestern Pa. G Major. Standard tuning. AABB. Fife march. Sources for notated versions: Hiram Horner (Westmoreland and Fayette Counties, Pa., 1962), Hoge MS. (Pa., 1944), Charles Ganiear (Greene County, Pa., 1960) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 213A‑C, pgs. 168‑169.

X:1

T:Flushing

M:2/4

L:1/8

S:Bayard (Dance to the Fiddle, 1981)—Hoge MS, No. 36.

K:G

B/c/|d>B GG|EG/E/ D2|GG AG/A/|B/A/G/B/ AB/c/|d>B GG|

EG/E/ D2|GG AG/A/|BGG::z|d3 B/d/|ge d2|d>e d/B/G/A/|

BA AB/c/|d3 B/d/|ge d2|d>e d/B/G/A/|BAG:|

           

FLUSHING QUICKSTEP.  English, March (2/4 time). G Major. Standard tuning. AABB. Gibbons originally set the tune in the key of ‘C’ major in his ms. Source for notated version: the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 63.

X:1

T:Flushing Quickstep

M:2/4

L:1/8

S:Joshua Gibbons ms (1823-26)

K:G

GG/A/ GD|BA GF|…

 

FLUTE LESSON, THE. Irish, Reel. E Minor (?). Standard tuning. AB. Composed by banjo player Peter Fitzgerald, originally from County Meath and late of Baltimore. Black (Music’s the Very Best Thing), 1996; No. 242, pg. 129.

X:1

T: Flute Lesson

C: Peter Fitzgerald

Q: 350

R: reel

Z:Transcribed by Bill Black

M: 4/4

L: 1/8

K: G

ge e2 gedg | edcA GEFA | G2 dG eGdG | decA Bdef |

ge e2 gedg | edcA GE E2 | e2 dc edcA | G2 BG EA G2 ||

agea fged | e2 dc AEFA | G2 dG eGdG | GABd efge |

agea fged | e2 dc A3 d | e2 dc A2 cA | G3 D EA A2 ||

                       

FLUTER'S BALL, THE. AKA and see "Phil the Flut(h)er's Ball." American (originally Irish), March (4/4 time). USA, southwestern Pa. D Major. Standard. AB. The words and music were written by writer Percy French (1854‑1920), and soon entered folk tradition, including the fifing tradition as fifers quickly realized its potential as a march (Bayard, 1981). Source for notated version: Hiram Horner (Westmoreland and Fayette Counties, Pa., 1944) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 250, pgs. 213‑214.

           

FLY AROUND MY PRETTY LITTLE MISS. AKA and see “Blue Eyed Girl/Gal,” “Blue Eyes Run Me Crazy,” “Fare Thee Well My Pretty Little Miss,” “Pretty Little Pink,” “Susannah/Suzanna Gal [1],” "Western Country." Old‑Time, Breakdown and Song. USA; Virginia, North Carolina. D Major: A Major (Silberberg). Standard tuning. AB. See also related tunes "Fare Thee Well My Pretty Little Miss," "Your Blue Eyes Drive Me Crazy." Among the several early recordings of the tune was a version by the Ashe County, North Carolina, string band Frank Blevins and His Tar Hell Rattlers, a name made up on the spot at the 1927 Columbia recording session in Atlanta for 16-year-old fiddler Frank Blevins, his older brother and guitarist Ed Blevins and banjo player Fred Miller. The band’s playing was inspired by a few shots of corn liquor from a convenient jug.

***

Other versions of the tune go by the alternate titles above. The Bogtrotters band from Galax, Virginia, recorded it for the Library of Congress, while The Hillibillies, a 1920’s stringband from the same region, recorded it as “Blue-Eyed Girl” on their 1926 Vocalation release (5017).

***

Fly around my pretty little miss,

Fly around my daisy;

Fly around my pretty little miss,

You like to drive me crazy.

***

The variant “Blue-eyed Gal” has similar lyrics, which go:

Chorus:

Fly around, my blue-eyed gal

Fly around my daisy;

Fly around my blue-eyed gal

Dam' near drive me crazy. *

***

The higher up on the cherry tree

The riper grows the cherry

More you hug and kiss the gals

Sooner you will marry.

***

Cho:

***

Blue-eyed gal won't marry me

Brown-eyed gal won't have me;

If I can't have the gal I want

Single I will tarry.

***

Cho:

***

Eighteen horses in my team

Leader he is blind;

Everywhere I drive that team

Pretty gal on my mind.

***

Cho:

***

Possum up in a 'simmon tree

Raccoon on the ground;

Possum up in a 'simmon tree

Shakin' 'simmons down.

*Methodists sang "Almost drives me crazy."

Other verses that can be sung to the tune go:

***

Her head was like a coffee pot

Her nose was like a spout

Her mouth was like a fireplace

With the ashes all raked out.

***

Coffee grows on white oak trees

The river flows with brandy

If I had my pretty little miss

I'd feed her sugar candy

***

Going to get some weevily wheat

I'm going to get some barley

Going to get some weevily wheat

And bake a cake for Charlie

***

Cheeks as red as a blooming rose,

Eyes of the prettiest brown,

I'm goin' to see my pretty little miss,

Before the sun goes down.

***

When I was in the field at work,

I sat down and cried,

Studyin' 'bout my blue-eyed girl,

I thought to God I'd died.

***

There's a ring that's on my true love's hand,

It shines as bright as gold,

I'm goin' to see my pretty little miss,

Even if it rains or snows.

***

How old are you my pretty little miss

How old are you my honey?

If I don't die of a broken heart

I'll be sixteen next Sunday

***

Source for notated version: Tony Mates [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 45. Columbia 146‑D (78 RPM), 1924, Samantha Bumgarner and Eva Davis (Asheville, N.C.). Folkways Records FA2398, New Lost City Ramblers - “Volume 3” (1961). Front Hall FHR‑023, Michael, McCreesh & Campbell ‑ "The Host of the Air" (1980). June Appal 0067, Whitetop Mountain Band - "Seedtime on the Cumberland" (1992). Old Hat Enterprises CD, “Music from the Lost Provinces” (1997). Victor Vi 21645 (78 RPM), The Tenneva Ramblers (appears as “I’m Goin’ to Georgia”).

X:1

T:Fly Around My Pretty Little Miss

L:1/8

M:C|

S:Liz Slade

Z:AK/Fiddler’s Companion

K:D

(e|f>)(f e>)(A d2) d>d|d>(B A>)D F2 F>D|A>(B A>)(A B>)B d2|

(e f2) e f3 (e| f>)(f e>)(A d2) d>d|d>(B A>)(D F>)D F>D|

A>(B A>)(A B>)A c>A|(d f2) d f3:|

|:(A|d2 f>f a2 a>a|(a b2) (a b3) a|baba baaf|f3 f e2 (3ABc|

d)>e f>f a2 a2|(a b2) (a b3 (a|a)bae f2 e2|f3 f e3A d3:|

                                               

FLY AROUND NANCY. Old‑Time, Fiddle Tune. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by Vance Randolph, published in 1954.

                       

FLY BRASS. AKA and see “Tom a Bedlam.”

                       

FLY BY NIGHT [1]. AKA - “Fly in the Night.” Irish, Hornpipe. G Major (Black): A Major (Bulmer & Sharpley, Taylor): E Flat Major (O’Malley). Standard tuning. AABB (Taylor): AA’BB’ (Black, O’Malley). O’Malley (1976) says the tune was composed by Sean Maguire, who put it on a tape for him; however, it has also been attributed to the Scots composer James Scott Skinner (1843-1927). Source for notated version: accordion player John Ferguson [Bulmer & Sharpley]. Black (Music’s the Very Best Thing), 1996; No. 131, pg. 68. Bulmer & Sharpley (Music from Ireland), 1974, vol. 2, No. 50 (appears as “Fly in the Night”). O’Malley (Luke O’Malley’s Collection of Irish Music), 1976; No. 117, pg. 59. Taylor (Music for the Sets: Blue Book), 1995; pg. 8. Evergreen EVE 5007 (Pickwick Records), Tom Fleming – “Kerry’s Delight and other Jigs, Reels and Hornpipes” (1972). Green Linnet SIF1035, Brian Conway & Tony De Marco - "The Apple in Winter" (1981. Learned from a 78 RPM recording of Louis Quinn and Lad O'Beirne).

X:1

T: Fly By Night [1]

S: Brian Conway

Q: 300

R: Hornpipe

M: 4/4

L: 1/8

K: G

(3def|gd d2 BGDC|B,D (3GBd gd^cd|=cdBd Ad (3GAG|FAEA D2 (3def|

gd d2 BGDC|B,D (3GBd gd^cd|ecGE CGfe|1 (3ded (3cBA G2 :| 2 (3ded (3cBA G3 ||

B|(3ege BA (3GBG (3EGE|B,EGB egfe|d2 AG (3FAF (3DFD|^CDFA d2 ef |

gd d2 BGDC|B,D (3GBd gd^cd|ecGE CGfe |1 (3ded (3cBA G2 :|2 (3ded (3cBA G3 ||

X:1
T:Fly by Night [1]
C:J. Scott Skinner
S:Joe Burke, The Morning Mist (New Century NCMCD 100), 20a
M:4/4

L:1/8
K:Eb
(3Bcd | eB~B2 GEB,A, | G,B,EB eBGB | ABGB FBEB | DF(3EDC B,2 (3Bcd |
eB~B2 GEB,A, | G,B,EB eBGB | cAEC A,edc | (3BBB (3AGF E2 :|
EB | c2 GF EC~C2 | G,CEG cedc | B2 FE DFB,F | F,B,DF B2 cd |

eB~B2 GEB,A, | G,B,EB eBGB | cAEC A,edc | (3BBB (3AGF E2 :|**

 

FLY BY NIGHT [2]. AKA and see “Best Shot.” American, Hornpipe or Clog. B Flat Major. Standard tuning. AA’B. The melody is in Ryan’s Mammoth Collection as a Lancashire clog. O’Malley’s ending for the second part came from New York fiddler Andy McGann. Source for notated version: New York fiddlers Andy McGann and Larry Redican (d. 1975) [O’Malley]. O’Malley (Luke O’Malley’s Collection of Irish Music), 1976; No. 116, pg. 58. Ryan’s Mammoth Collection, 1883; pg. 160. White’s Unique Collection, 1896; No. 147, pg. 26 (listed as a ‘Clog’).

X: 1

T: Fly By Night [2]

M: 4/4

L: 1/8

Q: 325

S: Luke O'Malley vol 1 (from Andy McGann / Larry Redican)

Z: Transcribed by Bill Black

R: Hornpipe

K: Bb

B,FDB FdBf | dbag ^fgec | (3AcA FA cege | ecAF =EF_EC |

B,FDB FdBf | dbag ^fgec | (3AcA FA cegf |1 ecGA B2 DC :|2 ecGA B2 AB ||

dc=Bc bc=Bc | dc=Bc ac=Bc | dc=Bc gc=Bc | (3bag (3f=ed c2 =Bc |

dc=Bc bc=Bc | dc=Bc ac=Bc | c2 bg =ecBG | F=EFG (3FGF (3_EDC ||

X:1

T:Fly by Night Clog

M:C|

L:1/8

S:White’s Unique Collection (1896), No. 147

Z:AK/Fiddler’s Companion

R:Clog

K:B_

(B,>.F)(D>.B) F>dB.f | d>ba>g ^f>ge>c | A>cF>c A>cg>f | e>cA>F =E>F_E>C |

B,>FD>B F>dB>f | d>ba>g ^f>ge>c | A>cF>c A>cg>f |1 e>FG>A Bz z2 :|2

e>Fg>A Bz || (AB) | (d>c)(=B>c) b>cB>c | d>c=B>c a>cB>c | d>c=B>c g>cB>c |

(3bag (3f=ed c2 (=B>.c) | d>c=B>c _bc>B>c | d>c=B>c a>cB>c | c>c=e>c g>cd>e | f>=e_e>c A>FE>C ||

                       

FLY FISHING REEL, THE. Irish, Reel. A Major: D Major. Standard tuning. Composed by Cork accordion player Jackie Daly. Jackie Daly – “Domhnach is Dalach.”

X:1

T:Fly Fishing Reel, The

R:reel

C:Jackie Daly

S:Jackie Daly

M:4/4

L:1/8

K:A

AGEC D2 CD|EA,A,B, CEEC|DCDE (3DED CD|EAAc BdcB|

AGEC D2 CD|EA,A,B, CEEC|DCDE (3DED CD|EAAG A2 Az1|

AGEC D2 CD|EA,A,B, CEEC|DCDE (3DED CD|EAAc BdcB|

AGEC D2 CD|EA,A,B, CEEC|DCDE (3DED CD|EAAG A3 B|]

c2 ec A2 cA| _G2 c_G E-F F2|DEFA dAFA|GBef edcB|

c2 ec A2 cA| _G2 c_G E-F F2|DEFA dAFA|GBAG A3 B|

c2 ec A2 cA| _G2 c_G E-F F2|DEFA dAFA|GBef edcB|

c2 ec A2 cA| _G2 c_G E-F F2|DEFA dAFA|GBAG A3 B|]

X:2

T:Fly Fishing Reel, The

M:C|

L:1/8

Q:175

C:Key of D

S:tape of concert

R:reel

N:Composed by Jackie Daly

Z:Ken Fleming

K:D

|dcAF G2FG|ADDE FAA2|GFGA G2FG|Addf eafe|dcAF G2FG|

ADDE FAA2|GFGA G2FG|1 Addc d3e:|2 Addc d2de||

f2af dfaf|=cfaf B3A|GA (3B=cd gdBd|ceab agfe|f2af dfaf|

=cfaf B3A|GA (3B=cd gdBd|1 cedc d2de:|2 cedc d3e||

                       

FLY IN THE NIGHT. See “Fly By Night.”

                       

FLY NOT YET. AKA and see “Hugh Kelly,” “Planxty O'Kelly.” Irish, Jig. G Major. Standard tuning. One part (O’Farrell): AA'BB' (Kerr). O’Farrell gives the provenance as Irish. The melody is O’Carolan’s “Planxty Kelly,” set to words by Thomas Moore (1779-1852), published in his Irish Melodies, vol. 1 (1808). The song begins:

***

Fly not yet, 'tis just the hour,
When pleasure, like the midnight flower
That scorns the eye of vulgar light,
Begins to bloom for sons of night,
And maids who love the moon.

***

Kerr (Merry Melodies), vol. 3; No. 278, pg. 30. O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 21.

X:1

T:Fly not yett

M:6/8

L:1/8

R:Air or Jig

S:O’Farrell – Pocket Companion, vol. III (c. 1808)

Z:AK/Fiddler’s Companion

K:G

D | G2G G2A | B2c d2B | d2e f2g | a2g fed | b2b a2g | g2f e2d | e2f g2e | d2c B2A |

G2g faf | g3 zBA | G2G G2A | B2c d2B | d2e f2g | a2g fed | b2g a2f | g2f e2d |

e2f g2e | d2c B2A | G3g3 | G3g3 | b2a a2g | g2f e2d | e2f g2e | d2c B2A |

G2g gaf | g3 z3 | G2g g2z | b2a g2f | (g2f) e2d | e2f g2e | d2c B2A | G2g gaf | g2z z2 ||

                       

FLY SWIFTLY YE MINUTES. English, Air (3/8 time). B Flat Major. Standard tuning. AB. The song appears in Amaryllis (1760), 2nd edition, although it was first heard in Dalton’s masque Comus, music by Thomas Arne (1710-1778), first performed at Drury Lane Theatre on March 4th, 1738. The production was performed many times during Arne’s lifetime and remained popular nearly a century after his death.

***

Fly swiftly ye minutes, till Comus receive

The names soft transports that beauty can give

The bowl’s frolick joys let him teach her to prove,

And she in return yield the raptures of love.

Without love and wine, wit and beauty are vain,

All grandeur insipid and raptures a pain,

The most splendid palace growns dark as a grave;

Love and wine give ye gods or take back what ye gave.

***

Geoghegan (Compleat Tutor for the Pastoral or New Bagpipes), c. 1745-46; pg. 30.

X:1

T:Fly Swiftly Ye Minutes

M:3/8

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:B_

B | fe/d/c/B/ | edF | Ge/d/c/B/ | ({B}A2)c | fe/d/c/B/ | gfe | (3d/e/f/ FA | B2z |

z2F | BdB | f2A/A/ | B/A/B/d/c/B/ | ({B}A2)c | dcf | =e2z | z=e>e | fBA | G2z |

z2c | ag/f/=e/d/ | cB>A | Gf=e | f2z || c | dfA | B2B/B/ | ce/d/c/B/ | Ad>d |

gf=e | ag/f/=e/d/ | =eA^c | d2z | z2c | =Bg>f | (e/d/)cB | Af/e/d/c/ | d2c | BAG |

F3 | z2 F/F/ | BF>d | c2F/F/ | cFe | d2f/f/ | bag | f>ed | cFA | Bbd | ecf | B2z ||

 

FLYING CLOUD COTILLION. American, Reel. G Major ('A' part) & D Major ('B' part). Standard tuning. AABB. Another name for the tune called “Flying Clouds,” probably when someone pointed out that tunes in two keys were sometimes called cotillions.  Source for notated version: Gary Craig [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 109. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 90. Kicking Mule 209, Bob Carlin‑ "Melodic Clawhammer Banjo."

                       

FLYING CLOUDS [1]. Old‑Time, Breakdown. USA; Texas. G Major (‘A’ part) & D Major (‘B’ part). Standard tuning. AABB’.  “Flying Cloud Cotillion” is the way the name is sometimes given, when someone pointed out that tunes in two keys were sometimes called cotillions. Learned by Uncle Jimmy Thompson (widely credited as being the old-time fiddler who “started” the Grand Old Opry) when he was 17, probably in Texas, around 1865. Source for notated version: Alan Garren (Portland, Oregon) [Songer]. Songer (Portland Collection), 1997; pg. 80. Vocalion 5456 (78 RPM), Uncle Jimmy Thompson (recorded in 1930 and appears as 1st tune of "Uncle Jimmy's Favorite Fiddling Pieces"). Hilltop Records 6022, Uncle Jimmy Thompson.

 

FLYING CLOUDS [2]. Old‑Time, Breakdown. USA, North Carolina. F Major (‘A’ part) & C Major (‘B’ part) {although on the Rambler’s recording the fiddle was either tuned down and played in the positions of keys of G and D, or the recording speed was off). Posey Rorer, fiddler for Charlie Poole and the North Carolina Ramblers for a time, played this “Flying Cloud” tune, a different one than Uncle Jimmy Thompson’s. Columbia 15106‑D (78 RPM), 1926, Charlie Poole and the North Carolina Ramblers (Posey Rorer, fiddle).

           

FLYING COACH, THE. English, Hornpipe. England; Yorkshire, Northumberland. G Major (Hall & Stafford, Raven): A Major (Merryweather & Seattle). Standard tuning. AABB. Source for notated verison: an MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 17. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 24, pg. 34. Raven (English Country Dance Tunes), 1984; pg. 181.

                       

FLYING COLUMN [1], THE. Irish, Reel. D Major. Standard tuning. AB. Roche Collection, 1982, vol. 3; No. 73, pg. 22.

 


FLYING COLUMN [2], THE. AKA and see “Gardiner’s Favourite [1],” “The London Lasses [1],” “The Sunny Banks.” Irish, Reel. D Major. Standard tuning. AB. A distanced version of #1. Paul de Grae points out the Bulmer & Sharpley tune is actually “Farewell to Ireland” (in O’Neill as “Farewell to Erin [1]” and in Breathnach’s CRÉ III  as “Austin Tierney’s” {No. 111}) with the parts reversed. The Flying Column refers to mobile IRA attack units in the Irish war for independence from England 1918-1921. Source for notated version: fiddler Peter Horan (b. 1926, Kilavil, Co. Sligo) [Flaherty]. Bulmer & Sharpley (Music from Ireland), 1974, vol. 3, No. 17. Flaherty (Trip to Sligo), 1990; pg. 66. Shanachie 34009, “Frankie Gavin with Alex Finn” (reissue, originally released in 1977).

X: 1

T: Flying Column

S: "Music from Ireland 3" (Bulmer & Sharpley)

N: as printed but parts are usually played in reverse order

Z: B.Black

R: reel

M: 4/4

L: 1/8

F:http://home.capecod.net/~zouki/webabc/def.abc/060965.abc  2001-11-14

09:52:28 UT

K: D

FA|d3B AF F2|AFBF A2 Bc|dcdB A2 FA|BFAF EABc|

d3c B3c|BA^GB ABde|fdec dBcA|BdAF E2 :|

FE|D2 (3FED AD (3FED|Addc de f2|D2 (3FED ADFA|\

BFAF EDCE|

D2 (3FED AD (3FED|Addc defg|afge dfec|BdAF E4 :|

                       

FLYING DUTCHMAN. English, Hornpipe. England, Northumberland. D Major. Standard tuning. The “Flying Dutchman” is credited in Kohler’s Violin Repository (Edinburgh 1881-1885) to the great 19th century hornpipe composer and fiddler James Hill. Hill was born in Dundonia, near Dundee, Scotland, between 1813 and 1819 but lived most of his adult life in Tyneside, Newcastle, England. He died in 1853. The Flying Dutchman was the name of a famous Yorkshire racehorse owned by Archibald William Montomerie, the 13th Earl of Eglinton. The horse won title after title in the late 1840’s and early 1850’s, until finally beaten by Voltigeur in York in 1851. Hill apparently liked horse racing and/or horses, for several of his tunes are named for them (see also “Beeswing,” “XYZ,” “Underhand”). Northumbrian Pipers’ Society (The Fiddle Music of James Hill), 2005.

           

FLYING ENGINE. Old‑Time, Breakdown. USA, Arkansas. County 519, Reaves White County Ramblers ‑ "Echoes of the Ozarks, vol. 2."

                       

FLYING FAME. AKA and see "When Flying Fame." English, Air (6/8 time). G Major. Standard tuning. One part. According to Chappell (1859), this 17th century air had already been popular for more than one hundred years under this name when it was used for the ballad "Chevy Chase" in Pills to Purge Melancholy (1707 and IV,1,1719), and the ballad operas The Beggars' Opera (1728) and Trick for Trick (1735). Samuel Bayard (in his article “A Miscellany of Tune Notes”) asks comparison with versions in Alton Morris’s Folksongs of Florida (1950, air to “Sir Hugh”), George Korson’s Pennsylvania Songs and Legends (1949, air to “Sir Hugh”), and Sharp and Karpeles’ English Folk Songs from the Southern Appalachians (1932, air to “Lord Thomas and Fair Annet”), and discovers “an old timbre living on in oral tradition, getting re-created by folk singers.” Chappell (Popular Music of the Olden Time), vol. 1, 1859; pg. 91.

                       

FLYING INDIAN [1]. AKA and see "Wild Indian." Old‑Time, Breakdown. USA, southwestern Va. G Major (Phillips, Spandaro): F Major (Shelor). Standard tuning. AABB (Phillips): AA'BB' (Spandaro). Source for notated version: Danny Gardella [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 90. Spandaro (10 Cents a Dance), 1980; pg. 32. Rounder 0057, Claris & Joe Shelor (Meadows of Dan, Patrick County, Va.) ‑ "Old Originals, vol. 1" (1978).

X:1

T:Flying Indian

L:1/8

M:C

K:G

G4 B2G2|d2B2g3d|ed 2 edB2|1 G2A2 E2D2:|2 G6 d2||

G4 a2ga|b2b2g2d2|ed B2 edB2|1 G2A2E2D2:|2 G8||

 

FLYING INDIAN [2]. American, Reel. The melody appears in George P. Knauff's Virginia Reels, volume IV (Baltimore, 1839).

                       

FLYING INDIAN WALTZ. Old-Time, Waltz. The title may be “Flying Engine Waltz.” From Roscoe Parish.

                       

FLYING REEL, THE. French-Canadian, Reel. Composed by fiddler Emile Benoit while playing fiddler on board an airplane, inspired by the sound of the engines. Touchstone.

                       

FLYING SQUIRREL, THE. Irish, Polka. G Major. Standard tuning. AABB. Black (Music’s the Very Best Thing), 1996; No. 196, pg. 104.

X:1

T: Flying Squirrel

C: © B. Black

Q: 350

R: polka

M: 4/4

L: 1/8

K: G

D>EGA Bd A2 | BdAc BAGE | D>EGA BdA>B | cAFA G2 G2 :|

gdgd b>age | fdfd a>gfd | ecec dBdB | cAFA G2 G2 :|

                       

FLYING TO THE FLEADH. Irish, Slip Jig. Composed by Belfast uilleann piper Patrick Davey in August, 1995, on the occasion of the All-Ireland Fleadh Cheoil held in Listowel, County Kerry.

                       

FLYING WHEELCHAIR, THE. Irish, Jig. G Major. Standard tuning. AABB. Composed by Leitrim pianist and fiddler Charlie Lennon in honor of Donncha O’Brien (1960-1990, brother of well-known piper Mick O’Brien), a Dublin whistle player with the CCE Clontarf branch (and piper Mick O’Brien’s brother). O’Brien was confined to a wheelchair by muscular dystrophy for much of his life, although this diminished his playing not in the least! He won All-Ireland titles, recorded a solo LP, taught Irish music, notes Philippe Varlet, all while restricted to his wheelchair. Lennon (Musical Memories). O’Briain (The Golden Eagle, second edition). Green Linnet GLCD  1211, Kevin Crawford – “In Good Company” (2001). Liam Farrell & Joe Whelan – “They Sailed Away from Dublin Bay.”

X:1

T:The Flying Wheelchair

C:Charlie Lennon

D:Kevin Crawford , In Good Company

R:jig

L:1/8

M:6/8

K:G

~G3 GED|~E3 AB/c/d|efg edB|Age dBA|

~G3 GED|~E3 AB/c/d|efg edB|ABG EFD:|

|:GAB ~d3|deB dBA|GAE ~e3|efg edB|

GB/c/d efg|eaf g2b|age dBG|ABG EFD:|

           

FLYNN’S FANCY.  See “O’Flynn’s Fancy.” 

           

FLYNN’S (HORNPIPE). Irish, Hornpipe. A Dorian. Standard tuning. AABB. The title refers to Bridget Flynn, Martin Mulvihill’s mother. Source for notated version: fiddler Martin Mulvihill (County Limerick/Bronx, NY) [Black]. Black (Music’s the Very Best Thing), 1996; No. 333, pg. 178.

X:1

T: Flynn's

S: M. Mulvihill

Q: 325

R: hornpipe

Z:Transcribed by Bill Black

M: 4/4

L: 1/8

K: Ador

D | EAAB c2 d2 | (3efg ed Bc d2 | eAAB BAGB | AGEF GE D2 |

EAAB c2 d2 | (3efg ed Bc d2 | eAAB BAGE | A4-A3 :|

d | ea (3aba e2 d2 | ea (3aba e2 d2 | eAAB BAGB | AGEF GE D2 |

EAAB c2 d2 | (3efg ed Bc d2 | eAAB BAGE | A4-A3 :|

                       

FLYNN’S REEL. Irish, Reel. G Major. Standard tuning. AA’B. Source for notated version: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 185, pg. 50.

 

_______________________________

HOME       ALPHABETICAL FILES        REFERENCES

 

© 1996-2010 Andrew Kuntz

Please help maintain the viability of the Fiddler’s Companion on the Web by respecting the copyright.

For further information see Copyright and Permissions Policy or contact the author.

 

 

 

                                   

 

           


 [COMMENT1]This was Font/Pitch 1,10 - Off.

 [COMMENT2]This was Font/Pitch 1,10 - On.