The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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PIA - PIN

 

 

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. Canada, Cape Breton. B Major. Standard tuning. AAB. Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 56, pg. 17.

                       

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 Morpeth Chantry Bagpipe Museum (Northumberland), as researched by Graham Dixon.

 

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 Scotland, 1864. Kennedy (Traditional Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 153, pg. 37. Kerr (Merry Melodies), vol. 1; No. 9, pg. 31. Martin (Ceol na Fidhle), vol. 1, 1991; pg. 24. Martin (Traditional Scottish Fiddling), 2002; pg. 69.

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. USA, Kentucky. D Major (‘A’ part) & A Major (‘B’ part). AEae tuning. AB. Manon Campbell is the sole source for the tune. He say this ditty with it:

***

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 Kentucky Fiddle Tunes), 2001; No. 124, pg. 151.

                       

PICK 'EM UP JOE. Old‑Time, Breakdown. C Major. Standard tuning. Learned by Arizona fiddler Kenner C. Kartchner from bartender Jim Wheeler, Williams, Arizona, 1903 (Shumway, 1990).

 

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 Simpson County, Mississippi, fiddler Enos Canoy and the Canoy Band. Canoy mentions that the plucking of the strings is “pickin’ the Devil’s eye.” The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Thorton Spencer also played a tune called “Pickin’ Out the Devil’s Eyes.”

 

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 Edinburgh violinist Robert 'Red Rob' Mackintosh (c. 1745‑1807) and set to lyrics by Andrew Shirrefs (1762‑1807). Emmerson (1971) notes that it was said that Mackintosh "was of an irascible disposition and readily gave offence to other members of (his) orchestra."

 

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 London for two periods: 1791-1792 and 1794-1795), where he concertized to great acclaim. Contemporary music historian Charles Burney (1726-1814) wrote in his memoirs: “Haydn himself presided at the piano-forte; and the sight of that renowned composer so electrified the audience, as to excite an attention and a pleasure superior to any that had ever been caused by instrumental music in England.” Haydn and the Gows were all associated with the Prince of Wales and the King’s Theatre in London during the same period. Giovanni Mane Giornovichi (1735-1804), who contributed the second part, was a late-Classical period composer, born in Sicily (some say in a ship off the coast of the country). He studied with Lolli and was a proficient violinist, and a very good composer who traveled the Continent widely. Unfortunately, Giornovichi did not possess an excess of good judgment and decorum to accompany his talent, and his life seems to have been one flight from scandal to another, propelling his wanderings. He spelled his name variously depending on the country he was in, and was also known as Giornovici, Jarnovich, and Jarnovic, and he was nearly as famous as a billiards player (by which he earned his living during fallow musical times). The composer was in London in the 1790’s, but left for Russia by the end of the decade. He died there in 1804, reportedly immersed in a game of billiards. Carlin (The Gow Collection), 1986; No. 598. Gow (Fifth Collection of Strathspey Reels), 1809; pg. 18.

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 Seattle fiddler, researcher and publisher Vivian Williams finds the “Picnic Reel” earliest in George Saunders’ tutor entitled New and Scientific Self-Instructing School for the Violin (Providence, R.I., 1847, republished by Oliver Ditson in the 1850’s). Saunders, who billed himself as a “Professor of Music and Dancing,” claims authorship of the reel in the publication. Vivian writes: “I think Saunders probably did compose the tunes he claimed. In his book he seems quite conscientious about marking his tunes with his initials, and leaving the rest unmarked. He comments that he wrote all the cotillion sets himself, and they are all initialled…On the other hand, he didn’t initial any of the standard ‘Contra, Spanish and Fancy Dances’ in the book, including his very idiosyncratic version of ‘Durang’s Hornpipe’, which is very different from the usual ‘book’ versions.”

***

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 Chicago compiler Francis O’Neill from fiddler John McElligot as “Higgins’ Best.” The Higgins title may stem from the tune’s appearance elsewhere in Ryan’s Mammoth Collection (1883), under the title “7th Regiment” and credited to one Conn. Higgins (about whom nothing is known at this time). Ryan’s Mammoth was published in Boston by Elias Howe and company, and in an earlier Howe volume (1000 Jigs and Reels, c. 1867), the melody appears in the hornpipe section.

***

Sources for notated versions: Winston Fitzgerald (Cape Breton) [Phillips]; fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia”). Cole (1000 Fiddle Tunes), 1940; pg. 43. Cranford (Brenda Stubbert’s), 1994; No. 24, pg. 9. Howe (1000 Jigs and Reels), c. 1867; pg. 61. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 183. Ryan’s Mammoth Collection, 1883; pg. 71. White’s Unique Collection, 1896; No. 43, pg. 8. Brenda Stubbert - “House Sessions” (1992). Rounder 7011, "The Beatons of Mabou: Scottish Violin Music from Cape Breton" (1978). Winston Fitzgerald - “House Parties and 78's.”

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

Alan Ng’s Irishtune.info

X:1

T: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 Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Source Galbraith thought it might have been a tune from Scotland. Source for notated version: Art Galbraith (1909-1993, near Springfield, Mo.), learned from his Uncle Tobe [Beisswenger & McCann, Phillips]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 40. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 184. Rounder 0157, Art Galbraith - "Simple Pleasures" (1983).  

See also listing at:

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

                       

PIEDMONTAISE, LA. French, Mazurka (3/4 time). G Major. Standard tuning. AABB. Composed by Ph. Prieur. Stevens (Massif Central), 1988; No. 74.

 

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 Northern Netherlands), although the song went through numerous versions and variants over the years. It tells of the life of the rakish, skinny Pierlala who buried himself alive to escape further service in the army, and then emerges from his coffin during the funeral party, to great effect. Pierlala, or The Death of Pierlala was a favourite of puppet theatre. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 44 (appears as “Five for the Symbol at Your Door”, the name of a 1994 dance set to the tune by Fried de Metz Herman).

 

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, Missouri, on the Arkansas/Missouri line, and may have learned the tune from another local fiddler, John Boyd. Drew Beisswenger (2008) points out that various versions of the “Pig Ankle” tune probably were circulating in the Ozarks and other parts of the Midwest for many years, and cites the recording by Gus Cannon and His Cannon’s Jug Stompers (Memphis, Tenn.) in 1928, under the title “Pig Ankle Strut”. Source for notated version: Ray Burbow (b. 1936, Ridgedale, Mo.) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 179. Rounder CD 0436, Ray Curbow (et al) – “Traditional Fiddle Music of the Ozarks, vol. II.” Rounder Heritage Series 1166-11592-2, Ray Curbow (et al) – “The Art of Traditional Fiddle” (2001).

                       

PIG ANKLE RAG [1]. Old‑Time, Country Rag. USA. D Major. Standard tuning. AB (Silberberg): AABB (Brody, Phillips). Source for notated version: Bob Potts & Walt Koken with the Highwoods String Band (Ithica, N.Y.), who learned the tune from Joel Shimberg & Ron Hughey [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 217. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 100. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 119. Rounder 0074, Highwoods String Band‑ "No. 3 Special" (1976). Yodel‑ay‑hee Records #002, Critton Hollow Stringband ‑ "Sweet Home" (1983).

 

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 Augusta County, Virginia, fiddler “Pug” Allen singing the same verse in his version of the tune “N....r Trader Boatman,” and Yates also finds Charlie Woods’ “Pretty Girl Down the Road” to be a related piece. Musical Traditions MTCD 321-2, Sam Connor & Dent Wimmer (et al) – “Far in the Mountains, vols. 1 & 2” (2002).

                                   


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 Cape Breton by musicians Alex Gillis and the Inverness Serenaders. Honeyman (The Strathspey, Reel, and Hornpipe Tutor), 1898; pg. 33. Rounder Records 7052, Buddy MacMaster – “The Cape Breton Tradition” (2003). 

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, Norfolk). Source for notated version: the late melodeon player Barry Callaghan, who based his version on the playing of Percy Brown in the 1970’s [Callaghan]. Callaghan (Hardcore English), 2007; pg. 22.
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 (London, c. 1754). According to the Phronistery (a dictionary of obscure words) a pilgarlick is a “poor wretch; self-pitying person.” Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 101. Raven (English Country Dance Tunes), 1984; pg. 214.

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. Donnegal, Ireland) [Breathnach]; flute player Roger Sherlock [McGuire & Keegan]. Breathnach (CRÉ II), 1976; No. 182, pg. 95. Bulmer & Sharpley (Music from Ireland), 1974, vol. 2, No. 8. Mallinson (Essential), 1995; No. 37, pg. 17. McGuire & Keegan (Irish Tunes by the 100, vol. 1), No. 62, pg. 16. Miller (Fiddler’s Throne), No. 230, pg. 141. Sullivan (Session Tunes), vol. 2; No. 2, pg. 2. EMI Records ISRM 006, Tulla Ceili Band – “Dance Tunes” (1990).  Front Hall 018, How To Change a Flat Tire ‑ "Traditional Music of Ireland and Shetland." Gael-Linn CEF060, “Paddy Glackin” (similar to John Doherty’s version). Great Meadow Music GMM2013, “Best of Wild Asparagus” (2003). Green Linnet GLCD 3009, Kevin Burke - "If the Cap Fits" (1978). Island ILPS 9501, "The Chieftains Live" (1977). Leader Records, “Music from Coleman Country” (1971). Nimbus NI 5320, Ciaran Touish, Dermot McLaughlin, Seamus Glackin, Kevin Glackin - “Fiddle Sticks: Irish Traditional Music from Donegal” (1991). Shanachie SH78041, Solas – “The Hour Before Dawn” (2000).

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:|

X:2

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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