The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

JACKY - JAZZ

[COMMENT3] 

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

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

 

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

 

 

 

JACK(E)Y LAYTON/LATIN.  See "Jackie Layton," "Jack Lat(t)in."

                       

JACKY ROBINSON’S. English, Reel. G Major. Standard tuning. AABB.

X:1

T:Jacky Robinson's

M:4/4

L:1/4

R:Reel

K:G

F/E/|DGDG/B/|cAA2|F/G/A F/G/A|G/A/B/e/d2|eedd|c/B/A/B/ AG|DGF/G/A/c/|BGG :|

|:B|ddee|e/d/c/B/ AA|ddee|e/d/c/B/ AB/A/|G/A/B/c/ dB|cA/c/BG|DGF/G/A/c/| BGG:|

                       

JACKY STEWART'S REEL. Scottish, Reel. E Minor. Standard tuning. AABB. John Glen (1891) finds the tune first in print in Robert Bremner's 1757 collection. Bremner (A Collection of Scots Reels), 1757; pg. 7.

X:1

T:Jacky Stewart’s Reel

M:C|

L:1/8

R:Reel

S:Bremner – Scots Reels (1757)

Z:AK/Fiddler’s Companion

K:E Minor

B2 (EF/G/) BGEG | AFDF dFDF | BGEG (eg/a/ b)a | gef^d e/e/e e2 :: e(g”tr”fe)

B/B/B eB | defe d/d/d fd | e(g”tr”fe) dBAF | GBAF E/E/E E2 :|

                       

JACKY TAR. AKA – “Jackie Tar.” AKA and see "Alawon Fy Ngwlad,"  "Come Ashore," "Come Ashore, Jolly Tar, with Your Trousers/Trowsers On," "Cuckoo's Nest [14]," "The Cuckoo,"  "Good Axe Elve," "Jack A (O) Tar," "The Mower," "The Reaper,"  "An Spealadoir," "The Trousers On," "The Yellow Heifer."  Scottish, English; Hornpipe. E Minor. Standard tuning. AABB. Flett & Flett report there were at least three different Scottish country dances by this name in the early 20th century (from Angus, Perthshire and East Lothian). Carlin (Master Collection), 1984; No. 169, pg. 99. Craig (The Empire Collection of Hornpipes), c. 1890’s; pg. 4. Kennedy (Fiddlers Tune Book), vol. 1, 1951; No. 29, pg. 15. Kerr (Merry Melodies), vol. 1; No. 24, pg. 45. MacDonald (The Skye Collection), 1887; pg 183 (appears as "Jack A Tar"). Mulvihill (1st Collection), 1986; No. 27, pg. P6 (appears as “Cuckoo’s Nest No. 2"). Raven (English Country Dance Tunes), 1984; pg. 169.

X:1

T:Jacky Tar

D:Nic Jones, "The Noah's Ark Trap"

D:Paul de Grae, "Traditional Irish Guitar"

R:hornpipe

M:4/4

L:1/8

Q:1/4=170

K:Em

Bd|e2 ed ef{g}fe|dB{d}BA B2 dB|ABde (3fga ef|{g}fedB {d}BA (3Bcd|

edef fgef|{g}fedB BA (3Bcd|AB{c}BA GBdB|AGED E2 GA||

Be{f}ed e2 fe|dB B2 B2 dB|ABde faef|dB A2 A2 (3Bcd|

edef g2 ef|{g}fedB {d}BA (3Bcd|AB{c}BA GBcB|AGED E3 G||

BG E2 BGEG|BdBA GEEF|DFAB (3ABA FA|dBAF EDEF|

GABA Bd (3gfg|BcBA Bc d2|AB{c}BA GBdB|AGED EFGA||

BGEG BGEG|BAGF E2 FG|AFDF AFDF|AGFE DEFD|

GABA Bd g2|(3Bcd BA Bc d2|(3Bcd AB GBcB|AGED E2||

X:2
T:Jacky Tar
B:Traditional Irish Guitar, Paul de Grae
R:hornpipe

Z:Transcribed by Paul de Grae
M:4/4
L:1/8
K:Em
Bd|e2 ed effe|dBBA B2 dB|ABde (3fga ef|f{gf}edB BA (3Bcd|
edef fgef|~fedB BA (3Bcd|AB{c}BA GBdB|AGED E2 E,2||
Beed e2 fe|dB B2 B2 dB|ABde faef|dB A2 A2 (3Bcd|
edef g2 ef|fedB BA (3Bcd|AB{c}BA GBcB|AGED E3 G||
BG E2 BGEG|BdBA GEEF|DFAB (3ABA FA|dBAF EDEF|
GABA Bd (3gfg|BcBA Bc d2|AB{c}BA GBdB|AGED EFGA||
BGEG BGEG|BAGF E2 FG|AFDF AFDF|AGFE DEFD|
GABA Bd g2|(3Bcd BA Bc d2|B2 AB GBcB|AGED E2 E,2||

           

JACOB. AKA and see "Enrico." AKA – “Waterloo Fair or the Henryco.” English, Reel. England, Dorset. D Major. Standard tuning. AABB. See note for “Enrico” for more. Trim (Thomas Hardy), 1990; No. 13. Beautiful Jo Records BEFOCD-28, The Mellstock Band – “The Dance at the Phoenix” (1999).

X:1
T:Jacob
T:Enrico
M:4/4
L:1/8
Q:1/4=90
S:Mobberley session
R:English reel
N:Posted to the woodenflute mailing list November 2001
Z:Steve Mansfield January 2001
K:D
A2 | d2 fe dcdB | ABAG F2 A2 |d2 ef gfgf | e2 a2 a2 A2 |
d2 fe dcdB | ABAG F2 A2 |B2 gf edec | d2 d2 d2 ::
fg | a2 ag fgfe | dedc B2 B2 |gagf efed | cdcB A2 (3ABc |
d2 d2 cecA | d2 d2 cecA |d2 f2 edec | d2 d2 d2 :|

           

JACOB HALL'S JIG. AKA and see "Under and Over." English, Country Dance Tune (6/8 time). F Minor. Standard tuning. AABB. The melody dates to 1695. “Under and Over” is the older title. “Jacob Hall’s Jig” is properly the name of another tune, however, “Over and Under” was used as a vehicle for the dance Jacob Hall’s Jig, and the latter name stuck through association with the dance. It may have been substituted by Cecil Sharp. Barnes (English Country Dance Tunes), 1986. Sharp (Country Dance Tunes), 1909/1994; pg. 53.

X:1

T:Jacob Hall’s Jig  [1]

L:1/8

M:6/8

S:Sharp – Country Dance Tunes  (1909)

Z:AK/Fiddler’s Companion

K:A Flat Major

F3f e2=d|c3 B3|A>Bc B2A|G3 E3|F2f e2f|g3 c2c|=d>ef f e2|(f3 f2) z:|

|:e2e e>=dc|B2B B2G|A>Bc B2A|G3 E3|F3 f e2f|g3 c2c|=d>ef f e2|(f3 f2):|

 

JACOB HALL’S JIG [2].  English, Jig (6/4 time). D Minor. Standard tuning. AAB. The melody was first published by Henry Playford in the 9th edition of the Dancing Master (1695), and in all subsequent editions through until the last of the series, the 18th edition, published in London by John Young in 1728. “Jacob Hall’s Jig” was also published by John Walsh in his Compleat Country Dancing Master (London, 1718). The longways dance was performed in the movie Emma (1996), starring Gwyneth Paltrow. Barlow (Complete Country Dance Tunes from Playford’s Dancing Master), 2005; No. 326, pg. 79. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 65.

X:1

T:Jacob Hall’s Jig [2]

M:6/4

L:1/8

R:Jig

S:Henry Playford – Dancing Master, 9th edition (1695)

K:D Minor

a4d2 d3 c/d/ e2|^c6 A4 A2|d4c2 c4B2|A6 F4A2|G4 G2 G2A2E2|F4 G2 E4C2|

D4E2 E4D2|1 ^C6 A,6:|2 ^C6 A,4||e2|e4 f2 f4e2|d2e2c2 B4A2|A4G2 G4F2|

F6 f3ef2|g4e2 ^c3d e2|f4 e2 d3c=B2|^c3 B/c/ d2 =B4A2|(A6 A4)a2|b4 g2 e3fg2|

a3b a2 g3fe2|f4 f2 g3f/g/ a2|a6 g3fg2|a4 e2 ^c3B A2|f3 e/f/ g2 e4d2| (d6 d4)||

           

JACOBITE, THE. Scottish, Strathspey. A Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 4; No. 21, pg. 5.

X:1

T:Jacobite, The

M:C

L:1/8

R:Strathspey

B:Kerr – Merry Melodies, vol. 4, No. 21 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

e<c a>g f>ec>A|c<B B>A c<B B(c/d/)|e<c a>g f>ec>A|F<A A>B c<A Ac:|

|:d>ef>g a>ec>A|d>cB>A G<B B>f|e<c a>g f>ec>A|E<A A>B c<A Ac:|

           

JACOBITE WAR SONG, THE (Eiridh na Fineacha' Gaidhealach). Scottish, March. D Major. Standard tuning. AAB. "There are few collections of Gaelic songs but begin with this Jacobite War Song, so that it is well known, and contains a verse in praise of the virtues and valour of each of the Highland clans who joined in the rebellion, but anticipating more than they seemed capable of performing" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 2, pg. 1.

X:1

T:Jacobite War Song, The

T:Eiridh na Fineacha’ Gaidhealach

L:1/8

M:C

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:D

A|F2 FA E2 DC|D2 FA d2 ze|f2 ed c2 BA|F2 B>^A B2 zF|

A2 A>B A2 GF|A2 Bc d2 zc|B2 AF A2 A,>C|D2 E>C D2 z:|

|:A|FAGF EGFE|D2 FA d2 zg|f2 ed c2 BA|F2 B>^A B2 zF/G/|

AdcB AGFG|A2 Bc d2 zg|f>edB A2 A,>C|D2 E>C D2 z:|

           

JACOBITES IN THEIR HIDING PLACES, THE (Nach bochd a bhi 'm falach). Scottish, Slow Air (6/8 time). B Flat Major. Standard tuning. AAB. "This air does not relate to the Prince personally, but to the incident mentioned in the prospectus, of both the editor's grandfathers, with Mr. Fraser of Culduthel and others being obliged for a time to quit thier homes and families, and retire to the hills from a pursuit of dragoons, that never ceased to annoy them during the residence of the Duke of Cumberland's army in the vicinity of Inverness and Fort Augustus. Yet it will be seen from the 'Quarterly Review' of the Culloden papers, that they all signed a spontaneous memorial, professing their fidelity to the reigning family, which, however, the intrigue of party maliciously prevented from being duly presented. They were, indeed, bewildered betwixt their obligations to their ambitious Chief and their King, and rather ensnared than voluntary parties, being firm Protestants" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 122, pg. 48.

X:1

T:Jacobites in their hiding places, The

T:Nach bochd a bhi ‘m falach

M:6/8

L:1/8

R:Jig

S:Fraser Collection   (1874)

Z:AK/Fiddler’s Companion

K:B_

f/e/|d2 c/B/ fdB|cBA G2A|BGG D2B,|D/E/FF F2f|d2 c/B/ fdB|cBA G2A|

B/c/dF D2C|DBA G2:|f|dBf dBg|dBb fdB|dBf dBg|dBd f2e|dBf dBg|dBb fdB|bag d2c|dg^f g2 f/e/|

dBf dBg|dBb fdB|dBf dBg|dBd f2g/a/|b>ag afd|g>fd fdc|B/c/dF D2 C|DBA G2||

           

JACOB'S JIG. American, Jig. D Major. Standard tuning. AABB. Composed by New Hampshire accordion player and caller Bob McQuillen. Sweet (Fifer’s Delight), 1964/1981; pg. 33.

           

JACQUELINE'S WALTZ. Shetland, Waltz. A Major. Standard tuning. AAB. "Written for a very good young fiddler, one of Tom's pupils. Second fiddle part was arranged by Ellen Thomas, one of Tom's pupils from Maine, USA" (Anderson). Anderson (Ringing Strings), 1983; pg. 32 (includes harmony part).

           

JACQUES CARTIER (Reel Jacques-Cartier). Canadian (origianlly), New England; Reel. D Major (Messer, Miller & Perron): C Major (Carlin): B Flat Major (Cuillerier). Standard tuning. AABB (Carlin and Messer have their coarse and fine ('A' and 'B') parts reversed from each other): AA'BB' (Cuillerier). Named for the famous French explorer who mapped the wilds of New France. Carlin (Master Collection), 1984; No. 71, pg. 49. Cuillerier (Joseph Allard: Cinquante airs traditionnels pour violon), 1992; pg. 30. Messer (Way Down East), 1948; No. 19. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 39, pg. 30. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 147. Folkways RBF 110, Joseph Allard. Victor 263675-a (78 RPM), Joseph Allard (1865-1947). Voyager VRCD 342, Rodney Miller – “Rodney Miller’s All-Round Collection of Jigs, Reels and Country Airs.”

X:1

T:Jacques Cartier

L:1/8

M:C|

K:D

fa fd eg ec|Ac ec de fd|Ad fd gf ed|ca ^gb a3=g|

fa fd eg ec|Ac ec de fd|Ad fd gf ed|ca ec d4:|

|:FA de fd AF|GB ef ge ce|df af bg ec|df ed cB AG|

FA de fd AF|GB ef ge ce|df af bg ec|df ec d4:|

X:2

T:Reel Jaccques-Cartier

C:Joseph Allard

M:2/4

L:1/16

Z:Transcribed by Bruce Osborne

K:Bb

FE|DFBF dBFD|EGBG ecAc|Bdfd gfec|BdcB AcBG|!

DFBF dBFD|EGBG ecAc|Bdfd gfec|Bgfd B2:|!

|:fe|dfBd cecA|FAcA BcdB|FBdB edcB|Af=eg f2f_e|!

dfBd cecA|FAcA BcdB|FBdB ecAc|Bgfd B2:|!

                       

JACS REEL. Irish, Reel. B Minor. Standard tuning. AABB. Composed by Chicago tin whistle player Johnny Harling, whose title is an anacronym of the first initials of his four children. Black (Music’s the very Best Thing), 1996; No. 275, pg. 148.

X:1

T: JACS Reel

C: Johnny Harling

Q: 350

R: reel

Z:Transcribed by Bill Black

M: 4/4

L: 1/8

K: Bdor

B3 c BF F2 | B^ABc fdcd | cBA^G AE E2 | A3 c ecBA |

B3 c d3 e | fbb^g a3 b | c'abc' afec | dfec dB B2 :|

bf f2 dfaf | bafb afed | c2 Bc AE E2 | A3 c ecBc |

d3 e fefb | afed cedc | BF F2 Bcdf | edcA B4 :|

W:

P: A minor version

K: Ador

A3 B AE E2 | A^GAB ecBc | BAGF GD D2 | G3 B dBAG |

A3 B c3 d | eaaf g3 a | bgab gedB | cedB cA A2 :|

ae e2 cege | agea gedc | B2 AB GD D2 | G3 B dBAB |

c3 d edea | gedc BdcB | AE E2 ABce | dcBG A4 :|

           

J'AI ETE AU BAL. Cajun. The tune can be effectively played out of second position on the violin.

                       

J'AI FAIT TOU L'TOUR. Cajun, Reel. G Major. Standard tuning. One part. Greenblatt (The Cajun Fiddle Tune Book), 1985; pg. 26.

           

J'AI FAIT UNE GROSSE ERREUR. Cajun. The song, by Cajun musician Iry LeJeune, was influenced by Hand Williams' "I Can't Help It If I'm Still in Love with You."

           

J'AI LAISSE DE LA MAISON. Cajun, Reel. D Major. Standard tuning. One part. Greenblatt (The Cajun Fiddle Tune Book), 1985; pg. 25.


           

J'AI PASSE DEVANT TO PORTE (I Passed in Front of Your Door). AKA and see "Mon Coeur T'Appelle." Cajun, Waltz. USA, southwestern Louisiana. D Major (Greenblatt): G Major (Francois). Standard tuning. One part. The very popular old Cajun song expresses "grief at the unexpected death of a loved one...(it is) a much loved waltz (that) is an essential part of many Cajun musicians' repertoires" (Brown, 1983, pg. 18). Raymond Francois (1990) relates that his father remembered the song being played at the time the Titanic sank, though the tune predated that disaster. Source for notated version: Elton "Bee" Cormier and Raymond Francois (La.) [Francois]. Francois (Ye Yaille, Chere!), 1990; pgs. 167-168. Greenblatt (The Cajun Fiddle Tune Book), 1985; pg. 7. Bee Records BEE-104, Elton "Bee" Cormier.

 

J'AI UM PETIT VOYAGE A FAIRE. French, Valse (3/4 time). G Major. Standard tuning. AABBC. Traditional tune from central France. Stevens (Massif Central), Vol. 1, 1987; No. 71.

 

J'AI VU LE LOUP. Cajun. Kicking Mule KM‑327, "Scartaglen" (1984. Learned from the Balfa Brothers).

 

J'AIMERAIS d' CONNAITRE (I'd Like to Know). Cajun, Waltz. USA, southwestern Louisiana. D Major. Standard tuning. One part. The original song is by Akam Hebert, though "Bee" Cormier's is very close in the vocal line. Source for notated version: Adam Hebert; Elton "Bee" Cormier (La.) [Francois]. Francois (Yé Yaille Chère!), 1990; pgs. 383-384. Swallow Records SW-LP6065, Adam Hebert.

 

JAKE GILLY/GILLIE. AKA and see "Old Jake Gilly," "Granny, Will Your Dog Bite? [1]" Old‑Time, Breakdown. USA; West Virginia, southwestern Virginia. D Major/Mixolydian. Standard tuning. AABBCCBB. The tune appears from Patrick, Franklin and Floyd Counties in southwestern Virginia, north into West Virginia. Recorded by Kanawha County fiddler Clark Kessinger in the late 1920's. One of Kessinger’s parts appears related to the second strain of the Arkansas “Searcy County Rag,” recorded in 1929 by Ashley’s Melody Men. Floyd County, Va., fiddler Sam McNeil recorded it in 1930 with the Floyd County Ramblers (it was issued inexplicably under the title "Granny Will Your Dog Bite"). Blanton Owen and Tom Carter (1978) say that many older fiddlers from the region suspected the tune "The Eighth of January" was fashioned from this tune, although for some the resemblance is difficult to descern. "Old Jake Gilly" is a related melody. Source for notated version: Sam McNeil (Va.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 121. Rounder 0057, Sam McNeil (Floyd County, Va.) ‑ "Old Originals, vol. 1" (1978).

 

JAKE LEG RAG. Old-Time, Breakdown. C Major. Standard tuning. ‘Jake Leg’ was a consequence of drinking Jamaica Ginger. Recorded by the Carroll County, Mississippi, fiddle/guitar duo Willie Narmour (b. 1889) and Shell Smith (b. 1895). Allin Cottrell points out that fast accurate playing in the key of C was one of the hallmarks of Narmour's fiddling. Musical Traditions MT 104, Narmour and Smith - "Where the Southern Crosses the Dog: Mississippi Fiddle Music 1928-35."

 


JAKE LEG WOBBLE. Old‑Time, Breakdown. USA, Mississippi. Jake Leg was a disease caused by toxicity from drinking tainted liquor, Jamaica Ginger, during prohibition. The Ray Brothers were fiddler Will Ray with his brother Vardman on guitar. County 528, The Ray Brothers ‑ "Mississippi Breakdown: Traditional Fiddle Music of Mississippi, Vol. 1." County 548, The Ray Brothers - "Ridin' in an Old Model 'T'". Document 8028, The Mississippi Possum Hunters – “Mississippi String Bands, vol. 2” (reissue).

 

JAKIE STEWART’S REEL. English, Reel. C Major. Standard tuning. AABB. A different “Jakie Stewart’s Reel” appears in David Rutherford’s Compleat Collection of 200 Country Dances, vol. 2 (London, 1760). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 21.

X:1

T:Jakie Stewart’s Reel

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:C

cg2e gcge|cg2e dBGB|cg2e gcge|afge dBGB:|

|:ceAe ceAe|ceAe d/c/B/A/ GB|ceAe ceAg|afge dBGB:||

 

JAKE'S BEST REEL. Old‑Time, Breakdown. USA; Nebraska, Missouri. D Major. Standard tuning. AABB. Source for notated version: Bob Walters (Burt County, Nebraska) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; pg. 56. Missouri State Old Time Fiddlers' Association, Cyril Stinnett (1912-1986) - "Plain Old Time Fiddling."

 

JAKE’S GOT THE BELLYACHE. Old-Time, Breakdown. A Major. ADae tuning. In the repertoire of West Virginia fiddler Edden Hammons. Edden Hammons Collection II, Disc 1.

 

JAMAICA. English, Country Dance Tune (2/2 or 4/4 time). F Major (Barnes, Raven, Sharp): E Flat Major (Chappell). Standard tuning. AB (Sharp): AABB (Barnes, Chappell, Johnson, Karpeles, Raven). Chappell (1859) notes the tune appeared shortly after the island of Jamaica was appropriated from the Spanish in 1655.

***

The Playford tune takes its name from a ballad entitled: “Joy after Sorrow, Being the Sea-mans return from Jamaica; Or, the lovely Lasses late Lamentation for the long absence of her dearest beloved Friend.”

A Voyage to Jamaica he pretends:

But at his coming home he makes her amends.

To an excellent new Tune, called, my love is gone to Bohemy, or, Wet and weary.

***

The ballad was written in 1655 and entered in the Stationers Register in March, 1656, according to Bruce Olson. The chorus contains the title:

***

There was a maid as I heard tell

Which fell in desperation,

She lov’d a young man passing well,

Which brought her in vexation:

They Young-man had the Maid beguil’d,

The matter so was carried,

For he had gotten her with Child

Before that they were married

Which caus’d this Maid to make great moan,

And often times to speak so,

CHO: My heart is up and my belly is down,

And my Love is gone to Jamaica.

***

The melody (as “Jemeko”) first appears in John Playford’s 1670 4th edition of his English Dancing Master (and all subsequent editions). The 19th century antiquarian William Chappell thought the title was probably from an original song that had been lost, although he did find the melody to be the vehicle to the following songs set to the tune: "The Prodigal's Resolution; or, My Father was born before me," "Two Toms and Nat in council sat," "Slow men of London; or, The Widow Brown," "The Angler's Song," "Of the Downfall of one part of the Mitre Tavern in Cambridge, or the sinking thereof into the cellar," and "The Jolly Tradesman." The Jamaica Tavern was a popular resort south of London in Rotherhithe centuries ago, although there is no known association between the tune and the tavern. Barnes (English Country Dance Tunes), 1986. Chappell (Popular Music of the Olden Time), vol. 2, 1859; pg. 3. Johnson (The Kitchen Musician No. 14: Songs, Airs and Dances of the 18th Century), pg. 9; 1997. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 14. McGlashan (Collection of Scots Measures...), 1778; pg. 7. Raven (English Country Dance Tunes), 1984; pg. 22. Sharp (Country Dance Tunes), 1994; pg. 26. Varrick C‑VR‑013, Bare Necessities ‑ "English Country Dances" (1987).

X:1

T:Jamaica

M:2/2

L:1/8

Z:AK/Fiddler’s Companion

S:Sharp – Country Dance Tunes  (1909)

K:F

F2A2 A2 Bc|d2c2d4|c2A2 A2 GF|G4 F4|F2A2 A2 Bc|d2c2 d4|c2A2 A2 GF|G4 F4||

f2f2 e2 dc|d2d2 c2A2|f2f2 ef g2|d4 c4|f2f2 e2 dc|d2d2 c2A2|Bc d2 c2 BA|G4F4||

X:2

T:Jamaica

M:C|

L:1/8

B:McGlashan – Collection of Scots Measures  (1778)

Z:AK/Fiddler’s Companion

K:G

DE|G4 G2 Bd | edBd e2g2 | d2B2 cBAG | A4 GEDE | G4 G2 Bd | edBd e3f |

gdga gabg | a4 g2 :: ef | gdga f2ed | edeg d2 cB | gBga bagf | e4 d2ef |

geag fdgf | edBd efga | b2B2 cBAG | A4G2 :|

                       

JAMAICA PLAINS. Canadian, Hornpipe. Canada, Cape Breton. G Major. Standard tuning. AABB. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 73.

                       

JAMBALAYA. See "Grand Texas."

                       

JAMES BAILEY IN BOMBAY. English, Dance Tune (2/4 time). F Major. Standard tuning. AABB. Huntington (William Litten’s), 1977; pg. 11.

                       

JAMES BETAGH.  Irish, Air (cut time & 6/8 time). G Dorian. Standard tuning. ABCD. Composed by blind Irish harper Turlough O’Carolan (1670-1738). The first two parts of the air O’Sullivan prints (sourced to John Lee’s collection of O’Carolan tunes, printed in Dublin in 1780) are in cut time, the second two in jig time. The melody was first printed in John and William Neale’s Collection of the Most Celebrated Irish Tunes (Dublin, newly dated to 1742). O’Sullivan gives that the Betaghs were an old Irish family who had been forced to move from Leinster to Connacht by the Settlement under Cromwell. The tune was composed for James Betagh of Drimhill, who married Fanny Dillon, for whom O’Carolan composed another air. It was a fortunate marriage for Betagh, for he acquired the estate of Mannin, near Ballyhaunis, County Mayo, when Fanny’s brother John Dillon died in 1731. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 55 (appears as “Hale-Bopp Circle”, a dance composed in 1997 by Fried de Metz Herman, set to the jig part of the tune). O’Sullivan (Carolan: The Life, Times and Music of an Irish Harper), 1958; No. 4, pgs. 104-105.

 

JAMES BOURKE’S. Irish, Jig. James Bourke was a piper from Kilfrush, Knocklong, County Limerick, and a pupil of Tipperary piper Edward Fraher. Bourke died in the 1920’s. Piping Pig Records PPPCD 001, Jimmy O’Brien- Moran – “Seán Reid’s Favourite” (1996).

 

JAMES BROWN. English, Hornpipe. England, Northumberland. Composed by Tyneside fiddler and composer James Hill, named perhaps for the same publican named in the song “The Merry Lads of Gateshead.”

                       

JAMES BYRNE'S (SLIP JIG). Irish, Slip Jig. D Major. Standard tuning. AA’BB. Green Linnet SIF‑1109, Altan ‑ "The Red Crow" (1990. Learned from James Byrne of Glencolumbkille).

X:1

T:James Byrne’s

R:Slip Jig

M:9/8

L:1/8

K:D

d2f afd dcd | Bee efd cBA | d2f afd dcd |1Bcd ecA d3 :|2Bcd ecA d2f|: \

e2A A2B cBA | d2e f2g agf | e2A A2B cBA | Bcd ecA d2f :|

                       

JAMES BYRNE’S (REEL) [1]. Irish, Reel. VIR 44559, Altan – “Runaway Sunday.”

X:1

T:JB's

R:reel

D:Altan: Runaway Sunday.

M:C|

L:1/8

K:F#dor

A2cB AFFE|C,FFG ABcB|ABcB AGFd|eE~E2 GEBG| A2cB AFFE|

C,FFG ABcd|~e2Be dfBd|egBe GEEG:| |:Fffg agfe|cAAG ABcA|

Fffg afga|bagf eEGE| Fffg agfa|gfed egbg|fgaf ecBA|1 GABc AFFE:|2 GABc AFFG||

 

JAMES BYRNE’S (REEL) [2]. AKA and see “Maids of Tullyknockbrine,” “Rat in the Thatch.” Irish, Reel. G Major. Standard tuning. AA’B.

X:1
T:James Byrne's
T:Maids of Tullyknockbrine, The
T:Rat in the Thatch, The
R:reel
D:Paul McGrattan & Paul O'Shaughnessy: Within a Mile of Dublin
D:De Danann: Jacket of Batteries
Z:id:hn-reel-277
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
K:G
G2dG BdGB|dGBd ecAF|G2dG Bcde|1 dBcA BGAF:|2 dBcA BG~G2||
egfg egfe|d2fd Adfd|egfg efga|bgaf geed|

efga bge^c|defg afdB|~G3A Bcde|dBcA BGFA||

                       

JAMES CAMERON. Canadian, March. Canada, Cape Breton. G Major. Standard tuning. AABB’. Composed by the late Inverness, Cape Breton, fiddler and composer Jerry Holland (1955-2009) on commission from baroque flute maker Roderick Cameron, as a memorial for his father. Cranford (Jerry Holland: The Second Collection), 2000; No. 197, pg. 74. Odyssey ORCS 1051, Jerry Holland – “Fiddler’s Choice” (1999).

           

JAMES CROFTON. Irish, Planxty. F Major. Standard tuning. AB. Composed by blind Irish harper Turlough O'Carolan (1670-1738). Complete Collection of Carolan's Irish Tunes, 1984; No. 23, pg. 37.

 

JAMES D. LAW'S REEL. Scottish, Reel. E Flat. Standard tuning. AAB. Composed by J. Scott Skinner. Skinner (The Scottish Violinist), pg. 45. Rounder CD 11661-7033-2, Natalie MacMaster – “My Roots are Showing” (2000).

 


JAMES DALY. Irish, Planxty (6/8 time). C Major. Standard tuning. AABB. Composed by blind Irish harper Turlough O'Carolan (1670-1738). Complete Collection of Carolan's Irish Tunes, 1985; No. 31, pg. 40.

 

JAMES DAVEY'S HORNPIPE. English, Hornpipe. England, Northumberland. A Major. Standard tuning. AABB. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 61.

 

JAMES DUFF, M.P. Scottish, Reel. F Major. Standard tuning. AAB. Composed by William Marshall (1748-1833). In Britain, the initials 'M.P.' stand for Member of Parliament. Marshall, Fiddlecase Edition, 1978; 1845 Collection, pg. 6.

X:1

T:James Duff M.P.

M:C|

L:1/8

S:Marshall1845 Collection

Z:AK/Fiddler’s Companion

K:F

fc ~c2 dB ~B2|bagf (eg) ~c2|fc ~c2 dBBd|c>BAG F2F2:|

Ffef dBBd|Gg^fg ecce|Ffef dBBd|c>BAG F2F2|Ffef dBBd|

Gg^fg ecce|Ffef dBBd|c>BA>G F2F2||

 

JAMES DUFFY’S HIGHLAND.  AKA and see “Lady Mary Ramsey [2].”

 

JAMES F. DICKIE. Scottish, Reel. A Major. Standard tuning. AB. Composed in 1932 by Aberdeen fiddler and composer J.M. Henderson (1902‑72), dedicated to the famous violinist James F. Dickie, New Deer. Source for notated version: Paul Anderson (Tarland, Aberdeenshire) [Martin]. Henderson (Flowers of Scottish Melody), 1935. Hunter (The Fiddle Music of Scotland), 1988; No. 239. Martin (Traditional Scottish Fiddling), 2002; pg. 142. Greentrax CDTRAX 9009, Hector MacAndrew (1903-1980) - “Scottish Traditon 9: The Fiddler and his Art” (1993).

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:James F. Dickie
S:Paul Anderson
D:Heat The Hoose
Z:Juergen.Gier@post.rwth-aachen.de
L:1/8
M:C
R:Reel

K:A
F|E2cA F2dB|GBdf e2cA|E2cA F2Bc|dcBA GBAF|\
E2cA F2dB|GBdf e2ca|d2fa e2gb|afed cAAg|]\
a2Aa g2Ag|fgaf ecea|eA (3AAA fedc|BFBA GBeg|\
agfa gfeg|fgaf ecea|dcdf eagb|afed cAA|]

 

JAMES F. DICKIE'S DELIGHT. AKA – “J.F. Dickie’s Delight,” “James F. Dickie.” Scottish, Slow Strathspey or Air. A Major. Standard tuning. AB. Composed in 1932 by Aberdeen fiddler and composer John Murdoch Henderson (1902‑72) in honor of James Fowler Dickie (b. 1886) of New Deer, Buchan, were he was a "weel‑kent and respected player" for over fifty years, and whose forte, according to Hunter (1979), was playing his own 'florid' variations to many famous tunes. Alburger calls him "a player of great taste and polish," and notes the melody appears in Henderson’s The Flowers of Scottish Melody. Dickie admired the playing of J. Scott Skinner, who influenced his somewhat idiosyncratic style. Paul Cranford says the first Cape Breton fiddler to record the tune was Winston Fitzgerald. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Alburger, 1983; Ex. 114, pgs. 202‑203. Cranford (Winston Fitzgerald), 1997; No. 95, pg. 40. Hunter (Fiddle Music of Scotland), 1988; No. 129. Henderson (Flowers of Scottish Melody), 1935. Martin (Traditional Scottish Fiddling), 2002; pg. 142.  Beaumex BMCD 571, John Regan – “Let Down the Blade.” Breton Books and Records BOC 1HO, Winston “Scotty” Fitzgerald - “Classic Cuts” (reissue of Celtic Records CX 40). Celtic CX 40, Winston Scotty Fitzgerald – “Its New.” Green Linnett GLCD 1087, Seamus Connolly - "Notes From My Mind" (1988). Greentrax CDTRAX 9009, Hector MacAndrew (1903-1980) - “Scottish Tradition 9: The Fiddler and his Art” (1993). HCD 008, Tommy Peoples – “Traditional Irish Music Played on the Fiddle” (appears as the lament of track 5, “Lament and Strathspey”). Rounder CD 11661-7033-2, Natalie MacMaster – “My Roots are Showing” (2000). Tartan Tapes CDTT1004, Paul Anderson – “Heat the Hoose” (1998).

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:James F. Dickie’s Delight
S:Paul Anderson
D:Heat The Hoose
Z:Juergen.Gier@post.rwth-aachen.de
L:1/8
M:C

R:Strathspey
K:A
A,|:C3B, A,3C|D3F A4|G3B/G/ E3G|A3c e4|1\
d3f a3g|(3f2e2d2 (3c2d2e2|fF3 B3A|(3G2F2E2 (3D2C2B,2:|2\
d3f a3f|a3g (3f2e2d2|cE3 c3B|(A4A3)A|]
|:A3c e3a|G3B e3g|F3A d3f|E3A ce3|1\
C3E A3c|(3f2e2d2 (3c2B2A2|BF3 B3A|(3GB3G2 (3E2F2G2:|2\
d3c d3f|a3g (3f2e2d2|cE3 c3B|(A4A3)|]

X:2
T:James F. Dickie's Delight
C:J. Murdoch Henderson
M:4/4
L:1/8
Q:128

R:Strathspey
F:http://www.tullochgorm.com/strath.abc
K:A
c3/2B/A3/2c/ d3/2A/F2|GB/G/E3/2G/ A3/2c/e2|d3/2f/a3/2g/ (3fed(3cde|

f/F3/ 2B3/2A/ (3GFE(3DCB,| C3/2B,/A,3/2C/ D3/2F/A2|
W: A D E7 A D D A Bm E7
A,/CB,/A,3/2C/ D3/2F/A2|GB/G/E3/2G/ A3/2c/e2|d3/2f/a3/2f/ ea/g/(3fed|e/E
3/2c3/2B/ A2-A3/2E/|
W: A D E7 A D A D E7 A
A3/2c/e3/2a/ G3/2B/e3/2g/|F3/2A/d3/2f/ E3/2A/c/e3/2|C3/2E/A3/2c/ (3fed(3
cBA|B/F3/2B3/2A/ G/BG/(3EFG|
W: A E7 D A A D C#m Bm E7
A3/2c/e/aA/ G3/2B/e/gG/|F3/2A/d/fF/ E3/2A/c/eA/|d3/2c/d3/2f/ e/ag/(3fed|
e/E3/2c3/2B/ A2-A2|
W: A E7 D A D A D E7 A

 

JAMES GANNON’S [1] (Port Shéamais Mhig Fhionnáin). Irish, Single Jig. D Major. Standard tuning. AABB. Breathnach (CRÉ IV), 1996; No. 73, pg. 35.

 

JAMES GANNON’S [2]. Irish, Jig. D Major. Standard tuning. AABB. Source for notated version: accordion player John Goe Gannon [Breathnach]. Breathnach (CRÉ III), 1985; No. 10, pg. 6.

 

JAMES GANNON’S BARN DANCE [1]. AKA and see “Ballybunnion Hop,” “The Curlew Hills (Polka),” “Glenbeigh Hornpipe.” Irish, Barndance. G Major. Standard tuning. AA’BB’. The tune was recorded and by father-son fiddlers John and James Kelly in 1976 under the “Curlew Hills Polka” title. Sligo fiddler James Gannon taught both Michael Coleman and Sligo/New York fiddler James Morrision, as well as their younger contemporary Michael Gorman, who emigrated east, to London. The “James Gannon’s Barn Dance” title is seldom used for this tune, and only because perhaps from some confusion of titles. Gorman recorded “James Gannon’s Barndance [2]” as the second tune, paired with Chaffpool Post [2](better known as “Glenbeigh Hornpipe” or “Curlew Hill’s”), then returned to the first barn dance (“Chaffpool”) to finish the set, playing it once through with the parts reversed. The return to Chaffpool is not listed on the record label, and thus someone listening at the end of the tune might mistake “Chaffpool Post” for the last tune listed on the label, “James Gannon’s Barn Dance.” See note for “Curlew Hills” for more on this tune family. Gorman recorded a number of barn dance tunes, all different, under the title “James Gannon’s.”

 

JAMES GANNON’S (BARNDANCE) [2].  AKA and see “Chaffpool Post [1],” “The Merry Priest,” “Shannon Waves.” Irish, Barndance. G Major. Standard tuning. AA’BB’. Sligo fiddler Michael Coleman was the first to record this tune, in New York in 1927. It has long been popular among Cape Breton fiddlers, according to Paul Stewart Cranford, and has been recorded by Angus Chisholm, Mike MacDougall, Howie MacDonald, and Kinnon Beaton, among others. The melody appears as “The Merry Priest” in Ed Reavy’s book The Music of Corktown, which documents some of the tunes popular among Irish fiddlers in Philadelphia in the mid-20th century.  

X: 1

T: James Gannon's Barn Dance

M: 4/4

L: 1/8

R: hornpipe

Z: transcribed by B.Black

S: M. Coleman

K: G

GA | B2 AB e2 dB | d2 cA E3 G | AGAB cAFA | GABG D2 B,2 |

B2 AB e2 dB | d2 cA E3 G | AGAB cAFA |1 G2 GF G2 :|2 G2 g2 g2 f2 ||

edef gfga | b2 d2 d3 B | cBcd edef | g2 B2 B2 gf |

edef gfga | b2 d2 d3 B | cBAB cAFA |1 G2 g2 g2 f2 :|2 G2 GF G2 ||

 

JAMES GANNON’S BARN DANCE [3].  Irish, Barn Dance. This was the melody London fiddler Michael Gorman, originally from County Sligo, recorded in a medley with the tune known as Curlew Hills (Polka), "Glenbeigh Hornpipe, or, as Gorman idiosyncratically called it, “Chaffpool Post [2]. It is different, and unrelated, to the other barn dance tunes known as “James Gannon’s.”  James Gannon was Gorman’s fiddle teacher in County Sligo, also a mentor to other famous County Sligo fiddlers of the 78 RPM era.

 

JAMES HARDIE. Scottish, Reel. D Major. Standard tuning. AB. Composed by J. Scott Skinner for the violin maker James Hardie, a contemporary. It was written specifically to follow the strathspey "The Miller o' Dervil." Hardie (Caledonian Companion), 1992; pg. 75. Skinner, Harp and Claymore Collection.

 

JAMES HILL’S REEL.  English, Reel. England, Northumberland. D Major. Standard tuning. AABA. Composed by Tyneside fiddler and composer James Hill (c. 1811-1853). Northumberland Pipers’ Society (The Fiddle Music of James Hill), 2005; No. 29, pg. 11.

X:1

T:James Hill’s Reel

M:C

L:1/8

R:Reel

K:D

de|fd f/e/d/c/ AdFA|Bdce dfeg|fd d2 AdFA|Bdce d2:|

FG|ADFA GBAd|Bdce dfdB|ADFA GBAd|Bdce dAFD|

ADFA GBAd|Bdce dfeg|fgef decd|Bdce dfeg||

 

JAMES IRWIN. AKA ‑ "Shannon Side." Irish, Air (4/4 time). C Major. Standard tuning. AB. Source for notated version: "Patrick MacDowell, the distinguished sculptor" (1799‑1870). Joyce (Old Irish Folk Music and Song), 1909; No. 514, pg. 279.

 


JAMES JENKIN'S FAVORITE. Scottish, Slow Strathspey. D Major. Standard tuning. AAB. Composed by Nathaniel Gow. Carlin (The Gow Collection), 1986; No. 77.


                       

JAMES KELLY’S TRIP TO CAPE BRETON. AKA – “James Kelly.” Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AABB. Composed by the late Inverness, Cape Breton, fiddler and composer Jerry Holland (1955-2009) in honor of the great Dublin fiddler James Kelly, now living in Florida. Kelly had come to Cape Breton to teach fiddle at one of the summer music schools on the island. Cranford (Jerry Holland: The Second Collection), 2000; No. 268, pg. 96 (appears as “James Kelly”).  Odyssey ORCS 1051, Jerry Holland – “Fiddler’s Choice” (1998).

See also listing at:

Alan Snyder’s Cape Breton Fiddle Recording Index

                       

JAMES KERR’S HORNPIPE. Scottish, Hornpipe. B Flat Major. Standard tuning. AABB’. Kerr was a publisher of several influential collections beginning about 1875, which are still available today. This hornpipe appeared as an untitled tune in one of the collections and appeared as “Kerr’s Hornpipe” on Winston Fitzgerald’s LP. It was given the name “James Kerr’s Hornpipe” by Paul Cranford to distinguish it from other “Kerr’s Hornpipe’s.” Source for notated version: Winston Fitzgerald (Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 16, pg. 6.

 

JAMES LEE'S FAVORITE. AKA and see "My Dog Dies." American, Dance Tune (2/4 time). A Major. Standard tuning. ABA. This melody is labelled a 'jig' in Cole's 1000, meaning not the Irish 6/8 time jig, but a type of syncopated old time banjo tune often the vehicle for a type of clog dance and known as a “straight” or “sand” jig (as it was performed on a sanded stage). Cole (1000 Fiddle Tunes), 1940; pg. 84. Ryan’s Mammoth Collection, 1883; pg. 118.

X:1

T:James Lee’s Favorite

M:2/4

L:1/8

R:Clog dance tune

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:A

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

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

A/c/e/g/ aa | g/e/f/g/ e>g | a/e/c/A/ d/f/ z/d/ | c/A/B/G/ Ez/E/ |

A/c/e/g/ aa | g/e/f/g/ e>g | a/e/c/A/ d/f/ z/d/ | c/A/B/A/ F/G/E/G/ ||

 

JAMES LUMSDEN. Scottish, Strathspey. B Minor. Standard tuning. AAB. Composed by Alexander Walker for James Lumsden of Braco. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 58, pg. 21.

 

JAMES McMAHON’S JIG (Port Shéamais Mhic Mhathúna). AKA – “McMahon’s Favourite.” Irish, Double Jig. D Major. Standard tuning. AABB. Composed by the late County Fermanagh flute player James McMahon (whose most famous composition is “McMahon’s Reel”/”The Banshee”), who was born around the year 1900. The tune was transposed to the key of A Major by C#/D accordion player Charlie Piggot (who had the melody from Delores Keane), who thought it sounded better in that key. Source for notated version: fiddler Liam Donnelly (County Tyrone), who helped Breathnach obtain tunes for CRÉ [Breathnach]. Breathnach (CRÉ IV), 1996; No. 16, pg. 9. McGuire & Keegan (Irish Tunes by the 100), 1975; No. 4, pg. 1 (appears as “McMahon’s Favourite”). Gerry Harrington and Charlie Piggot – “The New Road.”

X:1
T:James McMahon's Jig
C:James McMahon, Fermanagh
B:Ceol Rince na hE/ireann 4, Breathnach/Small, no. 16
R:double jig
M:6/8
L:1/8

Z:Transcribed by Paul de Grae
K:D
d|fef edB|AdB AFE|BAF DEF|ABd edB|
fed edB|AdB AFE|BAF DFA|Bdd d2:|:e|
faa {b}afa|baf efd|f{a}ef edB|ABd edB|
faa {b}afa|baf efd|f{a}ef edB|ABd d2:|

X:2

T:James McMahon's Jig
M:6/8
L:1/8
S:Gerry Harrington and Charlie Piggot, The New Road
R:Jig
K:A
cBA BAF|EAF ECE|FEC A,CE|EFA BAB|
cBA BAF|EAF ECE|FEC A,CE|EAG A2E:|
ABc  e3|fec BAB|c3 BAF|EFA BAB|
ABc  e3|fec BAB|c3 BAF|EAG A3:|

 

JAMES McMAHON’S HORNPIPE.  AKA and see “McMahon’s (Hornpipe).

 

JAMES McMURROUGH (Seamus Mac Murchadha). Irish, Air. Ireland, Ulster. Three versions of the song (two from Omeath and one from Donegal) appear in Father L. O Muiri’s (Muireadhach Meith) “Ambrain Chuige Uladh” (1927). James McMurrough was an 18th century Irish hero who was hanged in Armagh.

 

JAMES McNICOLL. Scottish, Strathspey. C Major. Standard tuning. AABB'. Kerr (Merry Melodies), vol. 2; No. 82, pg. 11. Stewart-Robertson (The Athole Collection), 1884.

X:1

T:James McNicoll

M:C|

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:C

e/d/|c>GE>G c>de>d|c>GE>c D>d de/d/|c>GE>G c>de>c|f>dB>g e<cc:|

|:e/f/|g<ca<c G<c Ea|g>ca>c B<d de/f/|1 g>ca>c G>cE>c|A>FD>g e<c ce/f/:|2

g>cd>g e>cB>d|c>GE>g e<cc||

                       

JAMES MELVIN. AKA and see “Seamus O’Thomush.”

                       

JAMES MOIR. Scottish, Strathspey. G Major. Standard tuning. AB. Composed by Alexander Walker for James Moir for one James Moir of Portsoy, a banker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 182, pg. 62.

           

JAMES MURRAY’S.  Irish, Jig. Flute player James Murray is from the townland of Ogham, near Tubbercurry; he is one of the finest exponents of the Sligo flute playing style and was influenced by his uncle Joe, also a flute player. Coleman Center CD CC004, James Murray – “The Mountain Road” (1999. Various artists. “A Compilation of tunes popular in South Sligo”).

           

JAMES MY THOUSAND TREASURES [1]. Irish, Air (6/8 time). F Major. Standard tuning. AB. O’Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 442, pg. 77.

X:1

T:James My Thousand Treasures [1]

M:6/8

L:1/8

R:Air

S:O’Neill – Music of Ireland (1903), No. 442

N:”With expression”

Z:AK/Fiddler’s Companion

K:F

A/B/|c>dc cAf|d2 c/A/ G2F|(F3 F z||c|f>ef def|gec d2c|(c3 c)z (3c/d/e/|

f>ef def|gec d2 e|(f3 f2) A/B/|c>dc cAf|d2 c/A/ G2F|(F3 F) z||

 

JAMES MY THOUSAND TREASURES [2]. Irish, Air (6/8 time). G Major. Standard tuning. One part. O’Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 443, pg. 77.

X:1

T:James My Thousand Treasures [2]

M:6/8

L:1/8

S:O’Neill – Music of Ireland (1903), No. 443

Z:AK/Fiddler’s Companion

N:”With expression”

K:G

B/A/|G>AG Gge|dBG A2B|G3 z2 (3d/e/f/|gfe def|agf e2d|B3 z2 (3d/e/f/|gfe def|

Agf e2d|B3 z2 B/A/|G>AG Gge|dBG A2B|G3 z2||

                       

JAMES O'BRIEN (Seamus Ua Briain). AKA and see "Seamus O'Brien(‘s)," "Shamus O'Brien." Irish, Air (3/4 time). G Major. Standard tuning. AB. This tune is also known as a waltz in the Midwest United States as "Shamus O'Brien." O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 367, pg. 64.

X:1

T:James O’Brien

M:3/4

L:1/8

R:Air

S:O’Neill – Music of Ireland (1903), No. 367

Z:AK/Fiddler’s Companion

N:”Moderate”

K:G

d2|e2d2B2|G2A2B2|E2G2E2|D4 EF|G2F2G2|e2d2B2|(A6|A4) d2|e2d2B2|G2A2B2|

E2G2c2|e4 fe|d2B2G2|A2E2F2|(G6|G4)||d2|e2d2e2|g2f2e2|f2e2d2|B4 d2|e2d2e2|

g2f2e2|(g6|g4) gf|e2d2B2|G2A2B2|E2G2c2|e4 fe|d2B2G2|A2E2F2|(G6|G4)||

                       

JAMES O’BYRNE’S. Irish, Double Jig. Shanachie SH-78010, Solas - “Sunny Spells and Scattered Showers” (1997).

                       


JAMES PLUNKETT. AKA and see "Young William Plunkett." Irish, Planxty (3/4 time). G Mixolydian. Standard tuning. AB. Composed by blind Irish harper Turlough O'Carolan (1670-1738). Complete Collection of Carolan's Irish Tunes, 1984; No. 151, pg. 103.

 

JAMES RIVER REEL.  American, Reel. D Major. Standard tuning. AABB. The melody was published in George P. Knauff’s Virginia Reels, vol. III (Baltimore, 1839), attributed to L.W. Webb.

X:1

T:James River Reel

M:2/4

L:1/8

R:Hornpipe

B:George P. Knauff – Virginia Reels, vol. III (Baltimore, 1839).

Z:AK/Fiddler’s Companion

K:D

f|d2 Ad|FdAd|dfed|ceef|d2 Ad|FdAd|cdeg|fd d:|
|:f|ddfd|adfd|ddfd|ceef|ddfd|adfd|cdeg|fd d:||

 

JAMES RYAN'S FAVOURITE. AKA and see “Gilbert Clancy’s Reel,” “Sean Reid’s Reel,” "The West Wind [1]." Irish, Reel. G Mixolydian. Standard tuning. AB. Source for notated version: students of New York fiddler John McGrath (1900-1955, originally from County Mayo) [O’Malley]. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 18, pg. 9.

X: 1

T: James Ryan's Favorite

M: 4/4

L: 1/8

Q: 350

S: Luke O'Malley volume 1

Z: Transcribed by Bill Black

R: Reel

K: Gmix

BdGA BGdG | AcFG AFcF | (3Bcd GA BGdG | (3ABc FG AGGA |

Bdd2 BGdG | AFF2 AcBA | GABd gbag | fdcA BG G2 ||

g^fga g^fde | fefg fdcf | d2 ga gfde | fdcA BG G2 |

g^fga g^fde | fefg fdcA | GABd gbag | fdcA BG G2 ||

 

JAMES SCOTT SKINNER. Scottish, Strathspey. A Major. Standard tuning. AABB. Composed in 1934 in honor of the great Scots fiddler and composer James Scott Skinner (1841-1927) by Aberdeen, Scotland, fiddler and composer J. Murdoch Henderson (1902-1972). See also Henderson’s accompanying reel, “J. Scott Skinner.” Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 94, pg. 40. Henderson (Flowers of Scottish Melody), 1935. Breton Books and Records BOC 1HO, Winston “Scotty” Fitzgerald - “Classic Cuts” (reissue of Celtic Records CX40). Tartan Tapes CDTT1004, Paul Anderson – “Heat the Hoose” (1998).

X:1

T:James Scott Skinner

C:J Murdoch Henderson, 1934

R:Strathspey

Z:Nigel Gatherer

M:4/4

L:1/8

K:A

D|C<A,A,>C E>FE<C|A>FE>C (3AGF (3EDC|D<B,B,>C D>FB>A|G>Bg>f (3efe (3dcB|

C<A,A,>C E>FE<C|A>FE>C (3AGF (3EDC|F<DF>A E>Ac>A|(3FBA G/EG/ A2 A||

f|e<Ac>f e<c c2|a>A>B (3ABG (3ABc|B<EG>B e>Bg>e|b>eg>f (3efe (3dcB|

c>Ac>f e<cc>A|a>ec>B (3ABG (3ABc|F<DF>A E>Ac>A| F/BA/ G/EG/ A2 A|]

 

JAMES SCOTT SKINNER’S WELCOME TO INVERNESS. Scottish, March. Composed by Alexander Grant. BM-91, Buddy MacMaster – “Glencoe Hall.”

 

JAMES STEPHEN.  Scottish, Jig. D Major. Standard tuning. AAB. Composed by fiddler and bandleader Angus Fitchet, of Dundee, one of the foremost Scottish fiddlers of the mid-20th century. James “Jimmy” Stephen was one of the accordion players in his band. Miller (Fiddler’s Throne), 2004; No. 63, pg. 48.

 

JAMES THE COWARD. AKA and see "Séamus an Chaca {a Chaill Eire}," "Dirty James."

 

JAMES THE SHIT. AKA and see "Séamus an Chaca {a Chaill Eire}."

 

JAMES THE SECOND'S MARCH. AKA and see "The Garter", "King James' March"). English, Air (4/4 time). C Major. Standard tuning. AB. The tune appears in Playford's Dancing Master of 1690 (appears as "The Garter") and in later editions (as "King James's March, or the Garter"). Chappell (Popular Music of the Olden Times), vol. 2, 1859; pgs. 65‑66.

X:1

T:James the Second’s March

M:C

L:1/8

S:Chappell – Popular Music of the Olden Time  (1859)

Z:AK/Fiddler’s Companion

K:C

e3d ef g2|c2G2c2d2|e2 ef g2 fe|dcde d2g2|e3d ef g2|c2G2c2d2|e3f f4 {e/f/}|g8||

g2 fe d2g2|e3d c2e2|d2 cB A2d2|B3A G2 z(3d/e/f/|g2 fe d2g2|e3f g2c2|d2 ef d3c|c8||

 

JAMES THE SHIT. AKA and see "Seamus an Chaca."

 

JAMES WATT'S REEL. Scottish, Reel. A Dorian. Standard. AAB. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 33.

X:1

T:James Watt’s Reel

M:C

L:1/8

R:Reel

S:Honeyman – Strathspey, Reel and Hornpipe Tutor  (1898)

Z:AK/Fiddler’s Companion

K:Amin

e|(c>A) A/A/A ABcA|Bgdg BGdB|(c>A) A/A/A cdea|(ge)dB (eA) A:|

e|(a^g)ae (cd)e^f|(=g^f)gd (Bc)de|(a^g)ae (cd)ea|(ge)dB (eA)Ae|

(a^g)ae (cd)e^f|(=g^f)gd (Bc)dB|ABcA BcdB|(ce)dB (cA) A||

                       

JAMES WATT'S STRATHSPEY. Scottish, Strathspey. A Dorian. Standard tuning. AAB. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 32. Lerwick (The Kilted Fiddler), 1985; pg. 30‑31.

X:1

T:James Watt’s Strathspey

M:C

L:1/8

R:Strathspey

S:Honeyman – Strathspey, Reel and Hornpipe Tutor  (1898)

Z:AK/Fiddler’s Companion

K:Amin

c<(AA<^G) (A>Bc>d)|e<gd<g B<(G G>B)|c<(A c>d) (e<^f) (g>a)|(3g^fe (3cAc (eA) A2:|

E<(Ac<A) e<A a>A|D<(G B>G) (3ded (B<G)|E<(A c>A) (e>^f)(g>a)|

(3g^fe (3dBd (e<A) A2|E<(A c>A) eAa>A|D<(G B>G) (3ded (B<G)|

(A>B)(c>d) (e>^f)(g>a)|(3g^fe (3dBd (e<A) A2||

                       

JAMIE ALLEN. AKA and see “Jimmy Allen,” “Reel of Tullochgorum.” English, Scottish, American; Country Dance Tune (4/4 time). England, Northumberland. USA, New England. G Major. Standard tuning. AABB. Northumbrian musician Jamie Allen was a famous small pipes player whose name is associated with this tune. Johnson also prints the contra dance of the same name to this tune. Johnson (Twenty‑Eight Country Dances as Done at the New Boston Fair), Vol. 8, 1988; pg. 6. Northumbrian Pipers Tunebook, 1936 (2nd Edition, 1970). Songer (Portland Collection), 1997; pg. 109. Acorn Music, Tony Elman - “Shakin’ Down the Acorns, Vol. 2" (1984).

X:1

T:Jimmy Allen

T:Jamie Allen

M:C

L:1/8

K:G

|: GA | “G”B2G2G2A2 | “Em”B4 G2AB | “Am”c2A2A2B2 | ‘D7”c4 B2A2 |

“G”G2g2 “C”g2e2 | “G”d4 B3c | “D7”d2d2 cBA2 | “G”G4 g2 :|

|:BA | “G”G2g2g3f | “Em”e2d2c2B2 | “Am”A2a2a3g | “D7”f2d2e2f2 |

“C”g3ag2e2 | “G”d4B3c | “D7”d2d2 cBA2 | “G”G4 G2 :|

                       

JAMIE ALLEN'S FANCY. AKA and see "Coffee and Tea [1]."

           

JAMIE DUFFY’S HIGHLAND.  See “Lady Mary Ramsey [2].” Irish, Highland. Jamie Duffy was the brother of Co. Fermanagh flute player Eddie Duffy.

           


JAMIE HARDIE. Scottish, Reel. D Major. Standard tuning. AB. Composed by J. Scott Skinner, who says: "Relative of the Famous Drumnagarry Reel for 'Bob Steel.'" Jamie (James) Hardie (1836-1916) was an Edinburgh violin maker whom Skinner knew, and who had a fine reputation as a craftsman, producing over two thousand instruments (the finest of which were based on the master Maggini's violins) during his long career. He was a member of the famous Hardie family who have been for generations Scots fiddlers of renown. Skinner (The Scottish Violinist), pg. 21. Skinner (Harp and Claymore), 1904; pg. 83.

See also listing at:

Alan Snyder’s Cape Breton Fiddle Recording Index

X:1

T:Jamie Hardie

M:2/4

L:1/8

R:Reel

C:J. Scott Skinner (1843-1927)

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:D

A,/ | D/4D/4D/ (F/A/) ({c}d)A/F/ | D/4D/4D/ (F/D/) E/B,/B,/E/ | D/4D/4D/ (F/A/) d/B/A/G/ |

F/D/G/E/ F/D/D/A,/ | D/4D/4D/ (F/A/) ({c}d)A/F/ | D/4D/4D/ (F/D/) E/B,/B,/E/ |

D/4D/4D/ (F/A/) d/f/a/g/ | f/d/e/c/ d/D/D/ || g/ | f/d/g/e/ a/f/d/f/ | e/c/d/B/ c/A/A/g/ |

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

                       

JAMIE LYALL. Scottish. One of the 30 or so surviving compositions of Peter Milne (1824-1908), one of J. Scott Skinner’s teachers and, later, fiddling partner. Milne managed to make a living playing theater venues all over Scotland, but became addicted to opium in the drug laudanum, which he originally took as a pain-killer.  Milne ended his life in reduced circumstances, busking on the ferry that crossed the Firth of Forth.

                       

JAMIE McNICOL’S STRATHSPEY. Scottish (?), Strathspey. C Major. Standard tuning. AB. White’s Unique Collection, 1896; No. 167, pg. 31.

X:1

T:Jamie McNicol’s Stathspey

M:C

L:1/8

R:Strathspey

S:White’s Unique Collection (1896), No. 167

Z:AK/Fiddler’s Companion

K:C

(e/d/) | (c>.G)(E>.G) (c>.d)(e>.d) | (c>.G)(E>.c) (Dd)(de) | (c>.G)(E>.G) (c>d(e>c) |

(f>d)(B>g) ecc (e/d/) | (c>G)(E>G) (c>d)(e>d) | (c>G)(E>c) (Dd)(de) |

(c>G)(E>G) (c>d)(e>c) | (f>d)(B>g) ecc || (e/f/) | (g>c)(a>c) (G>c)(E>a) |

(g>c)(a>c) (Bd)(df) | (g>c)(a>c) (G>c)(E>c) | (A>F)(D>g) (ec)(cf) |

(g>c)(a>c) (G>c)(E>a) | (g>c)(a>c) (Bd)(df) | (g>e)(d>g) (e>c)(B>d) |

(c>G)(E>g) ecc ||

                       

JAMIE RAE. AKA – “Jamie Roy,” “Seumus Ruadh.” Scottish, Jig. A Mixolydian. Standard tuning. AABB. MacDonald (The Gesto Collection), 1895.

X:1
T:Jamie Rae
D:Colin Campbell, Highland Style (1973)
Z:Nigel Gatherer
M:6/8
L:1/8

R:Jig
K:A mix
g|A>AA a3|geg a3|G>GG g2 e|dBd BGB|A>AA a3|geg a3|
g2 e dBd|e2 A A2::e|A>AA e2 A|d2 A A2 B|G>GG g2 e|
dBd BGB|A>AA e2 A|dBA g2 a|g2 e dBd|e2 A A2 e:|]

X:387
T:Seumus Ruadh
T:Jamie Roy
T:Jamie Rae
B:The Gesto Collection (1895)
Z:Nigel Gatherer
M:6/8
L:1/8

R:Jig
K:A mix
B | AAA a3  | geg a3  | GGG g2e | dBd G2B |AAA a3  | geg a3  |

ege dBd | e3  A2 :: a | AAA e2A | dBA A2e | GGG g2e | dBd G2B |

AAA e2A | dBA g2a | ege dBd | e3  A2 :|

                       

JAMIE ROV. Scottish, Strathspey. D Major. Standard tuning. AABC. The title is perhaps "Jamie Roy." McGlashan notes the tune was “Colonel Montgomerie’s favorite strathspey.” McGlashan (A Collection of Reels), c. 1786; pg. 36.

X:1

T:Jamie Rov.

M:C|

L:1/8

R:Strathspey

N:”Colonel Montgomeries favorite Strathspey” (McGlashan)

S:McGlashan – Reels  (1786)

Z:AK/Fiddler’s Companion

K:D

A>BA>F E>DEF|A>dA>F E>D B,2|A>GAF E>DE>g|f>ed>f e>f d2:|

|:A>dfd g>efd|A>dfd e>d B2|A>dfd g>efd|e<f a>f e>f d2:|

A>dA>F E>DEF|d>B AF/A/ G/F/E/D/ B,2|A/d/c/d/ B/A/G/F/ G/F/E/D/ Eg|

f>e d<f e>f d2|d>BG d/B/A/F/ E>DEF|A/d/c/d/ B/A/d/F/ G/E/F/D/ B,2|

d>B d/B/A/F/ E>DEg|f>e d<f e>f d2||Adfd gefd|Adfd e>d B2|Adfd gefd|

e<fa<f e>f d2|A/d/d f/d/d g/e/e f/d/d|A/d/d f/d/d ge/d/ B2|A/d/d f/d/d g/e/e f/d/d|

e>fa>f e>f d2||

           

JAMIE ROY. See “Jamie Rae.”

                                   


JAMIE SHEARER. Scottish, Reel. D Major. Standard tuning. AAB. Composed by J. Scott Skinner. Skinner (The Scottish Violinist), pg. 3.

X:1

T:Jamie Shearer

M:2/4

L:1/8

C:J. Scott Skinner

Z:AK/Fiddler’s Companion

K:D

A/ | .d/.c/.B/.A/ {c}dA/d/ | c/d/A/d/ .B/(e/e/)/.g |

.f/.e/.d/.c/ {c}dA/F/ | G/B/E/A/ F/D/[A,/D/] :|

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

F/A/d/A/ B/G/G/f/ | g/f/e/d/ c/A/B/c/ | {c}dc/d/ B/d/A/d/ | c/b/a/g/ f/d/d/ ||

                       

JAMIE’S MADE THE FIRE ON. See “Johnnie’s Made the Fire On.”

 

JAMIE'S PAPER. Scottish, Highland Schottische. G Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 204, pg. 24.

                       

JAMY COME TRY ME. Scottish. The air by James Oswald to which Robert Burns set his lyric "If thou shalt ask my love."

                       

JAN MIJNE MAN. Traditional. Green Linnet SIF‑3050, Blowzabella ‑ "Vanilla" (1990).

                       

JANE COKER’S TUNE. English, Reel. G Major. Standard. AABB’.

X:1

T:Jane Coker's Tune

M:2/4

L:1/16

K:G

DE|G2DE GDEG|DEGA B2A2|G2DE GDEG|eged B2A2|

G2DE GDEG|DEGA B2d2|g2ed edBA |B2G2G2:|

|:d2|g2ed edBA|BdBG E2DE|G2GA BedG|1B2A2 A2d2|

g2ed edBA|BdBG E2D E|G2GA BedG|A2G2G2:|2

B2A2 A2DE|G2DE GDEG|DEGA B2d2|g2ed edBA|B2G2G2|

 

JANE IN THE LANE. English, Country Dance Tune (3/2 time). C Major. Standard tuning. AABB. Composed by Jonathan Jensen. Barnes (English Country Dance Tunes, vol. 2), 2005; pg.97 (appears as “Old Friends”, the name of a country dance by Gary Roodman set to the tune).

                       

JANE'S HEART INCLINE'S TO ME (Claoneann Croide Mo Sineid Liom). Irish, Air (6/8 time, "cheerful"). E Minor. Standard tuning. AABB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 471, pg. 82.

X:1

T:Jane’s Heart Incline’s to Me

M:6/8

L:1/8

R:Air

N:”Cheerful”

S:O’Neill – Music of Ireland (1903), No. 471

Z:AK/Fiddler’s Companion

K:Emin

G/F/|EE>F {A}GFE|ee>f {a}gfe|d<gd dBG|FDF {B}AGF|

EE>F {A}GFE|ee>f g2 g/a/|bge dBA|GEE E2:|

|:e/f/|g2 f/4g/4a/4b/4 afd|{a}gfe dBd|e/f/g/f/g/a/ gdB|DAG FE^D|

E2e g2f|bag fga|ga/g/f/e/ dBA|GEE E2:|

                                               

JANE'S WALTZ. English, Waltz. A Minor. Standard tuning. AABB. A modern composition by editor Michael Raven. Raven (English Country Dance Tunes), 1984; pg. 193.

                       

JANET BEATON. Canadian, Jig. Canada, Cape Breton. B Flat Major. Standard tuning. AAB. Composed by Cape Breton fiddler Angus Chisholm (Inverness, Cape Breton, 1908-1979) for a member of the famous musical family of Mabou Coal Mines, Cape Breton. Cranford (Jerry Holland’s), 1995; No. 211, pg. 61. Cranford Publications CP-R2, “Jerry Holland Solo” (1988).

                       

JANET TYED THE BONNET TIGHT. AKA – “Jenny/Jeanie Tied the Bonnet Tight.” Scottish. From The Piper’s Assistant (1877). Nigel Gatherer finds the tune in Brendan Breatnach's Ceol Rince na hÉireann. LOCH 1233, Old Blind Dogs – “Legacy.”

                       

JANEY OF THE GREEN. AKA ‑ "Jenny of the Green." English, Reel. England, Northumberland. E Flat Major ('A' part) & B Flat Major ('B' part). Standard tuning. AABB. The melody appears in the 1770 music manuscript collection of Northumbrian musician William Vickers, about whom very little is known. It appears as “Jenny of the Green” in various earlier printed collections, including those of David Rutherford and Charles and Samuel Thomson. Seattle (William Vickers), 1987, Part 3; No. 472.

X:1

T:Janey of the Green

M:C|

L:1/8

R:Reel

S:William Vickers’ music manuscript collection (Northumberland, 1770)

Z:AK/Fiddler’s Companion

K:Eb

E/E/E GEBG e2|E/E/E GE EFDB,|E/E/E GEBG eg|(3fed (3cB=A B2B,2:|

|:B/B/B dBfB a2|B/B/B dB AcAF|B/B/B dBfB b2|gedc B/B/B B2:||

                       

JANEEN SULLIVAN’S WALTZ. Irish, Waltz. D Major. Standard. AABB. Composed by Falmouth, Massachusetts, writer and musician Bill Black.

X: 1

T: Janeen Sullivan's Waltz

C: © B. Black

N: For a friend who lost a long battle Here, now praying for

N: us from There.

M: 3/4

L: 1/8

K: D

A | "D"D2 FA Bd | f2 e2 d2 | "G"g2 B2 d2 | "A"A2-AB AG |

"D"F2 A2 d2 | "Em"B2 e2 g2 | "D"f2-fg af | "A"e2-ea ge |

"D"d3f d2 | "G"B3A G2 | "D"F2-FG Ad | "Bm"f2-f2 fg |

"A"ag ec AB | A2 G2 E2 | "D"D3E FE | D3-D2 :|

e | "Bm"f2 d2 B2 | "A"e2 c2 A2 | "D"d2-df ed | "A"c2 "D"d2 ef |

"G"g2 e2 g2 | "Bm"f4 ga | "A"e2-ef gf | e4 ag |

"Bm"f2 d2 B2 | "A"e2 c2 A2 | "D"d2-df ed | "A"c2 "D"d2 ef |

"G"g4 ab | "Bm"f4 dB | "A"AB AF Ac | "D"d3-d2 :|

           

JANINE RANDALL’S STRATHSPEY. Canadian, Strathspey. Canada, Cape Breton. D Major. Standard tuning. AABB’. Composed by the late Cape Breton fiddler Jerry Holland (1955-2009). Cranford (Jerry Holland: The Second Collection), 2000; No. 81, pg. 33.

           

JANNY CAMERON. See "There's nae luck."

                       

JAN'S TUNE. Old-Time, Two-Step {?}. C Major. Standard tuning. AABB. Source for notated version: fiddler Brad Leftwich [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 69.

 

JANUARY GIRL. English, Country Dance Tune (4/4 time). C Major. Standard tuning. One part. Tune composed by Brian Jenkins in 1995. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 66.

 

JANUARY SIXTEENTH.  Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AABB. Composed by the late Cape Breton fiddler and composer Jerry Holland (1955-2009). Cranford (Jerry Holland: The Second Collection), 2000; No. 270, pg. 97. Odyssey ORCS 1051, Jerry Holland – “Fiddler’s Choice” (1998).

 

JANUARY SNOWS. AKA and see “The Snow that Melts the Soonest.” English, Air. Green Linnet GLCD 1200, Lunasa – “Otherworld” (1999).

           

JAPANESE BREAKDOWN. Old-Time, Rag. A country ragtime piece recorded on 78 RPM by the Georgia Scottdale String Band who played on the radio in the 1930’s. Old-Timey LP 100, Scottdale String Band – “Southern Dance Music, vol. 1” (various artists).

                       

JAPANESE (HORNPIPE), THE. Irish, Hornpipe. Ireland, County Donegal. A Donegal hornpipe made popular by fiddler John Doherty. The tune originally came from a travelling circus which frequented Donegal. As one of the circus acts a troupe of performers, together with a fiddler, would act a comic skit to the first part of the tune, but when the second part came around they would stop the action and perform a comic dance. This structure was repeated until the conclusion of the skit. The tune was remembered by local Donegal musicians in attendance, and comes down to the present generation of Donegal fiddlers via Doherty. A shift to third position on the fiddle is required when playing the tune. Bulmer & Sharpley (Music from Ireland), vol. 4; No. 65. Bowhand 001CD, Danny Meehan – “The Navvy on the Shore” (2000. Learned from his grandmother, who played it with the influential Donegal musician John James Cannaghan). Paddy Glackin – “Hidden Ground.”

X:1

T:The Japanese Hornpipe
M:C|
L:1/8
Q:180
S:Johnny Doherty
R:Hornpipe
A:Donegal
K:A
cd | (3efe ^de =de c2  | (3BcB AB GB F2  | EFGA Bcde | fe^de c2  c=d |
(3efe ^de =de c2  | (3BcB AB GB F2  | EFGA Bcde |1 (3gfe (3dcB A2  :|2 (3gfe (3dcB A4 ||
eac'e c'4    | (3eac' e'2  b4   | egbe b4    | (3egb e'2  a4    |
eac'e c'4    | (3eac' e'2  b4   | eagf  g3   f |1 (3efe (3dcB  A4 :|2 (3efe (3dcB A2 ||

 


JAQUELINE'S JIG. Canadian, Jig. Canada, Cape Breton. A Major. Standard tuning. AA'BB. Composed by Cape Breton piano player and accompanist Margaret MacPhee (b. 1913, Broad Cove Banks, Inverness County). Cook (Night in the Kitchen Collection), 1996; pg. 39.

           

JAQUES LUTIN OU l’ANGLOISE.  AKA and see “Jackie Layton.” French, Country Dance (2/4 time). A Major. Standard. AABBCCDD. An early printing of the Irish tune “Jackie Layton” or “Jacky Latin.” From the contradance book (tunes with dance instructions) of Robert Daubat (who styled himself Robert d’Aubat de Saint-Flour), born in Saint-Flour, Cantal, France, in 1714, dying in Gent, Belgium, in 1782. According to Belgian fiddler Luc De Cat, at the time of the publication of his collection (1757) Daubat was a dancing master in Gent and taught at several schools and theaters.  He also was the leader of a choir and was a violin player in a theater. Mr. De Cat identifies a list of subscribers of the original publication, numbering 132 individuals, of the higher level of society and the nobility, but also including musicians and dance-masters (including the ballet-master from the Italian opera in London). Many of the tunes are written with parts for various instruments, and include a numbered bass. Daubat (Cent Contredanses en Rond), 1757; No. 21.

X:1

T:Jaques Lutin ou l’Angloise

T:Jacky Latin

T:Jackie Layton

M:2/4

L:1/8

S:Daubat – Cent Contredanses en Rond (1757), No. 21

Z:AK/Fiddler’s Companion

K:A

(A/B/c/d/ e/f/g/a/) | edca | edca | e2 {d}c2 | A/B/c/d/ e/f/g/a/ | edca | bBBc | {e}d2 {c}B2 :|

|: A/B/c/d/ ec | fdec | A/B/c/d/ ec | e2 c2 | A/B/c/d/ ec | fdea | bBBc | {e}d2 {c}B2 :|

|: (A/B/)c cc | (.c.c.c.c) | (A/B/)c cc | {e}d2 {c}B2 | (A/B/)c cc | (c.c.c.c) | bBBc |

{e}d2 {c}B2 :: A2 c2 | .e/(c/B/c/) .a/(c/B/c/) | A2 cd | e2 (e/d/c/B/) | A2 c2 |

.e/(c/B/c/) .a/(c/B/c/) | bBBc | {e}d2 {c}B2 :|

                       

JARNOVICH'S HORNPIPE. Scottish, Hornpipe. E Major. Standard tuning. AABB. Composed “by Himself” (Gow). The title refers to Italian violinist Giovanni Giornovichi (1745-1804), known as Jarnovick, who visited Edinburgh in the early 19th century. Giornovichi was born in a ship off the coast of Raguso, Sicily (according to a contemporary account). He was a contemporary of Haydn and Mozart (both of whom he performed with), and was considered one of the finest violin virtuosos of his era touring nearly every European capital and large city (where he often changed the spelling of his name to suit local audiences—thus, he was Ivan Jarnovick in the Russian and Slavic countries). In addition to performing, Jarnovich composed pieces featuring the violin, which he then performed (thus showcasing his lyrical strengths), and some seventeen of his concertos survive, along with quartets. He is said to have written seven symphonies. In the 1790’s he toured Britain, performing in London for the Prince of Wales to great acclaim. Unfortunately, Jarnovich could be difficult, enigmatic, arrogant, erratic and tempestuous in his behavior, exasperating colleagues with his rudeness. Worse, he was often quick tempered and rough in his habits, and often had to flee an area he was performing in when he became involved in various scandals. When on occasion performing could not sustain him, Jarnovich made a living by playing billiards, and it was at such a table in St. Petersburg that he died of a stroke in 1804. Carlin (The Gow Collection), 1986; No. 578. Gow (Fourth Collection of Niel Gow’s Reels), 2nd ed., originally 1800; pg. 25.

X:1

T:Jarnovich’s Hornpipe

M:2/4

L:1/8

R:Hornpipe

B:Gow – Fourth Collection of Niel Gow’s Reels (1800)

Z:AK/Fiddler’s Companion

K:E

B|(A/G/)~.F/.E/ (E/G/).B/.e/|(c/A/)(F F/)G/A/c/|(B/d/).e/.B/ (c/f/)F/e/|(d/e/f/).d/ (B/c/B/).A/|(A/G/)”tr”.F/.E/ E/G/B/e/|

c/A/(F F/)d/f/a/|(g/b/).e/.g/ (f/a/).B/.d/|.e.e.e::f/|(e/d/).c/.B/ B/d/f/a/|(g/e/)B/e/ (g/e/)(b/g/)|(a/f/)(g/e/) (a/f/)(g/e/)|

(d/f/)(e/g/) .f/(B/c/B/)|(A/G/)”tr”F/E/ (E/G/B/)e/|(c/A/)(F F/)d/f/a/|(g/b/)(e/g/) (f/a/).B/.d/|eee:||

 

JARNOVICH’S REEL.  Scottish, Reel. F Major. Standard tuning. AABB. The melody appears in Issac Cooper of Banff’s (b. 1755-d. 1810 or 1811, although sometimes the year is given as 1820) Collection of Strathspeys, Reels and Irish Jigs for the Piano-Forte & Violin to which are added Scots, Irish & Welch Airs Composed and Selected by I. Cooper at Banff (London, Edinburgh, c. 1806). Cooper was for many years a teacher of music and a dancing master in Banff. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 6 (from the I. Cooper collection).

X:1

T:Jarnovich’s Reel

M:C|

L:1/8

R:Reel

S:I. Cooper – Collection of Strathspeys, Reels and Irish Jigs (c. 1806)

Z:AK/Fiddler’s Companion

K:F

fc ~c2 fc ~c2|defg ec ~c2|dfcf BfAf|BdcB AF ~F2:|

|:aagf eg c’2|ffed cf a2|ddcB Acfa|bgeg f/f/f f2:|

 

JARNOVICHES' STRATHSPEY. Scottish, Strathspey. G Major. Standard tuning. AB. Cole (1000 Fiddle Tunes), 1940; pg. 125. Ryan’s Mammoth Collection, 1883; pg. 165.

X:1

T:Jarnoviches’ Strathspey

M:C

L:1/8

R:Strathspey

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

(g>d.) “tr”d2 {^c/d/}(g>.d) “tr”d2 | {^c/d/}(e>.f)(g>.a) (f<d)d2 | (e<g)(d<g) (c<g)(B<g) | (c/d/e) (d>.c) (B<G)G2 |

(g>d.) “tr”d2 {^c/d/}(g>.d) “tr”d2 | {^c/d/}(e>.f)(g>.a) (f<d)d2 | (e<g)(d<g) (c<g)(B<g) | (c/d/e) (d>.c) (B<G)G2 ||

(b>b)(a>.g) (f>.a) d’2 | (g>.g)f>e (d>.f) b2 | (e>.e)(d>.c) (B>.d)(g>.b) | (c’>.a)(b>g) (f<a)a2 |

(b>.b)(a>.g) f>a d’2 | g>gf>e d>f b2 | e>ed>c B>dg>b | c’>ag>f (a<g) g2 ||

 

JARTIERE, LA. French-Canadian. Voyager 322, Louis Boudreault - "Old Time Fiddler of Chicoutimi, Québec" (1977, 1993).

                       

JASON BEATON STRATHSPEY. Cape Breton, Strathspey. A modern composition by Cape Breton, Nova Scotia, fiddler Kinnon Beaton. Rounder 7011, "The Beatons of Mabou: Scottish Violin Music from Cape Breton" (1978).

                       

JASPER COUNTY BREAKDOWN. Old-Time, Breakdown. USA, Missouri. A Major. Standard tuning. AA’BB’. Composed by Missouri fiddler Lacey Hartje, named for the Joplin County, Missouri, in which his home town, Joplin, is located. Source for notated version: Lacey Hartje (b. 1926, Joplin, Mo.) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 51. Rounder CD 82161-0436, Lacey Hartje – “Traditional Fiddle Music of the Ozarks, vol. 2: On the Springfield Plain” (2000).

                       

JAUNTING CAR. AKA and see “Lodge Gate,” “Pound Hill,” “Russell’s Hornpipe,” “Woodcock Hill.” American, Scottish; Hornpipe. D Major. Standard tuning. AABB. Composition of this melody is credited to J. Hand in Ryan’s Mammoth Collection (1883). "Can be used as a Clog" (Cole). Source for notated version: Tom Doucet (Nova Scotia/eastern Mass.) [Phillips]. Cole (1000 Fiddle Tunes), 1940; pg. 96. Kerr (Merry Melodies), Vol. 2; No. 372, pg. 41. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 203. Ryan’s Mammoth Collection, 1883; pg. 131. Fiddler FRLP001, Tom Doucet - “The Down East Star.”

X:1

T:Jaunting Car

M:C|

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

(3ABc | {e}d>cd>f e>cA>c | {e}d>BG>B A>FD>F | {A}G>FG>A B>cd>B |

e>dc>B A>AB>c | {e}d>cd>f e>cA>c | {e}d>BG>B A>FD>F | G>ec>A g>eB>c |

d2f2d2 :: f2 | g>ec>A (^GA)(EA) | (CE)(A,C) D>FA>F | ^G>Be>d c>dB>c |

A2A2 A>GF>G | A>fd>A B>ge>c | d>AF>A d>fe>d | c>ba>g f>gB>c | d2f2d2 :|

                       

JAUNTING CAR FOR SIX (Carr Cliathánach do Sheisear). AKA and see “Follow Her Over the Border.” Scottish, Irish; Slip Jig. A Major. Standard tuning. AABB. See also the related “Drops of Brandy.”

***

 

Jaunting Car

 

(the card caption reads:)

The Irish Jaunting Car.
"It's Cupid's own conveyance - in the Well amoungst the hay,
The little rogue conceals himself to hear what sweethearts say.
And, oh! the blarney that he hears, sure my tongue can't repeat.
It's enough to smash the car and knock the driver from his seat.

 

 

***

Source for notated version: Bernard Bogue (Counties Monaghan and Tyrone) [Breathnach]. Breathnach (CRÉ IV), 1996; No. 48, pg. 23. Kerr (Merry Melodies), vol. 3; No. 233, pg. 26.

X:1

T:Jaunting Car for Six

M:9/8

L:1/8

R:Slip Jig

S:Kerr – Merry Melodies, vol. 3, No. 233 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

efe c2c c3|efe cde fga|efe c2c c3|BcB B2c def:|

|:e2a agf ecA|e2a agf e3|e2a agf ecA|BcB B2c def:|

                       

JAVA MARCH. ????, March (4/4 time). C Major. Standard tuning. AAB. Howe (Complete Preceptor for the Accordeon), 1843; pg. 16.

X:1

T:Java March

M:4/4

L:1/8

R:March

S:Howe – Complete Preceptor for the Accordeon (1843)

Z:AK/Fiddler’s Companion

K:C

G>G | c2 c>c c2 G>G | d2 d>d d2 G>G | edef g2 fe | d2 d>d d2 G>G |

c2 c>c c2 G>G | d2 d>d d2 G>G | egfd c2B2 | c2 c>c c2 :| z2 |

B2 B>c d2 d>e | f2 f>f f2 z2 | c2 c>d e2 e>^f | g2 g>g g2 G>G |

c2 c>c  c2 G>G | d2 d>d d2 G>G | egfd c2B2 | c2 c>c c2 ||

                       

J'AVAIS UNE BONNE AMIE. French, Bourree a Trois Temps (3/8 time). France, Central France. G Major. Standard tuning. AABB. Stevens (Massif Central), 1987, vol. 1; No. 24.

                       


JAWBONE. Old‑Time, Breakdown/Song. G Major (Krassen, Phillips): A Major (Beisswenger & McCann). Standard or AEae tuning. AB (Beisswenger & McCann): AABB (Krassen, Phillips). The tune has minstrel origins, with ‘jawbone’ probably referring to a stock character in such shows, says Charles Wolfe (1991). The jawbone was also a recognized percussive instrument in 19th century Aftrican-American traditional music and was employed by minstrel troupes (who sometimes even had a stock character called ‘Jawbone’). It’s use also survived in white tradition—Arkansas fiddler Violet Hensley’s family band still uses the jaw bone of a cow as a rhythm instrument. Hans Nathan (in his book Dan Emmett) records it was sung at a Tennessee frolic in the early 1830's, and it has some similarities to minstrel Dan Emmett's tune (recorded by Uncle Dave Macon and the Fruit Jar Drinkers) "Jordan is a Hard Road to Travel, I Believe." Wolfe found jawbone tunes in old minstrel collections, some of which indicate the song was associated with the “Colored Saboyard” Cool White, whose song “Walk Jawbone” was published in 1844 (although there appears to be no musical relationship with the old-time breakdown tunes). Library of Congress recordings of the tune/song prior to WWII were collected from Florida to Ohio. “Jawbone” fragments also survived in play-party song from Pre-World War II in Oklahoma (see Botkin, American Play-Party Song, 1963, pg. 72). Various ditties have been sung to the melody:
***

I left my jawbone sittin' on a fence

I ain't' seen nothin' of my jawbone since

Walked on home and didn't get along

In come Sally with her big boots on.

***

Jawbone walk and Jawbone talk and

Jawbone eat with a knife and fork.

***

Jawbone walked and the mire flew

'Hind my head, and-a higher, too.

***

Pope’s Arkansas Mountaineers sang in 1928:

***

Little old man come riding by,

Say, ‘Old man, your horse will die.’

‘If he dies, I’ll tan his skin,

If he lives I’ll ride him again.

***

Cho:

***

Walk jaw bone and walk away,

Walk jaw bone both night and day;

Jaw bone walk and jaw bone talk,

Jaw bone eat with the knife and fork;

Walk jaw bone and walk away,

Walk jaw bone both night and day.

***

African-American collector Thomas Talley printed a version in his book Negro Folk Rhymes (reprinted in 1991, edited by Charles Wolfe):

***

Samson, shout! Samson, moan!

Samson, bring on yo Jawbone.

***

Jawbone, walk!, Jawbone, talk!

Jawbone, eat wid a knife an fo’k.

***

Walk, Jawbone! Jinny, come alon’

Yon’er goes Sally wid de bootees on.

***

Jawbone, ring! Jawbone, sing!

Jawbone, kill dat wicked thing.     (Talley)

***

See also the variants "Johnson City Rag" and “Hung My Jawbone (Over the Fence).” Sources for notated versions: Henry Reed (Glen Lyn, Va.) via Dave Milefsky [Krassen]; Alan Jabbour with the Hollow Rock String Band [Phillips]. Krassen (Appalachian Fiddle), 1973; pg. 57. Phillips (Traditional American Fiddle Tunes), 1994; pg. 121. Rounder Records, Gene Goforth – “Eminence Breakdown.” Rounder 0442, John Hartford – “Hamilton Ironworks” (2001). Pope’s Arkansas Mountaineers – “Echoes of the Ozarks, Vol. 1” (reissue). Victor 21577 (78 RPM), Pope’s Arkansas Mountianeers (1928). CD, Alan Jabbour, James Reed, Bertram Levy – “A Henry Reed Reunion” (2002).

 


JAYBIRD. AKA and see "Jaybird Settin' On a Limb," "The Pennsylvania Fifers" (Pa.), "Daddy Shot a Bear" (Pa.), "The Lady's Breast Knot," "The (Bonny) Breast Knot(s)." Old‑Time, Breakdown; American, March and Reel; English, Scottish; Country, Morris, Sword Dance Tune. USA; New England, Pennsylvania, Missouri(?). D Major. Standard or ADae tuning. AABB (most versions): AABBAAC'C' (Phillips/1994). At one time a “revival” favorite re-popularized in the late 1960’s/early 70’s by Art Rosenbaum, John Burke, Joel Shimberg and other young banjo players and fiddlers of the time. The second strain of the tune is used for the music to the songs "Skip to My Lou" and "Bobby Shafto." The similarly titled “Walking Jaybird” is not cognate.

***

Jay bird, jay bird, sittin' on a limb,

He winked at me and I winked at him.

I picked up a rock and I hit his shin,

Sez he: "You'd better not do that agin." (Ira Ford)

***

Daddy went a‑huntin;, Daddy shot a bear;

Shot him in the ass, and he never touched a hair.  (Bayard)

***

Joel Shimberg finds the first part of the tune in Leah Jackson Wolford’s book The Play Party in Indiana (pre-1920) as a melody for a play-party called “Down in Jaybird Town,” wherein Wolford says that it was played as a fiddle tune as well. In another Indiana context, Joel learned the following words to “Jaybird” from fiddler John Summers:

***

Jaybird, Jaybird, sitting in the grass,

Jaybird, Jaybird, sitting in the grass,

Jaybird, Jaybird, sitting in the grass,

Wiggle‑wiggle went his tail, poop went his ass.

***

Art Rosenbaum learned his version from Summer’s playing also, but remembers the lines Summers (who sang very little) voiced were the same as Ira Ford’s, save he substituted the word ‘stick’ for ‘rock’ in the third line.

***

African-American collector Thomas Talley printed a version in his book Negro Folk Rhymes (reprinted in 1991, edited by Charles Wolfe), accompanied by a completely different tune. His lyrics went:

***

De Jaybird jump from lim’ to lim’,

An’ he tell Br’er Rabbit to do lak him.

Br’er Rabbit say to de cunnin’ elf,

“You jes want me to fall an’ kill myself.”

***

Cho:
I loves dem shorten gals!

I loves dem shorten gals!

Oh, have mercy on my soul!

***

Dat Jaybird a-settin’ on a swingin’ lim’,

He wink at me an’ I wink at him.

He laught at me when my gun “crack”,

It kick me down on de flat o’ my back.
***

Nex’ day de Jaybird dance dat lim.’

I grabs my gun fer to shoot at him.

When I “crack” down, it split my chin,

“Ole Aggie Cunjer” fly lak sin.

***

Way down yon’er at de risin’ sun,

Jaybird a-talkin’ wid a forked tongue.

He’s been down dar whar de bad mens dwell,

“Ole Friday Devil,” fare-you-well!    (Talley)

***

Sources for notated versions: Fennigs All Stars (N.Y.) [Brody]; nine southwestern Pa. fiddlers and fifers [Bayard]; Liz Slade (Yorktown, New York) [Kuntz]; Kenny Kosek and Pete Sutherland [Phillips/1994]. Bayard (Dance to the Fiddle), 1981; No. 176A‑I, pgs. 127‑131. Brody (Fiddler’s Fakebook), 1983; pg. 144. Ford (Traditional Music in America), 1940; pg. 96. Kuntz, Private Collection. Phillips (Fiddlecase Tunebook), 1989; pg. 23. Phillips (Traditional American Fiddle Tunes, Vol. 1), 1994; pg. 122. Sweet (Fifer’s Delight), 1964/1981; pg. 52. Carryon Records 002, "Ace Weems & the Fat Meat Boys." Carryon 005, "The Renegades" (1993). Front Hall 05, Fennigs All Stars‑ "Saturday Night in the Provinces." Rounder 0006, Country Cooking‑ "Fourteen Bluegrass Instrumentals."

X:1

T:Jaybird

L:1/8

M:2/4

Z:Transcribed by Andrew Kuntz

S:Liz Slade

K:D

(e|f)[Ae]d(e|fe)de|fef(f|a4 ff|e(d c)B|A(B c)d|ee f(f|g3 (e|f)Ad(e|fe)de|fe f(g|a)f f2|

e(d c)B|A(B c)d|e [d2f2] d|[d3f3]||(A|A) B2 (A|B)(A B)A|AG FD|E2 EE|e3 (f|

e2) dA|cA B(B|A3 A|A B2 (A|B)(A B)A|AG F2|E2 EE|e3 f|e2 ae|fd d2|d3||

                       

JAY BIRD DIED OF/WITH THE WHOOPING COUGH. AKA and see “Here Comes Jack with a Fiddle on His Back.” Old‑Time, Breakdown. USA; Tennesse, Virginia. G Major. Standard tuning. AABB. Charles Wolfe (1991) states that printed versions of this song/tune have been found as far back as 1846, and that it has been fairly widely collected from both black and white sources.

***

Jaybird Died of the Whooping Cough,

Squirrel died of the colic;

'Long come a red bird sittin' on a fence,

Call all the young girls to frolic.

***

Put that mule back under o' the shed,

Yonder comes the owner;

Stole his horse and bought me a mule,

And I ain't gonna pay no more.

***

African-American collector Thomas Talley, in his book Negro Folk Rhymes (reprinted in 1991, edited by Charles Wolfe), gives the following verses, the last two of which are relatively rare, according to Wolfe:

***

De Jaybird died wid de Whoopin’ Cough,

De Sparrer died wid de colic;

‘Long come de Red-bird, skippin’ ‘round,

Sayin’: “Boys, git ready fer de Frolic!”

***

De Jaybird died wid de Whoopin’ Cough,

De Bluebird died wid de Measles;

‘Long come a Nigger wid a fiddle on his back,

‘Vitin’ Crows fer to dance wid de Weasels.

***

Dat Mockin’-bird , he romp an’ sing,

Dat ole Gray Goose come prancin’,

Dat Thrasher stuff his mouf wid plums,

Den he caper on down to de dancin’.

***

Dey hopped it low, an’ dey hopped it high,

Dey hopped it to, an’ dey hopped it by,

Dey hopped it fer, an’ dey hopped it nigh,

Dat fiddle an’ bow jes make ‘em fly.

***

Wolfe states older printed sources include White (243), Brown (3:201), Browne (447), and an early Tennessee variant appears in the Tennessee Folklore Society Bulletin 2, pg. 30. See also the Kentucky variant entitled “Here Comes Jack with a Fiddle on His Back.” Source for notated version: John Ashby (1915-1979, north Va.) via the Double Decker String Band (Kuntz); John Ashby [Phillips]. Kuntz (Ragged But Right), 1987; pg. 347‑348. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 122. County 773, John Ashby and the Free State Ramblers - “Fiddling by the Hearth.” Fretless 144, Double Decker String Band‑ "Giddyap Napoleon." Marimac 9008, The Lazy Aces ‑ "Still Lazy After All These Years" (1986. Learned from John Ashby via Peter Honig).

X:1

T:Jaybird Died of the Whooping Cough

L:1/8

M:2/4

B:Kuntz – Ragged but Right

K:G

gg/a/ gd|e/f/e/d/ Bd|gg/a/ gd|e(d d2)|gg/a/ ba|e<g d(^A|B)G B/B/G/A/|[GB]G G>(f|

g)g/a/ gd| e/f/e/d/ B/d/e/f/|gg/a/ g>d|e(d d2)|gg/a/ ba|e<g d(^A|B)G B/B/G/A/|

[GB](G G)A||[G>B>]A BB|A/B/A/G/ ED|D<G [G>B>]G|A(G G)A|[G>B>]A BB|

A/B/A/G/ EG|{^G}[A>A>]<[AA] [A>A>][AB]|(AG) G2||

                                               

JAYBIRD MARCH. AKA and see "The Marching Jaybird."

                       

JAYBIRD SETTIN' ON A LIMB. Old‑Time, Breakdown. USA, Arkansas. Probably the same tune as "Jaybird." The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

                       

JAY’S REEL. Canadian, Reel. Canada, Prince Edward Island. Perlman (1996) believes the tune may have been converted from a march, and notes that his source’s father, Lem Jay, used to play this tune every New Year’s Eve on Charlottetown radio in the 1930's. Source for notated version: Roland Jay (b. 1906, Mt. Stewart, Queens County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 87.

                       

JAZZING WITH MEAIG LEARY. AKA and see “The Dingle Regatta.”

 

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