The Fiddler’s Companion

© 1996-2009 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

HAR

[COMMENT3] 

 

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]

 

 

[COMMENT4] 

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.”

           

HARBOUR OF BALLYSHONE, THE (Cuan Bhaile Seóin). Irish, Slow Air (6/8 time). D Dorian/C Major. Standard tuning. AAB. "Copied by Forde from a MS. lent to him by Patrick Carey a piper of the Co. Cork; who I believe, is the same as Patrick Carew often mentioned in (Petrie’s) Ancient Music of Ireland" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 452, pg. 254.

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 (County Monaghan) [Breathnach]. Breathnach (CRÉ IV), 1996; No. 121, pg. 61.

           

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 Highlands of Scotland and the Isles), 1874; No. 125, pg. 49. Hunter (Fiddle Music of Scotland), 1988; No. 53.

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 County Offaly and Dublin, now of the Mid-West U.S.) [Breathnach]. Breathnach (CRÉ V), 1999; No. 41, pg. 21.

 

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 [Taylor]. Taylor (Music for the Sets: Yellow Book), 1995; pg. 17.

           

HARD ROAD TO TEXAS. Old‑Time, Breakdown. USA, Mississippi. A Major. AEae (or GDgd) tuning. AABCCC. While there is no exactly similar tune in print or recording to this one, Tom Rankin (1985) notes this tune is made up of common melodic material in the old‑time tradition, so it sounds like other better known tunes. Mississippi Department of Archives and History AH‑002, Charles Long ‑ "Great Big Yam Potatoes: Anglo‑American Fiddle Music from Mississippi"  (1985).

           

HARD ROAD TO TRAVEL [1]. Old‑Time, Breakdown. D Major. ADae tuning. AABB. Sources for notated versions: Liz Slade (Yorktown, New York) [Kuntz]; Jane Rothfield [Phillips]. Kuntz, Private Collection. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 61.

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. New Jersey flute player Mike Rafferty (b. 1927, originally from Ballinakil, east County Galway), learned the tune from his father, Barrel Rafferty. Lesl Harker (2005) says “this…is the old way of playing ‘In the Tap Room’.” “In the Tap Room” belongs to a large family of tunes (see also “The Youngest Daughter [1],” "The Lady's Top Dress," "Lord Edward," "Miss Fargherson's New Reel," "The Mountain Lark [7]," "Polly's Reel," “The Ranting Widow,” among others). Harker (300 Tunes from Mike Rafferty), 2005; No. 70, pg. 22. Green Linnet GLCD  1211, Kevin Crawford – “In Good Company” (2001. Learned from Mike Rafferty). Larraga LR090098, Mike and Mary Rafferty – “The Old Fireside Music” (1998).

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 Kentucky fiddler Ed Hayley, as remembered by people around Portsmouth, Ohio, where Northern and Southern fiddle traditions tended to mix.

           

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 Ireland), 1971; 9. Cranitch (Irish Fiddle Book), 1996; No. 31, pg. 137. Cranitch (Irish Session Tunes: Red Book), 2000; 31. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 160 (appears as 2nd “Untitled Slip Jig”). Mallinson (Enduring), 1995; No. 87, pg. 37. Mitchell (Dance Music of Willie Clancy), 1993; No. 127, pg. 102. O'Neill (Krassen), 1976; pg. 79. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1117, pg. 211 (appears as "Hardy Man the Fiddler"). O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 412, pg. 82 (appears as "Hardy Man the Fiddler"). Taylor (Music for the Sets: Blue Book), 1995; pg. 19. Tolman (Nelson Music Collection), 1980; pg. 4 (appears as "Hardy Man the Fiddler"). Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 37. Drumlin Records BMNCD2, Brian McNamara – “Fort of the Jewels” (2004).

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 Chicago. O’Brien taught Boston box player Joe Derrane, and was his musical partner on the latter’s early recordings (they recorded this tune c. 1950’s). Philippe Varlet believes this tune to be a variant of "The Shores of Lough Gowna." Sources for notated versions: accordion player Joe Derrane (Boston) and a Chicago fiddler named Martin Hardiman in the late 1940's [Black]; Danny O’Donnell, who said his version derived from the O'Beirne De Witt sponsored melodean collection printed in Boston [Feldman & O’Doherty]; fiddler Andrew Davie (b. 1928, Cloonagh, Mullaghroe, Keash) [Flaherty]; fiddler Danny O’Donnell (County Donegal) [Feldman & O’Doherty]; accordion and flute player Dermot Grogan, via New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Black (Music’s the Very Best Thing), 1996; No. 202, pg. 108. Feldman & O’Doherty (The Northern Fiddler), 1978; pg. 182. Flaherty (Trip to Sligo), 1990; pg. 114 (appears as “Unknown”). Harker (300 Tunes from Mike Rafferty), 2005; No. 235, pg. 76. O’Brien (Jerry O’Brien’s Accordion Instructor), 1949 (the collection from which O’Donnell learned the tune). Taylor (Through the Half‑door), 1992; No. 59, pg. 42. Shaskeen ‑ "Atlantic  Breeze." De Danann (appears as “Joe Derrane’s”).

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 (Portland, Oregon) [Songer]. Songer (Portland Collection), 1997; pg. 93.

                       

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 (Musical Museum), 1987; pg. 13. Kerr (Merry Melodies), vol. 4; No. 132, pg. 16 (appears as “The Hare Among the Heather”).

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. England, Northumberland; USA, Massachusetts. G Major/Mixolydian (O'Neill, O'Sullivan/Bunting, Vickers): A Major (Johnson, Kerr). Standard or AEae tuning. AB (O'Sullivan/Bunting): AA'B (Kerr): AABB (O'Neill, Vickers): AABBCCDDEEFGGHHIIJJ. Another double‑entendre title. Johnson (1983) believes “Hare in the Corn,” which was often played in scordatura tuning, to be very old, and says there is a short set of it in the Scottish (George) Skene Manuscript of c.1630-1640. It also appears in Riddell's Scotch, Galwegian and Border Tunes (1794). In America, the somewhat simplified version of the melody was copied into Whittier Perkin's violin MS (Massachusetts, 1790). The variations in Johnson are from the Trotter Manuscript and were probably composed later than 1760, based on his stylistic analysis. Flood (1906) indicates it was a dance tune popular in Ireland at least as far back as 1779, as its playing is mentioned by Beringer in an account of a "cake" dance (where the prize was a cake) he participated in while on a visit to Connacht. Bunting (1840) identified the piece as "an ancient tune for the pipes, in which there is an imitation of a hunt, including the sound of the huntsmen's horns, the crying of dogs, and finally the distress and death of the hare." The pipes, he thought, were the only instrument that could musically render all these elements, particularly the dying cry of the hare.

***

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 Ireland (1903), No. 766

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 Ireland: 1001 Gems), 1907/1986; No. 49, pg. 25. Ryan’s Mammoth Collection, 1883.

X:1

T:Hare in the Corn [2]

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 49

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 (Donegal, Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 19, pg. 10. Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 55, pg. 14. Miller (Fiddler’s Throne), 2004; No. 54, pg. 43. O’Farrell (Pocket Companion, vol. 1); c. 1805; pg. 77. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 171 {reprinted from Aird}. Gael‑Linn Records CEF 060, Paddy Glackin ‑ "Ceol ar an bhFidil" (1977). Gael-Linn CEF060, “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). Ireland, Sliabh Luachra region of the Cork-Kerry border. G Major. Standard tuning. AA'BB'. Source O’Leary sometimes called the tune “The Cat in the Corner” (Moylan). Source for notated version: fiddlers Julia Clifford & Denis Murphy (west Kerry) [Breathnach]; accordion player Johnny O’Leary (Sliabh Luachra region) [Moylan]; set dance music recorded at Na Píobairí Uilleann, mid-1980’s [Taylor]. Breathnach (CRÉ III), 1985; No. 42, pg. 21. Moylan (Johnny O’Leary), 1994; No. 103, pg. 60. Taylor (Music for the Sets: Yellow Book), 1995; pg. 35. Claddagh Records CC5, Denis Murphy & Julia Clifford ‑ "The Star Above the Garter" (1969). Gael-Linn CEF132, Johnny O’Leary - “An Calmfhear/The Trooper” (1989. Appears as second tune of “Sleamhnain Chrosaire an Chaireil”). RTE CD174, “The Sliabh Luachra Fiddle Master Padraig O’Keeffe.”

 

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 (Baltimore) [Taylor/Tweed].

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 (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 198, pg. 77. Shanachie 79064, Matt Molloy – “Heathery Breeze” (1999).

                       

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. Canada, Cape Breton. D Major. Standard tuning. AA'BB'. Composed by fiddler and instrument maker Otis Tomas, who lives near Goose Cove, Saint Ann's Bay, Cape Breton. Cook (Night in the Kitchen Collection), 1996; pg. 14.

                       

HARE’S EAR. American, Jig. Composed by New England fiddler Frank Ferrel. The Hare’s Ear is a favorite New England trout fly. Flying Fish 70572, Frank Ferrel - “Yankee Dreams: ‘Wicked Good Fiddling from New England’” (1990).

                       

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. ABA(Vocal)CDEF(Vocal)A. Raymond Francois (1990) notes green snapbeans are very bland and need to be salted to be palatable. The song gave its name to Zydeco music, the hybrid of Cajun and Rhythm and Blues music, as 'zydeco' is a phonetic spelling of 'les haricots'. Related songs include "Les Huppes Taiauts" and Clifton Chernier's "Zydeco Est Pas Sale." Source for notated version: Aldus Roger (La.) [Francois]. Francois (Yé Yaille Chère!), 1990; pgs. 160-162. Arhoolie CD445, Alphonse “Bois Sec” Ardoin with Canray Fontenot - “La Musique Creole.” La Louisiane Records LL-LP114, Aldus Roger. Rounder CD0364, Tracey Shwarz - “The Marimac Anthology: Deep in Old-Time Music.” 

                       

HARK I HEAR. Irish, Air (4/4 time). Ireland, Tyrone & Kilkenny. E Flat Major. Standard tuning. AB. “The soldier’s song” (Petrie). Source for notated version: “From the Revd. J. Meaze” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 772, pg. 193.

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 | FG AB c2 B>B |

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.”

                       

HARLEM. Canadian, Reel. Canada, Cape Breton. F Major. Standard tuning. AB. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 37.

                       

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 Munster Trio.”

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]" (Pa.). Irish, Hornpipe. D Major. Standard tuning. AABB. Similarities perhaps to “The Derry Hornpipe.” Cole (1000 Fiddle Tunes) 1940; pg. 115. Ryan’s Mammoth Collection, 1883; pg. 154.

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. England, Dorset. C Major. Standard tuning. AABB. Trim (Thomas Hardy), 1990; No. 16.

           

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 (Leeds, west Yorkshire) [Callaghan]. Callaghan (Hardcore English), 2007; pg. 37.

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 Trossingen, Germany. The title may also refer to the glass harmonica, an instrument credited to Irish musician Richard Puckeridge who performed in London on a set of upright goblets filled with varying amounts of water. Benjamin Franklin perfected a mechanical version of the instrument that he called the armonica. Kerr (Merry Melodies), vol. 1; No. 19, pg. 29.

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. England, Northumberland. A Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 3; No. 486.

 

HARMONY [1]. Texas Swing; Breakdown. USA, Texas. G Major ('A', 'B' and 'D' parts) & C Major ('C' part). Standard tuning. AABBCCD. Recorded by Texas swing fiddler Bob Wills in 1935. Source for notated version: Bob Wills (Texas) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 62.

 

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

K:G

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 TARA'S HALLS, THE. AKA and see "Grad Mo Croide," "Gramachree," "Molly Asthore," "Will you go to Flanders," "Little Molly O!" Irish, Air; English, March; Scottish, Guaracha Waltz. D Major (Roche): G Major (Kerr). Standard tuning. One part (Kerr): AB (Roche). An air used (under another title) as a British march during the (American) Revolutionary War period, and later a famous song (under the above title) set to the old air by Thomas Moore in 1807. Kerr (Merry Melodies), vol. 3; No. 311, pg. 34. Roche Collection, 1983, vol. 1; No. 28, pg. 15.

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 Harrison and Wall music manuscript from the village of Ashover, Derbyshire, dated 1762-75. It can be found in print in Charles and Samuel Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, c. 1773, pg. 98), and, under the title “Harper’s Fancy,” in James Aird’s Selection of Scotch, English, Irish and Foreign Airs, vol. 3 (Glasgow, 1788). “Harper’s Frolick” also appears in Norwich, Connecticut, musicians John and William Pitt Turner’s commonplace music book of 1788 (Connecticut Historical Society)—they included several tunes from the Thompson’s 1773 volume in their manuscript, so must have had access to the printed work. American printer Thomas Balls (Norfalk) included the tune in his Gentleman’s Amusement Book 1 (1815), probably copied from Aird, for he uses the title “Harper’s Fancy.” The tune has developed from the original in the ‘folk process’ of modern playing, and is often nowadays considered a polka, although of course it predates the polka form. Callaghan (Hardcore English), 2007; pg. 37. Carlin (Master Collection), 1984; No. 1, pg. 15. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 20. Topic 12TS382, New Victory Band ‑ "One More Dance & Then" (1978). Topic TSCD 752, New Victory Band – “Stepping Up” (2004. Compilation CD).

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 Ireland (1903), No. 1839

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 Highland Vocal Airs, with Country Dances (Edinburgh, 1784) [Miller]. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 10. Miller (Fiddler’s Throne), 2004; No. 167, pg. 106.

                                   

HARRIS NO. 4. See “Tiffany’s Fancy.”

                       


HARRISON CITY. AKA and see "Bunker Hill [1]," "'A' Drag," "Huntsman's Chorus." American, March (2/4 time). USA, southwestern Pa. D Major. Standard tuning. AABB. The tune is a folk processing of "The Huntsman's Chorus" which opens the third act of von Weber's opera 'Der Freishutz' (1821). Bayard (1981) says it was a staple of Pennsylvania martial bands. Under the title "Huntsman's Chorus" it attained popularity and appears in several British Isles collections for the fiddle. Source for notated version: Clements MS (No. 6) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 322D, pg. 282.

                       

HARRISON'S CELEBRATED REEL. American, Reel. A Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 32. Ryan’s Mammoth Collection, 1883; pg. 57.

X:1

T:Harrison’s Celebrated Reel

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 :|

                       

HARRISON'S GRAND MARCH. AKA and see "Will Rarie Old March [2]." American, March. Howe (Diamond School for the Violin), 1861; pg. 26.

                       

HARROGATE LODGE. AKA and see "The Merry Girls of York." English, Country Dance Tune (6/8 time). The melody appears under this title in Hodsall's Country Dances for 1810, though it earlier appears in Alexander McGlashan's "A Collection of Scots' Measures, Hornpipes &c." (Edinburgh, c. 1780) as "The Merry Girls of York."

                       

HARROGATE QUADRILLE. English, Country Dance Tune (2/4 time). England, Yorkshire. C Major. Standard tuning. AABB. Harrogate is the name of a Yorkshire town. Source for notated version: an MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 120, pg. 64.

                       

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 New York appearance at the American Theatre, and remained there one year. In May, 1866,

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. USA, southwestern Pa. G Major. Standard tuning (fiddle). AB. "A set of this (probably Irish) tune is in O'Neill's Irish Music, No. 363. The first part, under various names, and joined to different second strains, must have been fairly widespread in fiddling tradition. Tunes of which the first part equals are DeVille, No. 90; Hardings Original Collection, No. 151; Seventy Good Old Dances, No 9, p. 35; Cole (1000 Fiddle Tunes), p. 41 'The Land League', p. 91, 'Jim Clark's Hornpipe', p. 108, 'Morpeth Hornpipe'" (Bayard). Bayard's (1981) untitled reel (No. 57, p. 40) is close to this. Source for notated version: Irvin Yaugher (Mt. Independence, Pennsylvania, 1943; learned from his great‑uncle) [Bayard]. Bayard (Hill Country Tunes), 1944; No. 32.

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. England, East Anglia. G Major. Standard tuning (fiddle). AABB. Source for notated version: singer and melodeon player Harry Cox (Catfield, Norfolk, d. 1971) [Callaghan]. Callaghan (Hardcore English), 2007; pg. 88. Raven (English Country Dance Tunes), 1984; p. 155. Old Hat Records OH-1, Old Hat Band - "The Old Hat Concert Party.” Veteran VTVS05/06, Harry Cox (et al) – “Melodeon Players from East Anglia.”   

X:1

T:Harry Cox’s Schottische

M:4/4

L:1/8

R:Schottische

K:G

d2 (3dcB A2G2|E>AA>G F>E D2|d2 (3dcB A2G2|E<AG>F G2G2:|

|: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 Dartmoor 1952-1988” ().

                       

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 Hanover slashes' [referring to the area where he was raised in Virginia, near Richmond; a low, swampy area commonly known as the slashes; Clay moved to Kentucky in 1797 at the age of 20].  He resembled many other Kentucky politicians in that they 'owed not a little of their great personal popularity to the fact that they were skilful players on the fiddle.'  At the end of one festive evening, enlivened by many bottles and much fiddle playing, Clay brought the merrymaking to a smashing end when he set aside his fiddle and engaged in 'a grand Terpsichorean performance...executing a pas seul from head to foot of a dining table, sixty feet in length ... to the crashing accompaniment of shivered glass and china' while his companions laughed and applauded and cheered him on." Rice believes that  the “Harry of the West” tune Thomasson played very likely has some association with Henry Clay, and thinks it may have a mid-1800s vintage. Source for notated version: transcribed by John Hartford from the playing of Texas-style fiddler Benny Thomasson [Fiddler Magazine]. Fiddler Magazine, vol. 5, No. 2 (Summer 1998); pg. 37.

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 County Wexford gentleman piper of the early-mid 1700's. See note for “Groom.” Source for notated version: John Carey, a native of Limerick [O’Neill]. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 148, pg. 85. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 816, pg. 152. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 3, pg. 17. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 5 (the lead to the third part was learned from concertina player Marian Gill in London).

X:1

T:Hartigan’s Fancy

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 3.

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. Canada, Cape Breton. B Flat Major. Standard tuning. AB. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 10.

           


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). England, North‑West. A Dorian. Standard tuning. AABB. A modern composition by Ian McGrady. Knowles (Northern Frisk), 1988; No. 146.

           

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 Ireland: 1001 Gems), 1907/1986; No. 665, pg. 119.

X:1

T:Harvest Field, The

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 665

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." British Isles, America; Hornpipe. USA; New England, New York, Ohio. D Major. Standard tuning. AAB (Martin): AA’B (Mitchell): AABB (most versions): AABB' (Hardie): AA’BB’ (O’Malley): AABC (Kerr). In Ohio this tune goes under the name "Cincinnati Hornpipe," as well as by any sources who learned it from Ryan’s Mammoth Collection. Irish sources call it the “Cork Hornpipe.” See also the related “Higgin’s Hornpipe” and other titles above for more-or-less related melodies. “Harvest Home” is often paired with “The Boys of Bluehill” by Irish musicians. Ciaran Carson, in his book Last Night’s Fun (1996), describes a late-summer’s night playing out-of-doors with a group in Garrison, on the Leitrim/Fermanagh border. They are rather quietly and politely listened to until someone calls for “Harvest Home,” and when the tune is played two old souls emerge from different parts of the crowd into the space before the stage and begin to dance:

***

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 America the tune was known since at least the 1840’s. It appears as an untitled hornpipe (in the key of A major) on a page of the music manuscripts of Setauket, Long Island, painter and fiddler William Sydney Mount (1807-1868), along with “Roscommons Hornpipe” and an untitled country dance (ms. at the Long Island Museum).

***

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 British Isles a ‘Harvest Home’ was synonymous with a community dance, similar to what New Englanders might call a ‘Kitchen Junket.’ In English sessions, however, “Harvest Home” is considered to be somewhat of a ‘beginner’s tune’. Kieth Chandler, in his essay “Musicians in 19th Century Southern England” (General Introduction, part 3), finds reference to such an event in a private house at Swalcliffe Park, Oxfordshire, the residence of Henry Norris, probably in the late 19th century:

***

…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 Ireland).

***

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 Ireland: 1001 Gems), 1986; No. 847, pg. 146. Phillips (Fiddlecase Tunebook), 1989; pg. 24. Raven (English Country Dance Tunes), 1984; pg. 168. Skinner (The Scottish Violinist), pg. 44. Skinner (Harp and Claymore), 1904; pgs. 130-131. Stewart-Robertson (The Athole Collection), 1884; pg. 298. Sweet (Fifer's Delight); No. or pg. 73. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 11. BEJOCD-28, The Mellstock Band – “The Dance at the Phoenix: Village Band Music from Hardy’s Wessex and Beyond.” Claddagh 4CC 39, “The Pipering of Willie Clancy Vol. 2” (1983). Copeley DWL‑9‑617, Jack Wade‑ "Ceili Music From Ireland." Front Hall 01, Fennigs All Stars‑ "The Hammered Dulcimer.” Rounder CD-1087, Neil O’Boyle – “From Galway to Dublin” (1992. Reissue of 1937 original). RTE, Elizabeth Crotty – “Concertina Music from West Clare.” Sonet 1031, Sean McGuire‑ "Ireland's Champion Traditonal Fiddler." Sonet 764, Dave Swarbrick and Friends‑ "The Ceilidh Album." “Pibroch MacKenzie, The Mull Fiddler” (1969).

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 Mississippi fiddlers to record in the 78 RPM era. It is said he taught Mississippi fiddling great Willie Narmour to play. Howe (Complete Preceptor for the Accordeon), 1843; pg. 21. Document 8028, Gene Clardy & Stan Clements – “Mississippi String Bands, Vol. 2” (reissue).

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. Ireland, County Donegal. G Major/Mixolydian. Standard tuning (fiddle). ABB. The tune is a G major version of the tune also known as “Sporting Paddy [1]” and “Irish Pat.” Source for notated version: fiddler Simon Doherty (County Donegal) [Feldman & O’Doherty]. Feldman & O’Doherty (The Northern Fiddler), 1979; p. 103.

 

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 Brooklyn.”

X:1

T:Paddy O'Brien's (Reel) [2]

T:Harvest Moon [2]

T:Hanly’s Tweed

C:Paddy O'Brien

H:Mike played it following the Tara reel

D:Martin Connolly "Back to Brooklyn"

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 BedB Az (3Bcd||

|: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, Raleigh, NC

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 County Tipperary fiddler Seán Ryan (d. 1985). Ryan (Seán Ryan’s Dream), 26.

           

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.

 

HARVEY, THE. Canadian, Jig. D Major. Standard tuning. AABB. Messer (Way Down East), 1948; No. 79. Parts of this tune are equivalent to several Pennsylvania collected untitled quadrilles that appear grouped together in Bayard (1981, Nos. 527‑530, pgs. 472‑474), and the first part of "Rolling Off a Log" (Cole). Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 137, pg. 88.

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. Canada, Cape Breton. A Major. Standard tuning. AABB’. Composed by the late Cape Breton fiddler and composer Jerry Holland (1955-2009) in honor of New Hampshire Cape Breton-style fiddler Harvey Tolman, “a friend of my father and then became a friend of mine.” Cranford (Jerry Holland: The Second Collection), 2000; No. 220, pg. 82. Odyssey ORCS 1051, Jerry Holland – “Fiddler’s Choice” (1998).

                       

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.