The Fiddler’s Companion
© 1996-2010 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] |
HJOGROVOLTAR. Shetland, Shetland Reel. Shetland, Fetlar. D Major. Standard tuning. AB.
An assymetrical Shetland reel with a Scandinavian name indigenous to the island
of Fetlar, which was still used for dancing there in the 1970's. Source for
notated version: Joe Jamieson (Fetlar, Shetland) [Cooke]. Cooke (The Fiddle Tradition of the Shetland Isles),
1986; Ex. 10, pg. 61.
HO! AWAKE. AKA and see “Cat that
ate the sidecomb,” "Kate Kelly's
Fancy,” Killoran’s Reel [2],”
“Nellie Donovan,” “Ravelled Hank of Yarn [1],” “Twin Katy’s."
HO BABE. AKA and see "Went to the River
and Couldn't Get Across."
HO
CHA CHEILLINN NACH TU B' FHEARR LEAM. AKA and see "I Can't Conceal that I Prefer
You."
HO CHA-N E'IL MULAD
OIRNN. AKA and see "The Emigrant's Adieu."
HO CUIR A NALL AM
BODACH. AKA and see "Pass Around the Flagon."
HO GUR COMA LEAM
H'-UILE NI TH' ANN. AKA and see "What Care I For Anything Now."
HO! LES MONONCLES.
French-Canadian. Composed by fiddler Lisa Ornstein in honor of the a
capella group Les Mononcles, composed of Michel Bordeleau, Raynald Dupras,
André Marchand & Normand Miron. A-L 001, Lisa
Ornstein & André Marchand – “One Fine Summer’s Day/Par un beau Samedi d’
été” (2009).
HO RO AN CLÒ DUBH. Scottish, Air (4/4 time). G Mixolydian. Standard tuning. AB. Morison (Highland Airs and Quicksteps, vol. 2),
c. 1882; No. 14, pg. 7.
X:1
T:Ho ro an clò dubh
M:C
L:1/8
R:Air
N:”briskly”
S:Morison – Highland Airs and Quicksteps, vol. 2, No. 14 (c. 1882)
Z:AK/Fiddler’s Companion
K:G Mixolydian
G2 AB D2 EG | G2 Ge dB AG | G2 AB D2
EG | G2 Be dB AG ||
dd de G2 AB | d2 dd ed BG | AB ed B2
AE | G2 AB AG GE ||
HO! RO! GUM B’AOIBHINN
LEAM (Ho! Ro! How pleasant
to me). Scottish,
Air (4/4 time). A Major. Standard tuning. AB. Morison (Highland Airs and Quicksteps, vol. 1). No. 18, pg. 8.
X:1
T:Ho! Ro! Gum b’aoibhinn leam
T:Ho! Ro! How pleasant to me
M:C
L:1/8
R:Air
S:Morison – Highland Airs and Quicksteps, vol. 1
Z:AK/Fiddler’s Companion
K:A
c2 c>B A>F E>F | A>A
B>c A>F F>e | f>e c>B A>F E>F | A>c {c}BA F2F2 ||
{E} A>B c>d e>c c>f |
e>c c/B/A c>B B>E | A>B c>d e>c c>f | e>c {c}BA (F2F2)
||
HO RO MO BHOBAN AN
DRAM. AKA and see "The Favorite Dram," "A Highland Bumpkin."
HO RÒ MO NIGHEAN DÒNN
BHOIDHEACH. AKA and see "My Bonny Brunette." AKA – “My
Pretty Brown Girl.”
HOB OR/A NOB.. AKA and see "The
Campbells Are Coming [1]," “The
Burnt Old Man [1],” "The Old
Man [1]," "An Seanduine"
(The Old Man), "Robi Down/Donn."
English, Scottish, American; Country Dance Tune (6/8 time). G Major. Standard
tuning. AABB. To hob-nob with someone is to associate with them, or to keep
their company. The term derived from the old term hab-nab, used as a call in drinking; supposedly derived from the
Anglo-Saxon habban, “to have,” and nabban (for ne habban), “not to have.” The ritual at hobnobbing is variously
described as that of clinking cups together before drinking to each other
(Hawkwood, 1909), or to give and take of drinks. An 1811 source gives that it
was common to inquire “Will you Hob or Nob with me?” If the party so questioned
responded “Nob” they were deemed to have agreed to have a drink of wine with
the questioner, and had to choose red or white wine. It was also at one time
thought that the origin of the term derived from Elizabethan times when great
chimneys were fashionable. On each corner of the hearth or grate was a small
projection called the hob, on which was customarily set items, such as a pipe.
In winter beer was warmed on the hob, and cold beer set on the table, said to
have been called a nob. Thus to ask “will you hob or nob with me” was to invite
one to partake of either warm or cold beer.
***
The melody
is recognizable to modern ears as the Scots air "The Campbells are
Coming." It first appears (as “Hob or Nob”) in country dance collections
in England, including Walsh’s Caledonian
Country Dances (4th book, c. 1745) and Johnson’s Collection of 200 Favourite Country Dances
(1748). A few years later the “Campbell” title appeared in print in Oswald’s Caledonian Pocket Companion, followed
soon after by a printing in Bremner’s Scots
Reels. Gratten Flood (1906), in typical form, claims the melody has an
Irish provenance, and says that it was a Jacobite era song (early 18th century)
annexed by the Scots and used as the vehicle for the song "The Campbells
are Coming." Despite this assertion words to “The Campbell’s are Coming”
do not appear in print until Johnson’s Scots
Musical Museum, vol. iii (1790). Frank Kidson says that one unnamed
account maintains that the melody was used for a song, composed on and at the
period of Mary Queen of Scots' imprisonment in Loch Leven Castle, although what
this song might have been is apparently lost. Kidson also believes it likely
that the tune originated in the 1715 Jacobite rebellion as a gathering tune for
Clan Campbell.
***
An
American, Daniel Burnap, included it in several of his chime clocks, which he
manufactured in the late 18th century at East Windsor, Connecticut. The melody under the "Hob" title
is also contained in Timothy Swan's Suffield, Connecticut, MS of 1777, and
indeed, it appears in a number of American music manuscripts, such as that of
Henry Livingston, Jr. Livingston
purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the
age of 23. In 1775 he was a Major in the 3rd New York Regiment,
which participated in Montgomery’s invasion of Canada in a failed attempt to
wrest Québec from British control. An important land-owner in the Hudson
Valley, and a member of the powerful Livingston family, Henry was also a
surveyor and real estate speculator, an illustrator and map-maker, and a
Justice of the Peace for Dutchess County. He was also a poet and musician, and
presumably a dancer, as he was elected a Manager for the New York Assembly’s
dancing season of 1774-1775, along with his 3rd cousin, John Jay,
later U.S. Chief Justice of Governor of New York. A related air, which Bayard
(1981) says is "doubtless a descendant of the original melody," is
"Robi Down/Donn." When played in duple time several writers have
noticed similarities with “Miss McLeod’s Reel” and even “The White Cockade.”
Howe (c. 1867) printed dance instructions with the melody, which he placed in
his section of Contra Dances.
***
Aird (Selections),
vol. 1, 1778; No. 21. American Veteran
Fifer, 1927; No. 58. Ford (Traditional
Music in America), 1940; pg. 110. Gow (Complete
Respository), vol. 1, 1784; pg. 15. Graham, 1908; pg. 169. Harding's Original Collection, 1928, and
Harding Collection, 1915; No. 186. Harding's All‑Round Collection,
1905; No. 189. Howe (School for the
Violin), 1851; pg. 35. Howe (Complete
Preceptor for the Accordeon), 1843; pg. 34. Howe (Diamond School for the Violin), 1861; pg. 41 and pgs. 60‑61
(as part 2 of Caledonian Quadrilles).
Howe (1000 Jigs and Reels), c. 1867;
pg. 75. Jarman, 1951; pg. 63. Johnson (A Further Collection of Dances,
Marches, Minuetts and Duetts of the Latter 18th Century), 1998;
pg. 1. Kerr (Merry Melodies), vol. 1;
pg. 32. Johnson (Scots Musical Museum),
vol. 2, 1788; No. 299. O'Malley, 1919; pg. 11. Oswald, (Caledonian Pocked Companion), vol. 2, 1780?; pg. 24. Robbins, 1933;
No. 32. Seattle (William Vickers),
1987, Part 3; No. 443. Smith (Scottish
Minstrel), vol. 1, 1820; pg. 32. Sweet (Fifer’s
Delight), 1964; pg. 37. Thompson (Compleat Collection of 200
Favourite Country Dances, vol. 1), 1757; No. 171. White's Excelsior
Collection, 1907;
pg. 74.
X:1
T:Hob or
Knob (sic)
M:6/8
L:1/8
R:Jig
S:Howe – Complete Preceptor for the Accordeon
(1843)
Z:AK/Fiddler’s Companion
K:C
G, | CEG GEC | EFE E2D | CEA GEC | DED DB,G, | CEA GEC | E2G c2d |
edc AcA | GEE E2 G | c2c cde | G2G GFE | c2c cde | A2A A2A | GAB cBA |
GEG c2e | edc AcA | GEE E2 ||
X:2
T:Hob or Nob
M:6/8
L:1/8
R:Jig
S:Henry Livingston’s manuscript copybook,
late 18th century
Z:AK/Fiddler’s Companion
K:G
A | GBe dBG
| B2B B2A | GBe dBG | ABA A2B | GBe dBG |
B2d g2a |
bag fed | B2B B2 :: d | g2g gab | d2dd2B | g2g gab | e2e e2f |
gfe gab |
d2B g2a | bag fed | B2B “tr”B2 :|
X:3
T:Hob or Nob
M:6/8
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:G
A|GBe dBG|B2B B2A|GBe dBG|ABA A2B|GBe dBG|B2d g2a|bag fed|B2
B “tr”B2:|
|:d|G2g gab|d2d d2B|g2g gab|e2e e2f|gfe gab|d2B g2a|bag fed|B2B “tr”B2:||
HOBART'S
TRANSFORMATION. AKA – “Feldman’s Haircut”?? Old‑Time,
Breakdown. USA. A Mixolydian. Standard tuning. AABB. A hybrid tune, the first part
of which is melodic material from the tune usually known as “Salt River” (recorded by Hobart Smith
as part of the “Pateroller Song”) while the second part is the coarse part of
Henry Reed’s “Kitchen Girl.” Source for
notated version: "Dennis Tang, who assembled it" [Spandaro]. Brody (Fiddler’s Fakebook), 1983; pg. 136.
Spandaro (10 Cents a Dance), 1980;
pg. 49. Front Hall 010, Fennigs All Stars‑
"The Hammered Dulcimer Strikes Again" (1977).
HOBB DYE. Old Time, Country Rag. G Major. Standard tuning. AABB'. A
“slightly crooked” tune rom the playing of California mandolin player Kenny Hall,
who said he had the tune from a Texas piano player by the name of Clara
Desmond, who had learned it from sheet music (although she may have had it from
a Texas fiddler). Desmond had moved to Oakland sometime in the 1930’s, a city
where Hall worked in a broom factory while playing music and collecting 78 RPM
records in his spare time. Hobs and dies are terms from the machine trade (i.e.
‘gear hobber’), although the lore attached to the tune has it that the tune was
composed after one Hobb Dye, who was a bootlegger from Texas. Source for notated version: Tony Marcus
[Phillips]. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 64.
See also listing at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources |
HOBBIE ELLIOT. Northumbrian. Title appears in Henry Robson's list of popular
Northumbrian song and dance tunes ("The Northern Minstrel's Budget"),
which he published c. 1800.
HOBBLE ABOUT. Scottish, Jig. D Major. Standard tuning. AABB. John Glen (1891) finds
the earliest printing of the tune is Robert
Bremner's 1757 collection. Bremner (Scots
Reels), c. 1757; pg. 59 (appears as “Hoble about”).
X:1
T:Hobble About
M:6/8
L:1/8
R:Jig
S:Bremner – Scots Reels (c. 1757)
Z:AK/Fiddler’s Companion
K:D
G | (F/G/)AA d2A | d>ed “tr’c2A |
(B/c/dB) AFD | GEE E2G | (F/G/)AA d2A |
d>ed “tr”c2A | (B/c/d)B AFd | AFD
D2 :: f/g/ | afd afd | efd “tr”c2A |
(G/A/B)G (F/G/A)F | BGE E2f/g/ | afd
afd | efd “tr”c2A | (B/c/d)B AFd | AFD D2 :|
HOBBLE THE BOUTCHES. Irish, Reel. C Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 40. Ryan’s Mammoth Collection, 1883; pg. 66. Drumlin
Records BMNCD2, Brian McNamara – “Fort of the Jewels” (2004. Learned from the
Reilly family of Drumreilly, County Leitrim).
HOBB'S FAVORITE. AKA and see "Boston
Rattlers’,""Colonel
McBain's," “Connemara
Stockings,” "Miss
Abercrombie's Reel," “Winter
Apples [1].” American, Scottish
(originally) Reel. D Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 14. Ryan’s Mammoth Collection, 1883; pg.
X:1
T:Hobb’s Favorite
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:D
(3A/B/c/|.d(c/A/)
.B(A/F/)|(D/C/).D/.F/ (E/B,/).B,/.E/|D/F/A/F/ D/F/A/d/|c/A/B/c/ d/A/B/c/|
.d(c/A/) .B(A/F/)|(D/C/).D/.F/
(E/B,/).B,/.E/|D/F/A/F/ D/F/A/d/|1 c/A/B/c/ d:|2 c/A/B/c/ d(B/c/)||
|:(d/f/).B/.c/ d/B/f/d/|(c/A/).A/.B/
c/A/e/c/|(d/f/).B/.c/ d/B/f/d/|(c/e/).A/.c/ (3B/B/B/.B/.c/|
(d/f/).B/.c/ d/B/f/d/|(c/e/).A/.B/
c/A/e/g/|(3f/g/f/.e/.c/ (3d/e/d/.c/A/|1 B/A/B/c/ dB/c/:|2 B/A/B/c/ d||
HOBO('S) JIG. Canadian, Jig. Canada; Eastern
Ontario, Alberta, British Columbia. A Major ('A' part) & D Major ('B'
part). Standard tuning. AA'BB. "Composed by the late Ward Allen, an old‑time
fiddler from Eastern Ontario" (Gibbons). Phillips' sections are reversed
from Gibbons'. Source for notated version: Frank Lowery (Prince George, British
Columbia), who learned it from Robert Montgomery (Oyama, B.C.) and Calvin
Vollrath (Edmonton, Alberta) c. 1980 [Gibbons]. Gibbons (As It Comes: Folk Fiddling From Prince George, British Columbia),
1982; No. 2, pgs. 12‑13. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 367.
HOCH
HEY JOHNNY LAD. AKA and see “Hech How Johnnie Lad,” “Oh Hey, Johnny Lad.” Scottish, Canadian;
Reel or Strathspey. Canada, Cape Breton. A Major. Standard, ADae or AEae
tunings. AABB'. “Hoch Hey Johnny Lad” (sometimes “Hech How…” or “Hey How”…) is
a line from the chorus of a song to the tune. Scottish versions are usually set
as a reel, though MacDonald, in his Skye
Collection notes the tune is sometimes played as a strathspey. The
‘high-bass’ or ADae and AEae tunings are employed on Cape Breton where the
melody is rendered as a strathspey. John Glen, in Early Scottish Melodies, notes that this tune is the same as “Lasses/Lassies of the Ferry”
in Stewart’s Reels (1761-63, pg. 33)
and “The Lads of Saltcots.” Sources
for notated versions: Donald MacLellan and Donald Campbell (Cape Breton)
[Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music from Cape Breton), 1996; pg. 121.
Kerr (Merry Melodies), vol. 2; No.
24, pg. 6. Kohler (Violin Repository).
MacDonald (The Skye Collection), 1887;
pg. 14. Stewart-Robertson
(The Athole Collection), 1884; pg.
26. Celtic CX 35, “Donald MacLellan” (c. 1950's.
Unlisted after “Old Traditional Strathspey”). Celtic CX 049, Donald and Theresa
MacLellan/The MacLellan Trio. IMS WRC1 759, Winnie Chafe - “Cape Breton
Scottish Memories” (1979). Rounder 7059, Alex Francis MacKay with Gordon
MacLean – “Gaelic in the Bow” (2005). Smithsonian Folkways Records, SFW CD
40507, The Beaton Family of Mabou – “Cape Breton Fiddle and Piano Music”
(2004).
X:1
T:Hoch Hey Johnnie Lad
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:A
A3 c BABc|AFEF B/B/B B2|A3c BABc|AFEF A/A/A A2:|
|:e/f/g ac BABc|e/f/g ae f/f/f f2|1 e/f/g ac BABc|AFEF A/A/A A2:|2
efec
BABc|AFEF A/A/A A2||
HOCKEY MOUNTAIN REEL. Old‑Time, Fiddle Tune. The title appears in a list of traditional
Ozark Mountain fiddle tunes compiled by Vance Randolph, published in 1954.
HOCKLEY
IN THE HOLE. English, Country Dance Tune. The
tune was published in Playford’s English
Dancing Master (1651). The title refers to a ‘hole’, a well and public
pleasure-garden of ill-repute north of old London near Clerkenwell Green, once
in a marshy district in modern times absorbed by the city sprawl. “There
assembled on Sundays and holidays, the Smithfield butchers, the knackers of
Turnmill Street, and the less respectable citizens of Field Lane, for
dog-fights and pugilistic encounters. ‘That men may be instructed by brutes,
Aesop, Lemuel Gulliver, and Hockley-in-the-Hole, shew us’ says the author of The Taste of the Town, 1731; adding with
satiric slyness: ‘Who can view dogs tearing bulls, bulls goring dogs, or
mastiffs throttling bears, without being animated in their daring spirits.’ It
became the very type of low blackguardism, and was abolished by the magistracy
at the close of the last century” (R. L. Chambers, Book of Days, vol. 2, 1863).
***
The
Cockpit (1759). William Hogarth (1697-1764)
***
The place
is mentioned in one of Gay’s Fables:
***
The combats of my dog have known.
***
Raven (English Country Dance Tunes), 1984; pg.
45 (facsimile reprint of Playford).
HOD CARRIER, THE. AKA and see “Anderson’s
Reel [3],” "The Flowers
of Redhill [1]," "Don't be
Foolish," "Jilly
Neary's Favourite,” “Wild Irishman
[6].”
HOD THE LASS (WHILE I RUN AT HER). AKA
and see “Haud the Lass
Till I Come at Her.”
HODDOM/HODDAM CASTLE. Scottish, Slow Air (6/8 time). B Flat Major (Carlin): G Major
(Gatherer). Standard tuning. AABB. Gatherer notes it was composed by Mr.
(Charles) Sharpe of Hoddam as a slow air, although the tune is un-attributed in
the Gows’ 3rd Collection
(1792), in which other tunes are attributed to Sharpe (for more on whom see “Mr. Sharpe's Delight”). Hoddam Castle is
in the vicinity of Lockerbie, Dumfriesshire, southwest Scotland. It was sold in
1690 to John Sharpe and remained in the family for several generations.
***
Hoddam Castle
***
Carlin (The Gow Collection), 1986; No. 333. Gatherer (Gatherer’s Musical Museum), 1987; pg. 22. Gow (Third Collection of Niel Gow’s Reels), 1792; pg. 6 (3rd
ed.).
X:1
T:Hoddom Castle
M:6/8
L:1/8
R:Sow Air
N:”Slow”
B:Gow – 3rd Collection of Niel Gow’s Reels, 3rd ed.,
pg. 6 (orig. 1792)
Z:AK/Fiddler’s Companion
K:Bb
F|B2B “tr”B>cd|{c}e2 c/B/
{B}AGF|B>cB (Bd).f|f>gf {f}ed”tr”c|(dB).B (BG).G|
(ec).c (cA).A|B>cd
{d}cBA|[DB][DB][DB] [D2B2]:||:”tr”d/e/|(fd).d (dB).B|(ec).c (cA).A|
“tr”B>cd cc/d/c/B/|AFF FGA|BBB
(Gc)c|(Ad).d (Be).e|(cf)e {e}dcB|1 cFA (B/A/)B/c/:|2 cFA [D2B2]||
HOE CAKE. Old‑Time, Breakdown. A Major. Standard tuning. AABB. A variant of
"Davy
Knicknack" or "Bonnell's
Quickstep." A hoecake or johnnycake is a food item that dates to the
early 1700’s and is thought to be a precursor of the modern pancake. The
ingredients were cornmeal, salt and either boiling water or cold milk. In
modern times johnnycakes are also made with eggs, oil or melted butter and
leavening (e.g. baking powder). Some bake these in the oven rather than on a
griddle, more like traditional cornbread. Ford (Traditional Music in America), 1940; pg. 40.
HOE THE CORN MOSES. AKA and see "Razors in the Air," "Moses Hoe Your Corn."
Old-Time, Breakdown. D Major. Standard tuning. AB (Silberberg): AA'AA' BB
(Phillips). The title comes from the chorus of the minstrel-style song
"Razors in the Air," originally a three-part melody by
singer-banjoist Harry C. Browne and His Peerless Quartet, who recorded it for
Columbia prior to 1930. Vernon Dalhart also recorded an early version of the
song. As a tune it was paired to two parts, modified and played by Marion Slaughter,
the Otis Brothers (fingering in the key of ‘G’ but tuned down to E), Major
Contay and others. Sources for notated versions: Paul Elliot [Phillips]; Greg
Canote (Seattle) [Silberberg]. Phillips (Traditional
American Fiddle Tunes, Vol. 1), 1994; pg. 113. Silberberg (Tunes I
Learned at Tractor Tavern), 2002; pg. 103 (appears as “Moses Hoe Your
Corn”).
HOEDOWN IN HICKMAN
COUNTY. AKA and see "Hickman County."
HODI CAKE. Old-Time, Breakdown. A Major or A Mixolydian. Standard tuning. AABB. No
relation to Ford's "Hoe Cake." Source for notated version: Owen
Chapman [Phillips]. Phillips (Traditional
American Fiddle Tunes, vol. 1), 1994; pg. 113.
HOG EYE [1]. AKA – “Hog-Eyed Man.” AKA and see "Betty Martin," “Brad Walters,” “Chippy/Gippy/Hippy Get Your
Haircut,” "Fire
on/in the Mountain [1]," “Granny, Will Your Dog
Bite? [1],” “High, Betty Martin,”
"Old Mother Gofour,"
“Pretty Betty Martin,” "Sally in the Garden [1],"
“Tip Toe Fine,” etc. Old‑Time,
Breakdown. USA; Kentucky, Mississippi, Arkansas. A Mixolydian (Beisswenger
& McCann, Phillips): A A Dorian (Kaufman). Standard tuning. AAB (Brody):
AABB (Kaufman, Phillips). This melody seems to have been played as much in the
major mode as in the mixolydian.
***
The term 'hog‑eye' means perhaps 'wall‑eyed' (i.e. eyes that diverge outwards, the opposite of cross-eyed), according to Thede, and indeed it is confirmed that that usage is heard in parts of the United States. Apparently ‘hog-eye’ was a slang term (for some unknown reason) for a type of barge employed by 49ers in the California gold fields in the mid‑1800's. An 1870 publication called Whall Sea Songs says that “[Around San Francisco] there was a great business carried on by water, the chief vehicles being barges, called 'hog-eyes.’” (Random House Historical Dictionary of American Slang). Reginal Nettle, writing in his book Sing a Song of England (1954), assumes that ‘hog-eye’ is associated with ‘ditch-hogs’, or river sailors, who were held in contempt by blue-water men, “but the river traffic of the Mississippi-Missouri Valleys nevertheless opened up the Middle West of the U.S.A., and provided the quick transport necessary for the economic expansion…Railways and aircraft are merely carrying on there the work the ‘ditch-hogs’ started” (pg. 116). ‘Hog-eye’ also appears to have been a euphemism for female genitalia (see note for Bayard’s “Hog Eye an’ a ‘Tater”), as documented by Gerson Legman in Roll Me in Your Arms, vol. 1 of Vance Randolph's "unprintable" Ozark folksongs and folklore:
***
...a 'Hog-Eye Man'
means a wharf roustabout or idler, usually Negro, who
is always 'just
hangin' around,' looking for appetizing kitchen hand-outs
and especially for
sexual opportunities; often called 'Jody' (the
adulterer) in and
since World War II, in Negro 'toasts' and brag-songs.
*Hog-Eye* means,
gallantly, the vagina, not to be confused with
'dead-eye,' meaning the anus.
***
Musicologist Samuel Bayard, prints the following stanza, also commenting that "Hog Eye" has an indecent meaning:
***
As I was going down
the street
A pretty girl I
chanced to meet,
I stepped right up and
kissed her sweet,
And asked her for some hog-eye meat.
***
There are several tunes that are
quite similar to each other and to this one: "Betty Martin,"
"Old Mother Gofour," "Granny Will Your Dog Bite," and
"Fire on the Mountain." See Bayard's (1981, No. 60, pg. 43). The melody
was in the repertoire of Ky. fiddlers Luther Strong and Bill Stepp as "Hog‑Eyed
Man," and was recorded under this title in 1939 by Herbert Halpert for the
Library of Congress from the playing of Lauderdale County, Mississippi, fiddler
Stephen B. Tucker.
***
Sally's in the garden sifting, sifting,
Sally's in the garden sifting sand;
Sally's in the garden sifting, sifting,
Sally's upstairs with the hog‑eyed man.
***
Sally will your dog bite? No, sir, no,
Daddy cut his biter off a long time ago.
***
Chicken in the bread pan kicking up dough,
Sally will your dog bite? No, sir, no;
Sally in the garden sifting sand,
Sally upstairs with the hog‑eyed man.
***
There is perhaps another, musically
unrelated, “Hog-Eye Man” that developed as a shanty song, as contained in
Botkin’s Treasury of American Folklore (p. 836). Sources for notated
versions: The Arkansas Sheiks (Kuntz); Tony Marcus [Phillips]; fiddler John
Chism with Pope’s Arkansas Mountaineers [Beisswenger & McCann]. Beisswenger
& McCann (Ozark Fiddle Music), 2008; pg. 175. Brody (Fiddler’s Fakebook), 1983; pg. 136.
Kaufman (Beginning Old Time Fiddle),
1977; pg. 93. Kuntz (Ragged but Right),
1987; pg. 299‑300. Phillips (Traditional
American Fiddle Tunes), vol. 1, 1994; pg. 113. Bay
204, The Arkansas Sheiks‑ "Whiskey Before Breakfast." County
518, Pope's Arkansas Mountaineer's‑ "Echoes of the Ozarks, vol.
1" (1995). County 2730, Rafe Stefanini – “Glory on the Big Spring.”
Folkways FA 2398, New Lost City Ramblers‑ "vol. 3." Kanawha
311, "Hollow Rock String Band." Rounder CD1518, Various Performers –
“American Fiddle Tunes” (1971). Victor 21295 {78 RPM}, Pope's Arkansas
Mountaineers.
See also listing at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
X:1
T:Hogeye [1]
M:2/4
L:1/8
S:Kuntz – Ragged but Right
K:A
e/f/e/d/ c/B/A/c/|B/A/=G/F/
E/F/G/A/|e/f/e/d/ c/B/A/c/|B/A/G/B/ A/B/c/d/:|
e/f/e/d/ c/A/c/d/|e/f/e/f/
=g/a/g/f/|e/f/e/d/ c/B/A/c/|B/A/G/B/ A/B/c/d/|
e/f/e/d/ c/A/c/d/|e/f/e/f/ =g/a/g/f/|e/f/e/d/
c/B/A/c/|B/A/G/B/ A f/g/||
a/b/a/g/
f/g/f/d/|[d/f/][d/e/][d/f/][d/f/] [dg]>g|f/g/f/d/ e/f/e/c/|d/c/d/f/ ef/g/|
a/b/a/g/
f/g/f/d/|[d/f/][d/e/][d/f/][d/f/] [dg]>g|f/g/f/d/ e/f/e/c/|d/c/d/f/
e>(^d|
e/)[e/f/][e/e/][d/e/]
[c/e/][B/e/][A/e/][c/e/]|[B/e/]A/^G/B/ A2||
HOG EYE [2]. AKA and see "Hog Eye an' a
'Tater."
HOG EYE [3]. American, March (2/4 time). USA, southwestern Pa. D Major. Standard tuning.
AABB. Not related to versions #1 and #2, which do appear related. From
southwestern Pa. fifer Frank Ditto, once a renowned musician, via the Hoge MS.
Bayard (Dance to the Fiddle), 1981;
No. 160, pg. 98.
HOGEYED
MAN [4].
Old-Time, Breakdown. A Dorian. Standard tuning. AAB. Source for notated
version: Kentucky fiddler Bruce Greene [Lamancusa].
X:1
T:Hogeyed Man [4]
M:C
L:1/8
R:Reel
S:Bruce Greene
N:From a transcription by John
Lamancusa, by permission http://www.mne.psu.edu/lamancusa/tunes.htm
Z:AK/Fiddler’s Companion
K:Ador
AcAG E3B |
c2A2B2G2 | ABAG EGAG | E2 EG A4 |
AcAG E3B |
c2d2e4 | c2A2 GEAG | EDEG A4 :|
|| A2 AB
cBAB | c2d2e4 | e2 ef g2 ag | eged c2A2 |
A3B cBAB | c2d2
e4 | e2 ef g2 ag |
M:6/4
L:1/8
eg ed c2A2
A4 ||
HOG EYE AN' A 'TATER. AKA and see "Hog Eye('d Man) [2],"
"Granny Will Your
Dog Bite? [1]" (Pa. floating title), "Fire on the Mountain"
(Pa. floating title), "Boating
Up Sandy [3]." Old‑Time, Breakdown. USA, southwestern Pennsylvania.
A Dorian ('A' part) & A Major ('B' part). Standard tuning. AB. Related to
"Hog Eye [1].” "This is not the melody which accompanies the well
known and often recorded sea shanty called 'Hog Eye', nor is it the playparty
song tune with a similar name known farther south (see Sharp‑Karpeles, English Folk Songs from the Southern
Appalachians, II, No. 250). A somewhat different version, with the parts in
reverse order, is in Bayard Coll., No. 288, from Greene County, where the title
is simply 'Hog Eye', and has an indecent meaning. In Fayette County, this tune
has the following associated rhyme:
***
I went down to Sally's house
'Bout ten o'clock or later;
Was a hog‑eye and a tater.
***
The rhyme accompanying the set known
in Greene County is:
***
As I was going down the street,
A pretty little girl I chanced to meet;
I stepped right up and kissed her sweet,
And asked her for some hog‑eye meat.
***
(Bayard, 1944). Source for notated
version: Irvin Yaugher Jr., Mt. Independence, Pennsylvania, October 19, 1943
(learned from his great‑uncle). Bayard (Hill Country Tunes), 1944; No. 75.
HOG EYE SALLY. Old‑Time, Breakdown. Probably "Hog Eye." The title
appears in a list of traditional Ozark Mountain fiddle tunes compiled by Vance Randolph,
published in 1954.
HOG EYED MAN. AKA and see "Hog Eye."
HOG HOUSE RAG. Old‑Time, Breakdown. USA, Mo. G Major. Standard tuning. AA’BB’.
Source Vesta Johnson learned the tune from her uncle Clarence Wilson (Chula,
Missouri), and it seems unique to the family (although Mark Wilson posits a
possible link with “Jeff City”).
Source for notated version: Vesta Johnson (b. 1922, Missouri) [Beisswenger
& McCann]. Beisswenger & McCann (Ozarks Fiddle Music), 2008; pg.
71. Marimac 9017, Vesta Johnson (Mo.) ‑
"Down Home Rag."
HOG IN THE CANE-BRAKE. AKA and see "Wild
Hog in the Cane Break." Old‑Time, Breakdown. USA, Ga. Played by
Bob Young (Newton, Ga.) in a 1913 Atlanta, Ga., fiddling contest.
HOG IN THE CORN PATCH. Old‑Time. Tune mentioned as being played in a 1931 account of a
LaFollette, N.E. Tenn., fiddlers' contest.
HOG JOWLS AND BACK BONE. Old‑Time, Breakdown. USA, North Ga. One of the tunes in "A
Georgia Barbecue at Stone Mountain," a skit recorded by A.A. Gray. Vocalion 5430 (78 RPM), A.A. Gray (North Ga.) fiddler.
HOG ROCK [1]. Old‑Time, Breakdown. USA, southwestern Pa. A Major. AEae tuning.
AA'B. Source for notated version: Smitley (fiddler from Pa., 1946) [Bayard].
Bayard (Dance to the Fiddle), 198l;
No. 69, pg. 47.
HOG ROCKS [2]. AKA and see "Up
Jumped Joe In the Middle of It." The 'B' parts of version #1 and #2
seem to Bayard (1981) as though they were derived from a common ancestor.
HOG TROUGH REEL. AKA and see "McMichen's Reel."
HOG
WENT THROUGH THE FENCE, YOKE AND ALL(,
THE). Old-Time,
Breakdown. USA, Kentucky. A Major. AEae tuning. AB. Source Strong was recorded
by Alan and Elizabeth Lomax for the Library of Congress in 1937. Titon (2001)
says that although Strong was the sole source for the tune, it is related to
the widespread variants of “Cluck Old
Hen [1].” Source for notated version: Luther Strong (Hazard, Perry County,
Ky., 1937) [Titon]. Titon (Old-Time
Kentucky Fiddle Tunes), 2001; No. 62, pg. 92. Yazoo
2014, Luther Strong (et al) – “The Music of Kentucky, Vol. 2” (1995).
HOGAN’S JIG. See “Tim Hogan’s Jig.”
HOGAN’S PASS. AKA and see “Ryan’s (Hornpipe) [2].” Irish,
Hornpipe. Composed by County Tipperary fiddler Séan Ryan (d. 1982). Ryan (The Hidden Ireland), pg. 22.
HOGAN’S WHISTLE. Irish, Reel. A Dorian. Standard tuning. AB. Source for notated version:
Jimmy Hogan [Black]. Black (Music’s the
Very Best Thing), 1996; No. 124, pg. 64.
X:1
T: Hogan's Whistle
S: Jimmy Hogan
Z: transcribed by B.Black
Q: 350
R: reel
M: 4/4
L: 1/8
K: Ador
Bd | eAAB c2 BA | G2 BG dGBG | eAAB c2 BA | egdg eABd |
eAAB c2 BA | G2 BG dGBG | eAAB c2 BA | egdg eA A2 ||
(3Bcd ef gbge | d2 BG dGBG | (3Bcd ef gbag | egdg eA A2 |
(3Bcd
ef gbge | d2 BG dGBG | (3Bcd ef gbag | egdg eA A2 ||
HOGE'S MARCH. American, March (6/8 time). USA, southwestern Pa. D Major. Standard
tuning. AABB'C. Named for Pennslyvania fifer Thomas J. Hoge who was apparently
the composer, says Bayard. Source for notated version: George Fisher (Somerset
County, Pa., 1962) [Bayard]. Bayard, 1981; No. 549, pg. 490.
HOGIAU’R FOELAS (The Lads of Foelas). AKA
and see “Y Derwydd” (The Druid).
HOGMANAY [1]. AKA and see "Adieu to the Auld Year,” "Soraidh leis an t‑seana
bhliadhna.” Scottish, Strathspey and Song. A Major. Standard tuning. AAB
(Fraser): AABB' (Kerr). "The celebration of Hogmanay, and birth of New
Year, which we are at this day so fond of calling to remembrance, constitute an
anniversary so ancient and universal, it is no wonder to see them become the
subject of song in times of more superstitions attention to them. A Gaelic song
to this melody was sung by the editors father, descriptive of the amusement of
that night of mirth and festivity, not alike in style to Burn's Hallowe'en, or
that which he elsewhere describes, as 'the happy day the year begins.'"
(Fraser). Fraser (The Airs and Melodies
Peculiar to the Highlands of Scotland and the Isles), 1874; No. 6, pg. 3.
Kerr (Merry Melodies), vol. 2; No.
50, pg. 8.
X:1
T:Hogmanay [1] or Adieu to the Auld Year
T:Soraidh leis an t-seana bhliadhna
M:C
L:1/8
S:Fraser Collection (1874)
Z:AK/Fiddler’s Companion
K:A
E|C>EA>E C/C/C C2|C>E A<c B>B, B,<E|C>EA>E C/C/C C2|e/d/c/B/ A>E C2 C:|
e|f/e/d/c/ a<c e<c e>a|e>ca>g/2a/2 b>B B<a|f/e/d/c/ a>c e>c f<a|g<b a>f c2 c<a|
f/e/d/c/
a<c e<c e>a|e>ca>g/2a/2 b>BBc/d/|e<cB<G A>c
G<B|F>A E<A C2 C||
HOGMANAY [2], THE. Scottish, Jig. G Major. Standard. AA'B.
Composed by Angus fiddler Andrew Rankine. Carlin (Master Collection), 1984; No. 128, pg. 80. Front
Hall Records FHR‑024, Fennig's All‑Star String Band ‑
"Fennigmania" (1981). Topic 12TS382, New Victory Band ‑ "One
More Dance and Then" (1978). Topic 12TS239. Topic TSCD 669, Will Atkinson
(et al) – “Ranting and Reeling: Dance Music of the north of England” (1998).
HOGMANAY STRATHSPEY. Scottish, Strathspey. G Major. Standard. AAB. Jones [ed]. (Complete Tutor Violin), c. 1815; pg. 2.
X:1
T:Hogmany Strathspey
S:One of Nathaniel
Gow's single sheets, 1814
Z:Nigel Gatherer
M:4/4
L:1/8
K:G
D|G>GDB, DGDB,|E<AAG
GFED|G>GDB, DGDB,|E<A G/F/E/F/ G2:|]
B/C/|d>dBG BdBG|ceag
gfed|g>geB egeB|gfe^d e3 e/f/|
ggff e>ed>d|caBg
A>GFD|G>GDB, DGDB,|E<AGF G3|]
X:2
T:Hogmanay Strathspey.
M:C
L:1/8
R:strathspey
B:Complete Tutor Violin (c. 1815)
Z:Dr. Evan Jones [Ed.]
K:G
D | G>G DB, DGDB, | E<A AG GFED | G<G DB, DGDB, | E<A (G/F/E/F/) G3 (B/c/) | d>d BG BdBG | ceag gfed |
g>g e>B egeB | gfe^d e3 (e/f/) | gg ff e>ed>d | (ca)(Bg) (AG)(FD) | G>G DB, DGDB, | E<A GF G3 ||
HOGS IN THE CORN FIELD. Old‑Time, Breakdown. USA, southwestern Pa. A Dorian/D Mixolydian.
Standard tuning. AABB. Source for notated version: Josiah Hall (elderly fiddler
from Fayette County, Pa., 1944) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 67, pg. 46.
HOGS IN THE TATER
PATCH. Old‑Time, Breakdown. USA,
Arkansas. G Major. Standard tuning. AABB. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; pg. 74.
HOGSKIN. Old-Time, Breakdown. C Major.
HOGTIES REEL. Scottish, Reel. A Minor. Standard tuning. AABB. A modern composition by
accordion player Phil Cunningham. The group Lunasa plays the tune in E Minor.
X:1
T:Hogties Reel
R:Reel
S:Francis Lynne
C:Phil Cunningham
D:Milltown Session
Z:Adrian Scahill
M:4/4
L:1/8
K:G
edeg A2gf|edef g2fg|edeg A2ag|egdB
BAA2|\
edeg A2gf|edef g2fg|eage degd|egdB
BAA2:||\
aAA2 a2ge|dBde g2fg|aAA2 a2ge|dBeg
BAA2|\
aAA2 a2ge|dBde g2fg|eage degd|egdB
BAA2:||\
HOGTROUGH REEL. Old-Time. Marimac 9054, The Ill-Mo Boys -
"Fine as Frog Hair" (1995).
HOIRRION O AIR NIGHEAN
AN AIRICH. AKA and see "The Dairyman's Daughter."
HOKPERS VALS. AKA - "Vals learned from Bertil Ferneborg," "Vals i
d-moll." Swedish, Waltz. D Minor. Standard tuning. AABB. Composed by Lars
Hokpers. Source for notated version: Bertil Ferneborg (Sweden) via David Kaynor
(Mass.) [Matthiesen]. Matthiesen (Waltz
Book II), 1995; pg. 5.
HOLBORN MARCH. English, Country Dance Tune (4/4 time). F Major. Standard tuning. AABC.
The tune dates to c. 1742. Barnes (English
Country Dance Tunes), 1986.
HOLD IT STEADY. Old‑Time, Fiddle Tune. The title appears in a list of traditional
Ozark Mountain fiddle tunes compiled by musicologist folklorist Vance Randolph,
published in 1954.
HOLD OLD BALD WHILE I DANCE WITH
JOSIE. Old-Time, Breakdown. USA, Missouri. C Major.
Standard tuning. AB. Source Jim Herd (1919-2002) was born in Eastview,
Missouri, but moved in 1951 to Washington State. He retained his Missouri
fiddle style however, and was early influenced by Lonnie Robertson. Mark Wilson
(2000) suggests possible melodic connections with the tunes “Hawks and Eagles” and “The Fun’s All Over.” Drew Beisswenger
(2008) notes that similar Ozark melodies include “Arkansas Hoedown,” “Wagner One Step” and “Humansville.” He also suggests the title may
relate to a play-party song called “The fiddler’s drunk and we can’t dance
josie,” pointing out that ‘josie’ was the name of a dance popular in the 1840’s
(and mentioned in the c. 1838 minstrel song by Edward Harper called “Jim Along,
Josie”). Actually a ‘josie’ appears to be an African-American dance step rather
than a dance itself. Source for notated version: Jim Herd [Beisswenger &
McCann]. Beisswenger & McCann (Ozarks Fiddle Music), 2008; pg. 56. Rounder 0437, Jim Herd
– “Traditional Fiddle Music of the Ozarks, vol. 3: Down in the Border
Counties” (2000. Various artists).
HOLD ON! English, Reel. England, Northumberland. A Minor. Standard tuning. AABB.
Carlin (Master Collection), 1984; No.
118, pg. 76.
HOLD THE BONNY LASS. AKA and see “Haud
the Lass Till I Come at Her.”
HOLD THE REINS. See “Hould the Reins.”
HOLD YOUR TONGUE. Irish, Air (4/4 time). D Dorian. Standard tuning. AAB. Stanford/Petrie
(Complete Collection), 1905; No. 520,
pg. 131.
X:1
T:Hold Your Tongue
M:C
L:1/8
R:Air
N:”With spirit”
S:Stanford/Petrie (1905), No. 520
Z:AK/Fiddler’s Companion
K:D Dorian
A | A2 AB c2 cG | A2 Ac f2 fe | fagf
egfe | d^cde f3 :|
|| G/E/ | DE GA c2 Ac | d^c de f2 ed
| dc BA AG ED/E/ | G2 AB c2 ed |
(dc) (BA) (AG) ED/E/ | G2 AB c2 ed |
c2 BA G2E2 | D4 D2 ||
HOLDEN’S MARCH. English (?), March. A Minor.
Standard tuning. AABB. Source for notated version: the music manuscript book of
James Findlay, dated 1841. Findlay was originally from Penpont,
Dumfrieshire, Scotland, but emigrated with his brothers to Australia, where he
settled on a farm in the Upper Murray at Towong Upper. His manuscript was found
in an old sea chest at the family homestead by his grand-daughter, Ada Findlay.
X:1
T:Holden’s March
M:C
L:1/8
R:March
S:James Findlay ms. (1841)
Z:AK/Fiddler’s Companion
K:Amin
E2|A2 A>A A2B2|cede e2
d>e|f>ed>c d>cB>A|B2 B>B B2E2|
A2 A>A A2B2|c>dee e2
f>d|e>a g/f/e/d/ c2B2|A A>A A2:|
|:e>f|g2 g>g g2
(a/g/f/e/)|f>ed>c d2 c>d|e2 e>e e2 f/e/d/c/|d>cB>A B3E|
A>Ac>A
B>Bd>B|c>ce>c d>df>d|e>a g/f/e/d/ c2B2|A2 A>A A2:|
HOLE IN HER STOCKING. AKA and see "Jenny Lind
(Polka) [1]." American. The title is part of a line from "Buffalo Gals." Adam, 1928; No. 4.
HOLE IN THE COAT, THE. Irish, Jig. D Major. Standard tuning. AABB.
The tune was titled by Bill Black soon after his source played the unnamed jig,
then happened to tell a story about an IRA member, one Malachy Brennan, who
escaped a British ambush unscathed, but lost a good overcoat in the process.
Source for notated version: Larry Reynolds [Black]. Black (Music’s the Very Best Thing), 1996; No. 305, pg. 163.
X:1
T: The Hole in the Coat
S; Larry Reynolds
Q: 325
R: jig
Z: Bill Black
M: 6/8
L: 1/8
K: D
A | FDD EDD | FAA BAA | def edB | AdB AFE |
FDD EDD | FAA BAA | def edB | Adc d2 :|
e | faa fee | fdd Bdd | faa fdd | faf e2 e |
faa
fee | fdd Bdd | afa ede | fdc d2 :|
HOLE IN THE HEDGE, THE. AKA and see “Joe Cooley’s Jig,”“Seamus Cooley’s Jig.” Irish, Jig. G
Major. The first part is similar to “The Angry
Peeler.” Green Linnett GLCD 1155, Martin Hayes -
“Under the Moon” (1995).
HOLE
IN THE WALL [1], THE. English, Country Dance Tune (3/2 or
3/4 time). B Flat Major. Standard tuning. AAB. The air was published in
Playford's Dancing Master, c. 1725.
Barnes (1986) dates the melody to 1698. The melody may appear in the English
composer Purcell’s Abdelazar suite. Hole-in-the-Wall is a descriptive
name for many pubs and taverns, to this day, usually denoting small, perhaps
cozy establishments set within a building row. Sometimes the name is more
literal: Dublin’s Hole in the Wall Pub was named after an establishment that
served soldiers from a nearby barracks through a hole in the wall. A famous
Hole-in-the-Wall was in Kilkenny, behind High Street, and was from 1750-1850
one of Ireland’s more reknowned supper-houses, patronized by the Duke of
Wellington, Sir Jonah Barrington and Henry Grattan. A popular verse of the time
went:
***
If you ever go to Kilkenny
Remember the Hole in the Wall;
You may there get blind drunk for a penny,
Or tipsy for nothing at all.
***
Brendan
Breathnach collected a similar verse from James Gannon in the mid-20th
century. Set to the 9/8 time tune of “Moll Roe” or “Táim in Arrears,” Gannon’s
words go:
***
Whenever you go to Kilkenny,
Look out for the Hole in the Wall;
It's there you'll get pigs' feet and bacon
And buttermilk for nothing at all.
***
Playford’s
title may refer to one tavern called Hole-in-the-Wall in London’s Strand, scene
of the capture of one of the most famous highwaymen in England, Claude Duval,
around 1670. Duval was born in Normandy in 1643 but became attached as a
servant to a group of English Royalists in that country and returned to England
with them when Charles II was restored to the throne. Learning gentlemanly
manners in his capacity as a footman to a nobleman, Duval by 1666 had embarked
on a life of crime, although he maintained his gallant and fashionable ways. He
was variously described as an alchemist, an expert card player and gambler,
living the life of a rake. The dashing highwayman was subject of a book by
William Pope, written soon after Duval’s death, assuring his lasting fame by
reporting his exploits. One such
recorded by Pope involved Duval’s robbery of a coach containing a nobleman and
his lady. She, putting on a brave front and determined not to be cowed, took
out a flageolet or tin-whistle and began to play a tune, causing Duval to
respond by taking out his own whistle and playing as well. Taking it one step further, Duval
complimented the nobleman on his wife’s playing and suggested that she would
probably be just as skilled a dancer—then invited her to dance with him on the
heath. The dance complete the lady rejoined her husband, whom Duval assessed a
fee for neglecting to pay for the music, stealing four hundred pounds from him.
Duval’s epitaph reads, in part, “Here lies Du Vall. Reader if male thou art,
look to thy purse. If female, to thy heart.” Barnes (English Country Dance Tunes), 1986. Fleming‑Williams (English Dance Airs; Popular Selection),
1965; pg. 6. Raven (English Country Dance
Tunes), 1984; pg. 19. Watson (A
Rollick of Recorders), 1975; No. 7, pg. 8.
X:1
T:Hole in
the Wall [1]
M:3/2
L:1/8
K:Bb
|:d3e de
f2c2f2|B3 c Bc d2A2d2|G3 A GA B2F2d2|B6 A2 B4:|
||b3 a ga
b2 a2 g2|^f3 g fg a2d2a2|b3 a ga b2a2g2|g6 ^f2 g4|
G3 A GA B2 AB
c2|B3c Bc d2 cd e2|d3e de f2F2f2|d6 cd B4||
HOLE IN THE WALL [2]. American, Dance Tune (cut time). A Minor. Standard tuning. AAB (Cole,
Ryan): AABCC’ (Craig). Labelled a 'jig' in Ryan's
Mammoth Collection (1883), referring not the familiar 6/8 Irish jig but a
type of syncopated old-time banjo tune often called a “straight” or “sand” jig
(because it was performed on a sanded stage floor). An infamous mid-19th
century American ‘Hole in the Wall’ tavern was located on Water street, at the
corner of Dover Street, in New York City’s rough-and-tumble 4th Ward
(Ryan also prints a tune called the “Downfall of Water Street”). It became
known in its time as the most vicious watering-hole in the city, and was only
closed after seven murders were committed there in the space of less than two
months. In its hey-day the Hole-in-the-Wall was run by One-Armed Charley Monell
and his trusted lieutenants, Gallus Mag and Kate Flannery, but it was Mag who
was the establishment’s bouncer and general factorum, and a fearsome woman she
is said to have been. Born in England, Mag was over six feet tall and expert
with her chosen weapons: a pistol she kept stuck in her belt, and a huge
bludgeon strapped to her wrist. She handily used both to keep a rather
capricious order of sorts, and it was her habit to subdue any obstreperous
customer first with her bludgeon, followed by clamping down with her teeth upon
his ear, by which means she escorted him to the door. If he protested or struggled further, Gallus Mag bit the ear off
and cast the miscreant into the street, whereupon she carefully deposited the
ear in a jar of alcohol kept behind the bar, where her trophies resided
a-pickle.
***
The Hole-in-the-Wall was the scene
of a famous fight between Slobbery Jim and Patsy the Barber, both desperate
men, long-time criminals, and prominent members of the feared Daybreak Gang
that trolled the East River waterfront. It seemed that on one of their
excursions the pair happened on a luckless German immigrant, fresh off the
boat. They first bludgeoned the poor man unconscious, robbed him of his meagre
savings, and threw him into the East River where he drowned. The two then
repaired to the Hole-in-the-Wall to spend their spoils—all of twelve cents—but
soon fell to arguing about how to divide the money. Slobbery Jim maintained
that since he had hoisted the victim over the wall he should have seven, and
possibly eight cents for his share. For his part, Patsy the Barber maintained
it should be equally split, reasoning that it was he who had bludgeoned the
German in the first place, and that if he had not so subdued their victim,
there was a chance Jim might not have been able to deposit him in the water at
all. Slobbery Jim countered this logic
by seizing the rather prominent nose of Patsy the Barber in his teeth, with
Patsy meeting this challenge with a knife thrust to Jim’s ribs. It was not a fortuitous blow, however, as
the knife failed to penetrate the bone cage, and the two commenced a desperate
struggle on the floor of the bar for over 30 minutes in a battle royal. They
were left to contend unmolested by Gallus Mag, One-Armed Charley or any other
patrons, for everyone recognized this as a principled dispute and no mere
brawl. Alas for the Barber, Slobbery Jim gained control over Patsy’s knife and
stabbed its owner with it—this time a more telling thrust to the throat—and
when Patsy fell faint with loss of blood Jim delivered the coup-de-grace by
stomping him to death with his hobnailed boots. Professional police-work being
only an incipient art at the time, Slobbery Jim escaped and did not resurface
until the Civil War, when he rose to the rank of Captain in the Confederate
Army. (The above is a distillation and
paraphrase of pgs. 47-48 of Herbert Asbury’s The Gangs of New York,
originally published in 1927).
***
Cole (1000 Fiddle Tunes), 1940; pg. 81. Craig (The Empire Collection of Hornpipes), c.
1890’s; pg. 5. Ryan’s Mammoth Collection, 1883; pg. 115.
X:1
T:Hole in the Wall
M:C|
R:”Jig” i.e. ‘Sand Jig’, a banjo
tune
L:1/8
S:Ryan’s Mammoth Collection
(1883)
K:Amin
A,2 B,2 c<A z B, | (.C2.D2) E4 |
A2c2 (3FGF E2 | A2c2 (3FGF E2 |
A,2 B,2 c<A z B, | (.C2.D2) E4 |
A>B c>d e2a2 | ^g>a b>g a2 z2 :|
HOLEY
HA'PENNY/HALFPENNY. English, Jig. England,
Northumberland. G Major. Standard tuning. AABB (Bruce & Stokoe): AABBCCDDEE
(Raven). Raven's version from "A Tutor for the Northumbrian Small‑pipes,"
by J.W. Fenwick, published in the late 1800's. Raven (English Country Dance Tunes), 1984; pg. 98. Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 170.
X:1
T:Holey Halfpenny, The
M:6/8
L:1/8
R:Jig
S:Bruce & Stokoe – Northumbrian Minstrelsy (1882)
K:G
d|:B2G GBG|d2G GBG|B2G GBG|d3 edc|
B2G GBG|d2c BAG|A2f fef|c3 edc:|
|:B2g gfg|d2g B2g|B2g gfg|c3 edc|B2g gfg|
d2g B2g|A2f fef|c3 edc:|
X:2
T:Holey Ha'penny
M:6/8
L:1/8
S:Our Northern Branch Repertoire
R:jig
O:'Our Northern Branch' Dance Band
A:Northumberland
B:Bewick's Pipe tunes
N:This version as played by 'Our Northern Branch' - Bewick's early
N:version is simpler
Z:John Adams - Village Music Project
K:G
d2c
|:~B2G GFG | dBG GFG | ~B2G GFG | de=f edc | ~B2G GFG | dBG
GA_B | A2=f ede | (c3c) dc :|:B2g ~gfg | B2d d^cd | B2g ~gfg | de=f edc |
B2g
~gfg | B2d dcB | A2=f ede | (c3c) dc :|
HOLIDAY. American?, Reel. F Major. Standard tuning. AABB. Hardings All-Round Collection, 1905; No. 83, pg. 26.
X:1
T:Holiday
M:2/4
L:1/8
R:Reel
S:Harding’s All Round Collection (1905),
No. 83
Z:AK/Fiddler’s Companion
K:F
c|:c/f/f/g/
ag/f/|ag/f/ e/g/g|c/f/f/g/ ag/f/|d/f/e/g/ f:|
|:c|fe/d/
c/A/A/c/|.B/G/.A/F/ .E/G/G|fe/d/ c/A/A/c/|B/G/F/E/ Fc|
fe/d/
c/A/A/c/|B/G/A/F/ E/G/G|fe/d/ c/A/A/c/|B/G/F/E/ F/G/A/B/:|
HOLIDAY FANCY. Irish. G Major. Standard tuning. ABCD. O’Neill (1922) remarks: “This
spirited tune was found among the (Chicago Police Sergeant James) O'Neill
manuscript but without a title. With a view to its identification in the Index
we have named it.” O’Neill (Waifs and Strays of Gaelic Melody),
1922; No. 83.
X:1
T:Holiday Fancy
M:2/4
L:1/8
S:Sergt. James O'Neill manuscripts
Z:AK/Fiddler’s Companion
K:G
D|GG BB|dc/2B/2 A/2c/2B/2A/2|GG BB|AF/2E/2 D/2E/2F/2D/2|
GG BB|dc/2B/2 A/2c/2B/2A/2|GG AF|G2 G||
d|gg gd/2B/2|dc/2B/2 A/2c/2B/2A/2|GG BB|AF/2D/2 Dd|
gg gd/2B/2|dc/2B/2 A/2c/2B/2A/2|Bd de|dc BA||
GG BB|dc/2B/2 A/2c/2B/2A/2|GG BB|GF/2E/2 D/2E/2F/2D/2|
GG BB|dc/2B/2 A/2c/2B/2A/2|GG AF|G2 G||
d|cA AB/2c/2|dd de/2f/2|gf ag|fd d/2f/2e/2d/2|
cA AB/2c/2|dd de/2f/2|ge d^c|d=c BA||
HOLLADING. AKA and see "Holly Ding."
HOLLAND HANDKERCHIEF, THE. Irish, Slow Air (2/4 time). G Major. Standard
tuning (fiddle). One part. The melody is a variant of “Croppy Boy (The).” Source for notated version: a MS. of Mr.
James Cogley (Duffrey Hill, Enniscorthy, Ireland) [Darley & McCall]. Darley
& McCall (Feis Ceóil Collection of
Irish Music), 1914; No. 34, p. 14.
HOLLAND IS A FINE
PLACE (Is Bread An Ait
Tir-Fo-Tuinn).
Irish, Air (4/4 time). A Major. Standard tuning (fiddle). AB. O’Neill (1913)
classifies this melody in a group with “Willy Reilly” et al (see note for “Willy Reilly [2]").
O'Neill (Music of Ireland: 1850 Melodies),
1903; No. 96, p. 18.
X:1
T:Holland is a fine place
M:C
L:1/8
R:Air
N:”Moderate”
S:O’Neill – Music of Ireland
(1903), No. 96
Z:AK/Fiddler’s Companion
K:A
dB | A2A2B2d2 | (e^def) (g2ag) | e2
(dB) A2B2 | G6 dB | A2A2B2d2 |
(e^def) (g2ag) | e2 dB A2A2 | A6 ||
(ef) | g2B2d2e2 | (a3f) (g2ag) | e2 dB A2B2 |
G6 dB | A2A2B2d2 | e^def (g2ag) | e2
dB A2A2 | A6 ||
HOLLAND WEDDING, THE. Canadian, Reel. Canada, Cape Breton. A
Mixolydian. Standard tuning (fiddle). AABB’. Composed by Hilda Chiasson.
Cranford (Jerry Holland’s), 1995; No.
64, pg. 19.
HOLLER LULIE. AKA and see "Shout Lulu"
(probably). Old‑Time, Breakdown. The title appears in a list of
traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist
Vance Randolph, published in 1954.
HOLLER POPLAR HI-DE-O. Old‑Time, Fiddle Tune. The title appears in a list of traditional
Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph,
published in 1954. It is perhaps "Hollow Poplar."
HOLLIDING CINDY. AKA and see "Holly Ding,"
"Backstep Cindy."
HOLLOW HORNPIPE. Old-Time, Hornpipe. A Major. Standard tuning. AB. Source for notated
version: Owen Chapman [Phillips]. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 200.
HOLLOW POPLAR. AKA – “Hollow Poplar Log.” Old‑Time, Bluegrass; Breakdown. USA,
Nebraska, Missouri, Tenn. G Major. Standard tuning. AABB. Popularized by
Tennessee’s Fiddlin’ Arthur Smith. Earnest Smith, the grandson of the famous
Tennessee fiddler, told Susan Songer (1997) that this tune was his father’s
favorite and that it was the first tune he played on the Grand Old Opry.
Although Smith had played the tune since the 1930's, he never recorded it until
he made his 'comeback' with the McGee Brothers in the late 1950's. It may have
been picked up by Midwest fiddlers from Smith’s radio broadcasts, or may have
been independently in circulation in the region. Related tunes are “Forks of (the) Sandy" or “Three Forks of Sandy.” Drew
Beisswenger (2008) points to similarities of the ‘B’ part of “Hollow Poplar”
and the ‘A’ part of the “Green Corn” family
of tunes. Sources for notated versions: Kenny Baker (Brody); Bob Walters (Burt
County, Nebraska) [Christeson]; Liz Slade (Yorktown, New York) [Kuntz]; Marion
Summer [Phillips]; mandolin player Rodney Freeland (Berkeley, California)
[Songer]; Cliff Bryan (b. 1927, Pomona, south-central Missouri) [Beisswenger
& McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg.
173. Brody (Fiddler’s Fakebook),
1983; pg. 136‑137. R.P. Christeson (Old
Time Fiddlers Repertory, vol. 1), 1973; pg. 86. Kuntz, Private Collection.
Phillips (Traditional American Fiddle
Tunes), vol. 1, 1994; pg. 114. Songer (Portland
Collection), 1997; pg. 98. In the repertoire of the Perry County Music
Makers (Tenn.), Nannie Presson and Bulow Smith on zither and guitar. County 744, Kenny Baker‑ "Dry and Dusty."
Folkways FA-2379, Arthur Smith - "Mountain Songs and Instrumentals" (1964). June Appal 030,
Marion Sumner‑ "Road To Home" (learned from Fiddlin’ Arthur
Smith). OHCS-90174, Marion Sumner (1986).
See also listing at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources |
X:1
T:Hollow Poplar
M:2/4
S:Liz Slade
L:1/8
Z:AK/Fiddler’s Companion
K:G
B|(B/ d) B/ dd/d/|d/e/d/A/ B/A/B|(B/ c) (B/ c>)(c|c)B A>G E2|
GB/A/ B(c/d)|g/e/f e/(A/d|GB A/A/F|(G/ B) (G B2)||
(g/ g) (g/ g) gg/g/|gd B/(D/G)|f/g/a/f a(a|a/)(b/a/)e/ f/e/d|
gg/g/
g(g|g/)e/f e/(A/d)|B/c/d/A/ (A/B/A/)F/|(G/ B) (G/ B2||
X:2
T:Hollow Poplar
M:2/4
L:1/8
S:Howdy Forrester, transcribed by John Hartford
K:G
B/d/||g2 gg/a/|g/e/d/c/ B/G/B/d/|aa/b/ aa/b|a/g/e/d/ B/G/B/d/|g/f/g/a/ gg/a/|
g/e/d/c/ B/G/A/G/|F/G/A/c/ B/A/G/B/|A/G/G/A/ G||D|g2g2|d/e/d/c/ B/G/G|
c2 c2|c/e/d/c/ B/G/G|G,/B,/D/F/ GB/d/|g/e/d/c/
B/G/A/G/|F/G/A/c/ B/A/G/B/|A/G/G/A/ G||
HOLLY BUSH [1]. Scottish, Country Dance Tune (6/8 time). The air appears in the Bodleian Manuscript (in the Bodleian Library,
Oxford), inscribed "A Collection of the Newest Country Dances Performed in
Scotland by D.A. Young, W.M. 1740."
HOLLY BUSH [2]. AKA - "Holy Bush." AKA and see “Dwyer’s Reel [1],” "Finbar Dwyer's." Irish,
Reel. D Mixolydian. Standard tuning. AABB. The tune has been attributed to
accordion player Finbar Dwyer. Source for notated version: fiddler Peter Turbit
[Feldman & O’Doherty]. Bulmer & Sharpley (Music from Ireland), vol. 2, 13. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 236. Boys of the Lough -
"Farewell and Remember Me" (appears as "The Holy Bush").
Green Linnet Records SIF 1058, Matt Molloy & Sean Keane ‑
"Contentment is Wealth" (1985). Outlet OLP1011, Finbar Dwyer. Rounder
RO 7023, Natalie MacMaster - “No Boundaries” (1996. Learned from Dave MacIsaac,
who had it from Cheticamp, Cape Breton, fiddler Arthur Muise. The reel was
introduced to Cape Breton fiddlers by Donegal fiddler P.V. O’Donnell who taught
it to Brenda Stubbert).
X:1
T:Holly Bush [2]
T:Dwyer’s Reel [1].
M:4/4
L:1/8
R:Reel
K:D Mix.
A2FA DFAG | FAde fded | cG~G2 EG~G2
|~c3c {d}cAGB | ADFA DFAG |\
FAde fded | cG~G2 cGBc| {d}cAGE
DEFG:: Ad{e}d^c defg | adde dcAB |\
c3B cdeg | aged cAGc | Ad{e}d^c ~d3f
| adde dcAB | c2{d}cB cAGc | AEGE D4 :|
X:2
T:Holly Bush, The [2]
R:reel
C:Finbar Dwyer
S:BBC recording of Feakle Session 1987: Noel Hill & Tony Linnane
H:Usually in Dmix, #468
Z:id:hn-reel-695
Z:transcribed
by henrik.norbeck@mailbox.swipnet.se
M:C|
K:Emix
B2GB EBGB|Bcef geec|dA~A2 FA~A2|dfed BAFA|
B2GB EBGB|Bcef geec|dAAB dfed|BFAF EFGA:|
|:Bee^d efga|beef edBc|dA~A2 defa|bafe dBAd|
Bee^d efga|beef edBc|~d3d dBAd|1 B2AF E3A:|2 B2AF EFGA||
HOLLY BUSH [3]. AKA and see “Crooked Way to Dublin [1],”
“Mountain Top [2].”
HOLLY DING. AKA - "Hollading,"
"Holliding." AKA and see "Holliding
Cindy," "Backstep Cindy,”
“Old Time Step Back Cindy."
Old‑Time, Breakdown. USA; southwest Va., western N.C. D Major. A Galax, Va.,
region stand‑by, usually played as a banjo piece. Ray Alden (1981)
believes it to be "one of the many dance tunes that made its way down
through Virginia into the Round Peak section of North Carolina at the turn of
the century." Tommy Jarrell has pointed out that this family of melodies
is known as "Holly Ding" above the "Mountain" (the Blue
Ridge chain separating NC and VA) and "Back Step Cindy" below the
"Mountain" (Jarrell’s “Old Time Step Back Cindy” is melodically
related to Wade Ward’s “Hollyding”). Noted to have been in the repertoire of
the Wagoner Family of Sparta, N.C.
***
The title “Holly Ding” comes from a
verse set to the melody which goes: Hollyding!
Step back and swing. Thomas Talley (1870-), in his book Negro Folk Rhymes (originally published
1922, republished in 1991 edited by Charles Wolfe), recalls that it was known
in the middle Tennessee African-American community he grew up in since slavery
times. His “Holly Dink” (sic) was performed in a call and response format:
***
Oh now swing yo’ partner
Holly Dink
I sure love Doney
Holly Dink
***
Over time the words were lost, with
only the response portion retained in the title of the tune. Kerry Blech points
out that Talley’s lyric fragments scan well to the Tommy Jarrell tune “Old Time
Step Back Cindy,” melodically related to the Wade Ward version. County 757, Wade Ward – “Clawhammer Banjo, vol. 3.” Heritage
XXXIII, Fred Cockerham & Tommy Jarrell ‑ "Visits" (1981).
Rounder 0058, Stuart Carrico ‑ "Old Originals, vol. 2" (1978.
Appears as "Holliding Cindy"). Swing Cat CD-1610, Hart & Blech –
“Kicked Up a Devil of a Row” (learned from Wade Ward, of Independence, Va.).
HOLLY TREE, THE (Crann-Cuilinn). AKA and see “Jackson’s Welcome Home.” Irish,
Jig. G Major. Standard tuning. AABB. O'Neill (Music of Ireland: 1850
Melodies), 1903/1979; No. 972, pg. 181.
X:1
T:Holly Tree, The
M:6/8
L:1/8
R:Jig
S:O’Neill – Music of Ireland
(1903), No. 972
Z:AK/Fiddler’s Companion
K:G
d | g>fg e2d | (B<d)d
(B<d)d | g>fg e2d | (B<A)A A2d | g>fg e2d |
(B<d)d (B<d)d | gfg “tr”e2d |
(B<G)G G2 :: B | G>AB (B<d)d |
(B<A)A (B<d)d | G>AB
(B<d)d | (B<A)A A2B | G>AB (B<d)d |
(B<A)A (B<d)d | gfg “tr”e2d |
(B<G)G G2 :|
HOLLYFORD JIG, THE (Port Ata-Cuilinn). AKA and see “Pipe on the Hob [2].” Irish,
Double Jig. D Major. Standard tuning. AABBCC. O'Neill (Dance Music of
Ireland: 1001 Gems), 1907/1986;
No. 362, pg. 74.
X:1
T:Hollyford Jig, The
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
362
Z:AK/Fiddler’s Companion
K:D
F3 AGF|ABA GED|EGE c2A|d/e/fd
cAG|FEF AGF|ABA GED|DED d/c/AG|FEF GED:|
|:c3 cAc|dcA GED|EGE c2A|d/e/fd
cAB|ced cAc|dcA GED|DED d/c/AG|FAF GED:|
|:dFF A,FF|A,/D/FA GED|EGE cde|fed
efg|f/g/af gbg|fdB AGF|EFE d/c/AG|FEF GED:|
HOLM BAND JIG. English, Jig. A Major. Standard tuning. AABB’.
X:1
T:Holm Band Jig
M:6/8
L:1/8
Q:3/8=73
K:A
E|A>AA c>BA|F>FF d>zf|e>cA G>AB|c>Ac B>zE|
A>AA c>BA|F>FF d>zf|e>cA G>AB|c>AA A>z:|
E|A>ce a>ga|e>cA d>zf|e>cA G>AB|c>Ac B>zE|
[1 A>ce a>ga|e>cA d>zf|e>cA G>AB|c>AA A>z:|
[2 A>AA c>BA|F>FF d>zf|e>cA G>AB|c>AA A2 |]
HOLMES' HORNPIPE. American, Hornpipe. E Flat major (Cole, Ryan): G Major (Miller).
Standard tuning. AABB. There was a black-face minstrel named Edwin Holmes who
was a popular tenor for about six years, commencing in 1862, says Edward Le Roy
Rice (Monarchs of Minstrelsy, New
York, 1911). He was with Duprez and Green’s and Later Duprez and Benedict’s Minstrels,
and died in Boston, Mass., July 11, 1879. However, his connection with this
tune, if any, is unknown, save the tenuous one of the Boston connection with
many of the tunes contained in Ryan’s
Mammoth Collection. Cole (1000 Fiddle
Tunes), 1940; pg. 114. Miller (Fiddler’s
Throne), 2004; No. 290, pg. 173. Ryan’s
Mammoth Collection, 1883; pg. 152.
X:1
T:Holmes’ Hornpipe
M:
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:Eb
B, | E/D/E/F/ E/B,/G,/B,/ | E/e/B/G/
E/F/G/E/ | F/A/c/B/ A/G/F/E/ | D/B/F/D/ B,/D/F/D/ |
E/D/E/F/ E/B,/G,/B,/ | E/e/B/G/
E/F/G/E/ | A/F/c/A/ G/F/E/D/ | EGE :: B | .e.e d/B/=A/B/ |
.f(f/e/) d/B/=A/B/ a/f/d/B/ A/F/G/E/
| D/B/F/D/ .B,(3B,/C/D/ | .E.E C/A,/G,/A,/ |
.F(F/E/) D/B,/=A,/B,/ | e/B/A/G/
F/A/D/F/ | EGE :|
HOLMES'S FANCY. English, Reel. England, Northumberland. G Major. Standard tuning. AABB.
Peacock (Peacock’s Tunes), c.
1805/1980; pg. 13. Raven (English Country
Dance Tunes), 1984; pg. 141.
HOLY BUSH, THE. AKA and see "The
Holly Bush [2]."
HOLY EVEN. Scottish, Dance Air. This melody, labelled a 'Scotch measure', appears
in Henry Playford's 1700 collection of Scottish dance tunes.
HOLY LAND, THE. AKA and see “Kilfenora.” Irish, Reel. D Major.
Standard tuning. AAB. Originally recorded by fiddler Paddy Killoran. See also
the related “Ha’porth of Tea.” Bulmer
& Sharpley (Music from Ireland),
vol. 4, No. 13. Cotter (Traditional Irish
Tin Whistle Tutor), 1989; 75. Vallely (Armagh
Pipers Club Play 50 Reels), 1982; No. 19, pg. 11. Hemisphere
7243 8 31216 25, The Bothy Band - “Celtic Graces” (1994). Mulligan, The Bothy
Band - “Out of the Wind into the Sun” (1977).
X:1
T:Holy Land, The
R:Reel
M:4/4
L:1/8
K:D
B2dB A2Bc | dF~F2 DFAd | BG~G2 ABde
| faeg fdd2 :| fd~d2 dfaf | edcd efge |\
fd~d2 dfaf | gfeg fdde | fd~d2 dfaf
| edcd efge | df~f2 g2fg | afge fdd2 ||
HOLYROOD. Scottish, Jig. G Major. Standard tuning. AABB. A place name. David I
established the Augustinian abbey of Holyrood in 1128, and an adjoining
guest-house formed the basis for the royal palace, Holyroodhouse. Mary, Queen of
Scots, married two husbands at the palace, and it was at Holyrood that her
husband, Lord Darnely, murdered her secretary and musician/composer, David
Rizzio in 1566. Bonnie Prince Charlie used the castle for a brief time in 1745
to celebrate his early victories. Sweet (Fifer’s
Delight), 1964/1981; pg. 34. Tradition 2118, Jim
MacLeod & His Band ‑ "Scottish Dances: Jigs, Waltzes and
Reels" (1979).
X:1
T:Holyrood
M:6/8
L:1/8
Z:AK/Fiddler’s Companion
K:G
Bc | ded dBG | c2d BAG | DGG GFG |
ABG FED | ded dBG | c2d BAG |
DGG GFG | BGG G :: Bc | dBG G2g |
ecc c2d | e^cA Aag | fdd def |
gfe dcB | edc BAG | DGG AGA | BGG G
:|
HOLYWELL HORNPIPE [1], THE. Scottish, Hornpipe. C Major. Standard tuning.
AABB. Composed by William Jeffrey. The name ‘holywell’ stems from the ages-old
practice of ascribing healing and
magical powers to springs, a practice which began in pagan times but was
Christianized over the years. Churches were often built next to holy wells as a
way of co-opting and protecting the site. The pagan practice of leaving offerings
to the gods a holy wells was incorporated into Christian religion by attaching
saints names to the wells with collection boxes nearby. Honeyman (The Strathspey, Reel, and Hornpipe Tutor),
1898; pg. 56.
X:1
T:Holywell Hornpipe [1]
M:C|
L:1/8
R:Hornpipe
S:Honeyman – Strathspey, Reel and Hornpipe Tutor (1898)
Z:AK/Fiddler’s Companion
K:C
(3GAB|c>G (3G^FG
A>GE>G|e>G (3G^FG A>GE>G|f>ed>c B>cd>e|
(3ded (3cBA (3GAG (3FED|c>G
(3G^FG A>GE>G|e>G (3G^FG A>GE>G|
f>ed>c (3BAG
(3FED|C>G,A,>G, C2:|
|:d>c|B>gB>g
A>fA>f|G>fe>d c>BA>G|F>dF>d E>cE>c|B>ag>^f
g2 d>c|
B>gB>g
A>fA>f|G>fe>d c>BA>G|F>Ad>c B>df>a|(3gag (3fed
c2:|
HOLYWELL HORNPIPE [2]. English, Hornpipe. England, Yorkshire. G Major. Standard tuning. AABB.
Source for notated version: an MS collection by fiddler Lawrence Leadley,
1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather
& Seattle (The Fiddler of Helperby),
1994; No. 21, pg. 33.
X:1
T:Holywell Hornpipe [2]
M:C|
L:1/8
R:Hornpipe
K:G
d3g edcB | d2gg edcB | DGBG DGBG | DGBd cBAG |\
d3g edcB | d2gg edcB | gfgd ecAF | FGGF GABc ::\
d2de dBGB | cdef eAAB | c2AB cBAG | Bdef G2G2 |\
dBdg
eceg | fg (3agf g2 (3def | gfgd ecAF | GAAB AGBc :|
HOME ACROSS THE FORD. Irish, Air (4/4 time). D Mixolydian. Standard tuning. AB. "From
Hugh Cregan, an Irishman residing in Chester (about 1885)" {Joyce}. Joyce
(Old Irish Folk Music and Song),
1909; No. 214, pg. 105.
HOME BREW, THE. AKA and see "Delahunty's Hornpipe," “The Iron Gate,” “John Quinn’s [1],” “The Kerry Hornpipe [1],” "The Road to Boyle,” "Sonny Murray's," "Wicklow Hornpipe.” Irish, Hornpipe. Topic 12T312, “Billy Clifford.” Topic 12T311, John and Julia
Clifford - “The Humours of Lisheen.”
HOME BREW RAG [1]. Old‑Time, Country Rag. USA; north Georgia, Kentucky, West
Virginia, Missouri. F Major (Phillips/1995): F Major ('A' part) & B Flat
Major ('B' part) {Beisswenger & McCann, Phillips/1989}. Standard tuning.
One part (Phillips/1995): AB (Beisswenger & McCann, Phillips/1989). Lowe
Stokes (1898-1983) was a north Georgia fiddler who was a member of the famous
Skillet Lickers but who also fronted his own bands and made recordings in his
own name. “Home Brew Rag” was originally recorded in Atlanta on Halloween,
1927, and was (with “Unexplained Blues”) his first recording as leader,
although it featured a jazzy clarinet played by Stranger Malone (his group the
North Georgians also included Clayton McMichen and Hoke Rice). Beside Lowe
Stokes, Gutherie Meade (Country Music Sources, 2002) finds early 78 RPM
recordings of the tune by the McClung Brothers & Cleve Chaffin (1929), and
by Kentucky fiddler Doc Roberts (1934). Missouri fiddler H.K. Silvey also
called it “Fruit Jar Rag.” Sources for notated versions: Lowe Stokes and His
North Georgians [Phillips/1995]; H.K. Silvey (b. 1924, late of Theodosia, Mo.),
who had it from his uncle, Jess Silvey, who learned it from Stokes’ recording
[Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music),
2008; pg. 129. The Devil’s Box, Winter, 1983; pg. 24. Phillips (Fiddlecase Tunebook), 1989; pg. 22.
Phillips (Traditional American Fiddle
Tunes), vol. 2, 1995; pg. 64. Document DOCD 8045,
“Lowe Stokes, vol. 1: 1927-1930” (reissue). Gennett 7240 (78 RPM), 1930, Tweedy
Brothers (three W.Va. brothers, Charles, Harry, and George, who played twin
fiddles and piano). Rounder 0437, H.K. Silvey
– “Traditional Fiddle Music of the Ozarks, vol. 3: Down in the Border
Counties” (2000. Various artists).
See also listing at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
HOME BREW RAG [2]. Old-Time, Country Rag. B Flat Major ('A' part) & F Major ('B' part).
Standard tuning. AB. Source for notated version: J. T. Perkins [Phillips].
Phillips (Traditional American Fiddle
Tunes), vol. 2, 1995; pg. 65.
HOME BY
BALLYCASHEN. Irish, Jig. D Major. Standard tuning. AABB.
X:1
T:Home by Ballycashen
R:jig
S:P.J. King, Ennis
Z:Transcribed by Bill Black.
L:1/8
M:6/8
K:D
~F3 ~G3 | FED EFG | Adf ecA | ~G3 EFG |
FAd GAd | FED EFG | Adf ecA | GEA D3 :|
~f3 d2B | Adf agf | ~e2f gfe | efd cBA |
~f3
d2B | Adf agf | Bef gab | aec d3 :|
HOME IN THE HILLS. Old‑Time. Composed by Lonnie Robertson (Mo.), circa 1960's.
HOME MADE REEL, THE. Irish, Reel. D Major. Standard. AABB. See note for “St(e) Anne’s Reel,” and see the related “Factory Lass.” O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 233.
X:1
T:Home Made Reel, The
M:4/4
L:1/8
S:Capt. F. O'Neill
R:Reel
K:D
de | fedB A2 FG | AFBF A2 de | fedB A2 FA | Beef e2 de |
fedB A2 FG | AcBG A2 de | fefd BAFA | Bdde d2 :: de | fdad fddg |
fdaf e2 de |1 fdad fddA | Bdde d2 :|2 faaf gabg | afef d2 ||
HOME MADE SUGAR AND A PUNCHEON
FLOOR.
Old-Time, Breakdown. G Major. Standard tuning. AAB. Source for notated version:
learned by the late John Hartford from fiddler Howdy Forrester, who had the
tune from his Uncle Bob [Devil’s Box]. Devil’s Box, vol.. 22, No.
2, Summer 1988; pg. 49.
X:1
T:Home Made Sugar and a Puncheon
Floor
M:2/4
L:1/8
S:John Hartford – Devil’s Box
(1988)
Z:AK/Fiddler’s Companion
K:G
g/a/g/a/ f>d | ed e>d |
e/f/e/d/ B/A/G/B/ | AG G2 :|
d/dd/ d>B | d/B/d/e/ d>B |
d/e/d/c/ B/A/G/B/ | A(G G2) |
G/A/B/c/ dB | d/B/d/e/ d>B | d/e/d/c/ B/A/G/B/ | A(G G2) ||
HOME RULE. Irish, Reel. D Mixolydian.
Standard tuning. AAB. The tune is labelled an “Irish Reel” in J. Scott Skinner’s Harp
and Claymore (1904). Skinner (Harp
and Claymore), 1904; pg. 143.
X:1
T:Home Rule
M:2/4
L:1/8
R:Reel
S:Skinner –
Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:Dmix
B/ |
(A/D/).D/.E/ FF/B/ | (A/D/).D/.c/ dd/B/ | (A/D/).D/.E/ (F/E/).F/.A/ | B/=c/B/A/
(G G/) :|
B/ |
(A/d/).d/.B/ (A/F/).F/.B/ | (A/d/).d/.e/ (ff/)A/ | (A/d/).d/.B/ (A/F/).F/.A/ |
(B/c/).B/.A/ (GG/)B/ |
(A/d/).d/.B/
(A/F/).F/.G/ | (A/d/).d/.e/ ff/)(g/ | a/)(f/g/)(e/ f/)(d/e/)(c/ | d/)(B/A/)(F/
GG/) ||
HOME RULER. AKA and see “Daniel
O’Connell, the Home Ruler,” “Frank
McCollum’s [2],” "The Hangman's
Noose,” "McCollum's Hornpipe,"
“Pat Galvin’s Hornpipe,” "Seán Ryan's (Hornpipe) [1]."
Irish, Hornpipe. D Major. Standard tuning (fiddle). AABB. The tune was composed
in the 1960's by Frank McCollum (Ballycastle, County Antrim) and dedicated to
his wife (the real “Home Ruler”), although perhaps the political meaning was
secondarily meant. In the political sense McCollum’s title is usually presumed
to reference James Brown Armour (a nineteenth-century Antrim Home Rule
champion), however, an alternate title has emerged called “Daniel O’Connell,
the Home Ruler” referencing another Irish political champion, and it has been
mistakenly thought by some that even Charles Stuart Parnell was meant to be
honored. Especially when the 'A' and 'B' parts are reversed, the tune is called
"The Hangman's Noose" (as, for example, found in Bulmer &
Sharpley’s vol. 4, collected from fiddler Pat Neilly). McCollum was a fiddler,
song and music collector, and composer and was a one-time 'master' of the
Ballycastle, Co. Antrim Orange Lodge [and perhaps, as Paul de Grae points out,
broadminded as he might have been, unlikely to have dedicated a tune to a hero
of Catholic Emancipation]. According to his daughter Catherine, McCollum
composed many tunes, and he and fiddler Seán Ryan were quite friendly and used
to exchange tunes (Miller & Perron). It is sometimes paired in sessions
with the hornpipe “Kitty’s Wedding.”
Bulmer and Sharpley (vol. 4) give the tune as “The Hangman’s Noose,” with the
parts reversed. Traces of melodic similarity can be found in the ‘B’ part of
Ryan’s “Erie Hornpipe.” Sources for
notated versions: set dance music recorded live at Na Píobairí Uilleann,
mid-1980’s [Taylor]; fiddler Seán Ryan [Miller & Perron]. Mallinson (Enduring), 1995; No. 74, p. 30. Miller
& Perron (Irish Traditional Fiddle
Music), 1977; vol. 3, No. 18 (appears as “McCollum’s Hornpipe”). Miller
& Perron (Irish Traditional Fiddle
Music), 2nd Edition, 2006; p. 117. Sullivan (Session Tunes), vol. 2; No. 45, p. 19.
Taylor (Crossroads Dance), 1992; No.
57, p. 43. Taylor (Music for the Sets:
Yellow Book), 1995; p. 24. Tubridy (Irish
Traditional Music, vol. 1), 1999; p. 14. CBS
34601, Chieftains - “Boil the Breakfast Early.” Shaskeen ‑ "My Love is in America." Cló
Iar-Chonnachta CICD 161, Chris Droney – “Down from Bell Harbour” (2005).
See also listings at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T: Home Ruler, The
M: 2/2
L: 1/8
R: Hornpipe
K: D
D2FA DAFA|dfed B2dB|~A3B AFDE|3)FED
ED B,DA,B,|
D2FA DAFA|dfed BGdB|AFAB AFDE|F2D2
D4:|
|:Addc defg|afbf afdf|efed BA
3)Bcd|fded 3)Bcd AB|
~d2dc ~d2df|afbf afed|efed BAdB|AFEF
D4:||
HOME SWEET HOME [1]. AKA ‑ "Home Waltz." American, Canadian; Waltz. USA;
Louisianna, Arizona. Canada, Prince Edward Island. G Major. Standard tuning.
ABB’ (Perlman). “Home Sweet Home” was composed by Sir Henry Bishop (1786-1855),
an operatic conductor, composer and arranger. It first appeared in the play Clari,
or the Maid of Milan, by John Howard Payne, produced in London in 1823.
***
This popular and soon-familiar
melody debuted in the 1820's and quickly was transformed into a waltz for
dancing, as well as employed as a song and hymn tune. It shows up, for example,
on a dance card for a "Grand Select Quadrille at City Hall, Lima, Ohio, on
Thursday Evening, Jan. 13th, 1870."
Because of its title it was used as a closing dance at “kitchen sweats,”
“shivarees” and similar gatherings to signal the end of the festivities (in
which, traditionally since the latter 19th century, the closing tune was a
waltz {in the Southwest and Mid-West as well as the Northeast}) [see also “Goodnight Ladies”]. Fiddler Kenner C.
Kartchner remembered it being played as the closing dance from about the year
1900 on at Arizona dances.
***
The title appears in a list of tunes
in his repertoire brought by Philip Goodman, the last professional and
traditional piper in Farney, County Louth, Ireland, to the Feis Ceoil in Belfast
in 1898 (Breathnach, 1997). While mostly traditional in his repertoire, Goodman
regularly played several novelty or ‘popular’ tunes.
***
Fiddler Lisa Ornstein finds
French-Canadian variants of the melody. Joseph Allard recorded a version in
1928, set as a reel entitled “Quadrille
de chez-nous” (Our House/Home Quadrille), and again in 1945, this time as “Reel de Tadoussac.” See also “Glise a Sherbrooke.” Harry Smith
(Folkways FA2952, 1952) writes of Breaux Fréres’ Arcadian recording of the
tune: “A well known popular song is here played in waltz time, a dance of much
greater importance to the French speaking rural population. The freedom with
which the melody is treated, particularly in incorporating long downward runs,
is also very typical of Louisiana.”
***
Source for notated version: Attwood
O’Connor (b. 1923, Milltown Cross, South Kings County, Prince Edward
Island)[Perlman]. Adam, No. 74. Kennedy (Fiddlers
Tune Book), vol. 2; pg. 23. Kerr (Merry
Melodies), vol. 2; No. 436. Perlman (The
Fiddle Music of Prince Edward Island), 1996; pg. 170 (appears as “The Home
Waltz”). Folkways FA 2952, Breaux Fréres ‑
"Anthology of American Folk Music, vol. 2: Social Music" (1952).
Vocalion 02961B (78 RPM), Breaux Freres (1933).
HOME SWEET HOME [2]. American, Reel. USA, southwestern Pa. G Major. Standard tuning. AB. The
tune was apparently arranged in dance form by the source. The original
"Home Sweet Home" was from John Howard Payne's play "Clari, Or
The Maid Of Milan," produced in 1823. A string band arrangement of the
tune was recorded by Da Costa Woltz's Southern Broadcasters (Galax, Va.) in
1927. Source for notated version: Harmon McCullough (Indiana County, Pa., 1959)
[Bayard]. Bayard (Dance to the Fiddle),
1981; No. 367, pgs. 359‑360. County 524,
"Da Costa Woltz's Southern Broadcasters."
HOME TO BALLY CASHEN. Irish, Jig. D Major. Standard tuning. AABB.
X:1
T:Home by Ballycashen
R:Jig
S:P.J. King, Ennis
D:Grian?n, "The Maid of
Eirin"
M:6/8
L:1/8
K:D
~F3 ~G3|FED EFG|Adf ecA|~G3 EFG|FAd
GAd|FED EFG|Adf ecA|GEA D3:|
~f3 d2B|Adf agf|~e2f gfe|efd cBA|~f3
d2B|Adf agf|Bef gab|aec d3:|
HOME TO MULLACH. Irish, Jig. D Major. Standard tuning. AABB. Composed by Falmouth,
Massachusetts, writer and musician Bill Black, in memory of a small town north
of Miltown Malbay, County Clare, and the session he took part in there. Black (Music’s the Very Best Thing), 1996; No.
344, pg. 183.
X:1
T: Home to Mullach
C: © B.Black
Q: 325
R: jig
M: 6/8
L: 1/8
K: D
D | FGA ABA | dcB A2 e | f2 a gfe | ded cBA |
FGA ABA | dcB Ace | fdB AGE | D3 D2 :|
e | f2 a gfe | dcd A2 e | fga bge | fdf efg |
f2
a gfe | dcd Ade | fdB Ace | d3 d2 :|
HOME TOWN BAND, THE. AKA and see "The Old Town Band [2]," "The Centennial." American, March (2/4
time). USA, southwestern Pa. G Major. Standard. AABB. Universally known to
Pennsylvania fifers and some fidders, according to Bayard (1981), who was not
able to trace it back to British Isles antecedents. Sources for notated
versions: Hiram Horner (fifer from Westmoreland and Fayette Counties, Pa.,
1944, 1960), Marion Yoders (Greene County, Pa., 1960), Hiram White (Greene
County, Pa., 1930's), Charles Ganiear (Greene County, Pa., 1960) [Bayard].
Bayard (Dance to the Fiddle), 1981;
No. 391A‑F, pgs. 373‑374.
HOME TOWN BLUES. Old‑Time. County 403, "Roane County
Ramblers" (east Tennessee) {originally recorded in 1928}.
HOME TOWN WALTZ. Old-Time, Waltz. D Major. Standard tuning. AA'B. The Ray Brothers were
fiddler Will Ray with his brother Vardman on guitar. Source for notated
version: W.E. Ray with the Ray Brothers (Miss.) [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol.
2, 1995; pg. 268. Document 8028, The Mississippi
Possum Hunters – “Mississippi String Bands, Vol. 2” (reissue). Musical
Traditions MT 104, the Ray Brothers (Mississippi) - "Where the Southern
Crosses the Dog: Mississippi Fiddle Music 1928-35."
HOME WALTZ [1]. AKA and see "Home Sweet Home."
HOME WALTZ [2]. AKA and see “My Own Home.”
HOME WALTZ [3]. American (?), Waltz. G Major. Standard tuning. One part. Howe (Diamond School for the Violin), c. 1861.
T:Home Waltz
M:3/8
L:1/8
R:Waltz
S:Elias Howe – Diamond School for the Violin (c. 1861)
Z:AK/Fiddler’s Companion
K:G
G/A/|BB c/e/|dd B/d/|cc/B/c/A/|BG G/B/| BB c/e/|dd B/d/|cc/B/c/A/|G2 G/A/|BB/G/c/A/|
d/B/G/B/d/B/|cc/B/c/A/|BG G/A/|BB/G/c/A/| d/B/G/B/d/B/|cc/B/c/A/|G2 d|gg f/e/|
ddB|ccA|BBd|gg f/e/|ddB|ccA|G2d|g/f/a/g/f/e/|ddB/d/|cc A/c/|BBd|g/f/a/g/f/e/|dd B/d/| cc/B/c/A/|G2||
HOME WITH THE GIRLS IN
THE MORNING. AKA – “Go Home with the Girls in
the Morning.” Old‑Time, Breakdown. A Dorian (Reiner): D Dorian (Johnson,
Songer). Standard tuning. AAB (Johnson, Reiner): AABB’ (Songer). The tune was
in the repertoire of legendary fiddler J. Dedrick Harris, born in Tennessee,
who played regularly with Bob Taylor while the latter was running for Governor
of the state in the late 1800's. Harris moved to Western N.C. in the 1920's and
influenced a generation of fiddlers there: Manco Sneed, Osey Helton, Bill
Hensley, and Marcus Martin. Texas fiddler Bob Wills also played the tune, which
fiddler Snake Chapman heard over the radio (see “Snake Chapman’s Tune”).
Johnson (The Kitchen Musician No. 2:
Occasional Collection of Old‑Timey Fiddle Tunes for Hammer Dulcimer,
Fiddle, etc.), 1982 (revised 1988, 2003); pg. 9. Reiner (Anthology of Fiddle Styles), 1979; pg.
27. Songer (Portland Collection), 1997;
pg. 99. Okehdokee 74002, Deseret String Band - “Land
of Milk and Honey” (1974. Learned from Utah fiddler Ron Kane).
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
HOMEBREW RAG. American, Country Rag. F Major (‘A’ part) & B Flat Major (‘B’
part). In the repertories of North Georgia fiddler Lowe Stokes and his North
Georgians, The Cherokee Ramblers, The Roanoke Jug Band and West Virginia’s Tweedy
Brothers.
HOMECOMING, THE.
English, Slip Jig. G Minor (‘A’ and ‘B’ parts) & G Major (‘C’ part).
Standard tuning. AABBCC. Composed by Jonathan Jensen in 1997. Barnes (English Country Dance Tunes, vol. 2),
2005; pg. 61.
HOMECOMING WALTZ. American, Waltz. A Major ('A' and 'B' parts) & D Major ('C' part).
Standard tuning. AA'BB'C. Source for notated version: Kenneth Pitts and Cecil
Brower with Bill Boyd's Cowboy Ramblers [Phillips]. Phillips (Traditional American Fiddle Tunes), vol.
2, 1995; pg. 267.
HOMETOWN WALTZ. See "Home Town Waltz."
HOMEMADE SUGAR. AKA – “Home Made Sugar and a Puncheon Floor.” Old‑Time,
Breakdown. G Major. Standard tuning. AAB. The title appears in a list of traditional
Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph,
published in 1954.
X:1
T:Home Made Sugar and a Puncheon Floor
L:1/8
M:2/4
S:Howdy Forrester, from his Uncle Bob; transcribed by John Hartford
K:G
g/a/g/a/ f>d|ed e/ee/|e/f/e/d/ B/A/G/B/|AG G2:|
d/dd/ d>B|d/B/d/e/ d>B|d/e/d/c/ B/A/G/B/|A(G G2)|G/A/B/c/ dB|
d/B/d/e/
d>B|d/e/d/c/ B/A/G/B/|A(G G2)||
HOMESICK WALTZ. Cajun, Waltz. USA, southwestern Louisiana. D Major. Standard tuning.
One part. The original recording was by Adam Hebert, though Reggie Matte also
covered the song. Source for notated version: Adam Hebert (La.) [Francois].
Francois (Yé Yaille, Chère!), 1990;
pgs. 381-382. Swallow Records SW-LP6065, Adam Hebert.
HOMESTEADER'S REEL. American, Reel. D Major. Standard
tuning. AABB. Source for notated version: Ron West [Phillips]. Phillips (Traditional American Fiddle Tunes), vol.
1, 1994; pg. 114.
HOMESTRETCH. American?, Reel. A Minor. Standard tuning. AABB. Hardings All Round Collection, 1905; No. 54, pg. 16.
X:1
T:Homestretch
M:C
L:1/8
R:Reel
S:Harding’s All Round Collection, No. 54 (1905)
Z:AK/Fiddler’s Companion
K:Amin
G2|cded cded|c2A2A2G2|cded
cdec|g2d2d2G2|cded cded|
c2A2 f4|A2 GF G2A2|c2A2A2::ef|g3 a
gfed|c2A2A2 ef|
g3a gfed|g2d2d2 ef|g3 a gfed|c2A2
f4|A2 GF G2A2|c2A2A2:|
HOMEWARD BOUND [1]. Canadian, Reel. Canada, Prince Edward Island. D Major. Standard tuning.
AA'BB'. Ken Perlman, who researched fiddling styles on Prince Edward Island,
notes that this reel is frequently heard played in the eastern half of the
Island (where it was known as one of the ‘good old tunes’) but believes that it
was originally from the Canadian Maritime Provinces, though it bears a strong
resemblance to the tune "Gem of
Ireland" in Ryan’s
Mammoth/Cole's 1000. On PEI it is often heard in a medley with “Jerome’s Farewell to
Gibralter.” Paul Cranford (1994) states that “Homeward Bound” is derivative
of the “Gem” tune which he identifies as a 19th-century Irish reel. It has been
recorded by Cape Breton fiddler Dan R. MacDonald (78 RPM), and more recently by
Cape Breton harmonica player Tommy Basker. Sources for notated versions: Angus
McPhee (Mt. Stewart, P.E.I.) [Ken Perlman/Fiddler Magazine]; Peter Chaison Jr.
(B. 1942, Bear River, North-East Kings County, PEI) [Perlman]; fiddler Brenda
Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia) [Cranford]; Rory
MacDonald (Cape Breton) [MacQuarrie]. Cranford (Brenda Stubbert’s), 1994; No. 48, pg. 17. Fiddler Magazine, Spring 1995; pg. 11. MacQuarrie (Cape Breton Collection), 1940. Perlman (The Fiddle Music of Prince Edward
Island), 1996; pg. 69. Atlantica Music 02 77657
50222 26, Brenda Stubbert - “Atlantic Fiddles” (1994). Stubbert Music 1, Brenda Stubbert - “House
Sessions” (1992). Marimac Recordings,
"The Old Time Fiddlers of Prince Edward Island" (1993). RC2000,
George Wilson – “Royal Circus” (2000). Rounder CD7014, Leonard McDonald –
“Fiddlers of Western Prince Edward Island” (1997).
HOMEWARD BOUND [2]. Irish, March (4/4 time). G Major. Standard tuning. AB. O’Neill (1922) says: “This spirited march was memorized by the writer in early life; all circumstances relating to its acquirement being now forgotten. We have no assurance of its Gaelic origin, yet few would deny that it was worth preserving at least. For obvious reasons, a name has been supplied for its identification.” O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 53.
T:Homeward Bound (#53)
M:4/4
L:1/8
S:Capt. F. O'Neill
Z:Paul Kinder
R:March
K:G
BA|G2 GG G2 Bc|d2 dd d2 ba|g2 d2 cBcd|e2 A2 A2 BA|
G2 GG G2 Bc|d2 dd d2 ba|g2 d2 edcA|B2 G2 G2||
Bc|d2 g2 gfga|g2 d2 d2 Bd|e2 a2 agab|a2 e2 e2 fe|
d2 g2 gfga|babc' d'3 c'|bd'bg (3abc' af|g2 gg g2||
HOMEWARD MARCH. Edison 50674 (78 RPM), John H. Kimmel
(accordionist from N.Y.C.), 1920.
HOMMAGE À ALFRED
COUILLARD. French-Canadian, Jig. A Minor ('A'
part) & C Major ('B' and 'C' parts). Standard tuning.
AA'BB'CC'A"A"'. Composed by Quebec accordion great Philippe
Bruneau in honor of influential accordion player Alfred Couillard
(Saint-Eugene, Québec). Begin (Philippe
Bruneau), 1993; No. 69, pg. 104.
HOMMAGE À ALFRED
MONTMARQUETTE. French-Canadian, Waltz Suite. A
Major. Standard tuning. AA'BB'CC'A"A"'B"B"'C"C"'.
Composed by French-Canadian accordion player Philippe Bruneau in honor of
influential Montreal accordion player Alfred Montmarquette
(1870-1944), who recorded in the 1920's. Bégin (Philippe Bruneau), 1993; No. 73, pgs. 108-109.
HOMMAGE À ADRIEN ALAIN.
French-Canadian, In the repertoire of Gaspésie musician Yvon Mimeault
(b. 1928, Mont-Louis). The title honors his friend, fiddler Adrien Alain de
Gascon, whom he said admiringly, had “played in two dance halls on the same night.”
Yvon Mimeault – “Y’etait temps!/It’s About Time.”
HOMMAGE À ARMAND
LABRECQUE. French-Canadian, Reel and Galope
Suite. A Major (Reel 1) & D Major (Reel 2). Standard tuning. Reel 1:
AA'BB', Reel 2 AA'BB'A", Reel 1: A"A"'B"B"', Reel 2:
A"'A""B"B"'A""', Reel 1:
A""A""'. Composed by Philippe
Bruneau in honor of accordion player Armand Labrecque (Montmagny, Québec),
who has done much to preserve and promote the music of his region. Bégin (Philippe Bruneau), 1993; No. 78, pgs.
114-115.
HOMMAGE À CARMELLE
BÉGIN. French-Canadian, Waltz. D Major.
Standard tuning. ABB'A'B"B"'A". Composed by French-Canadian
accordion player Philippe
Bruneau in honor of musicologist and editor Carmelle Bégin. Bégin (Philippe Brueneau), 1993; No. 80, pgs.
118-119.
HOMMAGE À DOROTHÉE. French-Canadian, Waltz. D Major. Standard tuning. ABCC'. Composed by
French-Canadian accordionist Philippe
Bruneau in honor of his long-time accompanist (from 1978 to 1989), Dorothee
Hogan, who was born in Ohio, raised in New York, and eimigrated to Canada in
1962. Bégin (Philippe Bruneau), 1993;
No. 83, pgs. 124-125.
HOMMAGE À EDMOND
PARIZEAU. French-Canadian, Reel. A Major.
Standard tuning. ABCC’. A tune by accordion player Marcel Messervier in honor
of Québec fiddler Edmond Parizeau. Songer (Portland
Collection), 1997; pg. 100. Great Meadow Music GMM
2003, “Rodney Miller’s Airdance” (2000). Rounder CD 6041, La Bottine Souriante
- “Je Voudrais Changer d’Chapeau” (1990).
HOMMAGE À GUY THOMAS.
French-Canadian, Reel (3/4 time). D Major. Standard tuning. AABBCCDD.
Composed by button accordion player Philippe
Bruneau.
X:1
T:Hommage à Guy Thomas
M:3/4
L:1/8
R:Reel
S:transcribed by fiddler Pascal
Gemme (of Genticorum) http://tradquebec.over-blog.com/archive-9-2007.html
Z:AK/Fiddler’s Companion
K:D
F/A/A/A/ A/B/A/G/ F/A/E/A/|F/A/A/A/
A/B/A/F/ d/B/A/G/|F/A/A/A/ A/B/A/G/ F/A/E/A/|1
F/A/A/A/ A/B/A/F/ d/B/A/G/:|2
F/A/A/A/ A/B/A/F/ d/B/A/F/||:A/d/f/d/ g/f/e/d/ B/a/a/a/|
A/d/e/f/ g/f/g/b/ a/b/a/f/|A/d/f/d/
g/f/e/d/ B/d/A|A/d/e/f/ g/f/g/b/ a/b/a/f/:|
|:ec/e/ A/c/e/g/ fd/f/|ec/e/
A/c/e/c/ d/c/B/A/|ec/e/ A/c/e/g/ fd/f/|ec/e/ A/c/e/c/ d(3d/d/d/:|
|:f/d/d/d/ d/e/d/c/
B/A/F/A/|f/d/d/d/ d/f/e/f/ g/f/e/d/|f/d/F/d/ d/e/d/c/ B/A/F/A/|f/d/F/d/
d/f/e/f/ g/f/e/d/:|
HOMMAGE À JEAN-GUY
NAUD. French-Canadian, Waltz. G Major
('A' part) & D Major ('B' part). Standard tuning. AA'BB'A"A"'.
Composed by French-Canadian accordionist Philippe
Bruneau in honor of stepdancer Jean-Guy Naud. Bégin (Philippe Bruneau), 1993; No. 84, pg. 126.
HOMMAGE À JOS BOUCHARD. French-Canadian, Jig. B Minor (‘A’ part) & D Major (‘B’ part).
Standard tuning. AA'BB'A"A"'B"B"'A"" (Bégin).
Composed by French-Canadian
button-accordionist Philippe
Bruneau for the celebrated violinist Joseph Bouchard (Pointe-au-Pic,
Québec), whose recordings, beginning in 1938, influenced a generation of
French-Canadian fiddlers. Fiddler Pascal Gemme (of the group Genticorum)
remarks that the melody is in Galoppe form, meaning that each part is twice the
usual length of a tune—16 bars, rather than 8. The second part necessarily goes
into third position. Bégin (Philippe
Bruneau), 1993; No. 72, pg. 107.
X:1
T:Hommage à Joe Bouchard
M:6/8
L:1/8
R:Jig
S:transcribed by fiddler Pascal
Gemme (of Genticorum) http://tradquebec.over-blog.com/archive-10-2007.html
Z:AK/Fiddler’s Companion
K:D
|:d3 dcd|BFF FBc|d3 dcB|cFF F3|e3
ede|cFF F3|
fgf efe|ded cBc|d3 dcd|BFF FBc|d3
dcB|cFF F3|
e3 ede|cFF F3|fgf edc|1 (B3 B)Bc:|2
B3 A3||
|:F3 FGB|A3 ABc|dcd edB|A3 FAd|c3
Ace|g3 Ace|
c’ba gfe|fed cBA|F3 FGB|A3 ABc|dcd
edB|
A3 FAd|c3 Ace|g3 Ace|c’ba gfe|dAF
D3:|
HOMMAGE À LA BARDASSE. French-Canadian, Jig. C Major. Standard.
AA'BB'A"CC'A"'A""B"B"'A""'C"C"'.
Composed by French-Canadian button accordion great Philippe
Bruneau in honor of the Montreal based group La Bardasse. Bégin (Philippe Bruneau), 1993; No. 77, pg.
113.
HOMMAGE À LA BELLE
GASPÉSIE.
French-Canadian, Reel. A Major. Standard tuning. AA’BB’. Composed by
Marcel Messervier. Great Meadow Music WA 005, Wild
Asparagus – “From the Floor Up” (1997). Portland Megaband – “Portland Megaband
Live” (2002).
X:1
T:Hommage à la Belle Gaspésie
M:2/4
L:1/8
R:Reel
S:Wild Asparagus
N:ABC’s from a transcription by John
Lamancusa, by permission http://www.mne.psu.edu/lamancusa/tunes.htm
Z:AK/Fiddler’s Companion
K:A
E/A/ |: “A”cc/d/ c/B/A/c/ | f/e/e/f/
eE/A/ | cc/d/ c/B/A/c/ | “E”e/d/d/c/ dB/c/ |
d/c/d/e/ d/c/B/A/ | G/A/B/c/ Be/e/ |
e/c/e/f/ e/d/c/B/ |1 “A”c/B/c/d/ cE/A/ |2 A/c/B BB/c/ ||
|:”D”a/A/=g/A/ f/A/e/A/ |
“A”A/c/e/f/ e/c/B/A/ | “E”F/E/B/E/ d/E/B/E/ | “A”A/B/c/d/ e/c/B/A/ |
“D”a/A/=g/A/ f/A/e/A/ | “A”A/c/e/f/
e/c/B/A/ | “E”F/E/B/E/ d/E/B/E/ |1 “A”A/c/B Ac/e/ :|2 A/c/B AE/A/ ||
HOMMAGE À MARCEL
LECOURS. French-Canadian, Reel. C Major.
Standard tuning. AA'BB'. Composed by French-Canadian button accordion great Philippe
Bruneau in honor of Marcel Lecours, a collector of French-Canadian and
Irish records, a traditional music enthusiast, and admirer of Bruneau. Bégin (Philippe Bruneau), 1993; No. 70, pg.
105.
HOMMAGE À MARCEL
MESSERVIER. French-Canadian, Galope (2/4 time).
G Major. Standard tuning. AA'BB'CC'. Composed by French-Canadian button
accordion great Philippe
Bruneau in honor of traditional musician Marcel Messervier, of Montmagny,
Quebec. Bégin (Philippe Bruneau),
1993; No. 74, pg. 110.
HOMMAGE À MICHEL ST-LOUIS. French-Canadian, Galope (2/4 time).
G Major. Standard tuning. AA'BB'A"A"'B"B"'. Composed by
French-Canadian button accordion great Philippe
Bruneau in honor of traditional dancer Michel Saint-Louis, of Montreal,
Quebec. Begin (Philippe Bruneau),
1993; No. 79, pg. 116.
HOMMAGE À MONSIEUR LECOURT. French-Canadian, Reel. G Major.
Standard tuning. AA’BB’.
X:1
T:Hommage à monsieur Lecourt
M:2/4
L:1/8
R:Ree
S:Fiddler Pascal Gemme (of the group
Genticorum)
K:G
D/F/G/A/ BG/B/|AF GG/B/|dg
d/B/G/A/|B/G/A/B/ A/G/E/G/|
D/F/G/A/ B/B/G/B/|AF GG/B/|dg d/B/G/A/|1
B/G/A/F/ GE/E/:|2 B/G/A/F/ G>B||
dB/G/ d/B/G/A/|B/G/A/G/
E/D/D|D/F/G/A/ Bg/e/|d/B/G/A/ B/A/A/B/|
dB/G/ d/B/G/A/|B/G/A/G/
E/D/D|D/F/G/A/ Bg/e/|1 d/B/A/F/ GG/B/:|2 d/B/A/F/ G2||
HOMMAGE À PHILIPPE
BRUNEAU. AKA and see "Valse Philippe."
HOMMAGE À YVAN BRAULT. French-Canadian, Galope (2/4 time). A Major. Standard tuning.
AA'BB'A"A"'B"B"'. Composed by French-Canadian button
accordion great Philippe
Bruneau in honor of Montreal pianist Yvan Brault, a member of the group
Eritage from 1978 to 1984. Bégin (Philippe
Bruneau), 1993; No. 75, pg. 111.
HOMMAGE AU GROUPE
ERITAGE. French-Canadian, Polka. C Major
('A' and 'B' parts) & F Major ('C' part). Standard tuning.
AA'BB'A"A"'B"CC'A""A""'B"'. Composed by
French-Canadian accordionist Philippe
Bruneau in honor of the group Eritage, who played French-Canadian music
throughout Canada and the United States from 1978 to 1984, and who recorded two
albums. Bégin (Philippe Bruneau),
1993; No. 85, pg. 128.
HONERABLE... See
"Honorable..."
HONEST DUNCAN. AKA and see "Miss
Downie's Strathspey," "Garden
Shiel." Scottish, Strathspey. B Flat Major. Standard tuning. AB.
Alburger (1983) identifies the tune as having been written by Duncan MacIntyre
(who originally called it "Miss Downie's Strathspey"), an
"expatriate dancing master" who published this along with others of
his compositions in London in 1795. The Gows republished the tune under the
title above in Repository (Part
Second, 1802), "presumably in his honor" (John Glen {1895} calling it
a "doubtful compliment"). There is a song by James Hogg contained in
his Forest Minstrel (1810, though
perhaps written before this date) called "Honest Duncan" which sings
to the air, according to Glen, who thinks this may have suggested the name to Nathaniel
Gow. A further claim to the tune, under the title "Garden Shiel"
has been made for Robert
Petrie, who published it in his Third
Collection (1802). Carlin (The Gow
Collection), 1986; No. 75. Cranford (Jerry Holland: The Second
Collection), 2000; No. 49, pg. 21. Gow (Complete
Repository), Part 2, 1802; pg. 1. Stewart-Robertson
(The Athole Collection), 1884; pg.
289.
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index |
X:1
T:Honest Duncan
M:C
L:1/8
R:Slow Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Bb
d/c/|~B<B,B D/E/ F<B,B, d/c/|~B<B,B, D/E/ F2 F>d|~B<B, B,>B F<B, F>D|
CC D>F G2 Gd/c/|~B<B,B D/E/ F/E/D/C/ Bd/c/|~B<B,B D/E/ ~F2 Fd/c/|
~B>FB>d ~B>F G/F/E/D/|CC E>F G2G||d/c/|~B>F e/d/c/B/ F>BD>B|
B,>f e/d/c/B/ g2 ga/b/|B>c B<f d>c ~B>B,|CC E>F G2 Gd/c/|
~B>f e/d/c/B/ F>BD>B|B,>f e/d/c/B/ g2 ga/b/|f>b d>f B>d D>B| CC E>F G2G||
HONEST FARMER.
English, Jig. D Major. Standard tuning. AABB. The melody is unique to London
publishers Charles and Samuel Thompson’s 1757 country dance collection.
Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1),
1757; No. 134.
X:1
T:Honest Farmer
M:6/8
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:D
G|FGA Bcd|cBA efg|fed edc|d2 D d2::g|fga bBb|efg aAa|
def
gfe|dcB AGF|GAB ABc|Bcd efg|fed edc|d2 d d2:||
HONEST IRISH LAD, THE. American, Schottishe. USA, southwestern Pa. D
Major. Standard tuning. AB. Bayard's source "cut" his phrases, or
dropped beats here and there; a common enough practice among fiddlers,
especially those who did not play for dances or who did not have such practices
schooled out of them by music teachers. The name comes from the ditty:
***
I'm an honest Irish lad,
And of work I'm not afraid;
If its pleasure for you, I can sing or dance.
I'll do anything you say
If you'll only name the day
When you'll give an honest Irish lad a chance.
***
The tune is not the one that is not
the one usually printed to the words, and was probably not originally attached
to it. Source for notated version: George Strosnider (Greene County, Pa.,
1930's) [Bayard]. Bayard (Dance to the
Fiddle), 1981; No. 441, pg. 411.
HONEST JOHN. Canadian, American; Jig. G Major ('A' part) & D Major ('B' part).
Standard tuning. AABB (Messer, Sweet): AA'BB'BB' (Phillips). Bronner (1987) says
the tune was commonly played in New York state around the 1870's. Source for
notated version: Vivian Williams (Seattle) [Phillips]. Messer (Way Down East), 1948; No. 80. Messer (Anthology of Favorite Fiddle Tunes),
1980; No. 138, pg. 89. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 367. Shaw (Cowboy Dances), 1943; pg. 378. Sweet (Fifer’s Delight), 1964/1981; pg. 27.
X:1
T:Honest John
M:6/8
L:1/8
S:Shaw – Cowboy Dances (1948)
Z:AK/Fiddler’s Companion
K:G
b3a3|gfg B3|cBc ABc|ed^c d3|b3a3|gfg
B3|cBc DFA|G3G3:|
K:D
DFA DFA|DFA a3|gfg ABc|ecB AFE|DFA
DFA|DFA a3|gfg Ace|d3d3:|
HONEST LUCKY. AKA and see "Weel Hoddled,
Lucky."
HONEST MAN, THE (An Fear Macanta). Irish, Air (3/4 time). D
Major/Mixolydian. Standard tuning. AB. Source for notated version: Chicago
Police Sergeant James O’Neill, a fiddler originally from County Down and
Francis O’Neill’s collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 105, pg. 19.
X:1
T:Honest Man, The
M:3/4
L:1/8
R:Air
N:”Moderate”
S:O’Neill – Music of Ireland
(1903), No. 105
Z:AK/Fiddler’s Companion
K:D
D/E/ (.F/.G/.A/.B/) | =c2 (d>c)
(Bc/B/) | A>F DD/E/ (.F/.G/.A/{c/}.B/) |
A2 G>F (.D.D) | D3 D/E/
(.F/.G/.A/.B/) | =c2 (d>c) (Bc/B/) | A>F DD/E/ (.F/.G/.A/.B/)
A2 G>F DD | D3 || (FG) (Ad/e/) | f (ge/>c/) dd | d>c (AF/G/) (Ad/e/) |
f2 {a}(gf) (e>d) | {c/4d/4e/4}d3
=c Bc/B/ | A2 (AB/c/) dA |
G>F DD/E/ (.F/.G/.A/{c}.B/) | A2
G>F DD | D3 ||
HONEST MEN AND BONNIE
LASSES. AKA and see "The
Duchess of Manchester's Farewell to Scotland." Scottish, Strathspey
(4/4 time). B Flat Major. Standard tuning. AAB. The melody under the above title
appears in Nathaniel Gow's Fifth
Collection (1809), un-attributed. It earlier appeared as "The Duchess
of Manchester's Farewell to Scotland" by William Marshall (1748-1833) in
his First Collection of 1781. Gow’s
title comes from the Robert Burns six-page poem Tam o’Shanter (published
1791):
***
Auld Ayr, wham ne’er a town surpasses,
For honest men and bonnie lasses.
***
Carlin (The Gow Collection), 1986; No. 545. Gow (Fifth Collection of
Strathspey Reels), 1807; pg. 27.
X:1
T:Honest Men and Bonnie Lasses
M:C
L:1/8
R:Strathspey
B:Gow – Fifth Collection of
Strathspey Reels (1809)
Z:AK/Fiddler’s Companion
K:Bb
d/c/|”tr”B>c BB, DFF
d/c/|(B/A/B/).c/ BB, {D}C2 C>c|”tr”B>c BB, (D<F) “tr”f>g|(f<d)
“tr”c>d B2B:||d/c/|
(B/c/)(d/e/) (f/d/).b (B/c/)(d/e/)
(f/d/).b|(B/c/)(d/e/) (f/d/)(b/d/) dc “tr”c>d|(B/c/)(d/e/) (f/d/).b B/c/d/e/
“tr”f>g|f<d “tr”c>d [D2B2] B d/c/|
(B/c/)(d/e/) (f/d/)b (B/c/)(d/e/)
(f/d/).b/.d/|f/e/.g/.e/ e/d/.f/.d/ {d}c2 “tr”c>d|F>=E FG FG/A/
Bg|(f<d) “tr”c>d [D2B2] B||
HONEST SHAKER, AN. American, Jig (6/8 time). D
Major. Standard tuning. AABB. Identified as a dance tune from the former Shaker
community at North Union, Ohio. Miller (Fiddler’s
Throne), 2004; pg. 1.
HONEST TEMPLE’S JIG.
English, Jig. D Major. Standard tuning. AABB. The melody is unique to
London publishers Charles and Samuel Thompson’s 1765 country dance collection.
Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2),
1765; No. 194.
X:1
T:Honest Temple’s Jigg
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:D
a|f2d d2d|”tr”d>cd A2d|B2d A2d|F2E D2a|f2d d2d|^gfg a2d|cBA “tr”B3|(A3 A2):|
|:a|(f2d) (=c2A)|(B2^d) (e2b)|(g2e) (d2B)|c2e a2g|fdd
bgg|aff gab|agf edc|(d3 d2):||
HONEST WILL.
English, Country Dance Tune (2/4 time). A Major. Standard tuning. AABB.
The melody is unique to London publisher Charles and Samuel Thompson’s 1765
country dance collection. Thompson (Compleat Collection of 200
Favourite Country Dances, vol. 2), 1765; No. 95.
X:1
T:Honest Will
M:2/4
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:A
c/d/|ecAa|”tr”f2 ed|cecA|BGFE|ecAa|”tr”f2 ea|(3gab
(3^def|e3:|
|:e|ceBe|ceBe|(3cde (3fga|(3gab (3Bcd|ceBe|ceBe|(3cBA (3EFG|A3:||
HONEST WOMAN OF MANY
TRADES, THE. Canadian, Reel. Canada, Cape Breton.
D Major. Standard tuning. AABB. Composed by editor, fiddler and lighthouse
keeper Paul Stewart Cranford (Little River, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 108, pg. 31.
HONEY. See "Sweet Child."
HONEY BEE. Irish, Slip Jig. One of the better compositions of flute player Vincent
Broderick, a member of the Kincora Ceili Band from 1952-1957.
HONEY BOY. American, Breakdown. USA, Texas. A composition of Texas fiddler Louis
Franklin. The tune starts in E minor before modulating to G major.
HONEY
CREEK SPECIAL. Old-Time, Breakdown. USA, Missouri.
In the repertoire of Fred Stoneking, named for a “little old drawl up by my
dad’s farm. The bridge across it was pretty long and had real rickety boards on
it. So if you heard a Model A coming across that old clatterty bridge, you knew
it was either coming to see the old bachelor that lived near us or coming to
our house. Nine out of ten times, it was coming up for fiddling. So we got to
consider that bridge a special kind of bridge on account that it would let us
know that someone was coming to our house. So the Honey Creek Special let us
know that we’re gonna have company in about fifteen minutes” (quoted from liner
notes to Rounder CD 0381, “Saddle Old Spike”).
HONEY ENGLE'S STOP
BEAT. American, March (2/4 time). USA,
southwestern Pa. D Major. Standard tuning. AABB. Source for notated version:
fifer Charles F. Cook (Somerset, Pa.) via the Hoge MS. [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 381, pg.
366.
HONEY HARBOUR TWO-STEP. New England, March or Two‑Step. A Major. Standard tuning. AABB. F&W Records 6, Fireside String Band‑‑"Square
Dance Tunes for a Yankee Caller."
HONEY POT, THE. English, Jig. D Major. Standard tuning. AABB.
The melody was first printed by London publishers Charles and Samuel Thompson
in their 1765 country dance collection. It also was included in the1770 music
manuscript of Northumbrian musician William Vickers, about whom, unfortunately,
nothing is known. Seattle (William
Vickers), 1987, Part 2; No. 228. Thompson (Compleat Collection of
200 Favourite Country Dances, vol. 2), 1765; No. 155.
X:1
T:Honey Pott, The
M:6/8
L:1/8
R:Jig
S:William Vickers’ music manuscript
(Northumberland, 1770)
Z:AK/Fiddler’s Companion
K:D
gbg g2e|faf f2d|gbg ege|faf d3:|
|:A2G FDD|ADD BDD|A2G FED|E2c d3|
A2G FDD|ADD BDD|agf ecA|B2c d3:|
X:2
T:Honey Pot, The
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:D
gbg g2e|faf f2d|gbg ege|faf d3::A2G FDD|ADD BDD|
A2G
FED|E2c d3|A2G FDD|ADD BDD|agf ecA|B2c d3:||
HONEYCOMB ROCK, THE. Old‑Time, Breakdown. USA, Pennsylvania.
G Major. Standard tuning. AABB. Bayard says this tune is a form of a British
dance tune called "Push
About the Jorum [1]," AKA "The
Rowan Tree [1]," and "Rattle
the Bottles." "It takes its name from some form of the associated
rhyme:
***
I went to see the widda', and the widda' wasn't home;
I went to see her daughter, and she gave me honeycomb"
***
(Bayard, 1944). Source for notated
version: Irvin Yaugher Jr., Mt. Independence, Pennsylvania, October 19, 1943
(learned from his great‑uncle) [Bayard]. Bayard (Hill Country Tunes), 1944; No. 11A.
HONEYMAN'S (HORNPIPE). Scottish, Hornpipe. B Flat Major. Standard tuning. AA'BBCC. Composed by
William Honeyman, a fiddle tune composer and author of an influential tutor for
Scottish fiddlers. In Honeyman's tutor this was characterized as an "easy
melody for setting the hand to B flat." Gatherer (Gatherer’s Musical Museum), 1987; pg. 42. Honeyman, The Young Violinist's Tutor and Duet Book
(Edinburgh).
HONEYMAN'S JIG. Scottish, Jig. A Major. Standard tuning. AA'BB. Composed by William C,
Honeyman. Honeyman (Strathspey, Reel and
Hornpipe Tutor), 1898; pg. 30.
HONEYMOON (HORNPIPE). Canadian, Hornpipe. G Major. Standard tuning. AB. Not "The
Honeymoon" in Raven, Kennedy, Cole, Ryan. Messer (Way Down East), 1948; No. 66. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 112, pg. 71.
X:1
T:Honeymoon
Hornpipe
R:Hornpipe
M:2/4
L:1/16
Z:Transcribed
by Bruce Osborne
K:G
dc|B2G2
D2G2|BGBd e2d2|gdBd f2e2|c6B2|
A2B2
c2d2|efed c2B2|ABcd f2e2|B6dc|
B2G2
D2G2|BGBd e2d2|gdBG F2G2|e6e2|
eee2
c2A2|ddd2 B2G2|gecB c2F2|G6:|
|:B2|A2A2
BcBA|c2e2 d2Bc|d2g2 fed^c|d6Bc|
d2g2
gfe2|d2g2 B2d2|cBAc e2F2|G6B2|
A2A2
BcBA|c2e2 d2Bc|d2g2 fed^c|d6Bc|
d2g2 gfe2|d2g2 B2d2|cBAc e2F2|G6:|
HONEYMOON
(JIG) [1], THE. English, Jig. England, North‑West.
A Major. Standard tuning. AABB. Knowles (Northern
Frisk), 1988; No. 104.
HONEYMOON
JIG [2]. Irish (?), Slip Jig (9/8 time). G
Major. Standard tuning. AB. A member of a very large tune family that includes
“Cummilum” and “Yellow Stockings” among numerous others.
See notes for those tunes. White’s Unique
Collection, 1896; No. 6, pg. 2.
X:1
T:Honeymoon
Jig [2]
M:9/8
L:1/8
R:Slip Jig
S:White’s Unique Collection (1896), No. 6
Z:AK/Fiddler’s Companion
K:G
G2B BAB BAB | G2B (BA)B c2A | G2B BAB BAB | ABA (A2B) c2A ||
G2B d2B d2B | G2B d2B c2A | G2B d2B d2B | (AB).A A2B c2A |
G2B
d2B d2B | G2B d2B c2A | G2B d2B d2B | (AB).A A2B c2A ||
HONEYMOON (POLKA), THE. Canadian, Polka. Canada, Prince Edward Island.
A Major. Standard tuning. AA’BB. Source for notated version: Sterling Baker (b.
mid-1940's, Morell, North-East Kings County, Prince Edward Island; now resident
of Montague) [Perlman]. Perlman (The
Fiddle Music of Prince Edward Island), 1996; pg. 164.
HONEYMOON (REEL) [1], THE.
AKA and see “The Half-Penny.” English,
Scottish, American; Reel. G Major ('A' part) & E Minor ('B' part). Standard
tuning. AABB. It is said that the term 'honeymoon' derives from ancient Babylonia
and is some 4,000 years old. It was the accepted custom in those days for the
bride's father to supply his new son-in-law with all the mead he could drink
for a month after the wedding. Mead, a
honey-based alcoholic brew, and because the Babylonian calendar was lunar based
the month long period came to be known as the 'honey-moon.' See also the
American old-time tune “Crockett’s
Honeymoon.” “Honeymoon (Reel) [2] “ is a variant. Cole (1000 Fiddle Tunes), 1940; pg. 17. Giblin
(Collection of Traditional Irish Dance
Music), 1928; 34. Kennedy (Fiddlers
Tune Book), vol. 1, 1951; No. 33, pg. 17. Kerr (Merry Melodies), vol. 2; No. 303, pg. 33. Raven (English Country Dance Tunes), 1984; pg.
174.
Ryan’s Mammoth Collection, 1883; pg. 41. White’s Unique Collection, 1896; No. 81, pg. 15.
X:1
T:Honey-Moon Reel [1]
M:C|
L:1/8
S:White’s Unique Collection (1896), No.
80.
Z:AK/Fiddler’s Companion
K:G
dc | BGAF G2 (GA) | Bdef gfed | (BG)
G2 dGBd | (3efg .d.B A2 dc |
BGAF G2 (GA) | (Bd)ef (gf)ga | bgaf
gfed | (3efg .d.B A2 || Ac |
Beef edBA |Bdef gfed | (BG)G2 dGBd |
(3efg .d.B A2 Ac |
Beef edBA | (Bd)ef (gf)ga | bgaf
gfed | (3efg .d.B A2 ||
HONEYMOON (REEL) [2], THE (Cor Mi Na Bpog). AKA and see "Girl From the
Country," “The Half-Penny,” "Ha'Penny Reel," “Lady O’Brien’s Reel [2],”
“Lumberjack’s Reel,” “The Maid
Who Left the Country [1],” “Neil Rooney’s Reel,” “The Pure Drop [1],” "Rooney's
Reel." Irish (originally), Canadian; Reel. Canada, Prince Edward Island. G
Major. Standard tuning. AB (Flaherty, O’Neill): AABB (Perlman). A large tune
family that appears to be derived from Irish sources. See “Honeymoon (Reel)
[1]” for another version of the melody. One of the earliest appearances of the
tune in print is in Church of Ireland cleric James Goodman’s mid-19th
century music manuscripts under the title “Lady O’Brien’s Reel.”. Goodman
(1828-1896) was an uilleann piper, and an Irish speaker who collected locally
in County Cork and elsewhere in Munster. He also obtained tunes from manuscripts
and printed collections. The first sound recording of the “Honeymoon Reel” was
also by an uilleann piper, famed Irish American musician Patsy Tuohey of
vaudeville fame, who recorded it in 1919. Ken Perlman (1996) notes that this
tune was widely played on Prince Edward Island, Canada, from around 1920 to
1950. An alternate PEI title, from south Kings County, is “The Lumberjack’s
Reel.” American old-time musicians know it as “Crockett’s Honeymoon,” “George Ainley’s Tune” and “The Maid Who Left the Mountains.” Sources for notated versions: flute player James Murray (b. 1947,
Ougham, outside Tubbercurry, Co. Sligo) [Flaherty]; Archie Stewart (b. 1917,
Milltown Cross, south Kings County, Prince Edward Island) [Perlman]. Flaherty (Trip to Sligo), 1990; pg. 170. O'Neill (Music of Ireland: 1001 Gems), 1907/1986;
No. 791, pg. 137. Perlman (The Fiddle
Music of Prince Edward Island), 1996; pg. 67. Globestyle
Irish CDORBD 085, Billy Clifford - “The Rushy Mountain” (1994. A reissue CD of
Topic recordings from Sliabh Luachra musicians).
X:1
T:Maid Who Left The County, The
T:Honeymoon Reel, The [2]
R:reel
P:1
M:4/4
L:1/8
Z:Tacey Deyrup
Q:100
K:G
dc|BG~G2 DG~G2|Bded gedc|BG~G2
DG~G2|BedB A2dc|
BG~G2 DG~G2|Bded ~g3a|bgaf gfed|gedB
A2dc|
BG~G2 DG~G2|Bded gedc|BG~G2
DG~G2|BedB A2dc|
BG~G2 DG~G2|Bded ~g3a|bgaf gfed|gedB
A2Bd|
~e3f edBA|Bdef gedc|BG~G2 DG~G2|BedB
A2Bd|
~e3f edBA|Bdef ~g3a|bgaf gfed|gedB
A2Bd|
~e3f edBA|Bdef gedc|BG~G2 DG~G2|BedB
A2Bd|
~e3f edBA|Bdef ~g3a|bgaf gfed|gedB
A3||
HONEYMOON [3], THE. Scottish, English; Reel. D Major. Standard
tuning. AABB. Composition credited to Jas. Young by Kerr, identified by Barry
Callaghan (2007) as the son of a fiddle maker in Montrose and leader of the
Aberdeen Theatre Royal orchestra. However, Young was not born until 1815 and
manuscript appearances of the melody predate his birth. For example, it appears
in the music manuscript book of pianist Ann Winnington (New York, 1810) and
Mary Richards (Wales, 1787, appearing as “Mis Mel”). It can also be found in
the 19th century musicians’ manuscript collections of James
Haslingden (Midlands?, 1827), Docker, John Hall (Northumberland, 1833), Richard
Pyle (Nether Wallop, Hampshire, 1822), William Calvert (Leyburn, north
Yorkshire, 1812), Rev. Robert Harrison (Brampton, Cumbria, 1820), the Welch
family manuscripts (Bosham, Sussex), and an anonymous manuscript from Carlisle,
Cumbria, of 1810. The tune is contained in the 19th century Joseph
Kershaw Manuscript. Kershaw was a fiddle player who lived in the remote area of
Slackcote, Saddleworth, North West England, who compiled his manuscript from
1820 onwards, according to Jamie Knowles. Callaghan (Hardcore English), 2007; pg. 37. Kerr (Merry Melodies), vol. 2, c. 1880’s; No. 146, pg. 17. The Joseph
Kershaw Manuscript, 1993; No. 44. Stewart-Robertson (The Athole Collection), 1884; pg. 118. Wilson (Companion to the Ballroom), 1816. EFDSS
CD13, Nic and Mary Barber – “Hardcore English” (2007. Various artists).
X:1
T:Honey Moon, The [3]
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D
A|Addd dffa|gfed ce A2|Addd dffa|gfge d2d:|
|:A|dAA2 BcdB|AFED CEE2|dAA2 Bcde|fgef d2d:|
X:2
T:Honey Moon [3]
M:2/4
L:1/8
S:From Ann Winnington’s music
manuscript book (No. 18), c. 1810
N:The frontispiece of the MS indicates Winnington lived in New York
Z:AK/Fiddler’s Companion
K:D
Addd | dffa | gfed | ce e2 | Addd |
dfag | fgef | d2d2 :|
|: dA A2 | Bd d2| AFED | CE E2 | dA
A2 | Bcde | fgef | d2d2 :|
HONEYMOON WALTZ. Canadian, American; Waltz. G Major. Standard tuning. AABB. “Honeymoon
Waltz” was recorded on 78 RPM in 1932 by Hugh “Hughie” A. MacDonald, sometimes
known as “The Polka King.” MacDonald was born in Lanark, Antigonish County,
Nova Scotia, and was one of the first fiddlers to record Scottish fiddle music.
He died in 1976. Messer (Anthology of
Favorite Fiddle Tunes), 1980; No. 175, pg. 121. Document
8043, Doc Roberts (reissue). Gennett 7017 (78 RPM), Doc Roberts (Ky.).
HONEYSUCKLE [1]. Old‑Time, Breakdown. USA, North Carolina. The tune was recorded
by North Carolina string band Charlie Poole and the North Carolina Ramblers. Fretless FR 160, The Double Decker String Band ‑
"Sentimental Songs and Old‑Time Melodies" (1981).
HONEYSUCKLE [2], THE (Lus-Na-Mealla). Irish, Hornpipe. D Major. Standard tuning.
AABB. The tune was recorded in 1931 in London by the Ballinakill Traditional
Dance Players from County Galway. See also the related “Splendid Hornpipe” and “Stack’s Hornpipe.” Gloucestershire fiddler
Stephen Baldwin’s “Coleford Jig” bears
some resemblance. Source for notated version: Winston Fitzgerald (1914-1987,
Cape Breton) [Cranford]. Cranford (Winston
Fitzgerald), 1997; No. 35, pg. 13. O’Malley (Luke O’Malley’s Collection of Irish Music, vol.1), 1976; No. 145,
pg. 73. O'Neill (Krassen), 1976; pg. 186. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 1654, pg. 307. O'Neill
(Dance Music of Ireland: 1001 Gems),
1986; No. 874, pg. 151. Treoir, vol.
35, No. 1, 2003; pg. 30. Tubridy (Irish
Traditional Music, vol. 1), 1999; pg. 15. Rounder
RO 7023, Natalie MacMaster - “No Boundaries” (1996).
X:1
T:Honeysuckle, The [2]
L:1/8
M:4/4
R:Hornpipe
K:D
A/B/c|d2 cA B/c/d AF|DFAF GBAG|FAdA
FAdf|edcB AB c/B/A|
d2 cA B/c/d AF|DFAF GBAG|FAdB
AGFE|D/E/D CE D2:|
|:A/B/c|dcde fdec|defg a2 af|geeg
fddf|edcB AB c/B/A|
d2 cA B/c/d AF|DFAF GBAG|FadB
AGFE|D/E/D CE D2:|
HONEYSUCKLE
SCHOTTISCHE. Canadian, American; Schottische.
USA, Arizona. F Major. Standard tuning. AA'B. Messer (Way Down East), 1948; No. 93. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 178, pg. 123. Ruth
(Pioneer Western Folk Tunes), 1948;
No. 108, pg. 38.
X:1
T:Honey Suckle Schottische
L:1/8
M:4/4
S:Viola “Mom” Ruth – Pioneer Western Folk Tunes (1948).
Z:AK/Fiddler’s Companion
K:F
C>FA>c f2f2|e2e2
d4|C>EG>B e2e2|d2d2 c4|C>FA>c f2f2|e2e2 d4|
C>EG>B e2d2|(3cdc (3BAG F4||A4
B2 =B2|c6 c2|c2 =Bc ec_BA|
G6D2|G4 B2c2|d6 (^cd)|b>ge>c
d2c2|A6 A2|A4 B2=B2|c6 c2|
C2 =Bc d>cB>A|G6D2|G4 B2c2|d6
(^cd)|b>ge>c d2e2|f2f2f2 z2||
X: 2
T:Honeysuckle
Schottische
M:4/4
L:1/8
S:Don Messer
Z:Transcribed
by Bruce Osborne
K:F
=B,2|C>D
(3FAc f2f2|e>fe>f d2=B,2|C>D (3EFG e2e2|d>ed>A c>d (3cAF|
C>D (3FAc
f2f2|e>fe>f d2=B,2|C>D (3EFG e2d2|(3cdc (3BAG F2:|
|:F2|A2A2
B2=B2|c6A>B|c2=B>c d>c_B>A|G6C2|
G2G2
A2B2|d6c/=Bc/|b>ge>c =B>cd>c|A>d^c>d (3=cd=c (3AFD|
A2A2
B2=B2|c6A>B|c2=B>c d>c_B>A|G6C2|
G2G2 A2B2|d6c/=Bc/|b>ae>c
(3cdc (3BAG|F6:|
HONEYSUCKLE WALTZ. The Ray Brothers were fiddler Will
Ray with his brother Vardman on guitar. Document 8028,
Ray Brothers – “Mississippi String Bands, vol. 2” (reissue).
HONLEY CRICKETERS, THE. See “Kentish
Cricketeers.”
HONOLULU BABY. AKA and see "Spanish
Cavalier."
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