The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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PORT - POY

 

 

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]

 

 

 

PORT... See also (the Gaelic) "Puirt..."  An Irish port, or Gaelic puirt, was originally a common-time lesson or an air written for the harp and akin to a planxty (Flood) or sometimes a vocal air, but it is also the Gaelic word for 'jig.' Sanger & Kinnaird (Tree of Strings, 1992) say that there was actually no Irish tradition of ports, and that only one, “Purth Clarseach” (a version of “Port Gordon”) is recorded by Edward Bunting. The genuine ports that are contained in Irish collections appear to all have Scottish connections. The first recorded use of the word port, in a musical context, is in the poem by Donnachadh Mor of Lennox, in the Book of the Dean of Lismore, dating it to before 1513-40. The earliest datable port is perhaps “Port Robert,” in the Wemyss manuscript, going back to the 16th century. Sanger & Kinnaird state that the classic port seems to have been a “characteristically Scottish form of harp music which had a fairly short-lived fashion between the mid 16th and mid 17th centuries.” The form itself died out, its fortunes linked to the profession of harper which also waned at the same time for both political and musical reasons, thought the name lived on. In the 18th century other types of tunes more strongly melodic were still being called ‘ports’, though they had little to do musically with the older form.

                       

PORT A’ BHODAICH. AKA and see “The Carle's Rant.” Scottish, Strathspey. A Mixolydian. Standard tuning. AABB'CBB' (Kerr): ABCD (Athole, Gow, McGlashan). John Glen (1891) finds the earliest appearance of this tune in print in Alexander 'King' McGlashan's 1780 collection. Gow (Complete Repository), Part 1, 1799; pg. 6. Kerr (Merry Melodies), vol. 1; Set 26, No. 5, pg. 16. McGlashan (Collection of Strathspey Reels), c. 1780/81; pg. 28. Stewart-Robertson (The Athole Collection), 1884; pg. 7.

X:1

T:Port a’ Bhodaich

M:C|

L:1/8

S:Strathspey

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

Z:AK/Fiddler’s Companion

K:A

e| A<Ae>B c>B A<a | A<Ae>c d>c B<e | A<Ae>B c<Ae>d | c<Ae<A d>cB>e |

A<Ae>B c>B A<a | A<Ae>c d>cBE | A<Ae>B c<Ae>d | c<Ae>c d>cB>e ||

c<Aa>g a<AA>e | c<Aa>f =g<BB>e | c<Aag a>AA>e | f<ae<=g d>c B<e |

c<Aa>g a<AA>e | cAfa =g<BB>e | c<Aa>g a>Aa>e | f/g/a e/f/=g d>cB<e ||

d/c/B/A/ A,>A c<AA<e | d/c/B/A/ A,>e d<BB>e | d/c/B/A/ A,>e d/c/B/A/ A,>e |

d/c/B/A/ A,>e d<BB<e | d/c/B/A/ A,>e c<AA>e | d/c/B/A/ A,>e d<BB>e |

d/c/B/A/ A,>A AA/B/ c>A d>cB<e || c<Aa>g a<AA>e | c<Aa>f =g<BB>e |

c<Aa>g a>Aa>e| f<ae<=g d>cB<e | c<Aa>g a<AA>e | c<Aa>f =g<BB>e | c<Aa>g a>Aa>e|f/g/a e/f/=g d>cB |]

                       


PORT AN ACHRÉIDH. Irish, Single Jig. D Mixolydian. Standard tuning. AABB. Source for notated version: whistle player Pat White/Padraic de Faoite (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 59, pg. 26.

           

PORT AN AIRD BHÁIN.  AKA and see “The Banard Jig.”

           

PORT AN BARUNTACT. AKA and see "The Barony Jig [2]."

                       

PORT AN BHAILE CHAOIL. AKA and see "The Ballykeal Jig."

                       

PORT AN BHRÁTHAR (The Monk’s Jig). AKA and see “The Monk's Jig,” “The Reverend Brother’s Jig.”

                       

PORT AN DEORAI. AKA and see “Exile’s Jig.” Irish, Slip Jig. E Minor. Standard. AAB. Cranitch (Irish Fiddle Book), 1996; No. 32, pg. 137. Cranitch (Irish Session Tunes: Red Book), 2000; 32. Rounder 3067, Alan Stivell ‑ "Renaissance of the Celtic Harp" (1982).

                       

PORT AN DREÓLIN. Irish, Slide. D Major. Standard. AABB. Source for notated version: set dance music recorded at Na Píobairí Uilleann, mid-1980’s [Taylor]. Taylor (Music for the Sets: Yellow Book), 1995; pg. 37.

                       

PORT AN FHATHAIGH. AKA and see "Fahy's Jig [1]."

           

PORT AN FHIONNÁNAIGH. AKA and see “Fanning’s Jig.”

           

PORT AN GHALLÁIN. AKA and see "The Gullane Jig."

                       

PORT AN POSTA. AKA and see "The Bridal Jig [1]."

                       

PORT AN PUCA. AKA and see "The Fairy Jig."

                       

PORT AN REATA. AKA and see "The Runaway Jig."

                       

PORT AN RIAGÁNAIGH. AKA and see “Regan’s Jig.”

                       

PORT AN TEAMPALL. AKA and see "The Templehouse Jig."

                       

PORT AN tSAGAIRT (The Priest’s Jig). Irish, Double Jig. G Major. Standard. AABB. The tune, from an unknown manuscript,  is related to O’Neill’s “Happy to Meet {and Sorry to Part}.” Breathnach (CRÉ IV), 1996; pg. 10.

           

PORT AN TÚIR MHÓIR.  AKA and see “The Toormore Jig.”

           

PORT ANTOINE UI FHREAGHAILE. AKA and see "Anthony Frawley's Jig."

                       

PORT ARD, AN. AKA and see "The High Jig."

                       

PORT ARTHUR BLUES. AKA and see "Blues de Port Arthur, La." Cajun, Two-Step. D Major. Standard. AA'BBCC'. Port Arthur is a town in Texas where many Cajuns migrated. “Valse des Vachers” is a triple-time setting of the melody. Greenblatt (The Cajun Fiddle Tune Book), 1985; pg. 19.

                       

PORT ARTHUR STOMP. Cajun. Recorded by accordion player Marc Savoy. Pukka Records YOP 04, The Oyster Band ‑ "Lie Back and Think of England."

                       


PORT ARTHUR WALTZ (Valse de Port Arthur). Cajun, Waltz. USA, southwestern Louisiana. D Major. Standard. AA'BB' (Phillips): One part (Francois). A related tune is "Lake Arthur Waltz." Source for notated version: Harry Choates (La.) [Phillips]; Aldus Roger & Phillip Alleman (La.) [Francois]. Francois (Yé Yaille Chere), 1990; pgs. 448-449. Phillips (Fiddlecase Tunebook), 1989; pg. 34. Arhoolie 5027, Harry Choates ‑ "The Fiddle King of Cajun Swing ‑ Original Recordings 1946‑1949."

                       

PORT ATA-CUILINN. AKA and see "The Hollyford Jig."

                       

PORT ATHOL. AKA – “Port Atholl.” AKA and see "The Hawk of Ballyshannon," "O'Moore's Fair Daughter," "Katherine O'More." Scottish/Irish, Air. Originally composed for a patron by early 17th century Ulster-born (Francis O’Neill says he was born c. 1646, though he is also recorded as having died around 1650) harper Rory Dall O'Cahan, who travelled into Scotland and long played for the great families of that country. Atholl is in central Perthshire. The blind Irish harper Turlough O'Carolan (1670-1738) 'touched' "Port Athol" into his "O'Moore's Daughter" (Flood, 1906). It was printed by Bunting. Several (four) early versions of the melody appear in the Balcarres Lute manuscript, compiled in 1692-1694, and the tune appears to have been well-known by lutenists of the era. There are, however, two distinctly different tunes with the name “Port Atholl,” one printed by Bowie and Oswald.

                       

PORT BAGARAC, AN. AKA and see "The Swaggering Jig [1]."

                       

PORT BALLANGOWNE. Scottish, Air. A harp tune appearing in the Skene Manuscript of c. 1615, collected for or by John Skene of Hallyards in Midlothian, set in tablature for the mandora. Under the simple title “A Port” the melody appears in Gordon of  Straloch’s Lute Book (also called the Straloch Manuscript) of 1927-29, with the postscript “Finis Port Rorie Dall,” referring to the harper Ruari (Dall) O Cathain. Finally, under the appelation “Port 6th” the tune appears in the MacLean-Clephane Manuscript of 1816, written by the seventeen-year-old Lady Margaret Wemyss, a member of a prominent Lowland Scots family. "Ballangowne" is a Gaelic place name variously called Balgowan, Balgonie, etc., meaning 'village of the smith', and refers to Balgowan, which lies between two main parts of the Lude estate, Inchmagrannoch and Monzie, on the River Tummel. Another suggestion {from Sanger & Kinnaird (Tree of Strings, 1992)}for the origins of the title is that it was perhaps composed for Lady Elizabeth Ross, of the Rosses of Ballnagowan. Sanger & Kinnaird (Tree of Strings), 1992; pg. 179. Flying Fish, Robin Williamson ‑ "Legacy of the Scottish Harpers, Vol. 2."

                                   

PORT BHEAN DE ROS. AKA and see “Mrs. Ross’s Jig.”

                                   

PORT BHRIAIN MHÓIR (Big Barney’s Jig). AKA and see “Big Barney('s Jig).” Irish, Jig. G Major. Standard. AABB. Breathnach (CRE IV), 1996; No. 7, pg. 5.

                       

PORT CAIT NI MATGAMNA. AKA and see "Kit O'Mahony's Jig."

                       

PORT CHILL CHAINNIGH. AKA and see "The Kilkenny Jig."

                       

PORT CIARRAÍOCH/CIARRAIG, AN. AKA and see "The Kerry Jig [1]."

                       

PORT CILL-FINAIN. AKA and see "The Kilfinane Jig."

                       

PORT CORNAD MIC SEOIN. AKA and see "Jackson's Rolling Jig."

                       

PORT CROTUIR UI CATASAIG. AKA and see "Con Casey's Jig."

                       

PORT CUILLINN UI CHAOIMH. AKA – “Port Chuilinn.” Irish, Jig. D Major. Standard. AA’B. Treoir. Compass Records 7 4407 2, Ciaran Tourish – “Down the Line” (2005. Learned from the playing of Dermot and Tara Diamond).

X: 1

T: Port Cuillinn ui Chaoimh

S: "Treoir"

M: 6/8

L: 1/8

R: jig

Z: Transcribed by Bill Black

K: D

F/A/ | BdB BAF | Add dFA | BdB BAF | AFE E2 F/A/ |

B3 BAF | Add dAF | G3 FAF |1 EDE D2 :|2 EDE D3 ||

DFA d3 | dfd ecA | g3 fdB | AFA B3 |

Adf a2 a | baf a2 f | gfe fdB | AFA B2 g ||

fdd d3 | dfd ecA | g3 fdB | AFA B3 |

Adf a3 | baf a2 f | gfe fdB | AFA B3 ||

                       

PORT DALAIG [1]. Irish, Polka. Ireland, West Kerry. G Major. Standard. AABB. Apparently the composition (with “Port Dalaig” [2]) or favorite tune of Tom ‘na Hinise’ O Dalaig (Tom Daly, 1907-1989), a fiddler from Inishvickillane, Co. Kerry. Mac Amhlaoibh & Durham (An Pota Stoir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), No. 1, pg. 13.

 


PORT DALAIG [2]. Irish, Polka. Ireland, West Kerry. A Dorian. Standard. AABB. See note for “Port Dalaig [1]." Mac Amhlaoibh & Durham (An Pota Stoir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), No. 4, pg. 14.

 

PORT DALAIG [3]. Irish, Polka. Ireland, West Kerry. D Major. Standard. AABB. See note for “Port Dalaig [1]." Mac Amhlaoibh & Durham (An Pota Stoir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), No. 10, pg. 16.

 

PORT DALAIG [4]. Irish, Polka. Ireland, West Kerry. E Dorian. Standard. AABB. The melody, especially in the ‘A’ part, is similar to “Riding on a Load of Hay.” See note for “Port Dalaig [1]." Mac Amhlaoibh & Durham (An Pota Stoir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), No. 16, pg. 19.

 

PORT DALAIG [5]. AKA and see “Ballyoran Polka [1]."

 

PORT DALAIG [6]. AKA and see “Ballyoran Polka," “(An) Gallope,” “Galop Hey,” “The Kerry Polka,” “Paddy Spillane’s [2]." Irish, Polka. Ireland, West Kerry. D Major. Standard. AABB. Like “Port Dalaig [5]," this is a version of “Ballyoran [1]." Mac Amhlaoibh & Durham (An Pota Stoir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), No. 54, pg. 34.

PORT DALAIG [7]. AKA and see “Off She Goes [1].”

 

PORT DALAIG [8]. Irish, Slide (12/8 time). Ireland, West Kerry. E Minor. Standard. AABB. Mac Amhlaoibh & Durham (An Pota Stóir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), No. 78, pg. 45.

           

PORT DHOMHNAILL MHIC GUTHAGAIN. AKA and see “Donald MacGugan’s Rant.”

           

PORT EINON WHIM.  AKA and see “Mympwy Portheinon.”  English, Country Dance Tune (2/4 time). England, Wales. G Major. Standard tuning (fiddle). AABB. In Port Einon this tune was used to dance the Gower Reel.

X:1
T:Port Einon Whim / Mympwy Portheinon
M:2/4
L:1/16
K:G
B2Bc dedc|B2Bc dedc|B2G2 GABG|A2D2 D2dc|!
B2Bc dedc|B2Bc dedc|BdGB| AcFA|GFGAG4:||!
gfga gdBd|gfga gdBd|gfga b2g2|fefg afed|!
edef gece|dcde dBGB|AGAB cAFA|GFGAG4:||

 

PORT FIAGUIDE AN SIONAIG. AKA and see "The Foxhunter's Jig [1]."

           

PORT GAEDEALAC, AN. AKA and see "The Hibernian Jig."

           

PORT GAEL-LINN. AKA and see “Dash to Portobello.” The title honors the Irish recording company.

           

PORT GORDON{AC} [1] (Gordon’s Tune). AKA and see "Mary of Ballyhaunis." Scottish/Irish, Air (4/4 time, "with spirit"). G Dorian (O’Neill): A Dorian (Ó Canainn). Standard. One part (Ó Canainn): AB (O’Neill). A harp air composed for a Scottish patron by early 17th century Ulster-born (Francis O’Neill says he was born c. 1646) harper Rory Dall O'Cahan, who travelled into Scotland and long played for the great families of that country. The tune was reworked a century later by blind Irish harper Turlough O'Carolan (1670-1738) and later used for the Irish song "Maire beil ata h‑Amnair." Several early Scottish versions of the melody appear in the (Crawford of) Balcarres Lute Manuscript, compiled in 1694. It can be found in Cooke’s Selection of Twenty-one Favourite Original Irish Airs arranged for Pianoforte (Dublin, 1793).

***

There are actually several airs entitled “Port Gordon.” One of them is in John Bowie’s Collection of Strathspey Reels and Country Dances (1789), a partial version of which (under the title “Port 2nd”) also appears in the MacLean-Clephane Manuscript of 1816, written by the seventeen-year-old Lady Margaret Wemyss, a member of a prominent Lowland Scots family. The subject of one of them is likely to have been George Gordon, the first Marquess of Huntly (1562-1636), maintain Sanger & Kinnaird (Tree of Strings, 1992), who defeated Argyll at the battle of Balrinnes. It had been fortold that Argyll’s harp would be played in the Gordon territory of Strathbogie, encouraging Argyll to attack thinking his victory was assured; indeed the harp was so played—as the spoils of war. Source for notated version: Chicago Police Sergeant and fiddler James O’Neill, originally from County Down [O’Neill]. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 61, pg. 55. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 40, pg. 7. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 63.

X:1

T:Port Gordon [1]

M:C

L:1/8

R:Air

S:O’Neill – Music of Ireland (1903), No. 40

Z:AK/Fiddler’s Companion

K:Gmin

dc|B2 Bc B2 AG|G>A Bc d2 cA|G2 GF D2 D^F|G4 G2 dc|B2 Bc B2 AG|
G>A Bc d2 cA|G2 GF D2 D^F|G4 G2||GA|B2 c2 d3B|c2 d=e f2 d>g|

g>f dc B2d2|c3B G2 dc|B2 Bc B2 AG|G>ABc d2 cA|G2 GF D2 D^F|G4 G2||

 

PORT GORDON [2]. Irish, March (4/4 time). D Minor (O’Farrell): G Minor (Howe). Standard. AB (O’Farrell): AAB (Howe). O’Neill (1922) says: “In Hardiman's Irish Minstrelsy Vol.1, ‘Port Gordon’ is listed as one of Carolan's compositions, and it is also attributed to him in "O'Farrell's Pocket Companion for the Irish or Union Pipes, from which the above setting was copied. Bunting, however, includes ‘Port Gordon’ among the compositions of Rory Dall O'Cahan, a famous harper of the Western Highlands. The fact is that Carolan exercised his talents in retouching his predecessor's composition according to his own personal fancy. The setting which follows, taken from O'Neill's Music of Ireland was found among Sergt. James O'Neill's inherited manuscripts.” Source for notated version: copied from O’Farrell’s Pocket Companion (1804-1810) [O’Neill]. Howe (1000 Jigs and Reels), c. 1867; pg. 94. O’Farrell (Pocket Companion, vol. 1), c. 1805; pgs. 50-51. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 62.

X:1

T:Port Gordon [2]

M:4/4

L:1/8

S:O'Farrell's Pocket Companion 1804-1810

Z:Paul Kinder

K:Dmin

DE|F2 FG A2 GF|G2 GA c2 AG|FEFG A2 GF|G3 F D2 DE|

F2 FG A2 GF|G2 GA c2 AG|A3 B A2 G2|A6 DE|

F2 FG A2 GF|G2 GA c2 AG|A2 AB AGFG|A4 f2 DE|

F2 FG F2 ED|EDEG A2 GE|D2 DE FED^C|D6||

de|f3 g fg a2|FEFG F2 ED|f3 g f>g a2|GFGA G2 fg|

a4 a2 gf|g4 agfe|fgfe defe|dA =cA/2G/2 A3 A|

d2 dc defe|dedc A2 AB|c2 cA cded|dcAG A2 AG|

F2 FG F2 ED|EDEG A3 c|dedc AGA^c|d6||

X:2

T:Port Gordon [2]

M:4/4

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:Gmin

F2 | B2 B>c d2 c>B | c2d2f2 dc | B3c Bcdc | B4G4 | B2 B>c d2 c>B |

c2d2f2dc | d3f dfdc | B4b4 | B2 B>c B2 AG | A2 A>B A2 G>^F |

G>A GF D2 DF | G4G2 :| f2 | b2 b>c’ b>c’ d’2 | B2 B>c B2G2 |

b2 b>c’ b>c’ d’2 | c2 c>d c2 (bc’) | d’2 d’2 d’2 (c’b) | c’2c’2c’2 (ba) |

b>c’ ba g>a ba | gagf dcdf | g2g2 gaba | g>a gf d2 d=2 | f2f2 f>g ag |

f>g fd c2 Bc | B2 B>c B2 A>G | A2 AB A2 G^F | GAGF D2 DF | G4 G2 || 

           

PORT ‘IC ARTAIR (MacArthur’s Tune). AKA and see “Antony Murray(‘s Reel),” “Hills of Cape Mabou,” “Lord Murray’s Strathspey.”

           

PORT INGEAN NI GREANTA. AKA and see "Miss Grant's Jig."

           


PORT INGINE UÍ MONGRUAIDE. AKA and see "Miss/Mrs. Monroe's Jig."

           

PORT JIMMY MHIC AN BHAIRD. AKA and see "Jimmy Ward's Jig."

           

PORT LÁIRGE. AKA and see “Bhíosa lá I bport láirge,” "The Dainty Besom Maker," “Forgive the muse that slumbered,” "The Gimlet," “I’d  mourn the hopes that leave me,” “Johnny’s Grey Breeks [2],” "The Old Lea Rigg," "Little Mary Cullinan," "Little Sheila Connellan,” “Maureen from Giberland,” “Phelim O’Neill [2],” “The Rose Tree in Full Bearing,” “The Rose Tree of Paddy’s Land." Irish, Air and Polka. D Major. Standard. AABB. Port Láirge is the Gaelic name for Waterford. Black (Music’s the Very Best Thing), 1996; No. 234, pg. 125.

X:1

T: Port Láirge

Q: 300

R: polka

Z:Transcribed by Bill Black

M: 2/4

L: 1/8

K: D

f/e/ | dB AF | A>B AA | dd ed/e/ | fe ef/e/ |

dB AF | A>B AA | dd ed/e/ | fd d :|

e | f>e fg | a2 gf | eb b>a | be ef/e/ |

dB AF | A>B AA | dd ed/e/ | fd d :|

           

PORT LENNOX. AKA – “The Duke of Lennox Port.” Scottish/Irish, Air. A harp air composed for a patron by early 17th century Ulster-born (Francis O’Neill says he was born c. 1646) harper Rory Dall O'Cahan, who travelled into Scotland and long played for the great families of that country. Sanger & Kinnaird (Tree of Strings, 1992) say the tune was almost certainly dedicated to Esme Stuart, created first Duke of Lonnox in 1581.

           

PORT LIADROMA. See “Leitrim Jig [1].”

           

PORT LIAM MHIC CHOLMAIN. AKA and see "Willie Coleman's Jig."

           

PORT LIAM MHIC CORMAIC. AKA and see "Bill McCormick's Jig."

           

PORT LIAM UÍ AIRT. AKA and see "Bill Harte's Jig [1]."

           

PORT LIAM UÍ CHOLMÁIN. AKA and see "Willie Coleman's Jig."

           

PORT LUIMNIGH. AKA and see "The Limerick Jig [1]."

           

PORT MABOU. AKA and see “Elizabeth’s Big Coat.”

           

PORT MAOR MAELMOCEIRGE. AKA and see "Sergeant Early's Jig."

           

PORT MHAIDC UÍ CHEALLACHÁIN. AKA and see "Micky Callaghan's Jig."

           

PORT MHIC EOIN. AKA and see "Jackson's Jig [3]."

           

PORT MHICÍ UÍ MHURCHÚ. AKA and see “Mickie Murphy{’s Jig}.”

                                   

PORT MHIG SHEANLAOICH. AKA and see “Ganley’s Jig.”

                                   

PORT MHOLL UI CHIOBHAIN.  AKA and see “The Maulykeavane Jig.”

 

PORT MOR NA LURGANN. Scottish, Strathspey. F Major. Standard. AABB'. Composed by James Stewart-Robertson, the editor of The Athole Collection. Stewart-Robertson (The Athole Collection), 1884; pg. 206.

X:1

T:Port Mor na Lurgann

M:C

L:1/8

R:Strathspey

C:James Stewart-Robertson

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

Z:AK/Fiddler’s Companion

K:F

d | c<F c>A c>df>d | c<F c>A G>AB>d | c<F c>A c>df>g | a>f a/g/f/e/ ~f2 f: |

c | f>ag>a ~f>cA>c | f>ag>a b/a/g/f/ d>e| 1 f>ag>a ~f>cA>f | a>f a/g/f/e/ f2 f: |2

f>ag>b a>fe>c | a>f a/g/f/e/ ~f2 f ||

                       

PORT MUINE COININ. AKA and see "The Mooncoin Jig."


                       

PORT MUINEACAIN. AKA and see "The Monaghan {Jig}>."

                       

PORT NA bPÚCAÍ (The Fairy Lament). AKA and see “Port na Hinise.” Irish, Air (6/8 or 3/4 time). Ireland, West Kerry. The tonality shifts between A Mixolydian/Dorian and G Major. Standard. AAB (Mac Amhlaoibh): AA’B (Ó Canainn). A pouca, or in Irish púca, usually refers to a magical being—a "water sprite,” or "mischievous fairy”—a word adapted by Shakespeare for his character Puck in Midsummer Night’s Dream. Tony McMahon says the air is about the death of one such spirit. There is a story that this tune was heard by travellers or fisherman who stayed overnight on Inis Mhic Fhaolain in the Blasket Islands (off the coast of County Kerry) and heard this tune coming from the mists.

***

Is bean on slua si me do tainig tar toinn;

Is do toidead san oice me tamall tar lear;

Is Go bFuilim sa rioct so fe geasa mna si,

Is ni bead ar an saol so go nGlaofaid an coileac.

***

Sometimes the tune is described as the sound of the wind blowing across the islands. Source for notated version: Tom Daly/O Dalaig (1907-1989) [Mac Amhlaoibh & Durham]. Mac Amhlaoibh & Durham (An Pota Stóir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), No. 93, pg. 53. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 68, pg. 60. CCE CL13, Tommy Peoples (1978). Claddagh Records, Sean ‘Cheist’ Ó Cathain - “Beauty an oilean” (Ó Cathain was a resident of Blasket Island until it was cleared in the 1950's). Compass Records 7 4407 2, Ciaran Tourish – “Down the Line” (2005). Compass Records 7 4446 2,Oisíin McAuley – “From the Hills of Donegal” (2007). Gael‑linn CEFCD 114, Tony MacMahon & Noel Hill - “ "I gCnoc na Graí” (1985). Ronan Browne - “Drones and Chanters, vol. 2.” Ovation, Tommy Peoples – “Master Irish Fiddle Player.” Shanachie 79033, Paddy Moloney & Sean Potts – “Tin Whistles” (1974). 

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:Port na bPúcaí.

M:3/2

L:1/4

Q:1/2=60

K:D

d>c A3 B | A{BA} G/E/ F2 G2 |A>B =c3{dc} B | A3/2{BA} G/ {AB}A4 |

d>c {AB}A3 B | A{BA} G/E/ {A}F2 {A}G2 |A{BA} G/F/ G4‑ | G{AG} F G4 :|

|: A>B c2 d2 | e f/g/ {fg}f2 g2 |{b}a{ba} g/f/ g2 e>f | {ef}e{fe} d/B/ c4 |

[1 {AB}A>B c2 d2 | {ef}e f/g/ {fg}f2 g2 |{b}a{ba} g/f/ g2 e>f | e{fe} d/c/ d4 :|

[2 d>c {AB}A3 B | {c}A{BA} G/E/ F2 G2 |A{BA} G/F/ G4‑ | G{AG} F G4 ||

                       

PORT NA BUAICEÁLA. AKA and see “The Swaggering Jig [1].”

                       

PORT NA CAILLICHE. Scottish, Strathspey. E Minor. Standard tuning. AAB. Stewart-Robertson (The Athole Collection), 1884; pg. 262.

X:1

T:Port na Cailliche

M:C

L:1/8

R:Strathspey

B:The Athole Collection

Z:AK/Fiddler’s Companion

K:Emin

B | G<E E>e G<E E>G | F<D D>d F<D D>F | G<E E>e G<E E>g | f<d a>f e/e/e e :|

f | g>be>b g>ee>g | f>da>d f<d d>f | g>be>b g<e e>g | f>da>f e/e/e e>f |

g>be>b g<e e>g | f>da>d f<d d>f | g>ba>f g>ef>d | e>Bd>F E/E/E ~E ||

                       

PORT NA CORDAILE. AKA and see "The Cordal Jig."

                       

PORT NA FAINNE. AKA and see "The Wedding Ring."

 

PORT NA GIOBÓIGE.  Irish, Reel. G Major. Standard tuning. AA’BB’. The title, says editor Jackie Small (CRÉ V), literally translates as ‘tune of the scrap/rag’. Source for notated version: piper Séamus Ennis, who had the tune from singer Colm Ó Caoidheáin (Glinsk, Connemara), who performed it as mouth music. “He had the reel as part of a piece of raiméis {nonsense} which the old people of the area would say when they had a couple of drinks on a fair day” [Breathnach]. Breathnach (CRÉ V), 1999; No. 152, pg. 76.

 

PORT NA HINISE. AKA and see “Port na bPucai.”

                                   

PORT NA LUINNEOIGE. AKA and see "The Chorus Jig [5]."

                       

PORT NA mBOINEAD GORM. AKA and see "Blue Bonnets Jig."

 

PORT NA MUMHAN. AKA and see “The Munster Jig [1].”

                       

PORT NA SHIGH (The Fairie’s Jig). Irish, Slip Jig. Ireland, County Donegal. D Mixolydian. Standard tuning. AABB. According to Caoimhin Mac Aoidh (1994), Donegal fiddler Mickey Doherty associated the tune and story to his uncles from the tinkering McConnell clan and their travelling in and around Teelin, Donegal.

X:1

T:Port na Shigh

T:Fairies’ Jig, The

M:9/8

L:1/8

S:Dermot McLaughlin (Catskills Irish Arts Week, 2004)

Z:AK/Fiddler’s Companion

K:Dmix

{A/B/}A2G Add Add | ABA AFA fef | {A/B/}A2G Add Add |

cAG {A/B/}A2G EDD :: ~a3 fab afd | afd dfa baf |1 ~a3 fab afd |

cAG A/B/AG FDD :|2 a^ga baf =ged | cAG A/B/AG EDD ||

 

PORT NAN CON. AKA and see "The Bob o' Dooly," "Carlin, Is Your Daughter Ready?," “Jenny Cameron’s Rant.”

                       


PORT ONE-STEP. Old‑Time, Breakdown. USA, Missouri. C Major. Standard tuning. AABB. Source for notated version: African-American fiddler Bill Katon (Tebbetts, Missouri) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; pg. 42.

                       

PORT PADRAIG NA CARRA. AKA and see “The Reverend Brother’s Jig,” “The Monk’s Jig.” Irish, Jig. A Dorian. Standard tuning. AABB. See also the related “Gander in the Pratie Hole” and accompanying note.

X:1

T:The Monk’s Jig

T:Port Padraig Na Carra

T:Lady Ann McGregory?

M:6/8

L:1/8

R:Jig

D:Joe Burke, "Galway's Own"

Z:Lorna LaVerne

K:A dorian

e|: cAB ~c3 | ~d3 ede | ~A3 Ace | dcA AGA |

EAB cAc | dcd ede | aba ged | cAA A2e :|

|: eaa aba | gef ~g3 | eaa aba | ged cAA |

eaa aba | gef gfg | aba ged | cAA A2e :|

                       

PORT PAT COCLAIN. AKA and see “Kesh Jig [1].” Irish, Slide (12/8 time). Ireland, West Kerry. G Major. Standard tuning. AABB. Source for notated version: West Kerry mouth organ player Pat Coughlan (Coclain) [Mac Amhlaoibh & Durham]. Mac Amhlaoibh & Durham (An Pota Stóir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), No. 59, pg. 37.

                       

PORT PATRICK (Cuain-Padraic). Scottish, Irish; Air or Double Jig. G Major (O’Neill): A Mixolydian (Bremner). Standard tuning. AABB. John Glen (1891) finds the earliest appearance of this tune in print in Robert Bremner's 1757 collection. Bremner (Scots Reels), c. 1757; pg. 25. Gatherer (Gatherer’s Musical Museum), 1987; pg. 23. Kerr (Merry Melodies), vol. 3; No. 251, pg. 28. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 356, pg. 73. Oswald, Caledonian Pocket Companion, Book 2 (c. 1758). Great Meadow Music GMM 2018, Frank Ferrel & Joe Derrane – “Fiddledance” (2004. Learned from concertina player Tim Collins, of the Kilfenora Ceili Band).

X:1

T:Portpatrick

M:6/8

L:1/8

R:Air or Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 356

Z:AK/Fiddler’s Companion

K:G

g|dBG GAB|c2B A2G|dBG GAG|A2B c2g|dBG GAB|c2B A2G|B/c/dB cAd|BGG G2:|

|:d|ece dBd|ece def|gfe dBG|A2B c2e|def gfe|dcB A2G|B/d/eB cAd|BGG G2:|

X:2

T:Port Patrick

M:6/8

L:1/8

R:Jig

S:Bremner – Scots Reels (1757)

Z:AK/Fiddler’s Companion

K:A Mixolydian

f | ecA ABc | d2c “tr”B2A | ecA ABA | B2c d2f | ecA ABc | d2c “tr”B2A |

(c/d/e)c (B/c/d)B | cAA A2 :: e | fdf ece | fdf ece | f^ga edc | B2c d2f |

ef^g agf | edc “tr”B2A | (c/de)c (B/c/d)B | cAA A2 :|

                       

PORT PHÁDRAIG UÍ FHATHAIGH. AKA and see "Paddy Fahy's Jig [1]."

 

PORT PHÁIDÍ UÍ BHRAOIN. AKA and see "Paddy Breen's Jig."

                       

PORT ROBERT. AKA and see “Port Priest.” Scottish, Air. The tune was likely composed for Robert Stewart, second son of John, 11th Earl of Lennox, and his countess, Lady Elizabeth Stewart. The alternate title for the melody comes from the Straloch Manuscript (collected between 1620-1627 by Robert Gordon of Straloch, the first person to receive the degree of Master of Arts at the College of Aberdeen), and Stewart was a representative of the church, though a supporter of the arts. The tune is printed by Sanger & Kinnaird in Tree of Strings (1992, pg. 176).

                       

PORT ROIS. AKA and see “Portrush.”

                       

PORT SCOLAÍ UÍ CHATHASAIGH. AKA and see "Scully Casey's Jig [2]."

                       

PORT SEUMAS UÍ BRIAIN. AKA and see "Jimmy O'Brien's Jig."

                       

PORT SHARAH BHEAIRTLE RUA. Irish, Barn Dance (4/4 time). D Major. Standard tuning. AB. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 11.

                       

PORT SHEÁIN DAN NELL. Irish, Slide. E Dorian. Standard tuning. AABB. Source for notated version: set dance music recorded at Na Píobairí Uilleann, mid-1980’s [Taylor]. Taylor (Music for the Sets: Yellow Book), 1995; pg. 36.

                       

PORT SHEÁIN PLEAMONN. AKA and see "John Fleming's Jig."

                       

PORT SHEÁIN tSEOSAIMH (John Joe’s Jig). AKA and see “John Joe’s Jig.”

                       

PORT SHEÁIN UÍ RIAIN. AKA and see "Sean Ryan's Jig [1]."

                       

PORT SHEAMUIS MHIC A BHAIRD. AKA and see “Jim Ward’s Fancy.”

                       

PORT SHÉAMAIS MHIC MHATHÚNA. AKA and see “James McMahon’s Jig.”

                       

PORT SHÉAMAIS MHIG FHIONNÁIN. AKA and see “James Gannon’s [1].”

                       

PORT SHEÁIN PLÉAMONN. AKA and see “John Fleming’s Jig.”

                       

PORT SHEÁIN tSEOSAIMH. AKA - “Port Sheain Sheosaimh.” AKA and see “The Gullane Jig,” “John-Joe’s Jig,” “The Old Bush (Jig),” “Old Joe’s Jig.” Irish, Double Jig. D Major. Standard tuning. AA’BB. Breathnach (CRE III), 1985; No. 23, pg. 12. Bulmer & Sharpley (Music from Ireland), 1974, Vol. 1, No.58.

                       

PORT SHEÁIN UÍ BHEIM (John Byrne’s Jig.). Irish, Jig. Ireland, County Donegal. Named for fiddler James Byrne’s father, John. Caoimhin Mac Aoidh identifies it as a jig known to the older generation of Donegal fiddlers, who consider it a Glencolmcille tune.

X:1

T:John Byrne’s Jig

T:Port Sheáin Uí Bheim

M:6/8

L:1/8

S:James Byrne and Roisin McRory

K:G

GFG BcA|BGF GBc|dBG cAF|GDC B,CD|

GFG BcA|BGG fed|cAG FGA|1 BGF G2D:|2 BGF GBd||

gfg afd|cBc dBG|g2b afd|cBc def|

gdg fdf|ece gfe|ded BcA|1 BGF GBd:|BFG G2D||

                       


PORT SHEAN tSEÁIN (Old John’s Jig). AKA and see “Bank of Ireland [2],” “Old John’s Jig.”

                       

PORT SHEÁNIN DAN NELL. AKA and see “Barrack Hill.”  Irish, Slide. E Dorian. Standard tuning. AABB. Source for notated version: set dance music recorded live at Na Píobairí Uilleann, mid-1980’s [Taylor]. Taylor (Music for the Sets: Yellow Book), 1995; pg. 36.

                       

PORT SHEOSAIMH UÍ DHEARÁIN. AKA and see "Joe Derrane's Jig."

                       

PORT SHLIGIGH (Sligo Jig). AKA and see “The Sligo Jig.”

                       

PORT ST. LUCIE.  Canadian, Reel. Canada, Cape Breton. Composed by Mabou, Cape Breton, fiddler, named for the Florida town where the family often vacationed. Smithsonian Folkways Records, SFW CD 40507, The Beaton Family of Mabou – “Cape Breton Fiddle and Piano Music” (2004). 

 

PORT TADG UÍ h-OGAIN. AKA and see "Tim Hogan's Jig."

                       

PORT TAIM UÍ CHONCHÚIR. AKA and see "Tom Connor's Jig."

                       

PORT THAIDHGÍN AN ASAIL. AKA and see “Taidhgín an Asail’s Jig.”

                       

PORT THOMÁIS MHIC AMHALAÍ. AKA and see "Tommy Cowley's Jig."

                                               

PORT TÍNEATHA (The Tynagh Jig). See “Tynagh Jig.”

                       

PORT TOM BILLY. AKA and see "Tom Billy's {Jig} [1]."

                       

PORT TOM MICK [1]. Irish, Polka. Ireland, West Kerry. D Major. Standard tuning. AABB. Mac Amhlaoibh & Durham (An Pota Stóir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), No. 56, pg. 34.

X:1

T:Port Tom Mick [1]

Z:Transcribed by Bernard Chenery

M:2/4

L:1/8

K:D

D>E FA|BA FA|E>F GA|BA FA|D>E FA|BA FA|EF GE| ED D2:|

d2 cd|BA FA|B2 Bc|BA FA|d2 cd|BA FA|EF GE| ED D2:|

 

PORT TOM MICK [2]. Irish, Polka. Ireland, West Kerry. D Major. Standard tuning. AABB. Mac Amhlaoibh & Durham (An Pota Stóir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), No. 56, pg. 34.

 

PORT TOM MICK [3]. Irish, Slide (12/8 time). Ireland, West Kerry. D Major. Standard tuning. AABB. Mac Amhlaoibh & Durham (An Pota Stóir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), No. 81, pg. 46 (appears as “Gan Ainm” {untitled}).

 

PORT TOM MICK [4]. AKA and see “Ballynahulla No. 2.” Irish, Polka.

                       

PORT UÍ CHEALLAIGH (Kelly’s Jig). AKA and see "The Killimor Jig." Irish, Double Jig. G Major. Standard tuning. AABB. Source for notated version: piper Patrick Ó Broithe (Ireland) [Breathnach]. Breathnach (CRE I), 1963; No. 11, pg. 6.

                       

PORT UÍ CHUINN. AKA and see "Quinn's Jig."

                       

PORT UÍ ELLIS. AKA and see "Ellis'(s) Jig."

                       

PORT UÍ FHAOLÁIN (Whelan’s Jig). AKA and see “Bill Harte’s (Jig) [2],” “The Rookery [2],” “Sonny Brogan’s [1],” “Whelan’s Jig.”

                       


PORT UÍ LAOCHDHA. AKA and see "Leahy's Jig."

                       

PORT UÍ MHUIRGHEASA (Morrison’s Jig). AKA and see “Morrison’s Jig [1].”

                       

PORT UÍ THOMHNRA. AKA and see "Tonra's Jig."

                       

PORT UILLIAMIN UI BREATNAIG. AKA and see "Willy Walsh's Jig."

                       

PORTABELLA. English, Country Dance Tune (4/4 time). G Minor. Standard tuning (fiddle). AABB. The melody dates to 1715. See also the similarly-titled “Porto Bello.” Barnes (English Country Dance Tunes), 1986.

                       

PORTABELLO HORNPIPE. English, Hornpipe. G Major. Standard tuning (fiddle). AB. Knowles (A Northern Lass), 1995; p. 39.

                       

PORTAFERRY BOYS. See "The Banks of  (the) Claudy."

                       

PORTAIGH CHREATHACHA, NA. AKA and see "The Moving Bog(s) [2]," "Courting them all," "Bashful Bachelor [2]," "Don't Bother Me," "The Moving Bog of Allen," "Rachel Rae."

                       

PORTÁIN ANNSA SGILEID. AKA and see "Crabs in the Skillet."

                       

PORTÁIN SA GHRÉISCPHOTA, NA. AKA and see “Crabs in the Greasepot.”

                       

PÓRTAR DHÚLAINN. AKA and see "Dublin Porter."

                       

PORTARLINGTON JIG, THE. AKA and see “Wheels of the World [3].”

                       

PORTE DANS ARRIEVE, LA. AKA and see “Porte D’en Arriere.” Cajun.

                       

PORTE D'EN ARRIERE, LA (The Back Door). Cajun, Two-Step (4/4 time). A Major. Standard tuning (fiddle). One part. A popular modern Cajun song. D.L. Menard’s version is especially influential while Merlin Fontenot's "Hale Pour la Tienne" is a related piece. Source for notated version: Doris Leon ("D.L.") Menard and the Louisiana Aces (La.) [Francois]. Francois (Yé Yaille Chère), 1990; pp. 446-447. Arhoolie CD433, Any Old Time String Band - “I Bid You Goodnight” (1978-1980). Bay 217, Any Old Time ‑ "Ladies Choice." Rounder 6003, D.L. Menard. Swallow SW-LP6038, D.L. Menard.

                       

PORTE DU NORD, LA (The North Door). Cajun, Two-Step (4/4 time). USA, southwestern Louisiana. D Major. Standard tuning (fiddle). One part. Source for notated version: Adam Hebert (La.) [Francois]. Francois (Yé Yaille Chère), 1990; pp. 262-263. Swallow Records SW-LP6003, Adam Hebert.

                       


PORTENCROSS CASTLE. Canadian, Strathspey. Canada, Prince Edward Island. A Dorian. Standard tuning (fiddle). AA’BB. Composed by Bill MacDonald (b. 1925), a native of North Lake, North-East Kings County, Prince Edward Island (now resident of East Royalty, Queens County, PEI). Source for notated version: Bill MacDonald [Perlman]. Perlman (Fiddle Music of Prince Edward Island), 1996; p. 193.

                       

PORTER’S JIGG. English. G Minor. Standard tuning (fiddle). AABB. The melody appears in Walsh’s Lancashire Jiggs, Hornpipes, Joaks, etc. (c. 1743).

X:1

T:Porter's Jigg

B:Walsh

R:Hornpipe

M:6/8

L:1/8

K:Gm

g3 G2 =B|c2 C C3|cgc =Bgc| =B3 _A G2|ceg c_ag| _a2 F F3|Bdf Bgf|g2 E E3|\

BdB BbB|BdB Bb_a| gfe fBd|e2 E E3:: bAB Bdf| f2 F F3| c'cc cef|g2 G G3|\

cgc =Bgc|=B2 G G3|CGC ^B,GC |^B,2 A, G,3|gGc Dc=B|c2 C C3:|

                       

PORTER’S LAMENTATION.  English, Country Dance Tune (6/4 time). F Major. Standard tuning (fiddle). AABB. “Porter’s Lamentation” appears in the supplement to the 3rd edition of John Playford’s Dancing Master (London, 1657). It appeared again in the supplement to the Dancing Master reprinted in 1665, but then was dropped from the long-running series of editions. One suspects that the porters referred to were the carmen who bore the moneyed classes about Restoration London in human-powered chairs-with-rails, or the men who conveyed goods and packages on their backs. In either case their lamentation probably is an excessively heavy burden! Barlow (Complete Country Dance Tunes from Playford’s Dancing Master), 1985; No. 159, p. 46. Barnes (English Country Dance Tunes, vol. 2), 2005; p. 103.

X:1

T:Porter’s Lamentation

M:6/4

L:1/8

S:Playford – Dancing Master, supplement to the 3rd edition (1657)

K:F

F2F2 G>A F2F4|B2 BdcA G2G4|ABcABc d3 cdA|Bc/B/ AF G>A F2F4:|

|:f2 fg/f/ ec d2 de/d/ cA|B2Bc/B/ AF c6|c>B AG AF/E/|Dd d>c dA|Bc/B/ AF G>A F2 F4:|

 

PORTHOLE OF THE KELP. AKA and see “The Custom Gap,” “Mills are Grinding [1],” “Tuttle’s Reel.” Irish, Reel. D Dorian. Standard tuning (fiddle). AA’BB’. Clare fiddler Bobby Casey is often credited with composing the tune. The tune appears under the “Porthole” title on his album “Taking Flight.” Bobby Casey – “Taking Flight.”

X:1
T:The Porthole of the Kelp
C:© Bobby Casey
D:Bobby Casey "Taking Flight"
D:Bakerswell
R:reel
Z:transcription Johannes Schiefner (jschiefner@web.de)
Z:id:js_806
M:C

L:1/8
K:Ddor
DE|:F2 DE FGAG|F2 DG ECCE|F2 DE FGAG|F/E/D EC A,DDE|
F2 DE FGAB|{d}cAGF ECCE|D2 E/F/G AddB|1cAGE EDDE:|2cAGE EDDA||
d2 Ad dcAG|(3FGF DG ECCA|d2 Ad dcAG|AB (3cBA d3e|
fded dcAB|{d}cAGF ECCE|D2 (3EFG AddB|1cAGE EDDA:|2cAGE EDD|]

                       

PORTLÁIRGE. See “Port Láirge.”

           

PORTLAND FAIR.  AKA and see “Trip to the Heart.” American, March (2/4 time). G Major. Standard tuning. AABB. The melody appears in David Hazeltine’s Instructor in Martial Music (Exeter, N.H., c. 1810) and Alvan Robinson’s Massachusetts Collection of Martial Musick (Hallowell, Maine, 1818, republished in editions of 1820 and 1824). Mattson & Walz (Old Fort Snelling... Fife), 1974; pg. 77.

           

PORTLAND FANCY [1]. American, Canadian, English; Jig. USA; New Hampshire, Maine. Canada, Cape Breton. A Major [Welling]: A Major ('A' and 'B' parts) & D Major ('C' and 'D' parts) [Cranford, Ford, Kennedy, Linscott, Miller & Perron, Phillips, Raven, Ruth, Sweet]. Standard tuning. ABC (Phillips): ABCD (Kennedy, Miller & Perron, Raven, Sweet): AABBC (Ford, Ruth): AA’BBCC (Cranford): AAABBCC (Linscott): AABB (Welling). Linscott (1939) says it was derived from an Irish reel, though he does not specify which one he thinks was the original. The tune is linked in New England with a country dance of the same name, but Burchenal (1918) also prints the reels "Texarkana" and "Young America Hornpipe" as "Portland Fancy" [1] and "Portland Fancy" [2] with the dance in her collection, indicating the jig "Portland Fancy" was not the only tune (or form) associated with the dance. The first three parts of the melody appears in Elias Howe's Drawing Room Dances (Boston, 1859), and the fourth part, anonymously composed, was presumably added at some point after. Bayard (1981) thinks his Pennsylvania collected untitled quadrille (No. 572, pg. 509) is a derivative of this tune, and he prints an unusual version of the standard tune in waltz time (No. 641). It was in the repertoire list of the elderly Mainer Mellie Dunham, who was Henry Ford's champion fiddler in the late 1920's.  The first two strains are popular among French‑Canadian musicians in Quebec and northern New England, under various titles, for example fiddler Joseph Allard's "La Gigue des sucres" (who recorded it in the key of G on a 78 RPM disc). The melody was danced to in August, 1914, during the 150 anniversary celebration of the founding of the town of Lancaster, New Hampshire, according to a playbill of the period. Michael McKernan remembers a more recent dance version of the “Portland Fancy” can be seen in Charles Walters’1950 film Summer Stock, starring Judy Garland (her last film for MGM). The scene begins in a barn in Connecticut which is the venue for a dour local community dance group who dance Portland Fancy. Young people from New York (including Gene Kelly), jump down from the hayloft, insinuate themselves into the dance and eventually turn it into a swing session. Sources for notated versions: Edson Cole (Freedom, N.H.) [Linscott]; the Plymouth Old Time Dance Orchestra [Phillips]; Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cazden, 1955; pg. 25. Cranford (Winston Fitzgerald), 1997; No. 175, pg. 70. DeVille (The Universal Favorite Contra Dance Album), 1905; No. 85. Ford (Traditional Music in America), 1940; pg. 77 (dance is also printed). Kennedy (Fiddlers Tune Book), vol. 2, 1954; pg. 48. Linscott (Folk Music of Old New England), 1939; pg. 109 (dance is also printed). Miller & Perron (New England Fiddler’s Repertoire), 1983; No. 52. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 376. Raven (English Country Dance Tunes), 1984; pg. 104. Ruth (Pioneer Western Folk Tunes), 1948; No. 125, pg. 43. Sweet (Fifer’s Delight), 1965/1981; pg. 26. Welling (Welling’s Hartford Tunebook), 1976; pg. 10. Alcazar Dance Series FR 203, Rodney Miller ‑ "New England Chestnuts" (1980). Okeh Records 45073 (78 RPM), Plymouth Vermont Orchestra. Rounder Records, Carl MacKenzie - “Welcome to Your Feet Again.” Smithsonian Folkways SFW CD 40126, Two Fiddles  – “Choose Your Partners!: Contra Dance & Square Dance Music of New Hampshire” (1999).

X:1

T:Portland Fancy

M:6/8

L:1/8

K:A

E2A E2A|EAB c2c|dcd Bcd|f2e cAF|E2A E2A|EAB c2c|dcd EFG|AcB Ace||

A2a gag|fdf e2c|dcd Bcd|cde f2e|a2a gag|fdf e2c|dcd EFG|AcB AF=G||

K:D

ABc d2e|f2g a3|efg Ade|f2d AFG|ABc d2e|f2g a3|efg ABc|d2f d3||

F2A F2A|FAd f3|ece gec|dfe dAG|F2A F2A|FAd f3|ece gec|d3 d3|]

 


PORTLAND FANCY REEL [2]. American, Reel. USA, New Hampshire. G Major. Standard tuning. AABBCC. Source for notated version: New Hampshire Fiddlers' Union [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 186.

                       

PORTLAND HORNPIPE. Scottish, Hornpipe. F Major ('A' part): C Major ('B' part). Standard tuning. AA'BB'. Composed by Carl Volti, born Archibald Milligan in Glasgow in 1849. Volti, a fiddler, composed many tunes found in the Kerr’s collections and also published several tutors, albums of popular songs, national overtures, etc. (Nigel Gatherer). Kerr (Merry Melodies), vol. 2; No. 332, pg. 37.

X:1

T:Portland Hornpipe

M:C

L:1/8

R:Hornpipe

S:Kerr – Merry Melodies, vol. 2, No. 332

Z:AK/Fiddler’s Companion

K:F

(3AAA A2 (3AAA A2 | BABd c2f2 | afcA fcAF | EGc=B dc_BG | (3AAA A2 (3AAA A2 |

BABd c2f2 | afcA cBGE |1 F2 [A2f2] [A2f2] z2 :|2 F2 [A2f2] [A2f2] |: (ef) |

(3ggg g2 (3ggg g2 | ab^fb =fedc | (3fff f2 (3fff f2 | afcA fcAF |

(3ggg g2 (3ggg g2 | ag^fg =fedc | fagf edc=B |1 c2e2c2 :|2 cegf edc_B ||

                       

PORTO BELLO. AKA and see “The Moudiewort,” “The Mowdiewart.” English, Country Dance Tune (6/8 time). Printed by Walsh in his Caledonian Country Dances (book 3, c. 1740), the title references the battle for Portobello, West Indies, taken from the Spanish by the English fleet commanded by Admiral Vernon in November, 1739. See also the similarly-titled “Portabella.”

                       

PORTOBELLOW HORNPIPE.  AKA – “Portobello Hornpipe.” English, Hornpipe. G Major. Standard tuning. AABB. The tune appears in the music manuscript papers of fiddler William Irwin (1838, Langdale, Cumbria) and Joseph Barnes (1762, Carlisle, Cumbria). The tune perhaps honors the popular English victory against Spain during the War of Jenkin’s Ear (1739-1748), when Admiral Edward Vernon captured the Spanish town of Puerto Bello (now known as Portobelo in the modern-day Panama). The victory was a sensation in England, and in 1740 when Vernon returned to London, he was feted with a dinner in his honor at which the song “God Save the King” was performed in public for the first time. Callaghan (Hardcore English), 2007; pg. 22. FLP004CD, Florida – “Danse Macabre” (1999).

X:1

T:Portobellow Hornpipe WI.096

M:C|

L:1/8

R Hornpipe

S:http://www.village-music-project.org.uk/abc/IRWIN.ABC

K:G

DE/F/|G2 GA G2 B,E|DCB,A, G,A,B,G,|A,2 AB A2 GA|BABG EFGE|G2 GA G2 B,E|

DCB,A, G,2 Bc|dBGB cAFA|G2 GA G2::Bc|d2 de d2 ef|gfed e2 ef|

edcB cBAG|FGAF D2 CB,|C2 DC B,2 DB,|A,2 CA, G,2 Bc|dBGB cAFA|G2 GA G2:|

X:2

T:Portobello Hornpipe

M:4/4

L:1/8

R:Hornpipe

K:G

(3DEF|G2G>F G>Bd>e|d>cB>A G>AB>G|A2 A>G A2 G>A|B>A (3BAG E2 (3DEF|

G2G>F G>Bd>e|d>cB>A G>AB>c|d>BG>B c>AF>A|A2G2G2:|

|:Bc|d2d2d2 e>f|g>fe>d e3d|e>dc>B c>BA>G|F>GA>F D2B2|
c2e>c B2d>B|A>B (3cBA G2 B>c|d>BG>B c>AF>A|A2G2G2:|

 

PORTPATRICK. See "Port Patrick."

                       

PORTREE BAY. Jig. Composed by J. MacKenzie. Celestial Entertainment CECS001, Brenda Stubbert (Cape Breton) - “In Jig Time!” (1995).

                       

PORTROE [1]. AKA and see "Banks of Ahasnagh," "Crossing the Bogs," “Mick Mulcahy’s [1],” “Out on the Ocean [1],” “Over the Sea [2],” “O’Connell’s Jig on the Top of Mount Everest.” Irish, Jig. G Major. Standard. AABB. Portroe is a village near Nenagh, north County Tipperary, by Lough Derg, with a commanding view of the surrounding countryside. Accordion player and composer Paddy O’Brien (1922-1991) who perfected the B/C style, was originally from Portroe. The tune “Portroe” is more commonly known today as “Out on the Ocean.” It was recorded under the “Portroe” title by Clare fiddlers Paddy Canny and P.J. Hayes. Another tune whose title mentions the village is Seán Ryan’s “Twilight in Portroe.” McGuire & Keegan (Irish Tunes by the 100, vol. 1), 1975; No. 26, pg. 7. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 2, No. 30. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 33. Avoca 33‑AV‑121, "Traditional Music of Ireland, VI." Shanachie 76001, Paddy Canny, P.J. Hayes, Bridie Lafferty & Peader O’Loughlin – “An Historic Recording of Irish Traditional Music from County Clare and East Galway.”

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:Portroe Jig, The [1]

T:Out on the Ocean

R:Jig

M:6/8

L:1/8

K:G

GA|B3 BAG|BdB A2B|GED G2A|BAB GED| ~B3 BAG|

BdB A2B|GED G2A|BGF G:| Bd|efe edB|efe edB|d2d dBA|ded dBA|

G2A B2d|efe dBA|GED G2A|BGF G:|

 

PORTROWE [2], THE. Irish, Jig. D Major. Standard tuning (fiddle). AABB. Mulvihill (1st Collection), 1986; No. 96, p. 85 (learned from a recording by Canny and Hayes).

                       

PORTRUSH (Port Rois). Scottish, Irish; Slip Jig. A Major. Standard tuning (fiddle). AABB. Source for notated version: Bernard Bogue (Counties Monaghan and Tyrone) [Breathnach]. Breathnach (CRÉ IV), 1996; No. 31, pg. 19. Kerr (Merry Melodies), vol. 3; No. 235, p. 26.

X:1

T:Portrush

M:9/8

L:1/8

R:Slip Jig

S:Kerr – Merry Melodies, vol. 3, No. 235 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

Ace agf ece | Ace agf e3|Ace agf ecA|Bcd EFG A3 :|

|: EFE E2F GFE | ABA A2c ecA|dfa agf ecA|Bcd EFG A3:|

                       

PORT'S TUNE. American, Reel or March. USA, southwestern Pa. G Major. Standard tuning (fiddle). AB. The tune was named for the fiddler, one Port from Huntingdon County, Pa., from whom Bayard's source learned the tune. The editor says that a general resemblance exists between this tune and "Sabbath Summons" in McCurry, pg. 149. Source for notated version: George Reed (elderly fiddler from Centre County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 26, p. 28.

                       


PORTSMOUTH [1]. English, Country Dance Tune (2/2 time). E Flat Major (Chappell): G Major (Barnes, Raven, Sharp). Standard tuning (fiddle). AB (Chappell): AAB (Sharp): AABB (Barnes, Raven). The air, probably a ballad tune according to Chappell, appears in Playford's Dancing Master (11th and all other editions); Barnes dates it to 1701. Walker (1924) mentions it by name as one of the “splendid tunes” contained in the Dancing Master, “which, in the absence of any known accompanying words, seem to have dropped into oblivion.” Happy to say, “Portsmouth” has achieved a revival of sorts among English country dancing affectionados. According to the Anglo-Saxon Chronicle, in the year 501 a Saxon named Port landed at the area of Hampshire later known as Portsmouth with his two sons and killed a young British nobleman. The first docks were established in Portsmouth in 1194 by Richard I. The French burned them in 1369, but it was Henry VII who developed a dockyard there in 1496 from which Portsmouth’s growth began. Barnes (English Country Dance Tunes), 1986. Chappell (Popular Music of the Olden Times), vol. 2, 1859; pp. 88‑89. Raven (English Country Dance Tunes), 1984; pg. 13. Sharp (Country Dance Tunes), 1909; p. 72. Maggie’s Music MMCD216, Hesperus - “Early American Roots” (1997).

X:1

T:Portsmouth [1]

M:C

L:1/8

K:E_

B,2|E3F GFED|C4 c4|B2G2 AGFE|F6 B,2|E3F GFED|

C4c4|B2G2 AGFG|E6B2|e3f gfed|e2B4G2|e2G2 AGFE|

F6B,2|E3F GFED|C4c4|B2G2 AGFG|E6||

 

PORTSMOUTH [2]. AKA and see “Portsmouth Airs”?? Old-Time, Breakdown. A West Virginia/Kentucky regional tune recorded on a 78 RPM for Brunswick in 1930 by West Virginia fiddler Clark Kessinger (1896-1975), who probably learned the tune as a boy in the Kanawha Valley. The title probably refers to the town of Portsmouth, Ohio, on the Ohio River.

                       

PORTSMOUTH AIRS. Old-Time, Breakdown. USA, Kentucky. G Major. Standard tuning (fiddle). AABB (Titon): AA’BB’. Harmonica player John Lozier of Lewis County, Kentucky, said regionally influential fiddler Ed Haley used to play it in front of the Old Railroad YMCA in Portsmouth, Ohio (Hartford, 1996). Jeff Titon (2001) calls the tune a northern-influenced type of melody that is sometimes favored by fiddlers in the northeastern part of Kentucky. See also the distantly related tune “Buffalo Gals.” Source for notated version: Buddy Thomas, who learned it from Jimmy Wheeler, a fiddler and instrument repairman who lived in Portsmouth, Ohio [Titon]. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 128, p. 155. Berea College Appalachian Center AC007, Roger Cooper – “Snakewinder” (1993). Rounder 0376, Buddy Thomas (et al) – “Traditional Fiddle Music of Kentucky, vol. 1: Up the Ohio and Licking Rivers” (1997). Rounder 0032, Buddy Thomas (northeastern Ky.) ‑ "Kitty Puss: Old‑Time Fiddle Music From Kentucky” (1976). Rounder 0380, Roger Cooper (Lewis County, Ky.) - “Going Back to Old Kentucky” (1996). Rounder 0392, John Hartford - “Wild Hog in the Red Brush (and a Bunch of Others You Probably Never Heard)” {1996. Learned from John Lozier).

X:1

T:Portsmouth Airs

M:C|

L:1/8

S:Buddy Thomas, from a transcription by Ed Baggott

K:G

gaga f3g | e2d2 dcBB | b2 ab agfg | a2 ga gdef | g2 ag fgfd | e2 d4 AB |

cBcd cAFA |1 [G3B3] [GB] [G2B2] ef :|2 [G3B3] [GB] [G2B2] (G,2 ||

|: G,)B, D2 B3d | e2d2 dcBd | cBAG FGAc | BAGB AGEG | DB, D2 B3d |

e2 d4 AB | c2 cd cA F2 |1 [G3B3] [GB] [G2B2] (G,2 :|2 [G3B3] [GB] [G2B2] ef ||\

                       

PORTSMOUTH HARBOUR [1].  English, Air (3/2 time). D Major. Standard tuning (fiddle). AABB. Geoghegan (Compleat Tutor for the Pastoral or New Bagpipe), c. 1745-46; p. 33.

X:1

T:Portsmouth Harbour [1]

M:3/2

L:1/8

S:Geoghegan – Compleat Tutor for the Pastoral or New Bagpipe (c. 1745-46)

Z:AK/Fiddler’s Companion

K:D

D4 FDAF dAfd | agfe dcdf edcB | A4 dABG AFGE | FDEC dfec A4 |

EGFG EGBd cBA^G | AcBc Aceg fedc | dg bag fed cBAG | FAdG F2E2 D4 :|

|: A4 cAce agfe | dfeg fagf edcB | Aceg fabf gefd | ecdB F2^A2 B4 |

AGFE DFA=c BAGF | EGBe gbge c4 | dBAG FAdf agaf | edcB AGFE D4 :||

 

PORTSMOUTH HARBOUR [2].  English, Country Dance Tune (whole time). G Major. Standard tuning. AABB. The melody was originally published in Charles and Samuel Thompson’s Compleat Collection, vol. 3 (London, 1773). As with numerous tunes from the Thompson’s 1773 collection, it was entered into the 1788 music manuscript copybook of fiddlers John and William Pitt Turner (Norwich, Conn.). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 152.

X:1

T:Portsmouth Harbour [2]

M:C

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)

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

Z:abc’s:AK/Fiddler’s Companion

K:G

G(B B)c/d/ ecec|G(B B)c/d/ cAcA|G(B B)c/e/ ecec|BGAF G2 [G,2G2]:|

|:B(d d)e/f/ gdgd|B(d d)c/B/ cAcA|B(d d)e/f/ gdgd|BGAF G2 [G,2G2]:||

 

PORTSMOUTH HORNPIPE. AKA and see "Off/Going to California [1]," "Fireman's Reel." Irish, English?, American; Hornpipe. USA, New England. A Major. Standard tuning. AABB. Al Smitley suggests the tune may possibly have been named for the frigate Portsmouth, a name that appears in American Clipper Ships 1833-1858 by Howe and Matthews. However, if American, it may as likely have been named for the harbor city of Portsmouth, New Hampshire.

***

Mellie Dunham. Photograph courtesy of David Sanderson, Maine

***

Cole (1000 Fiddle Tunes), 1940; pg. 86. Ryan’s Mammoth Collection, 1883; pg. 120. Edison 34339‑2 (78 RPM), Mellie Dunham (Maine), 1926 (appears as "Lady of the Lake"). John Edwards Memorial Foundation JEMF‑105, Neal Converse ‑ "New England Traditional Fiddling" (1978).

X:1

T:Portsmouth Hornpipe

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:A

E|A/c/B/c/ A/F/F/E/|A/c/e/a/ .f(f/g/) | a/g/f/e/ f/e/c/A/|B/c/B/A/ .F.E|A/c/B/c/ A/F/E/F/|

A/c/e/a/ .f(f/g/)|a/g/f/e/ f/e/c/A/|BAA::(c/d/)|e/a/g/a/ f/e/c/e/|f/a/g/a/ .f(f/g/)|

a/g/f/e/ f/e/c/A/|B/c/B/A/ .F.E|A/c/B/c/ A/F/E/F/ | A/c/e/a/ .f(f/g/)|a/g/f/e/ f/e/c/A/| BAA :|

                       

PORTSMOUTH ROUT.  English, Jig. B Flat Major. Standard tuning. AABB. The melody appears to be unique to London publisher Charles and Samuel Thompson’s 1765 country dance collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 125.

X:1

T:Portsmouth Rout

M:6/8

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:Bb

fdB “tr”B3|fdB “tr”B3|bag fed|cde dcB|fdB “tr”B3|fdB “tr”B3|bag fed|edc B3:|

|:d=ef fef|c=ef fef|dBG cAF|=EGB A3|d=ef fef|c=ef fef|dBG cAF|BG=E F3|

fdB “tr”B3|fdB “tr”B3|bag fed|cde dcB|fdB “tr”B3|fdB “tr”B3|bag fed|edc B3:||

 

PORTSMOUTH WINDER. Old-Time, Breakdown. USA, Kentucky. D Major. Standard tuning. AABB. The title refers to Portsmouth, Ohio. Source Hilt learned the tune from his father who called it “N....r Winder.” A ‘winder’ was an old-time dance form (as in ‘to wind around’), related to the grapevine twist of modern square dancing. Rounder Heritage Series 1166-11592-2, Ray Hilt (et al) – “The Art of Traditional Fiddle” (2001).

X:1

T:Portsmouth Winder

M:2/4

L:1/8

S:Ray Hilt (Rounder Heritage 1166-11592-2)

Z:AK/Fiddler’s Companion

K:D

[df].d [df].d | [d/f/]d/B/A/ FA | Ae [Ae>]f | ge c/B/A | [df].d [df].d |

[d/f/]d/B/A/ FA | [A,E][A,/E/][A,/E/] CE | D>E D2 :: AF AF | A/A/d/B/ AF |

.A,.E .C.E | A>B AF/G/ | AF AF | A/A/d/B/ AF |.A,.E .C.E | D4 :|

                       

PORTUGAISE, LA.  French, Country Dance (6/8 time). B Flat Major. Standard tuning. AABB. From the contradance book (tunes with dance instructions) of Robert Daubat (who styled himself Robert d’Aubat de Saint-Flour), born in Saint-Flour, Cantal, France, in 1714, dying in Gent, Belgium, in 1782. According to Belgian fiddler Luc De Cat, at the time of the publication of his collection (1757) Daubat was a dancing master in Gent and taught at several schools and theaters.  He also was the leader of a choir and was a violin player in a theater. Mr. De Cat identifies a list of subscribers of the original publication, numbering 132 individuals, of the higher level of society and the nobility, but also including musicians and dance-masters (including the ballet-master from the Italian opera in London). Many of the tunes are written with parts for various instruments, and include a numbered bass. Daubat (Cent Contredanses en Rond), 1757; No. 66.

X:1

T:Portugaise, La

M:6/8

L:1/8

N:”Allegro”

S:Daubat – Cent Contredanses en Rond (1757), No. 66

Z:AK/Fiddler’s Companion

K:Bb

BDE FBF | GBG AcA | Bfe dcB | ecB AGF | BDE FBF | GBA AcA |

Beg ecA | BFD B,2z :: Dff fdB | Egg gec | Dff fdB |

ecB AGF | Dff fdB | Egg gec | fdB ecA | BFD B,2 z :|

                       

PORTUGUESE DANCE. AKA and see “Nine-Pins (Ninepins)[2]," “Oats and Beans,” “Oats, Peas, Beans [1].” English, Jig. D Major. Standard tuning (fiddle). AABBC. Jamie Knowles notes that the first strain, set in reel time, would be the same as the French-Canadian favourite “La Bastringue.” The melody is contained in the Joseph Kershaw manuscript. Kershaw was a fiddler who lived in Slackcote, Saddleworth, North West England, in the 19th century, and his manuscript dates from around 1820 onwards. The Joseph Kershaw Manuscript, 1993; No. 6.

                       

PORTUGESE FANDANGO, THE.  English, Waltz. G Major. Standard tuning (fiddle). AABBCC. A generically titled tune that perhaps has its origins in the British alliance with Portugal during the Napoleonic Wars when Portugal was key to sustaining the Peninsular Campaign. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 158, p. 41.

 

POSAD, AN. AKA and see "The Wedding [1]."

                       

POSAD BRIGIDIN. AKA and see "Biddy's Wedding."

                       

POSAD SEAGAN FADA. AKA and see "Long John's Wedding."

                       

POSAD SEAGANIN. AKA and see "Johnny's Wedding."

                       

POSSUM AND RACCOON. Old‑Time, Breakdown. USA, Mississippi. G Major. The tune was recorded in 1939 for the Library of Congress by Herbert Halpert from the playing of Simpson County, Mississippi, fiddler Enos Canoy and the Canoy Band.

 

POSSUM AND SWEET 'TATERS. AKA – “Possum and Taters” (?). Old‑Time, Breakdown. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. See note for “The Old Stillhouse is a-Burning Down [2].”

                       

POSSUM CREEK. Old‑Time, Breakdown. G Major. Standard tuning (fiddle). AABB. Appears to be an old tune. Ford (Traditional Music in America), 1940; p. 114.

                       

POSSUM DIED LAUGHING. Old‑Time, Breakdown. USA, Alabama. Tune identified as distinct to the Rocky Ridge, Alabama, region.

                       

POSSUM HOLLOW. Old‑Time. Decca 5018 (78 RPM), Stripling Brothers (Ala.) {1934}.

           

POSSUM IN THE SIMMON TREE. AKA and see “Possum Up a ‘Simmon Tree [3]."

                       

POSSUM IN THE WELL.  Old-Time, Breakdown. D Major. Standard tuning (fiddle). AABB. A modern ‘old-time’ composition by Randy Marmouze.

 


POSSUM ON THE/A RAIL. Old‑Time, Breakdown. USA, Mississippi. G Major. Standard tuning (fiddle). ABB. The record attributes composition of the tune to fiddler Lonnie Ellis, who shared fiddling duties in the Mississippi Possum Hunters with fellow fiddler John Holloway (although the two did not play fiddle together on record, but one would switch to a different instrument while the other fiddled). Source for notated version: fiddler Lonnie Ellis with the Mississippi Possum Hunters [Phillips]. Johnson (The Kitchen Musician No. 2: Occasional Collection of Old‑Timey Fiddle Tunes for Hammer Dulcimer, Fiddle, etc.), 1982 (revised 1988 & 2003); p. 14. Kuntz, Private Collection. Phillips (Traditional American Fiddle Tunes), 1994; p. 186. County 528, Mississippi Possum Hunters ‑ "Mississippi Breakdown: Traditional Fiddle Music of Mississippi, vol. 1." Document 8028, The Mississippi Possum Hunters – “Mississippi String Bands, vol. 2” (reissue). Victor 23595 (78 RPM), Mississippi Possum Hunters (1930).

See also listing at:

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

X:1

T:Possum on a Rail

M:2/4

L:1/8

S:Liz Slade

Z:Transcribed by Andrew Kuntz

K:G

(3D/E/F/|G)B/B/ A/A/B|[G/B/][Gc][G/c/] [Ec]>(A|B/)A/B/(A/ B/)c/B/(A/|

B/)AB/ A (3D/E/F/|G)B/B/ AB|B/cB/ c>(e|e/)A/d/A/ B/A/A|G/[GB]G/ [GB]:|

|:A|[G/B/](A/B/)(A/ B/)B/d|[Bg]>(f g2|1 [e2e2] c2|e>(f e>)A|[G/B/]A/[G/B/](A/ B/)A/B/c/|

d/B/d/(e/ g>)(A|B/)c/d/A/ BA|G/[GB]G/ [GB]:|2 b2g2|e>f e>e|gg/g/ g/a/g/(A/|B/)A/B/(c/ d>)(A|B/)c/d/A/ BA|[GB]||


                       

POSSUM PIE. AKA‑ "Carve Dat Possum [1]," "Bile Them Cabbage Down." Old‑Time, Breakdown. USA. G Major. Standard tuning (fiddle). One Part. The tune is identified by Thede as a Negro 'banjo tune'. 

***

Carve that 'possum Hannah,

Carve that possum soon;

For the pan is ready,

And I am the spoon.

***

Thede (The Fiddle Book), 1967; p. 69.

                       

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

                       

POSSUM TROT [1]. Old‑Time, Breakdown. USA, southwestern Va. D Major. Standard tuning (fiddle). AA'BB. Tom Carter and Blanton Owen (1976) say the tune has not been recorded outside of Patrick County, Va. They recorded it from Bill Shelor who learned the tune from an uncle, Will Shelor, and who said the tune was titled because it sounds very much like a possum trotting. A tune by this same name was listed by the Troy Herald of July 6, 1926, as having been played at a fiddlers' convention at the Pike County (southeast Alabama) Fairgrounds. Source for notated version: Bill Shelor [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; p. 187. Rounder 0057, Bill Shelor (Meadows of Dan, Patrick County, Va.) ‑ Old Originals, vol. 1" (1978).

 

POSSUM TROT [2].  Old-Time, Breakdown. USA, Missouri. D Major. Standard tuning (fiddle). AABB. Composed by Missouri fiddler Art Galbraith (1909-1993) in the early 1950’s. No relation to “Possum Trot [1].” Source for notated version: Art Galbraith (near Springfield, Mo.) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; p. 41. Rounder 0157, Art Galbraith (Springfield, Mo.) - "Simple Pleasures” (1983).

                       

POSSUM UP A GUM STUMP(, COONIE IN THE HOLLOW) [1]. AKA and see "Off/Going to California [1]," "Whiskey You're the Devil," "Whiskey in the Jar [1]," "Lexington," "Old Towser," "Gypsy Hornpipe [4]," "Fireman's Reel," "Buttermilk and Cider."  Old‑Time, Breakdown. USA; Alabama, north Georgia, Arkansas. D Major. Standard tuning (fiddle). AABB. The tune was mentioned in chronicles before the year 1830 (Mark Wilson). It was cited as having been played in a 1914 Atlanta, Ga. fiddlers' contest, and listed in the Northwest Alabamian of August 29, 1929, as one of the tunes likely to be played at an upcoming fiddlers' convention. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. See also related tune family under "Dubuque,” and the related “Green Back Dollar.”

***

Possum up a gum stump, coonie in the holler,

Little gal at our house, fat as she can waller.

Saddle up the old nag, martingale and collar,

Fetch her down to my house, I'll give you half a dollar. (Ford)

***

Charles Wolfe, in notes to Thomas Talley’s Negro Folk Rhymes (1991), says the first two stanzas of the song below were collected from both black and white sources, although the last two stanzas are rather rare:

***

‘Possum up de gum stump,

Dat raccon in de holler;

Twis’ ‘im out, an’ git ‘im down,

An’ I’ll gin you a half a doller.

***

‘Possum up de gum stump,

Yes, cooney in de holler;

A pretty gal down my house

Jes as fat as she can waller.

***

‘Possum up de gum stump,

His jaws is black an’ dirty;

To come an’ kiss you, pretty gal,

I’d run lak a goobler tucky.

***

‘Possum up de gum stump,

A good man’s hard to fin’;

You’d better love me, pretty gal,

You’ll git de yudder kin’.

***

The tune/song appears in several collections, including Brown (3:207), White (236-38), Scarborough (173), Randolph (2:361) and Lomax and Lomax (American Ballads and Folk Songs), pg. 238. Source for notated version: Joe Hermann with the Critton Hollow String Band (West Virginia) [Phillips]. Ford (Traditional Music in America), 1940; pg. 29. Kuntz, Private Collection. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 187. Copper Creek CCCD-0196, Tom, Brad & Alice – “We’ll Die in the Pig Pen Fighting.” Document 8039, “The Hill Billies/Al Hopkins and His Buckle Busters: Compoete Recorded Works in Chronological Order, vol. 1” (reissue). Flying Fish FF 355, Critton Hollow String Band ‑ "By and By" (1985). Recorded Anthology of American Music, 1978 ‑ "Traditional Southern Instrumental Styles." Vocalion 5118, 1926 (78 RPM), The Hill Billies (east Tennessee).

X:1

T:Possum Up a Gum Stump

L:1/8

M:2/4

Z:Transcribed by Andrew Kuntz

K:D

(A,|A,)/B,/D/E/ F/G/F/E/|D/E/F/A/ BA|B/A/B/c/ d/c/d/B/|A/F/D/F/ E/D/B,/G,/|

A,/B,/D/E/ F/G/F/E/|D/E/F/A/ BA|B/A/B/c/ d/c/d/B/|A/G/F/E/ D:|

|:ff|f/ a f/ aa/g/|f/e/d/f/ e/d/B/A/|f/ a a/ ba|f/e/d/f/ ee/e/|f/ a f/ aa/g/|

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

 

POSSUM UP A GUM STUMP [2]. Old‑Time, Breakdown. C Major. Standard tuning. AABB. See the related tunes “Big Footed N….r [2],” “Hell Broke Loose in Georgia,” "Streak O' Lean, Streak O' Fat." Source for notated version: fiddler Howard 'Howdy' Forrester via John Hartford [Devil's Box, Phillips]. The Devil's Box, vol. 23, No. 1, Spring 1989; pg. 22. Phillips (Traditional American Fiddle Tunes), 1994; pg. 187.

X:1

T:Possum Up a Gum Stump

L:1/8

M:2/4

S:Howdy Forrester, transcribed by John Hartford

K:C

e2g2|g/e/a/g/ e/g/g|e2 gg/a/|g/e/d/c/ A/c/c|e2g2|g/e/a/g/ eg/g/|c’b ag|e/g/a/g/ e/d/c:|

|:E/(c/c) c>d|c/A/G/c/ A/B/c|G,/C/E/G/ A/B/c/d/|c/A/G/E/ D/A,/C|

G,/C/E/G/ A/B/c/d/|c/A/G/c/ A/c/c|e2 e>d|c/A/G/E/ D/C/C:|

 

POSSUM UP A GUM STUMP [3]. Old-Time, Breakdown. G Major. Standard tuning. AB (Silberberg): AABB (Phillips, Songer). Unrelated to the previous tunes by this name. Source for notated version: Ruthie Dornfeld (Seattle, Washington) [Phillips]; Marge Tonge [Silberberg]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 188. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 120. Songer (Portland Collection), 1997; pg. 161.

 

POSSUM UP A GUM STUMP [4].  AKA and see “Old Aunt Kate [1].” Old-Time, Breakdown. Unrelated to the previous “Possum Up a Gum Stump” tunes. Rounder 0529, Dwight Lamb – “Hell Agin the Barn Door” (2005. Learned from a radio broadcast performance by Nebraska fiddler Uncle Bob Walters).

                       

POSSUM UP A GUM TREE. AKA - "Opossum Up a Gum Tree." American. Cecilia Conway (1995) finds references to the song "Opposum up a Gum Tree." An English performer, Charles Mathews, witnessed the tune being rendered by the noted tragedian and performer Ira Aldridge (1807-1867) at the African Grove Theater in New York.  The theater was a venue for black performers, and at the conclusion of Hamlet (rendered in dialect) the audience had called for their favorite song; Aldridge obliged. Mathews (who later incorporated the material into a comic act for the British stage) made several transcriptions of the song, the tune of which appears to be similar to the "Turkey Buzzard" family of tunes. Ceclia Conway, in African Banjo Echoes in Appalachia (1995), states that "the song is apparently a variant of the dance tune 'Cooney in de Holler,' which was popular in Philadelphia and the Five Points dance halls and dives of New York during the time of 'Juba' Lane and Charles Dickens."  Hans Nathan (Dan Emmett and Negro Minstrelsy, Univ. of Oklahoma Press, 1962), citing T. Allston Brown (The Origins of Minstrelsy), writes that the song was known to white boatmen and African-Americans in South Carolina. The song was published in London by J. Willis & Co. c. 1824:

***

Possum up a Gum-Tree,

Up he go, up he go

Racoon in the hollow

Down below, down below.

Him pull him by hims long tail,

Pully hawl, pully hawl,

Then how him whoop and hallow

Scream and bawl, scream and bawl.

Possum up a Gum Tree

Racoon in the hollow

Him pull him by hims long tail

Then how him whoop and hallow.

***

X:1

T:Possum Up a Gum Tree

M:C

L:1/8

R:Air

S:Willis & Co., London (c. 1824)

Z:AK/Fiddler’s Companion

K:A

EAA>B  c2 {B}A2 | df B2 df B2 | EAA>B c2 {B}A2 | AcE2 AcEE |

EAAB c2 {B}A2 | dfB2 dfBE | EAA>B c2{B}A2 | AcE2 Ac e2 |

e>f e>c B2A2 | f>g fd c2 Be | efec {c}B2AA | AFGE EA3 ||

                       

POSSUM UP A SIMMON TREE [1]. AKA and see “Kitty Puss,” "Puncheon Camp(s)." Old-Time, Breakdown. USA, Ky. A Major/Mixolydian (Phillips]. Standard tuning. AABB. The melody is the same as Clyde Davenport's (Monticello, Ky.) "Puncheon Camp(s)." Source for notated version: Buddy Thomas (Ky) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg 188. Rounder 0032, Buddy Thomas (northeast Ky.) ‑ "Kitty Puss: Old‑Time Fiddle Music From Ky."

 

POSSUM UP A 'SIMMON TREE [2]. Old‑Time, Breakdown. G Major. Standard tuning. AABB.

***

'Possum up a 'simmon tree

Raccoon on the ground.

Raccoon says: "You son‑of‑a‑gun,

Shake them 'simmons down!" (Ford)

***

Ford (Traditional Music in America), 1940; pg. 77.

 

POSSUM IN THE SIMMON TREE [3]. Old-Time, Breakdown. USA, Arizona. F Major. Standard tuning. ABC. Ruth (Pioneer Western Folk Tunes), 1948; No. 64, pg. 23.

X:1

T:Possum in the Simmon Tree

L:1/8

M:2/4

S: Viola “Mom” Ruth – Pioneer Western Folk Tunes (1948)

Z:AK/Fiddler’s Companion

K:F

(3C/D/E/|F/E/F/G/ A/B/c/A/|B/A/B/c/ d/e/f/d/|c/=B/c/d/ c/A/F/G/|A/G/F/A/ G/E/D/(3C/D/E/|

F/E/F/G/ A/B/c/A/|B/A/B/c/ d/e/f/d/|c/=B/c/d/ c/A/F/G/|A/F/G/E/ Fc||

e/^d/e/f/ g/^f/g/e/|=f/e/f/d/ c>c|e/d/e/f/ g/^f/g/e/|=f/e/f/d/ c>A|B/A/B/c/ d/e/f/d/|c/A/F/A/ c>f|

e/d/c/B/ A/G/F/E/|FA F2||C/Ff/ c/d/c/A/|B/A/B/c/ d/e/f|C/Ff/ c/d/c/B/|

G/F/G/A/ G/E/C|C/Ff/ c/d/c/A/|B/A/B/c/ d/e/f/d/|c/B/c/d/ c/A/F/G/|A/G/F/E/ F2||

                       

POSSUM’S TAIL IS BARE, THE. Old-Time, Breakdown & Song. D Major. Standard tuning. AABB. From Braxton County, West Virginia, fiddler Melvin Wine (1909-2003). Verses sung to this tune are numerous and include:

***

Squirrel’s got a bushy tail, rabbit’s got the hair,

The old coon’s tail has rings all around, but the possum’s tail is bare.

***

Oh the possum’s tail is bare, oh, the possum’s tail is bare,

The old coon’s tail has rings all around, but the possum’s tail is bare.

***

Take an old possum by the tail, then we’ll skin him on a rail,

Never ever more will he be seen, grinning at the moon.

***

Grinnnin’ at the moon, grinning at the moon,

Never ever more will he be seen, grinning at the moon. (Melvin Wine)

***

Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 121.

X:1

T:Possum’s Tail is Bare, The

M:C|

L:1/8

Z:AK/Fiddler’s Companion

K:D

DE|F2 FF FEDF|G2G2 B3B|A2F2 E2 (3EFE D2|A,>A, [A,3E3] DE|

F2 FF FEDF|G2G2 B3B|A2F2E2C2|D4-D3:|

|:FE|DFF2 A2B2|[E3=c3]c d2dc|BG G2 Bc d2|A3A A2 (3ABc|

d2 dd dBAF|G2 G2 B3B| A2F2E2C2|D4-D3:||

                       

POST COACH, THE.  English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABB. Originally published by Charles and Samuel Thompson in their third country dance collection (London, 1773). The melody appears in the 1788 music manuscript copybook of fiddlers John and William Pitt Turner (Norwich, Conn.), as do several from the Thompson’s 1773 collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 62.

X:1

T:Post Coach, The

M:2/4

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|G g2 f/e/|ddd>c|B/d/B/G/ A/c/A/F/|GGG>G|G g2 f/e/|d a2 g|fe/d/ A^c|ddd:|
|:d|d =f2 e/d/|ccc>c|c e2 d/c/|BBB>A|G g2 G/F/|E e2 d/c/|BA/G/ DF|G[DG][G,G]:||

                       

POST HORN GALOP. Scottish, Galop (2/4 time). G Major ('A' part) & D Major ('B' part). Standard tuning. AABB. It was customary for the mail stage-coach to sound a trumpet or horn just prior to their arrival at a way-station, to announce the mail. Kerr (Merry Melodies), vol. 3; No. 445, pg. 51.

X:1

T:Post Horn Galop

M:2/4

L:1/8

R:Galop

S:Kerr – Merry Melodies, vol. 3, No. 445  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

GGGG|GGGG|(Gd)(Gd)|(Gd)(Gd)|DDDD|DDDD|(DA)(DA)|(DA)(DA)|GGGG|

GGGG|(Gd)(Gd)|(Gd)(Gd)|DDDD|DDDD|(DA)(DA)|GzGz:|

K:D

f>ed>B|A>FA>B|A>EA>B|A>FA>d|f>ed>B|A>FA>B|A>df>d|ezaz|

f>ed>B|A>FA>B|A>EA>B|A>FA>d|f>ed>B|A>FA>B|A>df>e|dzdz:|

                       

POST HORN REEL. American, Reel. D Major ('A' part) & A Major ('B' part). Standard tuning. AABB. One of several tunes composed by one Frank Livingston contained in Ryan’s Mammoth Collection (1883). Nothing is known about Livingston, who may have been a journeyman composer in the New York-to-Boston area. Cole (1000 Fiddle Tunes), 1940; pg. 40. Ryan’s Mammoth Collection, 1883; pg. 67. Sweet (Fifer’s Delight), 1965/1981; pg. 70.

X:1

T:Post Horn

M:2/4

L:1/8

R:Reel

Z:AK/Fiddler’s Companion

K:D

f/g/ | a/b/a/f/ dc/d/ | e/f/e/c/ Ad/c/ | (3B/B/B(e/d/) (3c/c/c/(f/e/) | d/e/f/g/ af/g/ |

a/b/a/f/ dc/d/ | e/f/e/c/ Ad/c/ | (3B/B/B/(e/d/) (3c/c/c/(f/e/) | d/d’/a/f/ d :|

K:A

c/d/ | (3e/e/e/(f/e/) c/e/c’/e/ | (3e/e/e/ (f/e/) c/e/c’e/ | e/d’/b/g/ e/d/c/B/ | c/e/a/c’/ e’c/d/ |

(3e/e/e/(f/e/) c/e/c’/e/ | (3e/e/e/(f/e/) c/e/c’/e/ | e/d’/b/g/ e/d/c/B/ | Aa a :|

                       

POST-OAK GROVE. AKA and see "Sweet Ellen/Ellum [2]." Old‑Time, Breakdown. D Major. Standard tuning. AABB. Ford (Traditional Music in America), 1940; pg. 81.

                       

POST OFFICE, THE. AKA ‑ "Tig‑Coimead Litire." Irish, Hornpipe. G Major. Standard tuning. AABB. Michael Cooney reports this tune has been suggested as a relative of the famous American hoe-down "Turkey in the Straw." O'Neill (Krassen), 1976; pg. 175. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 1606, pg. 298.

X:1

T:Post Office, The

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Music of Ireland (1903), No. 1606

Z:AK/Fiddler’s Companion

K:G

G/A/|B/d/d/e/ d/B/A/G/|B/c/d/e/ dB/A/|B/e/e/f/ e/d/B/A/|B/e/e/f/ ee|

g/a/b/g/ f/g/a/f/|g/f/e/d/ eg/e/|d/B/A/B/ d/B/A/B/|GG/G/ G:|

|:g/a/|b/a/b/g/ a/g/a/f/|g/a/b/g/ a/g/e/f/|g/f/g/e/ d/B/G/B/|B/A/A/G/ A z|

g/a/b/g/ f/g/a/f/|g/f/e/d/ eg/e/|d/B/A/B/ d/B/A/B/|GG/G/ G :|

                       

POSTBOYS HORNPIPE. Irish, Hornpipe. G Major. Standard tuning. AABB. O'Neill (O’Neill’s Irish Music), 1915; No. 378, pg. 181.

X:1

T:Postboy’s Hornpipe

M:C

L:1/8

R:Hornpipe

S:O’Neill – O’Neill’s Irish Music (1915)

Z:AK/Fiddler’s Companion

K:G

Bc | d>BG>G G3B | A>GF>E D>CB,>A, | B,DGF E>cA>G | F2D2D2 B>c | d>BG>G G3B |

A>GF>E D>CB,>A, | B,>DG>F E>cA>F | G2G2G2 :: B>c | d>Bc>e d>Bc>d | e>dc>B c2 c>d | e>dc>B c>BA>G |

F>GF>E D>CB,>A, | B,>DG>B, C>EA>E | F>Ad>F G>Bd>B | e>ce>c B>AG>F | G2G2G2 :|

                       

POSTMAN'S KNOCK [1]. English, Morris Dance Tune (6/8 time). D Major. Standard tuning. AB. Collected from the village of Adderbury, Oxfordshire, England by Janet Blunt who noted it from the last of the old dancers, William Walton, in 1917. The following bit of verse was sung during the dance:

***

Every morning as true as the clock

Someone hears the postman's knock. (x2)

***

The Adderbury morris tradition has a number of songs collected from it, for the morris team at the turn of the 19th century was also a singing club. Bacon (The Morris Ring), 1974; pg. 11. EMI/Harvest 7243 8 29861 2 6, Ashley Hutchings et al - "Son of Morris On" (1976/1994).

 

POSTMAN’S KNOCK [2], THE. See “(Le) Messe.”

 

POT POURRI DE MONT. French-Canadian, In the repertoire of Gaspésie musician Yvon Mimeault (b. 1928, Mont-Louis), learned from his father. Yvon Mimeault – “Y’etait temps!/It’s About Time.”

 

POT-POURRI DES MARITIMES.  French-Canadian, In the repertoire of Gaspésie musician Yvon Mimeault (b. 1928, Mont-Louis), from the ‘mouth music’ of his youth employed by he and his brothers to memorize fiddle tunes heard on radio broadcasts from the Maritime provinces. Yvon Mimeault – “Y’etait temps!/It’s About Time.”

                       


POT STICK. AKA and see "Lacrum Cosh," "Ligrum Cush," "The Marquis/Marquess of Granby," "Over the Water to Charlie," "The Quaker's Wife," "Sean Buidhe/Bui" (Yellow John [1]), "The Shambuy/Shambuie," "Wishaw's Delight." English, Country Dance Tune (6/8 time). D Major. Standard tuning (fiddle). AABB. Pot Stick = a plain round wooden porridge-stirrer. Slang usage for ‘pot stick’ meant a staff. Frank Kidson (1890) traces this tune extensively throughout its Scotch, Irish and English printings, but states the national origin of the melody "would be a difficult matter to settle." He finds it earliest in Johnson's 200 Country Dances of 1748 (vol. IV), although after that date it appears under the Irish title "Shambuie" or "Shamboy" in Thompson's Country Dances (vol. I, c. 1759), Oswald's Caledonian Pocket Companion (vol. II) and others. As "The Marquis of Granby," a song by G. A. Stevens, it is printed in James Aird's Selection of English and Foreign Airs (vol. I, c. 1775-76), and as "Ligrum Cush" or "Lacrum Cosh" (another Irish title) it is in Hime's Dances and Holden's Irish Airs. The Scots poet Robert Burns mentions in a letter to George Thomson that "Ligrum Cush" is a title given to the old Scotch melody, "The Quaker's Wife" (see note for "The Quaker's Wife); they are not the same tunes, however, there are similarities in the general phrasing and cadences. In Gow's 3rd Collection of Strathspeys Reels (1792) it is called "Wishaw's Delight." It's most famous attachment, however, is to the old song "Over the Water to Charlie," and under this title it appears in the Caledonian Pocket Companion (Book 4, c. 1775), in Bremner's Reels (c. 1759), and in the aforementioned Gow publication 3rd Collection of Niel Gow’s Reels (as “Original Set of O’er the Water to Charlie”).  Kidson (Groves) notes that the air was set to a song in the opera Midas, and that a number of political songs were written to it in the 18th century, including a “famous son on the victories of the Marquis of Granby, then a popular hero.” Drinking songs as well were set to it, such as “Ye lads of true spirit lay courtship to Claret” and “I love to see the bottles a’rolling.” Kidson (Old English Country Dances), 1890; p. 9.

X:1

T:Pot Stick

M:6/8

L:1/8

N:Johnson’s 200 Country Dances, IV, 1748

N:Via Kidson’s Old English Dances, p. 9

Z:Bruce Olson

K:D

D2A AFA |B/2c/2dF E2D|D2A AFA|B3d3:|

|:d/2e/2fd ecA|B/2c/2dF E2D|d/2e/2fd ecA|B3d3|

d/2e/2fd ecA|B/2c/2dF E2D|DFA AFA|B3d3:|]

                       

POTATOES AND BUTTER. AKA and see "Daniel of the Sun,” “Donal O’Grady.”

                       

POTEAU BLANC, LE. AKA and see "The White Post."

                       

POTEEN STILL, THE. AKA and see "The Poitin Still."

                       

POTHOUGE. AKA and see “Polthogue.”

                       

POTLICK, THE. AKA and see "Trim the Velvet," "The Humours of Flip," "Green Garters [2]," "Geehan's Reel," "The Grazier."

                       

POTS AND PANS. English, Country Dance Tune (2/4 time). E Minor. Standard tuning (fiddle). AABB. Composed by Ralph Smethurst. The tune was named after a Lancashire rock formation in England’s Penines. Plain Brown Tune Book, 1997; p. 34.

                       

POTTINGER'S REEL. AKA – “Willie Pottinger’s Reel.” Shetland, Reel. F Major. Standard tuning (fiddle). AABB. Composed by Tom Anderson (1910‑1991?), originally from Eshaness (Nor' West Mainland, Sheltand), for Willie Pottinger, a boat carpenter, musician, composer and traditional fiddling enthusiast, whose favorite key was ‘F’. Tom Anderson's book "Ringing Strings: Traditional Shetland Music And Dance," includes a photograph of Willie Pottinger playing a Stroh violin previously owned by a man named George Stark (1877-1960), known as "the blind fiddler." Anderson was awarded the M.B.E. in 1977 for his efforts on behalf of preserving traditional music of the Shetlands. Aly Bain calls the melody “one of (Anderson’s) finest reels.” Anderson (The Thistle Collection), 1972. Cranford (Jerry Holland: The Second Collection), 2000; No. 171, p. 64. Hunter (Fiddle Music of Scotland), 1988; No. 263. Green Linnet GLCD 3105, Aly Bain - “Lonely Bird” (1996). Topic 12TS379, Aly Bain & Tom Anderson ‑ "Shetland Folk Fiddling, vol. 2" (1978). Jerry Holland – “Crystal Clear” (2000).

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:Pottinger's Reel

M:4/4

L:1/8

R:Reel

K:F

|:F3 c AFF3/2e/|fgfc AFF3/2 G/|GFGA BABd|{e }gfed ec ~c2|F3 c AFF3/2e/|

fgfc AFF3/2|A/2|BcdB ABcA|cBAG AF F2::{e}f2 cf Afcf|faga fc c2|

cg {gag}f2 g a|bagf ec c2|{e}f2 cf Afcf|faga fc c2|{A}BcdB ABcA|cBAG AF F2:|

                       

POUCA, THE. Irish, Reel. D Major. Standard tuning (fiddle). AABB. The tune begins on the relative minor. A pouca, or in Irish púca, usually refers to magical beings—a "water sprite,” or "mischievous fairy,” for example (cf the Pooka McPhellimy in Flann O'Brien's masterpiece At Swim Two Birds. Shakespeare adapted the word for his character Puck in A Midsummer Night’s Dream. McGuire & Keegan (Irish Tune by the 100, vol. 1), 1975; No. 56, p. 15.

                       

POULE, LA. AKA - "La Poole." English, Quadrille (6/8 time). “La Poule” (the hen) is a portion of a many-part dance for four couples called a quadrille. The quadrille is a five-part dance that was extremely popular on the Continent prior to and during the Napoleonic era, reaching England by 1808. It was introduced to Regency society by the Duke of Devonshire and became fashionable by 1813; some few years later it was being danced regularly at dances throughout the country. “La Poule” is always the third figure of the quadrille, in ABACABA form and always in 6/8 time (the other figures are “Le Pantalon” (trousers), “L’été” (summer), “La Pastourelle” (shepherdess) and “Finale.” Thus there are various tunes used for “La Poule,” although the structure and time signatures remain the same. Burks’ “La Poule” appeared in America in John Carr’s The First Book of Cotillions (1801) and William William’s New and Complete Preceptor for the Fife (Utica, 1826). It also appears in the music copybook of Frank Johnson, a black American musician who wrote out his manuscript and presented it to Mrs. A. Rush, around the year 1820. The same melody was copied into the manuscript of musician William Tildesley of Swinton, Lancashire, in the 1860’s (No. 73), where it is a third part simply labelled “Quadrils” Maggie’s Music MMCD216, Hesperus - “Early American Roots” (1997).

                       

POULES HUPPÉES, LES (The Crested Hens). AKA and see “The Crested Hens.” French, Bourree a Trois Temps (3/8 time). D Mixolydian ('A' part) & D Minor ('B' part). Standard tuning (fiddle). AABB. Composed by Gilles Chabenat. Stevens (Massif Central), 1987, vol. 1; No. 34.

                       


POUND CAKE AND SUGAR. Old‑Time, Breakdown. USA, Mississippi. A Major. Recorded for the Library of Congress in 1939 by Herbert Halpert from the playing of Lauderdale County, Mississippi, fiddler Stephen B. Tucker (b. 1859).

                       

POUND EACH WAY, A. Irish, Reel. D Major. Standard tuning (fiddle). AABB. Composed by fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn, south County Armagh. Keegan (The Keegan Tunes), 2002; p. 48.

                       

POUND HILL. AKA and see “The Lodge Gate,” “The Jaunting Car,” “Russell’s Hornpipe,” “Woodcock Hill.” Irish, Hornpipe. Recorded by the Ballinakill Ceili Band in 1931.

                       


POUND OF TOW, THE. Irish, Air (6/8 time). D Mixolydian/D Major. Standard tuning (fiddle). One part.

***

If your wife and my wife were in a boat together,

Fifty miles from every port without an oar or rudder,

Fifty miles from every port and there to let them go,

Never to return again to spin the pound of tow. (Joyce)

***

Source for notated version: "...sent to me...during 1884 by Mr. Francis Hogan of south Lodge, Brenormore, near Carrick‑on‑Suir, a good musician and a great enthusiast in Irish music and songs" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 251, p. 121.

X:1

T:Pound of Tow, The

M:6/8

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:D

A/B/c|d2d A2B|=c2c E2D|E2D D2D|(D3 D2)E|G2E DEG|A3 ABc|d2d e2e|(d3d2)G|

F2D F2G|A3 ABc|d2d e2c|A3 ABc|d2d FGA|=c2c E2D|E2E D2D|(D3D2)||

                       

POUND STREET LASSES. Irish, Reel. D Mixolydian. Standard tuning. AAB. Peter Kennedy believes the title probably refers to a street in Cork. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 159, pg. 37.

 

POUR LA DERNIERE FOIS (For the Last Time). Cajun, Waltz. USA, southwestern Louisiana. A Major. Standard tuning. One part. Source for notated version: Adam Hebert (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 450-451. Swallow Records SW-LP6065, Adam Hebert.

                       

POURING SOAPSUDS OVER THE FENCE. AKA and see "Soapsuds Over the Fence." Old‑Time. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

                       

POVERTY ON THE YELLOWSTONE. Old-Time, Breakdown. A family tune from fiddler Bob Beers.

                       

POWDERHAM CASTLE. English, Jig. England, North‑West. D Major. Standard tuning. AABB. This stately manor is the historic home of the Earl of Devon, and the dwelling of the Courtney family for over 600 years. It is located in an ancient and extensive deer park in Exeter, southern England, along the River Exe. Construction of Powderham Castle was started around 1390 by Sir Philip Courtenay, ancestor of the present Earl of Devon. It was extensively damaged by the Parliamentarians during the English Civil War and considerable restoration and alteration followed in the 18th and 19th centuries.

***

Powderham Castle

***

Knowles (Northern Frisk), 1988; No. 95.

                       

POWERS OF PUNCH, THE (Cumacta na Dig). Irish, Double Jig. G Major. Standard tuning. AABBCCDD. The word ‘punch' derives from a Hindi word, panch, meaning ‘five’, because of its five ingredients: spirits, water, lemon-juice, sugar and spices. The word was first recorded in English in 1669. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 352, pg. 72.

X:1

T:Powers of Punch, The

L:1/8

M:6/8

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 352

Z:AK/Fiddler’s Companion

K:G

E|DEF GBG|AEF G2E|DGA GBc|dec Bcd|e/f/ge dBd|cBA BGE|DcB AGA|BGG G2:|
|:B|dBd gdB|cAG FGA|dBd gdB|def g2f|e/f/ge dBd|cBA BGE|DcB AGA|BGG G2:|
|:E|DGB cde|dge dBG|ce/f/g dBG|EFG A2d|gfe afd|e/f/ge dBG|EcB AGA|BGG G2:|

|:c|BAG AFD|GDC B,A,G,|G,GF GDB,|A,AA A2a|bgb afa|gfe dBG|EcB AGA|BGG G2:|

                       

POWERS OF WHISKEY. AKA and see "Kinnegad Slashers," "Land of Sweet Erin," "O! An Irishman's Heart," "O!

 Merry Am I," "Paddy Digging For 'Goold.'"

                       

POYNTIN’S WHIM. English, Country Dance Tune (4/4 time). F Major. Standard tuning. AABB. The melody appears in Walsh’s third collection of Lancashire tunes (Lancashire Jiggs, Hornpipes, Joaks, etc.) published in 1743.

X:1

T:Poyntins Whim

B:Walsh

M:4/4

L:1/8

K:F

cB| A2 F4 GA| Bcde fgab| e2 g4 fg| afge fdec| dBcA fdcB| A2 F4::\

fg| agaf bagf| edge fagf| e2 g4 fg| afge fdec| dBcA fdcB| A2 F4:|

 

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