The Fiddler’s
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© 1996-2010 Andrew Kuntz
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Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s Companion
work fine in most abc conversion programs. For example, I use abc2win and
abcNavigator 2 with no problems whatsoever with direct cut-and-pasting.
However, due to an anomaly of the html, pasting the abc’s into the
concertina.net converter results in double-spacing. For concertina.net’s
conversion program to work you must remove the spaces between all the lines
of abc notation after pasting, so that they are single-spaced, with no
intervening blank lines. This being done, the F/C abc’s will convert to
standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth
it. [AK] |
HUN HAYDN. English, Dance Tune (2/4 time). C Major. Standard tuning. AABB. It
refers no doubt to the German composer Franz Joseph Haydn, who was in residence
in
HUNDRED AND ONE
FAREWELLS TO HIM, A (Beannacht Agus
Ceud Leis).
Irish, Air (3/4 time). A Minor. Standard tuning. One part. Source for notated
version: "William Elliott Hudson, a well‑known Irish patriot and
scholar of the last century" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 506, pg. 276.
HUNDRED PIPERS (An A', An 'A), THE/A. AKA - “One Hundred Pipers,” "Wi'
a Hundred Pipers." AKA and see "Durham
Reel," “The Hair
Fell Off My Coconut.” Scottish (originally), English, Canadian, American;
Jig or Waltz.
***
Musically, it is an example of the
form Scotch Jig, or a jig in Scotch measure rhythm (see Emmerson, 1971, pg.
159), however
***
Source for notated verison: Hiram
Horner (fifer from Westmoreland and
X:1
T:Hundred Pipers, A
L:1/8
M:6/8
K:A
c2E EFE|F2A A2f|e2c cBA|BcB BAB|c2E EFE|F2A A2f|
e2c BcB|1 A3 A2B:|2 A3 c2d||: e2e ece|f2a agf|e2c cBA|
BcB Bcd|e2e ece|f2a agf|e2c BcB|A3 A2B:|
X: 2
T: Hundred Pipers
S: J. O'Brien: "Irish Folk Dance
Music"
M: 6/8
L: 1/8
Q: 325
Z: Transcribed by Bill Black
R: jig
K: A
B | c2
c2
B | c2 e ece | f2 a agf | e2 c cBA | BcB BAB |
c2
e ece | f2 a agf | e2 c BAB | A3 A2 :|
HUNDRED YEARS SINCE, A. Scottish, Reel. E Flat Major. Standard. AAB. Composed by James
Porteons, son of the editor of the Skye
Collection, Keith MacDonald. MacDonald (The
Skye Collection), 1887; pg. 130.
X:1
T:Hundred Years Since, A
M:C|
L:1/8
R:Reel
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:E_
C|B,G,B,C E2 (EG)|FEFG FECE|B,G,B,C
EFGc|BGFG E2E:|
d|edcB c2 ce|BGFE FECB|(ed)cB
(cd)ef|(gf)ed e2 ef|(gf)ed e2 ef|
(gf)ed (ed)cB|(AG)FE FECE|B,G,B,C EFGc|BGFG E2E||
HUNG MY JAWBONE ON THE
FENCE. AKA – “I Hung My Jawbone,”
“Jawbone.” Old‑Time, Breakdown. USA, Arkansas. A Major. AEae tuning.
AABB’CC’. The tune was recorded by the Library of Congress by musicologist/folklorist
Vance Randolph from
***
Hung my jawbone on the fence,
Ain’t seen nothin’ of my jawbone
since.
***
Although this tune has no musical
relation to the similarly-titled tune “Jawbone,”
the ditty line is shared between the two tunes, points out Drew Beisswenger
(2008). He also finds similar verses in “Give the Fiddler a Dram” (as
played by Kentucky fiddler James Crase, for example), but, again, the music
differs. Source for notated version: Lon Jordoan (early-mid 20the century,
Framington, Ark.) [Beisswenger & McCann]. Beisswenger & McCann (Ozark
Fiddle Music), 2008; pg. 87 (appears as “I Hung My Jawbone”).
HUNG-OVER CHURCH
ORGANIST, THE. Canadian, Jig.
HUNGARIAN HAT, THE. English, Set Dance (3/4 time). E Minor.
Standard tuning. AAB. A modern composition by editor Michael Raven. Raven (English Country Dance Tunes), 1984; pg.
204.
HUNGARIAN MARCH.
English, Country Dance Tune (2/4 time). D Major. Standard tuning. AABB.
The melody first appeared in David Rutherford’s Compleat Collection of 200
of the Most Celebrated Country Dances (London, 1756). Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 176.
X:1
T:Hungarian March, The
M:2/4
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
A|dd/f/
ee/g/|fa a2|fe/d/ fe/d/|e2 AA|dd/f/ ee/g/|fa a2|fe/d/ ed/c/|d2 D:|
|:e|ff/a/ eA/g/|ff/a/ eA/g/|fe/d/ fe/d/|e2 Ae|ff/a/ eA/g/|fe/d/ ed/c/|d2 D:||
HUNGARIAN WALTZ. AKA and see "Drink Your
Tea, Love," "Grand
Duke Nicholas." English, Waltz (3/8 time).
***
The 'Hungarian Waltz' having also been danced,
the hostess calls up the
show the foreign guests what a Scotch reel is
like. The men put their hands on their hips
and tread it out briskly. While they stand aside
and rest 'The Hanovarian Dance' is called.
***
Source for notated versions: the
Hardy MS [Trim]; a c. 1837-1840 MS by Shropshire musician John Moore [Ashman];
the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of
Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Ashman (The Ironbridge Hornpipe), 1991; No. 36,
pg. 12. Sumner (
HUNGRY ARMY, THE. English, Jig. G Major. Standard. AABB. A
modern composition by editor Michael Raven. Raven (English Country Dance Tunes), 1984; pg. 197.
HUNGRY ROCKS [1], THE. AKA and see “Lucy Farr’s Jig.” Irish, Jig. E Minor.
Standard. ABC. Songer (
HUNGRY ROCK [2], THE. Irish, Jig. E Dorian. Standard. AABBCC.
Composed by Liam Kelly.
X:1
T:The Hungry Rock
C:Liam Kelly
R:Jig
M:6/8
L:1/8
K:Edor
|: GEB GEB | ~F3 dAf | GEB GEG | EFD E2 D |
GEB GEB | ~F3 dAf | agf edB | ABd E2D :|
|: AFE A (3Bcd | efe dAB | AFE A (3Bcd | efg fed |
AFE A (3Bcd | efe dAB | agf edB | A (3Bcd edf :|
|: GEF GFG | EFE GFE | FEF GFG | BGE cEd |
GEF
GFG | EFE GFE | ABG EcA | dAf gfe :|
HUNKY DORY. Old‑Time, Breakdown.
HUNNELL'S DOUBLE DRAG. AKA and see "Oho,
Oho, I've Found You Out" (
HUNSDON HOUSE. English, Country Dance Tune (6/8 time). C Major (Barnes, Karpeles,
Raven, Sharp): D Major (Fleming‑Williams). Standard tuning. ABB (Karpeles
& Raven): AABBBB (Barnes, Fleming‑Williams, Sharp). The melody dates
to 1665, although the Hertforshire house is much older, having begun as a brick
tower in 1447 by Sir William Oldhall. King Henry VIII purchased Hunsdon House
in 1525 and for the next decade greatly expanded the structure into a Tudor
house of palatial proportions. Henry’s children largely resided in the home,
Edward (whose portrait, with the house in the backgroud, appears below), and
Princess Mary and Elizabeth. It is said that Mary taught her younger sister
Elizabeth how to play cards at Hunsdon House. When Mary became Queen she
presented the house and the Lordship of Hunsdon to her maternal cousin, Henry
Carey, in 1559, but it went into decline into the next century. Rebuilt in the
early 19th century it was, by Victorian times, again in a ruinous
state, and was yet again rebuilt in 1860 by the Calverts, albeit with horrible
Victorianisms. Resoration work was completed in modern times in 1983, which
revealed as much of the 15th century brickwork as possible, yet it
is but a quarter of the size of Henry VIII’s Tudor mansion and is probably
based on one of its wings. Barnes (English
Country Dance Tunes), 1986. Fleming‑Williams & Shaw (English Dance Airs; Popular Selection, Book
1), 1965; pg. 5. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 15. Raven (English Country Dance Tunes), 1984; pg.
26. Sharp (Country Dance Tunes),
1909/1994; pg. 29.
***
Portrait of Prince Edward VI, 1546, with Hunsdon House in background
at left. (Brittanica.com) |
Detail of Hunsdon House from portrait at right. (Brittanica.com) |
***
X:1
T:Hunsdon House
M:6/8
L:1/8
S:Sharp – Country Dance Tunes (1909)
Z:AK/Fiddler’s Companion
K:C
C2G E2A | GE2 D2C | c2e dB2 | A3 G3
|
C2G E2A | GE2 D2C | c2e dB2 | A3 G2z
||
|: g2=f eB2 | c2B Ade | f2e d B2 |
A3 G AB |
c2B AE2 | F2E DAB | cde f2e | d3 c2 z :|
HUNT [1], THE ("An Seilg" or "An Fiadac"). AKA and see "Galtee Hunt [1]," “Mount Pheobus Hunt,” “The Mountfamous Hunt.” Irish, Set Dance
(cut time). G Major/Mixolydian. Standard. AB (Stanford/Petrie): AABB (most
versions). The 'B' part, at twelve measures, is longer than the eight-measure
'A' part. See also the related hornpipe “Prize for the Ladies.” Sources for
notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare)
[Mitchell]; “From John Dolan--Glensheen--(via the Irish collector) Mr. Joyce”
[Stanford/Petrie]. Jordan (Whistle &
Sing), 1975; 42. Mallinson (Enduring),
1995; No. 99, pg. 42. Mitchell (Dance
Music of Willie Clancy), 1993; No. 84, pg. 77. O'Neill (Krassen), 1976; pg.
224. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1799, pg. 337.
O'Neill (Dance Music of
X:1
T:Hunt, The [1]
M:C|
L:1/8
R:Set Dance
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:G
D2|GABG AGEG|c2 ce dcBA|GABA
GEDG|EAAG AcBA|
GABG AGEG|c2 ce dcBA|GABA GEDE|G2 GG
G2:|
|:D2|GABc d2 de|=f2 f2 f2 ed|e2e2
efge|d2 de d2 cB|
cBcd edcB|A2 AB A2G2|g2 g2 gedB|A2
AB A2 GE|
GABG AGEG|c2 ce dcBA|GABA GEDE|G2 GG
G2:|
HUNT [2], THE (An Seilg). Irish, Set Dance (cut time). G Mixolydian.
Standard tuning. AABB. Very similar to version #1. Source for notated version:
Cronin [O’Neill]. O'Neill (Music of
Ireland: 1850 Melodies), 1903/1979; No. 1800, pg. 337.
X:1
T:Hunt, The [2]
M:C|
L:1/8
R:Set Dance
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:G
D2 | GABG AGEG | c2 ce dcBA | GABA
GEDE | EAAG AcBA |
GABG AGEG | c2 ce dcBA | GABA GEDE |
G2 GG G2 :|
|: D2 | GABc d2 de | =f2 f2 f2 ed | e2 e2 efge | d2 de d2 cB |
cBcd edcB | A2 AB A2 G2 | g2 g2 gedB | A2 AB A2 GE |
GABG AGEG | c2 ce dcBA | GABA GEDE | G2 GG G2:|
HUNT, THE
[3]. Irish. The tune is attributed by Goodman to the 18th
century gentleman-piper
HUNT IN THE BOG. Irish, Reel. D Major. Standard tuning. AB. Treoir.
X: 1
T: Hut in the Bog
S: Treoir
M: 4/4
L: 1/8
Q: 350
Z: Transcribed by Bill Black
R: reel
K: D
A | dcdA BdAF | E2 eg fdec | dcdA BdAF | GBAG FD
D2 |
dcdA BdAF | E2 eg fdec | defd cdec | dBAG FD D2
||
fddc dfaf | gfga bgeg | fddc dfaf | gbeg fdde |
fddc
dfaf | gfga bgef | gagf gbaf | (3gag fg egfe ||
HUNT IS UP (WHEN THE COCK HE CROWS), THE.
English, Scottish; Air and Dance Tune (4/4, 6/4 and 6/8 times). G Major
(Merryweather): C Major (Emmerson/Pickering, Kines, Chappell/Pickering).
Standard tuning. One part (Emmerson/Pickering, Kines, Chappell/Pickering): AABBCCDDEE
(Merryweather). This old English tune, one of the most popular of the early
ballads, a dance tune and reville, was mentioned by Shakespeare in "Romeo
and Juliet" (act III, scene 5). Its age is attested to, not only through
its appearence in old music manuscripts, but also by mention in literature. The
English collector Chappell (1859) notes that one John Hugan was arrested in
London in 1537 for singing with a "crowd" or fyddyl (fiddle) a
political song to a tune with this title, while in 1565 William Pickering paid
for a licence to print the ballad. Emmerson (1971) finds an even earlier
reference to the melody in
***
Now who shall play 'The day it daws',
Or 'Hunt's up when the cock he craws'?
Or who can for our kirk-town cause
Stand us in stead?
On bagpipes now nobody blaws
Sin’ Habbie’s dead.
***
By
the end of the 16th century, says Chappell, the tune became known as "Peascod Time" after a ballad sung to
it, and under this title "it was appropriated for two very important and
popular ballads--'The Lady's Fall' and '
X:1
T:Hunt is Up, The
M:6/4
L:1/8
N:Lyrics begin: The hunt is up, the hunt is up, and it is well nigh day;
N:And
Harry our King is gone hunting to bring his deer to bay.
S:Chappell - Popular
Music of the Olden Times
Z:AK/Fiddler's
Companion
K:C
C2|C4 D2 E3F G2|c4 G2 E3F G2|A4 G2 F4 E2|(D6 D4)
E2|
F4
G2 A3G F2|c4 _B2 A3G F2|G3F E2 D3C B,2|C6||
HUNT OF THE HOUND AND
THE HARE, THE. Irish, Set Piece.
HUNT THE
HUNT THE CAT. Irish, Single Jig. D Dorian. Standard. AABB. O'Sullivan (1983) points
out this tune is a variant of Bunting's "Whish, Cat from Under the Table."
Roche Collection, 1983, Vol. 3; No.
114, pg. 35.
HUNT THE FOX. AKA and see "Hey My Nancy/Nanny."
American (?), Slip Jig. D Mixolydian. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 68. Ryan’s Mammoth Collection, 1883; pg. 98.
X:1
T:Hunt the Fox
M:9/8
L:1/8
R:Slip Jig
B:Ryan’s Mammoth Collection
(1883)
K:Dmix
d2B AFA AFA|d2B AGF E2d|e2B AFA
AFA|d2B AFD E2D:|
|:fed faf g2e|fed faf e2g|fed faf
g2e|d2B AFD|E2D:|
HUNT THE HARE [1]. English, Country Dance Tune (cut time).
X:1
T:Hunt the Hare [1]
M:C|
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)
Z:Transcribed and edited by Fynnian Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:D
DFAd
cABG|FDAF EDEF|DFAd cABG|FDEc d2D2:|
|:dfaf gefd|cAce gecA|d(f/g/a)f gefd|cAec d2D2:||
HUNT THE HARE [2]. English, Jig. See "Hunting the
Hare."
HUNT THE HARE [3].
English, Jig. D Major. Standard tuning (fiddle). AABB. Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 4), 1780; No. 99.
X:1
T:Hunt the Hare [3]
M:6/8
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 4 (London, 1780)
Z:Transcribed and edited by Fynnian Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:D
D2D FGA|Bed cBA|d2D FGA|Bec d3::fed fed|fed
fed|
ecd ecd|(e/f/g)f {f}e3|d2D FGA|Bge
cAc|d2D FGA|Bdc d3:||
HUNT THE SQUIRREL [1]. AKA and see "The Geud
Man of Ballangigh." English, Scottish, Irish, American; Country Dance
Tune (6/8 time).
***
Among the rest (of the dances), I observed one, which I think, they call
Hunt the Squirrel, in which while the Woman flies the Man
pursues
her; but as soon as she turns, he runs away, and she is obliged to
follow.
The Moral of this Dance does, I think, very aptly recommend Modesty
and Discretion to the Female Sex. But as the best Institutions are
Abuses are crept into this Entertainment. I was amazed to see my
Girl handed by, and handing young fellows with so much Familiarity;
and I could not have thought it had been in the Child.
***
The sense of the dance Hunt the
Squirrel and its mimicking of pursuing a quarry is probably why the name was
used euphemistically to describe the rather odious amusements of some 18th
century
***
The author of English Folk-Song and Dance found the melody in
the repertoire of fiddler William Tilbury (who lived at Pitch Place, midway
between Churt and Thursley in Surrey), who, in his young days, used to play the
fiddle at village dances. He derived his repertoire from an uncle, Fiddler
Hammond, who had been the village fiddler before him and who died around 1870.
The conclusion was that this and similar country dance tunes survived in the
tradition (at least in southwest Surry) well into the second half of the 19th
century. American sources are nearly the same in both tune and dance figure as
English sources, report Van Cleef and Keller (1980); it appears in Cushing Wells'
German flute MS (Norwich, Connecticut, 1789) and in Clement Weeks' dance MS
(Greenland, New Hampshire, 1783). The tune is not to be confused with other
popular melodies of the period, "Hunt the Hare" and "Hunting the
Hare." Barnes (English Country Dance
Tunes), 1986. Fleming‑Williams & Shaw (English Dance Airs; Popular Selection, Book 1), 1965; pg. 10.
Johnson (Twenty‑Eight Country
Dances as Done at the New
X:1
T:Hunt the Squirrel [1]
M:6/8
L:1/8
S:Sharp – Country Dance Tunes (1909)
Z:AK/Fiddler’s Companion
K:A
Ae2 e2f | e3 c3 | ABc B2A | ABc B2 A
| Ae2 e2f| e3 c3 | ABc B2A | (A3 A2) z :|
|: d2e fed | d2e fed | d2e f2g | (a3
a2) g/f/ | e c2 e c2 | e c2 e3 | ABc B2A | (A3 A2) z :|
X:2
T:Hunt the Squirrel [1]
M:6/8
L:1/8
S:Stanford/Petrie (1905), No. 487
Z:AK/Fiddler’s Companion
K:F
F2c c2d | c3A3 | FGA G2F | FGA G2F |
F (c2c2)d | c3A3 | FGA G2F F2F F2z ||
B2c dcB | B2c dcB | Bc d2e | f3 f2
e/d/ | cA2 cA2 | cA2 c3 | FTGA G2F | F F2 F2z ||
HUNT THE SQUIRREL [2]. AKA ‑ "Hunting the Squirrel." English, Morris Dance
Tune (4/4 time). G Major. Standard tuning. AABB (x4), AA. The tune was
collected in the
HUNT THE SQUIRREL [3]. English, Jig. D Major. Standard tuning. AA'BB'. Carlin (Master Collection), 1984; No. 21, pg.
25.
HUNT THE SQUIRREL [4]. English, Country Dance Tune (2/2 time). G Major. Standard tuning. AB.
Sharp (Country Dance Tunes),
1909/1994; pg. 11.
X:1
T:Hunt the Squirrel [4]
M:2/2
L:1/8
S:Sharp – Country Dance Tunes (1909)
Z:AK/Fiddler’s Companion
K:G
(3DEF| G>BA>F G2D2 |
G>Bd>e d2 B2 | G>Bd>e d2 B>A | G>BA>F G2 (3DEF |
G>BA>F G2 D2 | G>Bd>e d2
B2 | G>Bd>e d2 B>A | G>BA>F G2 || z2 |
e>f g2 e>f g2 | e>fg>a
g2 e2 | d>ed>c d2 B>A | G>BA>F G4 |
e>f g2 e>f g2 | e>fg>a
g2 e2 | d>ed>c d2 B>A | G>BA>F G2 ||
HUNT THE SQUIRREL [5]. English, Country Dance Tune (4/4 time). G Major. Standard tuning. AB.
This tune was played by English musician John Locke,
X:1
T:Hunt the Squirrel [5]
M:2/2
L:1/8
S:John Locke (1909)
K:G
d2 B<d c>BA>F | G2 g>f
e>dB>c | d2 F>G A>Bc>d | e>dB>c A2 Bc |
d2 B>d c>BA>F | G2 g>f
e>dB>c | d2 F>G A>Bc>d | e2G2G2 || B>c |
d2g2d2g2 | dgbg dgbg | d2g2 d2
g>a | b>ag>e d>cB>c | d2 B>d c>BA>F |
G2 g>f e>dB>c | d2 F>G
A>Bc>d | e2F2 G4 ||
HUNT THE WHISSEL. English, Slip Jig.
HUNT THE WHISTLE.
English, Slip Jig. C Major. Standard tuning. AABB. The melody was
originally printed in Charles and Samuel Thompson’s third country dance collection
(London, 1773).
It was entered into the 1788 music
manuscript copybook of fiddlers John and William Pitt Turner (Norwich, Conn.).
Thompson (Compleat Collection of 200 Favourite Country Dances, vol.
3), 1773; No. 58.
X:1
T:Hunt the Whistle
M:9/8
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:C
g|e2c
cec gec|B2G GBG dBG|e2c cec e^fg|^fga dg^f g2:|
|:g|a2f fga geg|f2d def ece|B2G GAB cde|Afe dcB c2:||
HUNTER IN HIS CAREER, THE. AKA and see "Basse's Career," "Mr. Basse, His Career," "The Falconer's Hunting."
English, Country Dance Tune (4/4 time). F Major. Standard tuning. AAB. The air
appears in the Gordon Lute Book
(Straloch MS) of 1627. As with many popular airs, several songs to it were
written in the 17th century. The tune is alluded to in Walton's
"Angler," according to Chappell (1859), where Piscator says:
***
I'll promise you I'll sing a song that was lately made at
my request by Mr. William Basse, one that made the
choice songs of 'The Hunter in his Career', and 'Tom
of Bedlam', and many others of note.
***
Chappell (Popular Music of the Olden Time), vol. 1, 1859; pg. 198. Raven (English Country Dance Tunes), 1984; pg.
11.
X:1
T:Hunter in his Career, The
T:Basse’s Career
M:C|
L:1/8
S:Chappell – Popular Music of the Olden Times (1859)
Z:AK/Fiddler’s Companion
K:F
f4 c2B2 A4G2F2 | E2D2E2F2 G4 A2B2 | c4F2G2 A4G3F | F8 :|
|| A4G2F2 E6F2 | G4 F2E2 D4 E2F2 | G4 C2D2 E4 D3C | C8 |
A4G2F2
B4A2G2 | c4 B2c2 d4 A2B2 | c4 F2G2 A4 G3F | F8 ||
HUNTER’S CABIN. See “Road
to Cashel.”
HUNTER'S CHORUS. AKA and see "Huntsman's Chorus."
HUNTER'S HORNPIPE [1]. AKA and see "Huntsman's Hornpipe,"
"The Bridge at Lodi,"
"Hell on the Potomac"
[3], "Murray's Hornpipe,"
"Nelson's (Hornpipe) [2]."
Old‑Time, Breakdown.
HUNTER'S HORNPIPE [2] (Crannciuil An Fiadaige/Fiaguide). AKA and see "First Day of Spring," "Reynard the Fox [1]." Irish, New
X:1
T:Hunter’s Hornpipe [2]
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:G
dc|B2 AB d2 de|fece d2 df|g2 dc
BAGB|A2 AA A2 Bc|
defd gddB|cBAc B2 AG|GBdg ecAF|G2 GG
G2:|
|:dB|G2 GG G2AB|cBAG F2dB|G2 GG
GBdg|fdef d2 dB|
G2GG gfed|cBAG F2 AF|GBdg ecAF|G2 GG
G2:|
HUNTER'S HOUSE. AKA and see “Reavy’s.” Irish,
Reel. G Major. Standard tuning. AABB (Harker, Mallinson, Reavy): AABB’
(Cranford/Holland). Composed by fiddler Ed Reavy (1898-1988), born in
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Jane Keefer’s Folk Music Index: An Index
to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Hunter's House, The
R:Reel
C:Ed Reavy
M:2/2
L:1/8
K:G
A|:Bd (3dcd =cAFA|G2 BG dGBG|Bd (3d^cd =cAFA|GBAG FDCA,|DGBG cAFA|
BGAF GABc|defg agfd|cAFA G2 GA:||
B2 gB aBgB|(3BBB gf edcB|A2 ad bdbd|(3ddd af gfed|
B2 gB aBgB|(3BBB gf edcB|cBAg fdBd|cAFA BGGA|B2 gB aBgB|(3BBB gf edcB|
A2 ad bdad|(3ddd af gfed|B2 gB aBgB|(3BBB gf edcB|cBAg fgaf|gdBd cAFA:||
X:2
T:The Hunter's House
R:Reel
C:Ed Reavy
M:2/2
L:1/8
Z:Joe Reavy
N:It would be furnished with every evidence of the prize game he caught.
N:It would be a place where the best men would choose to gather and listen
N:to
N:most popular of his tunes.
K:G
A |: Bd (3dcd =cAFA | G2 BG dGBG | Bd (3d^cd =cAFA | GBAG FDCA, |
DGBG cAFA | BGAF GABc | defg agfd | cAFA G2 GA :|| B2 gB aBgB |
(3BBB gf edcB |A2 ad bdbd | (3ddd af gfed | B2 gB aBgB | (3BBB gf edcB |
cBAg fdBd | cAFA BGGA | B2 gB aBgB | (3BBB gf edcB | A2 ad bdad |
(3ddd af gfed | B2 gB aBgB | (3BBB gf edcB | cBAg fgaf |
gdBd cAFA :||
HUNTER’S MARCH, THE. Canadian, March (2/4 time). A Major. Standard.
One part. Composed by
X:1
T:Hunter's
March
C:Ward Allen
R:March
M:2/4
L:1/8
Z:Transcribed
by Bruce Osborne
K:A
A,C D | E2
E>F | EC A,C | A2 A>B | AE Ac | B2 B>c | BE Ac | e2 e>f | eA, CD |
E2 E>F |
EC A,C | A2 A>B | AE Ac | B2 B>c | BE GB | A2 A>A | A2 e>f |
ec cA | c2
e>f | ec cA | c2 e>d | cB BG | B2 e>^d | dc cA | c2 e>d |
dc cA | c2
e>d | dc cA | c2 e>d | cB BA | B2 e>d | ce Be | A3 :|
HUNTERS OF
X:1
T:Hunters of
T:Allie Croker
L:1/8
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:D
a | fddd Addf | edcd efga | fddd Addf | edcd efgg | faaa faaa | bagf efgg |
eggg
eggg | agfe fa z2 | d3d dc zc | BcdB BA z2 | g3g gf zf | feac ed z ||
HUNTER'S
PURSE, THE. AKA and see "The Old Bush [2]," "The Five Leaved/Leaf Clover
[2],” “The Hawthorne [1],” “The Haymaker,” “Heel of the Hunt,” “Paddy Kelly’s (Reel) [3],"
“An Sceach,” “The
Thornbush [2].” Irish, Reel. A Dorian. Standard tuning. AABB. Mixolydian
versions also are played. County Sligo fiddler Paddy Killoran recorded the tune
on 78RPM, under the title “Hunter’s Purse,” the name by which it is usually
called nowadays, although other titles seem to have predated it. John Glatt
writes in his biography The Chieftains
(1997) that band leader and piper Paddy Moloney hired the services of a lilter,
Pat Kilduff, especially for their recording of “The Hunter’s Purse” on their
album “Chieftains 3.” The recording studio was in London, however, and Kilduff
had never ventured from Athone, County West Meath, where he was born. The first
night the nervous man was put up in a hotel in Dublin, and Pat was told to stay
put—which he did, only wandering to the hotel bar for a pint of stout…where he
chanced to meet the famous Belfast fiddler Seán Maguire. The two ended up
staying up all night lilting and playing music, and when he was collected by
Moloney in the morning Pat was hardly in shape for his very first plane
ride. Kilduff endured the flight but
rushed for the bathroom as soon as the plane landed, having been too frightened
to relieve himself on the plane. While
in
See also listings at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan
Ng’s Irishtune.info |
X:1
T:Hunter’s
Purse, The
M:C|
L:1/8
R:Reel
K:Ador
(3Bcd|eAAB
AGEF|GBAF {A}GED2|cBcd eged|(3Bcd ef {a}gedg|
eAAB
AGEF|GBAF GE D2|cBcd eged|1 (3cBA BG A2gf:|2 (3cBA
|:ea{b}ag
agef|gbaf gedB|cBcd eged|(3Bcd ef {a}ge d2|
ea{b}ag
agef|gfaf gedB|cBcd (3efg ed|cABG A2cd:|
HUNTER’S ROAD, THE. Irish, Jig. D Major. Standard
tuning. AA’BB’.
X:1
T:Hunter's Road
M:6/8
L:1/8
R:Double Jig
D:Griann, "The Maid of
Eirin"
Z:Transcribed by Rob Greenway
K:D
FAG FAG|FDE F2d|BFF Bcd|BAB d2B|!
A2G FAG|FDE F2d|BGE Bcd|1 a2g fdA:|2
a2g fdd|!
|:fed ~a3|def fed|ecA ~A3|B/c/de
ABc|!
~B3 def|f2b bag|f/g/af def|1 ecA
d2e:|2 ecA BAG|!
HUNTING FOR THE
X:1
T:Huntin’ for the
M:C
L:1/8
S:Alisa Jones & Co.
N:ABC’s from a transcription by John Lamancusa, by permission. See http://www.mne.psu.edu/lamancusa/tunes.htm
Z:AK/Fiddler’s Companion
K:E Minor
EG |:”Em”B2B2 ABGA|BABA G2E2|B2B2
ABGB|”G”d2 Bd e2d2|
“Em”B2B2 ABGA|BABA G2E2|EGBG “D”A2BA|”Em”G2E2E2
EG:|
|:”Em”E3F E2D2|EFED E2B,2|E3E
G2A2|”G”B3AB2G2|
“Em”E3FE2D2|EFED E2B,2|G2B2
“D”AGAB|”Em”G2E2E4:|
“variations”
B2 Bc BAGA | BABA G2 EG|B2 Bc
BAGA|B2 de e2 eA|
B2 Bc BAGA|BABA G2E2|DEGA BGAB|AG E2
E2 EG||
B2 Bc BAGA|BABA G2 EG|B2 Bc BAGA|B2
dB eBdA|
B2 Bc BAGA|BcBA GAEG|ABdg edBA|GE
E2E2Bd||
|:e2 ef edBd|efed B2Bd|e2 ef
g2a2|b4b2Bd|e2 ef edBd|
edge edBd|1 egbg a2 ba|”tr”g2e2e4:|2
efge fedf|edBG E4||
HUNTING OF THE FOX, THE. Scottish, English. A Border tune, in all
likelihood the same as "The Fox Chase" popular with Irish pipers in
the 1800's.
HUNTING THE
HUNTING THE HARE [1]. AKA and see "Helar's
Ysgfarnog," "Newcastle Beer" {AKA and see "Mr. Basse, His Career," "The
Career," "Mount Taragh's
Triumph"‑‑alternates for an Irish tune called
"Hunting of the Hare"}. English, Irish, American; Jig.
***
Members of the Carrow Abbey Hunt (1780), by Philip Reinagle
(1749-1833)
***
Source for notated version:
"...from a MS. lent to him by Miss O'Connell of Grena Killarney"
[Joyce]; a c. 1837-1840 MS by
X:1
T:Hunting the Hare [1]
M:6/8
L:1/8
S:Ryan’s Mammoth Collection
(1883)
Z:AK/Fiddler’s Companion
K:D
{A/4B/4c/4}d2.D FGA | Bcd edc |
(d2D) FGA | Bdc d3 | {A/4B/4c/4}d2.D FGA |
Bcd edc | (d2.D) FGA | Bdc d3 || fed
fed | fed fed |
ecd ecd | egf e3 | fed fed | fed fed
| ecd ecd | egf e3 ||
HUNTING THE HARE [2] (An Seilg An Gearrfiad). AKA and see “Whigsborough Hunt.” Irish, Slip Jig. D
Major. Standard tuning. AABB. See also note for “Do
it Fair.” Cotter (Traditional Irish
Tin Whistle Tutor), 1989; 58. O'Neill (Krassen), 1976; pg. 84. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1153, pg. 217. O’Neill (Dance
Music of
X:1
T:Hunting the Hare [2]
M:9/8
L:1/8
R:Slip Jig
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:D
G|F2A ABA d2A|Bcd e2d cBA|F2A
|:g|f2d def g2e|a2f efd cBA|fef def
g2e|a2f edc d2:|
HUNTING THE HARE [3]. AKA and see “The Green Gown.” Welsh.
HUNTING THE HARE [4]. AKA and see “The Hibernian Jig [2].” Irish, Slip
Jig. D Major. Standard tuning. AABB. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 33, pg. 8.
X:1
T:Hunting the Hare [4]
M:9/8
L:1/8
R:Jig
K:D
G |: FGA AGF d2A | e2E E2F GFE | FGA
AGF ABc | d2D D2E FED :|
|: def def e2c | dcd Bcd ecA | dcB
AGF B3 | A2D D2E FED :|
HUNTING THE SQUIRREL. See "Hunt the Squirrel [2]."
HUNTING THE WREN. English, Irish. Hunting the wren was at one time a significant
tradition in England, and still exists to some extent in Ireland. The event took
place on St. Stephen’s day and, like many similar ritual traditions it is
commonly thought to have pre-Christian origins and to be associated with the
winter solstice. The Druids thought the wren the “king of all birds.” In
folklore, it was the wren that betrayed St. Stephen, the first Christian
martyr, and because of this betrayal the bird was to be slain on his feast day.
The Manx ritual was described thus: On the appointed day boys would get up at
early dawn and go out in groups hunting the wren, armed with long sticks. They
beat the bushes until they found one of the unfortunate creatures, and with
much shouting followed it from bush to bush until at last they succeeded in
killing it. The wren was suspended in a garland of ribbons, flowers and evergreens
and a procession formed that proceeded from house to house, soliciting
contributions from each. A feather was given for luck upon receipt of the small
donation, and these were considered such a potent charm for preservation from
shipwreck that many sailors would not venture out without having procured
several of the items. The dreain, or wren’s feathers, were also
considered an effective preserve against witchcraft. Sometimes the plucked,
naked body of the wren was interred in a secluded corner of the churchyard,
with great solemnity, after which there would be wrestling and games. (from Manx
Soc. Vol. 16)
***
Although largely a British Isles
tradition, the wren hunt was also performed on the Continent at one time.
Sonnini in his travels, relates that "the inhabitants of the town of
Cistat, near Marseilles, armed with sabers and pistols commence the anniversary
by hunting the wren, and when captured is suspended, as though it were a heavy
burden, from the middle of a long'pole borne on the shoulders of two :men,
carried in procession through the streets, and weighed on a balance.”
***
Wrening traditions vary, but many
***
We'll away to the wood, says Robin to Bobbin;
We'll away to the wood, says Richard to Robin.
We'll away to the wood, says Jack of the Land;
We'll away to the wood, says everyone.
***
What shall we do there? says Robin
to Bobbin;
Repeat these lines as above.
***
We will hunt the wren, says Robin to
Bobbin.
Repeat, etc.
***
Where is he? where is he? says Robin
to Bobbin.
Repeat, etc.
***
In yonder green bush, says Robin to
Bobbin.
Repeat, etc.
***
Crofton Croker, in his Researches
in the South of Ireland, 1824, mentions this custom as prevailing there,
and the practice was preserved in County Kerry and in certain areas of north
County Dublin, according to Caoimhin Mac Aoidh. The 1970’s traditional music
revival brought a renewed interest in mumming traditions, including the
Wrenboys, and some impetus remains today in isolated areas.
***
Flying Fish FF‑407, Robin Williamson ‑
"Winter's Turning" (1986).
X:1
T:Hunting the Wren
M:6/8
L:1/8
R:Air
K:D
A | d2d d2d | AFD DFA | d2d eee |
f>ed cBA | d2d d2d | AFD FGA |
B2B B2B | AGF E2 :: A | e2e e2e |
gfe fga | b2b b2b | agf e3|
e2e e2e | gfa fga | b2b b2b | agf e2
:|
HUNTING WE WILL GO, A. English, Country Dance and Air (6/8 time). D Major (Raven): C Major
(Chappell). Standard tuning. One part. The air appears in "The
Goldfinch," Edinburgh, 1777, where it is ascribed to Dr. Arne. The song,
according to Chappel, was written by Henry Fielding for his ballad opera Don Quixote in England (1734) and who
indicated that it should be sung to the air "A‑begging we will
go," however, it appears in broadside collections to this air and has
survived so‑linked in present collections. Other songs were written to
"A‑Hunting We Will Go," including one called "Father
Paul."
***
The dusky night rides down the sky,
And ushers in the morn;
The hounds all join in glorious cry,
The hounds all join in glorious cry,
The huntsman winds his horn,
the huntsman winds his horn,
Then a-hunting we will go, a-hunting we will go,
A-hunting we will go, a-hunting we will go.
***
Chappell (Popular Music of the Olden Times), vol. 2, 1859; pgs. 175‑176.
Raven (English Country Dance Tunes),
1984; pg. 121.
X:1
T:A-Hunting We Will Go
M:6/8
L:1/8
S:Chappell – Popular Music of the Olden Time
(1859)
Z:AK/Fiddler’s Companion
K:C
G|c2c G2F|E>D
c2c d2d|e>d e c2G|ABc def|GAB
c2G|A2F G2G|(C3 C)EC|G2G G2G|
(G3 G2)G|c2c c2c|(c3 c2)G|ABc
def|GAB c2E|F>EF G2G|(C3 C2)||
X:1
T:
M:6/8
L:1/8
R:Air
K:Emin
B,|E>FE G2A|B2A F>ED|E>FE
G2A|B>AB d2e|
f>ed B>dB|ABA F>ED|E>FE
G>AB|A>GF E2:|
|:d|e>fe d>cB|A>BA
F>ED|Eee e>fg|fe^d e2f|
g>af e>fd|B>dA
F>ED|E>FE G>AB|AGF E2:||
X:1
T:
M:C|
L:1/8
S:Playford – Dancing Master (9th edition, 1695)
K:Dmin
f4 g3 f/g/|a4 d2f2|e2 f>e
d2^c2|d4 A2e2|f4 g3 f/g/|a4 d2f2|
e2 f>e d2^c2|1 d8:|2 d6||a2|a3
b3c’|^f6g2|a2b2c’2a2|
g3a a3g|g6 d2|e6 f/g/a|^c6 d2|e2f2g2
fe|a3b a2g2|f3e e3d|
d6::a2|f2e2f2 ed|e42 d6||a2|a3
b3c’|^f6g2|a2b2c’2a2|
g3a a3g|g6 d2|e6 f/g/a|^c6 d2|e2f2g2
fe|a3b a2g2|f3e e3d|
d6::a2|f2e2f2 ed|e4 A2e2|f3g
g3f/g/|a6::a2|a3g a2b2|
gfga g2a2|f3g g3f|f6
ef|g2f2e2d2|edcB A2a2|f3e e3d|1 d6:|2 d8||
HUNTINGTOWER. AKA and see "The
Duke of Athole's Courtship." Scottish, Strathspey. A Major. Standard
tuning. AABB.
***
***
Kerr (Merry Melodies), vol. 4; No. 9, pg. 4.
X:1
T:Huntingtower
M:C
L:1/8
R:Strathspey
S:Kerr - Merry Melodies, vol. 4, No. 9
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
A<A A>B c2 (B<A)|A<A
c>e a2 (f<e)|f>g a>f e>c B>A|d<f c<e B>c B<A:|
|:(ef/g/) a>g f<e
c<A|F<B B>c d2 (c<B)|(ef/g/) a>g f<e c<A|E<A A>B c2
(B<A):|
HUNTLY LODGE [1]. Scottish, Strathspey ("Slow when not danced"). B Flat Major.
Standard tuning. AB. Composed by William Marshall
(1748-1833). Huntly Lodge, Aberdeenshire, was one of the houses of the
influential Gordon family, built in 1752 for the 4th Duke of Gordon,
7th Marquis of Huntly, on an elevated site near the ruins of
***
***
“Huntly Lodge” was not
X:1
T:Huntly Lodge [1]
M:C
L:1/8
R:Strathspey
Z:AK/Fiddler’s Companion
S:
K:Bb
F2|B<B ~B2 c>A BF|c<c
c>e e>cdB|dfeg cedf|G>cd>e e/d/c/B/ AF|
B<B B2 c>ABF|c<c ~c>d
e>cdB|dfeg cedf|F>B A/B/c/A/ ~B2B||a|
b/a/g/f g/f/e/d/ eEEe|g/f/e/d
f/e/d/c/ dB,B,d|eCCe dB,B,d|G>c e/d/c/B/ BAGF|
BfdB Egec|d>b f>d c/B/A/G/
FE|DFDF EGEG|F>B A/B/c/A/ ~B2B||
HUNTLY LODGE [2]. Scottish, Slow Strathspey. D Major. Standard tuning. AB. Composed by Nathaniel Gow
(1763-1831). Gow (Sixth Collection of Strathspey Reels), 1822; pg. 6.
Hunter (Fiddle Music of
X:1
T:Huntly Lodge [2]
M:C
L:1/8
R:Strathspey
N:”Slow”
C:Nathaniel Gow (1763-1831)
B:Gow – Sixth Collection of
Strathspey Reels (1822)
Z:AK/Fiddler’s Companion
K:D
A|(F<A) d>F (G<B)
E>G|(F<A) d>f (g/f/)(e/d/) (c/B/)(A/G/)|(F<A) d>F (G<B)
E>g|fa (f/d/) (A/c/) d2 DA/G/|
(F<A) d>F G<B
E>G|(F<A) d>f g>f (e/4d/4c/4B/4 A/4G/4F/4E/4)|(F<A) d>F
(G<B) E>g|”tr”f g/a/ (f/d/)A/>c/ {c}d2 D||
g|fd b>d ec a>c|dB g>f
(e/d/)(c/B/) AB/G/|F<A d>F (G<B) g>e|fa A~c {c}d2 Da/g/|
fd b>d ec a>c|dB {ef}g>f
(e/d/)c/B/ A/(B/A/G/)|(F<A) d>F (G<B) Eg|fg/a/ (f/d/)A/~c/ d2D||
HUNTLY'S WEDDING
MEDLEY (Banais Marcus
Hunndfhuinn).
Scottish, Strathspey. A Major. Standard tuning. One part (Kerr): AB (Fraser,
Skinner). Composed by Capt. Simon Fraser, "from Captain Fraser's
Collection" (Skye)./ "These two (tunes) form a medley (with "Merry May the Pair Be"), in
high request, form the occasion which gave rise to them. It may readily be
remembered that it was not only where Huntly's wedding took place it fell to be
celebrated,‑‑many gentlemen interested in the prosperity of his
family, assembled their friends, and celebrated this wedding ideally at their
own homes,‑‑others entertained their tenantry round a bonfire, with
Highland Cheer, and dancing to the bag‑pipe,‑‑Lovat, in
particular, had bonfires on all his hills. Indeed, where all were so anxious to
testify their respectful attachment to this amiable nobleman, it is impossible
to discriminate. Let the editor's mite be permitted to commemorate it"
(Fraser). Fraser (The Airs and Melodies Peculiar to the
X:1
T:Huntly’s
Wedding Medley
T:Banais
Marcus Hùnndfhuinn
M:C
L:1/8
R:Strathspey
S:Fraser Collection (1874)
Z:AK/Fiddler’s Companion
K:A
b/a/g/f/|e>Ac>A
F<A E>D|C>EAg a2 b/a/g/f/|e<A c>A F<A E>C|
E/F/G/A/
B>G A2 A (b/4a/4g/4/f/4)|e<A c>A F<A E>D|
C>EAg a2
b/a/g/f/|e<A c>A F<A E>C|E/F/G/A/ B>G A2 A||E|
C<E
E>G A<E E>D|C<E A>B ~c2 d/c/B/A/|C<E E>G A<E E>C|
E/F/G/A/
B<G A2 AE|C<E E>G A<E E>D|C>EAg a2 b/a/g/f/|
(3ece (3fdf (3geg a>f|e/f/g/a/
b>g a2 a||
HUNT'S JIG. Irish, Double Jig.
HUNT'S UP. See "Hunt is Up."
HUNTSMAN, THE. AKA and see "Greenwood."
HUNTSMAN'S CHORUS. AKA ‑ "Hunter's/Huntsmen's Chorus." AKA and see "Bunker Hill" (
See also listing at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources |
X:1
T:Huntsman’s Chorus
M:4/4
L:1/8
K:D
A2 |: d2A2 defg | a2 ag f2 ef |
e2a2e2a2 | fgfe d2A2 |
d2A2 defg | a2 ab g2 ga | fede f2e2 |
d2A2D2A2 :|
|: f2 (3fff f2e2 | d2 B6 | g2 (3ggg
g2f2 | e2c2B2A2 |
d2A2 defg | a2 ab g2 ga | fede f2e2
| d2A2D2A2 :|
HUNTSMAN'S HORNPIPE. AKA and see "Hunter's Hornpipe
[1]," "The Bridge at
Lodi," "Hell on the
Potomac" [3] (
X:1
T:Huntsman’s Hornpipe
M:2/4
R:Hornpipe
S:White’s Unique Collection (1896), No. 128
Z:AK/Fiddler’s Companion
K:C
(G/E/) | C.c.c (B/c/) | d/B/G/B/
c(c/d/) | e/c/e/c/ f/d/f/d/ | g/e/c/e/ d/B/G/E/ |
C.c.c (B/c/) | d/B/G/B/ c(B/c/) |
d/a/g/f/ e/d/c/B/ | c[Ec] [G,Ec] :: (e/f/) |
G/f/e/d/ c/B/A/G/ | FAA (f/g/) |
a/g/f/e/ d/c/B/A/ | BGG (e/f/) |
g/e/g/e/ f/a/f/a/ | g/e/g/e/
f/a/f/a/ | g/e/a/f/ e/d/c/B/ | c[Ec][G,Ec] :|
HUNTSMENS' CHORUS. AKA and see "Huntsman's Chorus."
HUPPES TAIAUTS, LES (The Clever Hounds). AKA and see "Hip et Taiau(d)." Cajun, Two-Step (4/4
time). D Major. Standard tuning. One part. The French word 'Huppe', used
colloquially, means clever while 'taiaut' comes from the English shout
'tally-ho', and refers to a hound dog -- thus Francois' "Clever
Hounds", though there are other interpretations of the title. See also
related tunes "Les Haricots Sont
Pas Sales," Irene Whitfield's "Hip et Taiaut," Moise Robin's
"Les Filles d'Arnaudville,"
Jimmy Newman's "Hippy Ty-Yo"
and Joe Bonsall's "Hippy Ti Yo." Source for notated version: a blend
of Joe Bonsall's and Jimmy Newman's versions [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 164-165. La Louisiane Records LL-140, Jimmy Newman. Swallow Records
SW-LP6049, Joe Bonsall.
HURDLE RACE, THE. Scottish, Reel. A Major. Standard tuning. AB
(Athole, Skye): AABB (Miller): AA'BB' (Kerr). Composed by James Fraser. Hunter
(Fiddle Music of
See also listing at: Alan Snyder’s Cape Breton Fiddle
Recording Index |
X:1
T:Hurdle Race, The
M:C|
L:1/8
R:Reel
B:Stewart-Robertson
– The Athole Collection (1884)
Z:AK/Fiddler’s Companion
R:Reel
K:A
e|cA A/A/A
A2EA|A,CEA cAec|dB B/B/B B2 FB|B,DFB dBfd|
cA A/A/A A2
EA|A,CEA cAec|defd fgaf|ecdB A2A||e|cAeA EAcA|
eAce
fedc|dBfB FBdB|fBdf bBed|cAeA EAcA|eAce fedc|defd fgaf|ecdB A2A||
HURICHUM HARICHIM. AKA – “Seaforth Highlanders.” Scottish, March (6/8 time). D Major.
Standard tuning. AABBCC. Kerr (Merry
Melodies), vol. 4; No. 249, pg. 27. MacDOnald (The Gesto Collection of
X:1
T:Hurchum Harichim
M:6/8
L:1/8
R:March
S:Kerr – Merry Melodies, vol. 4, No. 249
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
g/e/ | d2A B2A | d2A BAB | d2f efd |
d2A BAB | d2f efe | dAd d2 :: g |
ada afd | gag fed | efg fef |
dAd d2g | ada afd | gag fed | efg
fef | dAd d2 :: g | ada afd |
gag fed | g3 fgf | efe efe | d2A B2A
| d2A BAB | d2f efe | dAd d2 :|
HURLERS' MARCH [1], THE (Criall Na Camanteoiread). Irish, March (2/4 time). D Major.
Standard tuning. AABB. O'Neill (Music of
Ireland: 1850 Melodies), 1903/1979; No. 1805, pg, 339.
X:1
T:Hurlers’ March, The [1]
M:2/4
L:1/8
R:March
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:D
A/G/|FA A/B/A/F|GB B/c/B/G/|FA
e/f/e/d/|cA A/B/A/G/|
FA A/B/A/F/|GB B(3A/B/c/|d/e/d/c/
A/B/A/G/|FD D:|
|:d/e/|fd fd| f/d/f/g/ aa | e/c/A/c/
e/c/A/c/ | ef ga/g/ |
fd fd | f/d/f/g/ aa | d/f/d/c/
A/B/A/G/ | FD D :|
HURLER'S
MARCH [2], THE (Triall an Iomanaigh). Irish, March (6/8 time). F Major.
Standard tuning. AABB. The melody is in the heptatonic mode. Levey (1873)
identifies his version as from Kings County. Source for notated version: the
index to the Irish collector Edward Bunting's 1840 collection gives "G.
Petrie, Esq., Dublin 1839" as the source. Levey (Dance Music of
X:1
T:Hurler’s
March [2]
M:6/8
L:1/8
R:March
S:Levey – Dance Music of
Z:AK/Fiddler’s Companion
K:F
c(cA) c(FA)
| c(cA) c2d | c(cA) c(FA) | (cf)A (G2G :|
|: (cA)A (fd)d | c(cA) (c2f) | (cA)A
(fd)d | (cf)A G2A :|
HURLER'S MARCH [3], THE. Irish, March or Double Jig. D Major. Standard
tuning. AA’BB’. No resemblance to version #2. Stanford Petrie (Complete Collection), 1905; No. 990, pg.
253.
HURLER'S MARCH [4], THE. AKA and see “Humours of Ballyloughlin.”
Irish, Double Jig. D Mixolydian. Standard tuning. AABBCC (Breathnach): AABBCD
(Mitchell). The melody bears no resemblance to version #2. Source for notated
versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) who
learned it from his father who had this title for it [Breathnach, Mitchell].
Breathnach (CRÉ I); No. 31, pg. 13
(appears as “Banrion na Luachra”). Bulmer & Sharpley (Music from
HURLING BOYS, THE. Irish, Set Dance (6/8 time). G Major. Standard
tuning. AB (Stanford/Petrie): AABB (O’Neill). George Petrie notes: “A very
popular tune of the King’s County.” Hurling is an ancient Gaelic game and a
popular modern sport in Ireland owing to a revival that began in the late 19th
century.
***
A hurler, c. 1900.
Photograph by Patrick Kenrick (1872-1950), Fethard. (National Library of
***
Perhaps the
most famous hurler was the Irish hero Cú Chulainn, the leader of a great band
of Ulster warriors and the greatest figure of Irish mythology. The hero was
originally named Setanta, and came about his mature name in this way. As a
young boy he had gained knowledge and performed feats far beyound what is usual
for one his age. At the age of five years he decided to join the boys corps of
warriors-in-training at the court of his uncle, King Conor Mac Neasa of Ulster,
and set out to walk the distance, amusing himself on the way by hurling the
sliotar and throwing the hurley stick after it, then running like a flash to
catch them before they hit ground. He
astonished Conor and the boys of the corps with his prowess on the hurling
field, scoring easily and defending against all shots. In fact, Conor was so impressed that when he
was invited to a banquet of the house of Culainn he asked Setanta to accompany
him. Caught up in a hurling game at the time, Setanta promised to hurry along
afterward and to meet his uncle there, a plan to which his uncle agreed.
***
When the
king arrived, Culainn welcomed him with due ceremony and bade him enter the
banquet hall with his retinue, checking with Conor when the last guest had been
seated that all had indeed arrived.
Conor, forgetting about young Setanta, assured him all were there, upon
which Culainn closed the hall doors and let loose his magnificent hound, a
prodigious beast, to guard the building.
Setanta, hurrying along as promised, approached the house only to be set
upon by the hound who bayed like thunder and lunged, fangs bared to rip the youngster
to pieces. The boy, who only had his hurling stick and sliotar at hand, hurled
the ball with all the force he could muster, a colossal force, and sent the
ball through the gaping jaws of the hound where it lodged in his throat.
Stunned with pain the animal stopped in his tracks which gave Setanta time to
grab him by the legs and dash his head upon the stone courtyard. Meanwhile the noise of the conflict roused
the diners in the hall, and Conor finally remembered that Setanta was due to
attend. Fearing the worst he and Cullain rushed out, expecting to find the lad
torn assunder, but instantly overjoyed to see him whole and well. There was the matter of the hound, however,
a treasured guardian of a vassel of the king’s, and a loyal friend to Culainn
who mourned his loss. To repay the debt Setanta pledged to find a young hound
and train it as a replacement guardian, and, volunteered in the meantime to
himself guard Cullain’s house and property in place of the slain animal. King
Conor decreed this was fair, and it was thus that Setanta became known as Cú
Chulainn, which means ‘the hound of Culainn’.
***
The set dance, played as a jig, was
in the repertoire of
X:1
T:Hurling Boys, The
M:6/8
L:1/8
R:Set Dance
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:G
D|G2{A}F G2B|d2{e}B G2B|c2A AGA|B2G
DEF|
G2{A}F G2B|d2{e}B G2g|fed
AB^c|d3d2:|
|:f|e2d
e2f|g2d B2G|d2B Gce|d2{e}B G2g|edc BcA|G2{A}F E2{F}D|
E2E EFG|D2D D2g|edc BcA|G3 G2D|EEE EFG|D2D D2g|edc BcA|G3 G2:|
HURON. American, March. Played by
HURON LINE. Canadian, Hornpipe.
HURRAH FOR OLD ERIN FOR EVER (Urra! Le Sean Eirinen Go Brat). Irish, Air (6/8 time,
"cheerful"). G Major. Standard tuning. ABC. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 303, pg. 53.
X:1
T:Hurrah! For Old Erin for Ever
M:6/8
L:1/9
R:Air
N:”Cheerful”
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:G
B/c/|d>cB c>de|d2
zzd>c|B>GE DEF|G3 zBc|d>cB c>de|(A3 A2) f/e/|dcA EFD|G3 z2||
G|E>FG Be^d|e3 z2e/f/|g>fe
Be^d|e3 z2 e/f/|g>fe d>cB|ee zz ef|gdB {d}cAF|G3 z2||
B/c/|d>ed d>cB|d3 zge|d>ed
d>cB|{B}A3 z2c|B>cd de=f|e3 ze>f|gdB {d}cAF|G3 z2||
HURRAH FOR THE BONNETS OF BLUE. English, Jig. England, Northumberland. G Major (Hall & Stafford, Raven):
D Major (Sweet). Standard tuning. AB (Hall & Stafford, Raven): AABB
(Sweet). ‘Blue Bonnets’ is a euphemism for the Scots, steming it is said from
the custom of Jacobite troops identifying themselves with a white cockade worn
on a blue bonnet, the only thing that passed for a uniform in those days. The
white cockade emblam is said to have originated when Bonnie Prince Charlie
plucked a wild rose and pinned it to his hat. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg.
14. Raven (English Country Dance Tunes),
1984; pg. 112. Sweet (Fifer’s Delight),
1964/1981; pg. 21.
X:1
T:Hurrah
for the Bonnets of Blue
M:6/8
L:1/8
K:G
D|GAG
Bcd|DED DEF|G2e dBG|A3 zBA|GAG Bcd|DED D2e|dc<B AGA|G4z||
G|FGA
ABA|D3 D2A|FGA AB^c|d3 d2c|BBA GEF|G2A B2^d|eBA GAF|E3 E2F|
GAG BdB|G3 G2D|GGe dBG|A3 A2A|BBA
GAB|cde d2c|d>cB AGA|G3G2||
HURRAH FOR THE WOMEN
OF LIMERICK. AKA and see "Garryowen."
HURRICANE, THE. Scottish, Reel. A Major. Standard tuning
(fiddle). AAB. From renowned Scottish fiddle‑composer J. Scott Skinner's (1843-1927) Harp and Claymore collection (1904), wherein the date
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Jane Keefer’s Folk
Music Index: An Index to Recorded Sources |
X:1
T:Hurricane, The
M:2/4
L:1/8
C:J. Scott
Skinner
R:Reel
Z:AK/Fiddler’s Companion
K:A
d/ | c/A/B/G/ {G}AE/D/ | C/E/A/c/ B/(B,/B,/) d/
| c/A/B/G/ A/(a/g/a/) |
f/a/e/[d/a/] c/A/A/ :|
|| a/ |
.g/.a/e/a/ c/A/A/a/ | g/a/e/a/ f/B/B/a/ | g/a/e/a/ A/B/c/d/ |
e/c/d/B/c/A/A/a/
| g/a/e/a/ c/A/A/a/ | g/a/A/a/ f/B/B/d/ | c/A/B/G/ A/a/g/f/ |
e/c/d/B/
c/A/A/ ||
“variation
1”
e/ |
a/c’/e’/c’/ a/e/c/A/ | G/A/E/A/ G/(B/B/)g/ | a/c’/e’/c’/ a/e/c/A/ |
d/e/f/g/
a/A/A/e/ | a/c’/e’/c’/ .a/.e/.c./.A/ | G/A/E/A/ .G/(B/B/).d/ |
c/4B/4a/
B/4A/4g/ a/.a/.g/.f/ | e/c/d/B/ c/A/A/ ||
“variation
2”
c/ |
f/g/a/f/ ^e/f/c/f/ | e/f/g/e/ d/e/B/e/ | f/g/a/f/ ^e/f/c/f/ | g/a/b/g/
a/(f/f/)c/ |
f/g/a/g/
^e/f/c/f/ | e/f/g/e/ d/e/B/e/ | a/e/f/d/ c/e/A/a/ | e/c/d/B/ c/A/A/ ||
HURRICANE’S VICTORY, THE. AKA and see Father Kelly’s Reel (3), “Over the Bog Road.”
HURRY THE JUG [1] (Cuir Tart an Cruiscin). AKA and see "Once on a morning of
sweet recreation." Irish, Set Dance (6/8 time). E Minor. Standard
tuning. AB (Joyce): AAB (Roche): AABB (O'Neill): AABC (Kennedy). Learned be
Joyce as a boy in Limerick in the 1840's. A later form of the tune is the
song/tune "Lanigan's Ball."
The 'B' part is twice the length of the 'A'. Joyce (Old Irish Folk Music and Songs), 1909; No. 82, pg. 43. Kennedy
(Jigs & Quicksteps, Trips & Humours), 1997; No. 71, pg. 18. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 971, pg. 167. Roche Collection, 1983, vol. 3; No. 95,
pg. 29. Eugene
O'Donnoll. Bellbridge Records, Bobby Casey – “Casey in the Cowhouse” (1992.
Originally recorded 1959). Green Linnet SIF1035, Brian Conway & Tony De
Marco - "The Apple in Winter" (1981. Learned from a recording of
X:1
T:Hurry the Jug
M:6/8
L:1/8
R:Set Dance
S:Joyce – Old Irish Folk Music and Songs
(1909)
Z:AK/Fiddler’s Companion
K:E Minor
EFE G2A|BAG FEF|DED FEF|A2d AFD|EFE
G2A|BAG FGA|BdB AGF|E3B3||
AFA d3|d/e/fe d2B|AFA d2A|BAG
FED|E2e efg|fed e3|E2e e2f|g2e fdB|AFA d3|
d/e/fe d2B|AFA d2A|BAG FED|EFE
G2A|BAG FGA|BdB AGF|E3B3||
HURRY THE JUG [2]. Irish, Polka. D Major. Standard tuning. AABB.
X:1
T:Hurry the Jug
S:Paddy O'Sullivan (fiddle), north
Kerry, 1986
N:an Athea,
Z:Transcribed by Paul de Grae
M:2/4
L:1/8
K:D
d2 d>B|d>f a>f|(3efe d>B|e2
e2|d2 d>B|d>f a>f|(3efe d>B|A2 A2:|
|:a2 a>f|g2 f>g|(3efe
d>B|e2 e2|a2 a>f|g2 f>g|(3efe d>B|A2 A2:|
HUSH THE CAT (Uis an Cat). AKA - “Huish the Cat.” AKA and see "Bimid ag ol [1]," "Dance light
for my heart lies under your feet,"
"Drive the
cat from under the table," “Jackson’s Humours of Panteen,”
"Whip the cat from
under the table," "The Humours of Parteen/Panteen/Purteen,"
"Peas on the Hearth."
Irish, Jig. G Mixolydian. Standard tuning. AABB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 909, pg. 169.
X:1
T:Huish the Cat
M:6/8
L:1/8
R:Jig
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:G
G>AG c2e | d<dA c2e | G>AG
c2d | ecA A2c | G>AG c2e |
d<dA c2e | g>fe f2d | ecA A2
{B/A/}G :|
|: gfe f2d | edc f2d | gfe f2d | ecA A2 G |
gfe f2d | edc f2d | G>AG f2d | ecA A2
{B/A/}G :|
HUSH THE CAT FROM THE
BACON [1]. AKA – “Huish the Cat from the
Bacon.” AKA and see “The Cat and the
Bacon.” Irish, Jig.
X:1
T:Hush the Cat from the Bacon [1]
M:6/8
L:1/8
R:Jig
N:”From P. Carew’s MSS”
B:Stanford/Petrie, No. 946 (1905)
Z:AK/Fiddler’s Companion
K:D
A|Add Add|e/f/ed c2A|Add Add|e/f/ed
cAG|Add Add|
e/f/ed c2d|eaa gec|edd d2||f/g/|aba
gag|fed ecA|
A/c/BA c2d|cAd cAG|Add Add|e/f/ed
c2d|eaa gec|edd d2||
HUSH THE CAT FROM THE BACON [2]. Irish, Jig. G Major. Standard tuning. AABB. Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 59, pg. 15 (appears as “Huish the Cat from the Bacon”).
X:1
T:Huish the Cat from the Bacon [2]
M:6/8
L:1/8
K:G
A/G/|DGG
FGA|Add d2c|BGB cAG|FAA AFD|…
HUSH THE CAT FROM
UNDER THE TABLE. AKA and see "Last Night's Fun [2]," "Wink and she'll follow you,"
"Miss Brown's Fancy [3],"
"Paddy be aisy," "Ce
bheadh sa tine nach n‑eireodh?" "Sugradh na hOiche Areir."
HUSSEY’S PENGUIN. Irish, Reel. D Major. Standard tuning. AABB. Composed by
X: 1
T: Hussey's Penguin
C: © B.Black
L: 1/8
Q: 350
M: 4/4
R: reel
K: D
F2 BA FEDE | FDB,D FBBA | F2 AF GABd
| cege dcBA |
F2 BA FEDE | FEDB, A,DDF | AGFA dfec
| dBAF D4 :|
ABde faa^g | abaf efdB | ABde faa^g
| abaf e2 dB |
ABde faaf | gefd efge | fa a2 bafe |
dfec d4 :|
HUT IN THE BOG, THE (An Bothán sa bPortach). AKA and see "The Cashmere Shawl." Irish, Reel. A
Dorian. Standard tuning. ABC. O’Neill’s “Cashmere Shawl” has the first and
third parts of this tune. Source for notated version: accordionist Sonny Brogan
(County Sligo/Dublin,
X: 1
T: Hut in the Bog
S: Treoir
M: 4/4
L: 1/8
Q: 350
R: reel
Z: Transcribed by
Bill Black
K: A Dorian
A3 B AGEG | AGAB
c2 Bc | A3 B AGEF | gedB c2 Bc |
A3 B AGEG | AGAB
c2 Bc | A3 B AGED | gedB c3 ||
d | e2 eg edcd |
egec d2 cd | e2 eg edcd | efge d2 (3B^cd |
e2 eg edcd | egec
d2 cd | ea a2 egfa | gedB c3 ||
d | ecgc ec c2 |
ecge d2 cd | ecgc ec c2 | ecge d2 cd |
ecgc ec c2 | ecge d2 cd | ea a2 egfa
| gedB cABG ||
HUT ON STAFFIN
HUXTER IN DA SOOND. Shetland, Shetland Reel. Shetland, Papa
HY PATITTIAM/PATITIAN. AKA ‑ "Hy Patillion," "Allen Brother's Rag."
Old-Time, Breakdown or Two-Step. C Major. Standard tuning. AABB' (Phillips):
AA’BB (Silberberg). A Hawaiian tune covered by the Chatanooga,
HYDE CHAPEL. English, Jig. G Major. Standard tuning. AABB'. A modern composition by
Nick Dennerly. Knowles (Northern Frisk),
1988; No. 150.
X:1
T:
M:6/8
L:1/8
S:Sharp – Country Dance Tunes (1909)
Z:AK/Fiddler’s Companion
K:C
efg gec | efg d2c |
|: d>ed dBG | GAB Bcd | cde efg |
gfg e>dc | def f>gf | def d>cB | ccd eef | gd>c c3 :|
X:1
T:
M:6/4
L:1/8
S:Chappell
– Popular Music of the Olden Times
(1859)
Z:AK/Fiddler’s Companion
K:B_
F2 | B3c
B2B2A2G2 | A2G2F2 B4D2 | E2F2G2 F3GF2 | F2 (B4 B4) :|
F2 | B4c2
d2c2d2 | e2d2c2 d4c2 | B4 c2 d2c2d2 | e2d2c2 d4c2 |
B2d2d2 A2c2c2 | A2G2F2 B4D2 | E2F2G2
F3G F2 | F2 (B4 B4) ||
HYLTA DANCE. Shetland, Dance Tune (4/4 time). Shetland, Fetlar. A Major. Standard
tuning. One part. Anderson & Georgeson (1970) identify this tune as a
'trowie', or fairy, tune supposedly over 350 years old. The story goes that it was learned by a man
coming home via a short cut one night just before dawn, when he stumbled upon a
circle of trows dancing with a fiddler and his wife in the middle. They were obviously caught up in the dance
and oblivious to their peril, for, just as the sun's first rays struck they
turned to stone. The man, who had been
hiding lest the trows spy him, thus only was able to learn half the tune. There
is a ring of stones on Fetlar, with two standing in the middle, which can be
seen today. Anderson & Georgeson
say a similar tale is told about a stone ring in the
HYMN TO ST. PATRICK. Irish, Hymn Air (3/4 time). G Major. Standard tuning. One part. Tubridy
(Irish Traditional Music, vol. 1),
1999; pg. 46.
HYMN TO THE SAVIOUR (Laoidh an t-Slanuighear). AKA and see "Ailleagan." Scottish, Slow Air (4/4 time).
G Major. Standard tuning. AAB. "This air has Gaelic words of various
merit, and is called by Mr. Campbell, in his Albyn's Anthology, the
'Ailleagan', a name he also bestows on another air of the few he exhibits; but
the best Gaelic poem to it seen by the editor, is a hymn to the Saviour, by
Dugald Buchanan, a native of Rannoch" (Fraser). Fraser (The Airs and Melodies Peculiar to the
X:1
T:Hymn to
the Saviour
T:Laoidh an t-Slanuighear
M:C
L:1/8
R:Slow Air
S:Fraser Collection (1874)
Z:AK/Fiddler’s Companion
K:G
D/E/F|G>AB>A
G>ED>F|G<B A2 G2 zB/c/|de/f/ g>a gdBd|G>AB^d e2 zB/c/|
de/f/
g>ag>f ef/g/|dBAG E2 zE/4D/4E/4F/4|G>D EG e2 g2|dB A2 G2:|
G/A/B|c>de>^c
dDDe|d<B A2 G2 zd/4e/4f/|g>ab>a g>dBd|B>AB^d e2 zg/4f/4g/4a/4|
b>ag>f g>f ef/g/|dBAG E2 zD/4E/4F/|G>DEG e2
g2|dB A2 G2||
HYMN UPON THE
EXECUTION. AKA and see "All You That
Must Take a Leap."
HYTTSTENSPOLKETTEN. Scandinavian, Snoa (4/4 time). D Major. Standard tuning. AA'BB'.
Private collection, A. Kuntz.
_______________________________
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