The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

HAS - HAZ

[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] 

HAS SORROW THY YOUNG DAYS SHADED? [1]. AKA and see “Sly Patrick.” Irish, Air (3/4 time). B Flat Major. Standard tuning (fiddle). ABB. The title comes from a song by Thomas Moore set to the tune of a piece called “Sly Patrick.” It appears in his Irish Melodies, vol. 6, and begins:

***

Has sorrow thy young days shaded,
As clouds o'er the morning fleet?
Too fast have those young days faded
That, even in sorrow, were sweet?
Does Time with his cold wing wither
Each feeling that once was dear?
Then, child of misfortune, come hither,
I'll weep with thee, tear for tear.

***

Roche Collection, 1983, vol. 3; No. 44, p. 12.

X:1

T:Sly Patrick

M:6/8

L:1/8

R:Air

N:”Tenderly”

S:O’Neill – Music of Ireland (1903), No. 85

Z:AK/Fiddler’s Companion

K:G

G/A/|B>AG AGE|D3 E2G|GAB c2B|A3 A2G/A/|

B>AG AGE|D3 E2G|G>AB BA>G|G3G2||G|B>cd def|g3 f2e|

edB {Bc}BAG|A3 A2G/A/|B>AG AGE|D3 E2G|G>AB {B}AGG|G3G2||

 

HAS SORROW THY YOUNG DAYS SHADED? [2].  AKA and see “Farewell to the Cot on the Mountain.” Irish, Air (9/8 time). G Major. Standard tuning (fiddle). AB. "Sung with Moore's song of that name. I have already remarked that when the people took to the words of a song without being able to procure the proper air, they often sang it to some suitable old air familiar to them" (Joyce). Source for notated version: Mr. J. Snowe, Cork (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 665, p. 333.

                       

HASBERRY HOWARD. Scottish, Hornpipe. G Major. Standard tuning (fiddle). ABB. Skinner (The Scottish Violinist), p. 45.

                       

HASILS’. AKA and see “Captain Pugwash,” “Trumpet Hornpipe [2].” English, Hornpipe. B Flat Major. Standard tuning (fiddle). AAB.  Jamie Knowles (1993) identifies this as a “Saddleworth version of what is arguably the most well-known fiddle tune in the world.” He gives its provenance as Scottish. Source for notated version:  the music manuscript of Joseph Kershaw, a musician from Slackcote, Saddleworth, North West England who began his entries around the year 1820 [Kershaw]. Joseph Kershaw Manuscript, 1993; No. 72.

                       


HASLAM'S HORNPIPE. Scottish, Hornpipe. E Major. Standard tuning (fiddle). AA'B. Hardie (Fiddle Music of Scotland), 1992; p. 98. Henderson (Flowers of Scottish Melody), 1935. Kohler, Violin Respository.

                       

HASTE TO THE WEDDING [1] (Brostuig Go Dti An Posad). AKA and see “Carrickfergus [1],” "Come, Haste to the Wedding," "Rural Felictiy," "The Long Eight," "Perry's Victory" (American), "Footprints," "Granny Plays the Fiddle," "Trip to the Dargle," "A Trip to the Gargle," "Let Brainspinning Swains," "The Small Pin Cushion." British Isles, New England, American, Canadian, Old‑Time (fiddlers in the Appalachians seldom knew or played jigs ‑ when they did this tune was one of the most frequently played.); Jig, Country Dance, Long Dance (Irish), Morris Dance Tune, or Quadrille (meaning 6/8 tunes from Midwestern USA). D Major (most versions): C Major (Harding's, Sharp): F Major (Bacon‑Adderbury): G Major (Bacon‑Brackley): A Major (Cranford). Standard tuning. AB (Bacon‑Adderbury, Bayard, Harding, Kerr): ABB, x4 (Bacon, Mallinson): AABB (most versions): AA’BB’ (Cranford): ABCD (Bayard {Marr}). "The tune 'Come, Haste to the Wedding,' of Gaelic origin, was introduced in the pantomime, The Elopement, staged in London in 1767. This version is known as the Manx tune and was printed by the Percy Society in 1846. It is the basis of the Manx ballad, 'The Capture of Carrickfergusby,' written by Thurot in 1760" (Linscott, 1939). Samuel Bayard (1944, 1981) comments on the popularity of the air over the past two centuries as well as the tenacity of the main title to stick with the tune. When Chappell printed his well‑known set in National English Airs (1840, I, No. 163; notes, II, 129; reprinted in JEFDSS, III, 210.), he traced the tune to the year 1767, when it was used in pantomime, to a song beginning 'Come, haste to the wedding, ye friends and ye neighbors!' This version of the air, continues Bayard, is still the earliest known, and it may be that the popularity of the song occasioned the fixed quality of the title. In his 1944 work Bayard posses the question as to whether the words were included in the original pantomime as a result of its associations, or whether the later uses of the tune secured it.

***

If it at first achieved popularity as a stage piece, it was soon after quickly disseminated, entering folk tradition. Chappell noted that the tune was "more frequently to be heard upon the chimes of country churches than any other, and usually played when a wedding is about to take place." Caoimhin Mac Aoidh (1994) reports that in County Donegal tradition a bride was ‘hauled’ (marched) from her house to the chapel along with her family and guests, led by a fiddler playing this tune. Morris dancers picked up the melody and morris dance versions have been collected from the villages of Adderbury (Oxfordshiere), Brackley (Northamptonshire), and Headington (Oxfordshire) in England's Cotswolds. The author of English Folk-Song and Dance found the melody in the repertoire of fiddler William Tilbury (who lived at Pitch Place, midway between Churt and Tilbury in Surrey), who used, in younger days, to play at village dances. Tilbury learned his repertoire from an uncle, Fiddler Hammond, who died around 1870 and who had been the village fiddler before him. The conclusion was that “Haste to the Wedding” and other country dance tune of similar type had survived in English tradition (at least in southwest Surrey) well into the second half of the 19th century. In northern Ireland “Haste” is often the first tune played in a set (along with “Leslie’s Hornpipe” and “The German Beau”) for the set dance The Three Tunes, which dates to the ceili dance revival of the 1930’s. Dance instructions are printed by Keegan (2002).

***

In America the piece also has a long history. “Haste” appears in late 18th century music copybooks such as those of Captain George Bush and Henry Livingston. The latter purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 he was a Major in the 3rd New York Regiment, which participated in Montgomery’s invasion of Canada in a failed attempt to wrest Montreal from British control. An important land-owner in the Hudson Valley, and a member of the powerful Livingston family, Henry was also a surveyor and real estate speculator, an illustrator and map-maker, and a Justice of the Peace for Dutchess County. He was also a poet and musician, and presumably a dancer, as he was elected a Manager for the New York Assembly’s dancing season of 1774-1775, along with his 3rd cousin, John Jay, later U.S. Chief Justice of Governor of New York. It was printed by Howe in his Musician’s Omnibus of 1850, and in his School for the Fife in 1851. Burchenal published it under the title "Green Mountain Volunteers" along with a New England contra dance by the same name. It was recorded for the Library of Congress by musicologist/folklorist Vance Randolph from Ozark Mountain fiddlers in the early 1940's, and also was recorded by Herbert Halpert for the same institution in 1939 from the playing of a Lauderdale County, Mississippi, fiddler named Stephen B. Tucker. The title appears in a list of Maine fiddler Mellie Dunham's repertoire (the elderly Dunham was Henry Ford's champion fiddler in the late 1920's) and it was a favorite dance tune in western New York at the turn of the century (according to Bronner's source, Milo Kouf). As "Hasten to the Wedding" it was mentioned in an account of a fiddlers' convention at the Pike County Fairgrounds in the Troy Herald of July 6th, 1926. Winston Wilkinson (“Virginia Dance Tunes,” Southern Folklore Quarterly, VI, 1, March, 1942) calls it “one of the best-loved tunes in Virginia.” He collected it from Albermarle County fiddler James H. “Uncle Jim” Chisholm, who had played it and other tunes in the 1930’s at the White House for President and Mrs. Roosevelt.

***

The following passage is from A Contribution to the History of the Huguenots of South Carolina (1887) by Samuel Dubose and Frederick Porcher. It describes a country dance in Craven County, South Carolina in the early 1800’s:

***

Nothing can be imagined more simple or more fascinating that those Pineville balls.

Bear in mind, reader, that we are discussing old Pineville as it existed prior to 1836.

No love of display governed the preparations; no vain attempt to outshine a com-

petitor in the world of fashion. Refreshments were provided of the simplest character,

such only as the unusual exercise, and sitting beyond the usual hours of repose, would

fairly warrant. Nothing to tempt the pampered appetite. Cards were usually provided

to keep the elderly gentlemen quite, and the music was only that which the gentlemen’s

servants could produce. The company assembled early. No one ever though of

waiting until bedtime to dress for the ball; a country-dance always commenced the

entertainment. The lady who stood at the head of the dancers was entitled to call for

the figure, and the old airs, Ca Ira, Moneymusk, Haste to the Wedding, and La Belle

Catharine were popular and familiar in Pineville long after they had been forgotten, as

dances, everywhere else.

***

An odd alternate title called "A Trip to the Gargle" appears in O'Neill's 1001 Gems  (probably a corruption of "A Trip to the Dargle") while as “Carrickfergus” it appears in Brysson’s A Curious Selection of Favourite Tunes with Variations to which is appended Fifty Favourite Irish Airs (Edinburgh, 1790). The classical composer Camille Saint Saens used “Haste to the Wedding” in his opera Henry VIII, and John Powell employed a variant he collected from Mrs. John Hunter, a Virginia fiddler, in the last movement of his symphonic composition Set of Three (Wilkinson). The English novelist Thomas Hardy, himself an accordion player and fiddler, mentions “Haste to the Wedding” in Under the Greenwood Tree, as one of the tunes the wedding-guests danced to after the marriage of Dick and Fancy.

***

Sources for notated versions: Bob Walters (Burt County, Nebraska) [Christeson]: Smith Paine (Wolfeboro, N.H.) [Linscott, 1939]: Candace Woltz [Phillips]: Emery Martin, Dunbar, Pennslyvania, October 14, 1943 (learned from his father) [Bayard]; Milo Jouf, 1877 (New York State; learned from his father) [Bronner]; James Marr (elderly fidder from Missouri, 1949), and 21 southwestern Pa. fiddlers and fifers [Bayard]; Mrs. Ben Scott (Turlock, California) [Kaufman]; Blackwell via Dr. Kenworthy Schofield [Bacon]; Jehile Kirkhuff (Pa.) [Phillips/1995]; fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]; the music manuscript of Captain George Bush (1753?-1797), a fiddler and officer in the Continental Army during the American Revolution [Keller]; the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Adam, No. 15. Allan's Irish Fiddler, No. 15, pg. 5. The American Veteran Fifer, 1927; No. 49. Bacon (The Morris Ring), 1974; pgs. 12, 107, 189. Bayard (Hill Country Tunes), 1944; No. 22. Bayard (Dance to the Fiddle), 1981; Appendix No. 33, pgs. 585‑586, and No. 447, pgs. 420‑428. Begin (Fiddle Music from the Ottawa Valley: Dawson Girdwood), 1985; No. 61, pg. 70. Brody (Fiddler’s Fakebook), 1983; pg. 131. R.P. Bronner (Old Tyme Music Makers of New York State), 1987; No. 1, pg. 10. Burchenal (Rinnci na h‑Eireann), pg. 104. Burchenal (American Country Dances, vol. 1), 1918; pg. 42. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; pg. 121. Cole (1000 Fiddle Tunes), 1940; pg. 53. Cranford (Jerry Holland’s), 1995; No. 198, pg. 57. DeVille, No. 61. Ford (Traditional Music in America), 1940; pg. 53. Giblin (Collection of Traditional Irish Dance Music), 1928; 93. Hardings All Round Collection, 1905; No. 190, pg. 60. Hardings Original Collection, 1928; No. 8. Jarman (The Cornhuskers Book of Square Dance Tunes), 1944; pg. 13. JEFDSS, III, 208 (from a fiddler's book formerly the property of Thomas Hardy's father), 210 (see Bayard's note). JFSS, VIII, 220, 221 (a Manx vocal set). Jigs and Reels, pg. 22. S. Johnson (The Kitchen Musician No. 4: Collection of Fine Tunes), 1983 (revised 1991, 2001); pg. 3. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 8 (altered version appearing as "The Long Eight"). Kaufman (Beginning Old Time Fiddle), 1977; pg. 46. Keegan (The Keegan Tunes), 2002; pg. 111. Keller (Fiddle Tunes from the American Revolution), 1992; pg. 21. Kennedy (Fiddlers Tune Book), vol. 1, 1951; No. 81, pg. 40. Kerr (Merry Melodies), vol. 1; No. 4, pg. 27. Krassen (Appalachian Fiddle), 1973; pg. 86. Linscott (Folk Songs of Old New England), 1939; pg. 88 (appears as "Come, Haste to the Wedding"). MacDonald (The Skye Collection), 1887; pg. 168. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 30. Mulvihill (1st Collection), 1986; No. 19, pg. 122. O'Neill (Krassen), 1976; pg. 49. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 987, pg. 184. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 203, pg. 48. Phillips (Fiddlecase Tunebook), 1989; pg. 25. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 367. Raven (English Country Dance Tunes), 1984; pg. 102. Robbins, No. 5. Roche Collection, 1983, vol. 2; No. 291, pg. 37 (listed as a Long Dance). Ruth (Pioneer Western Folk Tunes), 1948; No. 5, pg. 4. Ryan’s Mammoth Collection, 1883; pg. 83. Saar, No. 44. Seventy Good Old Dances, pg. 6, No. 6. Sharp and Macilwaine, Morris Dance Tunes, pgs. 10‑11 (as a handkerchief dance). Sharp (Country Dance Tunes), 1909/1994; pg. 10. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 60. Southern Folklore Quarterly, VI, pg. 8 (Wilkinson- “Virginia Dance Tunes”). Spandaro (10 Cents a Dance), 1980; pg. 45. Stewart-Robertson (The Athole Collection), 1884; pg. 145. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 67. Sweet (Fifer’s Delight), 1965/1981; pg. 24. Thomas and Leeder (The Singin’ Gatherin’), 1939; pg. 63 (appears as a waltz, "Footprints"). Trim (Thomas Hardy), 1990; No. 1. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 30. White's Excelsior Collection, 1907; pg. 76. Antilles (Island) AN-7003, Kirkpatrick & Hutchings - "The Compleat Dancing Master" (1974). BEJOCD-28, The Mellstock Band – “The Dance at Pheonix: Village Band Music from Hardy’s Wessex and Beyond” (version from Oxfordshire concertina player William Kimber).  Edison 50653 (78 RPM), John H. Kimmel (accordion player from N.Y.C.), 1920. F&W Records 4, "The Canterbury Country Orchestra Meets the F&W String Band." Folkways FG 3531, Jean Carignan‑ "Old Time Fiddle Tunes." Folkways 8826, Per's Four‑‑"Jigs and Reels." Front Hall 01, Fennigs All Stars‑ "The Hammered Dulcimer." Gennett 6088 (78 RPM), Uncle Steve Hubbard and His Boys (New England?), c. 1928. June Appal JA 029, Guy Carawan ‑ "Jubilee" (1979). Library of Congress AFS L62, Stephen Tucker (b. 1858, Mississippi) – "American Fiddle Tunes." North Star NS0038, "The Village Green: Dance Music of Old Sturbridge Village." Rounder Records, “Jerry Holland” (1976). PearlMae Muisc 004-2, Jim Taylor – “The Civil War Collection” (1996). Rounder 18964-1518-2, Various Artists (Stephen Tucker) – “American Fiddle Tunes” (a reissue of the 1971 Library of Congress LP of field recordings). Rounder CD1518, Various Performers – “American Fiddle Tunes” (1971. Played by Mrs. Ben Scott on fiddle and Myrtle B. Wilkinson on banjo). Victor 19940 (78 RPM), Mellie Dunham, 1926 (appears under the title "Mountain Rangers"). Voyager VRCD 344, Howard Marshall & John Williams – “Fiddling Missouri” (1999. Learned from Missouri fiddling tradition).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

Alan Ng’s Irishtune.info

X:1

T:Haste to the Wedding

M:6/8

L:1/8

R:Jig

B:Sharp – Morris Dance Tunes

Z:AK/Fiddler’s Companion

K:D

DFA A2f|ede fdB|ABA AGF|GFG E2F|DFA A2f|ede fdB|AFA faf|ded d3:|

|:afa agf|gfg bag|fga agf|gfg efg|a3 f3|ede fdB|AFA faf|ded d3:|

X:2

T:Haste to the Wedding

M:6/8

L:1/8

K:D

DFA A2f|ede fdB|ABA AGF|GFG E2F|DFA A2f|ede fdB|AFA faf|ded d3:|

|:afa agf|gfg bag|fga agf|gfg efg|a3 f3|ede fdB|AFA faf|ded d3:|

X:3

T:Haste to the Wedding

M:6/8

L:1/8

R:Jig

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

Z:AK/Fiddler’s Companion

K:D

B|AFA Aaf|ede fdB|AFA AdF|EFE E2A|AFA Aaf|ede fdB|AFA faf|ddd d2:|

|:f/g/|faf faf|bgb bgb|afa agf|efe e2f/g/|a3 f3|ede fdB|AFA faf|ded d2:|

 

HASTE TO THE WEDDING [2]. AKA and see "The Irish Washerwoman."

           

HASTLE THE CALLER. A modern ‘old-time’ composition by Hank Bradley.

           

HASTTON’S HORNPIPE.  English, Hornpipe. D Major. Standard tuning. AABB. The melody appears under this title in the music manuscript copybook of fiddler John Burks, dated 1821. Unfortunately, nothing is known of Burks, but he may have been from the north of England. The melody is an early version of “Morning Fair,” “Texarkana Hornpipe.” printed in Ryan’s Mammoth Collection (1883) and of “Tomorrow Morning,” printed in O’Neill’s Music of Ireland (1903). See also “Manchester Hornpipe [1],” “Pigeon on the Gate [7],” “Rickett’s Hornpipe” and “Yarmouth Hornpipe.” (see note for “Morning Fair” for discussion).

 

hATA-FEATAN DIARMADA. AKA and see "Jerry's Beaver Hat."

           

HATHAWAY TWO-STEP. Cajun, Two-Step (4/4 time). USA, Louisiana. A Major. Standard tuning. One part. An instrumental named after Hathaway, Louisiana, situated eight miles north of Jennings. A related song is Merlin Fontenot's "Pas de Deux Babineaux."  Francois (Yé Yaille, Chère!), 1990; pg. 163.

           

HATHAWAY'S HORNPIPE. Old‑Time, Hornpipe. A Major ('A' part) & E Major ('B' part). Standard tuning. AABB. Composed by Ira Hathaway. The Devil's Box.

           


HATTER FROM NENAGH, THE. Irish, Double Jig. D Mixolydian. Standard tuning. AABB. Roche Collection, 1983, vol. 3; No. 93, pg. 28.

           

HATTER'S HORNPIPE, THE. AKA and see "O'Mahony's Hornpipe," "Prend(i)ville's Hornpipe." Irish, Hornpipe. D Major. Standard tuning. AABB. O'Neill (O’Neill’s Irish Music), 1915; No. 372, pg. 179.

X:1

T:Hatter’s Hornpipe

M:4/4

L:1/8

R:Hornpipe

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

Z:AK/Fiddler’s Companion

K:D

AG | FGEF D2 de | fefd B2 AG | FAdc BAGF | G2 EE E2 AG | FGEF D2 de | fefd B2 AG |

FAdB AFEF | D2 DD D2 :: ed | cABc dfed | cdec ABAG | FAdc BAGF | E2 EE E2 AG |

FGEF D2 de | fefd B2 AG | FAdB AFEF | D2 DD D2 :|

           

HATTON BURN. AKA and see “Cooleen Bridge,” "Tarbolton Lodge,” “Tarbolton Reel." Scottish, Reel. E Minor. Standard tuning. AB. MacDonald (The Skye Collection), 1887; pg. 75.

X:1

T:Hatton Burn

T:Tarbolton Lodge

M:C

L:1/8

R:Reel

S:MacDonald – Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:Emin

F|Eee^d e2 (BA)|GBAF GEEF|Ddd^c d2 (AG)|FdAG FDDF|Eee^d efga|

fedf eBBA|GABG FGAF|BGAF GEE||f|gfef gebe gebe geef|defg adfd|

ABAG FDDF|G2 BG F2AF|Eeef gefd|BcdB AGFA|BGAF GEE||

           

HATTON OF BUCHROMB'S REEL. Scottish, Reel. F Minor. Standard tuning. AAB. Composed by William Marshall (1748-1833). “Hatton of Buchromb” was the name of a farm in the possession of a friend of Marshall’s, Mr. Shearer. It was situated on a hillside above the River Fiddich, with views to Ben Aigan (Cowie, The Life and Times of William Marshall, 1999). Hardie (Merry Melodies), 1992; pg. 104. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 29.

X:1

T:Hatton of Buchromb’s Reel

M:C|

L:1/8

S:Marshall1822 Collection

Z:AK/Fiddler’s Companion

K:Fmin

=E|Fff=d eEGB|Fffe c=def|gef=d eEGB|cABG F2 F:|

g|afcf eEGg|afcf =efcf|c=def gEGB|cABG F2 Fg|afcf eEGg|

afcf =efcf|gabg eEGB|cABG F2F||

           

HATTON REEL. Scottish, Reel. The melody appears in the Drummond Castle Manuscript, 1734, in the possession of the Earl of Ancaster at Drummond Castle. It is inscribed "A Collection of the best Highland Reels written by David Young, W.M. & Accomptant."

 

HAUD AWA' FRAE ME DONALD. AKA and see “The Lasses Fashion.” Scottish, Strathspey. E Minor. Standard tuning. AABB'. Kerr (Merry Melodies), vol. 3; No. 71, pg. 10.

X:1

T:Haud Awa’ Frae Me Donald

M:C

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 3, No. 71  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:Emin

G<(E G2) (D<B,)D2|(G<E) G<A B2 (A<B)|(G<E)G2 (D<B,)D2|(G<E) G>A B2 (A<G):|

|:A>Bd>e d<B A<G|A>Bd>e B2 (A<G)|A>Bd>e d<B A>B|1 (G<E) G>A B2 (A>G):|2 (G<E) G>A B2 (A<B)||

 

HAUD AWAY HAME. Scottish, Jig. D Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 4; No. 253, pg. 27.

X:1

T:Haud Away Hame

M:6/8

L:1/8

R:Jig

S:Kerr – Merry Melodies, vol. 4, No. 253  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

f | cfg f2e | faf ecA | cfe f2e | cBA f3 | cfg f2e | faf ecA | ABA Bcd | cBA f2 :|

|: d | cBA ABA | cBA Bcd | cBA ABc | cBc f3 | cBA ABA | cBA Bcd | cfa fed | cBA f2 :|

 

HAUD AWAY JACK. English. England, Northumberland. Title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800.

 

HAUD THE LASS TILL I COME AT HER.  AKA and see “Lads of Boot.” AKA – “Hold the Bonny Lass,” “Hod the Lass,” “Hod the Lass While I Run at Her,” “Ha’d the Lass Till I Win at Her.” Scottish, English; Reel. A Mixolydian (Bremner, Kennedy, Kerr): A Dorian (Vickers). Standard tuning. AABB. The title translates as “Hold the lass while I get on her,” ostensibly a direction given before attempting to mount a horse.  The title has a double-meaning, however, and the sexual content would not have been lost on anyone in the mid-18th century, according to David Johnson. John Glen (1891) finds the earliest printing of the tune in Robert Bremner's 1757 collection, and it also appears in the Gillespie Manuscript of Perth, 1768. The melody appears in the music manuscript copybooks of the Brown family of Troutbeck, in the old county of Westmoreland (now Cumbria), England. The early 19th century manuscripts were the work of several people and were collected ultimately from the Browne family before being deposited in the Armitt Library (now the Armitt Collection in Ambleside Museum, Cumbria). The tune also appears in the music manuscript collection of Northumbrian musician William Vickers, about whom little is known. Bremner (A Collection of Scots Reels), 1757; pg. 12. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 66, pg. 18. Kerr (Merry Melodies), vol. 4, No. 53, pg. 8. Wilson (Companion to the Ballroom), 1815; pg. 74. Big Chain BC103, Cooper & Bolton – “The Savage Hornpipe” (2006).  

X:1

T:Had the Lass till I winn at her

M:C|

L:1/8

R:Reel

S:Bremner – Scots Reels (1757)

Z:AK/Fiddler’s Companion

K:A Mix

A(ee)(g f)dec | A(ee)(B d)GdB | A(ee)(g f)def | g>edg BGdB :: Ag (f/g/a) (fd)ec |

Ag (f/g/a) G(B/c/ d)B | Ag (f/g/a) (fd)ef | g>edg  BGdB :|

X:2

T:Haud the Lass Till I Come at Her

M:C|

L:1/8

R:Reel

S:Kerr – Merry Melodies, vol. 4, No. 53  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:Amix

Aeeg fdec | AeeB dGdB | Aeeg fdef | gedg BGdB :|

|: A>g (f/g/a) fdec | A>g (f/g/a) GBdB | A>g (f/g/a) fdef | gedg BGdB :|

X:3

T:Had the lass tel I won at hir [sic]

M:C|

L:1/8

R:Reel

S:William Vickers’ music manuscripts, pg. 15  (1770)

Z:AK/Fiddler’s Companion

K:Ador

Aeeg fdec|Aeeg BGdB|Aeeg fdef|gedg BGdB:|

|:Ag fg/a/ fdec|Ag fg/a/ BGdB|Ag fg/a/ fdef|gedg BGdB:|

 

HAUGH’S JIG. AKA and see “The Rover’s Return,” “The Victor’s Return.” Irish, Jig. A Dorian. Standard tuning. AABB. Martin Mulvihill gives this jig as an accompaniment tune for the dance The Haymakers’ Jig. Mulvihill (1st Collection), 1986; No. 48, pg. 128.

 


HAUGHS O' CROMDALE, THE. AKA and see “Barrack Hill,” "Lady Catherine Stewart/Stuart," "Merry Maids Meeting," “Merry Maid’s Wedding,” “New Killiecrankie,” “O’Neill’s March,” “Scotch Mist” [3], “Sid mar chaidh n’ Cal a gholaigh” (That is How the Cabbage Was Boiled), “The Spilling of the Kale,” “Tralee Gaol.” Scottish, Canadian; Strathspey, Air or Polka. Canada; Cape Breton, Prince Edward Island. E Minor/Dorian (Dunlay & Greenberg/MacMaster, Martin, Perlman): A Dorian (Dunlay & Greenberg/Campbell): D Minor (Lowe, Surenne). Standard tuning. AB (Surenne): AAB (Honeyman): AABB (Athole, Dunlay & Greenberg/MacMaster, Emmerson, Kerr, Martin, Perlman, Skye): AA’BB’ (Dunlay & Greenberg/Campbell). ‘Haughs’ are the low-lying ground along a river, in this case the Cromdale. The melody is an example of a strathspey of the schottische structure, states Emmerson (1971); two accents to the bar {on the first and third beats of the measure} instead of one. Dunlay & Greenberg point out there are two main strains of the tune: both have similar ‘A’ parts, but the ‘B’ parts differ, one beginning on the tonic/I chord and one beginning on the VII chord. They speculate that the tune originally had only one part, as many ballads did, but that differing second turns were added to it later. John Glen (1891) finds the earliest printing of the tune in Angus Cumming's 1780 Scottish collection (A Collection of Strathspeys or Old Highland Reels, pg. 15), though it also appeared in print the same year in Alexander McGlashan’s Collection of Reels as “Merry Maid’s Wedding.” Creighton and Calum MacLeod (1979) find it earlier in Scotland in the Margaret Sinclair Manuscript (c. 1710) under the title “New Killiecrankie,” and Dunlay and Greenberg report it was said to be in an older manuscript under the title “Wat ye how the play began.”

***

A Scottish country dance also goes by the name of "Haughs of Cromdale," one of the relatively few that go in strathspey tempo.  Flett and Flett (1964) date the dance from sometime after 1855, the date of the introduction of the Highland Schottische, for Haughs incorporates the Highland Schottische's movements.  In the Dalbeattie district of Kirkcudbrightshire before 1914 the dance was very popular, according to an informant (Mrs. Margaret Patterson of Auchencairn) who danced it as a young girl.  Mrs. Patterson remembered the dance always was accompanied by a briskly played schottische such as "Kafoozalum," "Orange and Blue" or "Wha's a' the steer, kimmer."

***

Cromdale is a district in Strathspey, site of the battle of the Haughs of Cromdale in the 17th century. During the battle a piper in the routed Jacobite army under the inept General Buchan bravely attempted to rally his comrades. Though badly wounded, he clambered atop a rock and continued to play until he expired; the very rock can be seen today and is still named Clach a Phíobair, the Piper’s Stone (Collinson, 1975). Perhaps in memory of this feat of bravery, "Haughs of Cromdale" was one of the pipe tunes played by the British 92nd Regiment at the battle of Maya, 1813, which served to so inflame the Highlanders that they charged the French, who became so panic stricken at their audacity that they turned and ran (Winstock, 1970; pg. 139). David Glen (in his bagpipe Tutor) states the tune was the “charge and double post of the Gordon Highlanders.” Dunlay & Greenberg find the tune set as both a march and a strathspey in various bagpipe collections, including Logan’s Complete Tutor for the Bagpipes and The Scots Guards Collection (set as a four-part march).

***

As with many popular British Isles tunes, there were various sets of words attached to it. “As I came in by Auchindown” is one common ballad sung to the air (which tells of a battle with the English on the haughs) and can be found in James Hogg’s Jacobite Relics of Scotland (vol. 1, 1819). “Birniebouzle” is another song set to “Haughs”. In Cape Breton there was a Gaelic song entitled “Sid mar chaidh an cal a dholaigh”  (That is How the Kale/Cabbage Was Ruined/Spoiled) that tells the amusing story of a meeting between Scottish Highlanders and Lowlanders at an inn and how the kale broth was ruined while the lady of the house was dancing (Dunlay & Greenberg). Bayard identifies this as one of the tunes from the large "Welcome Home" tune family. See “Cape North Jig” for a 6/8 time setting of “Haughs” and the A Minor Irish variant “Tralee Gaol.” Sources for notated versions: John Campbell (Cape Breton) [Dunlay & Greenberg]; Kevin Chaisson (b. 1950, Bear River, North-East Kings County, Prince Edward Island) [Perlman]. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pgs. 36 & 85. Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 65, pg. 153. David Glen (Bagpipe Tutor), 1876-1901 (two settings). Gow (Beauties of Niel Gow), 1819. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 14. Kerr (Merry Melodies), vol. 1; Set 7, No. 1, pg. 6. Lowe (A Collection of Reels and Strathspeys), 1844.  MacDonald (The Skye Collection), 1887; pg. 85. MacDonald (The Gesto Collection). Martin (Traditional Scottish Fiddling), 2002; pg. 11. Middleton’s, 1870. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 198. Stewart-Robertson (The Athole Collection), 1884; pg. 249. Surenne (Dance Music of Scotland), 1852; pgs. 112-113. ACC-49290, Natalie MacMaster - “Road to the Isle.” ACC-4925, Tara Lynne Touesnard - “Heritage.” Kicking Mule KM‑327, "Scartaglen" (1984. Played as a march). RCC-102, Ian McKinnon & Rawlins Cross - “Crossing the Border” (1991). RMD-CAS1, Rodney MacDonald - “Dancer’s Delight” (1995). Rounder 7003, John Campbell - “Cape Breton Violin Music”(1976. Appears as “Traditional Strathspey,” side two). Smithsonian Folkways Records, SFW CD 40507, The Beaton Family of Mabou – “Cape Breton Fiddle and Piano Music” (2004). 

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index (E dorian version)

Alan Snyder's Cape Breton Fiddle Recording Index  (A dorian version)

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

X:1

T:Haughs of Cromdale

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:Emin

e| B<E E>F B>A F<A |B>E E>F D>EF>A |B<E E>F B>AF>A | d>BA>F ~E2 E :|

|: F| D<d d>e d/^c/B/A/ d2 |F<A A>B A<F A2 |B<e e>f g>fe>d | B<d B/A/G/F/ E2E :|

 

HAUGHS OF DELBAGIE, THE. Scottish, Strathspey. E Minor. Standard tuning. AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c), 1866; No. 132, pg. 45.

 

HAUGHS OF DELVIN, THE.  Scottish, Strathspey. E Minor. Standard tuning. AB. Composed by Nathaniel Gow (1763-1831). ‘Haughs’ are the low-lying ground along a river. Gow (Sixth Collection of Strathspey Reels), 1822; pg. 15.

X:1

T:Haughs of Delvin, The

M:C

L:1/8

R:Strathspey

N:”Slow”

C:Nathaniel Gow (1863-1831)

B:Gow – Sixth Collection of Strathspey Reels (1822)

Z:AK/Fiddler’s Companion

K:Emin

B(3A/G/F/ EB GEBE|B(3A/G/F/ EG FDAF|B(3A/G/F/ EB GEBG|(B/^c/d) (B/c/d) FDAF|

B(3A/G/F/ EB GEBE|B(3A/G/F/ EG FDAF|B(3A/G/F/ EB GEBG|(B/^c/d) (B/c/d) FDAF||

{f}e^d/e/ Bg eBge|(f/e/^d/)e/ Bg f=daf|e^d/e/ Bg eBge|(fd) (BG) (FD)AF|

{f}e^d/e/ Bg eBge|(f/e/^d/)e/ Bg f=daf|e/B/e/g/ (b/a/g/).f/ (g/f/e/).^d/ (e/=d/c/).B/|(c/B/A/G/) (F/G/A/G/) FDAF||

 

HAUGHTON HOUSE. AKA and see “Auchdon House.”

 

HAUGHTY MARY (Máire Mhórdhálach). Irish, Slow Air (3/4 time). D Minor. Standard tuning. AAB. "From a County Limerick MS." (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 440, pgs. 248‑249.

X:1

T:Haughty Mary

T: Máire Mhórdhálach

M:3/4

L:1/8

N:”Slow”
N:”From a County Limerick MS”

B:Joyce – Old Irish Folk Music and Songs, No. 439 (1909)

Z:AK/Fiddler’s Companion

K:F

F/G/A/c/|B2B2 Bc|B4 AG|Ac f>e (3dcA|G3 F D2|BGAFGD|

F3 GAG|F2D2 DED|D4:||AG|A2 c2 de|f4 eg|fagfed|d3 cAG|

A2 c2 de|f2e2 de|fagece|d3 a/g/ f/e/d/c/|B2B2 Bc|B4 AG|

Ac f>e (3dcA|G3 F D2|BGAFGD|F3 GAG|F2D2 DED|D4||

 

HAUL AWAY THE HAWSER [1]. English, Reel. England, Northumberland. G Mixolydian. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 2; No. 267.

 

HAUL AWAY THE HAWSER [2]. English, Reel. England, Lake District. G Major. Standard tuning. AAB. There are some small resemblances between version #2 and Vickers’ “Haul Away the Hawser [1]." Knowles identifies his tune as being from the Lake District. Knowles (A Northern Lass), 1995; pg. 16.

 

HAULING HOME, THE. AKA and see "Belle of Lexington," "Belle Election," "Kitty's Wedding (Hornpipe)," “Mrs. Smith’s Reel,” "Smith's Delight." Irish, Hornpipe. D Major. Standard tuning. AABB. Roche Collection, 1983, vol. 2; No. 220, pg. 13.

 

HAUNT OF THE GNOMES, THE. Scottish, "Reverie" (Slow Air). A Major. Standard tuning. Composed by the great Scots fiddler-composer of the latter 19th and early 20th century, J. Scott Skinner (1843-1927), originally published in his Harp and Claymore collection. It is dedicated to William Walker, Pioneer of the Royal Cinematograph. Skinner (The Scottish Violinist), pg. 47. Skinner (Harp and Claymore), 1904; pg. 154.

X:1

T:Haunt of the Gnomes, The

M:C

L:1/8
R:Air

N:”Slowly and languidly.”

S:Skinner – The Scottish Violinist

Z:AK/Fiddler’s Companion

K:A

E2 | (EAGA) (d2c2) | (F4 B2)A2 | (GAB^B) (c=BGF) | E6 E2 | (EAGA) (d2c2) |

(F4B2) A2 | (GA_B=B e).d.F.G | A6 || c2 | (ca)(^de) (^Bc)(GA) | (g4f2) z2 |

(EGBd edGd) | c6c2 | (ca) (^de)(^Bc) (G{B}A) | (G4F2) =F2 | (EGBd) (edGB) | A6 ||

 

HAUNTED HOUSE, THE. AKA and see “Broderick’s Jig.” Irish, Jig. G Major. Standard tuning. AABB’. Composed by flute player Vincent Broderick, a member of the Kincora Ceili Band from 1952-57. Flahtery (Trip to Sligo), 1990; pg. 13, Catherine McEvoy.

X:1

T:The Haunted House

R:jig

C:Vincent Broderick

S:Teaching of Siobhan Kelly - East Durham, July, 2000

Z:Dennis Gormley (http://www.hslc.org/~gormley)

M:6/8

L:1/8

K:G

|:~G3 ~A3|BGE EDE|G(3Bcd e2d|ege edB|

~G3 ~A3|BGE EDE|G(3Bcd ege|dBA G3:|

|:G(3Bcd e2d|ege edB|GAB d2B|ded dBA|

1 G(3Bcd e2d|ege edB|G(3Bcd ege|dBA G3:|

2 ~G3 ~A3|BGE EDE|G(3Bcd ege|dBA G3||

                       

HAVE A DRINK WITH/ON ME (Ol Deoc Liomsa). AKA and see “Dear Lisa,” “The Flaxdresser,” “Thade Janey Buckley’s,” “Vaughan’s Favorite.” AKA – “Drink with Me,” “Take a Drink on Me.” Irish, Double Jig. G Major. Standard tuning. AABB. Source for notated version: New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926. Mike had the tune from his father, Barrel Rafferty, whose setting (with a different final bar) he uses [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No. 194, pg. 60. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 158, pg. 89. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 720, pg. 134 (appears as "Have a Drink On Me"). O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 20, pg. 20. Green Linnet SIF 1071, “Patrick Street.” Green Linnet SIF 3067, Jack and Charlie Coen – “The Branch Line” (1992. Reissue of Topic 12TS337). Shanachie 79053, “Cherish the Ladies: Irish Women Musicians in America” (appears as “Dear Lisa”). Topic 12TS337, Jack and Charlie Coen – “The Branch Line” (1977). 

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Have a Drink with Me

R:Jig

M:6/8

L:1/8

K:G

BAG EGD|EGD EGA|BAG EGD|EAA AGA|\

BAG EGD|EGD EGA|BAG EGD|EGF G3:||\

GBd e2d|egd B2A|GBd e2d|eaa aga|\

bag agf|gfe dBA|BAG EGD|EGF G3:||


                       

HAVE A FEAST HERE TONIGHT. See “Rabbit in a Log.”

                       

HAVE AT THE FRENCH.  English, Country Dance Tune (2/4 time). A Major. Standard tuning. AABB. The date of publication of London publishers Charles and Samuel Thompson’s first country dance collection (1757) reveals the relevance of the title. The Seven Years War—the same conflict called the French and Indian War in North America, and the Third Silesian War in Germany—began in 1756 and lasted until 1763, and involved all the great powers of Europe at the time. The melody also appears in the c. 1790 music manuscript copybook of London musician Thomas Hammersley. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 166.

X:1

T:Have at the French

M:2/4

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:A

A|(A/B/c/d/) ee|feee|aeed|cBcA|(A/B/c/d/) ee|fdec|dBcA|GA B:|

|:A|(E/F/G/A/) BB|cABG|(A/B/c/d/) ee|fdec|(A/B/c/d/) ea|fdec|dBcA|EG A:||

 

HAVE AT THY COAT, OLD WOMAN. AKA and see "Stand Thy Ground Old Harry." English, Country Dance Tune (4/4 time). G Major (Merryweather, Raven): F Major (Chappell). Standard tuning. AB. The tune was originally published by Playford in his The English Dancing Master of 1651, and appears in every subsequent edition of the long-running series, through the 18th edition of 1728 (published by John Young). It also appears in Playford’s Musick's Delight on the Cithren of 1666. Walsh included it in his Compleat Country Dancing Master of 1718, and in subsequent editions of that volume in 1731 and 1754. Chappell (1859) and Merryweather (1989) say the tune may date from 1625, perhaps deriving from a ballad in the Pepys Collection ‑‑ "A merry new song of a rich Widdowes wooing, That married a young man to her own undooing" ‑‑ to which is the refrain:

***

Have at thy coat old woman,

Have at thy coat old woman,

Here and there and every where,

Have at thy coat old woman.

***

In Vox Borealis (1641) Chappell finds the following reference to the title:

**

But all this sport was little to the court‑ladies, who began to

be very melancholy for lack of company, till at last some young

gentlemen revived an old game, called 'Have at thy coat, old woman.'

**

Chappell (Popular Music of the Olden Time), vol. 1, 1859; pg. 311. Merryweather (Merryweather’s Tunes for the English Bagpipe), 1989; pg. 41. Raven (English Country Dance Tunes), 1984; pg. 41.

X:1

T:Have at they Coat, Old Woman

M:C|

L:1/8

K:G

Bc|d3B d3B|c2 A4 Bc|d3c B3A|B2 G4 ef|gfed edcB|c2 A4 Bc|d3c B3A|B2 G4||

 

HAVE YOU BEEN AT CARRICK? (A Raib Tu Ag An G-Carraig).  Irish, Slow Air (3/4 time). D Mixolydian. Standard tuning. AB. Source for notated version: Enright [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 94, pg. 17.

X:1

T:Have You Been at Carrick?

M:3/4

L:1/8

R:Air

N:”Slow”

S:O’Neill – Music of Ireland (1903), No. 94

Z:AK/Fiddler’s Companion

K:D

(5e/d/c/A/G/ | {B}A2 D/4E/4F/4G/4A/4B/4c/4d/4 e>c |

d4 (9D/4E/4F/4G/4A/4B/4c/4d/4e/4 |

f4 a/4g/4f/4e/4g/4f/4e/4d/4f/4e/4d/4c/4e/4d/4c/4A/4c/4A/4G/4c/4 |

A4 (9D/4E/4F/4G/4A/4B/4c/4d/4e/4 | f2f2 ed | e2 ed (9c/4A/4G/4E/4D/4E/4G/4A/4c/4 |

d4 cd | e4 d2 | =c4 || (9D/4E/4F/4G/4A/4B/4c/4d/4e/4 |

f>g e>f d/4f/4e/4d/4c/4A/4G/4E/4D/4E/4G/4A/8B/8 | =c4 ec | d2 =c2 AG |

E4 DE | =C3 G,/A,/ B,/^C/D/E/ | =F2 FE/D/ (5=C/A,/G,/^C/D/ |

E2 E>D (5=C/A,/G,/A,/^C/ | D4 CD | E4 D2 | D4 ||

 

HAVE YOU HEARD OF A FROLICSOME DITTY. AKA ‑ "The City Ramble," "Jolly Gentleman's Frolick," "Give Ear to a Frolicsome Ditty," "The Rant." English, Air. The air appears in John Gay's Beggar's Opera (1729) under the title "How happy could I be with either." Kidson (1922) dates it to the 17th century, and says a number of songs were written to it. Raven (English Country Dance Tunes), 1984; pg. 60.

 

HAVE YOU SEEN BUT A WHITE LILLY GROW. English, Air (4/4 time). D Major. Standard tuning. One part. The words and music are attributed to Ben Jonson and lutenist Robert Johnson. The story of the song is given in Vincent Jackson's English Melodies (1910). Kines (Songs from Shakespeare’s Plays), 1964; pg. 68.

 

HAVE YOU SEEN MY BLACK DECEIVER? See "An bhFaca Tu An Starraidhe Dubh?"

 

HAVE YOU SEEN MY VALENTINE? (An Faica To Mo Balantine?). Irish, Slow Air (3/4 time). E Minor. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 592, pg. 104.

X:1

T:Have You Seen My Valentine?

M:3/4

L:1/8

R:Air

N:”Slow”

S:O’Neill – Music of Ireland (1903), No. 592

Z:AK/Fiddler’s Companion

K:E Minor

B2B2 ^c^d|e4 ef|g4 fe|{e/f/}ed B2B2|g4 ag|f4 b2|e>d B2 ^de|{g}f2 e2||fe|

d2B2^c2|d4 gf|e2 dcBA|B2G2 E>F|G2G2 BG|F2F2 AF|E2E2 ^DE|{G}F2E2||

 


HAVE YOU SEEN OR HAVE YOU HEARD. Irish, Air (4/4 or 6/8 time). G Major. Standard tuning. AB. An Irish version of “(My) Ain Kind Dearie (O).” See also “Sweet Innisfallen” and “Widow Machree.” Sources for notated versions: “Vide Holden’s vol. From old MS of Father Walsh” and “As sung by (the Irish collector) Mr. Joyce’s father” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; Nos. 640 & 641, pgs. 160-161.

X:1

T:Have you seen or have you heard
M:C
L:1/8

S:Stanford/Petrie (1905), No. 640

Z:AK/Fiddler’s Companion

K:G

B>A| G2D2 DEFD | G3A G2 (E>G) | A2 G>A B2d2 | cB AG E3F| G2D2 DEFD |

G3A GABc | d2g2e2 dB | A2 G2G2 || B2 | c>B cd e2 dc | B3c d2 BG | A2 (GA) B2d2 |

cBAG E3 F | G2D2 DEFD | G3A GABc | d2g2e2 (DB) | A2G2G2 ||

 

HAWBORDS REAL. English. England, Northumberland. One of the "missing tunes" of William Vickers' 1770 Northumbrian dance tune manuscript.

 

HAWICK LASSES. Scottish, Reel. D Major. Standard tuning. AAB. Composed by Robert Pringle. The tune appears in the Shand Collection. Little (Scottish and Cape Breton Fiddle Music in New Hampshire), 1984; pg. 13.

 

HAWK, THE. Scottish, Strathspey (?). E Major. Standard tuning. AA'BB. Bain (50 Fiddle Solos), 1989; pg. 20.

 

HAWK CAUGHT A CHICKEN. AKA and see “Hawk’s Got a Chicken.”

 

HAWK GOT THE CHICKEN. See "Hawk's Got a Chicken."

 

HAWK HORNPIPE, THE. AKA and see “The Bells of St. Louis.” English, Scottish; Hornpipe. England, Northumberland. E Major. Standard tuning. AABB. A 19th  century hornpipe composed by James Hill (c. 1811-1853, Gateshead, Northumberland, near Newcastle), in all probability named after a Tyneside pub called The Hawk, on the Bottle Bank, Gateshead, where Hill made his living for a time as a fiddler (Hill also wrote a tune for the Bottle Bank, where he lived). Hill, who named some of his tunes after various local pubs (and who was himself a publican for a while—see also his “Pear Tree” named for another Tyneside establishment), was originally born in Dundee, Scotland. “The Hawk” is one of the more celebrated tunes from a composer known for his hornpipes (although this tune is often heard played as a reel). See the pipe reel “The Shetland Fiddler” for a related tune. The Irish group De Danann recorded the tune set as a reel entitled “The Bells of St. Louis” on their album “Mist Covered Mountain.” Alistair Anderson played the tune in the key of G (Hill wrote it in ‘E’), and Shetland versions are in D major. The first part also resembles the second strain of “Archie Menzies’ Reel.” Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 42, pg. 16. Dixon (The Lads Like Beer), 1987. Hunter (Fiddle Music of Scotland), 1988; No. 333 (arranged by James Hunter). Miller (Fiddler’s Throne), 2004; No. 287, pg. 171. Northumbrian Pipers’ Society (The Fiddle Music of James Hill), 2005. Olympic 6151, Florence Burns ‑ "Scottish Traditional Fiddle Music" (1978). Trailer LER 2074, Alistair Anderson (with fiddler Aly Bain) – “Alistair Anderson Plays the English Concertina” (1972. Learned from Northumbrian piper Billy Pigg).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

Alan Ng’s Irishtune.info

X:1

T:Hawk, The

C:James Hill

L:1/8

M:C|

K:E Major

e2ge Begf|egfa gbag|f2af cfag|fedc BcdB|\

e2ge Begf|egfa gbag|fefg aBcd|eBgf e3::\

(3B/B/B/|\

Bbge Bafd|Bged edcB|cBdc edfe|gfag f2fg|\

abga fgef|dbca BgAf|defg aBcd|eBgf (e2[ee']):|

X:2

T:The Hawk

M:4/4

L:1/8

C:James Hill

Z:Andrew Pickering

R:Hornpipe

K:D

(3ABc|d2 fd Adfe|dfeg fagf|e2 ge Begf|edcB ABcA|

d2 fd Adfe|dfeg fagf|edef gABc|dAfe d2:|

AA|Aafd Agec|Afdc dcBA|BAcB dced|fegf e2 ef|

gafg efde|caBg AfGe|cd ef gABc|dAfe d2:|

 

HAWK REEL, THE. Irish, Reel. Ireland, Donegal. D Major. Standard tuning. AA’BB’. A Donegal reworking of James Hill’s famous hornpipe.

X:1

T:The Hawk

R:reel

C:James Hill (originally)

S:Paul O'Shaughnessy who got it from Dermot McLaughlin

D:Paul O'Shaughnessy, Beginish

Z:Larry Sanger; first time through on the Beginish CD

L:1/8

M:4/4

K:D

A/B/c||d2{e}dc defd|e/a/e ^df efge|{fa}fedc Bged|e^def eABc|

dd{e}dc defd|e/f/e ^df efge|{fa}fedc Bgec|1 ed{e}dc dABc:|2

ed{e}dc d/d/dcB|| Aafd Bgec|Ad{e}dc d/d/c BA|BGcA dBec|fdgf e/f/e ef|

g/b/g fg efdB|c/e/c Bc ABGE|FAdf geAc|1 ed{e}dc d/d/d cB:|2 ed{e}dc d2||

 


HAWK OF (LOUGH EIRNE OF) BALLYSHANNON, THE (Seabhac na h-Eirne). AKA and see "Port Atholl," "Hawk of Lough Erne" (Seabhac na hEirne), "Miss Moore," "O'Moore's Fair Daughter," "Katherine O'More." Irish, Slow Air (4/4 time). A Minor (Joyce): F # Minor (O'Sullivan/Bunting). Standard. AB (Joyce): AA'BB (O'Suliivan/Bunting). Joyce (1909) says "The Hawk of Ballyshannon" was a well‑known air which was also known as "O'Moore's Fair Daughter," according to his source, and by others as "Miss Moore." He notes that the Irish collector Forde gives half a dozen settings, including that of Bunting, but that O'Beirne's version (which he prints) is more simple and flowing, and less interrupted by instrumental ornamentations than Bunting's (1840).  Bunting and Joyce both state the air was composed by the great Ulster harper Rory Dall O'Cahan (whose period was roughly 1550-1650) which he called "Port Atholl," and was somewhat varied by O'Carolan. Little is known of Rory Dall except that he was born to a noble County Derry family, but lived and composed mainly in Scotland where he found patronage for his music (which consisted of tunes he called "ports") among the nobility of that country. 

***

O'Carolans' "Ode to Miss Moore" is sung to this air (see Hardiman's Irish Minstrelsy, vol. i., p. 32). Flood (1906), explains that the song was one of several composed by O'Carolan for the MacDermot family, in "Hawk's" case in honor of the marriage of Charles O'Donnell (d. 1770), the son of Colonel Manus Roe O'Donnell of Westport (or Newport, Co. Mayo), to Katherine O'More, daughter of Colonel Lewis O'More of Ballyna House, Moyvalley, Co. Kildare. {the bridegroom, Charles O'Donnell, was the brother of Nanny O'Donnell. Nanny herself was married to Henry, the only son of MacDermot Roe (see notes for the airs "MacDermot Roe" and "Edward MacDermot Roe"). Nanny and Henry MacDermot Roe had a daughter, Eliza, who married Robert Maguire of Tempo, for whom O'Carolan composed "Planxty Maguire."}  O'Sullivan (1983) notes that both the O'Donnell and O'More families belonged to the Irish Catholic gentry and suffered by the Penal Laws imposed by the English.

***

Caoimhin Mac Aoidh (1994) states that "The Hawk of Ballyshannon" is a title that cryptically refers to the Fermanagh Chieftain Philip MaGuire.

***

Source for notated versions: fiddler O'Beirne (Ballinamore, Co. Leitrim) [Joyce]; harper Arthur O'Neill in 1792 [Bunting]. Joyce (Old Irish Folk Music and Songs: The Forde Collection), 1909; No. 563, pg. 298. O'Sullivan/Bunting, 1983; No. 13, pgs. 19-21.

X:1

T:Hawk of Ballyshannon, The

M:C

L:1/8

R:Air

N:”Slow”

S:Joyce – Old Irish Folk Music and Songs (1909), No. 563

Z:AK/Fiddler’s Companion

K:A Minor

G | A2 A>B c2 c>d | e2a2a2g2 | a2e2e2 dc | g2 ga g2 ed | c2A2 ABcA |

GEGA G2 fd | edcB ABcd | e3d edce | dcde g2 ed | d4 d2 c’b |

aged cdeg | a2b c’2 bc’ | agea g2 ed | cdcA G2 ed | cBAG EDEG | A4 A2 ||

A/B/c/d/ | edce d2 cB | cBAG c2E2 | G2 GA GEDE | G4 G2 cd |

e2ce g2 eg | a2 ab c’2b2 | abag edce | d4 d2 (3edc | dcde g2 ag |

edcA A2 c’b | abag edeg | a3b c’2 bc’ | agea g2 ed | cdcA G2 ed |

cBAG EDEG | A4 A2 ||

         

HAWK OF LOUGH ERNE. AKA and see "The Hawk of Ballyshannon."

         

HAWK POLKA. A composition of the 19th century composer James Hill (Gateshead, Northumberland). See note for "Hawk Hornpipe."

 


HAWKES HORNPIPE (“Cornphiope Ui Eachaigh” or “Crannciuil {Ui} Sea{l}baig”). AKA and see “Hawk’s Hornpipe.” Irish, Hornpipe. A Dorian. Standard tuning. AABB (Breathnach, O'Neill/Krassen): AA'BB' (O'Neill/1850 & 1001). O’Neill (1913) remarks on the difficulty in accurately transcribing  a traditional improvisational performance into standard notation. A Chicago musical colleague of O’Neill’s and a contributer to his works, Uilleann piper Patsy Tuohey, tried to learn “Hawk’s Hornpipe” from the famous fiddler John McFadden (born in Carromore, Westport, County Mayo), when the latter was performing in the city in 1911. The two sat down together and progressed phrase by phrase, with Touhey submitting patiently to the many minor changes according to McFadden’s fancy, until he though he had the tune noted correctly. Pleased with his effort, he played it back a final time, only to have McFadden say kindly, “Let me show you, Patsy,” upon which he played the it again a couple of times. “Why, man alive, that’s not how you gave it to me at all! You’ve changed the tune again; I guess we’ll let it go this time,” exclaimed Tuohey, who started to play something else on his pipes. See also the related “Brian the Brave”/”Poll Ha’Penny/”Molly MacAlpin” family of tunes. Source for notated version: flutist Jim Conroy, 1969 (Co. Galway, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 311, pg. O'Neill (Krassen), 1976; pg. 211. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1754, pg. 326. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 926, pg. 158.

X:1

T:Hawks Hornpipe

M:C|

L:1/8
R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 926

Z:AK/Fiddler’s Companion

K:Ador

ed|c2 EF G2 EF|GFGA GAcd|egec AdcA|GFEF G2 FG|AGAB cBcA|

dcde g2 fg|(3agf ge fdec|1 A2 (3AAA AGAB:|2 A2 (3AAA Acef||

|:gfga gfed|cdef gfed|eaab c’bag|e2a2a2 ef|(3gfe af (3gfe dB|

cdef g2 fg|(3agf ge fdec|1 A2 (3AAA Acef:|2 A2 (3AAA A2||

 

HAWKIN'S RAG. Old‑Time, Country Rag. USA. C Major. Standard tuning. AA'BB'. Composed by mandolin player Ted Hawkins. Brody (Fiddler’s Fakebook), 1983; pg. 132. Folkways FA 2397, New Lost City Ramblers‑ "Vol. 2". Folkways FTS 31041, New Lost City Ramblers‑ "On the Great Divide". Bluebird 5435‑A, Gid Tanner and His Skillet Lickers (North Ga.) {1934} [Hawkins was a mandolin player who sometimes played with the band].

 

HAWKS AND EAGLES. Old‑Time, Breakdown. USA. D Major (Brody, Silberberg): G Major (Spandaro). Standard, ADad or ADae tunings. AABB. The source for the tune is fiddler Norman Edmonds and the Old Timers. Source for notated version: Jane Rothfield [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 132‑133. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 61. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 59. Spandaro (10 Cents a Dance), 1980; pg. 27. Front Hall FHR‑023, Michaels, McCreesh & Campbell ‑ "The Host of the Air" (1980). Rounder 0045, Highwoods String Band‑ "Dance All Night".

X:1

T:Hawks and Eagles

M:C

L:1/8

K:G

d2|g3g g2 gg|gg g2e2d2|a3a a ga|b2a2g2e2|g3g g2 gg|gg g2e2d2|

ba2 geed|eggg g2::d2|G3G G2 GG|GG G2 E2 D2|A3A A2 GA|

B2A2G2E2|G3G G2 GG|GG G2 E2D2|ABd2 d2e2|dB A2 G2:||

 

HAWK'S GOT/CAUGHT A CHICKEN (AND FLEW IN THE WOODS). Old‑Time, Breakdown. USA; Kentucky, Texas, Missouri. G Major (the 'A' part starts on an E Minor chord). Standard tuning. ABACC. A tune indigenous to east‑central Kentucky, according to Charles Wolfe (1982). It was recorded in 1930 by Kentucky fiddler Doc Roberts, and though he recorded many sides, he was supposed by Wolfe to have paid little attention to music outside his home region. Roberts' son James remembered playing the tune with his father in the mid‑1920's, thus dating it early in Roberts' repertoire. Musically, Wolfe thinks the end phrases resemble the Kessinger Brothers' "Little Betty Brown." Meade (2002) also lists a versions as “Did You Ever See the Devil, Uncle Joe/John?” Texas fiddler Eck Robertson, who recorded in the 1920's, seems also to have known a tune by this name, as did north Virginia fiddler John Ashby (1915-1979). Words are sometimes sung to one of the parts, along the lines of the following:

***

Wake up John, get your gun;

Hawk’s got a chicken and gone.

***

Source for notated version: Eck Robertson (Texas) [Phillips]; Emanuel Wood (1900-1981, Taney County, Missouri) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 164. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 108. County 202, "Eck Robertson: Famous Cowboy Fiddler." County 773, John Ashby and the Free State Ramblers - “Fiddling by the Hearth.” County 412, "Fiddling Doc Roberts." Gennett 7110 (78 RPM), Doc Roberts (1930). Rounder 0437, Noel Scott  – “Traditional Fiddle Music of the Ozarks, vol. 3: Down in the Border Counties.”

See also listing at:

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

X:1

T:Hawk Got a Chicken

M:2/4

L:1/8

S:Howdy Forrester, from his Uncle Bob; transcribed by John Hartford

N:Sung to the ‘A’ part: “Old man, old man, get your gun, The hawks got a chicken

N:and away he run. Vocal melody is third part

K:E Minor

Be (e2|e/)f/e/d/ B>A|Be d/B/A/G/|ED G>A:||

B/G/A/G/ B/G/A/G/|B/c/d/B/ G>A|B/G/A/G/ B/G/A/G/|ED G>G|

G/BB/ B2|B/c/B/A/ GA|B/G/A/d/ B/G/A/G/|ED G>A|]

eeee|ed B>d|ee/e/ d/B/A/G/|ED G2||

 

HAWK'S HORNPIPE. AKA and see “Hawke’s Hornpipe.”

 

HAWK’S HUMOUR. English, Country Dance Tune (2/4 time). A Major. Standard tuning. AABBCC. The melody also appears in the c. 1790 music manuscript book of London musician Thomas Hammersley. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 165.

X:1

T:Hawk’s Humour

M:2/4

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:A

Aece|Aece|Aedc|B/B/B B2|Aece|aecA|BcdB|A/A/A A2:|
|:aecA|aecA|aecA|B/B/B B2|ABcd|eaga|ecdB|A/A/A A2:|

|:AEAE|CEAc|BAGF|E/E/E E2|AEAE|CEDF|EDCB,|A,/A,/A, A,2:||

 

HAWTHORN [1], THE (An Sceach). AKA and see "The Old Bush [2]," "The Five Leaved/Leaf Clover [2],” “The Haymaker,” “Heel of the Hunt,” “The Hunter’s Purse,” “Paddy Kelly’s (Reel) [3],” "An Sceach." Irish, Reel. A Dorian. Standard tuning. AABB. Source for notated version: piper Matthew Tiernan/Maitiu Mac Tighearnain (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 119, pg. 49.

 


HAWTHORN [2], THE ("An Sceach" or "An Sceac-Geal"). AKA and see "A Bunch of Haws." Irish, Slip Jig. G Major. Standard tuning. AAB. O’Neill prints the tune as “A Bunch of Haws.” Source for notated version: flute, whistle and concertina player Michael Tubridy (Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 57, pg. 29. O'Neill (Dance Music of Ireland; 1001 Gems), 1907/1986; No. 435, pg. 85. Claddagh Records CC27, Michael Tubridy ‑ "The Eagle's Whistle" (1978).

X:1

T:Hawthorn, The [2]

M:9/8

L:1/8

R:Slip Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 435

Z:AK/Fiddler’s Companion

K:G

DBG GBG|AGE|dBG GBd efg|dBG G2B AGE|gbg f/g/af e2g:|

||efg gfg edB|def gfg a2 B/c/|def gfg edB|g/a/bg faf edB|

def gfg edB|def gfg a2 g/a/|bag agf gfe|dBG GBd efg||

 

HAWTHORNE [3], THE. Scottish, Air. A part of James Oswald’s suite for 12 flowers in each of four seasons. Redwing Music RWMCD 5410, Abby Newton – “Castles, Kirks and Caves” (2001).

                   

HAWTHORN BLOSSOM, THE.  AKA and see “Tom Fitzmorris's [1].” Irish, Reel. Breathnach (CRÉ V), 1999; No. 188. Flaherty (Trip to Sligo), 1994; pg. 113 (appears as an untitled reel).

 

HAWTHORN BUSH, THE. Irish, Highland Fling (cut time). G Major. Standard tuning. AB. O’Brien (Jerry O’Brien’s Accordion Instructor), 1949.

X:1

T:Hawthorn Bush, The

M:C|

L:1/8

R:Highland Fling

S:Jerry O’Brien’s Accordion Instructor (1949)

Z:AK/Fiddler’s Companion

K:G

G2 Bd e2 dB | GABG AGEF | G2 Bd e2 dB | cAdA cAFA | G2 Bd e2 dB |

GABG AGEF | G2 Bd e2 dB | cABG EG G2 || f<aag fdde | fdag fd d2 |

f<aag fddf | edef gfed | f<aag fdde | fdag fd d2 | bgaf gfef | dfaf gedB ||

         

HAWTHORN HEDGE. Irish, Jig.  Composed by the late fiddler Seán Ryan (d. 1985). Ryan (The Hidden Ireland), 9.

         

HAWTHORN HEDGES. Scottish, Strathspey. A Major. Standard tuning. AABB'. Kerr (Merry Melodies), vol. 3; No. 115, pg. 14.

X:1

T:Hawthorn Hedges

M:C

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 3, No. 115  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

c2 B>A (E<A) A2|c>cB>A (c/d/e) (f/g/a)|c2 B>A (E<A) A2|F<B B>c d/c/B/A/ G<B:|

|:(c<e) e>f (f/e/)d/c/ e2|(c<e) (ef/g/) a>gf>e|1 (c<e) e>f (f/e/)d/c/ e2|d>BcA> G<B B<d:|2

a>gf>e d>cB>A|F<B B>c d/c/B/A/ G<B||

                   

HAWTHORN HILL. Irish, Reel. D Major. Standard tuning. AABB. Composed by fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn, south County Armagh. See note for “Lament for Michael Delargy.” Keegan (The Keegan Tunes), 2002; pg. 92.

                   

HAWTHORNE TREE OF CAWDOR (Freumh a's Craobh Taigh Challadair). AKA and see “Calder Fair,” "Cawdor Fair," “Cock a Bendie,” “Go on Lads and Give a Tune.” Scottish, Strathspey or Slow Air. A Minor. Standard tuning. AABB. "This popular air is mentioned as old, by Mr. Gow. The editor discovering it under the mane now given in MS. of Mr. Campbell of Budyet, formerly mentioned, corroborates that truth. This gentleman was a cadet of the family of Lord Cawdor, and a celebrated composer and modeller of our best strathspeys. The hawthorne tree is still visible in Cawdor Castle, and is so venerated as the roof‑tree of the family, that, on an annual meeting of his lordship's tenants and other friends, usually held on the day of Cawdor Fair, to drink 'the hawthorne tree',‑‑ hence the probability of its having been composed by Mr. Campbell for the occasion" (Fraser). A Scottish superstition is that Hawthorne blossoms should never be brought into the household or bad luck will follow, but the haw berries stay red until into the winter.

***

Although Cawdor is known as the seat of the powerful Campbell clan, it was not originally built by them, and has a long history. The first Thane of Cawdor was appointed by the Scottish king Alexander II in 1236; the third Thane was murdered by a neighbor, Sir Alexander Rait of Rait Castle. Cawdor Castle itself started as a 14th century tower, to which were added parapets, an upper story and a massive iron yett in 1454-1455. The ranges were added in the 16th and 17th centuries. The Campbells obtained control of the fortification by capturing the twelve-year-old heiress in 1511 and marrying her to the Earl of Argyll's son, at which time the clan retained the castle. During Bonnie Prince Charlie’s Jacobite Rising of 1746, the Campbells gave refuge to Lord Lovet there. Legend has it that Cawdor Castle is inhabited by, not one but two ghosts; one is a lady in blue velvet and the other is John Campbell, the first Lord of Cawdor

***

Cawdor Castle. Copyright © 1997-1999 C.Garner & P.Wright (www.darkisle.com)

***

Siegfried Sassoon wrote a poem during World War I entitled “The Hawthorn Tree,” and, while it has no direct connection with this tune, perhaps the underlying sentiment is related. It goes, in part:

***

I know my lad that's out in France...would give his eyes for just one glance at our white hawthorn tree.

***

See versions from the north of England under the title “Calder Fair.” Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1815 (republished in 1874); No. 135, pg. 54. Johnson (Kitchen Musician No. 10: Airs & Melodies of Scotland's Past), 1992 (revised 2001); pg. 7. MacDonald (The Skye Collection), 1886; pg. 111 (appears as "Cawdor Fair"). Stewart-Robertson (The Athole Collection), 1884; pg. 43 (appears as "Cawdor Fair"). CP-R1, Dave MacIsaac.

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index 

X:1

T:Hawthorne Tree of Cawdor

M:4/4

L:1/8

R:Strathspey

K:A Minor

e|c>BAG A/B/c E>^F|G>AGE G2 G>B|c>BAG A<c E2|D<DEG A2 Ae|

c>BAG A<c E2|E<G G>E G2 GB|c>BAG A<c E2|D<DEG A3:|

|:GF|Eccc c2 cc\B>cdd d2 d<f|e>dcB c>BAG|A<cd>B c2 c/B/A/G/|

E<c c2 E<c c2|B<d d>^c d2 de|c>d e<a ^g<a e>d|c>AB>^G A3:|

                   

HAWTHORN'S REEL. AKA and see "Farewell to Leitrim," "Fiddler's Frolic [1]," “Kennaw’s Reel,” "Lawson's Favorite," ”Maude Miller [1],” "Molloy's Favourite," “Reidy Johnson’s [1],” “Roll Her in the Haystack,” "Take Her Out and Air Her."

                   


HAY. The Hay, or Hey, was a 16th century round dance, the name supposed by Dr. Johnson to have derived from rustics dancing in a ring around a hay-cock. Pulver (1923) desparages this thought, though admits there is no better explanation available. Flood (1906) typically claimed the dance form as originally Irish, thence imported to England. It is mentioned in a 1564 Morality play by the Englishman William Bulleyn in which a minstrel is described as dancing a "Heie (Hey) de Gie." In 1579 the dance, in notes to Spenser's "Shepherd Calender," was described as a country dance or round, which Flood (1906), taking a great leap, suggests was the origin of the English Round or Country Dance. In other literary works the dance is referenced in "Martin's Month's Minde" (1589--"Hayes, jigges, and rondelays"); in Sir John Davies Orchestra (1594); in Michael Drayton's Nymphidia ("There dancing hays by two and three, Just as their fancy casts them"); and by Shakespeare in Love's Labour's Lost (V,1), where he says, "...or I will play On the Tabor to the Worthies, and let them dance the hay." In the 16th century James Howell wrote:

***

Shall we go daunce the hay?

Never pipe could ever play

Better shepherd's rondelay.

***

The hay, or 'hey' as it is commonly called today, survives locally in England, particularly in the Cotswolds where it is a part of several morris dances; its use is particular to the interweaving of generally two lines of dancers, though sometimes for a morris jigg. In the former context the most famous melody and dance is the "Shepherd's Hey."      

                   

HAY MAKER(S). See “Haymakers.”

                   

HAY MY NANNIE. See “Hey My Nannie.”

         

HAY NOW THE DAY DAWES. AKA and see "The Day Dawes/Dawns." Scottish, Dance Tune and Air. The song appears in the early publication "Gude and Godlie Ballates." According to Emmerson (1971), in the early 17th century the tune was in the repertoire of Habbie Simpson, the piper of Kilbarchan—

***

Now who shall play 'The day it daws',

Or 'Hunt's up when the cock he craws'?

                   

HAY TIME'S COMING. English, Dance Tune (3/4 time). England, Northumberland. A Major. Standard tuning. AABB. The time signature in Vickers original MS. was 12/8 (Seattle). Seattle (William Vickers), 1987, Part 2; No. 260.

                   

HAY TRIX TRIM GO TRIX. Scottish, Dance Tune and Air. The song appears in the early publication "Gude and Godlie Balletes." Emmerson (1971) believes this early dance tune to have more of the character of a ring‑dance refrain, as in 'Hay, trix trim to trix under the greenwood tree', and suggests this is the meaning of the word 'Trixie' in Sempill's elegy on the piper Habbie Simpson:

***

Kilbarchan now may say alas!

For she hath lost her game and grace,

Both Trixie and the Maiden‑Trace.

                   

HAYDEN FANCY. AKA and see “Johnny Box,” “Mary Ann,” “O’Connor’s.” Irish, Polka. D Major. Standard tuning. AABB. “Hayden(‘s) Fancy” appears to be the older name for the tune. The “O’Connor’s” title comes from the Boys of the Lough, who recorded the tune after learning it from musician Martin O’Connor. Sullivan (Session Tunes), vol. 2; No. 17, pg. 8. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 10 (appears as “Hayden’s Fancy”).

X:1

T:Hayden Fancy

T:Mary Ann

T:O’Connor’s

R:Polka

M:2/4

L:1/16

K:G

d|D3E G2B2|D3E G2BA|G2E2 E2DE|G2E2 E2d2|\

D3E G2B2|D3E G2BA|G2E2 F2G2|1 A2G2 G4:|2 A2G2G4||\

ABd2 B2B2|ABd2 B2B2|ABG2 E2E2|DEG2 E2E2|\

ABd2 B2B2|ABd2 B2B2|ABG2 E2F2|G2A2 GG3:|

                   

HAYDN’S MARCH.  March (cut time). D Major. Standard tuinng. AABB. Source for notated version: Joshua Cushing’s Fifer’s Companion (1805) [Miller]. Miller (Fiddler’s Throne), 2004; No. 340, pg. 200.

 

HAYE'S FANCY. AKA and see "The Celebrated Opera Reel," "Opera Reel [1]," "Gleann Eoghain" (Glen Owen).

 

HAYES' FAVOURITE.  AKA – “Sean Hayes’.” Irish, Barndance. D Major. Standard tuning. AB. "Hayes Favorite" was recorded in 1936 in New York by the great Sligo fiddle player James “The Professor” Morrison (who paired it as the following tune to “Belle of the Ball”). Coleman Center CD CC004, Phillip Duffy & Kevin Brehony – “The Mountain Road” (1999. Various artists. “A Compilation of tunes popular in South Sligo”). Old Hat Music OH!02, "The Old Hat Dance Band" (1992).

See also listing at:

Alan Ng’s Irishtune.info

X:1

T:Hayes Favourite

M:C|

L:1/8

R:Barndance

K:D

A,2|F2 FF GFGB|A2d2 dcdA|F4 GFGB|E6 AG|

F2FF GFGB|AFAd f2 ec|dAFA BGEC|D2D2D2 GA|

F2FF FGFB|A2d2 dcBA|F4 GFGB|E3F E2 AG|

FGFE GFGB|A2d2f2 ec|dAFA BGEC|D2D2D2 (3Bcd||

e2d2F3d|(3cdc B2 E3D|CDEF GABc|edcB A2 (3Bcd|

e2d2F3d|c2 (3BcB E3D|CDEF GABc|d2f2 dA (3Bcd|

e2d2F3d|c2B2E3 D|CDEF GA(3Bcd|(3efe (3dcB A2 (3Bcd|

(3efe d2 F3d|(3cdc (3BcB E3D|CDEF GABc|e2d2d2 AG||

                   

HAYES FAVOURITE. See "Hayes Fancy."

         

HAYES’S. See “Matt Hayes’s (Jig).”

         

HAYLEY'S FANCY. Recorded by N.Y.C. accordion player John H. "Dutch" Kimmel for Edison in 1920, but never released on 78 RPM, though it did appear on cylinder (Amberol Cylinder 4076).


                   

HAYMAKER (HORNPIPE), THE.  Irish, Hornpipe. Composed by County Tipperary fiddler Seán Ryan (d. 1985). Ryan (Seán Ryan’s Dream), 32.

 

HAYMAKER, THE. AKA and see "The Fairy Dance."

                   

HAYMAKER, THE. AKA and see "The Old Bush [2]," "The Five Leaved/Leaf Clover [2],” “The Hawthorne [1],” “Heel of the Hunt,” “The Hunter’s Purse,” “Paddy Kelly’s (Reel) [3],” "An Sceach." Irish, Reel.

 

HAYMAKER_(REEL)_[1], THE. AKA and see "The Barmaid," "The Maid Behind the Bar [1]," "The Green Mountain [2]," “Indy’s Favorite,” "Judy's Reel."

 

HAYMAKER (REEL) [2]. Irish, Reel. A Dorian. Standard tuning. AABB. O’Brien (Irish Folk Dance Music).

X: 1

T: Haymaker

S: J. O'Brien: "Irish Folk Dance Music"

M: 4/4

L: 1/8

Q: 350

Z: Transcribed by Bill Black

R: reel

K: Ador

Bd | eAAB AGEF | G2 AF GFDB | cBcd efed | (3Bcd ef gfed |

eAAB AGEF | GBAF GFDB | cBcd efed | cABG A2 :|

Bd | eaab agef | g2 af gfdB | cBcd efed | (3Bcd ef gfed |

eaab agef | gbaf gfdB | cBcd efed | cABG A2 :|

                             

HAYMAKERS JIG [1]. Irish, Jig. G Major. Standard tuning. AABB. See note in version "2. The tune seems to be a single jig, obviously employed for the dance called “The Haymakers.” Allan's Irish Fiddler, No. 34, pg. 8 (appears as "Old Set Tune").

 

HAYMAKERS (JIG) [2]. AKA and see “The Foree.” Scottish (originally), English, American; Jig. G Major. Standard tuning. One part (Hunter, Martin): AABBCC (Gow, Keller, Kerr, Mattson & Walz, McGlashan, Skye). There is a once popular (in 19th century Scotland, for example) country dance called "The Haymakers," with which this tune is associated. The characteristics of the dance indicate its origins can be found in community harvest festivals of the land, similar to the English "Harvester's Dance." The "Hay" (or Hey) was a dance figure and melody known to Shakespeare. The tune is found in the Shetlands, but is not indigenous; rather, it was introduced in the 1890's "by Scots girls who came up in their hundreds during the gerring season to live and work as gutters and packers at the numerous fishing stations which mushroomed each year around the Shetland shoreline. The Shetland jigs, however, appear to pre‑date this period" (Cooke, 1986). Kate Van Winkler Keller (1992) says the tune may have been composed by James Oswald for the 1753 London pantomime Fortunatus. It appears in Miss Stewart’s Collection of 1781, and James Hulbert’s Complete Fifer’s Museum (Greenfield, Mass., 1807) among numerous others, both print and manuscript collections—in fact, it was one of the most common tunes of its era. Source for notated version: the music manuscript of Captain George Bush (1753?-1797), a fiddler and officer in the Continental Army during the American Revolution [Keller]. Carlin (Gow Collection), 1986; No. 445. Gow (Complete Repository), Part 3, 1806; pg. 38. Howe (Complete Preceptor for the Accordeon), 1843; pg. 6. Hunter (Fiddle Music of Scotland), 1988; No. 285. Keller (Fiddle Tunes from the American Revolution), 1992; pg. 18. Kerr (Merry Melodies), vol. 1; pg. 27. MacDonald (The Skye Collection), 1887; pg. 169. Martin (Traditional Scottish Fiddling), 2002; pg. 45. Mattson & Walz (Old Fort Snelling... Fife), 1974; pg. 67. McGlashan (Collection of Scots Measures), 17__; pg. 15.

X:1

T:Hay Makers, The [2]

M:6/8

L:1/8

R:Jig

B:McGlashan – Collection of Scots Measures

Z:AK/Fiddler’s Companion

K:G

D|G2B A/B/cA|B2G AFD|G2B A/B/cA|B/c/dB G2:|

|:c|B2d g2d|e/f/ge dBG|B2d g2d|e/f/ge d2:|

|:B|c2e dBG|AcA B2G|c2e dBG|A/B/cA G2:|

X:2

T:Hay Makers, The [2]

M:6/8

L:1/8

R:Jig

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

Z:AK/Fiddler’s  Companion

K:C

G | cde def | edc dBG | cde def | ege c2 :: e2g c’2g | ac’a gec |

e2g c’2g | ac’a g3 :: e2a gec | ded gec | e2a gec | ded c3 :|

 

HAYMAKERS [3], THE. Scottish, Country Dance Tune (9/8 time). A Scottish name for "Sir Roger De Coverly."

 

HAYMAKERS [4], THE. AKA and see "Magnolia Reel." New England, Reel. G Major. Standard tuning. One part. Printed by Burchenal under this title for the New England contra dance also called The Haymakers or The Merry Haymakers.

***

William Sidney Mount (1807-1868). Dance of the Haymakers (1845).

***

Burchenal (American Country Dances), 1918; pg. 4.

 

HAYMAKERS [5], THE. AKA and see "Staten Island(Hornpipe)." New England, Reel. D Major. Standard tuning. One part. Printed by Burchenal under this title for the New England contra dance also called The Haymakers or The Merry Haymakers. Burchenal (American Country Dances), 1918; pgs. 4‑5.


           

HAYMARKET HORNPIPE.  Scottish, Hornpipe. F Major. Standard tuning. AABB’. Craig (The Empire Collection of Hornpipes), c. 1890’s; pg. 6.

X:1

T:Haymarket Hornpipe

M:C

L:1/8

R:Hornpipe

S:Thomas Craig – The Empire Collection of Hornpipes (c. 1890’s)

Z:AK/Fiddler’s Companion

K:F

FAcA FBdB | Acfc afcA | Bdfb Acfa | gfed cBAG | FAcA FBdB |

Acfc afcA | Bdfb Acfa | g2e2f2 :: ef | gec=B c2 ef | gec=B c2 ga |

Bagf gfed | edcB cBAG | FAcA FBdB | Acfc afcA | Bdfb Acfa |1 g2e2f2 |2 g2e2f2z2 ||

                                   


HAYTIME. French-Canadian, Reel. G Major. Standard tuning. AA'BBCCDD. The editors note in the second edition that the 'A' part is similar to Aime Gagnon's "Reel du Lievre," while the 'B' part resembles Louis Beaudoin's "Reel Blanchette." Source for notated version: Learned by transplanted French-Canadian fiddler Omer Marcoux (Concord, N.H.) from his father, who played the tune at square dances: "...when the couples started to swing, he played that third part--on the low string. That's an old, old tune" [Miskoe & Paul]. Miskoe & Paul (Fiddle Tunes of Omer Marcoux), 1994; pg. 10. 

                             

HAYWOOD SCHOTTISCHE. The title appears in a list of the repertoire of Maine fiddler Mellie Dunham. The elderly Dunham was Henry Ford's champion fiddler in the late 1920's. Rounder CD7018, Frank Ferrel - “Boston Fiddle: The Dudley Street Tradition.”

                             

HAZEL DEAN [1]. American, March (2/4 time). USA, southwestern Pa. G Major. Standard tuning. AB. Bayard (1981) was unable to trace this tune except for a version in Howe (Diamond School for the Violin), 1861, as the 6th tune of a set of "Caledonian Quadrilles,” which may indicate Scottish origins. By stretching the time values it begins to look more like other British Isles tunes, but he suggests this American tune "emerged out of the mass" of old‑country music, rather than having a specific progenitor. One tune he found bore more resemblance, though, than did others‑‑"Dornoch Links" from Kerr (vol. 1, pg. 48). Sources for notated versions: Frank King (fiddler from Westmoreland County, Pa., 1960), Charles Ganiear (fifer from Greene County, Pa., 1960), Hiram Horner (fifer from Westmoreland and Fayette Counties, Pa., 1960) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 319A‑C, 275‑276.

HAZELDEAN [2]. Scottish, Strathspey. A Major. Standard tuning. AABB. Not related to version #1. Kerr (Merry Melodies), vol. 3; No. 91, pg. 12.

X:1

T:Hazeldean [2]

M:C

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 3, No. 91  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

a | e<c B>A A>cE>F | A<A d>c B3a | e<c B>A A>cE>F | A<c B>A A3 :|

|: c | d>cd>e f>ea>f | e<c c>e f2 (f/g/a) | e<c B>A A>cE>F | A<c B>A A3 :|

                             

HAZEL DELL. Irish, Schottische. D Major ('A' part), A Major ('B' part) & G Major (Trio). Standard tuning. AABB'C. Roche Collection, 1983, vol. 3; No. 148, pg. 48.

                             

HAZEL STICK, THE (An Maide Coill). AKA and see “The Yellow Ford.” Irish, Double Jig. G Major. Standard tuning. AABB. Source for notated version: fiddler Micky Pat Donaghy, 1968 (An Crann Lom, Co. Tyrone, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 13, pg. 10.

                             

HAZY HILLS WALTZ. Old‑Time, Waltz. USA, Mo. Written by Missouri fiddler Lonnie Robertson, c. 1960's. Caney Mountain Records CEP 208 (privately issued extended play LP), Lonnie Robertson (Mo.), c. 1965‑66. “Lonnie Robertson – Lonnie’s Breakdown.”

                             

HAZEL VILLA. Scottish, Slow Air (3/4 time). E Major. Standard tuning. One part. Composed by Dr. Louis MacKenzie. Martin (Ceol na Fidhle), vol. 2, 1988; pg. 33.

THE HAZEL WAND.  Irish, Hornpipe. D Major. Standard tuning. AABBCC. Composed by fiddler and piano player Josephine Keegan (b. 1935), of Mullaghbawn, south County Armagh. The title is from W.B. Yeats’ (1895-1939) poem “The Song of the Wandering Angus.” Keegan (The Keegan Tunes), 2002; pg. 65.

           

HAZEL’S QUADRILLE.  Old-Time, Quadrille (cut time). USA, Missouri. D Major (‘A’ part), A Major (‘B’ part) & G Major (‘C’ part). Standard tuning. AA’BB’CC’. Composed by fiddler Bob Walsh (1929-1990) in honor of his wife. ‘Quadrilles’ in Mid-west fiddling are typically tunes that change key with the part. Source for notated version: Bob Walsh (Shannon County, Missouri) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 159. Bob Walsh – “Old Time Ozark Fiddlin’ (self produced cassette).

           

HAZY HILLS WALTZ.  Old-Time, Waltz & Two-Step. USA, Missouri. D Major. Standard tuning. AB. Drew Beisswenger (2008) explains that source Robertson and his wife retired from touring in the 1950’s and settled down to run a motel at Lake Bull Shoals, Theodosia, Mo., called the Hazy Hills Resort. According to Gordon McCann (2008), Robertson told him that the up-tempo part was a variation of “Texas Quickstep.” “Wednesday Night Waltz” by the Leake County Revelers is an earlier piece with a similar timing change that was quite popular. Source for notated version: Lonnie Robertson (1908-1981, Springfield, Mo.) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 117. Caney Mountain CEP 208, Lonnie Robertson (1966). Rounder Records CD 0375, Lonnie Robertson – “Lonnie’s Breakdown” (1996. Originally recorded 1966).

 

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