The Fiddler’s Companion

© 1996-2009 Andrew Kuntz

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HES - HEX

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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]

 

 

 

HE'S AYE (Always) KISSING ME. Scottish, English; Strathspey. England, Northumberland. D Major. Standard tuning. AABB. The title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800. Carlin (The Gow Collection); No. 68. Gow (Complete Repository), Part 2, 1802; pg. 12.

X:1

T:He’s aye Kissing me

M:2/4

L:1/8

R:Stathspey

S:Gow – 2nd Repository  (1802)

Z:AK/Fiddler’s Companion

K:D

D|[F2A2] [G2B2]|(AD) Dd|AF E>D|E3D|(FA) (GB)|A>F Dd/B/|AF E>F|D3:|

|:B/c/|{c}d>c BA|B>A F>c|(dc) BA|(B2 F)c|dc BA|B>c d>B|AFGE|

D2 (D/E/F/G/)|[F2A2] [G2B2]|A>F Dd|AF ED|E3D|(FA) AA|Ag f>e| {c}d>B AF|D3:|

 

HE'S BONNY. AKA – “He’s Bonny. He’s o’er the hill this night that I loe weel for a’ that.” Scottish, Slow Air. B Minor. Standard tuning. AA'B. A note in the Gows’ Fifth Collection (1809) reads: “This Tune is Supposed to have been Composed about the year 1745.” Under the title “He’s ower the hill that I know well,” the melody is a staple of pipe bands. Carlin (The Gow Collection), 1986; No. 542. Gow (Fifth Collection of Strathspey Reels), 1809; pg. 15. The Piper’s Assistant (1877).

X:1

T:He’s Bonny

M:C

L:1/8

N:”Slow with Expression”

B:Gow – Fifth Collection of Strathspey Reels (1809)

Z:AK/Fiddler’s Companion

K:Bmin

f/e/|dB “tr”B>A FBB A/B/|~d>e (f/d/)(e/f/) A2 Af/e/|1 dB “tr”B>A FBB A/B/|~d>e f/d/.e/.f/ “tr”B2B:||2

dB “tr”B>A Bdef|gf/e/ (g/f/).e/.d/ “tr”B2B||e/f/|”tr”g>a gf/e/ “tr”f/(e/f/)a/ (g/f/)e/f/|

~d>e (f/d/)e/f/ A2 Ae/f/|“tr”g>a gf/e/ (f/e/)(f/a/) (g/f/)(e/f/)|~d>e (f/d/)e/f/ “tr”B2Be/f/|.g.g ~gf/e/ ff/a/ (g/f/)(e/f/)|

~d>e (f/d/)(e/f/) A2Af/e/|dB “tr”B>A Bdef|{f}gf/e/ (g/f/)e/d/ {c}”tr”B2B||

 

HE’S BONNY, HE’S OWER THE HILL. See “He’s Bonny.”

 

HE'S DEAR TO ME THO' HE'S FAR FRAE ME. Scottish, Strathspey. F Major. Standard tuning. AAB. Carlin (The Gow Collection), 1986; No. 69. Gow (Complete Repository), Part 2, 1802; pg. 10.

X:1

T:He’s Dear to me tho’ he’s far frae me

M:C

L:1/8

R:Strathspey

S:Gow – 2nd Repository   (1802)

Z:AK/Fiddler’s Companion

K:F

F>G|{F}A2 (A/G/F/G/) ~F2 GA | f>dcA {A}G2 F>G |{F}A>B (A/G/F/G/) F2 GA | c>df>e {e}d2c:|

A|B>AB>c d>cf>d|c2BA {A}G2 F>G|A2 (A/G/F/G/) ~F2 GA|(c/d/)(f>e) {e}d2 cA|

B>A(Bc) dcfd|{d}c2 BA {A}G2 F>G|A>B (A/G/F/G/) ~F2 GA|(cd)f>e {e}d2c||

 

HE’S GONE HE’S GONE (YOUNG JOHNNY’S GONE, WILL I NEVER SEE HIM MORE?) Irish, Air (2/4 time). F Major. Standard tuning. One part. The title in Petrie’s index is “He’s gone, he’s gone, young Johnny’s gone, will I never see him more.” Stanford/Petrie (Complete Collection), 1905; No. 753, pg. 188.

X:1

T:He’s gone, he’s gone

M:2/4

L:1/8

S:Stanford/Petrie (1905), No. 753

Z:AK/Fiddler’s Companion

K:F

F | B>A Bc | de ec/B/ | B>A FF | F3 d/e/ | f>e df | e>d c>F | Bc/d/ e/c/B/A/ |

B3 d/e/ | fe df | ed cB/A/ | Bc/d/ e/d/c/B/ A F3 A | B>A Bc | dB ec/B/ | B>A FF | F3 ||

 

HE'S O'ER THE HILLS. Scottish, Jig. D Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 295, pg. 32. Greentrax CDTRAX 184, “The Occasionals: Live from the Music Hall, Aberdeen” (1999).

X:1

T:He’s o’er the Hills

M:6/8

L:1/8

R:Jig 

S:Kerr – Merry Melodies, vol. 3, No. 295  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

d|ABd d2d|fed B2d|ABd daf|fed d2A|ABd d2d|fed B2b|(a2b) afd|fed d2:|

|:f|(a2b) afd|fed B2b|(a2b) afd|fed d2f|(a2b) afd|fed B2d|ABd daf|fed d2:|

 

HESITATION WALTZ. AKA and see "Shepherd's Wife Waltz." The Hesitation waltz was a slow, leisurely dance form popular around the turn of the 20th century, apparently derived from Viennese operettas (according to Edward B. Marks, They All Sang, 1934, pg. 157).

 

HESLEYSIDE REEL. English, Reel. A Major. Standard tuning. AABB. Phillips (Fiddlecase Tunebook: British Isles), 1989; pg. 27. Front Hall FHR‑08, Alistair Anderson ‑ "Traditional Tunes" (1976).

 

HESSELBY STEPPEN. Scandinavian. In the repertoire of Wisconsin Swedish musician Fritz Swenson.

 

HESSIAN CAMP [1]. AKA and see "Hessian Dance [2]." English, Air (2/4 time). D Major. Standard tuning. AABB. The melody first appears in print in David Rutherford’s Choice Collection of Sixty of the Most Celebrated Country Dances (London, 1750), reprinted in his Compleat Collection of 200 Country Dances, vol. 2 (London, 1760). Later it was included by Charles and Samuel Thompson in their Compleat Collection, vol. 3 (London, 1773). “Hessian Camp” also appears in the music manuscript collection of James Biggins (Leeds, west Yorkshire, 1779). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 200.

X:1

T:Hessian Camp [1]

M:2/4

L:1/8

Q:200

S:James Biggins MS, Leeds, 1779

R:Air

O:England

A:Yorkshire

N:Not the same tune as Vickers “Hessian Camp”.

Z:vmp.Nick Barber & Chris Partington

K:D

d2e2|fd2e|f2g2|af2a|af2a|ge2g|fdgf|{f}e4:|!

|:fdfa|eceg|fdgf|{b}e4|d/e/f/g/ aa|d/e/f/g/ aa|bgfe|d4:|]

X:2

T:Hessian Camp  [1]

M:2/4

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)

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

Z:abc’s:AK/Fiddler’s Companion

K:D

d2e2|f d2 e|f2 g2|a f2 a|a f2 a|g e2 g|fd gf|{f}e4:|
|:fd fa|ec eg|fd gf|{f}e4|d/e/f/g/ aa|d/e/f/g/ aa|bgfe|d4:||

 

HESSIAN CAMP [2].  AKA and see “Hessian Dance [1].” 

 

HESSIAN DANCE [1]. AKA – “Hessian Camp [2].” English, American; Country Dance Tune (6/8 or 3/8 time). G Major. Standard tuning. ABC. This English tune appears in several latter 18th century publications after first appearing in Peter Thompson's 1758 Twenty Four Country Dances and again in Charles and Samuel Thompson's Compleat Collection of 200 Country Dances, volume II (1765). It was also published by John Johnson in Two Hundred Favourite Country Dances, vol. 8 (London, 1758), David Rutherford in his Choice Collection of Sixty of the Most Celebrated Country Dances (London, 1750) and also in his Compleat Collection of 200 Country Dances, vol. 2 (London, 1760). It also was published in the London periodical The Universal Magazine of Knowledge and Pleasure of 1758. “Hessian Dance” appears in the music manuscript collections of James Biggins (Leeds, 1779) and William Vickers (Northumberland, 1770). As “The Hessian’s Dance” it appears in Benjamin Cooke’s c. 1770 manuscript (Leeds, west Yorkshire), while Northumbrian musician William Vickers included it in his 1770 collection as “Hessian’s Camp.”

***

Van Cleef and Keller (1980) explain the tune was transported to America where it became quite popular and appeared under several titles as well as "Hessian Dance" (see alternates listed). American Henry Beck, for example, in his German flute MS of 1786 copied the tune twice (pgs. 39 & 53) as "Hessian dance" and "Asian camp." The dance figures can be found in a few American MS collections and copybooks, though many differ from the English versions. Lancaster, Pa., fluter John Hoff (1776-1818) included it in his music copybook c. 1797, and Clement Weeks,' in his Greenland, New Hampshire, MS of 1783, gives directions for a dance called "Hessian Camp" which fits a three phrase tune and probably was danced to this version of "Hessian Dance." Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 58. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 6.

X:1

T:Hessian’s Camp [2]

T:Hessian Dance [1]

M:6/8

L:1/8

R:Jig

S:William Vickers music manuscript collection (Northumberland, 1770)

K:G

gdB G>AG|DEF G>AG|gdB G>AG|DEF G3|def g2e|

faf ecA|def g2c| BGA G3:|:gde d2c|AGF GDg|deB c2B|AFD G3:||

X:2

T:Hessian Dance [1]

M:3/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)

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

Z:abc’s:AK/Fiddler’s Companion

K:G

gdB|”tr”G>AG|DEF|G/F/G/A/G|gdB|”tr”G>AG|DEF|G3:|

|:def|g2e|f/g/a/g/f/e/|dDD|def|g2c|BA/G/A/F/|G3:|

|:d2e|B2c|AGF|GDg|d2e|B2c|AGF|G3:||

 

HESSIAN DANCE [2].  AKA and see "Hessian Camp [1]," "Asian Camp," "Ty Tol, or the country dance," "Old Roger." English, Country Dance Tune (2/4 time). D Major. Standard tuning. AABB. The tune and dance, entirely different than version #1, appears in Thompson's 200 Country Dances, volume III (1773). Van Cleef and Keller (1980) find a similar American dance in America in the 1808 Select Collection (Otsego, New York), though the tune has not been found in other sources in this country.

 

HESSIANS' MARCH, THE. AKA and see “Where Gadie Rins.”

 

HESWALL AND WEST KIRBY JUBILEE.  English, Reel (cut time). D Major. Standard tuning. AABC. Composed by collector, choreographer, teacher,  musician and composer Pat Shaw. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 58.

 

HEWITSON'S HORNPIPE. American, Hornpipe. F Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 115. Ryan’s Mammoth Collection, 1883; pg. 153.

X:1

T:Hewitson’s Hornpipe

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:F

(3c/d/e/ | g/f/c/B/ A/B/c/A/ | B/c/d/B/ .G(G/F/) | E/F/G/E/ C/D/E/C/ | F/G/A/B/ =B/c/d/e/ |

f/c/a/g/ f/e/d/c/ | d/B/b/a/ g/f/e/d/ | c/f/d/B/ A/F/G/E/ | FFF :: (A/B/) |

{d}c/=B/c/A/ F/a/f/c/ | d/^c/d/B/ G/b/g/e/ | f/c/a/g/ f/e/d/c/ | B/A/G/F/ E/C/D/E/ |

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

 

HEWLETT. AKA and see “Fine Toast to Hewlett,” "Hulet's Health," “Planxty Hewlett.” Irish, Air (3/8 or 3/4 time). D Major (Barnes, Brody, Johnson, Spandaro): A Major (Complete Collection ..., O’Sullivan). Standard tuning. AB (Complete Collection..., O’Sullivan): AAB (Barnes, Brody, Mallinson, Tubridy): AA’B (Ó Canainn): AABB (Johnson). This “lively bacchanalian composition” (read: ‘bawdy drinking song’) is generally credited to blind Irish harper Turlough O'Carolan (1670‑1738), who lost his sight at the age of 18 from smallpox. By the age of 21 he had been trained as an itinerant musician, and set off with a guide and two horses to make his way in the world. Donal O’Sulivan (1958) says that there are no attributions of air or words to O’Carolan, “but both are so characteristic that there is little doubt that it was composed by him.” The melody is called "Hulet's Health" (“Sláinte Bhreagh Huilet,” or ‘a toast to Hulet’) in Edward Bunting's 1809 collection of Irish tunes (set in E Flat Major), where the melody first appears as a toast to Mr. Hulet/Hewlett and his hospitality. Bunting, however, did not state from whom he obtained the air. O’Sullivan (Complete Collection) prints the tune in A Major, though D is generally the key favored in modern times. In New England it is sometimes played as a waltz at dances. Bunting gave no source for the piece but collected some stanzas of lyric supposedly set to the tune from Blind Billy O'Malley of Louisborough, County Mayo:

***

Sláinte bhreagh Hiúlit sgaoil chughain é gan mhaill,

'S ná cásaigidh dúbuilte lionn, "punch" is meadhar.

Mar bhíos plátaí 'gus púntaíag an u/r-fhlaith le raint

Ins a' tráth nach mbíonn diúrna i m-éan-chumann a mbíonn _sign_.

Imirt is ól fíona, céol píoba, _viol_ is cruit,

Cúilfhionn na n-ór-dhlaoi i sco/mra dhá saigheadh aige,

Óir is é siúd _delight_ an fhir mheidhrigh gan brón

Bheith páirteach le maighdean fá_mhoidore nó dhó.

***

The subject, Hewlett, has not been identified. Source for notated version: Chieftains (Ireland) [Brody]. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 38 (appears as “Enchanted Place”, the name of a dance by Antony Heywood set to the tune). Brody (Fiddler’s Fakebook), 1983; pg. 133. Bunting (A General Collection of the Ancient Music of Ireland), 1809; pg. 7. Complete Collection of Carolan's Irish Tunes, 1984; No. 56, pg. 54. S. Johnson (The Kitchen Musician's Occasional: Waltz, Air and Misc.), No. 1, 1991; pg. 5. S. Johnson (The Kitchen Musician No. 3: Carolan), 1983 (revised 1991, 2001); pg. 3. Mallinson (Enduring), 1995; No. 93, pg. 39. Matthiesen (Waltz Book I), 1992; pg. 28. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 101, pg. 86 (appears as “Planxty Hewlett”). O’Sullivan (Carolan: The Life, Times and Music of an Irish Harper), 1958; No. 56. Spandaro (10 Cents a Dance), 1980; pg. 21. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 44. Claddagh CC14, Chieftains‑ "Chieftains 4" (1973). North Star NS00331, "Dance Across the Sea: Dances and Airs from the Celtic Highlands" (1990). Shanachie 79010, Planxty ‑ "The Well Below the Valley." Shanachie 79024, "Chieftains 4" (1983). Shanachie 97011, Dave Evans - "Irish Reels, Jigs, Airs and Hornpipes" (1990). Wild Asparagus 002, Wild Asparagus ‑ "Music from a Little Known Planet." Maureen Brennan – “To Bend the Knotted Oak.”

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Hewlett

M:3/4

L:1/8

R:Air

K:D

AF | D2D2FG | ABc2A2 | d2f2fg | fed2dB|A2F2FA|GFGABG|AFD2DE| D4 :|

|: A2|A2D2AB|A2D2AB|A2d2de|dcBAGF |G2GFG |G2GFGA|GFGABG|AFD2E2 |

FEF2G2|ABc2A2|d2f2fg|fed2dB|A2F2FA|GFGABG|AFD2DE|D4:|

 

HEXHAM RACES. AKA and see “Clogher Cross,” “Jude’s Farewell,” "Kenmore Lads," "Kenmuir's Up and Awa," “Pins and Needles,” "The Boys From the West," "I Will If I Can [1]." English, Jig. England, Northumberland. G Major. Standard tuning. AABB. Hexham is located outside of Newcastle, England. The title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800. “Hexham Races” is a variant of the Scottish "Kenmuir's Up and Awa" and has Irish variants (“Boys from the West,” “I will if I can,” “Jude’s Farewell”) as well. Hexham Races is a racecourse in Northumberland (the only one to survive). Horseracing in Hexham dates from at least the 1720’s when matches were conducted on Tyne Green, although by the 1880’s it had ceased from competition at other locations. It was restarted and reinvigorated in 1890 by a gentleman racing enthusiast from the local gentry, and became the seat of the Heart of All England Steeplechase (the winner is presented with the Heart of All England Cup), so called because of the story that King James I of England, while riding south to claim his crown, passed by near Hexham and, taken with the countryside, supposedly uttered, “verily, this is the heart of all England.” The tune also appears in John W. Moore’s (Tyneside, England) music manuscript book of 1841. Kennedy (Fiddlers Tune Book), vol. 1, 1951; No. 79, pg. 39. Raven (English County Dance Tunes), 1984; pg. 104. HLR Records HLR01, High Level Ranters – “Bridging.” Topic 12TS239. Topic TSCD 669, Will Atkinson (et al) – “Ranting and Reeling: Dance Music of the north of England” (1998. Will Atkinson (b. 1908), was a harmonica player who lived on Brook Hill Farm, near Alnwick, Northumberland, recorded in 1974.). The Yetties – “Rolling Home to England.”

X:1

T:Hexham Races

M:6/8

L:1/8

R:Jig

K:G

(3D/E/F/|GBd gdB|ded d2B|GBd gdB|ABA A2 B/A/|GBd gdB|

def gfe|dcB cBA|GAG G2::(3d/e/f/|g2d edB|ded d2 e/f/|g2d edB|

ABA A2 b/a/|gdd edB|def gfe|dcB cBA|GAG A2:|

X:2

T:Hexham Races. JMT.110

M:6/8

L:1/8

S:J. Moore, Tyneside,m1841 (78b)

R:Jig

O:England

A:Northumberland

Z:vmp.Chris Partington

K:G

D|GAB gdB|d2d d2B|GAB gdB|A2A A2B|GAB gdB|

!def gfe|dcB cBA|G2G G2::a/g/|g2e edB|d2d def|

!g2eedB|A2A ABd|g2e edB|def gfe|dcB cBA|G2G G2:|]

 

HEXHAMSHIRE LASS, THE. English, Air (3/2 time). England, Northumberland. D Major. Standard tuning. AB. The title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800. Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 145.

***

Hey for the buff and the blue,

Hey for the cap and the feather,

Hey for the bonny lass true,

That lives in Hexhamshire.

Through by the Saiby Syke,

And over the mass and the mire,

I'll go to see my lass,

Who lives in Hexhamshire.

***

Stokoe & Bruce (Northumbrian Minstrelsy), 1882; pgs. 102‑103.

X:1

T:Hexhamshire Lass, The

L:1/8

M:3/2
S:Bruce & Stokoe – Northumbrian Minstrelsy  (1882)

Z:AK/Fiddler’s Companion

K:D

D2cd B2GF E2D2|d2 cd B2Ad e2E2|d2 cd B2AF E2 FA|B2 Ac d2 AF E2D2 ||

G2 BG F2 AF E2 DD|G2 BG F2 AB =c2E2|F2 BG F2 AF E2 FA| B2 Ac d2 AF E2D2 ||

 

HEY. See "Hay."

 

HEY AUNT KATY, THERE’S A BUG ON ME. Old-Time, Breakdown. USA, West Virginia. A two-key tune in the repertoire of the late Braxton County, West Virginia, fiddler Melvin Wine (d. 1999). It is a variation of the tune known as “Richmond Cotillion” or “Richmond.”

 

HEY AWAY. English, Morris Dance Tune (6/8 time). G major. Standard tuning. AAB. From the Bledington area of England's Cotswolds. Mallinson (Mally’s Cotswold Morris Book), 1988; No. 15, pg. 13.

 

HEY, BOYS, UP GO WE [1]. AKA and see "Cuckolds All in a Row." English, Country Dance Tune (6/8 time). G Mixolydian/C Major. Standard tuning. ABB (Karpeles, Raven, Sharp): AABB (Barnes). The tune dates to 1650. Barnes (English Country Dance Tunes), 1986. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 13. Raven (English Country Dance Tunes), 1984; pg. 26. Sharp (Country Dance Tunes), 1909/1994; pg. 20.

X:1

T:Hey, Boys, Up Go We [1]

M:6/8

L:1/8

S:Sharp – Country Dance Tunes  (1909)

Z:AK/Fiddler’s Companion

K:G Mixolydian

z2 | d2d d2c | (B2c d2)G | A2A (B>AB) | (c3c2) z2 |

d2d d2c | (B2c d2)G | A2A (B>AB) | (c3 c2) ||

|: (E | FGF EDE | D3) (D BAB | c2)G (A G2) | (E3 C>)DE |

(FGF E>DE | D2) (D B>AB | c2)G (A G2) | (E3 C2) :|

 

HEY BOYS, UP GO WE [2]. AKA and see "The Way to Norwich."

 

HEY, CA' THROUGH. Scottish, Jig (9/8 time). D Major. Standard tuning. One part (Cole): AB (Gatherer): AABB (Kennedy). Cole (1000 Fiddle Tunes), 1940; pg. 70. Gatherer (Gatherer’s Musical Museum), 1987; pg. 21. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 27, pg. 7. Hamilton's Universal Tunebook (Glasgow). Ryan’s Mammoth Collection, 1883; pg. 100.

X:1        

T:Hey, Ca’ Thro’

M:9/8

L:1/8

R:Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

d>ed A>BA F2F | d2d A>BA FF2 | G2G F>GF E2F | D2F A>BA FF2 |

G2e F2e E2F | D2F A>BA F3 | G2eF2e E2F | D2F A>BA F3 :|

 

HEY DIDDLE DIS. English, Morris Dance Tune (6/8 time). G Major (Bacon, Mallinson): D Major (Bacon‑Longborough). Standard tuning. AAB (Bacon, Mallinson): AABB (Bacon‑Longborough). From the villages of Bledington and Longborough, Gloucestershire, in England's Cotswolds. Bacon (The Morris Ring), 1974; pgs. 77, 247. Mallinson (Mally’s Cotswold Morris Book), 1988; No. 37, pg. 25.

X:1

T:Hey Diddle Dis

L:1/8

M:6/8

S:Bacon

K:G

g>fg a>gf|g>fe d>ef|g>fg e>dc|B2A G3:|

||A>Bc B>AG|A>Bc d>ef|g>fg a>gf|g3g3||

 

HEY FOR BEAF WITHOUT CABBAGE. English. England, Northumberland. One of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript.

 

HEY FOR BOBBING JOAN. AKA and see "Bobbing Joan" (?). Northumbrian. The title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800.

 

HEY FOR HONESTY.  English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABB. The melody is unique to London publisher Charles and Samuel Thompson’s 1765 country dance collection. Dance figures for “Neighbor downright, or, Hey for Honesty” were printed by Walsh in his Twenty Four Country Dances for the Year 1763 (London). Hey for Honesty is the name of a play written in 1651 by Thomas Randolph, an adaptation of Aristophanes’ Plutus. What, if any, connection the tune has with the play is unknown. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 170.

X:1

T:Hey for Honesty, or Neighbor downright

M:C|

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)

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

Z:abc’s:AK/Fiddler’s Companion

K:G

g2 fe d2 cB|cABc {c}B2 AG|g2 fe a2 ag|fa A^c d4::{de} =f2 ed “tr”cB c2|{de}e2 dc “tr”BA B2|

B2 AG d2 cB|gdcB “tr”B2 A2|g2 fe d2 cB|eEFG {G}F2 ED|E2 cE F2 dc|BdDF G4:||

 

HEY FOR NOTHING. AKA and see “Countr(e)y Kate,” "Kate." English, Jig (9/8 time). D Major. Standard tuning. AABB. The melody appears under this title in the 1770 music manuscript book of Northumbrian musician William Vickers, about whom unfortunately little is known.

X:1

T:Hey for Nothing

M:9/8

L:1/8

R:Jig

S:William Vickers’ music manuscript book, Northumberland (1770)

Z:AK/Fiddler’s Companion

K:D

d2 A FDD FDF|d2B GEE GEE|d2A FDD FDD|E2e eBe c2A:|

|:d2g f2d f/g/af|ded f2d ecA|ded f2d f/g/af|g2e eBe c2A:|

 

HEY FOR STONEY BATTER. AKA and see "Bob and Joan," "Bóthar na gCloch," "Bobbing Joe," "Bob in Jie," "Bobby and Joan," "Fill the Bumper Fair," "Love and Whiskey,” “Stoneybatter [1].” The melody is printed under this title in J. Clinton’s Gems of Ireland (c. 1840, pg. 52).

 


HEY, GAN TI' THE BYRE, BESSIE. English. England, Northumberland. Title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he published c. 1800.

           

HEY HO! MY BONNIE LASS. Scottish, Reel. A Major. Standard tuning. AB.

X:1
T:Hey Ho! My Bonnie Lass
D:Iain MacPhail
Z:Nigel Gatherer
L:1/8
M:4/4
K:A
A2 ec efae | c2 AB c2 Bc | A2 ec efae | B2 ce f2 ef  |
A2 ec efae | c2 AB c2 BA | dfBd  ceAc | Bcde  fefg  ||
a2 af efae | c2 AB c2 Bc | a2 af efae | B2 ce f2 ef  |
aAaf  efae | c2 AB c2 BA | dfBd  ceAc | Bcde  f2 e2 |]

 

HEY, HO, MY HONEY. AKA and see "I Am a Poor Shepherd Undone," "The Distressed Shepherd," "Slaughter House." English, Air. The title above is the earlier title for the tune.

 

HEY JENNY COME DOWN TO JOCK. AKA and see “Take it Easy.” Scottish, Jig. F Major (Carlin/Gow): G Major (Carlin/Master Collection, McGibbon, O’Farrell). Standard tuning. AB (Carlin/Gow): AABB (Carlin/Master Collection, McGibbon): AABBCCDD (O’Farrell). Carlin (Master Collection), 1984; No. 157, pg. 93. Carlin (The Gow Collection), 1986; No. 332. Gow (Complete Repository), Part 2, 1802; pg. 11. McGibbon (Scots Tunes, book III), 1762; pg. 85. O’Farrell (Pocket Companion, vol. IV), c. 1810; pg. 102.

X:1

T:Hey Jenny come down to Jock

M:6/8

L:1/8

R:Jig

S:Gow – 2nd Repository  (1802)

Z:AK/Fiddler’s Companion

K:F

f|F2F GAc|d>cA G2f|F2F GAc|~d>^cd D2f|F2F GAc|d>cA G2f|F2F GAc|~d>^cd D2||

d/e/|(fe)d (gf)e|fed cde|f>ed g>fe|a>^ga d2 d/e/|(fe)d (gf)e|fed cde|fg{fg}a cA>F| G2A D2||

X:2

T:Hey Jenney come down to Jock

M:6/8

L:1/8

R:Jig

S:McGibbon – Scots Tunes, book III, pg. 85  (1762)

Z:AK/Fiddler’s Companion

K:G

G2G (AB)d | edB “tr”A2B | G2G (AB)d | e>de E2 :: (e/f/ | g>)fe a>gf | g>fe def | g>ab dBG | A2B E2 :|

 

HEY JOCK m'CUDDIE. Scottish, Air and Ring Dance Tune. The boisterous refrain goes "Hullibaloo baloo, hilliballoo balae."

 

HEY JOHN D., WHERE'D YOU GET YOUR BRITCHES?  Old‑Time, Breakdown. USA, eastern Ky. Greenhays GR 710, John McCutcheon ‑ "Fine Times at Our House" (1982. Learned from Ulvah, Ky., fiddler and banjo player Lee Sexton).

 

HEY! JOHNNIE COPE. AKA and see "Johnnie Cope." Scottish, Country Dance Tune (2/4 time). B Minor. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 369, pg. 41.

X:1

T:Hey! Johnnie Cope

M:2/4

L:1/8

S:Kerr – Merry Melodies, vol. 3, No. 369  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:B Minor

f | BB B/c/d/e/ | fBB (c/B/) | AA A/B/c/d/ | eacA | dc/d/ ed/e/ | fac (B/A/) | Bb f/e/d/c/ | (B2B) :|

|: A | d>ddA | d/e/f/g/ a/f/e/d/ | cAeA | c/d/e/f/ ec | dc/d/ ed/e/ | fac (B/A/) | Bb f/e/d/c/ | (B2B2) :|

 

HEY, MR. MUSKRAT. AKA and see “East Tennessee Blues.”

 

HEY MY KITTEN. AKA and see "Ride a Mile."

 

HEY MY NANCY. AKA and see "Hey My Nanny."

 

HEY MY NANNY. AKA ‑ "Oh My Nanny," "Hey My Nancy." AKA and see “Up in the Garret I Am.” Scottish, English; Jig (9/8 time) and Country Dance Tune. England, Northumberland. A Mixolydian (Bremner, Gow, Vickers): D Major (Huntington, Kennedy). Standard tuning. AABB. Appears in Bewick's Pipe Tunes (1986) as "Oh My Nanny," though "only the first strains correspond in detail" (Seattle). The melody appears in the Drummond Castle Manuscript in the possession of the Earl of Ancaster; it is inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734". Robert Bremner prints a version in his 1757 Collection of Scots Reels, which John Glen (1891), evidently not knowing of Young's MS, thought was the earliest printing. The title also appears in Henry Robson's list (as "Hey, My Nanny, My Nanny") of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800. The tune "Hunt the Fox" in Ryan's Mammoth Collection/Cole’s 1000 is very similar.  There is some thought “Hey My Nanny” may be the ancestor of “Drops of Brandy [1].” Bremner (Scots Reels), c. 1757; pg. 46. Carlin (The Gow Collection), 1986; No. 411. Gow  (Complete Repository), Part 3, 1806; pgs. 24-25 (appears as “Hay my Nanny”). Huntington (William Litten’s), 1977; pg. 32 (appears as "Hey My Nancy"). Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 28, pg. 8. Seattle (William Vickers), 1987, Part 2; No. 293.

X:1

T:Hay (sic) My Nannie

M:9/8

L:1/8

S:Gow – 3rd Repository (1806)

Z:AK/Fiddler’s Companion

K:A

=g|:f2A ceA ceA|f2A ceA Bd=g|f2A ceA cef|=gfg dBG Bdg:|

|:f>ga eae ce=g|fga ef=g Bdg|f>ga eae cef|~=gfg dBG Bdg:|

 


HEY ROBIN, JOLLY ROBIN. English, Air (3/4 time). F Major. Standard tuning. One part. The lyrics were originally a poem by Sir Thomas Wyatt (1503‑1542) set by William Cornyshe during the reign of Henry VIII. A portion of the lyric is quoted by Feste the clown in Shakespeare's Twelfth Night (act IV, scene 2) when he baits Malvolio. The poem is given in Percy, but the song, in three parts, is in Noah Greenberg's English Song Book. Kines (Songs From Shakespeare's Plays and Popular Songs of Shakespeare's Time), 1964; pg. 12.

 

HEY THE BONNIE BREAST KNOTS. Scottish, Highland Schottische. A Major. Standard tuning. AABB'. Howe (1000 Jigs and Reels), c. 1867; pg. 126. Kerr (Merry Melodies), Vol. 3; No. 195, pg. 23.

X:1

T:Hey the Bonnie Breast Knots

M:2/4

L:1/8

R:Highland Schottische

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

Z:AK/Fiddler’s Companion

K:G

D | G>A (B<d) | c>d e<g | d<B G>B | A2 dD | G>A B<d | c>d e<g | d<B A>d |

B2 Gd | g>f g>e | d<B G>d | g>f g>e | d<B G>B | B>B c>B | B<g g>e | ^c>A B>c | d2d ||

 

HEY THE DUSTY MILLER. AKA and see “Binny’s Jig(g),” “The Dusty Miller [6].” Scottish. Robert Burns reworked a fragment of song into his lyric “Hey, the dusty miller, And his dusty coat..."

 

HEY, THEN UP GO WE. AKA and see "The clean country way," "The good old cause." English, Air (3/2 time). C Major. Standard tuning. ABCD. In various forms‑‑3/2, 6/4, 6/8 or common time‑‑it appears in a number of publications, including Musica Antiqua, The Dancing Master (1686 and all later editions), Pills to Purge Melancholy (1719), and the ballad operas "Beggars' Opera (1728), The Patron (1729), The Lover's Opera (1729), Quaker's Opera (1728), Silvia (1731), The Devil to pay (1731), and Love and Revenge. A great many ballads were written to this popular tune; Chappell (1859) lists 11 and says "it would be no difficult task to add fifty more to the above list." Chappell (Popular Music of the Olden Time), vol. 1, 1859; pgs. 204‑205.

X:1

T:Hey, Then Up Go We [1]

M:3/2

L:1/8

B:Chappell – Popular Music of the Olden Times  (1859)

S:Muisca Antiqua

Z:AK/Fiddler’s Companion

K:C

e4 e4 d4 | d8 (c4 | c4) B6 A2 | A8 A4 | G8 A4 | F8 G4 | E 12 ||

E2 F2 G4 G4 | G8 A2 B2 | c4 B8 | A8 A4 | B4 c8 | d8 c4 | c12 ||

C4 G4 A4 | G8 (E4 | E4) D6 D2 | C12 | B2 c2 d4 (B4 | B4) A6 A2 | G12 ||

e4 d4 c4 | d4 G8 | A4 G6 F2 | E8 e4 | g12 | A4 B6 c2 | c12 ||

X:2

T:Hey, Then Up Go We [2]

M:C

L:1/8

B:Chappell – Popular Music of the Olden Times  (1859)

S:Caricatures and Ballads (broadside volume)

Z:AK/Fiddler’s Companion

K:C

C2 | C2 c2 c2 B2 | AG F2 EF G2 | F3 E D2 C2 |c6 :|

|| G2 | c3 d ef e2 | dc c2 A3 G | c3 A B2 G2 | G6 ||

d2 | g3f ed c2 | f2 ed B2 AG | c2 D2 D2 B2 | c6 ||

 

HEY TO COUPER/COWPER. AKA and see "Warkworth Castle." AKA ‑ "Hey to Cupar." Scottish, English; Jig, Country Dance Tune or “Pastoral” Air. England, Northumberland. D Major. Standard tuning. AABB (Bremner, Lerwick, Vickers): AABB' (Gow). The earliest record of the tune is found in David Young's Duke of Perth Manuscript (AKA the Drummond Castle Manuscript) of 1734, in the possession of the Earl of Ancaster at Drummond Castle. John Glen (1891), evidently not knowing of Young's MS, found the earliest printing to be in Robert Bremner's 1757 collection. The town of Cupar is located in Fife, Scotland, and was the location of a famous horseracing course. The following is recorded in the Diary of Fife (by John Lamont) of 1661 regarding Cupar racing:

***

The laird of Philiphawch his horse won the race at Cupar this year, and Stobs’

horse, surnamed Scot, was second. Only those two ran…That which was formerly

money is now converted to a large silver cup, worth 18 lb. Sterl. or thereby, as is

reported. The rider that won was John Hoome. On the morrow, being the first of

May, they ran for a silver cup, worth 5 lb. Ster., given by the Provost of Cupar

for thetime, videlicet, the Earl of Rothes, where Powry Fothering-ame’s horse in

Angus carried the day, the same John Hoome being the rider, and William Arnot’s

horse, Ferny’s brother, was the last of the four to run. 

***

Bremner (Scots Reels), c. 1757; pg. 89. Carlin (Gow Collection), 1986; No. 518 (appears as "Hey to Cupar"). Gow (Complete Repository), Part 2, 1802; pg. 25. Henderson (Flowers of Scottish Melody), 1935. Lerwick (Kilted Fiddler), 1985; pg. 37. Seattle (William Vickers), 1987, Part 2; No. 309.

X:1

T:Hey to Cupar

M:6/8

L:1/8

R:Jig

S:Gow – 2nd Repository   (1802)

Z:AK/Fiddler’s Companion

K:D

A,|D>ED F2G|A2c AFD|G2e F2d|EFD C>B,A,|D>ED F2G|A2B AFD|FdF Edc|d3D2:|

|:A|d>ed f2g|{fg}a2g fed|BcB c2d|efd cBA|ded f2g|{fg}a2g fed|1 B/c/dB c/d/ec|

{c}d3 D2:|2 Bgf edc|{c}d3D2||

 

HEY TO CUPAR. See "Hey to Couper."

 

HEY TO THE CAMP. AKA and see “Frost is all Over [1],” "The Masque,” "The Praties Are Dug, and the Frost is all Over,” “What Would You/I do if the Kettle Boiled Over,” “What Would You do if You Married a Soldier?” Scottish, Jig (6/8 time). C Major. Standard tuning. AAB. The tune is a version of "The Mask/The Masque," published by Playford in his second supplement to the 7th edition of his Dancing Master of 1707 (and again in the 9th edition, 1698), and dating probably to the 1600's (according to Samuel Bayard). It also appears in Walsh’s Compleat Country Dancing Master of both 1718 (vol. 1) and 1731 (vol. 3, No. 221). “Hey to the Camp” appears in English musician’s manuscripts as well as in printed volumes. It appears in one of the oldest such manuscript collections, the Henry Atkinson manuscript of 1694-95 (in much the same form as the Playford printing), and in the manuscript collection of Northumbrian musician William Vickers (1770). The melody has survived as a jig in Irish, Scottish and American traditions. In Scotland it appears in the Oswald’s Caledonian Pocke Companion (Book VIII, c. 1755) and in the Gow’s Complete Repository (Part 2, 1802); A Pennsylvania version was collected as an untitled cotillion (Bayard, Dance to the Fiddle, 1981; No. 504, pg. 460). See note for “Frost is all Over [1]" for discussion. Carlin (The Gow Collection), 1986; No. 468. Gow (Complete Repository), Part 2, 1802; pg. 19. Oswald (Caledonian Pocket Companion), Book VIII, c. 1755; pg. 1. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 186. Walsh (Complete Country Dancing Master), vol. 3, 1731; No. 221.

X:1

T:Hey to the Camp

M:6/8

L:1/8

R:Jig

S:Gow – 2nd Repository  (1802)

Z:AK/Fiddler’s Companion

K:C

G|c2e dBG|A/B/cD D2C|E/F/GG c2c|ege d3|~c2e dBG|(A/B/)cE D2C | (E/F/)GG c2G | ECC C2 :|

f|efg gec|eaa ~a2c|B>cd dBG|(B/c/d)d ~d2f|efg gec|eaa a2f|edc BAG | (A/B/c)c c2f |

efg gec|eaa a2c|B>cd dBG|(B/c/d)d d2f|efg gec|efg gag|~edc ~BAG | (A/B/c)c c2 ||

X:2

T:Hey to the Camp

M:6/8

L:1/8

R:Jig

S:William Vickers Northumbrian manuscript (1770)

Z:AK/Fiddler’s Companion

K:C

cec dBG|AcE D2C|EGG G2G|cec d2d|cec dBG|

AcE D2C|EGG efg|e2d c3::ege gec|faf afd|

ege gec|B/c/dB G2G|ege gec|faf afd|edc BAB|cGE C3:|

X:3

T:Hey to the Camp

M:6/4

L:1/8

N:mis-numbered as 184 in Thompson

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)

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

Z:abc’s:AK/Fiddler’s Companion

K:C

cde2c2 d2B2G2|ABc2E2 D4C2|EFG2E2 G4G2|cde2c2 d4d2|cde2c2 d2B2G2|

ABc2E2 D4C2|EFG2E2 G4G2|efg2e2 c6||efg2e2 g2e2c2|fga2f2 a4a2|

efg2e2 g2e2c2|d2G2d2 d4d2|efg2e2 g2e2c2|fga2f2 a4a2|efg2e2 d2B2G2|ABc2E2 C6:||

                          


HEY TUTTIE TAITI. AKA  - "Hey Tutti Tatti,” “Hey Tuti Teti." AKA and see "Scots Wha Hae (Wi' Wallace Bled)," "Fill up your bumpers high," "Bridekirk's Hunting." Scottish, Air (4/4 time). D Major. Standard tuning. AABB. A very old Scots air, even at the time it was used (when played slow) by Robert Burns for his song "Scots wha hae." As a vehicle for songs it also served for the Jacobite carousing song "Fill up your bumpers high,” and an Annandale‑collected song called "Bridekirk's Hunting."  The Jacobite version (dated to 1718 through a reference to Charles XII of Sweden, who proposed at that time "an inroad against England") begins:

***

Here's to the king, sir,

Ye ken wha I mean, sir,

And to every honest man

That will do't again!

***

Fill, fill your bumpers high,

Drain, drain your glasses dry,

Out upon him, fye! oh, fye!

That winna do't again!

***

The title apparently derives from a line from a song to the tune from the early 18th century, and is thought to be a representation of the sound of the drums:

***
When you hear the pipe sound

Tuttie taitie, to the drum

***

According to Emmerson (1971) the title is supposed to imitated a trumpet, and was likley based on a trumpet motif, though not a trumpet tune (the first sylable of tutie rhymes with 'but' and the first sylable of taiti rhymes with 'gate'; it has been suggested that the stress should go on the second syllable of the words so as to mimic a trumpet sound). Tradition has it that it was played at the battle of Bannockburn in which Robert Bruce won independence for Scotland (see Robert Chambers' Scottish Songs Prior to Burns). Emmerson is concerned with the antiquity of the tune as he belives it has the character of a strathspey, and may be the earliest recorded example of that genre. He quotes Stenhouse's suggestion of a rhyme by mentioned by Fabyan from c. 1328 which appears to go to the tune, and finds a French reference from 1429 which seems to support his and traditional contention of antiquity. Purser (1992) reports that French records (perhaps those referred to by Stenhouse) give that the tune was brought to France by Scottish archers and was heard when Joan of Arc entered Oreleans, "and probably also Rheims for the coronation of the French king whose bodyguard was Scottish." The tune is still played in France. Finally, Emerson suggests "Hey Tutti Taiti" may be in fact the same tune as an early and lost "The Day Dawes" tune, though other melodies have the same title. Robert Burns wrote the following words to the tune (Scots Musical Museum, No. 130):

***

Landlady count the lawin'

The day is near the dawnin'

Ye're a' blind drunk boys

And I'm but jolly fu'

Hey tuttie tatie,

How tuttie tatie,

Hey tuttie tatie,

Wha's fu' noo.

***

Cog an' ye were aye fu'

Cog an' ye were aye fu'

I wad sit an' sing tae you,

An' ye were aye fu'.

(Chorus)

***

Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 4, pg. 16. McGibbon (Scots Tunes, book II), c. 1746; pg. 55. O’Farrell (Pocket Companion, vol. 1); c. 1805; pg. 78 (Appears as “Hey Tutty Tatey”). Oswald (Caledonian Pocket Companion, iii), 1751.

X:1

T:Hey Tutty Tatey

M:C

L:1/8

R:Air

N:”Slow”

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

Z:AK/Fiddler’s Companion

K:D

A<F A>B A2d2 | B<dBA B2 de | de/f/ “tr”e>d defe | d>B B>A A4 ||

de | f2 ff f2a2 | e>fed efgb | af”tr”e>d defe | d<B B>A  A4 :|

|: A/F/A/B/ A/B/A/F/ A2 d>A | B>d B/d/B/A/ B2 de | d/e/f e>d d/c/d/e/ d/e/f/e/ |

d<B B>A A4 :: f/e/f/g/ f/e/f/d/ f>g ag/f/ | e/d/e/f/ e/f/e/d/ ef gb/4a/4b/ |

ag/f/ g/f/e/d/ d>e d/e/f/e/ | d<B B>A A4 :|

X:2

T:Hey Tuti Tatey

M:C

L:1/8

R:Air

N:”Slow”

S:McGibbon – Scots Tunes, book II, pg. 55 (c. 1746)

Z:AK/Fiddler’s Companion

K:D

(A<F) A>B A2d2 | B>dBA B2 (de) | (d/e/f) “tr”({f}e>)d d>efe | (d<B) “tr”(B>A) A4 :|

|: f2 f>f f2a2 | e>fed (ef)(gb) | (af)”tr”(e>d) (de)fe | (d<B) “tr”(B>A) A4 :|

|: (A/F/A/B/) (A/B/A/F/) A2 d>A | B>d (B/d/)(B/A/) B2 (de) | (d/e/f) {f}”tr”e>d |

(d/c/d/e/) (d/e/f/)e/ | (d<B) {c}”tr”(B>A) A4 :|

 

HEYWAY TO RUMBYHILL. Northumbrian. One of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript.

 

HEYWOOD WAKE.  English, Jig. G Major. Standard tuning. AABB. The melody appears unique to Thomson’s 1765 collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 22.

X:1

T:Heywood Wake

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)

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

Z:abc’s:AK/Fiddler’s Companion

K:G

G2G GAG|GBG dBG|c2B A2G|FGF AFD|G2G GBG|Bdg g2b|agf ed^c|dAF D3:|

|:d2d ded|afd afd|g2d c2B|ABG FED|G2G GAG|dBG Bdg|dBG cAF|G3 G3:||

 

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