The Fiddler’s
Companion
© 1996-2010 Andrew Kuntz
_______________________________
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Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s
Companion work fine in most abc conversion programs. For example, I use
abc2win and abcNavigator 2 with no problems whatsoever with direct
cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s
into the concertina.net converter results in double-spacing. For
concertina.net’s conversion program to work you must remove the spaces
between all the lines of abc notation after pasting, so that they are
single-spaced, with no intervening blank lines. This being done, the F/C
abc’s will convert to standard notation nicely. Or, get a copy of
abcNavigator 2 – its well worth it.
[AK] |
PIADMONTESE, LES.
Scottish (?), Jig. B Flat Major. Standard tuning. ABCD. In the original
edition Gow placed the tune in a section called “Fashionable Dances in Edinr.
1787-88”. Gow (Second Collection of Niel
Gow’s Reels), 1788; pgs. 34-35 (3rd ed.).
X:1
T:Piadmontese, Les
M:6/8
L:1/8
B:Gow – 2nd Collection of Niel Gow’s Reels, 3rd ed.,
pgs. 34-35 (orig. 1788)
Z:AK/Fiddler’s Companion
K:Bb
F|(B/c/d).B .F.e.c|(B/c/d).B
Fec|(B/c/d).B {g}fed|”tr”cAF F2”tr”F|(B/c/d).B Fec|
(B/c/d).B Fec|(B/c/d).B Fec|fdB
ecA|(B3 B2)||A/B/|cAF (c/d/e).d|
cAF F2A/B/|({A/B/}c2)F
({c/d/}e2)d|(d3 c2)F|(B/c/d).B Fec|(fd).B (ec).A|
(B3 B2)||f|b3 {d’}c’bc’|d’2b
b2c’|d’2b b2f|b3 {d’}”tr”c’bc’|
d’2b b2c’|d’>e’d’ “tr”(c’bc’)|(b3
b2)||f|{a}g2f “tr”g2a|b2b b2f|
{a}g2f “tr”g2a|(b3 b2)f|{e/f/}g2g
“tr”gfe|{d/e/}f2f “tr”fed|cgf edc|”tr”(c3B2)||
PIANO PLAYER’S
NIGHTMARE, A. Canadian, Reel.
PIBDDAWNS HART. AKA and see “Hart’s Hornpipe.”
PIBROCH!, THE. AKA
and see “Mrs. Thompson
of Gofton’s Strathspey,” “Whinham’s
Reel.” Originally Robert Whinham’s
“Whinham’s Reel,” the melody appears under this title in J. “Kielder Jock”
Davidson’s early 20th century manuscript in the
PIBROCH OF BONNIE
STRATHEARN. Scottish, Air (6/8 time). A Major.
Composed by D. Kippen. “Fiddlers Three Plus Two.”
PIBROCH OF DONALD DHU/DOMHNALL DUBH/DONUIL DUBH [1].
AKA and see “Black Donald the Piper,”
“Cameron Gathering,” “Lochiel’s March.”
Scottish, Air, Jig or March (6/8 time). A Major (Kennedy, Kerr, Martin): E Flat
Major (Emmerson, Graham). Standard tuning. One part (Emmerson, Kerr): AABB
(Kennedy): AABBCCDD (Martin). A pibroch is a type of elaborate pipe tune, and
this is an old set of variations "having the pronounced rhythm of the
Single Jig" (Emmerson, 1972). The title ‘pibroch’ is somewhat misleading
with regard to most fiddle versions of the melody, which are not true pibrochs.
Christine Martin (2002) says her settings are “fiddle setting(s) based on the
bagpipe version of the popular 6/8 pipe march,” and that the version falls into
the category of ceòl beag (little
music), a simple march. Sir Walter Scott wrote words to the tune in 1816.
O’Neill prints the tune as a double jig entitled “Black Donald the Piper.”
According to the sleeve notes of Ishbel Macaskill’s recording “Essentially
Ishbel” (2000), the melody can be traced to the year 1431, when the MacDonalds
defeated the royalist forces of the Scottish king. The lament is that of
Domhnall Dubh, the chief of Clan Cameron, who were among the king’s troops.
Martin says the melody has been known as a pipe tune and song for over 500
years, and that it is impossible to trace its origins. She notes that Domhnall
Dubh, who died in 1460) led the Clan Cameron at the battle of Red Harlaw in
1411. Pipers have historically known the march under the names “Cameron
Gathering” and “Lochiel’s March.” Emmerson (Rantin’
Pipe and Tremblin’ String), 1971; No. 74, pg. 156. Graham's Songs of
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:Pibroch of Donald Dhu [1]
M:6/8
L:1/8
B:Kerr – Merry Melodies, vol. 1, No. 9, pg. 31 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
e<cc f>ga|e<cc c>BA|e<cc f>ga|e<cA {c}B2A|e<cc f<dd|
e<cc cBA|B<Bc d>ef|e<cA B2A|a>ee a>ff|a>cc cBA|
a>cc a>ff|ecA B2A|a>ee a>ff|a>cc cBA|B<Bc d>ef|ecA B2A||
PIBROCH O'DONAL DHU
[2]. Canadian, Reel. Canadian
Broadcasting Corp. NMAS 1972, Natalie MacMaster -
"Fit as a Fiddle" (1993. Arranged by Jamie MacInnis).
PICE AN t-SUGRA. AKA and see "The Pleasant Peak/Hill."
PICK A LITTLE COTTON AND SPIN
SOME, TOO. Old-Time, Breakdown.
***
If I had a wife and two little […],
All I’d have them to do,
Is pick a little cotton and spin
some, spin some,
Pick a little cotton and spin some,
too.
***
Source for notated version: Manon
Campbell (Hallie, Letcher County, Ky., 1977) [Titon]. Titon (Old Time
PICK 'EM UP JOE. Old‑Time, Breakdown. C Major. Standard tuning. Learned by
PICK THE COKE. American? Irish?, Jig. E Dorian. Standard tuning. AABB. Sweet (Fifer’s Delight), 1965/1981; pg. 69.
PICK THE DEVIL'S EYE
OUT. AKA - “Pickin(g) the Devil’s Eye.”
Old‑Time, Breakdown. USA; Mississippi, Arkansas. A Major. AEac# tuning.
Recorded (as "Pickin' the Devil's Eye") in 1939 for the Library of
Congress by Herbert Halpert from the playing of
PICK YOUR PARTNER (Tog Do Callaide/Companac). Irish, Reel. B Minor ('A' part)
& D Major ('B' part). Standard tuning. AA'B (O'Neill/1850 & 1001):
AA'BB' (O'Neill/Krassen). The tune is similar to “The Glass of Beer.” Source for notated
version: virtuoso fiddler John McFadden (born Carrowmore, Co. Mayo), a
contemporary of Captain Francis O'Neill [O’Neill]. O'Neill (Krassen), 1976; pg.
130. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1391, pg.
259. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 635, pg. 114.
X:1
T:Pick Your Partner
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
635
Z:AK/Fiddler’s Companion
K:Bmin
ae|fB (3cBA Bcde|fBBd e2 de|fB (3cBA
Bcde|1 fbaf e2:|2 fedf edBc||
d2 fd adfd|(3ded fd edBc|(3ddd fd
adfd|bgaf edBc|
d2 fd adfd|d2 fd edBc| defg
agaf|bgaf e2||
PICKADILLA. AKA and see "New Bo‑Peep."
PICKING COTTON DOWN SOUTH. Old-Time, Country Rag. USA,
Missouri. A Major. Standard tuning. AB. Played by fiddler Tommy Jackson in the
1940’s on the radio, according to source Hartje. Source for notated version: Lacey
Hartje (b. 1926, Joplin, Mo.) [Beisswenger & McCann]. Beisswenger &
McCann (Ozark Fiddle Music), 2008; pg. 51. Rounder
0436, Lacey Hartje – “Traditional Fiddle Music of the Ozarks, vol. 2: On the
Springfield Plain” (2000).
PICKING OF/UP STICKS. AKA and see "Kitty
McGee/Magee," "Lavena."
English, Country Dance Tune (6/8 time ). D Minor. Standard tuning. One part.
The melody was published by Playford under this title in his English Dancing Master (1651), though
the original title of the tune appears to have been "Lavena." Barnes
(1986) notes that during the siding part of the country dance to the tune
"Kitty McGee" is often played, in the form ABB,AABB,ABB. Does the
title refer to the morris dance practice of stick-dances? Barnes (English Country Dance Tunes), 1986.
Karpeles & Schofield (A Selection of
100 English Folk Dance Airs), 1951; pg. 18. Raven (Engish Country Dance Tunes), 1984; pg. 38. Sharp (Country Dance Tunes), 1909/1994; pg. 44.
X:1
T:Picking Up Sticks
M:6/8
L:1/8
S:Sharp – Country Dance Tunes (1909)
Z:AK/Fiddler’s Companion
K:Dmin
|:d|d2d ^c>=Bc|d2d A2A|d3
^c>=Bc|d3 A2B|B>dc B>cB|
A>BA G>FE|F>GA G>AF|E3
D2:|
PICKING OFF PEANUTS. Old‑Time, Breakdown. USA, North Georgia. Vocalion
5436 (78 RPM), Dilly and His Dill Pickles (John Dilleshaw, N. Ga.).
PICKING
STRAWBERRIES IN THE SUMMERTIME. Old-Time. Flying
Cloud FC-023, Kirk Sutphin - "Fiddlin' Around."
PICKIN' THE DEVIL'S
EYE. See "Pick the Devil's Eye Out."
PICKING THE SPUDS. Irish, Reel. Composed by Paddy O’Brien.
X:1
T:Picking the Spuds
M: 2/2
L: 1/8
R: Reel
C:Paddy O’Brien
K: ADor
d|eA~A2 AcBA|GE~E2 GABd|eA~A2
cdeg|afge dgfg|!
eA~A2 AcBA|GE~E2 GABd|eaag egdB|GBdB
G3:|!
B|c3d eg~g2|eaaf g2fg|eA~A2
cdeg|afge d3B|
c3d eg~g2|eaaf g3B|cABA GE~E2|cedB
A3:|
PICKING UP STICKS. See “Picking of/up Sticks.”
PICKLE AIT-MEAL, A. Scottish, Air. The melody was composed by
PICKLE TOW, THE. English, Waltz. E Minor. Standard tuning. AAB.
Sounds like a Carolan influenced tune. See "(A) Rock and a Wee Pickle Tow"
(??). Kennedy (Fiddler’s Tune Book),
vol. 2, 1954; pg. 31. Raven (English
Country Dance Tunes), 1984; pg. 136.
PICNIC [1], THE. Scottish, Slow March. C Major. Standard
tuning. AABBCCDD. Nathaniel
Gow (1763-1831) evidently pieced the arrangement of this tune from three
sources: himself, an eight-bar second part by “Mr. Giornovichi” and an
eight-bar third part by “Dr. Haydn”, with a return to a final part by
Nathaniel. Peter Brown (Musical Times,
vol. 129, No. 1747, Sept. 1988) notes the similarity to the slow movements of
the Paris Symphony no. 82 (1786) and
the String Quartet op. 64, no. 1.
Prominent classical-period composer Joseph Haydn (1732-1809) resided in
X:1
T:Picnic, The [1]
M:2/4
L:1/8
N:”Slowly”
B:Gow – Fifth Collection of
Strathspey Reels (1809)
Z:AK/Fiddler’s Companion
K:C
“By Nathaniel Gow”
e/4d/4|.c.G .E.C|”tr”A,>D/2E/4
G,C/B,/|(B,/A,/) (F/E/) (E/D/)(D/C/)|”tr”C>D/2C/4 B, e/d/|
(3c/e/c/ (3G/c/G/ (3E/G/E/
(3C/E/C/|“tr”A,>D/2E/4 B, C/B,/|(A,/C/)(F/A/) (3G/E/C/ (3F/D/B,|”tr”B2 (C
C/):||
“By Mr. Giornovichi”
e/4f/4|g/>e/c’/>e/
g/>e/c’/>e/|g/>^f/g/>=f/ d z/ e/4f/4|g/>e/c’/>e/
g/>e/c/>e/|{e}d/>^c/d/>B/ G z/ e/4/f/4|
g/>e/c’/>e/ g/>e/c’/>e/|g/^f/g/>=f/
d z/ e/4f/4|g/>ec’/>a/ g/>e/d/>f/|e/>c/B/>d/ (c c/)||
“By Dr. Haydn”
E/4/F/4|(GE/)z/
(AF/)z/|d(c/4B/4A/4G/4) (ec/)z/|(GE/)z/ (AF/)z/|d(c/4B/4).A/4.G/4 c z/(E/4F/4)|
(GE/)z/ (AF/)z/|(dB/)z/
(ec/)z/|(fd/)z/ ec/)z/|dB [Ec]-[E/F/]
“By Nathaniel Gow”
|:g/4f/4|e/>g/e/>g/
e/.g/c’/>b’|a/>g/f/>e/ d/>e/f/>d/|e/>g/c’/>b/
a/>g/f/>e/|{e}d/>c/d/>B/ [Ec]-[E/c/]:|
PICNIC (REEL) [2]. AKA and see “The Flowing Tide
[1],” “Higgins’ Best,” “Seventh (7th) Regiment.”
American, Canadian; Hornpipe or Reel. Canada, Cape Breton Island, Nova Scotia.
A Major. Standard tuning. AABB. The tune is associated with Irish fiddler Sean Maguire, and was a
signature tune for Cape Breton fiddler Winston ‘Scotty’ Fitzgerald on a
long-running, Sydney, Nova Scotia, based live radio show (Cranford). “Picnic
Reel” was learned by many via Ryan’s
Mammoth Collection (1883) and its later iteration, Cole’s 1000 Fiddle Tunes (1940), but
***
The alternate title “The Flowing
Tide” is a hornpipe setting of the melody, popular among Irish musicians today,
although the tune was collected by the great
***
Sources for notated versions:
Winston Fitzgerald (
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:Picnic Reel
M:2/4
L:1/8
R:Reel
S:White’s Unique Collection (1896), No. 43
Z:AK/Fiddler’s Companion
K:A
.A,(A,/C/) E/A,/C/E/ | A/C/E/A/
.c(B/A/) | F/A/E/A/ .c/e/(a/f/) | e/c/B/A/ F/A/E/C/ |
.A,(A,/C/) E/A,/C/E/ | A/C/E/A/ .c(B/A/)
| |F/A/E/A/ .c/e/(fe) | c/e/B/c/ Az ::
A(Ac) B/A/F/A/ | a/g/a/f/ e/c/B/A/ |
d/f/c/e/ B/e/A/c/ | d/B/c/A/ B/A/F/A/ |
E/A,/C/E/ A/E/E/A/ | d/B/c/A/
B/A/F/A/ | E/A/c/f/ e/c/B/A/ | E/A/G/B/ A z :||
X:2
T:Picnic Reel
M:2/4
L:1/8
R:Reel
C:George Saunders
B:George Saunders - New and
Scientific Self-Instructing School for the Violin (Providence, R.I., 1847,
No. 7, pg. 51)
Z:AK/Fiddler’s Companion
K:A
A,(A,C/) E/A,/C/E/|A/C/E/A/
(c”tr”B/A/)|F/A/E/A/ .c/(e/a/f/)|e/c/B/A/ F/A/E/C/|
A,(A,/C/) E/A,/C/E/|A/C/E/A/ (c”tr”B/A/)|F/A/E/A/ .c/(e/f/e/)|c/e/B/e/
Az:|
|:AA/c/ B/A/F/A/|a/g/a/f/
e/c/B/A/|d/f/c/e/ B/e/A/c/|d/B/c/A/ B/A/F/A/|
E/A,/C/E/ A/C/E/A/|d/B/c/A/
B/A/F/A/|E/A/c/f/ e/c/B/A/|EAA z:||
PICNIC ROMP. AKA and see "Wake Up Susan
[1]," "Cottage By the
Sea," "Red Headed Girl,"
"Hell On the Potomac [1],"
"Hell on the Wabash,"
"The Night We Paid the Rent,"
"Lady on the Green,"
"Jack of Diamonds [1]"(Thede).
Old‑Time, Breakdown. A Major. Standard tuning. AABB. See Bayard's (1944)
note for "Cottage By the Sea."
The first part of the tune is a variant of the familiar “Wake Up
Susan”/””Mason’s Apron” musical motif. Ford (Traditional Music in America), 1940; pg. 47.
X:1
T:Picnic Romp
M:2/4
L:1/8
R:Reel
S:Ford – Traditional Music in America (1940)
Z:AK/Fiddler’s Companion
K:A
(3e/f/g/|aA/A/ AA|E/AB/ AB/c/|dB/B/
Bc/B/|A/B/c/d/ e(3e/f/g/|aA/A/ AA|E/AB/ A2|
E/Bc/ d/c/B/E/|E/AB/ A2::e/f/e/d/
cA|f/g/f/e/ dB|gg/f/ ef/g/|a/b/a/g/ a2:|
PICTOU ISLAND REEL. Canadian, Reel. D Major. Standard tuning. AABB. Composed by Cecil
McEachern. Messer (Anthology of Favorite
Fiddle Tunes), 1980; No. 68, pg. 43.
PIDDLE AND CRAIGIE. Shetlands, Shetland Reel. Shetland, (island of) Whalsay. Cooke (1986)
prints the following text to this dance tune, collected in the Shetlands:
***
They caa'd me this, they caa'd me that,
They caa'd my wife the staigie,
An every een that I cam by
They caa'd me Piddling Craigie
PIDGEON ON THE GATE. AKA and see “Rickett’s Hornpipe,”
“We’ll Sit Upon the Gate.”
PIDGEON’S FLIGHT, THE. Irish, Double Jig. D Major. Standard tuning.
AABB. Composed by the late Frank McCollam, Ballycastle, County Antrim.
Mulvihill (1st Collection),
1986; No. 26, pg. 70.
PIECE IN THE POT. AKA and see "Peas in the Pot."
PIECE OF CHICKEN AND
CORNBREAD. Old‑Time, Breakdown. USA, Oklahoma.
G Major. Standard tuning. AABB. Source for notated version: Harley Davis (Craig
County, Oklahoma) [Thede]. Thede (The
Fiddle Book), 1967; pg. 125.
PIED DANS L'EAU, UN. French, Scottish (2/4 time). D Mixolydian. Standard tuning. AABB.
Stevens (Massif Central), vol. 1,
1987; No. 7.
PIED DU MOUTON, LE. French-Canadian, Reel. Canada, Québec. A Major. AEac# tuning. From the
Riendeau family of Berlin, New Hampshire. Rounder Heritage
Series 1166-11592-2, Larry Riendeau (et al) – “The Art of Traditional Fiddle”
(2001. Originally recorded 1975).
PIEDMONT. Old‑Time, Breakdown. D Major. Standard tuning. AABB. The title
appears in a list of traditional
See also listing at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
PIERLALA. Dutch, Jig. G Major. Standard
tuning. AABB. “Pierlala” is the name of a song that originated in the 17th
century (where it appears in a 1675 songbook from the
PIERROT N'A PAS
D'CULOTTES. French-Canadian, Reel. D Major ('A'
part) & A Major ('B' part). Standard tuning. AA'BB'. Private collection
(circulated among contra-dance musicians).
X:1
T:Pierrot n’a pas D’Culottes
M:C
L:1/8
K:D
D2 fa fedB | Adfd a3A | BggB g3B |
AaaA a3a | D2 fa fedB |
Adfd a4 | a2c’b agfe |1 DAFE D2 FE
:|2 dAFE D4 ||
K:A
cece BeBe | AceA a4 | gbgf gefg |
abaf efed | cece BeBe |
AceA a4 | gbgf gefg |1 a2 ab a4 :|2
ag=gf ||
PIG ANKLE BLUES. Old-Time, Blues. D Major. Standard tuning. AA’B. A slower version of “Pig
Ankle Rag.” Source Curbow was from Blue Eye,
PIG ANKLE RAG [1]. Old‑Time, Country Rag.
PIG ANKLE RAG [2]. Old-Time, Country Rag. F Major. Standard tuning. AABB. Source for
notated version: Tony Ludiker [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 101.
PIG FROM AHASCRAGH. See “Boy from the Glens,” “Henry Doogan’s Jig,” “Mhuc ó áth Eascrach.” Irish, Jig.
“The Boy from the Glens” is a related tune.
PIG IN THE PEN. Old-Time, Bluegrass; Breakdown & Song. A popular piece in bluegrass tradition, it started as an old-time piece. Tennessee’s Fiddlin’ Arthur Smith claimed to have composed it and did play it frequently on the radio, but Mike Yates (2002) believes some of the verses predate Smith. Verses vary, but usually are similar to:
***
Wish I had a pig in a
pen, corn to feed him on;
Pretty little girl to stay at home, feed him when I’m gone.
***
Yates
recorded
PIG TOWN FLING. See "Pigtown Fling."
PIGEON HOUSE, THE. AKA and see "Tie the Ribbons [1]," "Big Pat's (Dandy) Reel,"
"Jimmy the Creelmaker,"
"Salamanca [3]," "The Dandy Reel," "The Hills of Clady," "O'Connell's Trip to
Parliament [2]," "Trim the
Bonnet."
PIGEON ON THE GALE. Scottish, Reel. G Major. Standard tuning. AABB’. David Taylor (1992)
identifies this as the root tune for a family of tunes which includes "The Boys of Portaferry," "The Sporting Boys [1]," "The Pullet [1]," "Shearing the Sheep [1],"
and "The Red‑Haired Lass."
The title is not to be confused with "Pigeon
on the Gate." The word 'gale' can mean either a strong wind or may
refer to 'sweet‑gale', a type of bog‑plant. Kerr (Merry Melodies), vol. 4; No. 112, pg.
14.
X:1
T:Pigeon on the Gale
M:C|
L:1/8
R:Reel
S:Kerr – Merry Melodies, vol. 4, No.
112 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
D|:G2G2 GcBA|GABA GEED|(DG)GG
(GA)Bd|egdB BAAB:|
|:(dg)de dgd2|(gd)BB ABd2|1 (gd)ed
(ef)ge}(dB)B2 (AB)d2:|2
c2 cA B2 Bd|(eg)dB (dg)d2||
PIGEON ON THE GATE [1] (“An Colm Air An Gata” or “An Colúr ar an nGeata)”. AKA and see "The Atholl Brae(s)," "Bank of Ireland," "The Drinking Reel," "The Drunken Tailor," "Gallagher's Best," "Gearrchaile Oilean Pice,” “Hills of Clogher,” "Lagan Slashers," "League and Slasher," "Pigeon on the Pier [2]," "Reidy's Reel,” "Roddy Joe’s Reel,” "The Scotch Braes,” “The Wandering Tinker.” Irish, Reel. E Dorian. Standard tuning. AB (Miller & Perron, Roche): AABB (Cranitch, Mallinson, Mulvihill, O'Neill/Krassen, Taylor {Half-Door}, Tubridy): AA'BB (Breathnach): AABB' (Flaherty, Phillips): AA'BB' (Brody, Taylor, Vallely). Similar to "Pride of the Ball." A popular reel in many versions in Donegal, although usually known as “The Swallowtail.” Paul Stewart Cranford (1995) remarks that Cape Breton fiddler Johnny Wilmot played this tune in the key of E minor, after Michael Coleman (although A minor or G dorian was the usual Cape Breton setting {see version #2}); when he did so without accompaniment he was wont to tune the bass string down to a low E (EDae tuning). O’Neill (1922) remarks: “Altho' this splendid reel does not appear in the Bunting, Petrie or Joyce Collections, it was pretty generally known to the pipers and fiddlers of Chicago, hailing from the west, and south of Ireland and always by the same name. Occasionally variants of the tune are found in manuscript collections. In arrangement, (famed piper Patsy) Touhey's setting differs both in key and style from that printed in former O'Neill Collections.” Paul de Grae finds related tunes in “Dan McCart(h)y’s Fancy,” “Drunken Piper [2],” “Drunken Reel,” and “Old Pigeon on the Gate.”
***
Sources for notated versions: Jean
Carignan (Montreal, Canada) [Brody]; Andy McGann (New York) [Phillips]; Kerry
fiddler Denis Murphy (b. 1912) [Miller & Perron]; flute player Laurence
McDonagh, 1972 (Ballinfad, Co. Sligo, Ireland) [Breathnach]; fiddler Peter
Horan (b. 1926, Kilavil County Sligo) [Flaherty]; “my mother” [Muvlihill];
Paddy Canny (Co. Clare) via Brendan Taffee [Fiddler Magazine]; Liz
Carroll (Chicago) via Brendan Taaffe [Fiddler Magazine]. Breathnach (CRÉ II), 1976; No. 250 [2], pg. 130.
Brody (Fiddler’s Fakebook), 1983; pg.
217. Bulmer & Sharpley (Music from
Ireland), vol. 3; 7. Cole (1000
Fiddle Tunes), 1940; pg. 8. Cranitch (Irish
Fiddle Book), 1996; No. 57, pg. 147. Fiddler Magazine, Summer 2008,
vol. 15, No. 2; pgs. 42-43 (two versions). Flaherty (Trip to Sligo), 1990; pgs. 64-65. Jordan (Whistle and Sing), 1975; 61. Mallinson (Essential), 1995; No. 42, pg. 19. Miller & Perron (Irish Traditional Fiddle Music), 1977;
Adendum (appears as “Denis Murphy Reel”). Miller & Perron (Irish Traditional Fiddle Music), 2nd
Edition, 2006; pg. 98. Mulvihill (1st
Collection), 1986; No. 142, pg. 38. O'Neill (Krassen), 1976; pg. 132.
O’Neill (Waifs and Strays of Gaelic
Melody), 1922; No. 290. Phillips (Fiddlecase
Tunebook: British Isles), 1989; pg. 39. Roche
Collection, 1982, vol. 1; No. 168 and 169, pg. 66. Ryan’s Mammoth Collection, 1883; pg. 30. Taylor (Where’s the Crack?), 1989; pg. 14. Taylor
(Through the Half-door), 1992; No.
15, pg. 12. Tubridy (Irish Traditional
Music, Book Two), 1999; pg. 24. Vallely (Learn to Play the Fiddle with Armagh Pipers Club), 197?;
No. 44, pg. 39. County 725, The Riendeau Family‑
"Old‑Time Fiddling." Folkways FG 3531, Jean Carignan‑
"Old Time Fiddle Tunes" (1968). Great Meadow Music GMM 2003, “Rodney
Miller’s Airdance” (2000). Green Linnet 1020, Brendan Mulvihill‑
"The Flax in Bloom." Green Linnet SIF‑1092, Liz Carroll ‑
"Liz Carroll" (1988). Green Linnet SIF‑104, Liz Carroll ‑
"The Celts Rise Again" (1990). Island ILPS9432, The Chieftains -
"Bonaparte's Retreat" (1976). Kicking Mule 206, Eric Thompson‑
"Kicking Mule's Flat Picking Guitar Festival." Mulligan 028, Kevin
Burke‑ "Promenade." Nimbus NI 5320, Proinsaias O Maonaigh,
Mairead Ni Mhaonaigh, Paula Doohan, Liz Doherty - “Fiddle Sticks: Irish
Traditional Music from Donegal” (1991). Philo 2018, Jean Carignan‑
"Plays Coleman, Morrison and Skinner." Shanachie 29008, Frankie Gavin‑
"Traditional Music of Ireland." Shanachie 29009, "Andy McGann
and Paul Brady." Shanachie 29003, Tommy Peoples and Paul Brady‑
"The High Part of the Road." 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). Shaskeen - "Joys of Life" & "Shaskeen Live."
Danny O’Donnell – “Ón tSean-Am Anall.”
See also listings at: Jane Keefer’s Folk Music Index: An Index
to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Pigeon on the Gate [1]
M:C
L:1/8
K:Emin
dc | BE (3EDE BEdE | BE (3EDE dBAF |
D2 (3FED AD (3FED | DEFA BAFA |
BE (3EDE dE (3EDE | BE (3EDE dBAF |
DEFA dfec|dBAF E2 :|
|: A | Be (3eee efed | (3Bcd ef gfed
| BAFA d3B | AF (3FEF DEFA |
Be (3eee efed |(3Bcd ef g2 fg |
(3agf (3gfe fdec | dBAF E3 ||
X:2
T:Pigeon on the Gate, The [1]
M:4/4
L:1/8
S:Patsy Touhey manuscript
Z:Paul Kinder
R:Reel
K:G
BE~EE BdcA|BE~EE B2 AF|D2 (3FED AD (3FED|FAAc BAFA|
BE~EE BdcA|BE~EE B2 AF|A2 Bc dcde|1fedf e2 dc:|2fedf e2 ed|
|:Beed efed|(3Bcd ef gfec|dBAF DFAF|(3Bcd ef gfed|
Beed efed|(3Bcd ef g2 ga|bgaf gfed|1egfd e2 ed:|2egfd e2
ec||
PIGEON ON THE GATE [2] (“An Colm Ar an nGeata” or “An Colúr ar an nGeata”). AKA and see “Jack Tar,” “Pigeon on the Gatepost [2],” “Pigeon on the Pier [2],” “The Sturgeon Tea,” “The Twin Sisters [1].” Irish, Canadian; Reel.
Canada; Cape Breton, Prince Edward Island. A Dorian (Breathnach, Cole, Dunlay
& Greenberg/Gillis, Dunlay & Reich, O'Neill/1850): G Dorian (Allan,
Cranford, Dunlay & Greenberg/Briand, Little): G Mixolydian (Perlman).
Standard tuning. AB (Breathnach): AA'B (O'Neill/1850 & 1001): AABB (Allens,
Cole, Dunlay & Greenberg, Dunlay & Reich): AA’BB (Perlman): AABB’
(Cranford). Some Cape Breton settings tend to have a more minor flavor than
Irish ones; pipe settings are in the key of A minor. In nearby Prince Edward
Island the tune is played in (at least by Francis MacDonald, whom Perlman says
was heavily influenced by Cape Breton fiddling) G Mixolydian so that it sounds
double-tonic. Dunlay & Greenberg (1996) report the tune seems to have
developed two main strains on Cape Breton, one in A Dorian and one in G Dorian.
Angus Chisholm is credited with the local popularity of the tune in Cape Breton
(Cranford). The Irish County Donegal setting is a close variant of the Scotch
settings. Caoimhin Mac Aoidh remarks that years ago Paddy Glackin recommended Allen’s Irish Fiddler as a text which
had a number of County Donegal settings, and Mac Aoidh himself believes “Pigeon
on the Gate” in Allen’s to be “the same setting as that which is considered to
be diagnostic to (County Donegal fiddler) Neily Boyle of Dunlgoe.” Boyle
credited his version to his mother, Annie Sweeney of Cruit Island, and chose
the key to reflect the character of her lilting. Sources for notated versions:
Stephen MacLean (Washabuck, Cape Breton {and Boston, Mass.}) [Dunlay and
Reich]: flute player Sonny McDonagh, 1966 (Bunanadden, Co. Sligo, Ireland)
[Breathnach]: Cape Breton style fiddler Harvey Tolman (Nelson, New Hampshire)
[Little]; Alex Gillis/Donald Campbell (Cape Breton) [Dunlay & Greenberg];
Elmer Briand (Cape Breton) [Dunlay & Greenberg]; Francis MacDonald (b.
1940, Moreel Rear, North-East Kings County, Prince Edward Island) [Perlman]. Allan's Irish Fiddler, No. 59, pg. 15.
Breathnach (CRÉ II), 1976; No. 250
[1], pg. 129. Carideas na bhFidleiri Donegal
Fiddle Tutor, Volume 2. Cranford (Jerry
Holland’s), 1995; No. 193, pg. 54. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape
Breton), 1996; pgs. 64 & 99. Dunlay and Reich (Traditional Celtic Fiddle Music of Cape Breton), 1986; pg. 46.
Little (Scottish and Cape Breton Fiddle
Music in New Hampshire), 1984; pg. 5. O'Neill (Music of Ireland: 1850
Melodies), 1903/1979; No. 1406, pg. 261. O'Neill (Dance Music of
Ireland: 1001 Gems), 1907/1986;
No. 648, pg. 116. Perlman (The Fiddle
Music of Prince Edward Island), 1996; pg. 48. ACC-49G3,
Tara Lynn Touesnard - “Bowing the Strings” (1992). Boot BOS 7231, Jerry Holland‑
"Master Cape Breton Fiddler" (1982). Cairdeas na bhFidleiri, Roisin
McGrory and Damian Harrigan - "The Fiddle Music of Donegal Volume 2.”
Celtic 58 (SCX‑58), Elmer Briand‑ "And His Cape Breton
Fiddle." Celtic CX 29, CX 51, BDMF 5-7009, Paddy (“Scotty”) LeBlac - “This
is Sydney”, “The Fiddling French Canadain Scot.” Decca 14024 (78 RPM),
"Alex Gillis" (c. 1930's). EMI, Neilly Boyle – “The Irish
Phonograph.” LC9501, Lee Cremo - “The Champion Returns” (1995). Marimac C-6501,
“The Old Time Fiddlers of Prince Edward Island.” WMT002, Wendy MacIsaac –
“That’s What You Get” (1997?).
X:1
T:Pigeon on
the Gate [2]
S:Sean
Ryan, fiddle (Chris Delaney collection)
R:reel
Z:Transcribed
by Paul de Grae
M:4/4
L:1/8
K:GMix
Bc|:dG ~G2
dGeG|d^cde d=cAG|~F3 A cF ~F2|Acfd cF (3ABc|
dG ~G2
dGeG|d^cde d=cAG|(3FFF Ac fage|fdcA GABc:|:
dgg^f g2
~g2|dg ~g2 bgag|ec ~c2 gceg|~f3 g fdcA|
dgg^f g2 ~g2|dg
~g2 bgag|ec ~c2 gceg|fdcA GABc:||
PIGEON ON THE GATE [3]. Scottish, Reel. D Major. Standard tuning. AAB. The tune, a pipe reel,
was first recorded on
X:1
T:Pigeon on the Gate [3]
M:C
L:1/8
R:Reel
S:Honeyman – Strathspey, Reel and
Hornpipe Tutor (1898)
Z:AK/Fiddler’s Companion
K:B|A2 FA (DA)FA|AA(FA) E2 dB|A2 FA
(DA)FA|(GB)AG (FD)D:|
B|(Ad)dc (df)ed|(cd)ef
(gf)ed|(c/B/)A eA fA eA|(cd)ef g2 ag|
(fa)eg (fa)eg|(fe)dc (de)fg|(af)ge
(fd)ec|(dB)AF D2 D||
PIGEON ON THE GATE [4].
See “Pigeon on the Gatepost [3],” from West Va./Kentucky.
PIGEON ON THE GATE [5]. AKA and see "The Family Estate," "The Girl with the Handsome Face," "Joshua
Gray," "McKenna's Reel," "Miss Wright's Reel," "Mollie's Bonnet," "Molloy's Night Cap," "The Pride of the Ball," "The Queen's Wedding," "Swallow's Tail Reel," "The Steeple Chase [1]," "Take your Hand Away," "The Village Reel." Irish, Reel.
PIGEON ON THE GATE [6]. Irish, Single Jig. E Dorian. Standard tuning. AABB’. A single jig
version of the reel “Pigeon on the Gate [1].” Source for notated version: the
late Seán Óg Ó Tuama (born in Cork City) [Connolly & Martin]. Connolly
& Martin (Forget Me Not), 2002;
pgs. 98-99.
PIGEON ON THE GATE [7]. AKA and see “Morning Fair,” “Texarkana Hornpipe,” “Tomorrow Morning,” “Yarmouth Hornpipe.” English, Hornpipe.
C Major (most versions): D Major (Callaghan). Standard tuning. AABB. The tune
is a variant of “Rickett’s” or “Manchester Hornpipe [1].” It
appears under the “Yarmouth Hornpipe” title in the 1850-1880 music manuscripts
of George H. Watson (Swanton Abbott,
X:1
T:Pigeon on the Gate [7]
M:4/4
L:1/8
R:Hornpipe
K:D
A2|dcdA FAdf|edcB Adfa|gfed cABc|…
PIGEON ON THE GATEPOST
[1]. AKA and see "Paddy on the Turnpike."
Canadian, Reel. Canada, Prince Edward Island. G Major/A Minor. Standard tuning.
AB. The given title is here a floater attached to the tune usually known as
"Paddy on the Turnpike." The melody is not related to either of the
Irish reels called "Pigeon on the Gate." Source for notated version:
Lorin Simmons (fiddler from Prince Edward Island, 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; Appendix No.
8, pg. 575.
PIGEON ON THE GATEPOST
[2]. AKA and see “Jack Tar>,” “Pigeon on the Gate [2],” “Pigeon on the Pier [2],” “The Sturgeon Tea,” “The Twin Sisters [1].” Canadian, Reel.
Canada, Prince Edward Island. A Minor (Fiddler Magazine): A Dorian (Perlman).
Standard tuning. AABB (Perlman) AA'BB' (Fiddler
Magazine). Compare "Pigeon on the Gatepost" [1] and [2], both
collected from Prince Edward Island fiddlers, though sixty years apart. Ken
Perlman (1995) notes it is a reel widely played on P.E.I., often referred to as
one of the "good old tunes." “The Twin Sisters,” “Jack Tar,” and “The
Sturgeon Tea” are alternate PEI titles. Sources for notated versions: Archie
Stewart (b. 1917, Milltown Cross, South Kings County, P.E.I.) [Ken Perlman/Fiddler Magazine]; Eddy Arsenault (b.
1921, Chrysostom, East Prince County, P.E.I.) [Perlman]. Fiddler Magazine, Spring 1995; pg. 11. Perlman (The Fiddle Music of Prince Edward Island),
1996; pg. 81. Marimac
Recordings, "The Old Time Fiddlers of Prince Edward Island" (1993).
PIGEON ON THE GATEPOST
[3]. Old-Time, Breakdown. USA, West
Virginia. Identified by Doc White of Ivydale, West Virginia, as a West Virginia
tune featured by blind northeastern Kentucky fiddler Ed Hayley. The tune is
quite crooked, or irregular in metre. White can be heard playing it on AFS
13,704 (June, 1967).
PIGEON ON THE PIER [1]. Canadian; Reel. G Major. Standard tuning. AABB. Composition credited to
Canadian fiddler Jim Magill in Jarman's. Jarman (The Cornhuskers Book of Square Dance Tunes), 1944; pg. 12.
PIGEON ON THE PIER [2]. AKA and see "The Atholl
Brae(s)," "The Drinking Reel,"
"The Drunken Tailor,"
"Gallagher's Best," "Lagan
Slashers," "League and
Slasher," "The Pigeon on the
Gate [1]," "Reidy's Reel,”
"The Scotch Braes,” “The Wandering Tinker.” Irish, Reel. The
melody is at least as old as the latter 19th century, for it was mentioned by
O’Neill (1913) in his brief sketch of Uilleann piper and fiddler William F.
Hanafin (a Callinafercy, Kilcoleman, County Kerry musician born in 1875 who
emigrated to Massachusetts in his adolescence), as one of the first reels he
learned as a boy.
PIGEON ON THE PIES. AKA and see "Paddy
on the Turnpike [2]."
PIGEON'S TAIL, THE. Irish, Hornpipe. A Dorian. Standard tuning.
AABB. Roche Collection, 1982, vol. 3;
No. 174, pg. 61.
PIGGES OF RUMSEY, THE. English. G Major. Standard. AA.
X:1
T:
The Pigges of Rumsey
M:4/4
L:1/8
S: The Manchester manuscript (c.1650?) BRm/832Vu51p.91
S:(Henry Watson Music Library, located in the Manchester Central library)
N:The tune was originally in tablature for bass Viol in ‘Lancaster Pipes’ tuning
N:It is perhaps “Peggy Ramsey”
K:G
F2D2D2E2 | F4EFG2 | F2D2D>EF2 | E2E2B4 |
F2D2D2E2
|F4EFG2 | F2D2dcBA | E2E2B4 :||
PIGTOWN FLING. AKA and see see “Buffalo
Breakdown,” "Hop Along, Sally,”
"Kelton’s Reel," “Off with Your Jacket,” "Old Dad," "Old Mother Goodwin" (Pa.),
"Ston(e)y Point [1],"
"Stony Point Reel" (Pa. title, 1866), “Warm Stuff,” "Wild Horse," "Wild Horses at Stony Point."
American, Scottish, Irish; Reel. USA, widely known under a variety of titles. G
Major ('A' part) & E Minor ('B' part). Standard tuning. AA'B (Kerr): AABB
(most versions): AABB’ (Skinner): AA’BB’ (Kennedy). Pigtown Fling is the common
New England title for this widely known tune, although it was collected by Shaw
in Colorado as “Pigtown Hoe Down.” It is called “Pigtown” in County Donegal,
Ireland, where it is played as a highland, although Perlman (1979) says it was
originally a Co. Kerry polka, also called "Pigtown." Linscott (1939)
identifies this tune as "an Irish reel sometimes known as 'Keltons.'"
Chet Parker, a hammered dulcimer player from western New York, called it
“Buffalo Breakdown.” See also “Woodpile,” “N....r in the Woodpile” and “Cotton Patch.” Sources for notated
versions: Edson Cole (Freedom, N.H.) [Linscott], seven southwestern Pa. fiddlers
[Bayard]. Adam, 1928; No. 27. American
Veteran Fifer, 1927; No. 19. Bayard (Dance
to the Fiddle), 1981; No. 166A‑G, pgs. 111‑113. Bulmer &
Sharpley (Music from Ireland), 1974,
Vol. 2, No. 7. Cazden, 1955; pg. 28. Christeson (Old Time Fiddlers Repertory, Vol. 1), 1973; No. 139 (four parts).
DeVille, 1905; No. 65. Ford (Traditional
Music in America), 1940; pgs. 35 and 64. Harding's Original Collection, 1928; No. 121. Kennedy (Traditional Dance Music of Britain and
Ireland: Reels and Rants), 1997; No. 158, pg. 37. Kerr (Merry Melodies), Vol. 2; No. 269, pg.
29. Krassen (Appalachian Fiddle),
1973; pg. 61 (three parts). Linscott (Folk
Songs of Old New England), 1939; pg. 71. Miller & Perron (New England Fiddlers Repertoire), 1983;
No. 126. Ruth (Pioneer Western Folk Tunes),
1948; No. 2, pg. 3. Shaw (Cowboy Dances),
1943; pg. 388 (appears as “Pigtown Hoe Down”). Skinner (Harp and Claymore), 1904; pg. 143 (appears as “The Pig Town”).
Sweet (Fifer’s Delight), 1965/1981;
pg. 47. Tolman (Nelson Music Collection),
1969; pg. 11. Welling (Welling’s Hartford
Tunebook), 1976; pg. 3. White's
Excelsior Collection, pg. 23. White's
Unique Collection, No. 70. Gennett 6088 (78 RPM),
Uncle Steve Hubbard and His Boys, c. 1928 (recorded under the title "Big‑Town
Fling"). John Edwards Memorial Foundation JEMF‑105, Uncle Joe
Shippee ‑ "New England Traditional Fiddling" (1978). Shanachie
79022, “The Chieftains #2.” “Music at Matt Molloy’s.” Smithsonian Folkways SFW
CD 40126, Bob McQuillen & Old New England – “Choose Your Partners!: Contra
Dance & Square Dance Music of New Hampshire” (1999).
See also listings at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Pigtown Fling
M:2/4
L:1/8
S:Shaw – Cowboy Dances (1948)
Z:AK/Fiddler’s Companion
K:G
Gg/e/ de/d/|Bg/e/ d/B/A/B/|Gg/e/ de/d/|BG/B/ A/F/E/D/|
Gg/e/ de/d/|Bg/e/ d/B/A/B/|Gg/e/ dB/d/|c/B/A/B/ Gz:|
eB e>f|g/f/e/f/ e/d/B/A/|Be e>d|e/f/g/f/ ge/d/|eB e>f|
g/f/e/f/ e/d/B/A/|Be e>d|e/f/g/a/ g2||
PIKE COUNTY BREAKDOWN. Old-Time, Breakdown. County 2730, Rafe Stefanini – “Glory on the Big String.”
PIKEMAN, THE. AKA and see “The Halting March.” Irish, March (4/4
time). A Dorian. Standard tuning. AAB. Source for notated version: Cathal
McConnell [Sullivan]. Sullivan (Session
Tunes), vol. 3; No. 38, pg. 15.
PIKEMAN'S MARCH. AKA and see "The Halting March."
PIKE'S PEAK. AKA and see "Prosperity
Special," "Rat Cheese
Under the Hill." Old‑Time,
Breakdown. USA; Arkansas, Texas. C Major. Standard tuning. AB (Silberberg):
AABB (Johnson, Phillips, Songer). Recorded by fiddler Ted Sharp and his band,
whom Richard Nevins (1972) suggests came from central‑eastern Arkansas.
It had previously been recorded by Clark Kessinger under the title “Rat Cheese
Under the Hill” (obviously a corruption of the tune name “Natchez Under the Hill”).
According to Paul Mitchell, both Ted Sharp and Clark Kessinger went into
position playing on the violin for parts of the tune. Sources for notated
versions: Ted Sharp & Bob Wills [Phillips]; Carthy Cisco [Silberberg].
Johnson (The Kitchen Musician No. 2:
Occasional Collection of Old‑Timey Fiddle Tunes for Hammer Dulcimer,
Fiddle, etc.), 1982 (revised 1988 & 2003); pg. 12. Kuntz, Private
Collection. Phillips (Fiddlecase Tunebook),
1989; pg. 33. Phillips (Traditional
American Fiddle Tunes), vol. 1, 1994; pg. 184. Silberberg (Tunes
I Learned at Tractor Tavern), 2002; pg. 120. Songer (Portland
Collection), 1997; pg. 160. County 507, Ted Sharp ‑
"Old‑Time Fiddle Classics, vol. 2." Folk Legacy 76, Ron Kane
& Skip Gorman - “Powder River” (1993).
See also listing at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources |
X:1
T:Pike's Peak
M:4/4
L:1/8
K:C
GAcG AcGA|cAGc A c3|e g2 a gece|G2 gf ge d2|G2 cG AcGA|
cAGc A G3|g2 ga gedc| AGAB c4|| GAcG AcGA|cAGc A c3|e g2 a gece|
gfga ge d2|G2 cG AcGA| cGAG E G3|gfga gedc| A3 B c2 c2||
|:e3
e gege|a3 g e4|c3 d c4|a4 a4|{e }agab ag e2|c'4 c'4|d'c'c'd' c'4|{e }gega
gedB|c4 c4:|
PILBIN LIAT, AN. AKA and see "The Grey Plover."
PILE OF BRICKS, THE. AKA and see "Trip to Birmingham." Irish, Reel.
The tune is usually ascribed under this sarcastic title to blind flute and
whistle player Josie McDermott (d. 1992), originally from Ballyfarnon, Co.
Roscommon, who was also a lilter, singer and saxophone player. One authority,
however, holds it was written by County Mayo fiddle player John McGrath. Bulmer
& Sharpley (Music from Ireland),
1974, vol. 2, No. 9.
PILGARLIC.
English, Country Dance Tune (2/4 or cut time). C Major (Raven): D Major
(Barnes). Standard tuning. AAB. The melody can be found in a 204 Country Dances selection in "A
Frolic," circa mid‑18th century. It was also printed (as
“Pilgarlick”) by John Walsh in his Compleat
Country Dancing Master, volume the 5th (
X:1
T:Pilgarlic
M:4/4
L:1/8
K:D
A2|d4
A3G|F2 D4 A2|B2G2d2 cB|A2 D4 A2|B2G2d2 cB|
A2
g4 fe|f2d2A2c2|d6:||e2|f4 f3e|f2 a4 f2|e3c A2c2|e2 g4 fe|
d3B
^G2B2|d2 f4 ^g2|a2 ^gf edcB|A2A2B2c2|d4 A3 G|F2D4 A2|
B2c2d2
cB|A2D4A2|B2G2 d2 cB|A2b2a2g2|f2d2A2c2|d6||
PILGRIM [1], THE. AKA and see "Lord Foppington [2]."
English, Country Dance Tune (6/8 time). D Major. Standard tuning. AABB. “The
Pilgrim” was first printed as a longways dance (“for as many as will”) in the
11th edition of the Dancing Master (London, 1701), and
appears in all subsequent editions of the long-running series, through the 218th
(published by John Young in 1728). The alternate title “Lord Phoppington”
(“Lord Foppington”) appears in each edition (not to be confused with another
Playford melody in the 11th edition called “Lord Phoppington or the
new Lord Phoppington”). The jig was also published by the Walsh family in The
Compleat Country Dancing Master (London, 1718, and editions of 1731 and
1754), with the same title and alternate title. Lord Phoppington was a
burlesque character in John Vanbrugh’s The Relaspe, or Virtue in Danger,
performed in Drury Lane in Nov., 1696. The play was a sequel to Colley Cibber’s
Love’s Last Shift, or Virtue Rewarded, and Cibber himself played Lord
Foppington in Vanbrugh’s play, which was successful enough to pull the theatre
out of imminent banruptcy. The sequel was the surviving work, of greater fame.
Barlow (Complete Country Dance Tunes from Playford’s Dancing Master),
1985; No. 462, pg. 106. Barnes (English
Country Dance Tunes), 1986.
X:1
T:Pilgrim, The [1]
M:6/8
L:1/8
S:Playford – Dancing Master,
11th Ed. (1701)
K:D
A|FAF D2F|A2d e2e|fgf fga|e3 A2A|FAF
D2F|A2d d2e|fgf fge|(d3 d2):|
|:e|eAe eae|eAe eae|fga a2^g|(a3 a2)a|aff fdd|dAA FAF|def f>ed|(d3 d2):||
PILGRIM [2], THE. English, Jig. G Major. Standard tuning. AABB. The melody is unique to Charles and Samuel Thompson’s Compleat Collection, vol. 3 (London, 1773). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 105.
X:105
T:Pilgrim, The [2]
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
G>AB
B>AG|ABc cBA|ABG FED|GAB BAG|B^cd efg|fed ed^c|d3 D3:|
|:de=f fed|cde cBA|Bcd efg|BAG AFD|GAB cde|def gdB|ecA dBG|DEF G3:||
PILGRIMAGE TO SKELLIG, THE. AKA and see "Moreen O'Kelly."
PILGRIM'S MARCH, THE. Spanish, Air. Spain, Galacia. Temple Records TP021, Battlefield Band ‑ "On the
Rise" (1986. Learned from Emilio Cao, a traditional harper from Galacia).
PILIB McCUE. AKA and see "Philip McCue,"
"Humors of Ballymanus."
PILIB RUADH. AKA and see "Red Philip."
PILIB UA NEILL. AKA and see "Philip O'Neill."
PILL, THE. English, Jig. England, Northumberland. G
Major. Standard tuning. AABB. Seattle (William
Vickers), 1987, Part 2; No. 319.
PILLEADH GALANTA, AN. AKA and see “The
Glorious Return to Milltown.”
PILLEADH
WELLINGTON. Irish, Jig. Ireland, Donegal. Green Linnet GLCD 3090, Mairead Ni Mhaonaigh & Frankie
Kennedy - "Ceol Aduaidh" (1983/1994. Learned from Mairead's father
who had it from his mother, Roise Ni Dhomhnaill, a concertina and melodeon
player).
PIN REEL, THE. AKA
and see “The Fiery Clockface.”
English, Jig. Topic 12TS283, Ned Pearson. Topic TSCD
669, Ned Pearson (et al) – “Ranting and Reeling: Dance Music of the north of
England” (1998. Fiddler Pearson was born c. 1875 at Cambo, near Morpeth,
Northumberland).
PINCH
OF SNUFF [1], THE/A (An Pinsín Snaoisín). AKA and see “The Four Courts [2],” "The Humours of Swanlinbar,"
“The Wise Maid [2].” Irish, Reel.
Ireland, Donegal. D Mixolydian (most versions): D Mixolydian/Major (McGuire
& Keegan): D Major (‘A’, ‘B’, ‘G’, ‘H’, ‘I’ parts) G Major (‘C’, ‘D’ parts)
& A Major (‘E’ and ‘F’ parts). Standard or AEae tunings. AABB (McGuire
& Keegan): ABCDEC (Breathnach/Doherty): AABBCCDDEEFF (Sullivan):
AABBCCDDEEFFGGHHII (Mallinson): AABB’CCDDEEFF’GGHHII’ (Miller). Known as a
northern Irish reel, and especially one from County Donegal where it is
particularly popular. Caoimhin Mac Aoidh (1994) recounts the origins of the
tune in the faerie folklore of Donegal (Seamus Ennis appears to have told the
same story). It seems that the fairies were trying to abduct a bride at a
wedding in the Teelin, southwest Donegal, area by trying to trick her into
uttering the magic words which would bind her to them and seal her fate. As
luck would have it, hiding in the rafters was a young man who had been her
suitor, but whom had lost in the bid for her hand. He saw what was about to
happen to his still-beloved (who was dancing below), and from his high hiding
place he thought to shake down some snuff upon her. The bride breathed it in,
sneezed, and was greeted with a polite chorus of “Dia agus Muire dhuit” (God
and Mary bless you) from members of the wedding party. This was anathema to the
fairies, who took flight. The tune the fiddlers were playing while the bride
was dancing at the time of her rescue was dubbed “The Pinch of Snuff.” Sliabh
Luachra regional (County Kerry, south Ireland) fiddler Patrick O’Keeffe played
a tune he called simply “A Pipe Reel” whose two parts correspond to the first
two of “A Pinch of Snuff.” According to Mac Aoidh, he played the tune in AEae
tuning with the first four bars on a single double stopping down bow and the
second four bars on a double stopping up bow; this pattern in repeated on the
‘B’ part. In some versions a part is/parts are an octave transposition of
another part; for example, John Doherty’s ‘D’ and ‘E’ parts are the ‘A’ and ‘B’
parts played an octave higher. Sligo fiddlers (such as Peter Horan) sometimes
play the tune cycled through a few keys (D, G, A, then back to D)—Kevin Burke
recorded such a version. See also the related “Mil na Maidí.” Sources for notated
versions: fiddlers Micky and John
Doherty, 1965 (Stranorlar, Co.
See also listings at: Jane
Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Pinch of
Snuff, The
R:reel
H:There are
two other versions of this tune, #236 and #634
N:There is
a different tune by the same name, #441
D:Chieftains
Live.
D:Paddy
Glackin: Ceol ar an bhFidil le Paddy Glackin
Z:id:hn-reel-36
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:D
D2DF
EA,CE|F2DF EFGE|F2DF EA,CE|G2BG EFGE:|
|:DFAF
BFAF|DFAF EA,CE|DFAF BFAF|G2BG EFGE:|
|:fgfe
dcdB|AF~F2 AFA=c|BGBd =cBcG|E=C~C2 ECEG:|
|:f2df
eAce|f2df efge|f2df eAce|g2bg efge:|
|:dfaf
bfaf|dfaf eAce|dfaf bfaf|g2bg efge:|
|:fgfe
dcdB|AF~F2 AFA=c|BGBd =cBcG|E=C~C2 ECEG:|
“Variations”
|:F2DF
EFDE|F2DF EFGE|F2DF EFDF|G2BG EFGE:|
|:DFAF
BFAF|DFAF EFGE|DFAF BFAF|B2BG EFGE:|
|:fgfe
dddB|AF~F2 AFA=c|BGdB =cBcG|E=C~C2 ECEG:|
|:f2df
efde|f2df efge|f2df efdf|g2bg efge:|
|:dfaf
bfaf|dfaf efge|dfaf bfaf|g2bg efge:|
|:fgfe
dcdB|AF~F2 AFA=c|BGBd =cBcG|E=C~C2 ECEG:|
T:Pinch of
Snuff, The
M:C|
L:1/8
R:Reel
B:McGuire
& Keegan – Irish Tunes by the 100, Vol. 1 (1975)
K:D
afge fedB |
ADFD EF G2 | AGAB =cBcd | edBd efge | afge fedB |
ADFD EF G2
| AGAB =cBcd | edBd efge :: f2 df afdf | (3fgf df efge |
f2 df afdf | edcd efge | f2 df afdf
| (3fgf df efge | fefg agfd | edcd efge :|
PINCH OF SNUFF [2], THE/A (An Pinsín Snaoisín). Irish, Reel. AB (Mitchell). The
tune printed by Mitchell is parts two and three of a three part version from
piper Seamus Ennis. Source for notated version: piper Willie Clancy (1918-1973,
Miltown Malbay, west Clare) [Mitchell]. Mitchell (Dance Music of Wille Clancy), 1993; No. 122, pg. 100. Seamus Ennis – “Masters of Irish Music” (c. 1960’s).
PINCUSHION. Canadian, Polka. C Major ('A' and 'C' parts), G Major ('B' part), &
F Major ('D' part). Standard tuning. ABCD. Messer (Way Down East), 1948; No. 60. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 106, pg. 69.
X:1
T:Pincushion
Polka
R:Polka
M:2/4
L:1/16
Z:Transcribed
by Bruce Osborne
K:C
e2|efg2
gag2|c'2e2 g4|a2d2 f4|g2c2 e4|
efg2 gag2|c'2e2
g4|a2d2 f2B2|c2e2 c2:|
K:G
z2|d2d2
c'4|b2b2 g4|abc'2 d2f2|g2b2 d4|
d2d2
c'4|b2b2 g4|abc'2 d2g2|a2g2 g2:|
K:C
z2|efg2
gag2|c'2e2 g4|a2d2 f4|g2c2 e4|
efg2
gag2|c'2e2 g4|a2d2 f2B2|c2e2 c2:|
K:F
z2|C2F2
F2A2|BcBA GAB2|C2G2 G2AG|F2d2 c4|
C2F2 F2A2|BcBA GAB2|C2G2 G2AG|F2A2
F2:|
PINE GROVE BLUES. Cajun, Country Blues (4/4 time). USA, southwestern Louisiana. E
Major/Mixolydian. Standard. One part. Source for notated version: accordionist
Nathan Abshire (Basile, La.) [Francois]. Francois, 1990; pgs. 443-445. Swallow Records SW-LP6014, Nathan Abshire.
PINE GROVE WALTZ. See "Valse de Calcasieu."
PINE POINT. AKA and see "La Pointe aux
Pins."
PINE TOP [1]. American, Reel. USA, southwestern Pa. D Major. Standard tuning. AB. The
'B' part is the same as the once very popular tune "Jay Bird" (Jaybird), while the 'A' part seems
derived from Messer's "The
Old Man and the Old Woman," "Old Jakey Buzzard" or a
similar cognate tune (Bayard, 1981). Source for notated version: Marion Yoders
(Greene County, Pa., 1961) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 143, pg. 79.
PINE TOP [2]. Old-Time, Breakdown. USA, Kentucky. G Major. Standard tuning. AABB.
Perhaps a version of the “Flop-Eared
Mule [1]” tune family, which it somewhat resembles in the ‘A’ part,
although source Walter McNew (1912-1998) played both tunes and distinguished
them from one another. Jeff Titon (2001) records that McNew learned the tune
from his father, an amateur fiddler who was good enough to compete in fiddle
contests. The elder McNew probably had it from Uncle Garret Bow, from whom he
learned several tunes. Source for notated version: Walter McNew (Mt. Vernon,
Rockcastle County, Ky., 1990) [Titon]. Titon (Old Time Kentucky Fiddle Tunes),
2001; No. 125, pg. 152. Berea College Appalachian
Center AC005, Walter McNew – “Black Jack Grove” (1993).
PINEDALE
WALTZ. Old‑Time, Waltz. USA, Arizona. D Major. Standard tuning.
AABB. From the fiddling of Kenner Casteel Kartchner, and named for the town of
Pinedale, Arizona, c. 1900, perhaps by Frank Pruitt (Shumway, 1990). Shumway (Frontier Fiddler), 1990; pg. 269. Rounder CD 0359, Skip Gorman - "Lonesome Prairie
Love" (1996).
PINEY MOUNTAIN. Old-Time, Breakdown. USA, West Virignia.
PINEY RIDGE. AKA and see “Napoleon’s Charge.”
Old-Time, Breakdown. USA, Kentucky. D Major. DDad tuning. AABB. A variant of “Dry and Dusty [2],” from the playing
of Kentucky fiddler W.H. Stepp (1875-1947), recorded in 1937 for the Library of
Congress by Alan and Elizabeth Lomax (LC AFS 1569 A1). Jeff Titon (2001) notes
the title appears in the tune lists of the 1915 Berea, Kentucky, fiddlers’
contest. Source for notated version: W.H. Stepp (Salyersville, Magoffin County,
Ky., 1937) [Titon]. Titon (Old Time Kentucky Fiddle Tunes), 2001; No.
126, pg. 153
PINEY WOODS [1]. Old‑Time, Breakdown. USA, West Virginia. A Major. AEac# tuning.
Source: West Virginia fiddler Burl Hammons (may be original with him). Marimac 9008, The Lazy Aces String Band ‑ "Still
Lazy After All These Years" (1986. Learned from Burl Hammons' recording).
Rounder 0010, "The Fuzzy Mountain String Band" (1972).
PINEY WOODS [2]. Old-Time, Breakdown. USA, Missouri. G Major. Standard tuning. AABB.
Source for notated verison: Art Stamper (Mo.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol.
1, 1994; pg. 184.
PINEY WOODS [3]. AKA and see "Pineywoods Gal."
PINEY WOODS [4]. From Kentucky fiddler William Stepp. DDad.
PINEYWOODS GAL. Old‑Time, Breakdown. USA; southwestern Va., western N.C.,
Tennessee, Alabama. G Major. Standard tuning. AA'BB. The tune has been traced
to seminal Galax, Virginia, fiddler Green Leonard via Emmett Lundy (b. 1864)
via Luther Davis, successive generations of Grayson County, Va., fiddlers. A
tune by this name was commonly played by Rock Ridge, Alabama, fiddlers in the
1920's (Bailey). See also related tune "Steamboat Around the Bend."
Tommy Jarrell learned the tune in Nashville, Tennessee, and noted the
similarity of the tune to "Katie Hill"
(which he thought was derived from "Piney Woods Gal") and "Sally Johnson" (which he
thought was derived from "Katie Hill"): "There's three tunes
played just about like that, right there" (from a 1982 interview with
Peter Anick). Source for notated version: Judy Hyman with the Tompkins County
Horseflies (Ithica, N.Y.) [Phillips]. Phillips (Traditional American Fiddle Tunes), 1994; pg. 185. County Records 535, Emmett Lundy, from his 78 RPM recording
for Okeh. County CD-CD-2711, Kirk Sutphin - "Old Roots and New
Branches" (1994). Mountain 310, Tommy Jarrell ‑ "Joke on the
Puppy" (1976. Learned from Frank Jenkins). Okeh Records 40405 (78 RPM), Emmett Lundy &
Earnest Stoneman (1925. One of only two commercial recordings Lundy made).
Rounder Records 0058, Luther Davis ‑ "Old Originals, Vol 2"
(1978). Rounder Records 0213, The Tompkins County Horseflies ‑ "Chokers
and Flies" (1985).
PING TUNE, THE. Canadian, Reel. Canada, Prince Edward Island.
A Major. Standard tuning. AA’BBCC’. The ‘C’ part features pizzicato notes, thus
the title of the tune. Source for notated version: Johnny Joe & Foncey
Chaisson (b. 1918 & 1929, Souris, North-East Kings County, Prince Edward
Island) [Perlman]. Perlman (The Fiddle
Music of Prince Edward Island), 1996; pg. 92.
PINGINÍ IS PRÁS. AKA and see “Coppers and
Brass [2].”
PINGNEACHA RUA AGUS PRÁS. AKA and see “Coppers and Brass [2].”
PINING MAID, THE. Irish, Reel. D Dorian. Standard tuning. AB.
Source for notated version: "Copied...from a MS. evidently written by a
skilled fiddler with much musical taste, from Limerick, but the name of the
writer nowhere appears" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 355, pgs. 163‑164.
X:1
T:Pining Maid, The
M:C
L:1/8
R:Reel
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:D Dorian
EAAA A3B|cAdA cAGE|Addd d3e|fdec
dcAG|EAAA A3d|fdec dcAG|
AddA cAGF|GecE D2D2||f2 fd edcA|c2
cd cA A2|f2 fd edcA|Addc defg|
Af f2 ge e2|fdec dcAG|AddA cAGF|GecE
D2D2||
PINK EYED LASSIE. American (?), Reel. D Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 41. Ryan’s Mammoth Collection, 1883; pg. 69.
X:1
T:Pink Eyed Lassie
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:D
(3A/B/c/ | d/c/d/A/ G/F/E/D/ |
G/E/F/D/ {F}E?D/B,/A,/ | D/F/E/G/ F/A/G/B/ | A/d/c/e/ d/f/e/g/ |
f/d/A/F/ G/F/E/D/ | D/E/F/D/
{F}E/D/B,/A,/ | D/F/E/G/ F/A/G/B/ | A/d/c/e/ dz :|
|: (3A/B/c/ | d/c/d/f/ e/d/c/A/ |
d/f/a/f/ g/f/g/e/ | d/c/d/f/ e/c/A/c/ | B/A/G/B/ .A(3A/B/c/ |
d/c/d/f/ e/d/c/A/ | d/f/a/f/
g/f/g/e/ | a/f/g/e/ f/d/e/c/ | A/g/f/e/ dz :|
PINKELL'S. Scottish, Strathspey. B Minor. Standard tuning. AABB. Hardings All Round Collection, 1905; No.
8, pg. 3.
X:1
T:Pinkell’s
R:Strathspey
M:C
L:1/8
S:Harding’s All Round Collection
(1905), No. 8
Z:AK/Fiddler’s Companion
K:B Minor
(F<B)B>A (F<A)A>B |
d>ef>e (d<B)B>d | (F<B)B>A (F<A) a2 | f>de>f dz dz
:|
|: (f<a) a2 (f<b) b2 |
f>ed>f e>d B2 | (f<a) a2 (f<b) b2 | f>de>f d2d2 | (f<a)
a2 (f<b) b2 |
f>ed>f e>dB>A |
(F<B)B>A (F<A)a2 | f>de>f dzdz :|
PINKIE HOUSE. Scottish, Slow Air. E Flat Major (Johnson‑McLean): G Major
(McGibbon, O’Farrell). Standard tuning. AABB.
A sonata based on the air "Pinkie House" was composed (around
1736-40) by Charles McLean and revised by Robert Mackintosh (c. 1745‑1807)
who, Pulver (1992) says, updated the genre in the 1770’s with new bowing styles
and occasional harmonic experiments. It also appears in the 1740 MacFarlane Manuscript in drawing‑room
style, and in the Gillespie Manuscript of
Perth (1768).
***
Pinkie
House is located in Musselburgh, on the east side of the River Esk. It
began as a Medieval tower built in 1390 and was greatly extended in 1613 by
Alexander Seton (1555 - 1622), 1st Earl of Dunfermline, for use as his
residence. Pinkie House changed hands several times over the centuries and
still exists as the site of a school, Loretto. It features the famous Painted
Gallery, a 70 ft long chamber with a splendid painted wooden ceiling. The
mansion was mentioned in Sir Walter Scott’s work Waverly (Chapter 49), and was the location of a ball for Bonnie
Prince Charlie the night after the Battle of Prestonpans in 1745 (being then
the residence of the Marquis of Tweeddale).
***
Source for
notated version: the McLean Collection, 1772 [Johnson]. Johnson (Scottish Fiddle Music in the 18th),
1984; No. 68, pgs. 186‑189. McGibbon (Scots
Tunes, Book 1) c. 1746; pg. 13. O’Farrell (Pocket Companion, vol. II), c. 1806; pg. 111.
X:1
T:Pinkie
House
M:C
L:1/8
R:Air
N:”Slow”
S:O’Farrell
– Pocket Companion, vol. II (c. 1806)
Z:AK/Fiddler’s Companion
K:G
GA | (B>A)(Bd) (cB)(AG) | (d>B)(d>e) {e}d2 g>f | (e>d)(eg) (dB)(AG) | A4 G>A |
B>A (B>c/2d/4) (cB)(AG) | (d>B)(de) d2 g>f | (e>d)(ef) (g>a/2b/4) (a>g/2a/4) g4 z2 :|
|: f>g | a>gfg {g}a2 g>a | ba/g/ fg/f/ ed Be/f/ | (gf)(ga) g2 f2 | {e/f/} e4 z2 (e>f/2g/4) |
d<BAG B<d e>g | d<BAG E2 b>a | g>f (e>f/2g/4) d<B (A>G/2A/4) | G4 z2 :|
X:2
T:Pinkie
House
M:C
L:1/8
R:Air
N:”Slow”
S:McGibbon
– Scots Tunes, Book 1 (c. 1746)
Z:AK/Fiddler’s Companion
K:G
(G>A) |
(B>A) (Bd) {c}B2 “tr”(A>G) | (d>B) (d>e) d2 g>f | (e>d)
(ef/g/) (d>B) “tr”(A>G) | A6 G>A | “tr”(B>A) (Bd) {c}B2 (AG) |
(d>B)(d>e)
d2 (g>f) | (e>d)(eg) (g/a/b) “tr”(a>g) | g3a g2 :: (f>g) |
(a>g)(a>b) a2 (ga) | b(a/g/) (f/g/)e ^d2 (ef) | (g>f)(g>a)
“tr”{g}f3e |
e3f e2 (ef/g/) | (d>B) “tr”(A>G) (Bd) (e/f/g) | (d>B)”tr”(A>G) E2 (b>a) | (g>f) (ef/g/) “tr”A3G | G3A G2 :| Be/f/ | (gf)(ga) g2 f2 | {e/f/} e4 z2 (e>f/2g/4) |
d<BAG B<d e>g | d<BAG E2 b>a | g>f
(e>f/2g/4) d<B (A>G/2A/4) | G4 z2 :|
PINKS AND LILLIES. English, Country Dance Tune (cut time). C Major. Standard tuning. AABB.
The tune dates to 1728. Barnes (English
Country Dance Tunes), 1986.
PINS AND NEEDLES. AKA and see "Hexham Races."
English, Country Dance Tune (6/8 time). G Major. Standard tuning. AABB. Barnes
(English Country Dance Tunes), 1986.
PINSÍN SNAOISÍN, AN. AKA and see "The Pinch of Snuff."
PINT OF ALE, THE. Irish, Reel. G Major/Mixolydian. Standard
tuning. AB. Source for notated version: Bill McEvoy of C.C.E. [Mulvihill].
Mulvihill (1st Collection),
1986; No. 192, pg. 52.
PINT OF DERBY, A. English, Country Dance Tune (6/8 time). G Minor. Standard tuning. AABB.
The tune dates to 1718. Barnes (English
Country Dance Tunes), 1986.
__________________________________________
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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.