The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

IN - IO

[COMMENT3] 

 

Notation Note: The tunes below are recorded in what is called “abc notation.” They can easily be converted to standard musical notation via highlighting with your cursor starting at “X:1” through to the end of the abc’s, then “cutting-and-pasting” the highlighted notation into one of the many abc conversion programs available, or at concertina.net’s incredibly handy “ABC Convert-A-Matic” at

http://www.concertina.net/tunes_convert.html 

 

**Please note that the abc’s in the Fiddler’s Companion work fine in most abc conversion programs. For example, I use abc2win and abcNavigator 2 with no problems whatsoever with direct cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s into the concertina.net converter results in double-spacing. For concertina.net’s conversion program to work you must remove the spaces between all the lines of abc notation after pasting, so that they are single-spaced, with no intervening blank lines. This being done, the F/C abc’s will convert to standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth it.   [AK]

 

 

[COMMENT4] 

IN A HURRY . Canadian, Jig. Canada, Cape Breton. B Flat Major. Standard tuning. AABB. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 47.

                       

IN AND OUT (OF) THE HARBOR. Irish, Reel. E Minor. Standard tuning. AB (Miller): AABB' (Alewine). The melody belongs to a family of more or less related tunes that includes: "The Cottage in the Grove [2]," "Down with the Mail," "The Faraway Wedding [1]," "The Gravelled Walks to Granny," "The Highland Man that Kissed his Granny [1]," "Jenny Lace your Tight," "Jenny Tie Your Bonnet," “Jenny Tied the Bonnet Tight,” "Lassie(s) tie your Bonnet(s)," "Lizzie's Bonnet," “Peggy on the Settle,” "The Rambler's Rest," "Tie the Bonnet", "Upstairs in a Tent [1]." Alewine (Maid that Cut Off the Chicken’s Lips), 1987; pg. 21. Miller (Fiddler’s Throne), 2004; No. 174, pg. 109. Green Linnet SIF 1016, Brenden Mulvihill ‑ "The Irish Tradition: The Corner House" (1978). Green Linner 1101, Brenden Mulvihill ‑ "Playing with Fire: the Celtic Fiddle Connection" (1989).

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

Alan Ng’s Irishtune.info

X:1

T:Upstairs in a Tent

T:In and Out the Harbour

T:Jenny Tie Your Bonnet

R:reel

D:Michael Tubridy: The Eagle’s Whistle

Z:id:hn-reel-345

Z:transcribed by henrik.norbeck@mailbox.swipnet.se

M:C|

L:1/8

K:Amix

~A3g fdec|AGA=c BG~G2|~A3g fdef|1 ~g3d BGGB:|2 ~g3d BG~G2||

|:faaf gfed|(3cBA eA fAeA|faaf gfef|1 ~g3d BG~G2:|2 ~g3d BGGB||

                       

IN AND OUT THE WINDOW. Old-Time, Breakdown. D Major. Kentucky fiddler Owen “Snake” Chapman composed the second part of the tune.

                       

IN BARTHOLEMEW FAIR. AKA and see "The Free Masons [1]," "The Irish Washerwoman," "Jackson's Delight [1]," "Country Courtship," "The Scheme," "Corporal Casey [1]," "Star at Liwis," "Paddy McGinty's Goat," "The Snouts and Ears of America."

                       

IN CAME THE MILLER. Irish, Air (2/4 time). G Dorian. Standard tuning. AB. Joyce (Old Irish Folk Music and Song), 1909; No. 709, pg. 354.

X:1

T:In Came the Miller

M:2/4
L:1/8

N:”Mod.”

S:Joyce – Old Irish Folk Music and Song (1909), No. 709

Z:AK/Fiddler’s Companion

K:G Dorian

D | G2 BG | GFDC | DGG>G | G2 GA | B>ABc | dcf>d | c>AGF | F3 ||

e | d>cde | fdBd | cAGF | d2 dc | B>GAF | GFDC | DGGG G2 ||

                       

IN COME A LITTLE BEE. Old-Time, Breakdown. G Major. Standard tuning. AA'BB. Phillips notes this tune is to be played slower than a standard breakdown tempo. Source for notated version: Owen “Snake” Chapman [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 69. 5 String Productions 5SPO5002, Hoover Uprights – “Known for their Reputation” (2006. Learned from Snake Chapman).

                       

IN COMES GREAT BONAPARTE WITH FORTY THOUSAND MEN. Irish, Air (4/4 time). A Minor. Standard tuning. One part. Source for notated version: “From (the Irish collector) Mr. Joyce” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 676, pg. 170.

X:1

T:In comes great Bonaparte with Forty Thousand Men

M:C
L:1/8

R:Air

N:”Allegretto”

S:Stanford/Petrie (1905), No. 676

Z:AK/Fiddler’s Companion

K:Amin

EF | GFGA G>EDE | GFGA G3 E | AGAB cBAG | BAA>B A3E | ABcd efge |

dBAG c2 ce | dcBA A>G ED | EAA>B c2 ce | dcBA A>GED | EAA>B A3 ||

                       

IN COMES THE CAPTAIN'S DAUGHTER. AKA and see "Boys of Wexford," "Flight of the Earls."

                       

IN DAYS GONE BY [1]. Irish, Air (3/4 time). G Minor. Standard tuning. AB. O'Neill (O’Neill’s Irish Music), 1915; No. 86, pg. 49.

X:1

T:In Days Gone By [1]

M:3/4

L:1/8

R:Air

S:O’Neill’s Irish Music (1915)

Z:AK/Fiddler’s Companion

K:Gmin

GA | B3G A2 | G2D2 GA | B2G2G2 | G4 Bc | d3fd2 | c2A2 dc | B2G2F2 | G4 ||

d2 | g2g3g | f2d3f | g2d2B2 | c4f2 | g2g2ag | f2d2c2 | d2A2A2 | A4 ||

 

IN DAYS GONE BY [2]. Irish, Hornpipe. D Dorian. Standard. AABB. Composed by Falmouth, Massachusetts, musician Bill Black in honor of the late Philadelphia fiddler and composer Ed Reavy, originally from County Cavan. Black (Music’s the Very Best Thing), 1996; No. 150, pg. 79.

X:1

T: In Days Gone By

C: © B. Black

Q: 325

R: hornpipe

M: 4/4

L: 1/8

K: Ddor

A | d^cde fgag | f2 ed cA (3AGA | c2 BG A2 GE | FGAd ^ceag |

fgaf ec (3ccc | dcAG FDDE | F2 AF cFdF | cAGE D3 :|

A | dcAc dcAc | adgc fedc | defd cAGE | FDCE D3 A |

dcAc agfe | defd cAGE | FGAd ^ceag | fdec d3 :|

                       

IN DEEPEST SORROW I THINK OF HOME. Irish, Slow Air (3/4 time). D Major. Standard. AB. "...copied from (a) very old well‑written manuscript lent to me in 1873 by Mr. J. O'Sullivan, of Bruff, Co. Limerick" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 226, pg. 110.

X:1

T:In deepest sorrow I think of home

M:3/4

L:1/8
R:Air

N:”Tenderly”

S:Joyce – Old Irish Folk Music and Songs  (1909)

Z:AK/Fiddler’s Companion

K:D

A/G/|FF F2 ED|CD E2 FG|Ad A2 GE|CD E3 A/G/|FF F2 ED|CD E2 FG|

Ad A2 GE|DD D3||A/G/|AA d>e fg|fe d>c AG/F/|AA d>e f/g/f/e/|

dd d3 d/e/|fg f2 e/d/c/e/|dA G2 FG|AdA2 GE|DD D3||


                       

IN DISPRAISE OF WHISKY (Di-moladh an Uisge-bheatha). Scottish, Slow Air (9/8 time). G Major. Standard tuning. AB. "This is another air of (Alexander MacDonnell), to which he forms a dialogue betwixt the enemy and friend of whisky. The friend, in his praises, makes a quick rhapsody of this beautiful air, while the enemy's plaintive reply is all that could be wished" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 60, pg. 21.

 

IN INFANCY.  English, Air (cut time). G Major. Standard tuning. AABB. Gibbons originally set the tune in the key of C major in his mss. Source for notated version: the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 32 (set for two instruments).

                       

IN JANUARY LAST. English, Scottish; Air (4/4 time). E Major. Standard tuning. AB. The song appears in John Playford's Choice Ayres (ii. 46, 1679), Wit and Drollery (1682), Pills to Purge Melancholy (vol. i, all editions), and Apollo's Banquet (No. 55, 1687), in which latter volume it appears as an air simply called “A Scotch Tune.” It also appears in Thomas D'Urfey's play The Fond Husband, or The Plotting Sisters (1676). The tune was also the vehicle for other songs such as "The Scotch Wedding; or, A short and pretty way of wooing" and "The New‑married Scotch couple; or, The Loving Lasse's Lamentation," and "Northern Nanny; or, The Loving Lasse's Lamentation." John Glen (Early Scottish Melodies, 1900) finds that Allan Ramsay included “In January Last” in his Tea Table Miscellany (vol. ii) as “a song to be sung to its own tune.” Thomson later printed it in Orpheus Caledonious (ii 42, 1733) but under the title “The Glancing of her Apron” (from another line in the song). Yet another title appears in the Leyden manuscripts, “The bonny brow,” again from the eigth line of the song. Variants of the melody are given three times in the Scottish Blaikie manuscript, notes Glen, as “The bony brow” (No. 80), “In January Last” (No. 94), and “Landy Binny’s Lilt” (No. 96), “all differing from one another though derived apparently from the same source.” Antiquarian William Stenhouse (Illustrations, 1853) in his discussion of the air “The Glancing of her Apron” decided “In January Last” was “a florid set of an old simple tune [called “Willie and Annet”] which has lately been published in Albyn’s Anthology under the new title ‘Jock o’ Hazledean’.” Finally, Glen finds a variant in Playford’s New Lessons on the Cittern (1652) as “Lashley’s March.” Chappell (Popular Music of the Olden Times), vol. 2, 1859; pgs. 30‑31.

X:1

T:Scotch Tune, A

M:C|

L:1/8

S:Playford – Apollo’s Banquet (1687)

K:G

g2|d2B2 ABAG|G4 D4|E/F/G3 GAB>G|A6 g2|d2B2 ABAG|G4 D4|E/F/ G3 B2d2|g6||

B2|c3d ede=f|=f4 efgf|dedB ABAG|A6 g2|d3B ABAG|G4 D4|E/F/G3 B2d2|g6||

X:2

T:Lashley’s March

M:3/4

L:1/8

S:Playford – New Lessons on the Cittern (1652)

K:G

g2|d3 B AG|d2D2 EF|G3 B AB|G4 g2|d3 B AG|d3D EF|G3B AB G2||

Bc|d4 d2|d3e d2|ed e gab|a3g e2|ef g2g2|g4 d2|g2g2a2|b6|a2 ba ge|

g2 gf ed|B2d2=f2|e4g2|d3 B AG|d3 D EF|G3B AB|G4||

X:3

T:In January Last

M:C|

L:1/8

S:Playford – Choice Airs  (1679)

K:G

g2|d2B2 ABAG|G4 D4|E2G2 GAB>G|A6 g2|d2B2 ABAG|

GABG D3D|EF G2A2B2|e6||B2|c3d ede=f|=f4 efge|dedB ABAG|

A6g2|d2B2 ABA>G|G4 D4|EF G2B2d2|g6||

                       

IN JUNE. AKA and see "Bummer's Reel [1]." American, Reel?  USA, southwestern Pa. C Major. Standard tuning. AB. Source for notated version: John Taylor (central Greene County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 247E, pg. 207.

                       

IN MEMORY OF COLEMAN. Irish, Reel. G Minor. Standard tuning. AABB. Composed by County Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988), in honor of the great County Sligo/New York fiddler Michael Coleman (1891-1945). Reavy (The Collected Compositions of Ed Reavy), No. 21, pg. 22.

X:1

T:In Memory of Coleman

M:2/2

L:1/8

C:Ed Reavy

R:reel

N:No tune can adequately commemorate this

N:great fiddler. Ed felt that he was the last of the great players,

N:and the only one he ever heard who had that strange wildness in

N:his playing that only the great ones possess. Ed wrote the tune as

N:if Mike were to play it. Perhaps he alone had the tools to do

N:it complete justice.

Z:Joe Reavy

K:Bb

F | DFBd cBGF | DF (3F=EF GFDF | GABc d^fga | (3bag (3ag^f dgga |

(3bag (3ag^f g=fdc | (3=Bcd BG FDCD | FGBd c2 =Bc | c=BcA  _BG G :||

A | B2 fB gagf | =ec (3cBc AFFA | B2 a/2g/2f/2=e/2 fdcA | FGAc BGGA |

B2 fB DBfB | DBfB AF (3F=EF | GABc dbag fd (3cBA BG G :||

                       

IN MEMORY OF HERBIE MACLEOD.  Canadian, Waltz or Lament. A Major. Standard tuning. AABB’. Composed by the late Cape Breton fiddler and composer Jerry Holland (Jerry Holland: The Second Collection), 2000; No. 306, pg. 110.

 

IN MILLTOWN I HEARD THE MUSIC. See “I Miltown a Cuala Me an Ceol.”

                       

IN MY COTTAGE NEAR THE/A WOOD. AKA and see "The Cheat," "The Coquette [3]," “Charles of Sweden,” "Cheat or Swing," “(Glorious) First of August,” “Frisky Jenny,” “Pretty Polly [5],” "The Tenth of June," "Twenty-First of August," “The Weavers’ March.” English, Country Dance Tune (4/4 time). England, Shropshire. D Major. Standard tuning. AB. Kidson (1915) says the tune is that of an old French song and that the English title is a literal translation of the French title. Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 40b, pg. 14. Riley (Flute Melodies), vol. 2, 1820(?); No. 137.

                       

IN MY FATHER'S PLEASANT GARDENS. Irish, Slow Air (2/4 time). E Minor. Standard tuning. AAB. Source for notated version: Hugh O'Beirne, professional fiddler from Ballinamore, Co. Leitrim, 1846. Joyce (Old Irish Folk Music and Songs), 1909; No. 570, pg. 301.

X:1

T:In My Father’s Pleasant Gardens

M:2/4

L:1/8

N:”Slow”

S:Joyce – Old Irish Folk Music and Songs  (1909)

Z:AK/Fiddler’s Companion

K:Emin

D | EcB>A | GB/A/ {A/}GG/E/ | E>GA G/A/ | BBA>G | E>GEE | E3 :|

D | EEG>A | B/d/e {e/}gg/e/ | e>dB A | BA/E/ E>D | E/G/A BA |

G3E | EcBA | GB/A/ {A/}GG/E/ | E>GA G/A/ | BBA>G | E>GEE | E3 ||

                       

IN MY FIRST PROCEEDINGS I TOOK RAKISH WAYS. Irish, Air (3/4 time). Ireland, County Limerick. F Major. Standard tuning. One part. Source for notated version: “From Mr. MacDowell” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 823, pg. 206.

X:1

T:In my first proceedings I took rakish ways

M:3/4

L:1/8

N:”Set in the County of Limerick.”

N:”Allegretto”

S:Standford/Petrie (1905), No. 823

Z:AK/Fiddler’s Companion

K:F

BG | F2G2A2 | Bc3 BG | G2F2F2 | F4 FG | B2c2d2 | c f3e | e2 dc Bd |

c4 FG | B2c2 d2 | c2 f3e | d2 dB (3Bcd | c4 Bc | d2F2F2 | F2G2A2 |

B2 c3B | G4 (3GAB | c3 d (3edc | d3c (3BGF | G2F2F2 | F4 ||


                       

IN OLD ARKANSAS. Old-Time, Waltz. USA, Missouri. A Major (‘A’ part) & E Major (‘B’ part). Standard tuning. AB. Source for notated version: Fred Stoneking (b. 1933, Missouri), learned from his father Lee [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 139. Rounder 0436, Fred Stoneking  – “Traditional Fiddle Music of the Ozarks, vol. 2: On the Springfield Plain” (2000).

                       

IN OLD BALLYMOE. Irish, Waltz. G Major. Standard tuning. One part. O’Brien (Jerry O’Brien’s Accordion Instructor), 1949; pg.

X:1

T:In Old Ballymoe

M:3/4

L:1/8

R:Waltz

S:O’Brien – Jerry O’Brien’s Accordion Instructor  (1949)

Z:AK/Fiddler’s Companion

K:G

BA | G2B2d2 | e2d2B2 | A2G2G2 | G4 BA | G2B2d2 | g2b2a2 | g2d2B2 |

A4 BA | G2B2d2 | g2b2a2 | g2e2d2 | g4 ba | g2B2d2 | e2d2B2 | A2G2G2 | G4 :|

 

IN PRAISE OF MAUREEN MACKENZIE.  AKA and see “Moladh Maureen Nic Coinnich.”

                       

IN SAD AND ASHY WEEDS. English, Air (3/2 time). C Major. Standard tuning. AABC. This air appears in Sir J. Hawkins' transcripts of 17th century virginal music. Chappell (Popular Music of the Olden Times), vol. 1, 1859; pg. 156.

                       

IN SWEET TIPPERARY. AKA and see "Denis Delaney."

                       

IN THE BACK DOOR, OUT THE FRONT. Irish, Reel. Composed by County Tipperary fiddler Seán Ryan (d. 1985). Ryan (Seán Ryan’s Dream), 15.

 

IN THE COUNTY ARMAGH. Irish, Slow Air (3/4 time). F Major. Standard. One part. Source for notated version: "Patrick MacDowell, distinguished sculptor" (1799‑1870) {Joyce}. Joyce (Old Irish Folk Music and Songs), 1909; No. 531, pg. 285.

                       

IN THE COUNTY OF WEXFORD NOT FAR FROM TUGHMON. Irish, Air (2/4 time). E Minor Standard. One part. Source for notated version: “From Mr. R.A. Fitzgerald” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 780, pg. 195.

X:1

T:In the county of Wexford not far from Tughmon

M:2/4

L:1/8

N:”Andante spirituoso e marcato”

S:Stanford/Petrie (1905), No. 780

Z:AK/Fiddler’s Companion

K:E Minor

G>A | B2 E>F | G2 B,>C | DE E>E | E2 zE | E^G Bc | d2 ef | ed B>c | B2 zE |

E^G B>c | d2 ef | ed B>c | B2 G>A | B2 G>A | B2 E>F | G2 B,>C | DE E>E | E2 ||

 

IN THE DAYS GONE BY. Irish, Slow Air (4/4 time). F Major. Standard tuning. One part. Source for notated version: fiddler James Dowd (Ireland) [Darley & McCall]. Darley & McCall (The Darley & McCall Collection of Traditional Irish Music), 1914; No. 17, pg. 8.

 

IN THE DAYS OF MY YOUTH. AKA and see "A Shepherd Kept Sheep." The air appears under this title in Gay's Beggar's Opera of 1729. It also appears in D’Urfey’s Pills to Purge Melancholy, vol. V, pg. 35.

 

IN THE FIELDS IN FROST AND SNOW. English, Country Dance Tune (2/2 time). D Minor. Standard tuning. AABB. The melody dates to 1713. Barnes (English Country Dance Tunes), 1986.

 

IN THE GARB OF OLD GAUL. See “Garb of Old Gaul.”

 

IN THE GARDEN. Old‑Time. B Flat Major. Missouri State Old Time Fiddlers Association 001, Pete McMahan ‑ "Ozark Mountain Waltz."

 

IN THE GLOAMIN. Scottish, Strathspey. F Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 163, pg. 19.

X:1

T:In the Gloamin’

M:C

L:1/8

R:Strathspey
S:Kerr – Merry Melodies, vol. 3, No. 163  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:F

A<c c>f d>f c2|A<c c>d B>A G<B|A<c c>f d>f c2|B>GA>F E<G G<B:|

|:(A<c) f>a g>a f2|A<c f>c B>A G<B|(A<c) f>a g>af>c|(3def (3cBA A<G G<c||

 

IN THE MONTH OF JUNE WHEN ALL FLOWERS BLOOM. Irish, Air (3/4 time). E Flat Major. Standard tuning. ABB. Colleceted by George Petrie in 1834 from County Derry. Stanford/Petrie (Complete Collection), 1905; No. 303, pg. 76.

 

IN THE MOOR AMONG THE HEATHER.  English, Reel. G Major. Standard tuning. AABB. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 19.

X:1

T:In the Moor among the Heather

M:C|

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:G

DEGB GEGE|EAAB ABAG|GABd dega|begB ABAG:|

|:dega fagd|eaab abag|bage dega|begB ABAG:||

 

IN THE STYLE OF AN OPERA DANCE. Scottish, Jig. D Major. Standard tuning. AABBCCDD. Composed by Mr. Nisbet of Dirleton. This is perhaps William, (1747-1822), an East Lothian  landowner and army officer, who married Mary Manners, daughter of Lord Robert Manners, and grand-daughter of the Duke of Rutland. Their only child and daughter was Mary Nisbet (b. 1778) of Dirleton, Countess of Elgin. In 1784 William acceded to the barony of Dirleton upon the death of his father, also William. The Nisbets were hugely wealthy, and at her birth Mary became one of the richest heiresses in the world. The family seat was the manor of Archerfield, in Dirleton, some eighteen miles east of Edinburgh. Father William was an amateur musician who was a member of the Edinburgh Musical Society for much of his life. See the note for “Tail Tod(d)le” for more on Nisbet. Gow (Third Collection of Niel Gow’s Reels), 3rd ed., originally 1792; pg. 35.

X:1

T:In the Style of an Opera Dance

M:6/8

L:1/8

C:Nisbet of Dirleton

B:Gow – Third Collection of Niel Gow’s Reels (1792)

Z:AK/Fiddler’s Companion

K:D

(A,/B,/C/)|D2D “tr”F2A|{c}d2D DEF|”tr”EFD {D}CB,A,|D2D “tr”F2A|{c}d2D DEF|

G,GF “tr”EDC|{C}D3 D2::F/G/|AFA “tr”BAB|{A}GFG AGA|EB,E {A}GFG|

EFD {D}CB,A,|AFA “tr”BAB|{A}GFG AFD|B,GF EDC|{C}D3 D2:|

|:(3A/B/c/|d2d “tr”f2a|{c’}d’2d def|efd {d}cBA|efd {d}cBA|d2d “tr”f2a|

{c’}d’2d def|Bgf edc|{c}d3 d2::f/g/|{b}a^ga bab|{a}gfg {b}a^ga|

eBe {a}gfg|efd {d}cBA|{b}a^ga bab|{a}gfg afd|Bgf edc|{c}d3 d2:|

 

IN THE SWEET BYE AND BYE. American, March (2/4 time) and Song Tune. USA, southwestern Pa. G Major. Standard tuning. AB. Words and music written by Joseph P. Webster, who composed various Civil War pieces. Source for notated version: Lloyd (Pa., 1952) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 270, pgs. 227‑228.

 

IN THE TAP ROOM. AKA and see "The Tap Room,” “Youngest Daughter [1].” See also the “Hopetoun House” family of tunes.


 

IN THE TRENCHES OF MANCHURIA. AKA and see "Manchurian Waltz."

 

IN THE WOODPILE [1]. AKA and see "N....r in/on the Woodpile [1]." "The Cotten Patch." Old-Time, Breakdown. USA, north Georgia. G Major. Standard. AABB. Dan Emmet, the famous 19th century minstrel songster, wrote a piece utilizing this title in 1845, which may have either engendered the expression or merely employed it. See also related tune "Stony Point." Source for notated version: The Skillet Lickers (north Georgia) [Brody]. Brody (Fiddler’s Fakebook), 1983; pg. 140. County 506, The Skillet Lickers - "Old Time Tunes" (appears as "N….r in the Woodpile"). County 544, The Skillet Lickers - "Georgia Fiddle Bands, vol. 2 (appears as "The Cotton Patch"). County 724, Benny Thomasson - "Country Fiddling" (appears as "N....r in the Woodpile").

 

IN THE WOODPILE [2]. Old‑Time, Breakdown. An American descendent of the Irish tune "Bonaparte Crossing the Alps."

 

IN THIS CALM SHELTERED VILLA. AKA and see "The Coolun/Coolin," "Had You Seen My Sweet Coolin," "Oh! Hush the Soft Sigh," "Oh! The Hours I Have Passed," "Though the Last Glimpse of Erin."

 

IN THIS VILLAGE DWELLS THE FAIR LADY (Ar N mBaile Seo Ta An Chuilfhionn). AKA and see "Ar N mBile Seo Ta An Chuilfhionn."

 

INCH ALONG. Old‑Time, Breakdown. "Cotten Eyed Joe"??

***

Inch along, keep a‑pushin on,

Inch along, keep a‑pushin on,

Get along buddy, keep a‑movin, inch along.

***

Flying Fish FF‑336, Pete Sutherland ‑ "Poor Man's Dream" (1984).

           

INCH LAGGAN. Scottish, Air (6/8 time). B Minor. Standard tuning. One part. Howe included the melody in his section of “Scotch Airs.” An inch is a level field in Gaelic. Howe (1000 Jigs and Reels), c. 1867), pg. 155.

X:1

T:Inch Laggan

M:6/8

L:1/8

R:Air

S:Howe – 1000 Jigs and Reels (c. 1867)

Z:AK/Fiddler’s Companion

K:B Minor

B2B d2e|c2B c2e|B2B f2f |g>fe f2B|d2d e2e|c2c f2f|

B2A G2F|d2f edc|B2B F2F|E2E B2B|A2G F2F|d2f edc||

                       

INCH OF GARTH. AKA and see "The Rising of the Sun," “Rising Sun [2],” "The Blackthorn Stick [4]," "Clear the Road," "The Irishman's Blackthorn Stick," "The Jolly Clam-Diggers," "An Sean‑draighnean." Scottish, Reel. D Major. Standard tuning. AAB. An ‘inch’ means a level field in Gaelic. Malcolm MacDonald, who composed the tune, paired it on the same page with his “Miss Menzies of Culdar [2]” in his collection. MacDonald (A Collection of Strathspey Reels); pg. 4.

X:1

T:Inch of Garth

M:C|

L:1/8

R:Reel

S:Malcolm MacDonald – A Collection of Strathspey Reels, vol. 1  (No. 4). 

Z:AK/Fiddler’s Companion

K:D

dD D/D/D (AF)DF | E(gfe) fdBc | dD D/D/D (AF)D(F | E)DEF D/D/D D2 :|

defg afdg | ecgc dBgB | defg afdg | ecge d/d/d d2 |

defg afdg | ecgc dBgB | defg abaf | geaf d/d/d d2 ||

                       

INCH OF PERTH, THE. Scottish, Reel. A Mixolydian. Standard tuning. AABB. John Glen (1891) finds the earliest printing of the tune in Robert Bremner's 1757 collection, though it also appears in the Gillespie Manuscript of Perth (1768). The Inch of Perth is a level area (inch means level field in Gaelic) partially defined by the river Tay.  It was on the north part of this feature that a rather bizarre incident occurred around the year 1396, in the reign of King Robert III. Stories vary and details differ, but it appears that two clans from a confederation of clans, Clan Chatten, specifically the MacPhersons and the Davidsons, were in a bitter decade long dispute as to who should have the place of honor, the right flank, during Clan Chatten military engagements.  The rivalry became so acrimonious that King Robert arranged to bring the matter to a conclusion by a trial of combat with picked champions from each side contesting as a group with one another at the North Inch of Perth. Thirty men was selected from each clan to participate, although when the time came the MacPhersons were one man short, due to the cowardice or prudence of one of its members.  The Davidsons were asked to reduce their numbers by one, but none of them could be induced to relinquish the honor of defending their clan in the upcoming melee. Finally, a commoner and no clan member, a huge blacksmith named Henry Wynd, agreed for a sum of money to participate in the struggle on the side of the MacPhersons, once again evening the numbers.

***

The battle commenced with the King and a gathered assemblage as witnesses (there was even a grandstand built). Swords, maces and axes were wielded skillfully by both sides, but eventually Clan MacPherson whittled away the Davidson numbers, not the least by the efforts of the hired blacksmith, Wynd. Finally, a lone Davidson was left to face a score of MacPhersons, and legend has it that rather than face certain death he jumped into the Tay to try to swim to safety on the other side—it is not known whether he survived.  The MacPhersons thus carried the day and ever after were placed in the right side of Clan Chatten engagements. Wynd, who survived almost unscathed, was adopted by the MacPherson clan as one of their own. Today the North Inch of Perth is the location of a public park.  Bremner (Scots Reels), 1757; pg. 69.

X:1

T:Insh of Perth (sic)

M:C

L:1/8

R:Reel

S:Bremner – Scots Reels (1757)

Z:AK/Fiddler’s Companion

K:A Mixolydian.

f | eaca e/e/e g2 | dgBg d/d/d “tr”f2 | dgcg e/e/e “tr”(fe) | dfec A/A/A A :|

|: f | ecAc e/e/e f2 | d/c/B/A/ GB d/d/d “tr”f2 | ecAc e/e/e “tr”(fe) | dfec A/A/A A2 :|

                                   

INCHINDOWN JIG, THE. Scottish, Jir. G Major. Standard tuning. AABB. Composed by David A. Gordon. Martin (Ceol na Fidhle), vol. 3, 1988; pg. 16.

                       

INCHMAGRANACHAN. Scottish, Strathspey. G Minor. Standard tuning. AAB. The tune appears in a collection by James MacIntosh of Dunkeld called A Collection of Reels, Strathspeys, etc. (1930).

X:1

T:Inchmagranachan

C:James MacIntosh, Dunkeld

B:A Collection of Reels, Strathspeys, etc (1930)

Z:Nigel Gatherer

R:Strathspey

M:4/4

L:1/8

K:Gm

D|G<G B>d g>agd|f>gfc A<FF>A|G<G B>d g>bag|f>dc>A B<GG:|]

d|g>agd g>agd|f>dc>B A<FF>d|g>agd g>bag|f>dc>A B<GG>d|

g>agd g/^f/g/a/ ba/g/|fadf A<FF>A|(3BAG (3AG^F (3GBd (3gab|\

(3fdc (3cBA BGG|]

                       

INCLE AND YARICO. See “Inkle and Yarico.”

                       


INDEED! THEN YOU SHAN'T/WON'T (Maisead Ni M-Beid Tu). AKA and see "Where Did You Lave Your Britchisheen, Jack?" "No You Don't." Irish; Slide, March or Jig. G Major (Cole, O’Neill): A Major (Levey). Standard tuning. AABB. Bayard (1981) traced the tune back to the traditional use in the West of England from the years 1800‑1925 and states that it seems it first appears in print in Baring‑Gould's Garland Of Country Song (pg. 88). New York researcher, musician and writer Don Meade notes that a lilted version was recorded in the 78 RPM era by Frank Quinn, a singer, button accordion player and fiddler from County Longford. Cole (1000 Fiddle Tunes), 1940; pg. 79. Levey (Dance Music of Ireland, 2nd Collection), 1873; No. 26, pg. 11 (appears as “Indeed and You Shant”). O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 1818, pg. 341. Ryan’s Mammoth Collection, 1883; pg. 111. White's Unique Collection, No. 37 (appears as "No You Don't").

X:1

T:Indeed! Then You Won’t

M:6/8

L:1/8

R:Jig

S:O’Neill – Music of Ireland (1903), No. 1818

Z:AK/Fiddler’s Companion

K:G

d | gfe d2B | cBA BAG | Gfe d2B | cAF G2d |

gfe d2B | cBA GBd | gbg d2B | cAF G2 :|

|: G | FGA A2d | cAd cAG | FGA A2d | cAF G2G |

FGA A2d | cAd cAG | gbg d2B | cAF G2 :|

X:2

T:Indeed and You Shant

M:6/8

L:1/8

R:Jig

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

Z:AK/Fiddler’s Companion

K:A

(Aaa) e2c | (eBB) (cAA) | (Aaa) (e2c) | dBG A3 :: GBB B2c |

(dBB) (cAA) | GBB (B2c) | dBG A3 :|

                       

INDEPENDENCE TRAIL. Scottish, Slide (12/8 time). G Major. Standard tuning. AAB. Composed by Scottish fiddler Alasdair Fraser. The tune is paired with his "Galen's Arrival." Culburnie 106D, Alasdair Fraser - "Dawn Dance" (1995). Culburnie CUL110, Abby Newton – “Crossing to Scotland” (1997).

X:1

T:Independence Trail

M:12/8

L:1/8

C:Alasdair Fraser

K:G

DEF | "G"G3 GAB "C(Am)"c3‑c2B |"D"ABA "G"G2A B2A G2F |

"C"E3 e3 "G/B"d2 B G2A |"C"B3 BAG "D"A2B c2d |

"C"e3 eg2 "G/B"f2e def |"Em"g3 "D"f2d "C"e6 |

"G"B"d3 dcB "Am"c3 B2c |"G"d2B G2D "C"Ec2 c2B |"D"ABA G2F "G"G3 :|

GBd | "Em"g3 "D"f2d "C"e6 |"D"d3 eg2 "Em"B3 "D"A2G |

"C"EG2 G2F "G/B"G3 G2E |"G"DG2 GAB "D"A3 ABd |"Em"g3 "D"f2d "C"e6 |

"G/B"d3 dcB "Am"c3 B2c |"G"d2B G2D "C"Ec2 c2B |"D"ABA G2F "G"G3 |]

 

INDEPENDENT HORNPIPE, THE. AKA and see “Vendome.” Irish, Hornpipe. F Major. Standard tuning. AABB. The tune appears as “The Vendome” in Ryan’s Mammoth Collection (published 1883). Source for notated version: fiddler Mrs. Brigid Kenny (Dublin, Ireland) [Darley & McCall]. Darley & McCall (Darley & McCall Collection of Traditional Irish Music), 1914; No. 2, pgs. 1‑2. McGuire & Keegan (Irish Tunes by the 100, vol. 1), 1975; No. 84, pg. 21. BMG 09026 60916-2, Chieftains – “An Irish Evening” (1992). Folktrax FTX 371, Jimmy Hogan & Jimmy Dorrian – “The Bee’s Wing” (originally recorded 1956). RCA 5798-2-RC "James Galway and the Chieftains in Ireland" (1986). Topic TSCD471, Leo Rowsome – “Classics of Irish Piping” (originally recorded in 1948).

X:1

T:The Independent Hornpipe

R:Hornpipe

M:C|

L:1/8

K:G

Bc|dgfa (3gab gd|(3efg dc (3Bcd BG|FGAB cedc|Bcde d2Bc|

dgfa (3gab gd|(3efg dc (3Bcd BG|Fedc BAGF|G2A2G2:|

|:AB|(3cdc (3BAG (3FAc (3edc|(3BAB (3Bdg (3bag (3fed|

(3cdc (3BAG (3FAc (3edc|(3Bdg (3bdg (3bag (3fed|

(3e^de (3gfg (3c'ba (3gfe|(3BAB (3Bdg (3bag (3fed|

(3ced (3cBA (3fed (3cBA|(3GBd (3gdB G2:|

 

INDERNYTIE'S RANT. Scottish, Rant. John Glen (1891) finds the earliest printing of the tune in Neil Stewart's 1761 collection (pg. 28).

 

INDIA WAR, THE. English, Jig. D Major. Standard tuning. AABB. A modern composition by editor Michael Raven. Raven (English Country Dance Tunes), 1984; pg. 197.

 

INDIAN, THE. AKA and see “Quadrille Indien,” “Reel des Skieurs.”

                       

INDIAN AND THE WOODHEN. Old-Time, Breakdown. USA, Kentucky. G Major. Standard tuning. ABB’. Campbell sang this ditty to the melody:

***

The Indian and the woodhen, around and around;

The Indian hit the woodhen, flat against the ground.

***

No relation to the similarly titled “Indian Ate the Woodchuck.” Source for notated version: Manon Campbell {1890-1987} (Hallie, Letcher County, Ky., 1978) [Titon]. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 67, pg. 96.

                       

INDIAN ATE/EAT THE WOODCHUCK. Old‑Time, Breakdown. USA; Arkansas, Kentucky, Tennessee. C Major. Standard tuning. AAAA'BB (Phillips): AABCC (Titon). Jeff Titon (2001) gives its provenance as eastern Kentucky and explains the confusion of titles between the substitution of ‘eat’ and ‘ate’ and ‘woodchuck’, ‘woodpecker’, ‘woodcock’ and ‘woodhen’. The melody was in the repertoire of Kentucky fiddlers John Salyer (1882-1952), Estill Bingham (1899-1990), Owen “Snake” Chapman, and bluegrass fiddler Kenny Baker (who called it “Indian Killed a Woodcock”). Baker’s tune is similar to the tune J.P. Fraley of Rush, Kentucky, plays idiosyncratically called, “Sail Away Ladies [2]” (not the tune usually known by that title, and one he obtained from Ed Haley (1883-1951), who did call it by the “Indian” title). Titon seems to think that the Baker/Fraley tune is distanced from the Haley and Salyer versions, however, and he points out that “Indian Ate the Woodchuck” (and variants) is something of a floating title, noting the similarity, for example to the unrelated “Indian and the Woodhen.” Salyer’s version is a two-part one that is not as “busy” or ‘notey’ as Haley’s tune. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. African-American fiddler Frank Patterson recorded the tune under the title “Indian and the Woodchuck” for the Library of Congress around 1942. Sources for notated versions: John Salyer (Salyersville, Magoffin County, Ky.) [Phillips]; Ed Haley (Ashland, Boyd County, Ky.) [Titon]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 69. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 68, pg. 97. Berea College Appalachian Center AC003, “John M. Salyer: Home Recordings 1941-1942, vol. 2” (1993). Rounder 1131/1132, Ed Haley – “Forked Deer” (1997).

X:1

T:Indian Ate the Woodchuck

M:4/4
L:1/8

S:Bruce Molsky

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:D

(fa[Aa)](b af)[Dd]e|(fa)[Ab]a (ba)fe|(fa[Aa)](b af)[Dd]f|

e(df)d (ef)de|(faa)(b af)de|(fa)ba (ba)fe|(faa)(b af)df|1 e(d[Dd]A) d2[D2d2]:|2

e((dd)A) d2 (fe)||[(Dd]B)[DA]F (DE)FA|(Bd)(ef) ~e2d2|(Bd)AF (EF)A2|

(Bc)de f(d[Dd]e)|(dB)[DA]F (DE)FA|(Bd)(ef) e2d2|(Bd)AF (EF)A2 |

(Bc)de f(d [D2d2)]||B2 Bc (BA)(FE|F)(AA)B (AF)D2|{F/G/}A2 AB AF A2 |

(de)fd (ef)dA|B2 Bc (BA)(FE|F)(AA)B (AF)DF|A3A defd|e(d[Dd]A) [D2d2]d2||

X:2

T:Indian Ate a Woodchuck

R:Reel

M:C|

L:1/8

N:From Greg Canote

Z:Transcribed by Bruce Thomson

K:C

|:eceg a2g2|ed2d [d3g4]|eceg a2 ag|eged [c4e4]|

egeg a2g2|ed2d [d4g4]|a4 abag|1 edcB [E4c4]:|2 edcB [E2c2]cA|]

|:GFED CDEG|A2dc d2cA|GFED CDEG|A2B2c2 eA|

GFED CDEG|A2 dc d2cA|GFED CDEG|1 AcBd c2 cA:|2 AcBd [E4c4]||

                       


INDIAN CREEK. Old‑Time, Breakdown. USA, Tenn. G Major. Standard tuning. AABBCCDECC. "Originated with the Stringer Brothers, in Humphreys County (Tenn.) about 1920. The Stringers learned it from another West Tennessee fiddler who called it 'Band Piece' because he got it off an old phonograph recording of it played by a brass band. The Stringers modified it. Arthur (Smith) modified it still more and named it 'Indian Creek' in honor of the road the Stringers lived on near McEwen (Tenn.)" {Charles Wolfe and Barry Poss}. Source for notated version: Arthur Smith (Tenn.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 117. Bluebird 7511‑A (78 RPM), Arthur Smith (1937). County 547, "Fiddlin' Arthur Smith and His Dixieliners, vol. 2" (1978).

                       

INDIAN EAT THE WOODPECKER. Old‑Time, Breakdown. USA, Mississippi. C Major/Minor. Standard tuning. AA'AA'BB. While this melody has not been printed, the coarse part is similar to Arizona fiddler Kenneth Kartchner's "Tom Wagner" (though removed from most modern Eck Robertson influenced "Texas Wagoner" versions ), and the fine part recalls "Billy in the Lowground". Gis Meade (2002) links a tune by this title to the “Dubuque” family of tunes. Mississippi Department of Archives and History AH‑002, Stephen B. Tucker ‑ "Great Big Yam Potatoes: Anglo‑American Fiddle Music from Mississippi" (1985).

                       

INDIAN FANCY. American, Breakdown? USA, Ohio. Edison 51548 (78 RPM), John Baltzell (appears as 2nd tune of "Drunken Sailor Medley") {Blatzell was a native of Mt. Vernon, Ohio, the home town of minstrel Dan Emmett (d. 1904). Emmett returned to the town in 1888, poor, and later taught Baltzell to play the fiddle}.

                       

INDIAN GIRL. AKA and see "Indian Squaw." Old-Time, Breakdown. A version of Ed Hayley's "Indian Squaw." Carryon Records 007, The Renegades - "I Need to Find."

                       

INDIAN HOECAKE DONE. Old‑Time, Fiddle Tune. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

                       

INDIAN HOEDOWN. Old‑Time. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

                       

INDIAN HORNPIPE. American, Hornpipe. B Flat Major. Standard tuning. AABB. Related to "St. Joe Hornpipe."  Source for notated version: Ron West [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 202.

 

INDIAN KILLED A WOODCOCK. Old-Time, Breakdown. G Major. Standard tuning. AA'BB'. Source for notated version: Kenny Baker [Phillips]. Phillips (Traditional American Fiddle Tunes), 1994; pg. 118. County 2705, Kenny Baker - "Master Fiddler."

 

INDIAN LADDER JIG.  American, Jig. D Major. Standard tuning. AA’B. Composed by contemporary American contra-dance fiddler George Wilson (Wynanskill, New York), named for the Indian Ladder trail at Thatcher State Park, near Albany (Miller, 2004). Miller (Fiddler’s Throne), 2004; No. 61, pg. 47. GW-01, George Wilson – “The Royal Circus—A Menagerie of Northern Fiddle Tunes” (2000)

 


INDIAN NATION [1]. Old-Time, Breakdown. A Major. Standard tuning. AABB. The melody is similar to "Paddy on the Turnpike." Source for notated version: Owen “Snake” Chapman [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 118. Augusta Heritage Records AHR 017, “The Diller Collection, Vol. 1, Old Time Music of Pocahontas County: The Fiddling of Burl Hammons.” June Appal 0067, Roan Mountain Hilltoppers - "Seedtime on the Cumberland" (1992). Marimac 9038, Dan Gellert & Brad Leftwich - "A Moment in Time." Rounder CD 0397, Scott Nygaard - "Dreamer's Waltz" (1996). Rounder CD 0371, Mac Bendord and the Woodshed All-Stars - “Willow” (1996. Learned from Walt Koken, who had it from West Virginia’s Hammons Family). Rounder 1131, Ed Haley – “Ed Haley, Vol. 1; Forked Deer.” Owen “Snake” Chapman – “Walnut Gap.”

 

INDIAN NATION [2]. Old-Time, Breakdown. G Major. GDad tuning. AA'BB'. A vague resemblance in the 'A' part to version #1. Source for notated version: Bruce Molsky [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 118.

 

INDIAN ON A SEE SAW. AKA and see "Hell Among the Moonshiners."

 

INDIAN ON A STUMP. AKA and see "Sauvage su' l' Chicot."

 

INDIAN ON THE ROCK. AKA and see “The Bangor Reel,” “Bridie Morley’s,” “Cronin’s (Reel) [2]," “Junior Crehan’s (Favorite),” “The Knotted Chord [1].”

                       

INDIAN POINT. American, Jig. E Minor. Standard tuning. AA’BB. Composed by New England contra-dance fiddler and caller Rich Mohr.

X:1

T:Indian Point

R:Jig

C:Rick Mohr

L:1/8

M:6/8

K:Em

"Em"B,EF G2A|BAG FED|"C"CEF G2A|BAG BAG| "D"FED A,2D|FEF AGF|1"Em"EFG BAG|

"B"F3 FED:|2"Em"GFE "D"FED|"Em"E3 E2|] A|"Em"Bef gfe|"C"cef gfe|"D"dfg agf|

"Em"gfe "D"fed| "Em"Bef gfe|"C"ceg a2a|"B"bag fgf|"Em"e3 "D"e2:|

                       

INDIAN POLKA.  English, Polka. From the playing of Scan Tester. See also the related “Boys of Knock,” “Louden’s Bonnie Braes,” “Lord Moira.”

 

INDIAN QUEEN [1], THE. “The New Bourree.” English, Country Dance Tune (2/2 time). D Major. Standard tuning. AABB. The melody appears in the 1695 edition of Playford’s English Dancing Master. The title is probably taken from the semi-opera The Indian Queen by John Dryden and Sir Robert Howard, music by English composer Henry Purcell, staged in 1694. It was first produced as a play in 1664, but revived and expanded with additional songs and incidental music by Purcell. It is not known if the melody Playford published was used in the opera. The title refers to one of the main characters of the play, the Aztec queen Zempoalla, and the play is set in the courts of Mexico and Peru. Barnes (English Country Dance Tunes), 1986. Johnson (The Kitchen Musician No. 14: Songs, Airs and Dances of the 18th Century), 1997; pg. 9. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 22. Raven (English Country Dance Tunes), 1984; pg. 22. Sharp (Country Dance Tunes), 1909/1994; pg. 72.

X:1

T:Indian Queen

M:2/2

L:1/8

S:Sharp – Country Dance Tunes (1909)

Z:AK/Fiddler’s Companion

K:D

fg | a2f2d2f2 | e4A4 | F2A2A2f2 | e4 e2 fg | a2f2d2f2 | e4A4 | F2A2A2f2 | d6 :|

|: cd | edcB A2e2 | f2c2d2B2 | fg a2b2 ^g2 | a6 ef | gfed c2a2 | B2g2A2 fg | e2d2e2c2 | d6 :|

 

INDIA(N) QUEEN [2].  English, Reel. D Major. Standard tuning. AA’BB’. A different tune than “Indian Queen [1].” The melody is contained in several 19th century English musicians’ manuscript collections, including those of John Clare (c. 1820, Helpston, Northants) and William Mittel (1799, New Romney, Kent). It appears as “Quickstep…Londonderry” in the music manuscript of John Miller (1799, Perth, Scotland) and as “New 12th Night” in an late 18th century anonymous manuscript from Yorkchsire. Barry Callaghan (2007) says the tune appears to be from composer James Hook’s (1746-1827) piano Concerto in D, No. 5, composed in 1770. Hook is perhaps most famous now for his melody “Lass of Richmond Hill.” Callaghan (Hardcore English), 2007; pg. 38.

                       

INDIAN REEL. AKA and see “The Indian,” "Quadrille Indien," "Reel des skieurs."

                       

INDIAN RIVER. American, Hornpipe. G Major. Standard tuning. AABB. One of the several tunes attributed to Frank Livingston in Ryan's Mammoth Collection (1883). Cole (1000 Fiddle Tunes), 1940; pg. 108. Ryan’s Mammoth Collection, 1883; pg. 145.

X:1

T:Indian River

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

(3D/E/F/ | GG/A/ G/F/E/D/ | G/F/G/A/ B/c/d/B/ | GG/A/ G/F/E/D/ | d/B/A/G/ A/G/E/F/ |

GG/A/ G/F/E/D/ | G/F/G/A/ B/c/d/B/ | c/d/e/f/ g/e/d/c/ | B/G/A/F/ G :: d/c/ |

B/d/B/G/ B/d/B/G/ c/e/c/A/ c/e/c/A/ | F/A/F/D/ F/A/F/D/ | G/D/B,/D/ G/B/d/g/ |

e/f/e/c/ c’/c/e/c/ | d/e/d/B/ b/B/d/B/ | c/d/b/a/ g/f/e/f/ | g({a}g/)f/ g :|

                       

INDIAN SHOT THE WOODCHUCK. Voyager VRCD-354, Hart & Blech – “Build Me a Boat.”

                       

INDIAN SQUAW [1]. AKA - "Indian Girl." Old‑Time, Breakdown. G Major. GDad. AB (Titon/Greene): ABC (Titon/Haley). Source Alva Greene’s version is a simplified version of Ed Haley’s “Indian Squaw,” and Greene may have learned it directly from him. There is some discrepancy: Titon believes Greene’s piece is a version of Haley’s “Indian Squaw” tune, while John Hartford and Mark Wilson independently write that it is more similar to Haley’s “Indian Nation.” This opinion may also be the result of listening to two different field recordings of Greene playing the tune—Wilson himself recorded Greene for Rounder 0376, while Titon’s version was notated from Chris Delaney’s 1973 field recording. It was a showcase piece for Haley (born in Hart’s Creek, W.Va, lived near Ashland, Ky.), who was the only fiddler to record the ‘C’ part, probably original with him. Sources for notated versions: Alva Greene (Sandy Hook, Elliot County, Ky., 1973) [Titon]; Ed Haley (Ashland, Boyd County, Ky., 1946) [Titon]. Titon (Old-Time Kentucky Fiddle Tunes), 2001; Nos. 69A & 69B, pg. 98. Rounder 0361, Bruce Molsky - “Lost Boy” (1996). Rounder 0376, Alva Greene (et al) – “Traditional Fiddle Music of Kentucky, vol. 1: Up the Ohio and Licking Rivers” (1997). Yodel-Ay-Hee 003, “Dirk Powell and John Hermann” (1992). Reed Island Rounders – “Goin’ Home” (2002).

 

INDIAN SQUAW [2]. Old-Time, Breakdown. G Major. GDad tuning. AB. Some similarities to Alva Greene’s version, although Stamper’s apparently was derived from a song. Stamper whistled to the ‘B’ part of the tune, and sang to the ‘A’ part:

***

Way down yonder on the Arkansas,

Two old Indians and one old squaw,

Sitting on the banks of the Arkansas.

***

Jeff Titon (2001) finds nearly the same lyric in a song called “The Bank of the Arkansas” printed in Lomax and Lomax’s Our Singing Country (1941, pgs. 68-69), although Titon says tune that appears with that song is the same as that of Clyde Davenport’s “Cornstalk Fiddle and a Shoestring Bow.” Source for notated version: Hiram Stamper (Hindman, Knott County, Ky., 1986) [Titon]. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 69C, pg. 99.

                       


INDIAN (WAR) WHOOP [1]. Old‑Time, Breakdown. USA; Arkansas, Mississippi. David Freeman (1975) relates that this was fiddler Hoyt Ming's (of Lee County, Mississippi) most requested tune and was a novelty piece. A drawn‑out note on the fiddle simulated the war whoop of and Indian, which was then carried on by Ming's voice. In performance Ming would put the fiddle on his lap during this vocal part, and "sometimes went so far as to actually put the fiddle in its case for added effect. Hoyt tells of an occasion when one curious spectator was so mystified by this musical sleight‑of‑hand that he grabbed the fiddle out of the case and took the instrument off to a corner  to inspect it closely, thereby bringing that evening's rendition of 'Indian War Whoop' to an abrupt end." This is confirmed by Hoyt B. Ming, Hoyt Ming’s son, who also remembered that it was the tune his father was most famous for. The younger Ming said: “My father learned this tune from a cousin, fiddler Pearl Burdine, and in the early years Dad would play the tune and mimic the fiddle as he put it back in the case. To many, it seemed the fiddle was still playing. Once a person stopped me on the street in my hometown and asked me how my dad’s fiddle continued to play while he rosined the bow. The performance would draw good applause” (Old Time Herald, Spring 2001; vol.7, No. 7, pg. 3).  Harry Smith (1952) notes that Ming's Pepsteppers' drumming of feet on the recording is a performance more common in religious music. He writes: “The effect of pre-Columbian America on contemporary music has been chiefly to act as a catalyst between European and African musical elements. It is doubtful if this recording beards much real relation to Indian music; it is, rather, romanticism akin to that of ‘Western’ movies.” The melody is frequently cited as an "Ozark tune." One “Indian War Whoop” was recorded on a 78 RPM by Monroe, north Louisiana, fiddler Hiter Colvin. County 528, Floyd (Hoyt) Ming & His Pep‑Steppers ‑ "Mississippi Breakdown: Traditional Fiddle Music of Mississippi, vol. 1." Folkways FA 2952, Floyd Ming and his Pep-Steppers - "Antholody of American Folk Music, vol. 2: Social Music" (1952). Rounder 0320, Bob Carlin & John Hartford - "The Fun of Open Discussion." Victor 21294A (78 RPM), Floyd Ming and His Pep‑Steppers" (1928).

 

INDIAN WAR WHOOP [2]. Old‑Time, Breakdown. USA, Mississippi. A Major. AEae tuning. The title is floating, as this tune has no relation to version #1. This version is close to "Dusty Miller" as played by Mississippi fiddler John A. Brown, according to Tom Rankin (1985). Mississippi Department of Archives and History AH‑002, Frank Kittrell ‑ "Great Big Yam Potatoes: Anglo‑American Fiddle Music from Mississippi" (1985).

 

INDIAN WAR WHOOP [3]. Old‑Time, Breakdown. USA, Arkansas. A tune by this title (perhaps this version) was recorded for the Library of Congress by musicologist/folklorist Vance Randolph from Ozark Mountain fiddlers in the early 1940's. Victor Vi 23815 (78 RPM), Hiter Colvin (Union County, Ark.) {1929}.

 

INDIAN WHOOP [4]?? American, Reel. The melody appears in George P. Knauff's Virginia Reels, volume IV (Baltimore, 1839).

                                   

INDIANA. American, March (2/4 time). USA, southwestern Pa. D Major. Standard tuning. AB. The Indiana, Pennsylvania, county seat name. Source of notated version: Clyde Lloyd (Cherry Tree, Indiana County, Pa., 1952) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 257, pg. 219.

                                   

INDIANA BREAKDOWN.  American, Breakdown. A Major. Standard. AA’BB’. Composed by Vermont fiddler Pete Sutherland. Sutherland (Bareface), 1984; pg. 6. Rounder 0172, Bob Carlin – “Where Did You Get that Hat?” (1982).

 

INDIANA WALTZ. Old-Time, Waltz. USA, Kentucky. D Major. Learned from the playing of Kentucky fiddler Sammie Walker, via Bruce Greene.

 

INDIANA WALTZ. American, Waltz. D Major. Standard. AABBCCDD. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 134, pg. 33.

                                               

INDIANS OVER THE HILL. Old-Time, Breakdown.

                       

INDITA, LA (The Indian Woman). American, Dance Tune. USA, New Mexico. G Dorian ('A' part) & G Major ('B' and 'C' parts). Standard. AA'BB'AA'CC'. Composed by Cleofes Ortiz (New Mexico), and based on a long tradition of "La Indita" dance tunes. Old Time Herald, August 1991, vol. 3, No. 1.

                       

INDUSTRIE, LE. English, Quadrille Set. C Major. Standard. AAB. The third part of a quadrille set, in 2/4 time. See entries for individual tunes in the set: “The Commerce,” “(Les) Beaux Arts,” “(Le) Industrie,” “(Le) Union,” and “Manchester Quadrille Part 5.” Source for notated version: a c. 1847 music manuscript by Ellis Knowles, a musician from Lancashire, England [Plain Brown]. Plain Brown Tune Book, 1997; pg. 51. 

X:1
T:Manchester Quadrille p3 Le Industrie
C:Ellis Knowles
B:Plain Brown Tune Book
M:2/4
L:1/16
Q:100

N:Posted to Tradtunes 01/01/03 by Tony Doyle
K:C
g4 ag^fe | e4 fede | c4 cdef | gag^f g2g2 | f4 gfef | d4 dcBA | G4 A2B2| c2e2c2 z2 ||!
d4 dfag | g4 c'4 | Bcde fgag | g3f e4 | d4 dfag | g4 c'4 | Bcde fgag | d4 c2  z2 ||!
e6 gf | d6 fe | c2c2 G2AB | c2c2 cBcd | e6 gf | d6 fe | c2c2 G2AB  | d4c2 z2 ||!

                       

INDY'S FAVORITE. AKA and see “The Barmaid,” “The Green Mountain [2],” “The Maid Behind the Bar [1]," “Judy’s Reel.” American, Reel. D Major. Standard. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 42. Ryan’s Mammoth Collection, 1883; pg. 70.

X:1

T:Indy’s Favorite

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

F/A/A/B/ A/F/E/D/ | F/A/A/B/ A/B/d/e/ | f/B/B/A/ B/c/d/f/ | f/B/B/A/ B/c/d/B/ |

F/A/A/B/ A/F/E/D/ | F/A/A/B/ A/B/d/e/ | f/B/B/A/ B/d/d/B/ | A/F/E/F/ Dz :|

|: g | f/g/a/g/ f/(d/{e}d) | f/d/a/d/ f/(e/{e}d) | e/f/g/a/ b/g/e/f/ | g/e/b/e/ g/e/e/g/ |

f/d/a/d/ b/d/a/d/ | d/e/f/d/ e/d/B/d/ | f/B/B/A/ B/c/d/B/ |1 A/F/E/F/ D :|2 A/F/E/F/ Dz ||

 

INFANT. English, Country Dance Tune (whole time). A Major. Standard tuning. AABB. Originally published by Charles and Samuel Thompson in their Compleat Collection, vol. 3 (London, 1773). It is one of several melodies from the Thompson’s volume 3 that were entered into the 1788 music manuscript copybook of fiddlers John and William Pitt Turner (Norwich, Conn.), and it is one of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 91.

X:1

T:Infant, The

M:C

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:A

e>fe>d c e2 f/g/|aedc BGFE|e>fe>d c e2 f/g/|adcB {B}A4::e c2 A2 F2 (d|d) B2 G2 E2 g|

aedc fdcB|ceEG A2 [A,2A2]::E>FE>D [Cc]EAc|dBF D [B,>B][C/c/] [B,2B2]|EFED [Cc]EAc|dBAG {G}A2 [A,2A2]:||

 

INFARE, THE. AKA and see "Will ye marry Kitty." Directions for a country dance (but not the music) to this tune appear in the Menzies Manuscript of 1749, contained in the Atholl Collection of the Sandeman Library, Perth.

 

INGANESS. Scottish, March. Composed by Hugh Inkster of the Orkney Islands. Greentrax CDTRAX 9009, Hugh Inkster (Orkney, Scotland) - “Scottish Tradition 9: The Fiddler and his Art” (1993). Rounder CD 7026, Theresa Morrison – “Laments and Merry Melodies from Cape Breton Island (1998). Rounder Heritage Series 1166-11592-2, Theresa Morrison (et al) – “The Art of Traditional Fiddle” (2001).

 


INGEAN AN MAINTIMEIRE. AKA and see "The Milliner's Daughter."

 

INGEAN AN MUILLEORA. AKA and see "The Miller's Daughter."

 

INGEAN DATAMUIL MIC PAIDIN. AKA and see "McFadden's Handsome Daughter."

 

INGEAN IS OIGE, AN. AKA and see "The Youngest Daughter."

 

INGEAN NI BAILIS. AKA and see "Miss Wallace."

 

INGEAN NI DUBGLAS. AKA and see "Miss Douglas."

 

INGEAN NI MIC DOMNAILL. AKA and see "Miss McDonald."

 

INGEAN NI MIC SEOIN. AKA and see "Miss Johnson('s Reel)."

 

INGEAN NI MUINEACAIN. AKA and see "Miss Monaghan."

 

INGEAN SEAGAIN UÍ CIARDA. AKA and see "John Carey's Daughter."

 

INGEAN UÍ CRAUFORD. AKA and see "Miss Crawford [1]."

 

INGEAN UÍ GEARAILT. AKA and see "Geraldine's Daughter."

 

INGHIN AN GHAOIT ON N-GLEANN. AKA and see "White's Daughter From the Glen."

 

INGIN LANGLEY A LOIS NA M-BROC. AKA and see "Langley's Daughter of Lisnabrock."

 

INGLE SIDE, THE. Scottish, Air or March (4/4 time). D Major. Standard tuning. One part. Howe (1000 Jigs and Reels), c. 1867; pg. 122.

X:1

T:Ingle Side

M:4/4

L:1/8

R:Air

S:Howe – 1000 Jigs and Reels (c. 1867)

K:D

D2 | F3E D2d2 | d3B A2FF | A3F d3F | E4 z2 z E | F3E D2d2 | {e}d3B A2 FG |

A2 F<D E2 GF | D4 z2 z A | f3e d2d2 | e>d c>B A3F | A3F d3F | E4 z2 z A |

f3d e3c | edcB A2 FG | A<F D2 E3F | D4 z2 ||

 

INGONISH JIG. Canadian, Double Jig. Canada, Cape Breton. E Minor. Standard tuning. AABB. Composed perhaps by the late Cape Breton fisherman and fiddler Mike MacDougall (d. 1980), of Ingonish Beach, Cape Breton, Nova Scotia. Dunlay & Greenberg say MacDougall may have composed it, or it may be Irish in origin. Source for notated version: Mike MacDougall (Cape Breton) [Dunlay & Reich]; Jerry Holland (learned from Mike MacDougall) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music from Cape Breton), 1996; pg. 114. Dunlay & Reich (Traditional Celtic Fiddle Music from Cape Breton), 1986; pg. 75. Boot BOS 7231, Jerry Holland - “Master Cape Breton Fiddler” (1982). PLP4‑1012, Joe Cormier‑ "The Cheticamp Connection" (1983. Appears in "Jig Medley in D"). Cape Breton's Magazine Tape, Mike MacDougall‑ "Mike MacDougall's Tape For Fr. Hector." Green Linnett GLCD 1137, Altan - "Island Angel" (1993. Learned by Ciaran Tourish from the playing of Cape Breton/Massachusetts fiddler Jerry Holland.) Wild Asparagus WA 003, Wild Asparagus - "Tone Roads" (1990).

 


INIMITABLE REEL. AKA and see "A Bunch of Chickens." “Everybody’s Fancy.” American, New England; Reel. USA; Nebraska, New Hampshire. G Major. Standard tuning (fiddle). AABB. The piece is widely disseminated due to its appearance in Ryan’s Mammoth Collection/Cole’s 1000 Fiddle Tunes, the standard source for fiddlers who read music in the mid-20th century in America. The melody is similar to the first two strains of "Kitty Sharp's Championship (Jig)." Sources for notated versions: E. Christie [Cole's]; Bob Walters (Burt County, Nebraska) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; No. 124, p. 77. Cole (1000 Fiddle Tunes), 1940; p. 36. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 115. Ryan’s Mammoth Collection, 1883; p. 62. Sweet (Fifer’s Delight), 1964/1981; p. 80. Tolman (Nelson Music Collection), 1969; p. 8.

X:1

T:Inimitable Reel

M:C|

L:1/8

R:Reel

K:G

|:G2D2E2DC|B,D GB d2 ^cd|ed cB cB AG|FG AB cD EF|

G2D2E2DC|B,D GB d2 ^cd|ed cB cB AG|FG AF G2G2:|

|:Bd re dB AG|Bd rd b2g2|Bd re dB AG|FG AB c2 BA|

Bd re dB AG|Bd rd b2g2|Bd re dB AG|FG AF G2D2:|

X:2

T:Inimitable Reel

M:2/4

L:1/16

Q:122

S:Cyril Stinnett

R:Reel

A:Missouri

N:Have heard on other fiddlers play this tune

D:as recorded by Cyril Stinnett in September '79

Z:B. Shull, trans.; R.P. LaVaque, ABCs

K:G

D(F|G2)DG (EG)DC|B,(DG)B d2^c(d|ed)^cB (=cB)AG|(FG)A(B c)AF[DA]|!

G2DG (EG)DC|B,(DG)B d2^c(d|ed)^cB (=cB)AG|1(FD)(EF) G2:|2(FD)(EF) G4|!

|:(Bd2)(e d)BGB|d2 b2 g2 d2|(B^cd)(e dB)A(B|cB)AG (FG)Ad)|!

(Bd2)(e d)BGB|d2 b2 g2 d2|(B^cd)(e dB)A(B|1c)AFA G4:|2c)AFA G2|!

 

INÍON AN FHAOIT O'N nGLEANN. AKA and see "White's Daughter from the Glen."

 

INÍON AN MHUILLEORA. AKA and see “The Miller’s Daughter.”

 

INÍON AN TOICE AGUS AN MAIRNEALACH (The Wenches Daughter and the Sailor). AKA and see "A Sailor loved a Farmer's Daughter."

 

INÍON IS ÓIGE, AN. AKA and see “The Youngest Daughter.”

 

INÍON LANGFORT. AKA and see "Miss Langford."

 

INÍON MHIC AONGHUSA [1]. AKA and see “Miss McGuinness.”

 

INÍON MHIC AONGHUSA [2]. AKA and see “Miss McGuinness.”

 

INÍON MHIC DHÓNAILL. AKA and see "Miss McDonald's Reel."

 

INÍON MHIC EOIN. AKA and see "Miss Johnson."

 

INÍON NIC DIARMADA. AKA and see "Miss MacDermott," "The Princess Royal."

 

INÍON RAMSEY. AKA and see "Miss Ramsey."

 

INÍON UÍ CHASAIDE. AKA and see “Miss Cassidy.”

 

INÍON UÍ CHOILIGH. AKA and see “Miss Cox.”

 

INÍON UÍ DHROIGHNEÁIN. AKA and see "Miss Thornton's".

 

INÍON UÍ MHUIMHNEACHÁIN. AKA and see "Miss Monaghan."

 

INIS EALGA. AKA and see "The Emerald Isle."

 

INISHEER (Inis Oírr). Air or Waltz (3/4 time). G Major. Standard tuning. The name ‘Inisheer’ is the English form of the Gaelic “Inis Oírr,” and refers to one of the Aran Islands off the west coast of Galway. This modern air is attributed to Thomas or Brendan Walsh. Mícheál Ó hAlmhain --"The Bard of Aran.” Green Linnet SIF 1079, Buttons and Bows (Sean and Manus McGuire with Jackie Daly) – “The First Month of Summer” (1987). Green Linnet, Cherish the Ladies – “Out and About.” John Sherman – “Farewell to the Creeks” (1987. From the playing of Joe and Antoinette McKenna). Gráinne Hambly – “Between the Showers.” 

X:1

T:Inisheer

T:Inis Oírr

M:3/4

L:1/8

K:G

D2|”G”B3A B<d|B4D2|”C”E3B AB|”D”D4D2|!

“G”B3A B<d|B4d2|”C”E3B “D”A/2G/2F|”G”G3:|!

|:A Bd|”C”e3f ed|”G”B4d2|”C”gf ed Bd|”Am”e4Bd|”C”e3f ed|!

|1 ”Bm”B4d2| “D” E3B A/2G/2F|”G” G3:|2B6‑|B4d2|D3B AB|G4||!

 

INISHOWEN. AKA and see "The Black Rogue [1]."

 


INJUN ET A WOODCHUCK [1]. AKA and see "Such a Gittin' Upstairs [2]" (Pa.). Old‑Time, Breakdown. USA, southwestern Pa. G Major. Standard tuning. AB. Both titles are floaters, according to Bayard (1981). It has some similarity to "The Fife Hunt" and "Whistle and I'll Come to You My Lad." I see some faint resemblences to both "Indian Killed a Woodcock" and "Indian Nation." Source for notated version: J. White (Pa., 1930's) & Losch (Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 183A‑B, pgs. 139‑140.

 

INJUN ET A WOODCHUCK [2]. AKA and see "Gilderoy [2]."

 

INJUN JOHN. Old‑Time, Breakdown. G Major. Standard tuning. AABB. Ford (Traditional Music in America), 1940; pg. 91.

X:1

T:Injun John

M:2/4

L:1/8

R:Reel

S:Ford – Traditional Music in America (1940)

Z:AK/Fiddler’s Companion

K:G

DGG>A|B/c/d/B/ G2|BB A2|E/F/G/E/ D2|DGG>A|B/c/d/B/ G2|

B/d/B/G/ A/c/A/F/|GG G2::dg d2|Bd G2|BB A2|E/F/G/E/ D2|

dg d2|Bd G2|B/d/B/G/ A/c/A/F/|GG G2:|

 

INKLE AND YARICO [1]. AKA and see "Come (Let Us) Dance and Sing," "La Belle Catharine [1].” English, Reel. C Major. Standard tuning. AABB. Inkle and Yarico is an 18th century opera that tells the story, first mentioned in Richard Ligon’s The True and Exact History of the island of Barbadoes (1657) of an Amerindian slave girl called Yarico, whom he met at Kendal Plantation. Yarico had saved the life of an English merchant who had been abandoned in her country by a shore party from his ship, following an attack by Amerindian warriors. She looked after him for some months and they fell in love. When another boat arrived he saw an opportunity to continue his journey to Barbados, and persuaded Yarico to come with him. During the voyage he had a change of heart and on arrival in Bridgetown sold her as a slave. To quote Ligon "And so poor Yarico for love, lost her liberty". Harding’s All Round Collection, 1905; No. 110, pg. 35.

 

INCLE AND YARICO [2]. AKA and see “Suckey’s Delight.” English, Jig.

                       

INMAN LINE. American, Reel. A Major. Standard. AABB. Composed by H. F. Williams. The Inman line was a highly competitive steamship transatlantic line in the the second half of the 19th century, founded originally as the Liverpool and Philadelphia Steam Ship Company in 1850. In 1878 the line made 68 voyages, landing 44, 100 passengers, more than any of its rivals. Although the line was eclipsed in the next decade by the White Star and the Cunard operations, the Inman maintained good passenger loyalty. Perhaps the earliest recording is from 1913 by violinist Charles D’Alamaine, born in 1871 in England, who died in 1943. D’Alamaine immigrated to the United States in 1888, and by 1890 had established himself as “instructor on violin” in Evanston, Illinois; by 1910 he had removed to Yonkers, and in 1920 was a chiropractor in New York City (info. from Paul Gifford). Cole (1000 Fiddle Tunes), 1940; pg. 3. Ryan’s Mammoth Collection, 1883; pg. 25.

X:1

T:Inman Line

M:2/4

L:1/8

R:Reel

S: Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:A

E | E/AB/ c/B/c/A/ | F/Bc/ d/c/d/B/ | c/e/d/c/ B/d/c/B/ | A/c/B/A/ G/B/A/F/ | E/AB/ c/B/c/A/ |

F/Bc/ d/c/d/B/ | c/aa/ a/e/c/A/ | B/d/c/B/ A :: e | ({g}a)e ({g}a)e | ({g}ae/c’/ b/e/f/g/ |

({g}a) ({g}a)e/c/ | d/f/e/d/ c/e/f/g/ | ({g}a)e ({g}a)e | ({g}a)e/c’/ b/e/f/g/ | ({g}a)e ({g}a)e/c/ | B/d/c/B/ A :|

                       

INNES OF SANDSIDES’. Scottish, Reel. Maggie’s Music MMCD222, Bonnie Rideout – “Scottish Fire” (2000).

                       

INNIS DHOMBS’ CA’L CADAL. AKA and see “Macanirish.” Scottish, Reel. A Major. Standard tuning. AABB. From the Wick Scottish Country Dance Band. The tune is also known as the strathspey “Macanirish.”

X:1
T:Innis Dhombs' Ca'l Cadal
D:Wick S.C.D., The Sound of the North (1970)
O:Scotland
Z:Nigel Gatherer
M:4/4

L:1/8
K:A
f<aa>f e>de<f|a2 a>f e>d B2|f<aa>f e>de<f|B<dd>e d>B A2:|
A<df>d e>df>d|A<df>d e>d B2|A<df>d e>df>d|A<dd>e d>B A2:|

                       

INNIS DI GO b-FUILIM. AKA and see "Tell Her I Am."

                       

INNISFAL. Scottish?, Hornpipe. G Major. Standard tuning. AABB. Hardings All Round Collection, 1905; No. 39, pg. 12.

X:1

T:Innisfal

M:2/4

L:1/8

R:Hornpipe

S:Harding’s All Round Collection (1905)

Z:AK/Fiddler’s Companion

K:G

d/B/g/f/ e/d/c/B/|c/A/a/g/ f/e/d/c/|B/d/B/d/ G/B/G/B/|A/B/c/A/ G/F/E/D/|

d/B/g/f/ e/d/c/B/|c/A/a/g/ f/e/d/c/|B/d/G/B/ c/A/G/F/|GGGz:|

|:F/A/G/B/ A/F/E/D/|F/A/G/B/ A/F/E/D/|B/d/c/e/ d/B/A/G/|B/d/c/e/ d/B/A/G/|

c/B/c/d/ e/c/B/A/|B/A/B/c/ d/e/f/g/|A/B/c/A/ G/F/E/D/|GBGz:|

                       

INNIS’S JIG. Irish, Jig. G Major. Standard. AABB. Source for notated version: copied from James Aird’s Selections of Scotch, English, Irish and Foreign Airs (1782-97) [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 134.

X:1

T:Innis's Jig (#134)

M:6/8

L:1/8

S:Aird's Selections 1782-97

Z:AK/Fiddler’s Companion

K:G

D|GAG BAG|dBG e2 g|edc BAG|EAA A2 B|

GAG BAG|dBd e2 G|gfe dec|BGG G2:|

|:d|gdB GAG|DED GAG|edc BAG|EAA "tr"A2 f|

gdB GAG|ecA FED|gfe dec|BGG G2:||

                       

INNOCENT MAID. American?, Jig. A Major. Standard tuning. AABB. From the diary of Elizabeth Bancroft (Groton, Mass.), April, 1794, which reads: "Tuesd 15 Went to the dancing school danced a number of set dances, a room full of spectators. Wed 16 Was at the dancing, a number of spectators. we danced the soldiers Joy, York Fuzilier, Innocent Maid, White Cockade, Rural Felicity, &c." (Morrison, 1976). Morrison (Twenty-Four Early American Country Dances, Cotillions & Reels, for the Year 1976), 1976; pg. 27.

                       

INSH OF PERTH. See "Inch of Perth."

                       

INSPECTOR DONALD CAMPBELL OF NESS. Scottish, Jig. A Major. Standard tuning. AABBCCDD. Composed by Peter McLeod, Jr. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 46.

           

INSPIRING HORN, THE. English, Air (6/8 time). G Major. Standard tuning. One part. The title of the song is “(Hark,) Hark the Joy Inspiring Horn,” printed in several late 18th century publications, such as Longman’s Pocket Book for the German Flute and Cahusac’s Compleat Tutor for the German Flute, both published in London in 1778. George Willig published the song around 1805 in Philadelphia, calling it a hunting song and attributing it to R. Taylor. O’Farrell (Pocket Companion, vol. IV), 1810; pg. 124.

X:1

T:Inspiring Horn, The

M:6/8

L:1/8

R:Air

S:O’Farrell – Pocket Companion, vol. IV (c. 1810)  

Z:AK/Fiddler’s Companion

K:G

G | GA>G G2A | B>cB B2d | d>ed gBd | dcB {B}A2A | B>cd d>e^c |

d2 (d/e/f/) e2 ef g | (fed) de^c | dFF F2d | (d>e)d bgd | cdc afc | B>cB gBd |

dcB {B}A2A | B>AB cBA | Gba g2e | d>Bd cBA | GGG G2 ||

                                   

INSTALLATION, THE. AKA and see “Our Pleasure.” English, Country Dance Tune (6/8 time). G Major ('A' & 'B' parts) & G Minor ('C' & 'D' parts). Standard tuning. AABBCCDD. The melody was originally printed in Charles and Samuel Thompson’s Compleat Collection, vol. 3 (London, 1773). As with numerous tunes from the Thompson’s 1773 collection, it was penned into the 1788 music manuscript copybook of fiddlers John and William Pitt Turner (Norwich, Conn.). Under the title “Our Pleasure,” it was entered in the manuscript collection of Captain George Bush (1753?-1797), a fiddler and officer in the Continental Army during the American Revolution. Barnes (English Country Dance Tunes), 1986. Cook (Again Lets Be Merry), EFDSS 1979. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 155. Topic Records TSCD550, Brass Monkey – “Flame of Fire” (2004).

X:1

T:Installation, The

M:6/8

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:G

BAB|G2d d2e|d3 cdc|B2B ABA|G2D BAB|G2d d2e|d3 gag|f2f efe|d3:|
|:d2d|ded c2B|c2A c2c|Bcd c2B|A3 d2d|e2e fga|g2G cdc|B2B ABA|G3:||

K:Gmin

BAG|d2e d2c|B2A BAG|^F2G c2B|A3 BAB|c2e d2c|B2F fed|gfe d2c|B3:|

|:dcd|e2d c2d|B2A Bcd|c2B A2G|^F3 gab|a2g ^fga|g3 dcd|edc B2A|G3:||

 

INTERNATIONAL, THE. Irish, Reel. C Major. Standard tuning. AABB. The tune was also recorded around 1968 by Sean McGuire. Green Linnett SIF1035, Brian Conway and Tony De Marco - "The Apple in Winter" (1981. Learned from Martin Wynne). Viva W103, Sean McGuire – “Irish Jigs and Reels” (c. 1960’s, a reissue of “Sean Maguire Plays,” the first recording of McGuire that Josephine Keegan accompanied on piano).

X:1

T:International, The

M:4/4

L:1/8

Q:300

R:reel

S:via Brian Conway from Andy McGann; ultimately from Sean Maguire.

Z:Transcribed by Bill Black

K:C

B, | CEEF E2 eg | fedB cBcA | GFEG A2 Gc | ecAG EA,A,B, |

CEEF E2 eg | fedB cBcA | GFEG (3ABc GE | FEDF EC C :|

A | c2 ec gceb | ad d2 eEED | CEGc AF (3FEF | EGAc ecAB |

c2 ec gceb | ad d2 eEED | CEGE FEDc | Bg (3g^fg ec c :|

 

INTO NEWCASTLE AND DOON BY THE KEY. English. England, Northumberland. Title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800.

 

INTO THE ROOM I WANT YOU.  Irish. Paul de Grae says this was the title that north Kerry fiddler Paddy O’Sullivan called “Mayo Lasses” by. Not to be confused with “Come Into the Room, I Want You,” a different tune.

                       

INTREPID, THE.  English, Jig. A Major. Standard tuning. AABB. The melody was also printed by John Johnson in his 200 Favourite Country Dances, vol. 8 (London, 1758). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 146.

X:1

T:Intrepid, The

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:A

f|ecA ABc|d2c B2A|ecA ABA|B2c d2f|ecA ABc|d2c B2A|c/d/ec B/c/dB|A2A A2:|

|:e|fdf ece|fdf ece|fga ecA|B2c d2f|efg agf|edc B2A|c/d/ec B/c/dB|A2A A2:||

                       


INVASION, THE. AKA ‑ "The Invitation." English, Reel. D Major. Standard tuning. AABB. Appears as "The Invation," "The Invatation" (sic) in Vickers' original MS." (Seattle). The melody first appeared in London publisher Charles and Samuel Thompson’s 1765 country dance collection as “The Invitation.” Seattle (William Vickers), 1987, Part 3; No. 509. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 72.

X:1

T:Invitation, The

M:2/4

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:D

A|D>AF>A E/E/ Ed|D>AF>A|D>AF>d|D>AF>A|E/E/E EA|BGAF|d/d/d d:|

|:(B/c/)|dAFD|E/E/E Ec|dAFD|dAFD|G>BA>F|E/E/E Ed|e>gf>e|d/d/d d:||

 

INVER LASSES. Scottish, Reel. A Major. Standard tuning. AAB. Hunter (Fiddle Music of Scotland), 1988; No. 238. Stewart-Robertson (The Athole Collection), 1884; pg. 18. “Fiddlers Three Plus Two.” Ron Gonella – “A Tribute to Nile Gow.”

X:1

T:Inver Lasses

M:C|

L:1/8

S:Reel

B:Stewart-Robertson – The Athole Collection (1884)

Z:AK/Fiddler’s Companion

K:A

f | e2cA d2fd | e2cA dBB>a | e2cA d2fd | edcB c>AA :| g |a2ec d2fd | a2ec fBBg |

a2ec d2fd | edcB cAAg | a2ec d2fd | a2 ec fBBg | afec defa | edcB cAA ||

 

INVER RACES, THE. AKA and see “The Fantastic Reel.” Irish. Source for notated version: fiddler John Doherty (County Donegal) [Feldman & O’Doherty]. Feldman & O’Doherty (The Northern Fiddler).

 

INVERARA RANT.  AKA and see “George Carnegie’s Strathspey,” “I Wish You Wou’d Marry Me Now,” “Lady Warkworth’s Reel [1],” “Marry Me Now,” “The Proposal [2],” and “Morpeth Lasses.”

 

INVERARA REEL. Scottish, Reel. The tune appears in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), 1734, inscribed "A Collection of the best Highland Reels written by David Young, W.M. & Accomptant."

 

INVERARY. Scottish, Strathspey. D Major. Standard tuning. AABB. Composition credited to Carl Volti by Kerr. Kerr (Merry Melodies), vol. 3; No. 29, pg. 6.

X:1

T:Inverary

M:C

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 3, No. 29

Z:AK/Fiddler’s Companion

K:D

A<d d>e f>ed>B|A<d d>f e>d e<f|A<d d>e f>ed>A|B<d A>G (F<D) D>f:|

|:a>fd>A B<d A<F|a>fd>A (B<e) e2|a>fd>A B<d A<F|B<d A>G (F<D) D>f:|

 

INVERARY CASTLE (Caisteal Inbher-aora). Scottish, Strathspey. E Minor (Skye): F Sharp Minor (Fraser, Skinner). Standard tuning. AB. Inverary Castle is the seat of the Dukes of Argyll. In his notes for the tune Captain Simon Fraser states: "Inverary Castle, and Argyllshire in general, is a part of the country the editor has not much frequented; but this air celebrates the splendour of that edifice, and the magnificence, tempered with benevolence and condescension, therein supported by the late Duke.” Composition of the melody was attributed to Fraser in Lowe's collections, though Fraser himself never indicated this was so in his writings. Inverary Castle originally dated around 1520, although a ‘new castle’ was built alongside it by Morris and Mylne, who drew up plans in the early 1700’s. It was completed in 1770 and the old castle torn down. It was the 5th Duke, who when Marquis of Lorne, modernized it and completed its decoration. Today it ranks as a spectacular early example of neo-gothic building in Britain. Castle Inverary is said to be haunted by a ghostly harper, the murdered victim of the troops of the Duke of Montrose in pursuit of Campbell enemies. Like the Irish banshee, this dark-tartaned ghost appears most often to women visitors, often in the Blue Room of the castle, and his music sometimes presages the death of one of the Dukes or Argyll or sounds on the occasion of their funerals (Sanger & Kinnaird, Tree of Strings, 1992). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 32, pg. 11. Henderson (Flowers of Scottish Melody), 1935. MacDonald (The Skye Collection), 1887; pg. 75. Skinner (Harp and Claymore), 1904; pg. 102. Rounder 82161-7032-2, Bill Lamey – “From Cape Breton to Boston and Back: Classic House Sessions of Traditional Cape Breton Music 1956-1977” (2000).

See also listing at:

Alan Snyder’s Cape Breton Fiddle Recording Index

X:1

T:Inveraray Castle

T:Caisteal Inbher-aora

M:C

L:1/8

R:Strathspey

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:F#m

C<F ~F2 C>F A<F|C<FF<G A<B c2|C<F F2 C>F A<F|E>C A,<B, C>E E>^D|

C>F ~F2 C>F A<F|C<FF<G A<B c2|C<F F2 C>F A<F|E>CA,>B, C<E E2||

c/B/|A>B c<a f>cc>B|A>Bc>f c>f f2|A>Bc>f A<fc<f|e>B G<E G<B B2|

A>B c/f/c A/f/A c/f/c|A>Bc>f a/g/f/^e/ f>g|a>cB>A G>FE>D|C>A,E>A, C>E E2||

X:2

T:Inverary Castle

S:MS from 1850s

Z:Nigel Gatherer

M:4/4

L:1/8

K:Emin

B,>E E2 B,>EG<E|B,<EE<F G<A B2|B,>E E2 B,>EG<E|D>B,G,>A, B,>DD>^C|

B,>E E2 B,>EG<E|B,<EE<F G<A B2|B,>E E2 B,>EG<E|D>B,G,>A, B,>D D2|]

B/A/|G>AB<g e>BB>A|G>AB>d Be e2|G>AB<e d<eB<e|d>AF<D F<A A2|

G>A B/e/B B/g/B B/e/B|G>AB>e g/f/e/^d/ e>f|g>BA>G F>ED>C|\

B,>G,D>G, B,>D D2|]

 

INVERARAY CROSS. Scottish, Reel. D Major. Standard tuning. AA'B. Composed by Carl Volti, born Archibald Milligan in Glasgow in 1849. Volti, a fiddler, composed many tunes found in the Kerr’s collections and also published several tutors, albums of popular songs, national overtures, etc. (Nigel Gatherer). Kerr (Merry Melodies), vol. 3; No. 30, pg. 6.

X:1

T:Inverary Cross

M:C
L:1/8

R:Reel

S:Kerr – Merry Melodies, vol. 3, No. 30  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

A2|:d2 fd B2dB|ABAG (FD)D2|FGAB cdef|1 eBBd c2A2:|2egec d2A2||

defg a2 (fd)|egec d2A2|defg a2 (fd)|gfed cBAG|FGAB cdef|egec d2||

 

INVERARY MARCH. Scottish, March (4/4 time). G Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 414, pg. 46.

X:1

T:Inverary March

M:C

L:1/8

R:March

S:Kerr – Merry Melodies, vol. 3, No. 414 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

G>A|B2 B>B B2 G>B|d2 d>d d2e2|dBcA GdGB|A2 A>B A2 G>A|B2B>B B2 G>B|

d2 d>d d2e2|dBAc GdcA|G2 G>G G2::(G/A/B/c/)|d2 d>d dBAB|G2G>G G2d2|

gfed BdGB|A2 A>B A2 G>A|B2B>B B2 G>B|d2 d>d d2e2|dBAc BdcA|G2 G>G G2:|

 

INVERCAULLD'S/INVERCAULD'S REEL. AKA and see "O Tibby I hae seen the day." Scottish, Strathspey. D Major. Standard tuning. AAB. Invercauld House, a baronial mansion in Royal Deeside, Aberdeenshire, built on the site of an older castle, is the seat of Clan Farquharson. Musically, the tune is pentatonic or hexatonic, except for grace notes. There is a well-known strathspey dance by the name Invercauld’s Reel, and the title of both dance and tune remains, despite the fact that it is a strathspey. John Glen (1891) finds two tunes by the name "Invercauld's Strathspey" first published in one of Edinburgh music publisher Neil Stewart's collections of the later 18th century (c. 1761). The title also appears in the Drummond Castle Manuscript, 1734, inscribed "A Collection of the best Highland Reels written by David Young, W.M. & Accomptant". Glen also finds the earliest printing of this tune in Bremner's 1768 2nd collection (pg. 107), and it also appears in the Gillespie Manuscript of Perth (1768).  Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 38, pgs. 60‑61.

X:1

T:Invercauld's Reel

S:Petrie's Second Collection of Strathspey Reels and Country Dances &c.

Z:Steve Wyrick <sjwyrick'at'astound'dot'net>, 6/11/04

N:Petrie's Second Collection, page 24

% Gore's Index gives earliest publication as John Hamilton's

% "A Choice Coll of Scots Reels, or C.C. & Str."  N.D., Petrie's may be older

L:1/8

M:C

R:Reel

K:G

B|D/D/D (EG) AGEG| D/D/D EG c3e |dBgB AGEG|D/D/D EG A3::B|

cABG AGEG|(TcBcd) efge|dgBg AGEG|D/D/D EG A3:|

 


INVERCAULD [1]. Scottish, Strathspey. A Mixolydian. Standard tuning. AABB. The tune probably appears first printed in Neil Stewart's 1761 collection (pg. 31), according to John Glen (1891). Kerr (Merry Melodies), vol. 2; No. 63, pg. 9. McGlashan (Collection of Strathspey Reels), c. 1780/81; pg. 26 (appears as “Invercald’s Rant”). Stewart-Robertson (The Athole Collection), 1884; pg. 53. Beltona 78 RPM 2446, Jimmy Shand.

X:1

T:Invercauld

M:C|

L:1/8

R:Strathspey

B:Stewart-Robertson – The Athole Collection  (1884)

Z:AK/Fiddler’s Companion

K:Aminor

D/D/D E>G A>GE>G|D/D/D E>G c3e|d<B g>B A>GE>G|D/D/D E>G A2A:|

|:B|c>AB>G A>GE>G|c>Bc>d e>^fg>e|d>Bg>B A>GE>G|D/D/D E>G A2A:|

 

INVERCAULD [2]. Scottish, March (2/4 time). D Major. Standard tuning. AABB’. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 32.

                       

INVERCALLD'S STRATHSPEY. AKA and see "Invercaulld's Reel."

                       

INVERCAULD'S SCOTTISH MEASURE. Scottish, Scottish Measure. The melody appears in the McGalshan Collection of Scots Measures of the late 18th century.

           

INVERESK HOUSE. Scottish, March (2/4 time). D Major. Standard tuning. AABB’CCDD’. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 42.

                                   

INVEREY'S RANT. Scottish, Rant. A Mixolydian. Standard tuning. AAB. Inverey is a hamlet in Crathie Parish, Aberdeenshire, situated south of the River Dee and stradling the Ey Burn near the confluence with the larger stream. It is also the location of Inverey Castle (seat of the Earls of Mar) and the baronial manor of Invercauld House, seat of Clan Farquharson. Perhaps her most famous son was “The Black Colonel”, John Farquharson of Inverery, who fought in the battles of Bothwell Bridge and Killiecrankie, and who was outlawed for the murder of a Ballater laird (c.f. the song “The Ballater”). The love of his life was Annie Ban, Fair Haired Annie, who predeceased him. Before he too passed on, he instructed that he be buried at Inveray beside Annie, but instead he was buried at Braemar. The next morning his coffin was found on the ground outside of his grave, and it was reburied. This happened two more times, until the coffin was removed to Inverary for re-buriel, according to his wishes, upon which the inexplicable incidents ceased. John Glen (1891) finds the earliest printing of this tune in Daniel Dow's Thirty Seven New Reels and Strathspeys (Edinburgh, c. 1775, pg. 22). Glen (The Glen Collection of Scottish Dance Music), nol. 1, 1891; ppg. 2. S. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 29. MacDonald (The Skye Collection), 1887; pg. 33.

X:1

T:Inverey’s Rant

M:C|

L:1/8

R:Reel

S:Glen Collection, vol. 1  (1891)

Z:AK/Fiddler’s Companion

K:A

B|A/A/A e>d c>(BA=c)|B>=gd>g B>AGB|A/4A/4<A e>d c>de(=g|f>d)B>e c>A [CA]:|

=g|f>ae>f c>de(=g|f>d)=gd B>cd>g|f>ae>f c>de>(=g|f>d)Be c>AA>=g|

f>ae>f c>de>(=g| f>d)=gd B>cd>e|c>de>a g>ae>(=g|f>d)Be c>A [CA]||

                       

INVEREY'S STRATHSPEY.  Scottish, Strathspey. A Major. Standard tuning. AAB. Composed by Kirkmichael, Perthshire, fiddler Robert Petrie, who also composed other tunes in honor of Clan Faruqharson (e.g. “Miss Farquharson of Invercauld’s Strathspey”). Petrie (Collection of Strathspey Reels and Country Dances), 1790; pg. 21.

X:1

T:Invereys Strathspey

C:Robert Petrie

S:Petrie's Collection of Strathspey Reels and Country Dances &c., 1790

Z:Steve Wyrick <sjwyrick'at'astound'dot'net>, 3/20/04

N:Petrie's First Collection, page 21

L:1/8

M:C

R:Strathspey

K:A

A | A,AAc/d/ e<Ac>A | B,(BB>c) d/c/B/A/ F2 | A,AAc/d/ e<Ac>a | f2 e/d/c/B/ cAA  :|

c/d/ | eaca eacA | dfce fBBc/d/ | eaca dacA | dB e/f/e/d/ cAAc/d/ | eaca dacA |

de/f/{f}e>c fBBc/B/ |A<Ec<A d>fe>g | a<fTe>d cAA |]

 

INVERNESS GATHERING, THE. AKA and see "Culloden Day." Scottish, March (4/4 time). A Mixolydian. Standard tuning. AABB (Martin): AABC (Kerr): AABBCC (Martin): AABBCCDD (Perlman, Skye). A pipe tune from the Inverness Collection. See also the County Donegal variant "The March of the  Meenatoitin Bull." The name Inverness means ‘mouth of the river Ness’. Ness was the name of a legendary Irish queen, mother of Conchubar, who is supposed to have ruled in Ulster at the time of Christ (though the river name may be older).

***

Archie Barnie, an albino performer from Inverness in the mid-19th century.

***

Source for notated version: Reg Banks (b. 1923, Poplar Point, Central Kings County, Prince Edward Island) [Perlman]. Kerr (Merry Melodies), vol. 1; No. 3, pg. 47. MacDonald (The Skye Collection), 1887; pg. 178. Martin (Ceol na Fidhle), vol. 1, 1991; pg. 35. Martin (Traditional Scottish Fiddling), 2004; pg. 18. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 93. Greentrax CDTRAX 9009, Donald MacDonell (1888-1967) - “Scottish Tradition 9: The Fiddler and his Art” (1993). Topic 12T280, J. Scott Skinner “The Starthspey King.”

X:1

T:Inverness Gathering, The

M:C

L:1/8

R:March

S:MacDonald – The Skye Collection (1887)

Z:AK/Fiddler’s Companion

K:A

e>c|d>cB>c A>Bc>A|a2e2e2 (3def|=g2 BA =G2 (3BAG|=g2 d2 d2 e>c|

d>cB>c A>Bc>A|a2e2e2a2|=g>ed>B =G>Bd>B|e2A2A2:|

|:(3efg|a>(ec>)(e a>)(ec>)(e|a2)e2e2f2|=g>ag>f g>ag>e|d>=cB>A =G>AB>A|

(3cBA aA (3cBA aA|a2e2e2a2|=g(>ed>)(B =G>)(Bd>)(B|e2)A2A2:|

|:e>c|d>cB>c A>Bc>A|a2e2e2 (3def|=g2 BA =G2 (3BAG|=g2 d2d2 e>c|

d>cB>c A>Bc>A|a2e2e2a2|=g>(ed>)(B =G>)(Bd>)(B|e2)A2A2:|

|:c>B|(3AAA a2 a/g/e/g/ a2|(3AAA a>^g e2 d=g|(3=GGG =g2 g/e/d/e/ g2|

(3=GGG =ge d2 BG|(3AAA a2 a/g/e/g/ a2|(3AAA a>g e2 d>(=g|e>)(dB>)(d =G>)(Bd>)B|e2A2A2:|

 

INVERNESS JIG [1]. Scottish, Canadian; Jig. Canada; Cape Breton, Prince Edward Island. D Major. Standard tuning. AA'BB'. Composed by J.D. Kennedy. The name Inverness means ‘mouth of the river Ness’. Ness was the name of a legendary Irish queen, mother of Conchubar, who is supposed to have ruled in Ulster at the time of Christ (though the river name may be older). Source for notated version: Stephen Toole (1927-1995, Green Road, Queen’s County, Prince Edward Island) [Perlman]. Little (Scottish and Cape Breton Fiddle Music in New Hampshire), 1984; pgs. 16‑17. MacQuarrie Collection. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 134.

 

INVERNESS JIG [2], THE. AKA and see “MacGregor Jig,” “March of Donald Lord of the Isles to the Battle of Harlaw (1411),” “O’Reilly’s Jig,” “The Rover’s Return,” “The Victor’s Return.” Canadian, Jig. Canada, Cape Breton. ACC-49398, Brenda Stubbert - “House Sessions” (1992). RC2000, George Wilson – “Royal Circus” (2000).

 


INVERNESS LASSES (Caileagan a'Bhaile Mhor). Scottish, Canadian; Reel. Canada, Cape Breton. F Major. Standard tuning. ABB' (Fraser): AABB (Reiner & Anick): AABB' (Athole). "The editor trusts the young ladies of the northern capital will not spurn at being comprehended in this familiar epthet. His respect for them is no less than if he had paid them the well merited compliment of am author of celebrity, for their beauty and accomplishments. Vide Terraquea, of Modern Geography, by the Reverend J. Gordon, Ireland" (Fraser). The end of the 'A' part features a circle of 5ths chord progression. Paul Stewart Cranford (1995) suggests that Simon Fraser may have composed this particular tune, or at least many more than he claimed in his collection, due to the expectation that the Highland Society of Scotland may have expected a high percentage of ‘traditional’ pieces for the work to be endorsed. The name Inverness means ‘mouth of the river Ness’. Ness was the name of a legendary Irish queen, mother of Conchubar, who is supposed to have ruled in Ulster at the time of Christ (though the river name may be older). Cranford (Jerry Holland’s), 1995; No. 154, pg. 44. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 132, pg. 53. Reiner & Anick (Old Time Fiddling Across America), 1989; pg. 56. Stewart-Robertson (The Athole Collection), 1884; pg. 221. Rounder 7003, John Campbell ‑ "Cape Breton Violin Music" (1975). Jerry Holland – “Crystal Clear” (2000).

X:1

T:Inverness Lasses

L:1/8

M:C|

R:Reel

Z:AK/Fiddler’s Companion

B:Stewart-Robertson – The Athole Collection  (1884)

K:F

fdcB AB ~c2|fdcB ABca|fdcB AB ~c2|BAGF ECEG|fdcB AB ~c2|

fdcB Abca|fedf cfAc|BAGF ECEG||FEFd cF A2|FEFd cFAd|1

FEFd cF A2|BAGF ECEG:|2 fedb caAc|BAGF ECEG||

                       

INVERNESS SCOTS MEASURE, THE. Scottish, Scots Measure (cut time). D Major. Standard tuning. AABBCCDD. Aird (Selections), vol. II, 1782; No. 94, pg. 35.

X:1

T:Inverness Scots Measure, The

M:C|

L:1/8

S:Aird, Vol. II (1782)

Z:AK/Fiddler’s Companion

K:D

FE | D3F (ED)(EF) | B2E2E2 FE | D3F (ED)(EF) | (AFED) d3e |

fedf edBe | dBdF E3F | DEFG AFdA | {G}F2 ED D2 :|

|: fe | d2a2 fgaf | {a}g2e2e2 fe | d2 ag fgab | (ag)(fe) d3e |

fedf edBe | dBAF E3F | DEFG AFdA | F2D2D2 :|

|: FE | DAFA DAFA | B2E2E2 (FE) | DAFA DAFA | dAFD d3e |

fdef dBAd | AFdF E2 FA | BcdB AFGE | F2D2D2 :|

|: fe | dafa dafa | b2e2 egfe | dafa dafa | bgfe afed |

geaf ecda | bagf efde | fedB ABdF | A2 D2D2 :|

                       

INVERNYTY’S REEL. Scottish, Reel. D Major. Standard tuning. AAB. McGlashan (Collection of Strathspey Reels), c. 1780/81; pg. 17.

X:1

T:Invernyty’s Reel

M:C|

L:1/8

R:Reel

S:McGlashan – Strathspey Reels  (c. 1780-81)

Z:AK/Fiddler’s Companion

K:D

f|d/d/d dA F>GA>=c|B>G=c>G E>CG>E|DddA F>GAg|f>de>c dDD:|

f|d>ef>g a>baf|g>e=c>g e<c g>e|d>ef>g a>bag|f>de>c dDDf|

d>ef>g a>baf|(3gag (3fgf e=cge|fdge afbg|f>de>c dDD||

 

INVERSHIRE [1]. Scottish, Strathspey. B Flat Major. Standard tuning. AB. Composed by William Marshall (1748-1833). Invershie was home to the MacPherson family who lived at Cluny Castle, relations to the famous outlaw James MacPherson (see note for “MacPherson’s Farewell”). Supporters of Bonnie Prince Charlie during the rebellion of 1745, they had their castle burned to the ground after Culloden, and MacPherson of Cluny had a price of £1,000 placed on his head, a huge sum for the times.  Nevertheless, he eluded capture for nine years, living in various hiding places although particularly at Craig Dhu. He and his wife later successfully escaped to France. Cluny Castle was later rebuilt in the style of a manor house. See also note for “Lady Mary Primrose’s Favorite.” Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 8.

X:1

T:Invershire [1]

M:C

L:1/8

R:Strathspey

S:Marshall – 1822 Collection

Z:AK/Fiddler’s Companion

K:Bb

D|B,FDF BFBd|f<d c>B G2 GB|B,FDF BFBd|f<d B>d ~f2 ed|egce dfBd|

~c>d (e/d/)c/B/ G2 GB|B,FDF BFBd|f<d c>d B2 B||D/E/|FBDB FBDB|

G>B G/F/E/D/ C2 CD/E/|FBDB FBDg|f<d B>d ~f2 (ed)|egce dfBd|C>d e/d/c/B/ G2 GB|

B,FDF BFBd|f<d c>d B2B||

 

INVERSHIRE [2]. Canadian, Reel. Canada, Cape Breton. A Major. Standard tuning. AB. Composed in 1945 by Cape Breton fiddler Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 7.

 

INVERURIE. Scottish. Composed by J. Scott Skinner in honor of the place in Scotland he visited.

                       

INVITATION, THE. AKA and see "The Invasion."

                       

ÍOC AN REICNEÁIL (Pay the Reckoning). AKA and see “Pay the Reckoning.”

                       

IOMADH RUD THA DHITH ORM. Scottish, Strathspey. D Major. Standard tuning. AABB. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 21.

                       

IOMÁIN ÁTHA NA gCASAN. Irish, Air. The title appears in a list of tunes in his repertoire brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997).

                       

IOMÁIN INIS CAOIN. Irish, Air. The title appears in a list of tunes in his repertoire brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997).

                       

IOMAN NAN GAMHNA. AKA and see "Driving the Steers."

                       

IOMRAMH EADAR IL' A'S UIST. AKA and see "Rowing From Isla to Uist."

                                   

IONA MARGARET SPENCE. Scottish, Slow Air (4/4 time). A Major. Standard tuning. AA’BB’. Composed by James Spence. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 24.

                                   

IONGANTAS PAIDIN. AKA and see "Paddy's Surprise."

                       

IONSAI NA HINSE. AKA and see “Seige of Ennis.”


                       

IORRAM IOMRAIMH. AKA and see "A Rowing Time Piece."

                       

IORRAM O’N BHIRLINN CHLANN RAGHNAIL. Scottish. A rowing piece. A birlinn is a 40’ rowing and sailing galley that was the chief merchant and transport vessel of the Scottish isles in the 17th century.

                       

IOWA CENTER. Old-Time, Piece. USA, Kentucky. G Major. Standard tuning. AB. Davenport was the only source for this tune, explains Titon (2001), which is played at a slow, listening pace. Titon believes some of the “swooping cadences” recall those in “The Lost Girl.” Source for notated version: Clyde Davenport (Monticello, Wayne County, Ky., 1990), learned from his father, Will Davenport [Titon]. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 70, pg. 100. Berea College Appalachian Center AC002, Clyde Davenport – “Puncheon Camps“ (1992).

 

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

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

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

 [COMMENT4]Note:  The change to pitch (12) and font (1) must be converted manually.