The Fiddler’s
Companion
© 1996-2010 Andrew Kuntz
_______________________________
HOME
ALPHABETICAL FILES REFERENCES
HAS - HAZ |
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] |
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
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
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
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."
***
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
***
In
***
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
***
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 (
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
hATA-FEATAN DIARMADA. AKA and see "Jerry's Beaver Hat."
HATHAWAY TWO-STEP. Cajun, Two-Step (4/4 time).
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.
X:1
T:Hatton of Buchromb’s Reel
M:C|
L:1/8
S:
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
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<(
|: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
HAUD AWAY JACK. English.
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
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.
***
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," "
***
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
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.
HAUL AWAY THE HAWSER
[2]. English, Reel.
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
X:1
T:The Haunted House
R:jig
C:Vincent Broderick
S:Teaching of Siobhan Kelly -
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:
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
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
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
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 “
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.
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 (
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
X:1
T:Hawks Hornpipe
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Dance Music of
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.
HAWKS AND EAGLES. Old‑Time, Breakdown.
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.
***
Wake up John, get your gun;
Hawk’s got a chicken and gone.
***
Source for notated version: Eck
Robertson (
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
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
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
***
Although
Cawdor is known as the seat of the powerful
***
***
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
***
See
versions from the north of
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:
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:|
T:Hay
Makers, The [2]
M:6/8
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).
_______________________________
HOME
ALPHABETICAL FILES REFERENCES
© 1996-2010 Andrew Kuntz
Please help
maintain the viability of the Fiddler’s Companion on the Web by respecting the
copyright.
For further information see Copyright and Permissions Policy or contact the author.