The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

_______________________________

HOME       ALPHABETICAL FILES        REFERENCES

[COMMENT1] [COMMENT2] 

HUN - HY

 

 

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 London for some years.  Huntington (William Litten’s), 1977; pg. 25.

                                   

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. USA, New England, Pennsylvania. A Major or A Mixolydian (most versions): G Major (Sweet). Standard. AABB (Kennedy, Kerr, Raven, Songer, Sweet): AA'BB (Miller & Perron): AABB’ (Cranford/Fitzgerald): AB (Karpeles). The title comes from words written to the tune and generally credited to Caroline Oliphant, Lady Nairne (1776-1845), and published in 1851, though it has been said to have been a Jacobite song and that the music was an old Scotttish 'catch'; the whole only adapted by Lady Nairne (whose family had been ‘out’ in the rising of 1745, and who had been raised steeped in Jacobite sympathies). Some writers also credit the soprano Elizabeth Rainforth (1814-1877) (who performed the song) solely or in conjunction with Lady Nairne. The Jacobite origins of the song are based on the tale of Bonnie Prince Charlie's entry into Carlisle on the march south after his victory at Prestonpans, preceded into the city by the famed 100 pipers and followed by an army of 2,000 Highlanders. They crossed the stream with water up to their shoulders and "the pipers struck up, and they danced reels until they were dry again" (quoted in Fuld). More than a tale, the van of pipers is documented in the Chronicles of the Atholl and Tullibardine Families (vol. 3, pg. 95), which contains the entry, “Monday, the 18th November 1745: His Royal Highness made his entry into Carlisle seated on a white charger and preceded by no less than a hundred pipers” (Collinson, 1975). Since then a mass of one hundred pipers playing the “Hundred Pipers” is a mark of distinction for an event, as, for example, when such a group played it at the 1955 opening of the Canso Causeway (joining Cape Breton Island with mainland Nova Scotia). David Murray, in his book Music of the Scottish Regiments (Edinburgh, 1994) also points out the song mentions crossing the River Esk, which for part of its course marks the boundary between Scotland and England. Tradition has it that Bonnie Prince Charlie’s Highlanders waded the flood, and, upon reaching the other side turned to face Scotland and raised their broadswords in farewell salute.

***

Musically, it is an example of the form Scotch Jig, or a jig in Scotch measure rhythm (see Emmerson, 1971, pg. 159), however Cape Breton and Irish fiddlers have employed it as a waltz. The 'A' part resembles the tune "The Mill Mill O," which Bayard (1981) says he cannot for sure say if it was an ancestral melody or not. Fuld (1966) believes the first part of the melody to be very similar to "The Lea Rig," published in Oswald's 1758 The Caledonian Pocket Companion (vol. VIII, pg. 20) and Johnson's 1787 The Scots Musical Museum (vol. I, pg. 50). In County Kerry the melody is sung as the ditty “The Hair Fell off My Coconut (So How Do You Like Me, Baldy?)”  The British army employed the tune as a march past for the 2nd Battalion Cheshire Regiment, raised in 1858, until 1881 when it was replaced by “Wha Wadnae Fecht for Charlie.” “Wi’ a Hundred Pipers” then became the regiments assembly march, “along with an old Cheshire folk song ‘The Miller of Dee’, both tunes being ‘good going’ 6/8 marches” (Murray, pg. 208). Similarly, it was introduced into the repertoire of the 50th (The Queen’s Own) Regiment in 1869 by their new Colonel, replacing the Irish “Garryowen.”

***

Source for notated verison: Hiram Horner (fifer from Westmoreland and Fayette Counties, Pa.) [Bayard]; Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Bayard (Dance to the Fiddle), 1981; No. 546, pg. 488. Cranford (Winston Fitzgerald), 1997; No. 217, pg. 86. Jarman (Old Time Fiddlin' Tunes); No. or pg. 16. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 9 (appears as "Durham Reel"). Kennedy (Fiddlers Tune Book), vol. 2, 1954; pg. 36. Kerr (Merry Melodies), vol. 1; No. 8, pg. 31. Miller & Perron (New England Fiddler’s Repertoire), 1983; No. 42. Raven (English Country Dance Tunes), 1984; pg. 104. Songer (Portland Collection), 1997; pg. 103. Spandaro (10 Cents a Dance), 1980; pg. 24. Sweet (Fifer’s Delight), 1964/1981; pg. 21. F&W Records 2, "F&W String Band 2." Folkways FW8827, Arbuckle, Mikkelson & Clifton - "Old Time Couple Dances" (1961). Kicking Mule KM216, Arm & Hammer String Band ‑ "New England Contra Dance Music." Wild Asparagus - “In Season” (1985).

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 E EDE | F2 A A2 f | e2 c cBA | BcB BAB |

c2 E EDE | F2 A A2 f | e2 c BAB | A3 A2 :|

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 Ozark Mountain fiddlers in the early 1940's. Source Lon Jordan sang several ditty verses in the ‘B’, of which only one line is clearly decipherable:

***

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. Canada, Cape Breton. G Major. Standard tuning. AA’BB. Composed by editor, fiddler and lighthouse-keeper Paul Stewart Cranford (Little River, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 273, pg. 78. Fiddlesticks cass., Jerry Holland - “Fathers and Sons” (1992).

 

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). England; Shropshire, Lincolnshire, Dorset. G Major. Standard tuning. AABBCCDD. A highly popular tune which may or may not have been Hungarian in origin. The Hungarian Waltz title, however, speaks not to origins but to a specific type of dance developed in the mid-19th century from a dance form called the Rheinlander, or Schottische. Novelist Thomas Hardy, himself an accordion player and fiddler, mentions the tune in scene notes to his work The Dynasts:

***

The 'Hungarian Waltz' having also been danced,

the hostess calls up the Highland soldiers to

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 (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; No. 146, pg. 80 (appears as “Hungary Waltz”). Trim (Thomas Hardy), 1990; No. 53. Beautiful Jo Records BEJOCD-28, The Mellstock Band – “The Dance at Pheonix: Village Band Music from Hardy’s Wessex and Beyond” (1999).


 

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 (Portland Collection), 1997; pg. 104. Kerry Elkin - “Soir et Matin” (1990).

 

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. USA, Ky. A Major (Greene): D Major (Phillips). AEae or Standard tuning. AABB. The late fiddler Alva Greene (of Sandy Hook, eastern Ky.) learned the melody from his uncle, Jimmy Greene. The word 'hunky‑dory' dates from the mid‑19th century and means 'satisfactory' or 'fine' (Mark Wilson). There appears to be no relation to Abe Holzman’s 1900 cakewalk called “Hunky Dory.” Source for notated version: Frankie McWhorter [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 116. Recorded Anthology of American Music (1978) ‑ "Traditional Southern Instrumental Styles." Rounder SS‑0145, Alva Greene ‑ "Traditional Music on Rounder: A Sampler" (1981). Rounder Heritage Series 1166-11592-2, Alva Greene (et al) – “The Art of Traditional Fiddle” (2001).

           

HUNNELL'S DOUBLE DRAG. AKA and see "Oho, Oho, I've Found You Out" (Pa.), "Asey's Piece" (Pa.), "Mason's Quickstep," "Ellis's Jig." American, March (6/8 time). USA, southwestern Pa. A Mixolydian. Standard tuning. AABB. Bayard (1981) states this was one of the best‑known tunes to southwestern Pa. and northern W.Va. fifers. He traces the tune to the Northumberland, England, small‑pipes tradition to a tune named "O I Hae Seen the Roses Blaw" (Stokoe, pg. 84). Source for notated version: Hoge MS, a fife manuscript from southwestern Pa. [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 610C, pgs. 540‑541.

 

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 Ireland: 1001 Gems), 1907/1986; No. 976, pg. 168. Roche Collection, 1983, Vol. 2; No. 276, pg. 31. Stanford/Petrie (Complete Collection), 1905; No. 879, pg. 220. Eugene O'Donnel.

X:1

T:Hunt, The [1]

M:C|

L:1/8

R:Set Dance

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 976

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 Ireland (1903), No. 1800

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 Walker ‘Piper’ Jackson, of the townland of Lisdaun, parish of Ballingarry, Aughrim, County Limerick. Goodman, volume IV, pg. 11.

                       

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 Scotland in Robert Henryson's fable 'The Wolf, the Foxe and the Cadzear' -- "The Cadzear sang Hunts up, up on hie." Chappell remarks that wide differences are found in the various variations of the tune that appear around 1600 and explains them as alterations brought on by the popularity of a tune where "the greater part of each section lies upon one harmony."  Chappell, Merryweather (1989) and Kines (1964) explain that "The Hunt is Up" is actually a genre of tunes, the earliest of which stem from the early 16th century, around 1534; they say that any song intended to arouse in the morning, even a love song, was at one time called a 'hunt's-up'. These tunes originated with the town waites, or musicians, whose duties included playing for church rites, processionals, banquets, Royal visits, etc., but whom could also be hired by individuals to play early morning wake-up calls. "These musical aubades became known as 'Huntsups' and a ground bass 'ye Hunte Yis Uppe' a popular inspiration for descants and ballad tunes for many years" (Merryweather, pg. 20). These calls have entered English folk tradition, and Merryweather says fragments have even been identified in Cumbrian folk music in the 20th century. Emmerson finds another trace tradition from the 19th century in Cumberland where there existed a custom called 'hun-sopping' (i.e. 'hunt's up-ing') in which revelers traversed the town on Chrismas morning playing on instruments and shouting greetings. The tune Merryweather gives is actually a suite of such pieces from several sources. The air appears in Jane Pickering's Lute Book (1615), a lute MS of the Cambridge University Library, The Fitzwilliam Virginal Book (where a "fantasia" based on the tune appears rather than the air itself), Lady Neville's Virginal Book, Musick's Delight on the Cithern (1666 or 1667), Anthony Holborne's Cithern Schoole (1597), Sir John Hawkin's transcripts (as "Pescod Time"), and the Leyden Lute MS (as "Soet Olivier"). Kines gives the version as given by Hullah from Musick's Delight on the Cithern (1667), which resembles closely Chappell's example from Jane Pickering's Lute Book (1615). Emmerson, suggesting Scottish origins for the air, finds it in the Scottish Gude and Godlie Ballates (Pickering's version resembles this, he says). He notes was frequently recorded as a dance tune in the 1600's and that it was in the repertoire of Habbie Simpson, the piper of Kilbarchan in the early part of that century (which Emmerson {1972} gives in the poem by Robert Sempill of Belgrees, Rendrewshire {1595-1668} called “The Elegy of Habbie Simpson Piper of Kilbarcan,” said to be a favorite of Robert Ferguson and Robert Burns)—

***

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 'Chevy Chase.'" One melody by the title "Huntsuppe" was by John Whitfield (1588-1616). Chappell (Popular Music of the Olden Time), vol. 1, 1859; pg. 86 (Jane Pickering's version, 1615). Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 5, pg. 17 (Jane Pickering). Kines (Songs From Shakespeare's Plays and Popular Songs of Shakespeare's Time), 1964; pg. 49. Merryweather (Merryweather’s Tunes for the English Bagpipe), 1989; pg. 20. Harmonia Mundi 907101, The King's Noyse - "The King's Delight: 17c Ballads for Voice and Violin Band" (1992).

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. Ireland, County Donegal. D Major. Standard tuning. AA’BB’C. The jig portion of the piece is the tune “The Hare in the Corn [3]." Source for notated version: fiddler John Doherty (1895-1980, County Donegal) [Feldman & O’Doherty]. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 95.

                       

HUNT THE BUFFALO. See “Hunting the Buffalo.”

 

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). D Major. Standard tuning. AABB. The tune was first published in Charles and Samuel Thompson’s Compleat Collection, vol. 3 (London, 1773)—the pair published a different tune by the same title in their vol. 4 (1780). It was entered into the manuscript collections of Northumbrian musician William Vickers (begun in 1770), and of flute player Ensign Thomas Molyneaux (Shelburne, Nova Scotia, 1788). See also the similarly titled, melodically and rhythmically different, "Hunting the Hare." Seattle (William Vickers), 1987, Part 2; No. 282. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 100.

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). USA, New England. A Major (Fleming‑Williams, Johnson, Karpeles, Raven, Sharp): G Major (Barnes): F Major (Stanford/Petrie). Standard. AB (Stanford/Petrie): AABB (most versions). Both dance instructions and melody of this English piece appear earliest in Walsh's Country Dancing Master of 1718 (pg. 16), and in Playford’s The Dancing Master, volume I, 17th edition (London, after 1721). Directions for the dance to this tune have also been recovered from the Holmain MS. (c. 1710‑1750) from Dumfries‑shire, Scotland. The dance involves a gentleman following or ‘chasing’ his partner for a phrase of music, after which she turns and ‘hunts’ him; the whole being a coy stylization of pursuing love. Indeed, this was stated in a mock letter to the satirical newspater The Spectator (1711-1712), purportedly sent by a country squire concerned over the spectacle of his sixteen-year-old daughter dancing in public:

***

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

Liable to Corruptions, so, Sir, I must acquaint you, that very great

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 London coachmen. When the mood struck they would follow a “one horse chaise…passing so close to it as to brush the wheel, and by other means terrifying any person that may be in it” (cited in Francis Grose’s A Classical Dictionary of the Vulgar Tongue, London, 1785). This was, in effect, a game of what we in modern times might call ‘chicken’, only with carriages and not automobiles.

***

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 Boston Fair), vol. 8, 1988; pg. 5. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 23 (appears as "The Geud Man of Ballangigh"). Raven (English Country Dance Tunes), 1984; pg. 24. Sharp (Country Dance Tunes), 1909/1994; pg. 78. Stanford/Petrie (Complete Collection), 1905; No. 487, pg. 123.

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 village of Headington, Oxfordshire, in England's Cotswolds. Bacon (The Morris Ring), 1974; pg. 179. Versions #2, 3 and 4 are similar in some respects, different in others, but all retain the flavor of the original melody. Version #1 is perhaps the most distinct. Mallinson (Mally’s Cotswold Morris Book), Vol. 1, 1988; No. 5, pg. 9.

 

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, Leominster, Hereford, described as a “gipsy fiddler” who was recorded by Cecil Sharp in 1909 on a cylinder machine.

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. England, Northumberland. C Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 3; No. 466.

 

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. USA, Missouri. D Major. Standard tuning. AABB. Derived from "Huntsman's Hornpipe" (published by Howe, 1864). Source for notated version: George Morris (Boone County, Missouri) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; No. 72, pg. 54. Cole (1000 Fiddle Tunes), 1940; pg. 102 (appears as "Huntsman's Hornpipe). Ford, 1940; pg. 99 (appears as "Huntsman's Hornpipe").

 

HUNTER'S HORNPIPE [2] (Crannciuil An Fiadaige/Fiaguide). AKA and see "First Day of Spring," "Reynard the Fox [1]." Irish, New England; Hornpipe. G Major. Standard tuning. AABB. Does not appear to be similar to version #1. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 310, pg. 153. O'Neill (Krassen), 1976; pg. 201. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1717, pg. 319. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 905, pg. 155. Tolman (Nelson Music Collection), 1969; pg. 16.

X:1

T:Hunter’s Hornpipe [2]

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 905

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 County Cavan but who lived much of his life in Philadelphia, Pa.. With “Maudabawn Chapel,” “Hunter’s House” is his most frequently played tune in the tradition. Sean McGuire’s (Maguire) recording in 1956 on a 78 RPM for His Master’s Voice appears to be the first, according to Philippe Varlet. Source for notated version: New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Cranford (Jerry Holland: The Second Collection), 2000; No. 184, pg. 69. Harker (300 Tunes from Mike-Rafferty), 2005; No. 143, pg. 43. Mallinson (Enduring), 1995; No. 21, pg. 9. Reavy (The Collected Compositions of Ed Reavy), No. 33, pg. 35. CCF 25, Seane Keane – “Jig it in Style” (1990). CEF 167, The Lennon Family – “Dance of the Honey Bee” (1994). Odyssey ORCS 1051, Jerry Holland – “Fiddler’s Choice” (1998). SD 003, Christy Dunne – “Plucking Good” (1994). Shanachie 78009, Joe Derrane – “The Tie that Binds.” Shanachie SHA34008, Andy McGann and Paddy Reynolds (appears as “Reavy’s Reel”). Varrick  VR‑038, Yankee Ingenuity ‑ "Heatin' Up the Hall" (1989). Paddy Glackin – “The Flags of Dublin.” Jolyon Jackson – “Hidden Ground.” Sean Maguire –“The Irish Phonograph, Volume 1” (1956). Jimmy Power – “Fifty-odd Years” (1984). The Chieftains – “Chieftains in China.” The Chieftains – “Water from the Well” (2000. Appears as part of “Dusty Miller” set).  “Music at Matt Molloy’s.” Na Connery’s – “The Session “ (appears as “Reavy’s”).

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 Ireland's finest players. This is the setting Ed provides for this

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 Ontario fiddler Ward Allen, who won contest after contest in the 1950’s and who carved out a career for himself as a radio fiddler. GRT Records SP 203, “Ward Allen Presents Maple Leaf Hoedown, Vol. 1” (reissue). GRT Records 9230-1031, “The Best of Ward Allen” (1973).

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 KENTUCKY, THE. AKA and see “Allie Croker.” American, English (originally); Reel. D Major. Standard tuning. One part. Howe categorizes the tune among the ‘songs’ section. Howe (1000 Jigs and Reels), c. 1867; pg. 45.

X:1

T:Hunters of Kentucky

T:Allie Croker

M:4/4

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 London ‘the boys’ (the more ‘worldly’ members of the band) showed the lilter ‘the sights’, including pornographic book shops in Soho.  “It was a terrible shock and such madness. We knocked great fun out of it,” said Moloney (Glatt, pg. 82). Sources for notated versions: Pete Sutherland with the Arm and Hammer String Band (northern Vermont) [Brody]; a 1961 recording of fiddler Seán Ryan and piper Peter Carberry [Miller & Perron]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Brody (Fiddler’s Fakebook), 1983; pg 138-139. Cranford (Jerry Holland: The Second Collection), 2000; No. 31, pg. 14. Harker (300 Tunes from Mike Rafferty), 2005; No. 76, pg. 24. Mallinson (Essential), 1995; No. 75, pg. 43. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 1, No. 45. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 77. McNulty (Dance Music of Ireland), 1965; pg. 8. Claddagh CC10, The Chieftains – “Chieftains 3” (1971). Copley DWL-9-617, Jack Wade – “Ceili Music From Ireland.” Green Linnet GLCD 3009/Mulligan LUN 021, Kevin Burke – “If the Cap Fits” (1978). Island ILPS 9379, Chieftains – “Chieftains 3.” Kicking Mule 216, The Arm and Hammer String Band – “New England Contra Dance Music” (1978). Shanachie 79023, “Chieftains 3” (1982).

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 BG AB^cd||

|: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 BUFFALO. Old-Time, Breakdown. E Minor. Standard tuning. AABB. See also the similarly-titled “Hunting the Buffalo.” Source Jones, a hammered dulcimer player, is the daughter of Ramona and the late Grandpa Jones. CDMRC150, Alisa Jones – “Home Sweet Home.”

X:1

T:Huntin’ for the Buffalo

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 BUFFALO. AKA and see “Hunting for the Buffalo,” “We’re Gonna Hunt the Buffalo.” Old-Time, Breakdown. USA, Arkansas. A Major. Standard tuning. AABB. The melody is apparently not related (according to Drew Beisswenger) to an old play-party song from the Ozarks, with similar and various titles such as “Shoot the buffalo” and “Gonna Go Huntin’ for the Buffalo.” Mike Seegar plays a version learned from Jimmy Driftwood (1907-1998, born John Morris of Timbo, Arkansas), who had the tune from his two fiddler uncles who lived in Indian territory for years. They played it in BEgb tuning (an E minor chord). Source for notated version: Barb Zavon (Cincinnati, Ohio) via Helga Sermat (Vancouver, B.C.) [Songer]; Jimmie Driftwood [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 182. Songer (Portland Collection), 1997; pg. 105. Dorian Discovery DIS-80103, Helicon - "Horizons" (1992. Learned from fiddler Freyda Epstein, Charlottesville, Va.). HPV1, Ramona Jones – “Back Porch Fiddling.” Shanachie 6001, Norman Blake - “Just Gimme Somethin’ I’m Used To” (1991). Time and Strike #7785, Clyde Curley and Oxymorons – “Old Time Mandolin Music.”

 

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. USA, New England. England, Shropshire. F Major (Raven): D Major (Ashman, Cole, Joyce, Kerr, Williamson). Standard tuning. AB (Cole, Joyce): ABB (Kerr, Raven): AABB (Ashman, Williamson). The title "Hunting the Hare" probably has sexual connotations similar to "The Cuckoo's Nest." The melody appears in Twenty Four Dances for the Year 1768 (London: Chas. & Saml. Thompson) and was used as the melody for various song sheets in the 18th century, including a song called 'Newcastle Beer' by John Cunningham (1729‑1773). The tune was also known in Wales by the name 'Helar's Ysgfarnog'" (Williamson, 1976). In the United States it appears in several MS collection of around 1800, state Van Cleef and Keller (1980). The title is not to be confused with that of another and different popular melody of the period, "Hunt(ing) the Squirrel."

***

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 Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 68a, pg. 27 (appears as "Hunt the Hare"). Cole (1000 Fiddle Tunes), 1940; pg. 77. Joyce (Old Irish Folk Music and Songs), 1909; No. 797, pg. 388. Kerr (Merry Melodies), vol. 3; No. 241, pg. 27. Raven (English Country Dance Tunes), 1984; pg. 119. Ryan’s Mammoth Collection, 1883; pg. 109. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 19.

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 Ireland: 1001 Gems), 1907/1986; No. 433, pg. 85. Vallely (Learn to Play the Fiddle with Armagh Pipers Club), 197?; No. 33, pg. 32.

X:1

T:Hunting the Hare [2]

M:9/8

L:1/8

R:Slip Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 433

Z:AK/Fiddler’s Companion

K:D

G|F2A ABA d2A|Bcd e2d cBA|F2A ABA d2A|Bcd edc d2:|

|: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 British Isles traditions are variants of mummers plays with the familiar themes of death and rebirth. Musicians and dancers would gather and go from house to house and perform as well ritual texts in the guise of stock characters such as St. George, St. Andrew, the Turk, the Doctor etc. There is usually a conflict between good and evil, with good resurrected at the end.  As with mummers disguises were often worn. In Ireland groups were known as “Strawboys” from the nature of their woven straw suits and masks (see Henry Glassie’s book All Silver and No Brass {1975} for more). The following stanzas of words (only the first few appear here) and the air below were collected on the Isle of Mann in 1842:
***
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 E C2G|A2G F>E F|(E3 E2)E|G2G A2A|B>A B G2G|

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)||

 

HUNTINGTON. American, March (2/4 time) or Reel. D Major. Standard tuning. AABB. Composed by Colin Sterne, Pittsburgh, Pa. Sweet (Fifer’s Delight), 1964/1981; pg. 46.

 

HUNTINGTONE CASTLE. Scottish, Slow Air (6/8 time). E Minor. Standard tuning. AABB (Martin): AA'BB' (Neil). The melody appears in John Bowie’s A Collection of Strathspey Reels & Country Dances (Edinburgh, 1789). S. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 39. Martin (Ceol na Fidhle), vol. 1, 1991; pg. 17 (includes a harmony part). Martin (Taigh na Teud), 1990; pg. 19. Neil (The Scots Fiddle), 1991; No. 143, pg. 182.

X:1

T:Huntingtone Castle

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:||

 

HUNTINGTON’S MAGGOT.  English, Country Dance Tune (cut time). D Minor. Standard tuning. AA’BBCC’. The word ‘maggot’ comes from the Italian magioletta and the French magot, meaning a trifle, whim, plaything, or item of small consequence. The avian magie was originally called a “maggoty-pie” due to its perceived whimsical drollery, and a whimsical man was once called a “maggoty-pated fellow.” “Huntington’s Maggot” was published Henry Playford in his Dancing Master, 9th edition (London, 1695) and in all subsequent editions through the 18th, published by John Young in London in 1728. It also appears in John Walsh’s Compleat Country Dancing Master (London, 1718). No one seems to know the origins of the name, although Pepys mentions the Huntington Waits in his diary of 1667. Barlow (Complete Country Dance Tunes from Playford’s Dancing Master), 1985; No. 324, pg. 78. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 62.

X:1

T:Huntington’s Maggot

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. Huntingtower Castle, located just northwest of Perth, in Perth and Kinross, Scotland, was formerly called Ruthven Castle, named for the Ruthven family who held it from the 15th century. Mary Queen of Scots visited the castle soon after her marriage to Lord Darnley, and the 4th Lord Ruthven kidnapped the 15-year-old King James VI and held him in the castle for a year. By the 1660’s it had passed into the hands of the Murray family, who used it as their residence over Blair Castle until it was abandoned in the late 18th century. The castle is haunted by a ghost known as My Lady Greensleeves, whose appearances sometimes augers a death, but who is also said to have cured the ill.

***

Huntingtower Castle

***

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 Castle. Originally it had been the site of a shooting-box for the Duke. It was at Huntly Lodge in 1787 that the 75 Regiment was raised by the Gordons for service with the British army in the Far East; later it evolved into the 1st battalion of the Gordon Highlanders. The manor was renovated about the year 1800. After the death of the 5th Duke of Gordon it became the dowager Duchess’s primary residence. The structure has survived, now converted into a hotel called the Castle Hotel .

***

Huntly Lodge

***

“Huntly Lodge” was not Marshall's original title for the tune. Marshall renamed many of his compositions when the title or its purpose (i.e. patronage) no longer suited him. The tune here was renamed for his 1822 collection when he "could not compose (a new tune) for Huntly Lodge that pleased me" (Alburger, 1983). Hunter (Fiddle Music of Scotland), 1988; No. 52. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 3.

X:1

T:Huntly Lodge [1]

M:C

L:1/8

R:Strathspey

Z:AK/Fiddler’s Companion

S:Marshall1822 Collection

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 Scotland), 1988; No. 99.

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 Highlands of Scotland and the Isles), 1874; No. 99, pg. 38. Kerr (Merry Melodies), Vol. 2; No. 52, pg. 8. MacDonald (The Skye Collection), 1887; pg. 178. Skinner (Harp and Claymore), 1904; pg. 95.

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. Ireland, County Sligo. G Major. Standard tuning. AABB. Source for notated version: tin whistle player Jimmy McGettrick (b. 1909, Aughris, Rathmullen, Ballymote, County Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 139.


 

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" (Pa.), "Harrison City" (Pa.), "A Drag" (Pa.). British Isles, New England; Country Dance (2/4 time) or Morris Dance (4/4 time) Tune. D Major (Ashman, Brody): G Major (Phillips, Wade). Standard tuning. ABC (Ashman): AABB. A march called the "Huntsman's Chorus" (Was glecht wohl auf Erden) which opens the third act of von Weber's opera Der Freishutz, first performed in Berlin in 1821. Known by the Huntsman's Chorus title in England and New England, but not apparently in Pennsylvania (see alternate names) where it was a staple of many martial bands, though in fact it was printed in several 19th century collections under the main title. It was used as a quickmarch in England as well as Pennsylvania, particularly by the Rifle Brigade, the 95th Regiment, in the mid‑1800's (Winstock, 1970; pg. 220). The melody was used as a tune for either a polka or single step morris dance in the North‑West (England) tradition. A related, untitled, polka was collected by Brendan Breathnach from the playing of John Ryan, from a Radio Éireann recording (see CRÉ V, No. 85, pg. 45). A multipart version appears in the 1823-26 music manuscript book of Joshua Gibbons (Tealby, Lincolnshire Wolds) under the title “Election Tune, June 1826,” attributed to one L. Hanson. Interesting in that in documents that the melody, or part of it, had entered folk tradition in England in the space of a few years. Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 70, pg. 29. Brody (Fiddler’s Fakebook), 1983; pg. 139. English Dance and Song, 1963, New Year issue, pgs. 23, & 1965, pg. 61 (collected in Yorkshire). Howe (Diamond School for the Violin), 1861; pg. 21. Phillips (Fiddlecase Tunebook), 1989; pg. 29. Townsend (English Dance Music), vol. 1, pg. 142. Wade (Mally’s North West Morris Book), 1988; pg. 28. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; No. 163, pg. 87 (appears as “Election Tune, June 1826). Adelphi 2002, Hickory Wind‑ "At the Wednesday Night Waltz." F&W Records 3, "Canterbury Country Dance Orchestra." Front Hall 01, Fennigs All Stars‑ "The Hammered Dulcimer."

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] (Pa.), “Murray’s Hornpipe,” "Nelson's (Hornpipe) [2]," "Murray's." American, Hornpipe. C Major (most versions): D Major (Howe, Miller). Standard tuning. AABB. Howe (1867) prints contra-dance directions along with the tune. American Veteran Fifer, No. 72. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; No. 72. Cole (1000 Fiddle Tunes), 1940; pg. 102. Ford (Traditional Music in America), 1940; pg. 99. Howe (1000 Jigs and Reels), c. 1867; pg. 89. Miller (Fiddler’s Throne), 2004; No. 292, pg. 174. Ryan’s Mammoth Collection, 1883; . White's Unique Collection, 1896; No. 128, pg. 23.

X:1

T:Huntsman’s Hornpipe

M:2/4

L:1/8

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 Scotland), 1988; No. 236. Kerr (Merry Melodies), vol. 2; No. 45, pg. 8. MacDonald (The Skye Collection), 1887; pg. 6. Miller (Fiddler’s Throne), 2004; No. 172, pg. 108. Stewart-Robertson (The Athole Collection), 1884; pg. 34. Angus Cameron – “Strings to the Bow” (1977). Cape Breton Violins.

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 Highland Music), 1895. CD 61801, Cynthia Cathcart – “Alchemy of a Rose.”

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 | ede efe | d2A B2A |

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 Ireland (1903), No. 1805

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 Ireland, 2nd Collection), 1873; No. 80, pg. 36. O'Sullivan/Bunting, 1983; No. 131, pgs. 188-189.

X:1

T:Hurler’s March [2]

M:6/8

L:1/8

R:March

S:Levey – Dance Music of Ireland, 2nd Collection (1873)

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 Ireland), vol. 4; No. 60. Mitchell (Dance Music of Willie Clancy), 1993; No. 145, pg. 114.

           

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 Ireland).

***

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 Suffolk fiddler Fred ‘Pip’ Whiting, and is described as an “Old Country Dance” on his Topic recording. Pete Cooper says the tune is “clearly a vernacular descendant of ‘Jockey to the Fair’.” O'Neill (O’Neill’s Irish Music), 1915/1987; No. 387, pg. 185. O’Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 963, pg. 165. Stanford/Petrie (Complete Collection), 1902; No. 604, pg. 152. Topic 12TS374, Fred ‘Pip’ Whiting – “The Earl Soham Slog” (1978).

X:1

T:Hurling Boys, The

M:6/8

L:1/8

R:Set Dance

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 963

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 Pennsylvania brigades in Washington's army as a march during the Revolutionary War. It was taken from Andre Gretry's opera Le Huron (1768). The name Huron was used for a Native American tribe in the Great Lakes region, and the lake was named for them. The word Huron is French an implies a likeness to a wild boar. In France the term was applied to peasants because of their rough, bristling hair and as applied to the Indians it referred to the way they forced their hair to stand up in a sort of crest, in the style of the northeastern woodland tribes (Matthews, 1972).

                                   


HURON LINE. Canadian, Hornpipe. Canada, Cape Breton. D Major. Standard tuning. AB. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). The name Huron was used for a Native American tribe in the Great Lakes region, and the lake was named for them. The word Huron is French and implies a likeness to a wild boar. In France the term was applied to peasants because of their rough, bristling hair and as applied to the Indians it referred to the way they forced their hair to stand up in a sort of crest, in the style of the northeastern woodland tribes (Matthews, 1972). Cameron (Trip to Windsor), 1994; pg. 70.

                                   

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 Ireland (1903), No. 303

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 Nov., 17th 1893 is given. See also the original manuscript at http://www.abdn.ac.uk/scottskinner/display.php?ID=JSS0087. It is not known what hurricane Skinner was referring too, however, the Louisiana hurricane of October, 1893, caused the second highest toll in human life, over 2,000 souls, in the United States (the Galveston hurricane of 1900 caused greater havoc). Skinner (The Scottish Violinist, with variations), pg. 5. Skinner (Harp and Claymore), 1904; pg. 112. Flying Fish FF‑299, The Battlefield Band ‑ "There's a Buzz" (1982). Philo FI 2018, "Jean Carignan Plays the Music of Coleman, Morrison & Skinner."

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 New York fiddler and banjo player Larry Redican).

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, County Limerick, polka tune

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 Ireland (1903), No. 909

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. Ireland, County Cork. D Major. Standard tuning. AB. Source for notated version: “A Cork jig. From P. Carew’s MS” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 946, pg. 241.

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 Falmouth, Massachusetts, writer and musician Bill Black.

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, Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 109, pg. 46. Treoir. Topic TSCD 602, Belhavel Trio – “Irish Dance Music” (1995. A reissue of the 1938 original).

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 ISLAND, THE. Scottish. D Major. A modern composition by Scottish accordion great Phil Cunningham. Chris Stout wrote the tune “Hamnataing” to go with Cunningham’s composition, but the two were never recorded together, according to Philip Whittaker. The Cunningham Collection - volume 1. The House in Rose Valley. Culburnie Records CUL 121D, Alasdair Fraser & Natalie Haas – “Fire and Grace” (2004). Green Linnet GLCD 1059, “Relativity.”

                       

HUXTER IN DA SOOND. Shetland, Shetland Reel. Shetland, Papa Stour.

                       

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, Tennessee, based duo the Allen Brothers. It was also recorded by fiddler Curly Fox for one label, and earlier for Gennett by Chattanooga fiddler Jesse Young (as "Hy Patillion"). Sources for notated versions: John Hartford [Phillips]; Ralph Blizzard [Silberberg]. Phillips (Traditional American Fiddle Music, vol. 2), 1995; pg. 66. Silberberg (93 Fiddle Tunes I Didn’t Learn at the Tractor Tavern), 1993; pg. 20. Rounder 0320, Bob Carlin & John Hartford - "The Fun of Open Discussion." SVT 4010 (78 RPM), Jess Young Band (Tenn.), c. 192

                       

HYDE CHAPEL. English, Jig. G Major. Standard tuning. AABB'. A modern composition by Nick Dennerly. Knowles (Northern Frisk), 1988; No. 150.

                       

HYDE PARK [1]. AKA and see “I’m Bubbled,” "Irish Trot [1]." English, Country Dance Tune (6/4 or 6/8 time). G Major (Chappell, Raven): C Major (Barnes, Sharp). Standard tuning. ABB (Sharp): AABC (Chappell, Raven): AABB (Barnes). The air was published in Playford's English Dancing Master (1650) and John Gay's Beggar's Opera (1729) {where appears as "Irish Trot"}. Barnes (English Country Dance Tunes), 1986. Chappell (Popular Music of the Olden Times), Vol. 1, 1859; pg. 314. Raven (English Country Dance Tunes), 1984; pg. 46 & 60 (facsimile copies of Playford’s and Gay’s printings, respectively). Sharp (Country Dance Tunes), 1909/1994; pg. 29.

X:1

T:Hyde Park [1]

M:6/8

L:1/8

S:Sharp – Country Dance Tunes  (1909)

Z:AK/Fiddler’s Companion

K:C

efg gec | efg d2c | ede fge/f/ | gd>c c3 | efg gec | efg d2c | ede fge/f/ | gd>c c3 ||

|: d>ed dBG | GAB Bcd | cde efg | gfg e>dc | def f>gf | def d>cB | ccd eef | gd>c c3 :|

 

HYDE PARK [2]. AKA and see "The Crost Couple," "Tantara, rara, tantivee." English, Country Dance Tune (6/4 time). B Flat Major. Standard tuning. AAB. The "Crost Couple" is the earlier name for this tune, which takes its "Hyde Park" name from a ballad printed in the reign of Charles II (which has a burden of "Tantara, rara, tantivee"). Chappell (Popular Music of the Olden Times), vol. 1, 1859; pg. 315.

X:1

T:Hyde Park [2]

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 Faroe islands, involving trolls performing a round dance with the caller and his partner in the middle. Source for notated version: the singing of J.J. Laurenson via Pat Shuldham‑Shaw. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 15.

 

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 Highlands of Scotland and the Isles), 1874; No. 56, pg. 20.

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.

 

_______________________________

HOME       ALPHABETICAL FILES        REFERENCES

 

© 1996-2010 Andrew Kuntz

Please help maintain the viability of the Fiddler’s Companion on the Web by respecting the copyright.

For further information see Copyright and Permissions Policy or contact the author.

 

 


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

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