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] |
HI BELL. AKA and see "Pretty Polly
[5]," "Peter Kutz."
American, March (2/4 time). USA, southwestern Pa. D Major. Standard tuning. AB.
Bayard (1981) identifies this as an international tune, originally French, and
having two main versions, an earlier one and a later one. The earlier tune was
known in versions variously titled "Weaver's
March," "Gallant Weaver," "Twenty‑First of August,"
"(Glorious) First of August,"
"Tenth of June," "Frisky Jenny," "Charles of Sweden," and "Come Jolly Bacchus." The form
which may or may not have been "later" was popular in France and the
British Isles during the 1800's and appears in several French sources; in
America it was called "The Cheat,"
"Cheat or Swing," or "The Coquette." See Bayard's note
(pg. 250) for the tune for more information. Source for notated version: (fifer
Thomas Hoge, Greene County, Pa., 1944) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 294C, pg. 250.
HI-FLYER STOMP. American, Western Swing. Tony Russell believes
this to be a jazz tune that the Hi-Flyers or their record company renamed. President PLCD 552, Hi-Flyers – “Roots of Rock and Roll,
Vol. 2: Stompin’ Western Swing.” String STR 801, Hi-Flyers – “Beer Parlor Jive:
Western Swing 1935-1941” (1977).
HI LO RO! HOG EILE. Scottish, Air (4/4 time). E Flat Major. Standard tuning. AB. Morison (Highland Airs and Quicksteps, vol. 2), c. 1882; No. 9, pg. 5.
X:1
T:Hi Lo Ro! Hog Eile
M:C
L:1/8
R:Air
S:Morison –
Z:AK/Fiddler’s Companion
K:E_
B | B2 A>C C2 A>C | B,2D2E4 || B2 B>B Be dc | B2A2B3B | BA A>C C2 A>C | B,2D2E4 ||
HI LO SCHOTTISCHE. AKA and see "Rochester
Schottische [2]," "What
the Devil Ails You [2]"
American. Adam, No. 61.
HI-O-HIRAM (Haidh-o-Haidrum). Scottish, March (4/4 time). D Major.
Standard tuning. AABB.
X:1
T:Hi-O-Hiram
T:Haidh-O-Haidrum
T:Stocainnean Daoimean
T:Checkered Stockings
D:Bobby MacLeod, Maestro
Z:Nigel Gatherer
L:1/8
M:4/4
K:D
z2 | d2 c2 B2 E2 | B>AB>c d2 B2 | A2 A>B A2 D2 | A>FA>B d2
e2 |
d2 c2 B2 E2 | B>AB>c d2 ed | B>AB>d B2 A>F
| E4 E2 :|
B2 | E/E/E B>A B>AB>e | E/E/E B>A B2 c>d | D/D/D A>F
A>FA>B |\
D/D/D A>F A2 B2 | E/E/E B>A B>AB>e | E/E/E B>c d2 e2
| B>AB>d B2 A>F | E4 E2 :|
B>d | e>BB>e B2 e>d | B>AB>c d2 e2 | d>BB>d A/A/A
d>A | B>dB>A F>BA>F |
e>BB>e B2 e>d | B>AB>c d2 ed | B>AB>d
B2 A>F | E4 E2 :|]
HIAWATHA. American (originally), Canadian; Hornpipe or Clog. B Flat Major.
Standard tuning. AABB. It is possible this tune has some connection with the
1880 opera Hiawatha, by Edward E.
Rice (music composition assisted by John J. Braham), composer of the earlier Evangeline. Rice was the Cambridge agent for the Cunard Company who attended
a musical burlesque in Boston starring the popular actress Lydia Thompson,
along with a bevy of scantily clad females called the British Blondes. The
burlesque was but a vehicle for a rather prurient performance by the Blondes,
who were the first to bare their legs and display their ample figures on stage.
Rice and a friend, Cheever Goodwin, wagered they could make a better burlesque
that would be free from vulgarity, and took the Longfellow poem Evangline as the basis for their first
work. It was not critically well received, but after some reworking it hit a
chord with the public, and was successfully run and revived for some 20 years.
Rice next tried a piece cast in the same mould, Hiawatha, but it was not only a critical flop, but failed to gain
popular support as well. A scene of the work was produced by the Apollo Club of
Boston in 1886, for male chorus, solo and orchestra. Cole (1000 Fiddle Tunes), 1940; pg. 90.
X:1
T:Hiawatha
M:C|
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:B_
F2 | B(DF)B d(FA)c | B(DF)B d(FB)d |
e(Ac)e f(Ac)f | ^f(Ac)f (=f=e)_ec |
B(DF)B d(FA)c | B(DF)B d(FB)d |
e(Ac)d (f=e)_ec |1 B2b2B2 :|2 B2b2B2 (3fga ||
|: bBdg bBba | g(G=B)d g(Gg)f | eEGc
e(Ee)c | BfdB A(fga) | b(Bd)f b(Bb)a |
g(G=B)d g(Gg)f | edcB AFEC |1
B,2B2B,2 (3fga :|2 B,2B2B,2 ||
HIBERNIA. English (?), Jig. A Major.
Standard tuning. AABBCAABB. Kennedy (Jigs & Quicksteps, Trips
& Humours), 1997; No. 57, pg. 15.
HIBERNIAN
DANCE. Irish, March? G Major. Standard
tuning. AABB. Source for notated version: copied from Clinton’s Irish Melodies (1840) [O’Neill] O’Neill (Waifs and Strays of Gaelic Melody),
1922; No. 93.
Z:1
T:Hibernian Dance
M:6/8
L:1/8
S:Clinton's Irish Melodies 1840
Z:Paul Kinder
K:G
d|g2 d B2 G|A>GA fef|g2 d ded|c2 A A2 d|
g2 d B2 G|A>GA f2 e/2f/2|g2 d dec|BGG G2:|
|:d|gfg efg|abg fed|gfg aga|bgg gab|
c'bc'
efg|abg fed|g2 d dec|BGG G2:||
HIBERNIAN JIG, THE (An Port Gaedealac). AKA – “A Clan March,” “An Irish
Jigg.” AKA and see “Cairngorum
Mountain [1],” “The Highlander’s
Lament.” Irish, Double Jig. G Major. Standard tuning. AABB. O’Neill (1922)
notes: “Its emphatic swing and antique cadences proclaim this spirited
strain a march, altho as "The Hibernian Jig" it was included in
O"Neill's Dance Music of Ireland (1907),
but in a much lower key.” The melody is printed in several Scottish sources,
including Gow (“
X:1
T:Hibernian Jig, The
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 357
Z:AK/Fiddler’s Companion
K:G
D|D>B,D D>B,D|D>B,D
D2G|E>GE E>GE|G>AB B2A|
ABd e/f/ge|dBA G>AB|B>ed
B>AB|G>ED E2:|
|:d|d>ed dBd|e>ge e2d|d>Bd
edc|B2A G2d|g>ed edB|d>BA B2G|A>Bd ede|G>EE E2:|
X:2
T:Clan March, A
M:6/8
L:1/8
S:Aird's Selections 1782-97
Z:Paul Kinder
R:March
K:D
A|A>FA A>FA|A>FA A2 d|B>dB B>AB|d>ef "tr"f2 e|
e>fa b/2c'/2d'b|afe d>ef|f>ba f>ef|d>BB B2||
a|aba afa|bc'b b2 a|afa bag|"tr"f2 e d2 b|
d'ba baf|afe def|fba fef|d>BB B2||
HIBERNIAN JIG [2], THE. AKA and see “Hunting the Hare [4].” Irish, Slip
Jig.
HIBERNIA'S LOVELY
JANE.
Irish, Air (4/4 time). G Major. Standard tuning. AB. "From the Rev.
Maxwell H. Close of Dublin: taken down by him in 1836 from the singing of Pat
Walker, a Wicklow man" (Joyce). Joyce (Old
Irish Folk Music and Songs), 1909; No. 205, pg. 101.
X:1
T:Hibernia’s Lovely Jane
M:C
L:1/8
R:Air
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:G
D2|G3A G2D2|E2G2G2 AB|c2B2A2G2|E6
BA|G3A G2D2|
E2G2G2 GB|d3e
d2B2|d6||d2|e2d2g2B2|c2B2 A3G|G3A B2G2|
E6 BA|G3A G2D2|E2G2G2 ge|d3B
A3B|G6||
HIBERNIA'S PRIDE. AKA and see "Flannel Jacket,"
“New Policeman,” "Peeler's Jacket [2]," "Peeler's Cap." Irish, Reel. G Major.
Standard tuning. AABB. Perhaps refers to urban police forces of the turn of the
century in such cities as Chicago and New York, which were heavily Irish. Cole
(1000 Fiddle Tunes), 1940; pg. 43. Ryan’s Mammoth Collection, 1883; pg. 70.
X:1
T:
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G
(3D/E/F/ |: G(B/A/) G(B/G/) |
F/G/A/B/ c(B/c/) | (d/g/)(g/f/) d(e/g/) | f/d/c/A/ (B/G)(A/F/) |
G(B/A/) G(B/G/) | F/G/A/B/ c(B/c/) |
(d/g/)(g/f/) d(e/g/) | f/d/c/A/ (B/G/)G :|
|: (g/f/g/).e/ d(e/f/) | g/f/g/a/
b/g/a/f/ | (g/f/g/).e/ d(e/g/) | f/d/c/A/ (B/G/)G |
(g/f/g/).e/ d(e/f/) | g/f/g/a/
b/g/a/f/ | (g/f/g/).e/ d(e/g/) |1 (f/d/)c/A/ B/G/G :|2 f/d/c/A/ B/G/A/F/ ||
HICKEY’S [1]. AKA and see “The Old Pensioner.”
Irish, Reel. D Major. Standard tuning. AB. Fiddler Seamus Connolly (2002)
remarks that the tune was in the repertoire of County Kerry fiddler Paddy
Cronin, who played it for Ciarán MacMathúna when he visited America in the
early 1960s on a collecting trip for his radio program American Journeywork. Cronin told MacMathúna that he had learned
the tune from Kerry fiddle master and teacher Pádraig O’Keeffe, who Cronin said
always called the tune “Hickey’s.” According to Moylan (1994), however, the
tune was learned in
See also listing at: Alan Ng’s Irishtune.info |
HICKEY’S [2]. Irish, Reel. E Minor. Standard tuning. AB. See source note for
“Hickey’s [1].” Source for notated version: accordion player Johnny O’Leary
(Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 338, pg.
191.
HICKITY CRACKITY. AKA and see "Baltimore [1],”
"Cassino,” "French March [2],” "A French Quickstep,” "Cacinameronian's Rant.” American,
Jig. G Major. Standard tuning. AB. Primarily a fife tune, states Bayard (1981),
and usually known by the ditty "Oats, peas, beans and barley grow,"
(or, sometimes, "Green grow the rushes O"). Source for notated
version: McKivison (Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 509, pgs. 462‑463.
HICKMAN COUNTY. AKA ‑ "Hoedown in Hickman County." Bluegrass,
Breakdown. USA. D Major. Standard tuning. AB. Composed by Paul Warren. Source
for notated version: Kenny Baker [Brody]; Paul Warren [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 134.
Phillips (Traditional American Fiddle
Tunes), vol. 1, 1994; pg. 111. County 730, Kenny
Baker‑ "Baker's Dozen." CMH 6237, Paul Warren‑
"America's Greatest Breakdown Fiddle Player."
HICKMAN’S RAG. Old-Time, Country Rag. The tune was released under fiddler Charlie
Bowman’s name, although it was the Hill Billies amalgum that recorded. County 773, John Ashby (1915-1979, northern Virginia) and
the Free State Ramblers - “Fiddling by the Hearth.” Document 8039, “The Hill
Billies/Al Hopkins and His Buckle Busters: Compoete Recorded Works in
Chronological Order, Vol. 1” (reissue).
HICKORY HORNPIPE. Old‑Time, Fiddle Tune. The title appears in a list of traditional
Ozark Mountain fiddle tunes compiled by folklorist/musicologist Vance Randolph,
published in 1954.
HICKORY JACK. Old-Time, Breakdown. USA,
south-central Kentucky. A Mixolydian/Dorian. Standard or AEae tuning. AABBC.
Recorded in 1937 for the Library of Congress by Alan and Elizabeth Lomax from
the playing of Luther Strong. Titon (2001) says the tune’s provenance was the
southeastern Kentucky coal fields, and is closely related to a central
Appalachian tune called “The Route.” Source for notated version: Luther Strong
(Hazard, Perry County, Ky., 1937) [Titon]. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 60, pg. 91.
HICKORY LEAF. Old-Time, Breakdown. ADad tuning. A Fiddlin’ Arthur Smith variant of
“Bonaparte’s Retreat.” In the repertoire of Kentucky fiddler Owen “Snake”
Chapman (1919-2003). A hickory leaf can be “played” by holding it tightly
between the hands, parallel to the lips. Rounder
Records RNDS 418, Snake Chapman – “Walnut Gap” (1999).
HICKS FAREWELL. Old-Time. From fiddler Gaither Carleton (North Carolina) and his son-in-law, Doc Watson. Vanguard CD.
HICK'S HORNPIPE ("Crannciuil Uigs" or "Crannciuil Uí
h-Iocaig").
Irish, Hornpipe. G Major. Standard tuning. AABB. O’Neill never heard anyone
else, save his source Hicks, play the tune, nor could he find it in previously
printed sources. Source for notated version: John Hicks (c. 1880’s),
“celebrated from Washington to Boston as a great Irish piper, a protégé of
‘Sporting’ Captain Kelly of the Curragh of Kildare [O’Neill]. O'Neill
(Krassen), 1976; pg. 168. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 1572, pg. 291. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986;
No. 823, pg. 142.
X:1
T:Hick’s Hornpipe
L:1/8
M:C|
R:Hornpipe
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 823
Z:AK/Fiddler’s Companion
K:G
Bc|dBGB dBGB|cBAG FADc|dBGB
cBAG|FADD D2 Bc|
dBGB dBed|cBAG FADc|BcBG DFAF|G2 GG
G2:|
|:dc|BGBd eceg|fdfa gfed|gfgd
gbag|f2d2d2 dc|BGBd eceg|fdfa gfed|
b2 bg dfaf|g2 gf g2:|
HICK'S WAGON WHEEL
SPECIAL. Cajun, Two-Step (4/4 time). USA,
southwestern Louisiana. A Major. Standard tuning. One part. This instrumental
was named for a nightclub located between Opelousas and Ville Platte,
Louisiana. Source for notated version: Aldus Roger (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 380-381. La Louisiane Records LL-LP114, Aldus Roger.
HIDDEN
HIDDEN PEARLS. Irish, Reel. Composed by
HIDDEN WALTZ, THE. English, Waltz. D Major (‘A’ part) & G
Major (‘B’ part). Standard tuning. AB.
X:1
T:The Hidden Waltz
R:Waltz
C:trad./arr. G. Cunich
S:Argos
Z:transcribed into abc by Gianni
Cunich, g.cunich@tiscalinet.it
M:3/4
L:1/8
K:D
P:A
"D"A4d2|d4cd|"Em"e4B2|B6|
"A"cde4|cde4|"D"f3
e dB|A6|
A4d2|d4cd|"Em"e4B2|B6|
"A"cde2c2|A2B3c|"D"d2f3e|d6|]\
P:B
K:G
"G"d3
z/d/d2|"C"e6|"G"d3 z/d/d2|B6|
"D7"c2z2c2|ABc2e2|"G"d2z2d2|B4d2|
d3
z/d/d2|"C"e6|"G"d3 z/d/d2|B6|
"D7"c2z2c2|ABc2A2|"G"G2B3A|G6|]
HIDE AND GO SEEK ("Ag B-Falac Agus Ag Iarrad" or
"Cluice Simme Dallanda"). AKA and see “Captain Holmes,” “Cornelius Curtin’s Big Balloon.”
Irish, Double Jig. E Minor/Dorian. Standard tuning. AAB (O'Neill/1850 &
1915}): AABB' (O'Neill/Krassen & 1001). Source for notated version: flute
player James Murray (b. 1947, Ougham, outside Tubbercurry) [Flaherty]. Flaherty
(Trip to Sligo), 1990; pg. 166
(appears as top “Unknown” tune). O'Neill (O’Neill’s
Irish Music), 1915/1987; No. 160, pg. 90. O'Neill (Krassen), 1976; pg. 34.
O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 859, pg. 159. O'Neill (Dance
Music of Ireland: 1001 Gems), 1907/1986; No. 119, pg. 35.
X:1
T:Hide and Go Seek
M: 6/8
L: 1/8
R:Jig
K:E minor
|:"Em"BGE EFE | EFE EBG |
"D"AFD DED | DFA dcd \
|"Em"BGE EFE | EGB d2e |
"D"fdB AGF |
"Em"GEE E2z :|
|:"Em"eBe geg | bge efe |
"D"ded fed | afd def \
|"Em"eBe geg | bag fga |
gfe "D"dBA | "Em"BGE E2z :|
HIDE ME FROM DEATH. See "Save Me from Death,"
"Ciste No Stor." The melody
appears under this title in Mullholland's 1810 collection (pg. 1810).
HI-DE-O. Old‑Time, Fiddle Tune. The title appears in a list of traditional
Ozark Mountain fiddle tunes compiled by folklorist/musicologist Vance Randolph,
published in 1954.
HIE OVER HUNT [1]. Scottish, Strathspey. B Flat Major. Standard tuning. AAB. Composed by Nathaniel
Gow (1763-1831). Perhaps composed for the Caledonian Hunt Club, to whom the
Gows had dedicated their Second Collection (1788). Carlin (Gow Collection), 1986; No. 70. Gow (Fifth
Collection of Strathspey Reels), 1809; pg. 28.
X:1
T:Hie Over Hunt [1]
M:C
L:1/8
R:Strathspey
C:Nathaniel Gow (1763-1831)
B:Gow – Fifth Collection of
Strathspey Reels (1809)
Z:AK/Fiddler’s Companion
K:Bb
d|B<B B>D (D/E/F)
F>d|B<B {Bc}d<B cC C>c|B<B B>D “tr”F2 F>g|f<B
{Bc}d>c BB,B,:||g|
f<f f>d “tr”(f>=e/2f/4)
bd|f<f b>d gccg|f<f f>d “tr”(f>=e/2f/4) g_e|d>B c>A
BB,B,>g|
f<f f>d “tr”(f>=e/2f/4) b>d|f<f b>d gccg|f<f e>c d>B
c>A|B>F GB DB,B,||
HIE OVER HUNT [2].
Scottish, Air (whole time). B Flat Major. Standard tuning. AABCCD. Composed
by Nathaniel
Gow (1763-1831). Gow (Fifth Collection of Strathspey Reels), 1809;
pg. 28.
X:1
T:Hie Over Hunt [2]
M:C
L:1/8
R:Air
N:”Slowly”
C:Nathaniel Gow (1763-1831)
B:Gow – Fifth Collection of
Strathspey Reels (1809)
Z:AK/Fiddler’s Companion
K:Bb
F|(.d/c/B/A/) Bd f2
(e/d/c/B/)|(B/A/G/F/ F)G ABcd|(e/d/c/=B/) ce g2 (f/e/d/c/)|(e/d/c/B/ A/B/c/A/
[D3B3]):||
f|(B/a/g/f/) (=e/f/g/)./f “tr”f2
{ef}d_e/f/|(gb)(ab) (fg)(df)|(b/a/g/f/) (=e/f/).g/.f/ _e2 de/f/|.g.e.c.B AcFA|
“tr”(B/A/)B/c/ Bd “tr”G2 AB|”tr”c>d
(e/d/)c/B/ (Ac)Fe|dBBd {ef}g2 f/e/d/c/|(e/d/).c/.B/ (A/B/).c/.A/ [D3B3]||
|:~f|(bB).B.B (df) .f.f|(eg) gg (ac’)
c’”tr”c’|(bB).B.B (df) f>d|.e.g.f.A [D3B3:||z|
f2 (e/d/)c/B/ (AF).F.F|e2 (d/c/)B/A/
(BF).F.F|f2 (e/d/)c/B/ g2 (f/e/).d/.c/|”tr”a2 b/a/g/f/ “tr”b/a/b/c’/ (d’/a/)(b/g/)|
f2 (e/d/c/B/) g2 (f/e/d/c/)|~a2
b/a/g/f/ (b/a/)(b/a/) {c’}(b/a/){c’}(b/a/)|bB BB (df) .f.f|(eg) gg (ac’) c’~c’|bB
BB (df) fd|(eg) fA [D3B3]||
HIELAN BROCHAN. Scottish, Reel. G Mixolydian. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 72, pg. 10.
X:1
T:Hielan Brochan
M:C
L:1/8
R:Reel
S:Kerr – Merry Melodies, vol. 3, No. 72
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
(Bc)|d2 (ge) dBGB|dBgB d2 (Bc)|d2
(ge) dBGB|A=FFA c2:|
|:(Bc)|dBGB dGGB|dGGB d2 (ge)|dGBG
dGGB|A=FFA c2:|
HIELAN LADDIE [1]. AKA and see "The
Highland Laddie," "An
Gabhairin Bui," "The Bonnie Lass of Livingston,"
"The High Caul/Caul’d Cap,"
"Cockleshells."
HIELAN’ TONAL’. Scottish, Strathspey. D Minor. Standard tuning. AABB. Kerr (Merry Melodies), vol. 4; No. 149, pg.
18.
X:1
T:Hielan’ Tonal’
M:C
L:1/8
R:Strathspey
S:Kerr – Merry Melodies, vol. 4, No. 149
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:Dmin
A>GF>
|: g | (f/g/a) (ga) fddf | cfAf cAAc
|1 (f/g/a) ga fddf | cfcA G/G/G G :|2 faga fgdf | ccdAf G/G/G G2 ||
HIELANMAN'S KNEEBUCKLE, THE (Búcla Glúine an Híleantóra). AKA and see “Hand Me Down the Tackle(s),”
"Tom(m) Steele." Irish, Reel.
D Major. Standard tuning. AAB. The tune is not, apparently, "The
Highlander's Kneebuckle." Breathnach (1976) identifies this as a version
of “Tom(m) Steele.” Source for notated
version: fiddler Micky Doherty, 1965 (Stranorlar, Co. Donegal, Ireland)
[Breathnach]. Breathnach (CRÉ II),
1976; No. 156, pg. 83.
HI-FLYER STOMP. AKA ‑ "Pickin' My
Way." Western Swing. G Major. Standard tuning. AA'B (Phillips): AA'BB'
(Brody). The melody was originally recorded by jazz guitarist Eddie Lang as
"Pickin' My Way." Source for notated version: The Texas Hi‑Flyers
(Texas) [Brody], Darrell Kirkpatrick with the Hi-Flyers (Texas) [Phillips].
Brody (Fiddler’s Fakebook), 1983; pg.
134. Phillips (Traditional American
Fiddle Tunes), vol. 2, 1995; pg. 63. Kicking Mule
205, Delaware Water Gap‑ "From the Rivers of Babylon to the Land of
Jazz" (1979). String 801, The Texas Hi‑Flyers‑ "Beer
Parlour Jive."
HIGGINS' BEST (Roga Uí Uiginn). AKA and see “The Flowing Tide [1],” “Picnic (Reel) [2],” “Seventh (7th) Regiment.”
Irish, Hornpipe. G Major. Standard. AABB. The tune appears in reel settings as
“Picnic Reel” and “7th Regiment.” The latter is attributed to one
Conn. Higgins in Ryan’s Mammoth
Collection (1884), and may be the original source for the tune. The most
famous version of the tune is the Irish hornpipe “Flowing Tide.” Source for
notated version: fiddler John McElligot (Chicago) [O’Neill]. O'Neill (Krassen),
1976; pg. 209. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No.
1750, pg. 325.
X:1
T:Higgins’ Best
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Music of Ireland (1903), No. 1750
Z:AK/Fiddler’s Companion
K:A
A2 Ac eAce|acea c’2 ba|faea
ceaf|ecBA FAEC|A,2 Ac eAce|
acea c’2 ba|cefe|deBe A2 z2:||:A2 Ac
BAFA|agaf ecBA|dfce BeAc|
dBcA BAFA|EAce acea|d’bc’a bafa|eacf
ed’bg|a2a2a2z2:|
HIGGINS' HORNPIPE (Crannciuil Uí h-Uiginn). AKA – “O’Higgin’s.” AKA and see
"Cliff Hornpipe," “Wilson’s Jig.” Irish, Hornpipe. D Major.
Standard tuning. AABB. The tune has a multiplicity of titles and is popular in
many different genres and traditions. Related tunes, with varying degrees of
melodic similarity, are "Cincinnati
Hornpipe [1]," "Cork
Hornpipe [1]," "Dundee
Hornpipe," "Fred
Wilson's Clog/Hornpipe," "Harvest
Home [1]," "Kephart's Clog"
(Pa.), "Kildare Fancy," “Ruby Hornpipe,” "Ruby Lip," “Seán Ryan’s (Hornpipe) [3],”
"Snyder's Jig" (Pa.),” "Standard Hornpipe," "Zig‑Zag Hornpipe/Clog." It has been attributed to 19th
century fiddler James Hill, of Tyneside, Northumberland, famous for his
hornpipe compositions. The earliest recording of the tune is by Brooklyn
accordion player John J. “Dutch” Kimmel in 1909. Kimmel, although of German
descent, was an influential musician who recorded Irish, Scotch and American
melodies. West Virginia/East Kentucky fiddler Ed Hayley played the tune under
the title “
X:1
T:Higgins’ Hornpipe
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
914
Z:AK/Fiddler’s Companion
K:D
F>E|D>FA>F
D>GB>G|F>Ad>e f>dA>F|F>A (3def g>fe>d|(3efd (3cdB
(3ABG (3FGE|
D>FA>F
D>GB>G|F>Ad>e f>dA>G|F>Ad>g f>ed>c|d2f2d2:|
|:c>d|e>A (3AAA f>A
(3AAA|g>A (3AAA f>A (3AAA|e>Af>A g>Af>A|
(3efd (3cdB (3ABG (3FGE|D>FA>F
E>GB>G|F>Ad>e f>dA>G|F>Ad>g f>ed>c|d2f2d2:|
_______________________________
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[COMMENT1]This was
Font/Pitch 1,10 - Off.
[COMMENT2]This was Font/Pitch 1,10 - On.
[COMMENT3]This was Font/Pitch 1,10 - Off.
[COMMENT4]Note: The change to pitch (12) and font (1) must be converted manually.