The Fiddler’s
Companion
© 1996-2009 Andrew Kuntz
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HAR |
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] |
HARBOUR LIGHTS [1]. Scottish, Hornpipe. G Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 4; No. 289, pg.
31.
X:1
T:Harbour Lights [1]
M:C|
L:1/8
R:Hornpipe
S:Kerr – Merry Melodies, vol. 4, No. 289
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
D2 | G>FG>B d>B G2 |
c>Bc>e g>e c2 | G>F>G>B d>B G2 | A>GF>E D2 D2 |
G>FG>B d>B G2 |
c>Bc>e g>e c2 | d>gf>e (3ded (3cBA | G2B2G2 :|
|: D2 | A>^GA>B c>A F2 |
G>FG>A B>G D2 | c>Bc>A B>AB>G | (3ABA (3GFE D2D2 |
A>^GA>B c>A F2 |
G>FG>A B>G D2 | d>gf>e (3ded (3cBA | G2B2G2 :|
HARBOR LIGHTS (JIG)
[2]. AKA and see “Whiskey Jig.”
X:1
T:Harbour of Ballyshone
T:Cuan Bhaile Seoin
M:6/8
L:1/8
R:Air
N:”Slowly”
B:Joyce – Old Irish Folk Music
and Songs, No. 452 (1909)
Z:AK/Fiddler’s Companion
K:C
D/E/|FAF EGE/C/|EDD DEG|A/B/c/B/A/G/
EG/E/D/E/|C2 C C2:||
E/F/|GAB c2 B/c/|d2 c/B/
ABG|A/B/c/B/A/G/ EG/E/D/E/|C>DE/C/ DCC|
c>de/c/ A>GE/C/|EDD
DEG|A/B/c/B/A/G/ EG/E/D/E/|C2 C C2||
HARBOURSTOWN HOUSE (Teach Bhaile an Chuain). Irish, Reel. G Major. Standard
tuning. AB. Source for notated version: Jack Wade (
HARD HEARTED MAIDEN. Irish, Air (3/4 time). F Major. Standard tuning. AB. O'Neill (O’Neill’s Irish Music), 1915; No. 82,
pg. 48.
X:1
T:Hard Hearted Maiden
M:3/4
L:1/8
R:Air
S:O’Neill – O’Neill’s Irish Music (1915)
Z:AK/Fiddler’s Companion
K:F
CD | F2G2A2 | c2f2e2 | d2c2 A>B |
A4 GF | (G2A2)F2 | D4 CD | F2F2G2 | A2d2 c>d |
c2A2B>A | G2F2F2 | F4 || cd |
f2e2d2 | c2A2^c2 | d2D2FA | ^c2A2de | f2e2 d^c |
d4 AG | F2D2 FG | A2f2d2 | c2A2 FG |
A2d2 cA | G2F2F2 | F4 ||
HARD HEARTED WIDOW, THE. Irish, Slow Air (6/8 time). E Minor. Standard.
AABB. "This air...from an old MS. written before 1770, belonging to Mr.
T.S. Head" (Joyce). Joyce (Old Irish
Folk Music and Songs), 1909; No. 768, pg. 377.
HARD IS MY FATE (Nach truagh mo chas). Scottish, Slow Air (4/4 time,
"Slow and plaintive"). B Flat Major. Standard. AAB (Fraser): AABB
(Alburger, Hunter). "This delightful melody has been attached to a
supposed soliloquy of Prince Charles on the night after his defeat at Culloden.
The editor's mother, with her elder sister, then little girls, were, from the crowd
which the presence of the Prince and Lord Lovat brought to their father's
house, stowed into a small apartment or closet betwixt the Prince's bedchamber
and another, having a door of communication with both when requisite. The
whispers of the little girls, in terror of making noise, produced suspicion in
the Prince's breast of having been betrayed. Their door was secured; but how
they must have been astonished to hear him knock, and exclaim with agitation
'Open, open!'‑‑when, upon their reluctantly opening the door, he
presented a visage of consternation which they could never forget, easier to be
imagined than described. It however gave them the best opportunity they had of
viewing his person; and his only exclamation which they understood was 'Hard is
my fate, when the innocent prattle of children could annoy me so much.'"
(Fraser). Alburger suggests that this tune may be an unacknowledged composition
of Fraser's, "writing music associated with the past in the same way that
Burns and Hogg wrote poems and songs with historic connections and, by not
acknowledging the them as theirs, left the reader to think he would"
(Alburger). Alburger (Scottish Fiddlers
and Their Music), 1983; ex. 98, pg. 163. Fraser (The Airs and Melodies Peculiar to the
X:1
T:Hard is my fate
T:Nach truagh mo chàs
M:C
L:1/8
R:Slow Air
S:Fraser Collection
(1874)
Z:AK/Fiddler’s Companion
K:B_
B>c|d2F2F2d2|dccB B2 B>c|d2G2G2c2|BAGF F2 B>c|d2F2F2d2|
dccB B2 B>c|d3G c3A|B6:|
|:D>E|F3D B3c|dBFD E3D|C3D E3F|GFFE D2 zd/e/|f3d b3a|
gfed
e3f|g3f f3A|B6:|
HARD ROAD, THE (An Bóthar Dian). Irish, Jig. G Major. Standard
tuning. AABB. Source for notated version: accordion player Paddy O’Brien
(originally from
HARD ROAD TO PASSAGE, THE. Irish, Jig. D Major/Mixolydian. Standard
tuning. AABB. Source for notated version: set dance music recorded live at Na
Píobairí Uilleann, in the 1980’s [
HARD ROAD TO
HARD ROAD TO TRAVEL
[1]. Old‑Time, Breakdown. D Major.
ADae tuning. AABB. Sources for notated versions: Liz Slade (
X:1
T:Hard Road to Travel
L:1/8
M:2/4
S:Liz Slade
N:ADae tuning
Z:Transcribed by Andrew Kuntz
K:D
A/A/F/F/ A/B/A/A/|B/A/B/(B/ A)(3A/2B/2c/2|d/)e/f/f/ e/e/(A/d/)|
(e/ f) ([d/e/] [d/f/])e/[df]|A/A/F/F/ A/B/A/A/|B/A/B/B/ A(3A/2B/2c/2|
d2f2 e/(A/d)|(e/ e) (e/ e)f||(f/ g) f/ (g/f/)g/e/|f/e/f/e/ (f/e/)d|
A/B/d/(e/ f/)e/d/e/|(e/ f) (e/ f)f|f/ g f/ g/f/g/e/|f/e/f/e/ f/e/d|
A/B/d/e/
fe|d/ [df] d/ [d2f2]||
HARD ROAD TO TRAVEL
[2]. Irish, Reel. E Dorian. Standard
tuning. AB.
See also listing at: Alan Ng’s Irishtune.info |
X:1
T:Hard Road to Travel, the [2]
R:reel
D:Mike and Mary Rafferty, the Old
Fireside Music.
Z:Lesl
M:C|
L:1/8
K:Edor
E2BE edBz|dBAF DEFD|E~EBE edBz|dBAF
BFAF|
EzBE edBz|dBAF DEFD|E~EBE edBz|dBAF BFaf||
ezef gfef|dBAF Defd|e~e2f gfez|dBAF BFaf|
ezef gfef|dBAB defg|abaz fafe|dBAF
BFAF||E8||
HARD ROAD TO TRAVEL
[3], A. Irish, March (4/4 time). D Major.
Standard tuning. ABC. O’Neill (O’Neill’s
Irish Music), 1915; No. 121, pg. 68.
X:1
T:Hard Road to Travel, A [3]
M:C
L:1/8
R:March
S:O’Neill – O’Neill’s Irish Music (1915)
Z:AK/Fiddler’s Companion
K:D
A2 | D>CDE FGAF | GFGB A2 AF |
D>CDE FGAF | G2E2E2 AF | D>CDE FGAF |
GFGB A2 (3ABc | dcdB ABAG | F2D2D2
|| (3ABc | d2 dA BAFA | DAFA BAFA |
d2 dA BAGF | G2E2E2 (3ABc | d2 dA
BAFA | DAFA BAFA | GABG EFGE | F2D2D2 ||
(3ABc | dAFA BAFA | DAFA BAFA | dAFA
BAGF | G2E2E2G2 | FDFA GEGB |
AFAc d2 cB | AdcB AGFE | F2D2D2 ||
HARD SWEET CIDER. Old-Time, Breakdown. The tune resembles “Paddy Won’t You
Drink Some Good Old Cider.” Marimac 9064D,
Lauchlin Stamper & A.C. Overton - “Sally with the Run Down Shoes” (1996).
HARD UP BIG CANOY. American. A tune in the repertoire of blind northeast
HARDIMAN THE FIDDLER (Fear-Tailce An Fidileir). AKA ‑ "Hardy Man the
Fiddler." Irish, Slip Jig. D Major
(O'Neill/1850 & 1001): D Mixolydian (Cranitch, Mallinson, Mitchell,
O'Neill/Krassen, Tubridy): D Mixolydian (‘A’ part) & D Major (‘B’ part)
{Feldman & O’Doherty}: D Minor (Tolman). Standard tuning. One part
(Mitchell): AAB (Cranitch, O’Neill, Taylor, Tolman, Tubridy): ABB (Feldman
& O’Doherty): AABB (Mallinson). David Taylor (1992) suggests that these
several tunes with the name "Hardiman" (of which "Hardiman the
Fiddler" is probably the most famous) honor the historian James Hardiman,
author of Irish Minstrelsy (1831). Sources
for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west
Clare) [Mitchell]; set dance music recorded at Na Píobairí Uilleann, late
1980’s [Taylor]; fiddlers Francie and Mickey Byrne (County Donegal) [Feldman
& O’Doherty]. Breathnach (Folk Music
and Dances of
X:1
T:Hardiman the Fiddler
M:9/8
L:1/8
R:Slip Jig
K:Dmix
A2G FDE F2G|A3 AGA cAG|A2G FDE
F2G|Add ded cAG:|
||Add d2e f3|Add ded cAG|Add d2e
f2g|agf ged cAG|
Add d2e f3|Add ded cAG|dcA B/c/de
f2g|agf ged cAG||
HARDIMAN'S FANCY. AKA - “Hardiman’s.” AKA and see "Derrane's,"
“Joe Derrane’s Jig [2].” Irish,
Double Jig. D Major/Mixolydian. Standard tuning. AABB (most versions): AA’BB
(Harker/Rafferty). Jerry O'Brien's button accordion tutor (where the tune is
given in the body of the music as “Hardiman’s Jig” but in the frontspiece as
“Hardiman’s Fancy Jig”) credits the tune to a Martin Hardiman of
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Hardiman's Fancy
T:Derrane's
M:6/8
L:1/8
R:Jig
Z:Philippe Varlet
K:D
~B3 BAF|AFE EFE|DFA def|afe dBA|
~B3 BAF|AFE EFE|DFA def|1 edB Bdc
:|2 edB Bcd ||
efe edB|AFF dFF|def afa|bff afa|
bff afa|baf edB|def afe|1 dBB Bcd
:|2 dBB Bdc ||
X:2
T: Hardiman's
S: De Danaan / J.Derrane
Q: 325
R: jig
Z:Transcribed by Bill Black
M: 6/8
L: 1/8
K: D
A | BdB BAF | AFE EFE | DFA def | afe dBA |
BdB BAF | AFE EFE | DFA def | edB B2 :|
B | efe edB | AFF dFF | def afa | b2 b afe |
bff
afa | baf edB | def afe | dBB B2 :|
HARDING’S JIG. AKA and see “Austin Barret’s,”
“The Blasket Sound Jig,” “Dusty Windowsill,” “Harland’s,” “Johnny
Harling’s,” “The Howling Jig,” “Tim Harding’s.”
HARDY MAN THE FIDDLER. AKA and see "Hardiman the Fiddler."
HARE, THE. French-Canadian, Reel. G Major. Standard.
AABB. Source for notated version: Skip Parente (
HARE AMANG THE HEATHER, THE. AKA - “Hare Among the Heather,” “Hare in the Heather,” “Morning Dew [1].” Scottish, Reel. E
Minor (Gatherer): E Dorian (Kerr). Standard. AABBCC. Familiar to Irish
musicians as the popular session reel “Morning Dew.” Gatherer (
X:1
T:Hare Among the Heather, The
M:C|
L:1/8
R:Reel
S:Kerr – Merry Melodies, vol. 4, No. 132
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:Emin
(3BBB (eB) fBeB | B^cdB ADFA | (3BBB
(eB) fBeB | d^cdB ADFA :|
|: B2 (EB) GBEB | B2 (EB) ADFA | B2
(EB) GBEB | B^cdB ADFA :|
|: E2 B2 BAFD | E2B2 ADFD | E2B2
BAFA | B^cdB ADFA :|
HARE IN/AMONG THE CORN
[1] ("An Gearrgiad
Annsa Arbar" or "Gearrfhiadh 'San Arbhar"). AKA and see "The Absent-Minded Man, “Fox Chase [2]." English, Scottish,
Irish, American; Jig.
***
Cork guitarist Paul de Grae came
across “a bit of doggerel that
adorns an old postcard showing the North Kerry piper Tom McCarthy, who for 65
years played regularly on the Castle Green, Ballybunnion:
***
I like to hear Tannhauser on a fine orchestral band
Or listen to Paderewski when he's playing on a grand,
But there's something more enchanting to the heart that is Irish-born,
To hear old Tim [sic] McCarthy playing "The Hare among the Corn".
***
McCarthy was remarkable, like the harper Denis Hempson, for having lived in
three centuries--in McCarthy's case,
1799-1904. He was a distant relative of the English singer Martin Carthy, who
invented the guitar tuning that I use for
playing tunes like "The Hare among the Corn" at our regular North
Kerry session (which sometimes just *seems* like it's
been going for 65 years...).”
***
Sources for notated versions: Trotter Manuscript (1780, pg. 44)
[Johnson]; an unknown piper in the year 1800 [Bunting]. Holden (Most Esteemed Irish Melodies), volume
II, No. 35. Johnson (Scottish Fiddle
Music in the 18th Century), 1984; No. 42, pgs. 100‑101. Kerr (Merry Melodies), vol. 3; No. 230, pg.
26. Kinloch (100 Airs), No. 48.
McFadden (Scotch, English, Irish and
Foreign Airs), volume V, pg. 25. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 766, pg. 143.
O'Neill (Dance Music of Ireland: 1001
Gems), 1986; Nos. 49 & 254 (appears as "The Absent-Minded
Man"). O'Sullivan/Bunting, 1983; No. 146, pgs. 203-204. Riddell (Scotch, Galwegian and Border Tunes),
1794. Seattle (William Vickers),
1987, Part 2; No. 390. Wright (Compleat
Collection of Celebrated Country Dances), volume I, pg. 4.
X:1
T:Hare in the Corn [1]
M:6/8
L:1/8
R:Jig
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:G
(3A/B/c | d2G d2=f | edc B2G | c2e
dcB | cAA A2 (B/c/) | d2G d2=f |
edc BAG | Aag {g}fef | gGG G2 ::
(3A/B/c/ | .d(B/c/d/B/) GBc | .d(B/c/d/B/) GBd |
.e(c/d/e/c/) Ace | .e(c/d/e/c/) ABc
| dBd ece | fef {a}gfe | dcB Agf | gGG G2 :|
X:2
T:Hare in the Corn [1]
M:6/8
L:1/8
R:Jig
S:William Vickers’ music manuscript
collection ( Northumberland, 1770)
G|(d3 d>)e=f|edc BAG|c2a B2g|aAA
ABc|(d3 d)e=f|
edc BAG|cBc agf|gGG G2::dB/c/d/B/
GB/c/d/B/| dB/c/d/B/ GB/c/d/B/|
cA/B/c/A/ FA/B/c/A/| cA/B/c/A/
FA/B/c/A/|dcB edc|fed gfe|dcB Agf|gGG G2:|
HARE IN THE CORN [2] (An Gearrfiad 'San Arbar). Irish (originally), American; Jig.
D Mixolydian. Standard tuning. AABBCC. Not apparently related to version #1.
Captain Francis O’Neill wrote (in Irish Folk
Music, 1910) that he took this tune from “an American collection,”
presumably the version from Ryan’s
Mammoth Collection, which it is identical to (Carolan, 1997). Breathnach
(1985) states that O’Neill’s second part does not go with the “Hare in the Corn”
tune. See also the related "Art
O'Keeffe's [1]." Cole (1000
Fiddle Tunes), 1940; pg. 56. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 767, pg. 143. O'Neill (Dance Music of
X:1
T:Hare in the Corn [2]
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:Dmix
B|BAB c2A|BAB c2A|BdB AFD|EFE E2c|BAB
c2A|BAB c2A|BdB AFA|DED D2:|
|:G|F2A AFA|BGB AFA|BdB AFD|EFE
E2G|F2A AFA|BGB AFA|BdB AFA|DED D2:|
|:g|fdd edd|fdd d2A|BdB AFD|EFE
E2g|fdd edd|fdB AFA|DFA deg|fdd d2:|
HARE
IN THE CORN [3], THE (An Giorria San
Arbhar). AKA
and see "The Absent‑minded
Man," "Fhiach an Mhada Rua," "The Hare in the Corner," "The House in the Corner,"
“The Hunt of the Hound and the Hare,” "The Little House
(A)round the Corner [1]," "O as I was kiss’d Yestreen [2],"
"The Royal Irish Jig". Irish, Double Jig. D Major. Standard tuning.
AA'BB' : AABBCC (Kennedy, O’Farrell). O’Neill’s names for the tune are “The
Absent-Minded Man,” “The House in the Corner,” “The Little House around the
Corner,” “The Royal Irish Jig” and “O, as I was kissed Yestreen.” Levey also
gives it as “The House in the Corner.” Breathnach identifies the tune as the
jig in the set piece “The Hunt
of the Hound and Hare” in Feldman & O’Doherty’s Northern Fiddler. He also remarks that Seamus Ennis employed a
version of “Hare in the Corn” as an overture to programmatic piece “The
Foxhunt.” O’Neill (1922) remarks: “A rather florid setting of ‘The Hare
in the Corn’, procured ‘from a piper in 1800" is printed in Bunting's Ancient Music of Ireland, published in
1840, with notation ‘Author and date unknown’. The name is not indexed in any
of the Petrie or Joyce Collections. The setting X:1 below was taken from Aird's Selections
of Scotch, English, Irish, and Foreign Airs, vol. 5, 1797. Identical to
Aird’s version is the one contained in the John Rook (Wigton area,
Cumbria) manuscript, 1840. American
versions of the tune can be found in print and in manuscript collections. It
appears in the music manuscript collection of flute player Henry Beck (1786),
John Gaylord Jr. (Conn., 1816), Luther Kingsley (Mansfield, Conn., 1755), and
Whittier Perkins (Mass., 1790). The jig is also known as ‘The Hare in the
Corner.’” Miller prints a variant with a different ‘B’ part. Source for notated version: fiddler Paddy
Glackin (
X:1
T:Hare in the Corn, The [3]
M:6/8
L:1/8
S:Aird's Selections, vol. 5 (1797)
Z:Paul Kinder
K:G
c|BGB def|gdc B2 G|cec BdB|cAA A2 c|
BGB def|gdc B2 G|Aag fef|gGG G2:|
|:c|dBB GBB|dBB GBB|cAA FAA|cAA GBc|
dBB ecc|fdd gee|dBB cAf|gGG G2:||
X:2
T:Hare in the Corn, The [3a]
M:6/8
L:1/8
R:Jig
S:Randy Miller
K:D
FEF ABc|dAG FED|GBG FGA|BEE E2A|
FEF ABc|dAG FED|afd gec|dAF D3:|
||afd gec|dAG FED|GBG FGA|BEE E2^g|
afd gec|dAG FED|afd gec|dAF D3|
afd gec|dAG FED|GBG FGA|BEE E2^g|
aba gec|dAG FED|faf gec|dAF D3||
HARE IN THE CORN [4], THE (An Giorria San Arbhar). AKA and see “The Cat in the Corner [2],” “Quarry Cross Slide [2],” “Sleamhnáin
chrosaire an chairéil, no. 2.” Irish, Slide (12/8 time).
HARE IN THE CORN [5], THE. AKA and see “Art O’Keeffe’s [1].” Irish, Jig. D Major.
Standard tuning. AA’BB’. Source for notated version: accordion player Johnny
O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 212, pg. 122.
Topic 12T311, John & Julia Clifford - “Humours of
Lisheen” (appears as “Art O’Keeffe’s”).
X:1
T:Hare in the Corn [5]
M:6/8
L:1/8
R:Jig
S:Johnny O’Leary
K:D
e|fdf gfe|faf gfe|f/g/af ecA|BcB
Bce|fdf gfe|faf gfe|
f/g/af ec/d/e|1 ABA A2e:|2 ABA
A2B||:cBc ece|faf ec/d/e|
a2f ecA|Bcc BAB|c2c ece|faf
ece|f/g/af ec/d/e|1 ABA A2B:|2 ABA A2e||
HARE
IN THE CORN [6], THE. AKA and see “The Old Hag in the Corner [1],”
“Rathawaun.” Irish, Jig. D Major. Standard
tuning. AABB: AA’BB’ (Connolly & Martin). Connolly & Martin (Forget Me Not), 2002; pgs. 40-41. Shanachie 79026, The Chieftains – “ Bonaparte’s Retreat”
(appears as second tune of Around the House and Mind the Dresser set).
X:1
T:Hare in the Corn,
The [6]
M:6/8
L:1/8
R:Jig
K:D
F2A AFA | B/c/dB AFE | ~F3 EDE | F2D DED | F2A AFA | B/c/dB AFA |
Bcd ecA | ded d3 :: ~f3 fed | g2e ede | ~f3 fed | a^ga ba=g | ~f3 fed |
~g2e edB | AB/c/d ecA | ded d3 :|
HARE IN THE CORN [7], THE. AKA and see “Coleman’s Fancy,” “The Curragh Races [1],” “The Maid in the Cherry Tree [3].”
Irish, Reel. A Mixolydian/Dorian. Standard tuning. AA’BB’. Doherty’s tonality
slips between the mixolydian and dorian mode, although the ‘B’ part settles in
the dorian (almost ‘C’ major). Source for notated version: John Doherty
(1895-1980, County Donegal) [Feldman & O’Doherty]. Feldman & O’Doherty
(The Northern Fiddler), 1979; pg. 69.
HARE
IN THE CORN [8], THE. Irish,
Jig. G Major. Standard tuning. AABB. Source for notated version: B/C
accordion player Billy McComiskey (
Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 9.
X:1
T:Hare in the Corn, The [8]
M:6/8
L:1/8
R:Jig
K:G
d2B GFG | ded cBA | BAG EDB, | EDB, A,B,A, | G,B,D G,B,D |
EFG
Adc | B2G dBG | B/A/GF G2 B :|
HARE IN THE CORN [9]??? A melody and dance under this title, different than version #1, appears
in Wright's Collection, c. 1742.
HARE IN THE CORN [10]???, THE. Shanachie 79011, Planxty ‑
"Cold Blow and the Rainy Night." Shanachie 79012, Planxty ‑
"The Planxty Collection" (1974).
HARE IN THE CORNER. AKA and see "Quinn's Reel [2],"
"The Maids of Kilmallock,"
"Hare in the Corn [3].”
HARE IN THE HEATHER, THE (Giorria sa bhFraoch). AKA - “The Hare Among the Heather.”
AKA and see "The Morning Dew [1].”
Irish, Reel. E Dorian. Standard tuning. ABC. Source for notated version: piper
Matthew Tiernan/Maitiu Mac Righearnain (
HARE ON THE MOUNTAIN, THE. AKA and see "Fire on the Mountain(s) [2],"
"Fire in the Valley,"
"The Blackthorn Stick [1],"
"The Maid(en) on the Green,"
"The Eagle's Nest," "The Rose on the Mountain [1],"
"The Catholic Boys [3],"
"The Humors of Bantry,"
"Billy Patterson('s
Favorite)," "Boys
of Bockhill/Rockhill."
HAREM SCAREMS, THE. Canadian, Reel.
HARE’S EAR. American, Jig. Composed by
HARE'S FOOT, THE. AKA and see “The
Hare’s Paw.”
HARE’S LAMENT, THE. Irish, Slow Air or Lament (3/4 time). A Minor.
Standard tuning. AB. Stanford/Petrie (Complete
Collection), 1905; No. 1028, pg. 262.
HARE'S MAGGOT. AKA and see "Up with Aily."
English, Country Dance Tune (3/2 time). A Minor. Standard tuning. AAB. One
meaning of maggot is for a dram, a unit
of liquid measure, but the musical meaning may stem from the word’s derivation
from the Italian word maggioletta, or
a plaything. The melody was published in 1701. Fleming‑Williams &
Shaw (English Dance Airs; Popular
Selection, Book 1), 1965; pg. 13. Raven (English Country Dance Tunes), 1984; pg. 28. Island Records AN-700, Kirkpatrick & Hutchings - "The Compleat
Dancing Master" (1974).
X:1
T:Hare’s Maggot
M:3/2
L:1/8
R:Country Dance Tune
K:Amin
e4A4a4 | ga b2e2 ^g2 a4 | e2 gf
e2g2e2c2 | d2g4 d2B2G2 | c2e2 f4 e2f2 |
(d4d4) c4 :||: e2c4 e2g2e2 | d2B4
d2g2d2 | c2e2A2 c2E2A2 | ^G6 A2B4 |
c2e4 B2c2A2 | ^f2b4 f2^g2e2 | a2e2
fe d2 ed c2 | c6 B2 A4 :|
HARE’S PAW [1], THE (“Cois an Ghiorria” or “Cois a’ Ghaorthaidh”). AKA and see "The Bundle of Straw," "The Corry Boys," "Follow Me to Carlow," "The Hare's Foot," "Jim Kennedy's Favorite,"
"Low Park," "The Lowlands of Scotland," “The Silvermines [1],” "The Tralee Lasses." Irish, Reel. E Minor.
Standard tuning. AB (Breathnach, Harker/Rafferty), Moylan, Mulvihill): AAB
(Kerr, Tolman): AABB' (Carlin). O’Neill prints versions as “The Hare’s Foot,”
“Jim Kennedy’s Favourite” (the shortened “Kennedy’s Favourite” also appears to
be a variant) and “The Lowlands of Scotland.” Joyce prints the tune as “The
Silvermines.” A variant called “Billy in the Lowlands (2),” was printed by
Peter Kennedy. Sources for notated versions: accordion player Johnny O’Leary
(Sliabh Luachra region of the Cork-Kerry border) [Moylan]; fiddler Tommy Potts
(Ireland) [Breathnach]; Sean Ryan (County Offaly) via Jim Bly [Mulvihill]; New
Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926
[Harker]. Breathnach (CRÉ I), 1963;
No. 185, pg. 72. Carlin (Master
Collection), 1984; No. 201, pg. 119. Giblin (Collection of Traditional Irish Dance Music), 1928; 29. Harker (300 Tunes from Mike Rafferty), 2005; No.
79, pg. 25. Joyce (appears as "The Silvermines"). Kerr (Merry Melodies), vol. 1; No. 14, pg. 35.
Kerr (Merry Melodies), vol. 2; pg. 32
(appears as "Irish Reel"). Kerr (Merry
Melodies), vol. 4; (appears as "Bundle of Straw"). Levey Collection (appears as "Gan
ainm"). Moylan (Johnny O’Leary),
1994; No. 202, pg. 117 (see also No. 149). Mulvihill (1st Collection), 1986; No. 17, pg. 5. Tolman (Nelson Music Collection), 1969; pg. 21.
See also listings at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Hare’s Foot, The
B:Kerr's Merry Melodies, Bk.2, p32
(appears as “Irish Reel”)
Z:Nigel Gatherer
M:4/4
L:1/8
K:Em
e2|G2 GA BE E2|BEdE BEEF|G2 GA
BABd|egfd e2:|]
ef|(3gag (3fgf edBc|d2 ed Bd d2|(3gag
(3fgf edBd|egfd e2|
(3gag (3fgf edBc|d2 ed Bd d2|bgaf
gfed|egfd e2|]
X:2
T:Hare’s Paw, The
R:reel
D:Tommy Keane: The Piper’s Apron
Z:id:hn-reel-440
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:Edor
~G3B A2GA|BE~E2 GEDE|~G3A ~B3d|1
(3efg fg edBA:|2 (3efg fg ~e3f||
|:g2fg edB^c|d2 (3fed ^cdef|g2fg ed
(3B^cd|1 egfg ~e3f:|2 egfg edBA||
X:3
T:Hare’s Paw, The
M:C|
L:1/8
R:Reel
S:Mulvihill – 1st Collection
K:G
G3B A2 GA|BE {F}(3EDE GEDE|{A}GFGA
BABd|(3efg fg edBA|
GABG A2 GA|BE{F}(3EDE GEDE|GFGA
BABd|(3efg fd e3||f|
~g2 fg edBc|(3ded ed
Bd{e}(3ded|(3gfg fg edBd|(3efg fd e3f|
g2fg edBc|dfed Bd{e}(3dcd|e3f
edBd|(3efg (af) gedB||
HARE’S PAW [2], THE (“Cois an Ghiorria” or “Cois a’ Ghaorthaidh”). Irish, Air (4/4 time). D Major.
Standard tuning. One part. Ó Canainn (Traditional
Slow Airs of Ireland), 1995; No. 62, pg. 55 (appears as “Cois a’
Ghaorthaidh”).
HARESHAW LINN. English, Strathspey. England, Northumberland. D Major. Standard tuning.
AABBCCDD. Composed by Robert Whinham (1814-1893), a musician, teacher,
composer, dancing master and fiddler, originally from Morpeth. Dixon finds the
title references a scenic waterfall in Northumberland, on the Hareshaw Burn,
which flows into the North Tyne. Source for notated version: the 19th
century music manuscript of C. “Kit” Liddell [Dixon]. Dixon (Remember Me), 1995; pg. 47.
HARESHAWHEAD
STRATHSPEY. English, Strathspey. England,
Northumberland. D Major (Hall & Stafford): A Major (Dixon). Standard tuning.
AABB. Composed by Robert Whinham (1814-1893), a musician, teacher, composer,
dancing master and fiddler, originally from Morpeth. Dixon finds the title
references a farm called Hareshawhead on the Bellingham to Otterburn road in
Northumberland. Source for notated version: the 19th century music
manuscript of C. “Kit” Liddell [Dixon]. Dixon (Remember Me), 1995; pg. 47. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg.
60.
HARICOTS SONT PAS
SALES, LES (The Snapbeans
Aren't Salted).
Cajun (Zydeco), Two-Step. USA, Louisiana. A Major. Standard tuning.
HARK I HEAR. Irish, Air (4/4 time).
X:1
T:The soldier’s song, “Hark I hear etc.”
M:C
L:1/8
S:Stanford/Petrie (1905), No. 772
Z:AK/Fiddler’s Companion
K:Eb
z/ | G2 F>E
E3 E | (EF) (GA) B2 Gz | G2F2F3F |
B2 cd e3e | (ef) (gf) e2c2 | e2 ec cB G2 | B2G2 GF E2 || CD EF E4 |
EF GF F4 | G2B2c3_d | cB G2 Bc | F2E2 E3 ||
HARK, THE TRUMPET
SOUNDS TO ARMS. See "Le Printemps Rappelle Aux Armes."
HARLAND’S. AKA and see “Austin Barret’s,”
“The Blasket Sound Jig,” “Dusty Windowsill,” “Harding’s Jig,” “Johnny Harling’s,” “The Howling Jig,” “Tim Harding’s.”
HARLEQUIN, THE. AKA and see “Father Dollard’s Hornpipe.”
Irish, Hornpipe. G Major. Standard tuning. AABB. The title “The Harlequin” is
an alternate Sliabh Luachra title for the tune also known as “Father Dollard’s
Hornpipe.” Paul Deloughery’s note with the tune in his book says: “Harlequinn (sic)
was a General in the British Army. This is (fiddler Padraig) O’Keeffe’s version
of it.” There is some confusion of names of this tune with one called “The
Chancellor,” since both were played in a medley on recordings of Dennis Murphy
and Julia Clifford. There are a number of melodies entitled “Harlequin,” a name
that is derived from the comic-theatre figure of 17th century
Italian commedia dell’arte. Harlequin was originally one of the two Zannis or
comic servants, although later he became the love interest or leading man.
Deloughery (Sliabh Luachra on Parade),
1988; pg. 77. Claddagh
RTE 183 CD, Denis Murphy – “Music from Sliabh Luachra.” Clolar-Connachta CICD
142, Charlie Piggott & Gerry Harrington – “The New Road.” Topic 310, Julia
Clifford, Billy Clifford – “Star of
X:1
T:Harlequin, The
M:C|
L:1/8
R:Hornpipe
K:G
Bc | (3dcB gd edBA | ~G3A BGDC |
B,DGA BdcB | {c}BAAG A2Bc |
dBgd edBA | ~G3A BGDC | B,DGE CEAc |
(3BAG (3AGF G2 :|
|: Bc | dgBg dBGd | dBGd gdBG | AGAB
cBce | (3agf (3gfe d2 Ac |
BABc dBGd | (3efg (3fga gedc | BGBd
ecAF | (3ABA GF G2 :|
HARLEQUIN HORNPIPE [1]. AKA and see "Constitution
Hornpipe [2]," "Swower Creek
[1]" (
X:1
T:Harlequin Hornpipe [1]
M:C|
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:D
DFAd fdAF | GBdg bgdB | Adfa gfed |
edcB AGFE | DFAd fdAF |
GBdg bgdB | afge fdec | d2f2d2z2 ::
agfe dfaf | bagf efgb |
agfe defd | edcB A2z2 | agfe dfaf |
bagf efgb | afge fdec | d2f2d2 :|
HARLEQUIN (HORNPIPE)
[2]. Scottish, Hornpipe. A Minor (‘A’
part) & C Major (‘B’ part). Standard tuning. AA’AA’BB. Kerr (Merry Melodies), vol. 4; No. 302, pg.
32.
X:1
T:Harlequin (Hornpipe) [2]
M:C|
L:1/8
R:Hornpipe
S:Kerr – Merry Melodies, vol. 4, No. 302
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:Amin
E2|:A2 (A^G) ABcd|(e^d)ef ecA2|BABc
edcB|A^GAc BGE2|A2 (A^G) ABcd|
(e^d)ef ecA2|dfed cB(A^G)|A2a2A2:|
G2|:c2 (cB) cdef|(g^fga ge c2|1
dcde gfed|(cB)ce dBG2:|2 dfed
cBAB|d2c2c2||
HARLEQUIN HORNPIPE [3]. AKA and see “Clover Blossom,”
“Hand Organ.” The “Harlequin”
title for this tune is one of O’Neill’s alternate titles for the hornpipe
“Clover Blossom.” It is in Ryan’s Mammoth
Collection (1883) as the “Hand Organ.”
HARLYQUIN RANGER. AKA – “Harlequin Ranger.” English, Jig. B Flat
Major. Standard tuning. AABB. Harlequin Ranger was a pantomime produced
by David Garrick in London in 1751, a burlesque of Rich’s Covent Garden
pantomimes which mocked the entertainment of wire dancing and the antics of
strange animal’s in Rich’s theatre. When Rich’s friends attended Garrick’s
play, they attempted to disrupt the performance by throwing an apple at the
comic actor Henry Woodward, who retorted with a sarcastic comment from the
stage. A lawsuit ensued. The melody first appears in John Hinton’s Universal
Magazine of Knowledge and Pleasure (London, 1754). Subsequently it was
published in John Johnson’s 200 Favourite Country Dances, vol. 7
(London, 1756), and Charles and Samuel Thompson’s 1757 country dance volume. In
America, the tune was included in the 1788 music manuscript copybook of John
and William Pitt Turner, fiddlers from Norwich, Conn. Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 77.
X:1
T:Harlyquin Ranger
M:6/8
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:Bb
B/A/|BFD B,DF|Bdf b2f|bfd gec|A/B/cc “tr”c2 B/A/|BFD B,DF|Bdf b2b|
Bff fdd|dBB B2::d|.eg/f/e/d/ .cf/e/d/c/|.Be/d/c/B/ AFF|.eg/f/e/d/ .cf/e/d/c/|FBB B2:||
HARLEQUIN REEL. Scottish, Reel. The melody appears in the Drummond Castle Manuscript (1734), inscribed "A Collection of
the best Highland Reels written by David Young, W.M. & Accomptant."
HARLEQUIN TUNE [1]. Scottish. John Glen (1891) finds the earliest printing of this tune in Neil Stewart's 1761 collection (pg. 53).
HARLEQUIN TUNE [2]. Scottish. John Glen (1891) finds the earliest printing of this tune in Neil Stewart's 1761 collection (pg. 56).
HARLEQUIN UNDERGROUND. English, Reel. England, North‑West. D Major. Standard tuning.
AABB. Knowles (Northern Frisk), 1988;
No. 94.
HARLEQUIN’S JIG. AKA and see “Steel’s Jig.”
HARLEY ASHTRAY REEL, THE. Scottish, Reel. G Major. Standard tuning.
AA’BB. Composed by Charlie McKerron, a member of the Scottish band Capercaille.
Green Linnet SIF 3104, Capercaille – “Secret People.”
X:1
T:Harley Ashtray Reel, The
R:Reel
Z:Adrian Scahill
M:4/4
L:1/8
K:G
EAAG ABcd|eAA2 eAfA|fggf gedc|Bggf
gedB|\
EAAG ABcd|eAA2 eAfA|fggf gedB|1 GABG
A3G:|2 GABG A2(3Bcd||
eaag aged|eAA2 eAfA|g2fa gedc|Bggf
gedB|\
^cAA2 cAdA|eAA2 eAfA|g2fa gedB|GABG
A4:||\
HARLEY WHIM. English, Reel.
HARLIQUN AIR. English, Air (4/4 time). D
Major. Standard tuning. AABB. Perhaps the title refers to a melody or one of
the songs in Thomas Arne’s (1710-1778) pantomime Harlequin Restor’d, or Taste Alamode, written in 1736. Source for
notated version: the 1770 Benjamin Cooke music manuscript (
X:1
T:Harliquin Air
M:4/4
L:1/8
K:D
d2A2A2d2|cdec A4|B2G2G2E2|….
HARMONICA, THE. Scottish, Country Dance Tune (6/8 time). G
Major. Standard tuning. AA'B. The title may refer to the mouth organ, a
free-reed instrument commonly called the harmonica, invented in 1821 by German
clock maker Christian Friedrich Ludwig Buschmann. Matthias Hohner, still the
most famous maker today, began manufacturing the instrument in 1857 from a
factory in
X:1
T:Harmonica, The
M:6/8
L:1/8
R:Jig
B:Kerr – Merry Melodies, vol. 1, pg. 29
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
d|:g2d B2g|e2c A2G|FGA DEF|G2B
d2d|g2d B2g|
e2c A2G|FGA DEF|G3 G2||d|c2a a2c|B2g
g2B|
ABc def|g2a b2d|c2a a2c|B2g g2b|agf
ed^c|
dFG ABc|dBg ecg|dBg ecg|dcB BAG|
FAA ABc|dBg ecg|dBg ecg|dcB AGF|GBd
g2||
HARMONIOUS BLACKSMITH, THE (Y Gof Du). Welsh. This Welsh air was arranged with
variations for harpsichord by the great composer Handel. It is said that he
came to Whitchurch on the Welsh borders and there had to take shelter from a
downpour in a village smithy. Overhearing the smith singing this tune in Welsh
as he worked at his anvil, the composer was so taken with it he felt compelled
to memorize it. Flying Fish FF70610, Robin Huw Bowen –
“Telyn Berseiniol fy Ngwlad/Welsh Music on the Welsh Triple Harp” (1996).
HARMONIUM, THE. English, Reel.
HARMONY [1].
HARMONY [2]. Irish, Air (2/4 time). G Major. Standard tuning. AABB. “Rather slow,” directs O’Farrell. O’Farrell (Pocket Companion, vol. IV), c. 1810; pg. 146.
X:1
T:Harmony [2]
M:2/4
L:1/8
R:Air
N:”Rather slow”
S:O’Farrell – Pocket Companion, vol. IV (c. 1810)
Z:AK/Fiddler’s Companion
dc BB | dc AA | cB G/B/d/B/ | A2D2 | GG AA | BB cc | B/d/(g/f/) e/d/c/B/ | B2A2 |
dc BB | dc AA | cB G/B/d/B/ | A2D2 | G>B A>c | B>g f/e/d/c/ | B2 {G}”tr”A2 | G3z :|
|: d>c B/A/B/c/ | d/B/d/B/ e/d/c/B/ | c>B A/B/A/B/ | c/B/c/A/ d/c/B/A/ | G/A/G/A/ F/A/F/A/ |
G/A/G/B/ A/B/A/c/ | c/B/g/f/ a/f/d/c/ | B/g/f/g/ f/e/d/c/ |
B/g/f/g/ a/4g/4f/4e/4d/c/ | B>G “tr”A2 | G3z :|
HARMONY OF MAY, THE. Irish, Air (4/4 time). E Flat Major. Standard
tuning. AB. Source for notated version: “From Miss Ross” [Stanford/Petrie].
Stanford/Petrie (Complete Collection),
1905; No. 554, pg. 140.
X:1
T:Harmony of May, The
M:C
L:1/8
S:Stanford/Petrie (1905), No. 554
Z:AK/Fiddler’s Companion
K:Eb
E2 | E3D E2F2 | G B3 A2F2 | E3D E2F2
| G4 A2F2 | E2D2E3F | G2e2c3B |
B>c GE “tr”F3E | E6 || B2 |
e2e2f3d | e2c2B2 cd | e2e2f3d | e6 e2 |
g3e f3d | e2c2 BG Bc/d/ | e2 BA G2E2
| G4 B3G | E2B,2E3G | A2G2 {G}F2E2 |
A2G2F2G2 | (A4 G3)F | E2B,2E2F2 |
G2e2c3B | B>c GE “tr”F3E | E6 ||
HARP THAT IN DARKNESS. AKA and see "Paddy Whack [1]."
HARP THAT ONCE THROUGH
X:1
T:Harp that once, The
M:3/4
L:1/8
R:Air
S:Kerr – Merry Melodies, vol. 3, No. 311 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
G2|(d4e2)|(d4B2)|(e4f2)|(g4e2)|(d4B2)|(A4B2)|(G6|G4)d2|(g4f2)|
(g4a2)|(g2f2)|(e4d2)|(e4d2)|(g4B2)|d6|d2e2f2|(g4f2)|(g4a2)|(g2f2)|
(e4d2)|(e4d2)|(c4B2)|e6|f6|(g4f2)|(e4d2)|(e4f2)|(g4e2)|(d2B4)|(A4B2)|(G6|G2)z2||
HARPER’S FERRY. See “John Brown’s March
[2].”
HARPER'S FROLICK. AKA – “Harper’s Fancy.” English, Country Dance Tune (2/4 time). D
Major. Standard tuning. AABB (Callaghan): AA'BB (Carlin). A very popular
English session tune (often paired with “Bonnie Kate”), originally appearing in
the
X:1
T:Harper’s Frolick
L:1/8
M:2/4
S:Ashover MS (1762)
K:D
A|FADA |FADd| cdec|d/c/d/e/ dA|FADA|FADd|cd ed/c/|d3:|
|:g|f d2 e/f/|g e2 g|f d2 f|e/d/c/B/ A>g| f d2 e/f/|g e2 g|fd ed/c/|d3:||
X:2
T:Harper’s Frolic, The
M:2/4
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:D
A|FADA|FADd|cdec|d/c/d/e/
dA|FADA|FADd|cd ed/c/|d3:|
|:g|f d2 e/f/|g e2 g|f d2 f|e/d/c/B/ A>g|f d2 e/f/|g e2 g|fd ed/c/|d3:||
X:3
T:Harper’s Frolic
M:2/4
L:1/8
N:modern version
K:G
A/G/|:FA DA/G/|FA Dd|cd ec|d/c/d/e/ dA/G/|FD DA/G/|FA Dd|
cd e/d/c|1 d2 dA/G/:|2 d2 d>e||:fd d/e/f|ge e/f/g|fd df|
e/d/c/B/
A>e|fd d/e/f|ge e/f/g|f/e/d e/d/c|1 d2 d>e:|2 d2d2||
HARRIER’S, THE. See “Merry Harrier’s [1].”
HARRINGTON{'S} HALL (Cuirt
Na Caosga).
Irish, Jig or March. D Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 56 (listed as a jig). Miller (Fiddler’s Throne), 2004; No. 55, pg. 44.
O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 1839, pg. 345
(listed as a march). Ryan’s Mammoth
Collection, 1883; pg. 84.
X:1
T:Harrinton Hall
M:6/8
L:1/8
R:March or Jig
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:D
A | d2 d ceA | dff f2g | afd dcd |
e>de/f/ gfe |
d2d ceA | dff f2g | afd Bgf | edc d2
:|
|: g | fdf fga | fdd dcd | eAA fAA |
g>fg/a/ gfe |
d2d ceA | dff f2g | afd Bgf | edc d2
:|
HARRIOT, THE. Scottish?, Country Dance Tune (2/4 time). C
Major (Gow, Harding’s): D Major (Sweet). Standard tuning. AABB. Gow (Second Collection of Niel Gow’s Reels),
1788; pg. 54 (3rd ed.). Hardings
All Round Collection, 1905; No. 171, pg. 54. Sweet (Fifer’s Delight), 1964/1981; pg. 58.
X:1
T:Harriot, The
M:2/4
L:1/8
R:Reel
Z:AK/Fiddler’s Companion
K:D
ff de/f/ | gg e2 | cc AB/c/ |
d/c/d/e/ f/g/a/g/ | ff de/f/ | gg e2 | cc AB/c/ | d2D2 :|
|: aa fd | BB/c/ d/c/d/B/ | Aa fd |
e/d/e/f/ e2 | aa fd | BB/c/ d/c/d//B/ | Aa fd | e/d/e/f/ d2 :|
X:2
T:Harriot, The
M:2/4
L:1/8
B:Gow – 2nd Collection of Niel Gow’s Reels, 3rd ed.,
pg. 34 (orig. 1788)
Z:AK/Fiddler’s Companion
K:C
.e.e “tr”cd/e/|ff d2|.B.B
“tr”GA/B/|c/B/c/d/ e/f/g/f/|.e.e “tr”cd/e/|
.f.f d2|BB “tr”GA/B/|c2C2::gg
ec|”tr”aa/b/ c’/b/c’/a/|gg ec|
“tr”d/(c/d/e/)
d/e/f/a/|ggec|”tr”aa/b/ c’/b/c’/a/|ggec|”tr”(d/c/d/)e/ c2:|
HARRIS DANCE. Scottish, Reel. C Major (Martin): A Major (Miller). Standard tuning.
AABB. Source for notated version: adapted from Patrick McDonald’s A Collection of
HARRIS NO. 4. See “Tiffany’s Fancy.”
X:1
T:
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:A
(A/B/) | c/A/F/A/ .E(e/g/) |
a/e/f/a/ e/d/c/B/ | c/A/F/A/ .E(A/B/) | c/A/B/c/ .A(A/B/) |
c/A/F/A/ .E(e/g/) | a/e/f/a/
e/d/c/B/ | c/A/F/A/ .E(A/c/) | c/A/B/G/ A :| E |
A/c/e/g/ .a(f/a/) | .g(f/a/)
e/c/d/B/ | A/c/e/g/ a/f/e/d/ | c/A/B/c/ AE |
A/c/e/g/ .a(f/a/) | .g(f/g/)
f/e/c/B/ | A/c/e/g/ a/f/e/d/ | c/A/B/c/ A :|
HARRY BARRETT’S
FAVOURITE. AKA and see “Tatter Jack Walsh,” “To Cashel(l) I’m Going [1].”
HARRY BLOODGOOD'S
FAMOUS (JIG). American, Dance Tune (cut time or
4/4). B Flat Major. Standard tuning. AABB. The term jig in this case references
a type of syncopated American duple-time dance tune, once associated with the
banjo, not the more familiar 6/8 time Irish jig. Edward Le Roy Rice, in his
book Monarchs of Minstrelsy (New
York, 1911) has this entry on Bloodgood:
***
HARRY BLOODGOOD (Carlos Moran) was one of the most accomplished and
versatile performers
that ever blacked his face; good in everything he undertook; he could
sing, dance and act. He made
his first
he joined Boyce and Mudge’s Minstrels; subsequently appearing with Sam
Sharpley’s , and later with
Joseph Trowbridge, he had the Bloodgood and Trowbridge’s Minstrels;
their season ended July 16,
1871; Mr. Bloodgood then taking his own show, with which he travelled
intermittently for several seasons.
***
In 1869 he also was associated with Delehanty, Hengler and Bloodgood’s
Minstrels. Mr. Bloodgood was
without exception the most pronounced favourite that ever played the old
Howard Athenaeum in Boston;
he was in the stock there at various times, covering a period of several
years.. About 1881 he wrote and
appeared in the play “Hix’s Fix,” sharing the lead with W.A. Mestayer;
the piece afterwards called “Wanted,
A Partner.”
***
Mr. Bloodgood married Helene Smith, the danseuse, about 1864; they were
divorced in the spring of 1867;
and on January 20, 1870, in Boston, he married Clara Gettis, also a
dancer. It was not until about three
years later that he found connubial blessedness, when he married Lisle
Riddell, with whom he lived most
happily the balance of his life.
***
Mr. Bloodgood made a distinct hit playing Uncle Tom at the Boston
Theatre, with an all-star cast. Harry
Bloodgood was born in Savannah, Georgia, March 31, 1845; he died in
North Conway, New Hampshire,
June 12, 1886. (pgs. 177-178).
***
New York researcher, writer and
musician Don Meade says Bloodgood was the composer of “Poor Old Rufe” (or
“Rube”), a popular black-face minstrel song published in Minstrel Songs Old and New (Boston, 1883, the year Ryan’s Mammoth was published). Cole (1000 Fiddle Tunes), 1940; pg. 85. Kerr (Merry Melodies), vol. 2; No. 389, pg.
43.
X:1
T:Harry Bloodgood’s Famous Jig
M:C|
L:1/8
R:(Sand) Jig
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:Bb
F2 | Bz (B2 B>).A(c>.B) | dz
(B2 B>)Ac>B | A>Bc>d e>dc>B | c>BA>G F>ED>E |
Fz(B2 B>)Ac>B | dz(B2
B>)AB>c | (d4 d>)ec>d | B>cA>B G2 :: F2 |
(3BcB (F>B) (d>.F)B>d |
(3cdc G>c e>dc>B | (3ABA E>B (3ABA E>A | G>F=E>F
D>FG>A |
(3BcB F>B d>FB>d | (3cdc
G>c e>dc>B | A>g f2 F>ed>c | B2 [F2d2] [D2B2] :|
HARRY BRADSHAW’S REEL. Canadian, Reel. Canada, Cape Breton. A Major. Standard tuning (fiddle).
AABB’. Composed by the late fiddler Jerry Holland (1955-2009, Inverness, Cape
Breton). Harry Bradshaw from Dublin is a highly regarded scholar on Irish
traditional music and record producer. Cranford (Jerry Holland’s), 1995; No. 16, p. 5. Fiddlesticks
cass., Jerry Holland - “Fathers and Sons” (1992). Green Linnett, Jerry Holland
- “The Fiddlesticks Collection” (1995). Green Linnet GLCD 1134, Cherish the
Ladies – “Out and About.” Green Linnet GLCD 1187, Cherish the Ladies – “One and
All: the Best of Cherish the Ladies” (1998). Patty Furlong – “Traditional Irish
Music on the Button Accordion” (1999).
Rounder Records , John L. MacDonald – “Formerly of Foot Cape Road:
Scottish Fiddle Music in the Classic Inverness County Style” (2005).
HARRY CARMICHAEL. Scottish, Jig.
X:1
T:Harry Carmichael
N: Arr G.Blair
M:6/8
L:1/8
C:Angus Fitchett
R:Jig
K:G
f| "G"g2 G G2B|"D7"AGA
"G"G2f|"Em"g2 e "A"a2g|"D7"f2 e
def|"G"g2 G G2 B|
"D7"AGA
"G"G2B|"D7"c2 A dec|"G"B2A
G2:||:f|"G"gdB gdB|"C"e2c c2e|"A"ae^c
ae^c|"D7"f2d d2d|"G"gdB gdB|"C"e2c
"D7"A2G|"D"FED "D7"cBA|"G"G3G2:|
HARRY COOPER. American, Reel.
X:1
T:Harry Cooper
M:4/4
L:1/8
R:Reel
S:fiddler Irvin Yaugher (Mt.
Independence, southwestern Pa, 1943, learned from his great-uncle)
N:Yaugher played the ‘c’ notes on
the 2nd string in-between natural and sharp, a not-uncommon
traditional style
B:Bayard – Hill Country Tunes (1944,
No. 32)
K:G
(3D>EF|G2 DC B,G,B,[G,D]|EDEG FD
D2|G3 A^cAcA|
EA A2A2 (3D>EF|G2 DC B,G,B,D|EDEG
FD D2|
G2 Bd ecAF|G2 GG G2||ef|g2d2 e2 ^cA|
DBAG FD D2|G2A ^cAcA|EA A2A2 ef|
G2d2e2 ^cA|dBAG FD D2|G2 Bd e^cAF|G3G
G2||
HARRY COX'S
SCHOTTISCHE. English, Schottische.
X:1
T:Harry Cox’s
Schottische
M:4/4
L:1/8
R:Schottische
K:G
d2 (3dcB
A2G2|E>AA>G F>
|:B>A (3GFE
D<B,D2|G>F G<B A2A2|B>A (3GFE D>B, D2|E>AG>F G2G2:|
HARRY DHU. Welsh, Air. The tune
appears in Blind Parry’s Twelve Airs for one and two Guitars, 1781 edition.
HARRY GIDLEY'S WALTZ. English, Waltz. G Major (Carlin): D Major (Callaghan). Standard tuning.
One part (Carlin): AB (Callaghan). Source for notated versions: melodeon player
Bob Cann (1916-1990, South Tawton, Dartmoor), who had the tune from the
harmonica player named in the title [Callaghan, Carlin]. Callaghan (Hardcore English), 2007; pg. 84. Carlin
(Master Collection), 1984; No. 27,
pg. 27. Topic Records 12TS275, Bob Cann – “West Country Melodeon” (197-). Veteran
VT138CD, Bob Cann – “Proper Job!: Melodeon Playing from
HARRY MUNRO. AKA and see "Coolin Roe."
Irish, Air (3/4 time). D Dorian/A Minor. Standard tuning. One part.
"'Irish and very old', remarks MacDowell in his MS." (Joyce). Joyce (Old Irish Folk Music and Songs), 1909;
No. 538, pg. 288.
HARRY OF THE WEST. American, Breakdown. USA, Texas. G Major. Standard tuning. AABB. Steve
Rice remarks that one of the nicknames of the early 19th century
American politician Henry Clay was "Harry of the West,” according to the
biography by Robert V. Remini (Henry
Clay, Statesman for the Union, 1991), so-called because Clay was from
Kentucky, which was still considered the western frontier in his hey-day.
Remini states: "...Clay was an
accomplished performer with the violin and was sometimes known as 'the fiddler
of the
X:1
T:Harry of the West
M:2/4
L:1/16
K:G
(3DEF|GAGE DBDG|EFGA Bdge|dBGA
BGAG|FAGE DB (3DEF|
GAGE DBDG|BeBg fage|dBGA BGAG|EG2A
G2:|
|:Bc|dega b^abg|=abag eage|dBGA
BGAG|FAGE DBGA|
Bdga b^aba|gbag fdge|dBGB AGEG|DGFA
G2:|
HARRY'S DELIGHT. English. England, Northumberland. One of the "missing tunes"
of William Vickers' 1770 Northumbrian dance tune manuscript.
HARRY'S LOCH. AKA and see "The Kilfenora Lass." Irish, Jig. A
Mixolydian ('A' part) & G Major ('B' part). Standard tuning. AAB. The tune
was popularized in modern times by the Kilfenora Ceili Band who recorded it on
their 1960 LP. It appears in Geraldine Cotter’s whistle tutor and companion
recording. Taylor (Crossroads Dance),
1992; No. 37, pg. 28. Shaskeen ‑ "The Mouse
Behind the Dresser." Chris Droney – “The Fertile Rock.”
HARSH FEBRUARY, THE. AKA – “Dave White’s.” Scottish (originally),
Irish; Reel. D Major. Standard tuning. AABB. Composed by Scottish
piano-accordion player Phil Cunningham (brother of Black’s source). The tune is
attributed to Phil Cunningham in Jerry Holland’s Second Collection
(2000), edited and published by Paul Stewart Cranford. The tune is also known
as “Dave White’s,” referring to a Cape Breton stepdancer of Holland’s
acquaintance, and composition of the melody is sometimes attributed to Holland
(who recorded it as “Harsh February” on his album “Fiddler’s Choice”). Source
for notated version: Scottish fiddler Johnny Cunningham [Black]. Black (Music’s the Very Best Thing), 1996; No.
267, pg. 144. Cranford (Jerry Holland: The Second Collection), 2000; No.
101, pg. 40. Green Linnet, Johnny Cunningham -
“Squeeze.” Green Linnet GLCD 1145, Wolfstone – “Year of the Dog.” Odyssey ORCS
1051, Jerry Holland – “Fiddler’s Choice” (1998). Phil Cunningham (et al) – “The
Big Squeeze.” Lunasa – “The Merry Sisters of Fate” (appears as first tune of 10th
set, although is mistakenly listed as 2nd tune on the lable).
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index |
X:1
T: Harsh February
S: ? Phil Cunningham
Q: 350
R: reel
Z:Transcribed by Bill Black
M: 4/4
L: 1/8
K: D
D | FABd B2 AF | ABdf e2 de | f2 ed BddB | ABdA FE E2 |
FABd B2 AF | ABdf e2 de | b2 fb afef | afef d3 :|
f/a/ | b3 f a2 fe | defd edBA | FABd FABd | afde fe e2 |
b3
f a2 fe | defd edBA | FABd FABd | afef d3 :|
HARTE’S_JIG. See “Bill Harte’s Jig.”
HARTIGAN'S FANCY (Roga Uí {h-}Artagain). AKA – “Hardigan’s.” AKA and see “Bliven’s Favorite,” "The Butchers of Bristol [1],”
"By your leave, Larry
Grogan," "Coppers
and Brass [2],” “The County
Limerick Buckhunt," "Finerty's
Frolic," “Green Sleeves [3],”
"Groom," “The Humors of Ennistymon [1],”
"The Humours of
Milltown [2],” "Larry Grogan(‘s)
[1],” "The Lasses of Melrose," “Lasses of Melross,” "Little Fanny's Fancy," "Lynn's Favourite," "Lynny's
Favourite," “Paddy’s the Boy,”
"Pingneacha Rua agus Pras," “Queen
of the Rushes,” "The Waves of
Tramore," “Willie Clancy’s.”
Irish, Double Jig. G Major. Standard tuning. AABB (O’Neill): AA’BB’CC’
[Taylor/Tweed]. Francis O’Neill says this jig was unpublished and “new to us,”
at least in the “Hartigan” form, prior to obtaining it from source Carey, and
listed an alternate title as “Little Fanny’s Fancy.” Despite O’Neill’s
assertion that it was new, he printed in the same publication a variant called
“By your leave, Larry Grogan.” Joyce’s jig “Green Sleeves,” printed in Old Irish Folk Music and Songs (1909),
and Goodman’s “Humours of Ennistymon” (volume III, 152) are two more of many
variants of this large tune family. Breathnach remarks that a version was
originally printed (by John Walsh before 1736 in Country Dances Book the Second) under the title “Larry Grogan,”
named for the
X:1
T:Hartigan’s Fancy
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:G
D|B2B GBd|cBc ABc|B2B GBd|cAG
FGA|B2B GBd|cBc ABc|d/e/fd cAF|AGG G2:|
|:d|f2f fed|cAG FGA|g2g gfg|afd d2
f/g/|fag fed|cAG FGA|B/c/dB cAF|AGG G2:|
HARTLEY’S. Canadian, Reel.
HART’S HORNPIPE (Pibddawns Hart). Welsh, Hornpipe. G Major. Standard tuning. The
tune appears in print in Cambrian Trifles
(1812).
X:1
T:Hart’s Hornpipe
M:C|
L:1/16
R:Hornpipe
K:G Major
GF|G2g2 gddB|c2e2 e2fg|dBdB
e2e2|AGAB GFED|G2g2 gddB|c2e2 e2fg|dBdBcAGF|
G2B2 G2:|:FG|BGBG B3d|ecec A3e|dBdB
cBAG|FGAB A2GA|BGBG B3d|ecec A3e|
dBdB cAGF|G2B2G2:|:GF|GDB,D GABG|AFDF
AFcA|BGcA d3e|dgdB B2A2|GDB,D GABG|
AFDF AFcA|BGcAd3e|dBAB G2:||
HARTSHEAD HORNPIPE, THE. English, Hornpipe (3/2 time).
HARVEST, THE. English, Country Dance Tune (4/4 time). B Flat
Major. Standard tuning. AABB. Knowles (Northern
Frisk), 1995; pg. 15.
HARVEST FIELD, THE (Pairc an Fogmair). Irish, Reel. G Major. Standard
tuning. AB (O'Neill/1850 & 1001): AA'B (O'Neill/Krassen). O'Neill
(Krassen), 1976; pg. 136. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1428, pg. 265. O'Neill (Dance Music of
X:1
T:Harvest Field, The
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:G
BA|GFGA Bd {e}(3dcd|efge dB
{B}(3BAB|efge dBGA|
BAAG AcBA|GFGA Bd {e}(3dcd|efge dB
B2|{a}gfge dBge|dBAB G2||
Bc|dbag efge|dBgB BA A2|dbag
efge|dgfa g2 ga|
(3bag af gfed|(3efg dB cBAF|GFGA
Bcdg fdcA G2||
HARVEST
HOME [1] (Deire an
Fogmair/Baile an Fhómhair). AKA and see "Cincinnati
Hornpipe [1]," "Cliff
Hornpipe," "Cork Hornpipe [1],"
"Dundee Hornpipe," "Fred Wilson's Clog," “Free Round
Trip,” "Granny, Will Your Dog Bite?" (Pa., floating title), “Harvest
Time,” "Higgins' Hornpipe,"
"Kephart's Clog" (Pa.),
"Kildare Fancy," “O’Higgin’s
Hornpipe,” "Ruby Lip," “Sailor’s
Stampede Clog,” "Snyder's Jig"
(Pa.), "Standard Hornpipe,"
“Uncle George’s Hornpipe,” “Wilson’s
Clog [1],” "Wilson's Hornpipe," “Wooden Shoe Clog,” "Zig-Zag Hornpipe/Clog."
***
Their hands accompany
the dance in little wristy arcane movements,
thumbs alternating
with their digits. Their feet are hardly off the
ground as they hell
and toe and tap, till it seems there is a skim of
twilight shimmering
between their boots-soles and the black wet
tarmac. Loose change
jingles in their pockets as they waver gravely
in the pre-determined
and formal quarter-bows, catching one another’s
little fingers on
occasions, sometimes going for a full hand-clasp, instantly
and rhythmically
released. They doppelgänger one
another. Nods and winks
are witnessed as they
undergo the subtle dramas of the ceili
house. They
reinvent the past and
all their past encounters; then the pattern comes
to its conclusion.
Four feet stand on terra firma for
one instant, then they
break apart and take
the gait of normal human beings. Everyone’s relaxed
now… (pg. 111).
***
In
***
William Sidney Mount (1807-1868). The Power of Music (The Force of
Music), 1847.
***
The melody was played by old fiddler
William “Jinky” Wells for the Bampton Morris Dancers in Oxfordshire, although
it is not a morris tune and is seldom heard for morris dancing nowadays. In
parts of the
***
…At the end of the summer, when the hay and the harvest had been
gathered
in, Mr. Norris gave a ‘Harvest Home’ to the people he employed…The
dancing
was in the courtyard of the house, on the clean stone floor and a local
fiddler
supplied the music on his fiddle…At Christmas there was sometimes a
dance
in the kitchen. A story goes, that on one occasion when the room was
very full,
the little old fiddler was hoisted on to the dresser where a chair had
been placed,
to put him out of the way…
(see also note for “Around the House and Mind
the Dresser” for a similar anecdotal conservation of space in
***
Sources for notated versions: a c.
1837-1840 MS by Shropshire musician John Moore [Ashman]; piper Willie Clancy
(1918-1973, Miltown Malbay, west Clare) [Mitchell]. Allan's Irish Fiddler, No. 85, pg. 22. Ashman (Ironbridge Hornpipe), 1991; No. 113, pg. 47. Brody (Fiddler’s Fakebook), 1983; pg. 131.
Cazden, 1955; pg. 41. Carlin (English
Concertina), 1977; pg. 50. Craig (The
Empire Collection of Hornpipes), c. 1890’s; pg. 3. Hardie (Caledonian Companion), 1986; pg. 21. Hardings Original Collection; No. 1.
Honeyman (Strathspey, Reel and Hornpipe
Tutor), 1898; pg. 46. Hunter (Fiddle
Music of Scotland), 1988; No. 329 (arranged for string quintet by James
Hunter). Jarman (Old Time Fiddlin' Tunes);
No. or pg. 23. Kennedy (Fiddlers Tune
Book), vol. 1, 1951; No. 6, pg. 3. Kerr (Merry Melodies), vol. 1; No. 2, pg. 42. Kerr (Merry Melodies for the Piano), pg. 27. Lerwick (Kilted Fiddler), 1985; pg. 50. MacDonald
(The Skye Collection), 1887; pg. 171.
Martin (Ceol na Fidhle), vol. 2,
1988; pg. 41. Mitchell (Dance Music of
Willie Clancy), 1993; No. 44, pg. 55. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 118,
pg. 59. O'Neill (O’Neill’s Irish Music),
1915/1987; No. 353, pg. 172. O'Neill (Krassen), 1976; pg. 207. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1603, pg. 297. O'Neill (Dance
Music of
See also listings at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Harvest Home
M:C|
L:1/8
R:Hornpipe
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D
FE|DAFA DAFA|dfed dcBA|eAfA gAfA|edcB AGFE|DAFA DAFA|
dfed dcBA|Aceg fedc|d2 d2 d2:||:cd|eA A/A/A fA A/A/A|gA A/A/A fA A/A/A|
eAfA gAfA|edcB AGFE|DAFA DAFA|dfed dcBA|Aceg fedc|d2 d2 d2:|
X:2
T:Hornpipe (Harvest Home)
M:C|
L:1/8
R:Hornpipe
N:There may have been variations or
more parts to the tune in the ms.
N:The notation is not clear, and the
copy degraded.
S:William Sidney Mount’s (1807-1868)
music manuscript papers
Z:AK/Fiddler’s Companion
K:A
B|EBGB EBGB|efgf edcB|fBgB aBgB|fedc
BAGF|EBGB EBGB|efgf edcB|
FBgB afdf|e2e2e2::de|fBBB B2 fa|gccc
c2 fg|afge fdec|
fedc BAGF|EBGB EBGB|efgf edcB|fBgB
afdf e2e2e2:||
HARVEST HOME [2]. AKA and see "Stirling Castle,"
"The Kirn." Scottish, Strathspey. D
Major. Standard tuning. AAB. Only a passing resemblance, perhaps, to
"Harvest Home [1].” MacDonald (The
Skye Collection), 1887; pg. 35. Stewart-Robertson
(The Athole Collection), 1884; pg.
83.
X:1
T:Harvest Home
M:C|
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:C
A|DDF>D A>DF>D|A,A,C>A, E>A,C>A,|DDF>D A>DF>A|
(3Bcd (3efg f<dd:|
f|ddf>d g>ef>d|g2 e>d c>BA>f|ddf>d g>ef>d|B<g e>c d2 A>f|
ddf>d g>ef>d|g2 e>d c>BA>c|(3dfe (3efg (3fed (3cBA|
(3BAB
(3ABc (3dAG (3FED||
HARVEST
HOME WALTZ. American, Waltz. C Major. Standard
tuning. AABB. Fiddler Gene Clardy was one of the older
X:1
T:Harvest
Home Waltz
M:3/8
L:1/8
R:Waltz
S:Howe – Complete Preceptor for the Accordeon (1843)
Z:AK/Fiddler’s Companion
K:C
z2 |
(G2e2)d2 | (c2E2)G2 | (F2D2)B2 | (c2e2)G2 | (G2e2)d2 |
(c2E2)G2 |
(F2D2)B2 | c4 :: G2 | F2D2B2 | c2e2G2 | F2D2B2 |
c2e2G2 |
G2e2d2 | c2E2G2 | F2D2B2 | c4 :|
HARVEST IS IN, THE. English, Country Dance Tune (cut time). A
Major. Standard tuning (fiddle). AABB. The melody is unique to London publisher
Charles and Samuel Thompson’s 1765 collection. Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 136.
X:136
T:Harvest is in, The
M:C|
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)
Z:Transcribed and edited by Fynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:A
A2 [A,2A2] AcBA|B2E2 BdcB|c2A2 cedc|BAGF E4|A2 [A,2A2] AcBA|B2E2 BdcB|
ce^df egfa|gef^d e4::ecac ecac|d2 cB BedE|BedE c2 BA|
AEcA
ecfd|geaf {a}g2 fe|a(f/g/a)f e(c/d/e)c|d(B/c/d)c BGEe|caBg a2A2:||
HARVEST MOON [1], THE. AKA and see “Gealach na gCoinnleach.” Irish,
Reel.
HARVEST MOON [2], THE. AKA and see “Hanly’s Tweed,” “Paddy O’Brien’s (Reel) [2].” Irish,
Reel. A Dorian. Standard tuning (fiddle). Composed by the late button accordion
player Paddy O’Brien. PTI 1041, James and John Kelly –
“Irish Traditional Fiddle Music” (appears as second reel of “London Set”). Martin Connolly – “Back in
X:1
T:Paddy O'Brien's (Reel) [2]
T:Harvest Moon [2]
T:Hanly’s
C:Paddy O'Brien
H:Mike played it following the
D:Martin Connolly "Back to
Z:lesl
M:C|
L:1/8
K:Ador
A2EA FAEA|BzAB GABG|AE~E2 A2
(3Bcd|edef gzed|
eaag ed(3Bcd|g{a}g fa gedz|edBA
BGGA|1 BedB A4:|2
|:eaaf g~g2z|eaag ed (3Bcd|ezaf
g~g2e|dG~G2 AG (3Bcd|ea~a2 bg~g2|
agab gzag|edBA BGGA|1 BedB A2
(3Bcd:|2 BedB A4||
X:1
T:Harvest Moon
M:2/2
L:1/8
R:reel
Z:Jeffrey Erickson
S:Paul Groff, house concert/session,
K:A Dorian
cd | eAAG AcBA | GEDE GABd | e2 AB cdeg
| afge d2 cd | eAAG AcBA |
GEDE GABd | e/2f/2g af gedB | GBdB
BA A2 |
B | c3 d e g3 | e a3 g2 fg | e2 AB
cdeg | afge dged | cBcd e g3 | e a3 g
edB | c2 BA GEDE | GABG A3 |
HARVEST TIME. American?, "Country Dance" (6/8 time). A Major. Standard
tuning. AABB. The 'A' part is similar to "Dingly Dell." Hardings All Round Collection, 1905; No.
142, pg. 44‑45.
HARVEST TIME [2]. Irish, Jig. Composed by the late
HARVESTER'S JIG. Canadian, Jig. D Major. Standard tuning. AA'BB'. Messer (Anthology of Favorite Fiddle Tunes),
1980; No. 154, pg. 103.
HARVESTER’S (WALTZ), THE.
English, Waltz. D Major. Standard tuning. AA’BB. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes),
1999; No. 131, pg. 32.
X: 1
T:The Harvey
Jig
R:jig
M:6/8
L:1/8
Z:Transcribed
by Bruce Osborne
K:D
A|ABA
F2A|dcd f2a|e2f gfe|cde dcB|
ABA F2A|dcd
f2a|e2f gec|d3 d2:|
|:(3e/f/g/|aba
faf|dcB A2G|FDF AGF|E3 E2e|
gag efe|dcB A2 (3e/f/g/|aba gfe|d3
d2:|
HARVEY MITCHELL. Scottish, Pastoral Air (4/4 time). E Flat Major. Standard tuning. AA'B.
Composed by Alastair J. Hardie in honor of Harvey Mitchell, a friend of
Scottish traditional music and head of Cultural and International Services for
Lothian Regional Council until 19881. Hardie (Caledonian Companion), 1992; pg. 94.
HARVEY TOLMAN’S FANCY. Canadian, Jig.
HARVEY'S FAVORITE. Appears in Dobson's "New
System for the Banjo." 2nd part similar to "Pacific Slope Reel."
_______________________________
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[COMMENT1]This was
Font/Pitch 1,10 - Off.
[COMMENT2]This was Font/Pitch 1,10 - On.
[COMMENT3]This was Font/Pitch 1,10 - Off.
[COMMENT4]Note: The change to pitch (12) and font (1) must be converted manually.