The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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HJ - HONOL

[COMMENT3] 

 

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]

 

 

[COMMENT4] 

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 DIE. See “Hobb Dye.”

 


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:

***

Both Hockley-hole and Marybone

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;

All she had to give to me

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.

X:1

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

D || G2B BAB BAB | G2B (BA).B c2A | G2B BAB BAB | AGA (A2B) c2A |

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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 [COMMENT1]This was Font/Pitch 1,10 - Off.

 [COMMENT2]This was Font/Pitch 1,10 - On.

 [COMMENT3]This was Font/Pitch 1,10 - Off.

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