The Fiddler’s
Companion
© 1996-2009 Andrew Kuntz
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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.
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,
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:
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 (
X:1
T:Hessian Camp [1]
M:2/4
L:1/8
Q:200
S:James Biggins MS,
R:Air
O:
A:
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 (
***
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
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 “
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
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:
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
HEY AWAY. English, Morris Dance Tune (6/8 time). G
major. Standard tuning. AAB. From the Bledington area of
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.
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
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.
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
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,
X:1
T:Hey the Bonnie Breast Knots
M:2/4
L:1/8
R:
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.
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,
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
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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