The Fiddler’s Companion

© 1996-2009 Andrew Kuntz

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

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

 

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

 

 

 


PRINCE ALBERT'S JIG. Cape Breton, Jig. A Mixolydian. Standard tuning. AABB. Source for notated version: Donald MacLellan (Cape Breton) [Dunlay and Reich]. Dunlay and Reich (Traditional Celtic Fiddle Music from Cape Breton), 1986; pg. 71. Celtic 57 (SCX 57), Donald MacLellan‑ "The Fiddlers of Cape Breton" (various artists).

           

PRINCE ALBERT HORNPIPE [1]. AKA and see “Newcastle Hornpipe [1].” English, Hornpipe. B Flat Major. Standard tuning. AABB. The melody is attributed to the 19th century Tyneside fiddler and composer James Hill, in Kohler’s Violin Repository (Edinburgh, 1881-1885).

***

Albert Prince Consort

***

Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 52.

X:1

T:Prince Albert Hornpipe [1]

M:C

L:1/8

R:Hornpipe

Z:Honeyman – Stathspey, Reel and Hornpipe Tutor  (1898)

Z:AK/Fiddler’s Companion

K:B_

B>A|B2 B,2 (3dcB (3AGF|E2 (g2 g2) f>e|d>fB>d c>eA>c|B>ba>g f>ed>c|

B2 B,2 (3dcB (3AGF|E2 (g2 g2) f>e|d>fB>d c>eA>c|B>AB>c B2:|

|:D>C|B,>DF>B d>fb>a|g>^fg>a g2 C>B,|A,>CF>A c>fa>g|f>=ef>g f2 D>C|

B,>DF>B d>fb>a|g>^fg>a g>de>=e|f>ef>g f>ec>A|B>AB>c B2:|

 

PRINCE ALBERT'S HORNPIPE [2]. Canadian, American; Hornpipe. C Major (Cole): D Major (Messer). Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 92. Kerr (Merry Melodies), vol. 3; pg. 39. Messer (Way Down East), 1948; No. 68. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 114, pg. 71. Ryan’s Mammoth Collection, 1883; pg. 126.

X:1

T:Prince Albert Hornpipe [2]

R:Hornpipe

M:2/4

L:1/16

Z:Transcribed by Bruce Osborne

K:D

fg|afdf ecAc|dcdB A2FG|Adcd Be^de|c2A2 A2fg|

afdf ecAc|dcdB A2dc|Bcde (3fga ec|d2f2 d2:|

|:cd|efge cABc|dcde f2ef|gaba gfed|c2e2 e2fg|

afdf ecAc|dcdB A2dc|Bcde fdec|d2f2 d2:|

                       

PRINCE ALBERT'S STRATHSPEY. Scottish, Strathspey. A Major. Standard tuning. AB. Bill Hardie (1986) says, "This strathspey was frequently played at 'Auchencruive' and New Deer by my grandfather, Jim Dickie and Jim's brother, John Dickie of Turriff. John was also a prominent violinist and an outstanding tin whistle player." Source for notated version: Bill Hardie's grandfather, William Hardie Jr. (c. 1856-1944) [Hardie]. Hardie (Caledonian Companion), 1986; pg. 31.

                       

PRINCE ALBERT'S WALTZ. English?, Waltz. G Major. Standard tuning. ABCC’. Howe (Diamond School for the Violin), c. 1859.

X:1

T:Prince Albert’s Waltz

M:3/4

L:1/8

R:Waltz

S:Elias Howe – Diamond School for the Violin

Z:AK/Fiddler’s Companion

K:G

D2|B4G2|c4 A2|d6|B2d2g2|f4 A2|e4 d2|B6|D2G2A2| B4G2|c4 A2|d6|B2d2g2|

f4 a2|e4 a2|d2 dd d2|e2 ee e2|e2d2c2|B2d2g2|b6|a4 e2|a4 d2|b4 d2|g6||

e2 ee e2|e2d2c2|B2d2g2|b6|a4 d2|a2b2a2|g6||

|:g2f2=f2|e2 a3g|c6|B2 d3c|B6|d2 b3a|g6|f2e2d2|c6|{f}e2^d2e2|c6|{f}e2^d2e2|

g6|1 g2f2e2|f2 GG/G/ G2|f2e2d2|e2 GG/G/ G2:|2 c’ba gfe|d2e2f2|a2g2B2|c4||

                       

PRINCE CHARLES/CHARLIE [1] (Prionns Tearlach). Scottish, Cape Breton; Reel and Air. E Dorian/Minor. Standard tuning. AB (Fraser, Kerr): AA'B (Athole). "The last music page of this work contains a note, which explains the opportunity the editor's grandfather enjoyed of acquiring particularly the airs connected with the rebellion of 1745, the scene of which, by Lord Lovat's accidental residence, having been brought so near his door. This reel to Prince Charles was struck up by Lord Lovat's minstrel, at celebrating intelligence of some of the Prince's successful movements in the south" (Fraser).

***

Prince Charles Edward Stuart, dressed in armor. Painted by Maurice Quentin de la Tour.

***

Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 191, pg. 79. Kerr (Merry Melodies), vol. 1; Set 7, No. 2, pg. 6. Stewart-Robertson (The Athole Collection), 1884; pg. 251. Rounder 7004, Joe Cormier ‑ "The Dances Down Home" (1977). Varrick VR‑038, Yankee Ingenuity ‑ "Heatin' up the Hall" (1989).

X:1

T:Prince Charlie

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:E Minor

F|E2 EF B2 B^c|d2 AG FDDF|1 E2 DF B2 B^c|dBAF GEE:|2

EFGA B2 Ba|gef^d e/e/e e||B|eBef geBg|fbag fddf|eBef geBg|

bgaf e/e/e eB|eBef geBg|fdAG FEDf|geBg AfGe|FdAF E/E/E E||

 

PRINCE CHARLES [2]. Irish? Scottish?, Jig. A Major. Standard tuning. AABB. Perhaps the earliest recording is from 1904 by violinist Charles D’Alamaine, born in 1871 in England, who died in 1943. D’Alamaine immigrated to the United States in 1888, and by 1890 had established himself as “instructor on violin” in Evanston, Illinois; by 1910 he had removed to Yonkers, and in 1920 was a chiropractor in New York City (info. from Paul Gifford). Cole (1000 Fiddle Tunes), 1940; pg. 60. Ryan’s Mammoth Collection, 1883; pg. 90.

X:1

T:Prince Charles [2]

M:6/8

L:1/8

R:Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:A

d |cee A2e|faf ecA| def ecA|^GBB B2d|cee A2e|faf ecA|def ecA|BAA A2:|

|:d|cAA eAA|fAA eAA|cAA eAA|^GBB B2d|cAA eAA|fef ef^g|a^gf eac|BAA A2:|

 

PRINCE CHARLES [3]. French-Canadian, Reel (suite). G Major. Standard tuning. AA'BB'CC'A"A"'B"B"'C"C"'. This piece was popularized by Rene Allain. Source for notated version: French-Canadian button accordion player Philippe Bruneau (Québec) [Begin]. Begin (Philippe Bruneau), 1993; No. 35, pgs. 52-53.

                       

PRINCE CHARLES' FAREWELL TO SCOTLAND. Scottish, (Slow) Air ('A' part only in 6/8 time; 'B', 'C', and 'D' parts in 2/4 time). A Major. Standard tuning. AABBCCDD. Carlin (The Gow Collection), 1986; No. 370. Gow (Complete Repository), Part 3, 1806; pg. 2 (appears as “Prince Charlies Farewell to Scotland”).

X:1

T:Prince Charlies Farewell to Scotland

M:6/8

L:1/8

R:Air

S:Gow – 3rd Repository  (1806)

Z:AK/Fiddler’s Companion

K:A

A2 {cd}e (ec)e|(ec)e e2c|A2 {cd}e edc|(Bc)B d2B|A2 {cd}e ece|(ec)e (ec)e|

(dB)d (cA)c|(Bc)B d2B:|

M:2/4

L:1/8

|:(A/B/c/A/ c/A/B/c/)|(A/B/c/A/ c>B)|(A/B/c/A/ c/A/B/c/)|(B/c/d/B/ d>B)|

(A/B/c/A/ c/A/B/c/)|(A/B/c/A/ c/A/B/c/)|(3dBd (3cAc|(B/c/d/B/ d>B):|

|:(A/c/e/c/ e/c/e/c/)|(A/c/e/c/ e>c)|(A/c/e/c/ e/c/A/c/)|(B/c/d/B/ d>B)|

(A/c/e/c/) (e/c/e/c/)|(A/c/e/c/ e/c/A/c/)|d(3B/c/d/ c(3A/B/c/|(B/c/d/B/ d>B):|

|:(A/B/c/A/ c/A/B/)c/|(A/B/c/A/) ~c>B|(A/B/c/A/ c/A/B/)c/|(B/c/e/B/ d>)B|

(A/B/c/A/ c/A/B/)c/|(A/B/c/A/ c/A/B/)c/|d(3B/c/d/ c(3A/B/c/|(B/c/d/B/ d>B):|

                       

PRINCE CHARLES’ LAMENT. Scottish, Pipe Pibroch. A pipe pibroch composed by Captain Malcolm MacLeod of Raasay, in sadness at the defeat of Bonnie Prince Charlie and the uprising of 1745. MacLeod held a commission in the Prince’s army (Collinson, 1975).

                       


PRINCE CHARLES'S LAST VIEW OF SCOTLAND (An Sealladh ma dheireadh thug Tearlach). Scottish, Slow Air (6/8 time). G Minor. Standard tuning. AAB. "This is the beautiful air so universally admired, transmitted to the editor by Colonel Stewart of Garth, of which he was not in previous possession. There was no writing on the manuscript, but the name alone; whether ancient or modern, the mind readily associates the air with the name it bears. This association is very necessary in performing these airs with taste, but the plaintive strain of many of them requires a relief to the spirits, which is the reason of the editor's taking the liberty of occasionally introducing sprightly airs, or any inferior efforts of his own, inserted only by special request" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 202, pg. 84. Hunter (Fiddle Music of Scotland), 1988; No. 55. Culburnie Records CUL 121D, Alasdair Fraser & Natalie Haas – “Fire and Grace” (2004).

X:1

T:Prince Charles’s last view of Scotland

T:An Sealladh ma dheireadh thug Tearlach

M:6/8

L:1/8

R:Slow Air

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:G Minor

G/A/|:~B>cB A2 G/^F/|G<DB =FDB,|B>cB A2 G/^F/|GAc d2D|

~B>cB A2 G/^F/|G<DB =FD B,/C/|D>^CD B,2A,|G,G^F G2:|

D|B>AG A^FD|B>cd G^FD|B>AG c>BA|d2^F G2 z/D/|[D3B3] [E3A3c3]|

d>^cd [G2B2e2g2] a/b/|dcB cBA|G/^F/G/A/B/c/ d2D||

           

PRINCE CHARLES'S MINUET. Scottish, Minuet. The melody appears in the Gillespie Manuscript of Perth, 1768.

                       

PRINCE CHARLIE'S DELIGHT. Scottish. The melody appears in the Gillespie Manuscript of Perth, 1768.

                       

PRINCE CHARLIE'S MEDLEY. Scottish, Jig. E Minor. Standard tuning. AB. James Stewart-Robertson notes: "Danced at Holyrood, 1745."

***

Prince Charles Edward Stuart, ‘Bonnie Prince Charlie’.

***

Stewart-Robertson (The Athole Collection), 1884; pg. 265.

X:1

T:Prince Charlie’s Medley

M:6/8

L:1/8

R:Jig

N:”Danced at Holyrood, 1745”

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

Z:AK/Fiddler’s Companion

K:E Minor

E>EE E>EE|D>ED D>CD|E>EE E>EE|G>EG A2G|E>EE E>EE|

D>ED D>CD|E>EE E>EE|G>EG A2G||

A>AA A>Ad|c>AA B>AG|A>AA A>Ad|c>AA A2G|A>AA A>Ad|

c>AA B>AG|E2E E>DC|D>EG A2G||

           

PRINCE CHARLIE'S WELCOME TO THE ISLAND OF SKYE. AKA and see "Planxty George Brabazon [2]" (2nd Air). Scottish (originally Irish, composed by O'Carolan), Air or March (4/4 time). D Major (Skye): G Major (Kerr). Standard. AABB (Kerr): AABBCCDDEEFFGGHHII (Skye). Kerr (Merry Melodies), vol. 3; No. 412, pg. 45. MacDonald (The Skye Collection), 1887; pg. 155.

X:1

T:Prince Charlie’s Welcome to the Isle of Skye

M:C

L:1/8

R:Air or March

S:MacDonald – Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:D

dB|A2D2 GFED|A2D2 GFED|B2E2 EFGA|B2E2 EFGA|BAGF d2 cB|BAGF GFED|

FEDB, A,B,DE|F2 D2 D2:|

|:de|f2 df e2 ce|d2 Bd BAGF|B2E2 EFGA|B2E2 E2 de|f2 df e2 ce|d2 Bd BAGF|

GFED A,B,DE|{DE}F2 D2 D2:|

|:ag|f2 d2 fgag|f2 d2 fgag|g2e2 efga|b2e2 e2ag|f2d2 fagf|f2d2 fgag|fgab agfe|{de}f2 d2d2:|

|:de|f2 (d/e/f) e2 (c/d/e)|d2 (B/c/d) BAGF|B2E2 EFGA|B2E2 E2 de|(f2 d/e/f) e2 (c/d/e)|

d2 (B/c/d) BAGF|GFED A,B,DE|{DE}F2D2D2:|

|:dB|ADFD GFED|ADFD GFED|BEGE EFGA|BEGE EFGB|AFAF BGcA|dcBA BAGF|

GFED A,B,DE|{DE}F2 D2 D2:|

|:de|fdfd ecec|dcBA BAGF|BEGE EFGA|BEFE E2 de|fdfd ecec|dcBA BAGF|

GFED A,B,DE|{DE}F2 D2 D2:|

|:dB|AD(FE/D/) ADdD|AD (FE/D/) ADdD|BEeE EFGA|BEeE Eedc|BAGF dcdB|

BAGF GFED|FEDB, A,B,DE|{DE}F2 D2D2:|

|:de|fedf edce|dcBd BAGF|BEeE EFGA|BEeE EFGg|fedf edce|dcBd BAGF|

GFED A,B,DE|{DE}F2 D2D2:|

 

PRINCE EDWARD ISLAND WEDDING REEL, THE. Canadian, Reel. Canada, Prince Edward Island. A Major. Standard tuning. AA’BCAA’B. Perlman (1996) notes that a few generations ago the bride and groom step-danced to this tune at the beginning of Prince Edward Island wedding festivities. Perlman thinks the tune originated in the eastern part of PEI. Source for notated version: Peter Chaisson, Sr. (B. 1929, Bear River, North-East Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 83.

 

PRINCE EDWARD’S JIG.  English, Jig. G Minor. Standard tuning. AABB. The title probably refers to Prince Edward, the Duke of York and Albany, the younger brother of King George III (who in the 1750’s had not yet ascended to the throne and was the Prince of Wales). Dance instructions for “Prince Edward’s Jigg” appear in Peter Thompson’s Twenty-Four Country Dances for the Year 1754 (London). The tune appears in John Hinton’s periodical Universal Magazine of Knowledge and Pleasure (London, 1754), and subsequently in John Johnson’s 200 Favourite Country Dances, vol. 7 (London, 1756), and Charles and Samuel Johnson’s 1757 country dance collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 87.

X:1

T:Prince Edward’s Jigg

M:6/8

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:Gmin

d|g2d B2A|BAB G2d|gab a2g|^f=ef d2=f|b2f d2c|dcd B2F|GAB FBA|B3 B,2:|
|:d|=Bcd def|ede c2B|ABc cde|dcd B2A|GAB Bcd|cde d2g|^f2g BcA|(G3 G2):||

 

PRINCE EUGENE'S MARCH. English, Scottish; March. The air appears in a great many English and Scottish publications of the 18th century, and it is said to have been one of the most popular songs of the period. In, fact, it is relatively popular to this day with fife-and-drum corps and early music ensembles. It appears in a publication entitled St. Martini, Handel and Others, Warlike Music, Being a Choice Collection of Marches and Trumpet Tunes for a German Flute, Violin or Harpsichord, Book I (1760, pg. 1), in Longman & Broderip’s Entire and Compleat Instructions for the Fife (London, 1767), and it is included in the Scottish Gillespie Manuscript of Perth (1768). Its origins, however, were in a later edition of Playford’s Dancing Master, that of 1713/1714, followed soon after in Walsh’s Compleat Country Dancing Master (vol. II, 1719). Scarcely less popular in America, the melody can be found in over 25 sources from the colonial period, including Cushing Eells’ manuscript written in Norwich, Connecticut in 1789, and Deacon Justin Hitchcock’s manuscript written in Deerfield, Massachusetts in 1800. It also appears in the music manuscript copybook of Henry Livingston, Jr.  Livingston purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 he was a Major in the 3rd New York Regiment, which participated in Montgomery’s invasion of Canada in a failed attempt to wrest Québec from British control. An important land-owner in the Hudson Valley, and a member of the powerful Livingston family, Henry was also a surveyor and real estate speculator, an illustrator and map-maker, and a Justice of the Peace for Dutchess County. He was also a poet and musician, and presumably a dancer, as he was elected a Manager for the New York Assembly’s dancing season of 1774-1775, along with his 3rd cousin, John Jay, later U.S. Chief Justice of Governor of New York.

***

Prince Eugene.

***

X:1

T:Prince Eugene’s March

M:C|

L:1/8

R:March

S:Henry Livingston’s manuscript copybook, late 18th century

Z:AK/Fiddler’s Companion

K:D

F4A4|d6fg|a2f2d2f2|edef e2A2|F4A4|d6e2|f^g a2”tr”a3g|a4z4:|

|:e2 eee2e2|e4z4|f2ff f2f2|f4z4|a2 ag f2fe|d2d2A2A2|abag fgfe|

d2d2A2A2|D2DD D2F2|D2DD D2fg|a2 de f2 fg|a2gf”tr”e3d|d4z4:|

                       

PRINCE FERDINAND.  English, Country Dance Tune (2/4 time). D Major. Standard tuning. AABB. The melody is unique to Charles and Samuel Thompson’s third country dance collection (London, 1773). The title refers to Charles William Ferdinand (1735-1806), Duke of Brunswick, a prince of the Holy Roman Empire. As commander of the Prussian forces, he was one of foremost military men of his era. He was married to Princess Augusta, sister of King George III of Great Britain. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 64.

X:1

T:Prince Ferdinand

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:D

AB/c/ dd|fd f2|af (a/g/f/e/)|dAFD|AB/c/ dd|fd f2|af (a/g/f/e/)|d2 D2:|
|:ggff|gg f2|fe/d/ cd|(e/d/c/B/) A2|AB/c/ dd|fd f2|af (a/g/f/e/)|d2 D2:||

 

PRINCE FERDINAND’S QUICK STEP. English (?), March (2/4 time). D Major. Standard tuning. AABBCC. Aird (Selections of Scotch, English, Irish and Foreign Airs), vol. II, 1785; No. 116, pg. 43.

X:1

T:Prince Ferdinand’s Quick Step

M:2/4

L:1/8

S:Aird, vol. II (1785)

Z:AK/Fiddler’s Companion

K:D

f2 fg/a/ | gfed | Ad a/g/f/e/ | dAFA | f2 fg/a/ | gfed | Ad (a/g/f/e/) |1 (d2d2) :|2 (d2 d) ||

|: f/g/ | a/f/d/f/ a=c’ | bagf | gggb | agfe | Adfa | gbec | Ad (a/g/f/e/) |1 (d2 d) :|2 (d2d2) ||

|: Adfa | gbec | Ad (a/g/f/e/) | dAFA | Adfa | gbec | Ad (a/g/f/e/) | d2 d2 :|

                       

PRINCE GEORGE BREAKDOWN. Canadian, Breakdown. A Major. Standard tuning. AA'BB'. Composed by Max Sexsmith in 1974; named for the town he resided in, Prince George, British Columbia. Gibbons (As It Comes: Folk Fiddling From Prince George, British Columbia), 1982; No. 12, pg. 29.

 

PRINCE GEORGE FOR EVER.  English, Country Dance Tune (cut time). A Major. Standard tuning. AABBCCDD. The title probably honors George William Frederick (1738-1820), who in 1751 became Prince of Wales and heir to the throne after the death of his father. He was grandson of King George II, and succeeded him as King George III in 1760. The melody was first published in R. Baldwin’s periodical The London Magazine, or the Gentleman’s Monthly Intelligencer of 1752. Subsequently it was published in John Johnson’s Two Hundred Favourite Country Dances, vol. 7 (London, 1756) and Charles and Samuel Thompson’s 1757 country dance collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 67.

X:1

T:Prince George for Ever

M:C|

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:A

e/e/e ed c/c/c cB|Aedc {d}”tr”c2 B2|ecdB cABG|Afe^d e2E2:|

|:BE dB ceAc|BE dB ceAc|BE dB cfed|c2 “tr”B2 A4:|

|:A(cc)e dBcG|A(cc)e dfBc|A(cc)e dBcG|AfB^d e2 E2:|

|:ec ce/c/ dfBd|ce ed/c/ dfBd|ec ce/c/ da g/f/e/d/|c2 “tr”B2 A4:||

 

PRINCE GEORGE'S BIRTHDAY. English, Country Dance Tune (3/2 time). G Minor. Standard tuning. AABB. The tune dates to the year 1718. Barnes (English Country Dance Music), 1986.

 

PRINCE GEORGE’S FLIRT GALLOPADE.  English, Galopede. G Major. Standard tuning. ABAB’CCD. Howe (1000 Jigs and Reels), c. 1867; pg. 74.

X:1

T:Prince George’s Flirt Gallopade

M:2/4

L:1/8

R:Galopede

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

Z:AK/Fiddler’s Companion

K:G

.G/.G/ | .G.G/.G/ .G.G | (B/G/B/d/) g{g/a/}g | f{e/f/}e dc | B/c/A/B/ GG/G/ | GG/G/ GG/G/ |

(B/G/B/d/) gg | (3f/^e/f/ .a (3e/^d/e/ .a | (d/^c/d/c/) d || f/e/ | d(d/e/.d.g | .B(B/c/) Bd |

.c(c/B/) ce | d>b (a/g/f/e/) | d(d/e/) dg | B(B/c/) Bd |1 c(c/B/) cd | B2 z ||2 c(c/B/) cA | G2z || g ||

K:C

.e.g.d.g | (c/d/c/B/) ce | dfBd | (c/d/e/f/) gg | egdg | (c/d/c/B/) ce | dfBd | c2z :|

.c’ | .b.a.g.a | (g>aga) | (gfef) | (e>fgc’ | baga | (gaga) | gfed | c2 z ||

                       

PRINCE GEORGE’S RIGADOON.  English, Jig. B Flat Major. Standard tuning. AABB. The melody was first published in John Johnson’s Choice Collection of 200 Favourite Country Dances, vol. 6 (London, 1751). It was included in the 1788 music manuscript copybook of fiddlers John Turner and William Pitt Turner of Norwich, Connecticut. The title refers to Prince George (1738-1820), who became King George III in 1760, the first Hanoverian monarch for whom English was his first language. A rigadoon (rigaudon) was sprightly folk dance that originated in France and became popular with both the French and English courts. The name supposedly derives from a dancing master from Marseille named Rigaud, who is thought to have introduced the dance to Parisian society in 1630. Thompson Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 4.

X:4

T:Prince Georges Rigadoon

M:6/8

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:Bb

f|b2d g2c|f2A B2 (c/4d/4e/)|d>cB A2B|c2F F2 (f/4g/4a/)|bfd fdB A2 (g/4a/4b/)|

a>gf “tr”g3|(f3 f2)::f|g2 (E E)GB|ega bag|f2 (D D)FB|dfa bfe|dcB “tr”c3|(B3 B2):||

                       

PRINCE HENRY’S JIG.  English, Jig. B Flat Major. Standard tuning. AABBCCDD. The melody is unique to London publisher Charles and Samuel Thompson’s 1765 country dance collection. The title perhaps honors Prince Henry of Prussia, brother of Frederick the Great and an extremely successful commander of Prussian forces in several conflicts. During the Seven Years War (1756-1763) Henry never lost a battle in which he commanded. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 197.

X:197

T:Prince Henry’s Jig

M:6/8

L:1/8

N:mis-numbered 195

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

DBB dBB|ecc c2d|efg GAB|cdB AGF|B,BB dBB|Ccc c2g|fed cde|dBB B3:|
|:def fgf|bab fed|efg fdB|ecc c3|def fga|bag fed|ede cfe|dBB B3:|

|:DFB DFB|dBF FED|E/F/GE DB,D|ECC C3|DEF GAB|cde fga|bfd cfe|dBB B3:|

|:”tr”b>ab “tr”b>ab|”tr”b>ab fdB|(e/f/ge) (d/e/fd)|ecc c3|”tr”b>ab “tr”b>ab|”tr”b>ab fdB|(d/e/fd) (c/d/ec)|dBB B3:||

                       

PRINCE OF CABOURG’S HORNPIPE.  English, Hornpipe. G Major. Standard tuning. AABA. Cabourg is a commune of the Calvados department, in the Basse-Normandie region in France. Source Gibbons originally set the tune in the key of ‘C’ major in his ms. Source for notated version: the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Callaghan (Hardcore English), 2007; pg. 22. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 60. PUG CD 004, Brian Peters – “Lines.”

                       

PRINCE OF MECKLENBURG’S JIGG, THE.  English, Jig. A Major. Standard tuning. AABB. The melody is unique to London publisher Charles and Samuel Thompson’s 1765 country dance collection. The Prince of Mecklenburg-Strelitz at the time of the Thompson’s publication was George Augustus (1748-1785), who was the brother of England’s Queen Charlotte Sofie (1744-1818). He was an officer in the 4th Regiment of the Austrian-Salzburg Dragoons, and attained the rank of Major-General in the Austrian army before his death. Scottish lawyer and biographer James Boswell (Dr. Johnson’s anamnesis) met the Prince a few times at the Hague in 1764, and dined and played billiards with him. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 127.

X:1

T:Prince of Mecklenburg’s Jigg, The

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:A

a3 ece|fdf ece|a3 ece|fga B3|a3 ece|fdf ece|fga gfe|Be^d e3:|
|:e3 cBA|agf edc|f3 dcB|GAB E3|a3 ece|fdf ece|agf edc|BAG A3:||

           

PRINCE OF ORANGE.  English, Jig. D Major. Standard tuning. AABB’CC’. Gibbons originally set the tune in the key of ‘F’ major. Given the date of Gibbon’s manuscript, the title probably honors William (1792-1849), Prince of Orange, who served on Wellington’s staff in Spain, and who at age 23 commanded the I Corps of Dutch-Belgian troops under Wellington at Waterloo. Unfortunately “Slender Billy” (as his troops called him), was inept as a soldier and was not popular with his men. Source for notated version: the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 71.

X:1

T:Prince of Orange

M:6/8

L:1/8

R:Jig

S:Joshua Gibbons ms. (1823-26)

K:F

C|F2A c2f|a2b gec|d2 efed|cdB AGF|F2A c2f|

a2a gec|d2f ege|(f3 f2)::e/f/|g2g fed|c2c ceg|b2g a2e|

ege cef|g2g fed|B2B ceg|b2g a2f|gfe dcB::A3 BAB|

c2f fed|cdc cBA|G2A BAG|A2 BAB|c2c c2c|d2f egd|(f3 f2):|

 


PRINCE OF WALES [1], THE. Scottish, Strathspey. B Flat Major. Standard tuning. AABB. Composed by fiddler and composer Robert 'Red Rob' Mackintosh, who had red hair and a fiery temper. He lived in Edinburgh around 1773 to 1785 and 1788 to 1803. Neil (The Scots Fiddle), 1991; No. 103, pg. 139.

 

PRINCE OF WALES [2], THE.  English, Country Dance Tune (whole time). F Major. Standard tuning. AABB. The melody is 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. 123.

X:1

T:Prince of Wales, The [2]

M:C

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:F

F2 AF c2 ec|f2 gf {f}e2 dc|f c2 f dB2d|c A2c AF [C2c2]|F2 AF c2 ec|f2 gf e2 dc|

defd B2 c2|Gc=Bd c4::c|f c2 fd B2d|g d2g ec2 e|a f2 ag e2g|

fdgf {f}e2 dc|BcdB G2 cB|ABcA F2c2|defd gfeg|afge f4:||

 

PRINCE OF WALES’S BIRTHDAY, THE.  English, Country Dance Tune (cut time). B Flat Major. Standard tuning. AABB. Although there was another, earlier, tune of the same name, this melody appears unique to London publishers Charles and Samuel Thompson’s 1757 country dance collection. The Prince of Wales at the time of the Thompson’s publication was George, the son of Frederick, Prince of Wales and Augusta of Saxe-Gotha. George (1738-1820) was created Prince of Wales on 20th April 1751, aged 12, in London, and acceded the English throne as George III on 25th October 1760 (upon the death of his grandfather, King George II). His birthday was June 4th. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 25.

X:1

T:Prince of Wales’s Birthday, The

M:C|

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:Bb

f|(Bd)(fb) “tr”g2 fb|”tr”e2 db “tr”c2 Bb|(Bd)(fb) “tr”g2 fb|e2 d2 c3:|

|:c|FAce “tr”d2 Bf|Bdf_a “tr”g2 f=a|bg “tr”g2 af “tr”f2|gedc B3:||

 

PRINCE OF WALES' DELIGHT. English, Country Dance Tune (2/4 time); Scottish, Scots Measure. England, Yorkshire. C Major. Standard tuning. AABB. The editors call this a "hypnotic" little tune after the manner of a French bourree. Source for notated version: an MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. McGlashan (Collection of Scots Measures), c. 1780; pg. 7. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 116, pg. 63.

X:1

T:The Prince of Wels Delight (sic)

L:1/8

M:C|

B:McGlashan – Collection of Scots Measures  (c. 1780)

Z:AK/Fiddler’s Companion

R:Scots Measure

K:D

d3e defe|d4 A3d|B3A Bcdc|B4 A2Bc|d2d2 de f2|A3B A2F2|B3A BAGF|E4D4:|

|:F3E DEFG|AGAB A2A2|B3A Bcdc|B4A2Bc|d2de d2F2|B2BcB2E2|A3B ABAF| E4D4:|

 

PRINCE OF WALES' FANCY, THE. AKA and see “The Clock in the Steeple,” "Jumping Geordie," “Kilwinning’s Steeple,” "The Pope's Toe,” "Templeglantine Reel [1]."

 

PRINCE OF WALES’ HORNPIPE.  English, Hornpipe. A Major. Standard tuning. AABB. Gibbons originally set the tune in the key of ‘C’ major in his ms. Source for notated version: the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 60.

 

PRINCE OF WALES JIG, THE. AKA and See "The Devil in the Kitchen [1]." English, Jig. England, Northumberland. A Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 2; No. 233.

 

PRINCE OF WALES MARCH.  English, March. G Major. Standard tuning. AA’BBCCDD. Gibbons set the tune in the key of C major in his original ms. Source for notated version: the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pgs. 46-47.

 

PRINCE OF WALE’S REEL [1], THE. AKA and see “Where Are you Going, My Pretty Maid?”

 

PRINCE OF WALE’S (REEL) [2], THE.  Scottish, Reel. D Major. Standard tuning. AABC. Composed by Scots fiddler-composer J. Scott Skinner (1843-1927). Skinner (Harp and Claymore), 1904; pg. 74.

X:1

T:Prince of Wales, The

M:2/4

L:1/8

R:Reel

C:J. Scott Skinner (1843-1927)

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:D

g/ | (f/4g/4a/) (g/4f/4e/) d/.A/.F/.D/ | .A,.D/.F/.A/ B/E/E/g/ | (f/4g/4a/) (g/4f/4e/) d/.A/.F/.D/ | .G/.A/.B/.c/ .d/D/D/ :|

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

e/b/g/e/ B/G/E/G/ | (f/4g/4a/) (g/4f/4e/) d/A/F/D/ | G/A/B/c/ d/D/D/ || g/ | f/d/f/a/ d’/a/f/d/ | g/e/c/A/ G/E/C/g/ |

f/d/f/a/ d’/a/f/d/ | g/a/b/c’/ d’/d/d/g/ | f/d/f/a/ d’/a/f/d/ | g/e/c/A/ G/E/C/A,/ | (F/4E/2D/ G/).E/ .A/.F/.B/.G/ | a/g/f/e/ f/d/d/ ||

 

PRINCE OF WALES WALTZ. Scottish, Waltz. G Major. Standard tuning. AABB. Howe (1000 Jigs and Reels), c. 1867; pg. 155.

X:1

T:Prince of Wales Waltz

M:3/4

L:1/8

R:Waltz

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

Z:AK/Fiddler’s Companion

K:G

(d2B2)c2 | d4d2 | (d2g2)f2 | {f}e6 | (e2A2)B2 | c4e2 | (e2d2)G2 | (F2e2)G2 |

(d2B2)c2 | d4d2 | d2b2a2 | a4g2 | (gfedcB) | AB c^cd^d | (e2d2)F2 | G6 :|

|:(A2F2)A2 | A6 | A2d2^c2 | B6 | B2^G2B2 | e4^d2 | (e2g2)f2 | e6 |

(d2B2)c2 | d4d2 | d2b2a2 | a4g2 | (gfedcB) | AB c^c d^d | (e2d2)F2 | G6 :|

 

PRINCE REGENT’S FAVORITE, THE.  Scottish, March (?). C Major. Standard tuning. AB. Composed by John Gow (1764-1826), the youngest son of famed Scots fiddler-composer Niel Gow (1727-1807) and brother of Nathaniel Gow (1763-1831). John, along with older brother Andrew (1760-1803) established the London branch of the family publishing business. He continued it at a number of successive London addresses, even after Andrew’s death. England’s Prince Regent was George IV, who ruled from 1811-1820, due to the mental incapacity of his father, George III.  Gow (Sixth Collection of Strathspey Reels), 1822; pg. 35.

X:1

T:Prince Regent’s Favorite, The

M:C

L:1/8

C:John Gow (1764-1826)

B:Gow – Sixth Collection of Strathspey Reels (1822)

Z:AK/Fiddler’s Companion

K:C

G/F/|EC CC {B,}A,3 {A}G/F/|EC CC G,3 G/F/|E/C/(A A/)^F/(G G/)E/(=F F/)^D/E|.G/(^G/A/=G/) (F/E/)(D/C/) (E>F/E/4) D A/G/|

(G/F/E/D/) C/>D/E/C/ A,A,A, A/G/|(G/F/E/D/) C/>D/E/C/ G,G,G, (G/4F/4E/4D/4)|C/e/d C/c/B/ A,/A/G G,/F/E|(E/c/)(F/c/) (G/c/)(A/c/) (E/G/)F/D/ C||

g/f/|(e/g/)a/g/ .c’/(g/e/).g/ [fa][eg][eg] (g/f/)|.e/(g/a/g/) .c’/(g/e/).g/ (g/f/)a/f/ {e}d>f|(e/c/)(g/e/) c’>c (A/G/)(f/e/) a>g|(g/a/b/c’/) (c/d/e/f/) (e2d) g/>f/|

(f/e/”tr”d/c/) (c/d/e/c/) [CA][CA][CA] (g/>f/)|(f/e/”tr”d/c/) (c/d/e/c/) [B,G][B,G][B,G] e/>d/|c/c’/b A/a/g F/f/e D/d/c|

G/f/e/a/ g/c’/ (c/4d/4e/4f/4) e”tr”dc g/>f/|e/>g/”tr”a/g/ c’/g/”tr”a/g/ [fa][eg][eg] g/f/|.e/(g/a/g/) c’(g/a/g/) (g/f/)(a/f/) d>f|(e/c/)(g/e/) c’>c (A/G/)(f/e/) a/>g/|

(g/a/)(b/c’/) (c/4d/4e/4f/4 g/4a/4b/4c’/4) (e2d) g/f/|(f/e/)”tr”d/c/ (c/4d/4c/4d/4 f/4e/4d/4c/4) [C/A/][C/A/][C/A/][C/A/] [CA] g/f/|

(f/e/)”tr”d/c/ (c/4d/4c/4d/4 f/4e/4d/4c/4) [B,/G/][B,/G/][B,/G/][B,/G/] [B,G] g/f/|e/c/(g g/)e/(c’ c’/)g/(e’ e’/)c’/g’ (G/4^G/4)|(A/G/)(F/E/) D/C/B,/C/ “tr”EDC||

 

PRINCE REGENT'S HORNPIPE. American, Hornpipe. G Major. Standard tuning. AABB. England’s Prince Regent was George IV, who ruled from 1811-1820, due to the mental incapacity of his father, George III. Cole (1000 Fiddle Tunes), 1940; pg. 115. Ryan’s Mammoth Collection, 1883; pg. 153.

X:1

T:Prince Regent’s

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

G(b/a/) a/g/f/g/ | e/f/g/e/ e/d/B/d/ | d/c/A/c/ c/B/G/B/ | Add (e/f/) | g(b/a/) a/g/f/g/ |

e/f/g/e/ e/d/B/d/ | e/d/B/G/ e/d/B/G/ | A/G/A/B/ G2 :: d/^c/d/e/ d/=c/B/A/ |

G/B/d/B/ g/d/B/G/ | d/^c/d/e/ d/=c/B/A/ | G/B/d/B/ gd | e/c/e/g/ d/B/d/g/ |

e/c/e/g/ d/B/d/g/ | e/g/f/e/ d/c/B/A/ | G2 ({f}g2)G2 z2 :|

 

PRINCE RUPERT'S MARCH. English, Country Dance Tune (4/4 time). A Minor. Standard tuning. AAB (Chappell): ABB (Sharp). The air was published by Playford in his English Dancing Master, 1650, and in Bellerophon (Gesangh der Zeeden), 1648. Chappell (Popular Music of the Olden Time), vol. 1, 1859; pg. 317. Raven (English Country Dance Tunes), 1984; pg. 43 (a facsimile copy of the Playford original). Sharp (Country Dance Tunes), 1994; pg. 46.

X:1

T:Prince Rupert’s March

M:2/2

L:1/8

S:Sharp – Country Dance Tunes   (1909)

Z:AK/Fiddler’s Companion

K:Amin

(C2| A2) (E2 A2B2 | c3d c2) (c2 | B2A2) (A2^G2 | A6) (C2 |

A2) (E2 A2B2 | c3d c2) (c2 | B2A2) (A2^G2 | A6) ||

|: (B2 | B3 A Bc d2) | (G3A G2) (G2 | c2) c2 (dede | c6) (c2 |

B3A Bc d2) |(G3 A G2) (c2 | B2A2) (A2^G2 | A6) :|

 

PRINCE WILLIAM [1]. English, New England; March or Country Dance Tune (4/4 time). USA. D Major (Brody): A Major (Barnes, Johnson, Miller & Perron, Sweet). Standard tuning. AABB. The title commemorates Prince William Augustus, the Duke of Cumberland, son of King George II. William was the ‘hero of Culloden’ in 1745, or ‘Bloody Cumberland’ depending on who you sympathized with. It first appeared in print in Walsh's Complete Country Dancing Master in 1731, when the prince would have been but ten years old. It also appeared in Wright's Complete Collection of Celebrated Country Dances of 1742. Johnson prints a contra dance to the tune for a three couple set. The tune was picked up as a march for contra-dancing in the 1970’s by various bands and was quite popular for a time. Barnes, 1986. Brody (Fiddler’s Fakebook), 1983; pg. 222. Callaghan (Hardcore English), 2—7; pg. 46. Johnson (Twenty‑Eight Country Dances as Done at the New Boston Fair), vol. 8, 1988; pg. 8. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 70. Shaw (Pat), 1960, Holland As Seen in the English Country Dance. Sweet (Fifer’s Delight), 1965/1981; pg. 75. Biograph 6009, Bottle Hill‑ "Light Our Way Along the Highway." F&W Records 3, "Canterbury Country Dance Orchestra." Front Hall 01, Fennigs All Stars‑ "The Hammered Dulcimer." Front Hall 017, Michael and McCreesh‑ "Dance Like a Wave of the Sea" (1978). Topic 12TS442, Brass Monkey ‑ "See How it Runs" (1986. Learned from the Canterbury Dance Orchestra recording via musicians in Minneapolis in 1983).

X:1

T:Prince William

M:C

L:1/8

K:A

|:E2|A4 c2 BA|E4 E2d2|c4B4|AG AB A2B2|c2A2E2c2|B6A2|

G2e2F2^d2|e6:||:cd|e4 f3e|d2c2B2e2|d2c2B2A2|

GA BG E2 FG|A2 GA B2 AB|c2 Bc d2 ed|c2 BA E2G2|A4A2:|

 

PRINCE WILLIAM [2]. New England, Jig. A Major. Standard tuning. AABB. F&W Records 5, Canterbury Country Orchestra‑‑ "Mistwold."


 

PRINCE WILLIAM OF AUGUSTER. AKA and see "Prince William of Gloucester's Favorite." English, Reel. G Major. Standard tuning. AABB. The title presumably honors Prince William Augustus, Duke of Cumberland, son of King George II. The melody appears in the music manuscript collection of William Litten, who appears to have been a ship’s fiddler on one of the vessels of the British Far East fleet. His manuscript ended up on the Massachusetts island of Martha’s Vineyard, probably having been brought home by a shipmate from the island named Allen Coffin. Unfortunately, nothing is known of Litten himself, or even what nationality he might have been. Huntington (William Litten's), 1977; pg. 25.

X:1

T:Prince William of Auguster

M:2/4

L:1/8

S:William Litten’s music copybook (1800-1802)

K:G

(3Bcd BG|ac B2|(3Bcd BG|FA FD|(3Bcd BG|

Ac (3Bcd|ec AF|G2 G2::gf ga|(3ABc cc|

Cd BG|(3GAB BB|BB (3A/B/c/|c4|d4|g4:|

                       

PRINCE WILLIAM OF GLOUCESTER'S FAVORITE. AKA and see "Prince William of Auguster." Scottish. Campbell (10th Book of New and Favorite Country Dances), pg. 2.

                       

PRINCE WILLIAM OF GLOUCESTER'S WALTZ. English, Waltz. B Flat Major. Standard tuning. AABC. The tune dates to c. 1801. Barnes (English Country Dance Tunes), 1986.

                       

PRINCE'S FEATHER, THE.  Irish, Reel. Composed by Maurice Lennon. Stockton’s Wing – “Crooked Rose.”

                       

PRINCE'S GALOP. American, Galop (2/4 time). C Major & F Major (Trio part). Standard tuning. AA and Trio. Ford (Traditional Music in America), 1940; pg. 154.

                       

PRINCE’S SALUTE, THE (Failte Phrionnsah). Scottish, Pipe Pibroch. Composed following the unsuccessful Jacobite rising of 1715. In an unpubished manuscript (now in the Nathional Library of Scotland) the 19th century piper Angus Mackay ascribed the tune to John MacIntyre of Rannoch, who composed it in 1715. The Prince would then be James III and VIII, the “Old Pretender.”

                       

PRINCE’S (WALTZ), THE. AKA and see “Schwartzenburg’s.” English, Waltz. D Major. Standard tuning. AABB. Prince Schwartzenburg was the Austrian ambassador to Napoleon’s court, and later commander of Austrian forces in the conflict with the French Emporer. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 160, pg. 42.

 

PRINCE'S WELCOME INTO INVERNESS. Scottish, Strathspey. G Mixolydian. Standard tuning. AABBCCDD. John Glen (1891) finds the earliest appearance of this tune in print in Alexander McGalshan's 1780 collection (pg. 19). McGlashan (Collection of Strathspey Reels), c. 1780/81; pg. 19.

X:1

T:Prince’s Welcome into Inverness, The

M:C|

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:Gmix

E|G>ABG A/A/A A2|G>ABG E/E/E E2|G>ABG A/A/A A2|G>AGE D/D/D D2:|

|:B|d>edB A>GAB|d>edB A>G E2|d>edB AGAB|G>AGE D/D/D D2:|

|:e|g>abg a/a/a a2|g>abg e/e/e e2|g>abg a/a/a a2|g>age d/d/d d2:|

|:e|d>gB>g A>BAB|de/f/gB A>G E2|d>eB>g A>GAB|G>AGE D/D/D D2:|

 

PRINCESS, THE. English, Country Dance Tune (6/8 time). G Minor. Standard tuning. AABB. The tune dates to the year 1701 and was published by Henry Playford. Barnes (English Country Dance Tunes), 1986. Sharp (Country Dance Tunes), 1909/1994; pg. 73.

X:1

T:Princess, The

M:6/8

L:1/8

S:Sharp – Country Dance Tunes  (1909)

Z:AK/Fiddler’s Companion

K:Gmin

|: (g | b2)b b>ag | a2a a2(d | g2)g g>ba | ^fga d2 d |

=f2f f>ed | e2e e>fg | c2c c>de | d>cB B2 :|

|: (f | d2)d d>cB | f2f f2 (c | e2) e e>dc | g2g g2 (G |

_B2B B>AG | d2D =E>^FG | ^F2d A>Bc | B>AG G2 :|

           

PRINCESS AMELIA'S MINUET. Scottish, Minuet. The melody appears in the Gillespie Manuscript of Perth (1768).

           

PRINCESS AUGUSTA. Scottish, Air (2/4 time) or Slow Strathspey. D Major. Standard tuning. AAB (Gatherer): AABB’ (Gow). Though Niel Gow (1727-1807) did not attach his name to the tune, he was attacked by Robert Burns (in a letter published in 1808) for publishing it "as his own composition" and Burns further angrily declared it to be but a variation of "MacPherson's Farewell." Alburger (1983) finds that the two tunes seemingly have little in common, however. Gatherer credits the composition to Niel's son Nathaniel (without citing his authority, for it is un-attributed in his 3rd Collection), who published both his and his father's compositions. The title probably refers to HRH Princess Charlotte Augusta of Wales, sister of king George III and granddaughter of George II. She married the Duke of Brunswick, Karl Wilhelm Ferdinand, in 1764.

***

Augusta, Princess Great Britain and Ireland (1737-1813).

***

When a fashion for Scottish dancing hit London at the turn of the 18th century, Princess Augusta was in the forefront, as we see in this excerpt from a London paper called The Star (06/01/1799), which reported on a recent ball at Oatlands Palace, Surrey, England:

***

At the fete given by Her Royal Highness, the Duchess of York, at Oatlands on the 30th of May (1799),

the dances were as follows: 1. Ramah Droog. 2. Miss Murray of Auchtertyre. 3. The Tartan Plaidie.

4. Lady Harriet Hope’s Reel. And lastly, the enchanting tune of Miss Gordon [Garden] of Troupe’s Strathspey

was called for by Princess Augusta, and danced twice over by all the fet. Between the second and

third dance, Their Majesties desiring to see the Highland Reel in all its purity, it was danced by the

Marquis of Huntley and the Lady Georgiana Gordon, Colonel Erskine and Lady Charlotte Durham,

with all the elastic motion, hereditary character, and boundless variety of the Scottish dance.

***

Carlin (The Gow Collection), 1986; No. 206. Gatherer (Gatherer’s Musical Museum), 1987; pg. 31. Gow (Third Collection of Niel Gow’s Reels), 3rd ed., 1792; pgs. 32-33.

X:1

T:Princess Augusta

M:2/4
L:1/8

R:Slow Strathspey

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

Z:AK/Fiddler’s Companion

K:D

d/B/|AD F/G/A/F/|({F}A)DD”tr”c|d/>A/B/>F/ G/>E/F/>D/|”tr”B,>C/2D/4 A,d/B/|AD (F/G/A/)F/|

{F}AD Dd/B/|AF”tr”E>F|D2 D::B|A>B d>e|(f/e/)d/f/ (e/g/)”tr”f/e/|(f/e/)”tr”d/B/ (A/F/)”tr”E/D/|

{D/E/}FB,B,B|A>B d>e|(f/e/).d/.f/ (e/g/)”tr”f/e/|f/d/”tr”c/B/ A/B/c/A/|1 {c}d2 ~d:|2 d2 e/d/c/B/||

           

PRINCESS AUGUSTA’S TAMBORINE.  English, Country Dance Tune (2/4 time). D Major. Standard tuning. AABB. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 117.

X:1

T:Princess Augusta’s Tamborine

M:2/4

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:D

f/4e/2<d .d.d|(c/d/e) AG|FA df|e/d/c/B/ A2|f/4e/2<d .d.d|(c/d/e) AG|FDgf|f2 e2:|

|:(a/g/f) fe|(^d/e/f) B2|^d/B/c/d/ e/f/g/a|gf e2|(g/f/e) e=d|(c/d/e) A2|c/A/B/c/ d/e/f/g/|fe d2|

(f/4e/2<d) .d.d|(c/d/e) d2|(a/4f/2<d) .d.d|(c/d/e) db|(a/f/)d (g/e/)c|(f/d/)B (e/c/)A|F/A/d (g/e/)c|d2 D2:||

 

PRINCESS BEATRICE. Scottish, Hornpipe. G Minor ('A' part) & B Flat Major ('B' part). Standard tuning. AABB. Composed by W.B. Laybourn (1835‑1886), a hornpipe composer who was born in London but spent time in North Shields in northern England before moving to Edinburgh. Source for notated version: Aly Bain (Shetlands) [Hunter]. Bain (50 Fiddle Solos), 1989; pg. 15. Hardie (Caledonian Companion), 1992; pg. 63. Henderson, Flowers of Scottish Melody, 1935. Kohler, Violin Repository (Book III). Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 216.

           


PRINCESS' BIRTHDAY, THE. English, Reel. England, Northumberland. G Major. Standard tuning, AAB. Seattle (William Vickers), 1987, Part 3; No. 469.

           

PRINCESS CAROLINE. English, Country Dance Tune. The title commemorates a member of the family of George II, Princess Elizabeth Caroline. From Walsh’s Compleat Country Dancing Master c. 1730.

           

PRINCESS FLORENCE'S JIG. Cape Breton, Jig. Composed by Mabou Coal Mines, Cape Breton, Nova Scotia, fiddler Donald Angus Beaton (b. 1912). Rounder 7011, "The Beatons of Mabou: Scottish Violin Music from Cape Breton" (1978).

           

PRINCESS HORNPIPE. American, Hornpipe. B Flat Major. Standard tuning. AABB. "Can be used as a Clog,” notes Ryan. Cole (1000 Fiddle Tunes), 1940; pg. 95. Ryan’s Mammoth Collection, 1883; pg. 131.

X:1

T:Princess Hornpipe

M:C|

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:Bb

B>fd>B G>ec>A | B>cd>B F2 B>A | B2e2 (3efe (3dcB | A2f2 (3fgf (3edc |

B>fd>B G>ec>A | B>cd>B F2 B>A | G>gf>e d>cB>A |B2b2B2 :|

|: (cB) | A>cf>=e f>dc>B | A>cf>=e f2f2 | =e>gb>g e>cd>e | f>ef>e f2_e2 |

d>ef>d B>cd>B | c>de>c A>Bc>A | B>ba>g (3fgf (3edc | B2b2B2 :|

 

PRINCESS MARGARET'S FANCY. English, Jig. D Major. Standard tuning. AABBCCDD. Princess Margaret was at one time President of the English Folk Song and Dance Society. Kennedy (Fiddlers Tune Book), vol. 1, 1951; No. 100, pg. 49.

 

PRINCESS MARGARET’S JIG. Scottish, Jig. A composition of Angus Fitchet, born in Dundee in 1910 and a leading country dance band leader and fiddler during the mid‑20th century in Scotland. Princess Margaret was at one time President of the English Folk Song and Dance Society.

 

PRINCESS NANCY. Irish, Jig. G Major. Standard tuning. AAB. Composed by Chicago fiddler Liz Carroll. Popcorn Behavior – “Journeywork” (1997). Clayfoot Strutters – “Honk if You Honk.”

X:1

T:Princess Nancy

R:Double Jig

C:Liz Carroll

M:6/8

L:1/8

K:G

B2A BGE|EDE G2A|BAB deg|abg eag|

ede ~g2a|ged e2d|dBA BGE|EDE G2A:|

B2g edB|BAB d2B|AGA Add|AGA BGE|

B2g edB|BAB d2B|AGA BGE|EDE G2A|

B2g edB|BAB d2B|ABA ABd|egd ega|

bag age|egd e2d|dBA BGE|EDE G2A||

                       

PRINCESS OF WALES’S FAVORITE DANCE BY DR. HAYDN.  Scottish, English. Printed by Gow & Shepherd. Tyson has suggested the tune is “a somewhat mutilated and probably truncated form of a genuine country dance by Haydn.” 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 is know to have composed other country dances; unfortunately, they are now lost. Haydn and the Gows were all associated with the extravagant Prince of Wales and the King’s Theatre in London during the same period. The title honors Caroline of Brunswick (1768-1821), who married George Augustus Frederick, the Prince of Wales and later king George IV, her first cousin, in 1795. They appear to have taken a dislike to each other in record time, never living together again after the first few days of their marriage (although one child, Princes Charlotte Augusta, was conceived in that brief time). They maintained separate households, and indeed, each embarked on numerous affairs with other lovers. 

 

PRINCESS OF WALES MINUET. English, Minuet (3/4 time). G Major. Standard tuning. AABB. The melody appears in James Aird’s 6th and Last Volume of Scotch, English, Irish and Foreign Airs (Glasgow, 1803). It also appears in the music manuscript collection of William Litten, who appears to have been a ship’s fiddler on one of the vessels of the British Far East fleet. His manuscript ended up on the Massachusetts island of Martha’s Vineyard, probably having been brought home by a shipmate from the island named Allen Coffin. Unfortunately, nothing is known of Litten himself, or even what nationality he might have been. Huntington (William Litten's), 1977; pg. 34.

X:1

T:Princess of Wales Minuet

M:3/4

L:1/8

S:The manuscript book (1800-1802) of ship’s fiddler William Litten.

K:G

g2g2g2|d4 GB|A2G2F2|A6|e2e2 cA|d4 BA|D2c2 Bc|A6:|

|:A2A2A2|AB G2G2|B2B2B2|Bc A2A2|G2B2d2|g2d2 ge|dc B2A2|G6:|

                       

PRINCESS OF WALES WALTZ.  English, Waltz (3/8 or ¾ time). D Major. Standard tuning. AABBCCDD. The melody appears in print in J. Wilson’s Pocket Preceptor for the Fife (London, 1805). English fiddler Joshua Gibbons originally set the tune in the key of ‘C’ major in his ms. In America, the waltz appears in the music copybook of John Beach (Gloucester, Mass.), dated 1801. Source for notated version: the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 161, pg. 42. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 81.

 

PRINCESS REEL, THE. AKA and see “Charlie’s Reel,” “Silver Wedding Reel.” Canadian, Reel. Canada; New Brunswick, Prince Edward Island. G Major. Standard tuning. AABB. Ken Perlman (1996) believes the tune was probably introduced to Prince Edward Island from New Brunswick in the 1920's, and says it is now one of the most widely played tunes on the island. The alternate titles are also found in south King’s County, PEI. Source for notated version: Attwood O’Connor (b. 1923, Sturgeon, South King’s County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 46 (includes an alternate ‘B’ part from Edward Arsenault). Great Meadow Music GMM 2002, Rodney Miller & David Surette – “New Leaf” (2000). Rounder CD7014, Sid Baglole – “Fiddlers of Western Prince Edward Island” (1997).

                       


PRINCESS ROYAL [1], THE ("Bean-Priunsa Riogda" or "Beanphrionsa Rioghamhuil"). AKA and see "The Arethusa," "Brian the Brave [4]," "The Gaelic League March," "Miss MacDermott" (Inion Nic Diarmada), “Nelson’s Praise,” "Port Shean tSeain," "Rodney's Glory [1]." Irish; Air, Hornpipe, Reel or Planxty (2/4 time, "lively"); English, Morris Dance Tune (4/4 time). England; Northumberland, Cotswolds. A Minor (Carlin): A Dorian (Mulvihill, Sullivan): B Minor (Ó Canainn): F Minor (O’Sullivan): G Minor (Gow, McGlashan, O'Neill): D Minor (Bacon, Raven, Skinner): E Minor (S. Johnson, Mallinson): F Minor (Complete Collection). Standard tuning. One part (Ó Canainn): AB (Complete Collection, S. Johnson, O'Neill, O’Sullivan): AABB (Carlin, Gow, Mulvihill, Raven, Skinner, Sullivan): ABB, x4 (Mallinson). One of the most celebrated compositions attributed to the blind Irish harper Turlough O’Carolan (1670-1738). The air under the title "Princess Royal" or "Miss MacDermott" is attributed to O'Carolan by collector Edward Bunting (The Ancient Music of Ireland, 1840), with the note “composed by Carolan for the daughter of MacDermott Roe, the representative of the old princes of Coolavin.” O’Carolan is also listed as composer by Donal O'Sullivan (1983), Grattan Flood (1906) and other sources, although apparently earliest in a printed collection by O'Farrell (c. 1810) in his Pocket Companion, book IV, where the tune appears simply as “Air by Carolan.” The attribution was also credited to the bard by Bunting in his MS collection of c. 1800 (now held by the Library of Queen’s University, Belfast), which O'Sullivan notes "has the tradition of the harpers behind it." Flood (who admittedly is known for some dubious, if not outright erroneous, assertions) says the tune was composed by the harper in 1725, and published in 1727, 1730 (in Walsh's Complete Dancing Master where it appears as "The Princess Royal, the new way") and 1731 (by Daniel Wright), and republished several times between 1735 and 1745, though no words have survived.

***

English writer Frank Kidson disagrees with the attribution to O’Carolan and Irish provenance (see “New Lights Upon Old Tunes,” Musical Times, October, 1894). He says that the air was commonly known in the early part of the 18th century as an English country dance tune named “The Princess Royal, the new way” and that about 1730-35 it appeared in several London publications (presumably the Walsh and Wright publications cited by Flood). It appears in Wright’s Compleat Collection of Celebrated Country Dances, vol. I, c. 1730-35 as “New Princess Royal.” 

***

No matter what its origins, it was admired by William Shield (1748-1829, who arranged the song with words set by dramatist and painter Prince Hoare, 1755-1834) who retitled it "The Arethusa," and published it in his 1796 small opera or musical entertainment "Lock and Key" (Arethusa was name of an Engish ship which fought an engagement with a French frigate La Belle Poule in the English Channel in June, 1778). Shield, a violinist and violist who wrote ballad operas for the popular stage, never claimed composition of the melody and only maintained he had added the bass. The piece became tremendously popular, in part because of the zenophobic mood of the times, particularly toward the French. Irish provenance advocates, however, say it was only through publication and subsequent republication that it not only became popular but became erroneously considered an English air. Editor Gordon Ashman states the tune later became one of Hamilton Harty's sea song settings, called "On Board the Arethusa," which is often heard at the Last Night of the Proms.

***

On deck five hundred men did dance

The stoutest they cold find in France

We with two hundred did advance

On board of the Arthusa.

Our captain hailed the Frenchman, ‘Ho!’

The Frenchman then cried out ‘Hallo!’-

‘Bear down, d’ye see, the our Admiral’s lee.’

‘No, no,’ says the Frenchman, ‘that can’t be.’-

‘Then I must lug you along with me.’

Says the saucy Arethusa.

***

The 'princess royal' of the title, states Flood, was an honor for Mary MacDermot, daughter of the Princess of Coolavin and Princess Royal of the MacDermot Family, or, as Bunting says, "daughter of MacDermott Roe, the representative of the old princes of Coolavin (County Sligo)." O'Sullivan, however, notes there were two branches of the County Roscommon family; the MacDermotts of Alderford, usually known by the title MacDermott Roe, and the MacDermotts of Coolavin. The head of the latter branch was known in O'Carolan's time as the Prince of Coolavin, and O'Sullivan believes it probable that the Princess Royal was his eldest daughter and not of the MacDermott Roes. O'Carolan may also composed another song for her called "Maire an Cuilfhin" (Fair‑Haired Mary), according to Flood. Princess Royal also is the title reserved for the eldest daughter of the British royal family, if the sovereign sees fit to award it. Kidson (Groves) maintains the princess royal referred to is Anne, daughter of George II, who married William, Prince of Orange, in 1734.

***

Bayard (1981) begs comparison of the tune with James Oswald's "My Love is Lost to Me" and questions whether Oswald's composition was derivative from "The Princess Royal" (it could not be ancestral to, as he also speculates for O'Carolan's composition preceded his, published c. 1780, by some sixty years). Further, he wonders if O'Carolan based his tune on "some form" of the widely known tunes "Bung Your Eye" and "O As I Was Kist Yestreen." The Mallinson/Raven/Bacon morris dance version of the tune is from the village of Adderbury, Oxfordshire, in England's Cotwolds (Carlin's similar version is listed as "Scottish" in origin). In Cape Breton a twelve-step solo dance (also called Princess Royal) was performed to the tune, handed down from Donald 'The Tailor' Beaton, an itinerant tailor from South West Margaree. As a vehicle for folk songs the tune has proved popular and can be heard as “Lord Nelson” and “Raggle Taggle Gypsy O,” among others. A Cape Breton hornpipe derivative goes by the title “Jenny’s Dream,” and it is also played as a reel on the island. Another Turlough O'Carolan composition titled "Mrs. MacDermott Roe" has some melodic similarities. The air was adapted for American shape-note singing, and appears as “Mississippi” in the 1820 supplement to the Kentucky Harmony, first published around the year 1815. Sources for notated versions: the Irish collector Edward Bunting (1773-1843) noted the melody from harper Arthur O'Neill in 1800 [Bunting]; the Bridge Céilí Band [Mulvihill]. Bacon (The Morris Ring), 1974; pg. 15. Carlin (Master Collection), 1984; No. 185, pg. 107. Complete Collection of Carolan’s Irish Tunes, 1984; No. 87, pg. 70. Gow (Complete Repository), Book 2, 1802; pg. 7. S. Johnson (The Kitchen Musician No. 3: Carolan), 1983 (revised 1991, 2001); pg. 7. Mallinson (Mally’s Cotswold Morris Book), 1988, vol. 1; No. 32, pg. 22. McGlashan (Collection of Scots Measures), 178_; pg. 13. Mulvihill (1st Collection), 1986; No. 1, pg. 118. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 33, pg. 33. O’Farrell (Pocket Companion, vol. IV), c. 1810; pg. 135 (appears as “Air by Carolan”). O'Neill (Krassen), 1976; pg. 231. O'Neill (Music of Ireland; 1850 Melodies), 1979; No. 641, pg. 115. O’Sullivan (Carolan: The Life, Times and Music of an Irish Harper), 1958; No. 87. Raven (English Country Dance Tunes), 1984; pg. 79. Skinner (Harp and Claymore), 1904; pgs. 134-135 (hornpipe setting). Sullivan (Session Tunes), vol. 3; No. 28, pg. 11. Carthage CGLP 4406, Hutchings et al - "Morris On" (1983/1972). Flying Fish FF70572, Frank Ferrel – “Yankee Dreams: Wicked Good Fiddling from New England” (1991). Island ILPS9432, The Chieftains - "Bonaparte's Retreat" (1976). Old Bridge Music OBMCD 06, Máire Ní Chathasaigh & Chris Newman – “The Carolan Albums.” .

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:Miss MacDermott or The Princess Royal

C:Turlough Carolan

B:Carolan, by Donal O'Sullivan

N:transposed from Fm

M:2/4

L:1/16

Q:110

K:Dm

AG|F2E2 D2AG|F2E2 D2A2|B2A2 G2cB|ABAG F2A2|

GAGF EFED|C2B,2 A,2AG|F2ED FED^C|D4 D2||A2|

d3^c d2e2|f2F2 F2f2|fedc BAGF|EFGE C2DE|

F2EF G2FG|A2A2 d4|c4 B2cB|A4 G2AG|

GFFE DFED|CDCB, A,2AG|F2ED FED^C|D4 D2||

X:2

T:Princess Royal, The

M:C|

L:1/8

R:Scottish Measure

B:McGlashan – Collection of Scots Measures  (c. 178?)

K:Gmin

GA|B2AB G2dc|B2A2G2d2|e3d c2f2|edcd B4|B2gB A2fA|FGFE D2 dc|BABG DG^FA|

GDB,D G,2 GA|B2 AB G2dc|BcAB G2 d2|e3d cgfe|decd B4|B2gB A2fA|FGAF A2 dc| BAGB D2^F2|G2D2G,2||d2|g^fga gfga|b2B2B2 ba|gfed edcB|ABcA F4|B2AB c2Bc|d2d2 g4|f2B2 e4|d2B2c4|B3A GABG|FGFE D2dc|BAGB D2^F2|G6 d2|

g^fga gfga|b2B2B2 ga|bagf edcB|ABcA F4|B2AB c2Bc|d2d2g3a|f2B2e2dc|

d2B2c3d|B3A GABG|FGFE Dedc|BABG DG^FA|GDB,D G,2||

X:3

T:Air by Carolan (sic)

M:C

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:Amin

e>d | c2 Bc A2 e>d | c2 Bc A3e | f2e2d2 ef | gfed c3B | cedc BdcB |

AcBG E2 ed | cBcA BdcB | A4 A2 :: (ef/g/) | a3b agab | c’2c2c2b2 |

c’bag fedc | BgdB G3B | c2cc d2d2 | edeg a3a | g2e2 fagf | e2A2d3B |

c3B ABcd | e2E2E2 ed | cBcA GEG(A/B/) | A4A2 ||

X:4

T:Mississippi

M:4/4

L:1/8

R:Shape note hymn air

S:Kentucky Harmony, supplement, 1820

Z:AK/Fiddler’s Companion

K:A

(c3B) A2F2 | A2B2A2G2 | F4c4 | d2c2B2A2 | B2 (BA) G4 | (c3B) A2G2 |

F2E2 (FG) (FE) | C4 (c3B) | A2F2A2 (BG) | F4 F4 || c4 f2e2 | f2g2e2d2 |

c4g4 | a2f2e2 (cB) | A2G2F4 | A2A2B4 | (cd) (ec) f4 | e2c2d4 | c2 (cB) A4 |

(B3d) c2 (cB) | A2G2F2 (FE) | C4 (c3B) | A2F2A2 (BG) | F4F4 ||

X:5

T:Princess Royal, The

M:2/4

L:1/8

R:Hornpipe

S:Skinner – Harp and Claymore (1904)

N:”As danced by Tom Maclagan in his palmy days.”

Z:AK/Fiddler’s Companion

K:Dmin

Z | .F.E.D.A | F/>G/E/>F/ D>A | .B.A.G.c | A/>(B/A/>)(G/ {E}F)C/>(E | F)d/>(F E)c/>(E |

D/>)(E/D/>)(C/ A,)A/>(G/ | F/>)(E/F/>)(D/ A,/>)(D/^C/>)(E/ | D) zz :: A/=B/^c/ | d/>^c/d/>e/ d/>=c/d/>e/ |

fF/>F .F.c | f/>e/d/>c/ B/>A/G/>F/ | E/>F/G/>E/ C>C | FF GG | AA d>d | cF B>B | AD GF/>(D/ |

F/>)(A/G/>)(F/ E/>)(G/F/>)(E/ | D/>)(F/E/>)(D/ A,)A/>G/ | ({F/G/}F/>)(E/F/>)(D/ A/>)(D/^C/>)(E/ | D) zz :|

 

PRINCESS ROYAL [2]. English, Morris Dance Tune (4/4 time). E Minor (Mallinson): G Minor (Bacon): G Dorian (Bacon‑Ducklington, Longborough). Standard tuning. AB (Bacon‑Stanton Harcourt): ABCBCB (Mallinson, Bacon‑Longborough, Bledington, Bampton): AAABAAABCCCB (Bacon‑Ducklington). A version of #1. From the villages of Bampton (Oxfordshire), Bledington (Gloucestershire), Ducklington (Oxfordshire), Longborough (Gloucestershire) and Stanton Harcourt (Oxfordshire) in England's Cotswolds. Bacon (The Morris Ring), 1974; pgs. 51, 89, 133, 260, 296. Mallinson (Mally’s Cotswold Morris Book), 1988, vol. 2; No. 13, pg. 8.

X:1

T:Princess Royal

L:1/8

M:4/4

K:Emin

BA | G2F2E2 BA | G2FG E2GB | c2A2 ABcA | B2BA GFGB |

A2G2F2E2 | DEDB, G,2 BA | G2FE D2B2 | E4E4 || g2g2g2fg |

a2A2A4 | gfed cBAG |FA D2 D4 | E2EF G2GA | B2B2 e3e | D2B2c3c |

B2E2A4 | BAGF EFGA | B2E2E2 BA | G2FE D2B2 | E4E2 ||

 

PRINCESS ROYAL [3], THE. English, Morris Dance Tune (2/2 or 4/4 time). England; Cotswolds, Shropshire. G Major (Ashman, Bacon, Barnes, Carlin, Mallinson, Raven): F Major (Bacon‑Sherborne). Standard tuning. ABC (Raven): AABB (Ashman, Bacon‑Abingdon): ABCBCB (Bacon, Barnes, Mallinson ‑ Fieldtown, Oddington, Sherborne): AABA'A'B (Carlin): AABCCCC (Bacon‑Bidford). From the villages of Abingdon (Berkshire), Bidford (Warwickshire), Fieldtown (collector Cecil Sharpe's name for Leafield, Oxfordshire), Oddington (Oddington) and Sherborne (Gloucestershire) in England's Cotswolds. A major key variant of version #1. Sources for notated versions: Simpson, 1908, via Cecil Sharpe [Bacon]; a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No 109a, pg. 45. Bacon (The Morris Ring), 1974; pgs. 3, 68, 167, 275, 291. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 102. Carlin (Master Collection), 1984; No. 32, pg. 30. Mallinson (Mally’s Cotswold Morris Book), 1988, vol. 2; No. 44, pg. 22. Raven (English Country Dance Tunes), 1984; pg. 79. Cottey Light Industries CLI-903, Dexter et al - "Over the Water" (1993).

X:1

T:The Princess Royal [3]

M:2/4

L:1/16

Q:110

K:D

AG|F2E2 D2AG|FGFE D2A2|B3A GABG|A2AG F3A|

G2F2 E2D2|CDEC A,2AG|F2ED E2A,2|D4 D2:||:A2|

B3B B2A2|B2c2 d3c|d2c2 B2A2|FEDF E2A,A,|

D2D2 E3G|FED2 d3c|d2A2 B4|A2F2 G3F|

G2F2 E2D2|CDEC A,2AG|F2ED E2A,2|D4 D2:||

 

PRINCESS ROYAL [4], THE. Scottish, March (4/4 time). A Minor. Standard tuning. AABB. Carlin (Master Collection), 1984; No. 185, pg. 107.

 

PRINCESS ROYAL [5]. AKA and see “Ianthe.”

 

PRINCESS ROYAL [6]. Reel. WMT002, Wendy MacIsaac – “That’s What You Get” (1997?).

                       

PRINE'S HORNPIPE. AKA and see "(An) Gasur Mor."  Printed by P.W. Joyce.

           

PRINTEMPS RAPPELLE AUX ARMES, LE. AKA and see "The turtle thus with plaintive crying."

           

PRIONNS' TEARLACH. AKA and see "Prince Charles."

           

PRIOSUIN CHLUAIN MEALA. AKA - “Priosun Chuaon Meala.” AKA and see “The Prison of Clonmel.”

 

PRISCILLA’S (JIG). American, Jig. Composed by Peterborough, New Hampshire, dance musician and composer Bob McQuillan. BM 91, Buddy MacMaster – “Glencoe Hall.”

 

PRISCILLA’S (REEL). Irish, Reel. G Major. Standard tuning. AABB. The title is Luke O’Malley’s, after his source Priscilla Donohue, a 15 year old in 1964, from Scariff, County Clare. O’Malley Collection, 1976; No. 16, pg. 8.

X: 1

T: Priscilla's

M: 4/4

L: 1/8

Q: 350

S: Luke O'Malley Volume 1

Z: Transcribed by Bill Black

R: Reel

K: G

dedB cBAB | G2 BG DGBG | A^GAB cBA=G | EAA^G ABcA |

dedB cBAB | G2 BG DGBG | A^GAB cdef | gdcA BGG2 :|

|: dg{a}gf gdBd | ea{b}a^g a=geg | (3fed ad bdad | gage dcBc |

dg{a}gf gdBd | ea{b}a^g a=geg | gage dcBc | (3ded cA BGG2 :|

 


PRISON BARS. See "Barres d' la Prison, Les."

 

PRISON IN YORKIES-DO-WELL, THE. American, Jig. USA, southwestern Pa. D Major. Standard tuning. AB. Bayard (1981) states this was originally a song tune, of which only a fragment of the words survived, beginning "There was a prison in Yorkies‑Do‑Well," and a chorus of "With my fol de rol dol de O day." Source for notated version: Mrs. Sarah Armstrong (fiddler from Westmoreland County, Pa., 1943) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 466, pgs. 443‑444.

 

PRISON OF CLONMEL, THE (Priosuin/Priosun Chluain Meala). Irish, Air (3/4 time). G Major. Standard tuning. One part. This air belongs to the family of tunes which includes “As a Soldier and a Sailor (were Walking One Day).” Ó Canainn (Traditional Slow Airs of Ireland), 1995; pg. 19.

 

PRISON WALTZ. AKA and see "Valse de Prison."

 

PRITTY KITTY. English, Country Dance Tune. F Major. Standard tuning. AABB. The melody is 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. 103.

X:103

T:Pritty Kitty

M:C

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:F

FAcf {f}e2d2|cdBc A2G2|FAcf e2 fa|gfed {d}c4:|

|:dcBA BG g2|cBAG AF f2|dcBA Bbag|afce [e}f4:||

 

PRIVATE ASS AND CART. Irish, Reel. D Major. Standard tuning. AB. Source for notated version: Bill Black notes the setting is Kathleen Collins’ version of a favorite of New York fiddler Andy McGann’s, who had the tune from (flute player) Mike Rafferty (b. 1926, Ballinakil, east Galway), who learned it from the playing of his father, Barrel Rafferty [Black]. Black (Music’s the Very Best Thing), 1996; No. 128, pg. 66. Harker (300 Tunes from Mike Rafferty), 2005; No. 72, pg. 23. Larraga LR090098, Mike and Mary Rafferty – “The Old Fireside Music” (1998). Shanachie 34010, Kathleen Collins – “Traditional Music of Ireland” (originally released in 1978). Shanachie 79054, Cherish the Ladies – “Fathers and Daughters” (1986). 

X:1

T: Private Ass & Cart

S: Kathleen Collins

Z: transcribed by B.Black

N: a version of “Callahan’s”

Q: 350

R: reel

M: 4/4

L: 1/8

K: D

F2 AF GE E2 | FADF ABAG | F2 AF GE E2 | ABGE FD D2 :|

cdec d2 cB | AE E2 AE E2 | cdec d2 cB | ABGE FD D2 |

cdec d2 cB | AE E2 AEAB | cBcd efed | cAGE FD D2 ||

X:2

T:Private Ass and Cart

M:4/4

L:1/8

R:Reel

Z:Lesl

K:D

F~F2A GE~E2|FddF ABAG|F~F2D GE~E2|A2GE EDDE|
F~F2D GE~E2|FDDF AzAG|F~F2D GE~E2|A2GE EDD2||
(3Bcd ec d2ed|cAGE ~A3 z|(3Bcd ec dged|cAGE EDD2|
(3Bcd ec d2ed|cAGE ~A3B|c2cd e~e2d|cAGE EDDE||

 

PRIZE FOR THE LADIES, A. Irish, Hornpipe. G Major. Standard tuning. AABB. See also the related set dance “The Hunt [1].” O'Neill (Krassen), 1976; pg. 213. O’Neill (Music of Ireland), 1903; No. 1764.

 

PROCESSIONAL MORRIS [1]. Welsh, Morris Dance Tune (4/4 time). D Minor. Standard TUNING. AABB. A minor‑mode version of "The Liverpool Hornpipe [1]." A note with the piece indicates it was "collected by Lady Lewis." Mellor (Welsh Dance Tunes), 1935; pg. 1.

 

PROCESSIONAL MORRIS [2]. Welsh, Morris Dance Tune (4/4 time). E Major. Standard tuning. ABB. A version of the English "Helston Furry Dance." A note with the piece indicated it was "collected by Lady Lewis." Mellor notes that variants of this melody were common throughout England and Wales, "although, curiously, the tune is not used by Gloucestershire and Oxfordshire traditional dancers." Mellor (Welsh Dance Tunes), 1935; pg. 2.

           

PROCTOR’S HORNPIPE. American, Hornpipe. A Major. Standard tuning. AABB. Howe (1000 Jigs and Reels), c. 1867; pg. 55.

X:1

T:Proctor’s Hornpipe

M:2/4

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:A

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

(3e/a/g/ (3f/e/d/ (3c/f/e/ (3d/c/B/ | (3A/c/B/ (3A/G/F/ E/F/G/A/|B/c/d/B/ G/E/F/G/|(3A/c/e/ (3a/e/c/ A:|

|:(3B/A/G/|e/A/a/A/ g/A/f/A/|e/A/e’/A/ c/c’/a/A/|(3f/g/a/ (3g/f/e/ (3^d/e/f/ (3e/d/c/|(3B/c/d/ (3c/B/A/ (3G/A/B/ (3E/F/G/|

A(3c/B/A/ G/e/F/d/|E/c/D/B/ C/A/B,/G/|A,/C/D/A/ B,/B/d/c/ |G/E/F/G/ A:|

                       

PROFESSOR BLACKIE. Scottish, Air. D Major. Standard tuning. One part. Composed by the great Scots fiddler-composer J. Scott Skinner (1843-1927). Skinner (The Scottish Violinist), pg. 48. Rounder 7059, Alex Francis MacKay with Gordon MacLean – “Gaelic in the Bow” (2005).

X:1

T:Professor Blackie

M:4/4

L:1/8

N:”Sadly”

R:Air

S:Skinner – The Scottish Violinist

Z:AK/Fiddler’s Companion

K:D

A, | {C}[D2D2] FD (F/E/).D/.C/ DF/A/ | d2 cd Bd A2 | {G/D/}B2 G>B Ad FA |

{F}G2 B,>D CE A,A | {C}[D2D2] FD (F/E/).D/.C/ {C}DF/A/ |

{c}d2 cd Bd A2 | {G,/D/}B2 GB A{c}d c/B/A/G/ | FD {D}F>>E (D2D) || g |

f2 df ea ce | {c}d2 Bd ce A{B}=c | B2 GB Ad FA | GB EG CE A,g |

(f>e) d.f .e.a .c.e | (d>c) Bd ce A=c | Bd GB Ad c/B/A/G/ | FD {D}(F>E) (D2D) ||

 

PROFESSOR DELBERT’S BIRTHDAY. Canadian, Pipe Jig. Canada, Cape Breton. A Mixolydian. Standard tuning. AABB’. Composed by fiddler, editor, publisher, composer and lighthouse-keeper Paul Stewart Cranford. Cranford (Jerry Holland: The Second Collection), 2000; No. 223, pg. 83.

 

PROFESSOR HANS KUNG’S VISIT TO CAPE BRETON. Canadian, Canada, Cape Breton. Composed by fiddler Carl MacKenzie and recorded on his “Celtic Ceilidh.”

 

PROFESSOR MARTIN’S MAGGOT.  English, Jig. F Major. Standard tuning. AABCBC. Attributed to Prof. Leonard Martin c. 1930. The notated melody was discovered in the back of a “Playford Book” among the papers of Professor Martin of Liverpool University after he died. Barnes (Country Dance Tunes, vol. 2), 2005; pg. 103.

 

PROFIAD Y BOTWM. AKA and see “Prelude of the Boss.”

 

PROFIAD YR EOS BRIDO. AKA and see “The Nightingale’s Prelude.”

 

PROHIBITION, THE. AKA and see “The Ladies of Leinster.” Irish, Reel. E Minor. Standard tuning. AB. Mulvihill credits the composition to fiddler Lad O’Beirne (New York), although Paul de Grae points out the tune is nearly note-for-note the same as “The Ladies of Leinster” as printed by O’Neill (DMI 691, MOI 1461), and by Mulvihill later in his own volume (No. 59). Mulvihill (1st Collection), 1986; No. 4, pg. 1.

 


PROINSIAS O’ MAONAIGH [1]. AKA and see “Vincent Campbell’s Mazurkas.” Irish, Mazurka. D Major. Standard tuning. AABB.

X:1

T:Proinsias O' Maonaigh #1

R:Mazurka

D:Mair\'ead N\'i Mhaonaigh & Frankie Kennedy: Ceol Aduaidh

D:Fiddle Sticks, Irish Traditional Music from Donegal

H:From the repertoire of Proinsias \'O Maonaigh

Z:htkeays@syr.edu

O:Ireland

M:3/4

K:D

P:D

DF|AF A2 dc|BG B2 ed|cB c2 BA|F2 F2 DF|

AF A2 dc|BG B2 ed|cB c2 BA|d2 d2 fg:|

af d2 A2|c2 B2 ef|ge c2 A2|B2 A2 fg|

af d2 A2|c2 B2 ef|ge cA Bc|d2 d2:|

 

PROINSIAS O’ MAONAIGH [2]. Irish, Mazurka.

X:1

T:Proinsias O' Maonaigh #2

R:Mazurka

D:Mair\'ead N\'i Mhaonaigh & Frankie Kennedy: Ceol Aduaidh

D:Fiddle Sticks, Irish Traditional Music from Donegal

H:From the repertoire of Proinsias \'O Maonaigh

Z:htkeays@syr.edu

O:Ireland

M:3/4

K:G

P:G

GA|B2 BA GE|D2 D2 B,D|E2 E2 CE|DB, D2 GA|

B2 BA GE|D2 D2 B,D|E2 F2 D2|G4 :|

GA|B2 B2 dB|cB c2 DF|A2 A2 dc|BA B2 GA|

B2 B2 dB|cB c2 DF|A3 c BA|G4 :|

                       

PROINSEAS OG UA MAENAIG. AKA and see "Young Francis Mooney."

                       

PROISDEAL BRAINFIONA MICSEOIN. AKA and see "Jackson's Bottle of Brandy."

                       

PROMENADE [1] (Sleaschéim an Promenade). AKA and see “Coleman’s (Slip Jig) [1].” Irish, Slip Jig. A Dorian. Standard tuning. AABB. A note with this in the manuscript reads: “Ml. Coleman who danced as he played this tune. Wm. Clancy 4/2/57.” However, Breathnach could find no recording of the tune by the great Sligo/New York fiddler Michael Coleman (1891-1945). Fiddler Michael Gorman (who spent much of his life in London) did record the tune, and Breathnach interestingly notes that Coleman and Gorman had the same fiddle teacher in County Sligo, James Gannon. Source for notated version: from a manuscript obtained from Ennis, County Clare, piper, piano player and fiddler Sean Reid (1907-1978) [Breathnach]. It appears in Bulmer & Sharpley (Music from Ireland), vol. 3, No. 77 as “Coleman’s 1.” Breathnach (CRÉ IV), 1996; No. 46, pg. 23. Folkways FP6819, Michael Gorman & Willie Clancy - “Irish Jigs, Reels and Hornpipes” (mid-1950’s). Mulligan LUN 028, Kevin Burke & Mícheál Ó Domhnaill – “Promenade” (1979).

                       

PROMENADE [2], LA. See "Cottillon la Promenade," "The King of Denmark's Favourite." English, Jig. G Major. Standard tuning. AABBCC. The melody first appears in Charles and Samuel Thompson’s Compleat Tutor for the Fife (London, 1770). In that same year it was entered into Northumbrian musician William Vickers’ large manuscript collection as “Cottilon la Promenade.” Fifer Thomas Dixon, of Danbury, Connecticut, included the melody in his 1776-1778 fife manuscript of the American Revolution. Mattson & Walz (Old Fort Snelling... Fife), 1974; pg. 69.

X:1

T:Promenade, La

M:6/8

L:1/8

K:G

G2d B2A|B2c B2A|G2d B2G|c2 A B3:|

|:GAG G2A|BcB B2A|GAG GcB|AGF G3:|

|:ded d3|DED D3|cdc c3|DED D3|G2D G2A|

BcB B2A|G2D GcA|AGF G3:|

 

PROMENADE [3] THE.  English (?), March (4/4 time). G Major. Standard tuning. AAB. O’Farrell (Pocket Companion, vol. IV), c. 1810; pg. 91.

X:1

T:Promenade, The [3]

M:C

L:1/8

R:March

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

Z:AK/Fiddler’s Companion

K:G

D | G>AGA cBAG | B>cBc edcB | gbdg egAc | BdEA GFED | GAGA cBAG |

BcBc edcB | bg d/g/b/g/ afAc | BAGF G3 :| g | bgef/g/ afd>f | gfed dcBA |

a2 (g/f/e/d/) (ag/a/) (ba/g/) | f/e/f/g/ a/g/f/e/ d3 G/B/ | .d.d.d.d .c.c.c.c | BBdB BFED |

G>AGA B>cBc | edcB B2 A>g | bg d/g/b/g/ af d/f/a/f/ | gfea gfed | efga ba/b/ c’(b/a/) | g2 dB G3 ||

                       

PROMENADE WALTZ. AKA and see "Waltz Quadrille."

                       

PROMESSE J'AI FAIT, LA (The Promise I Made). Cajun, Waltz. USA, southwestern Louisiana. D Major. Standard tuning. One part. Source for notated version: Phil Menard (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 452-453. Kajun Records Kj-1011, Phil Menard.

                       

PROMISE I MADE, THE. AKA and see "La Promesse J'ai Fait."


                       

PROPOSAL [1], THE (An Tairgse). AKA and see "He Asked Me to Name the Day," "I Know That Johnny Loves Me." Irish, Slow Air (4/4 time). D Minor. Standard tuning. AB. The tune was remembered by Captain Francis O’Neill from his childhood in Tralibane, County Cork. In Irish Folk Music (1910) he says:

***

‘The Proposal’, or ‘He Asked Me to Name the Day’ is an air

of much beauty when sung or played with expression. Forgotten

since early youth, it came to me like a flash one afternoon. For

fear of again losing it I grasped (his musical collaborator) Sergt.

O’Neill’s bow-hand, lest his strains unhinge my memory. This

unpublished melody, which possesses marked individuality,

came dangerously near passing into oblivion.

***

O'Neill (O’Neill’s Irish Music), 1915/1987; No. 38, pg. 27. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 192, pg. 34.

X:1

T:Proposal, The [1]

M:C

L:1/8

R:Air

N:”Slow with expression”

S:O’Neill – Music of Ireland (1903), No. 192

Z:AK/Fiddler’s Companion

K:Dmin

fe | d{e/d/}c A>G FGAB | c{d/c/}=B cd c2 fe | d{e/d/}^c A>G FGAG |

A<d d{e/d/}c d2 fe | d{e/d/}c A>G FGAB | c{d/c/}=B cd c2 fg |

a{b/a/}f gz/e/ f{g/f/}d ez/c/ | A<d d{e/d/}^c d2 || de | f{g/f/} dz/e/ fagf |

e{f/e/} dz/e/ fagf | e{f/e/}d cz/d/ efge | f{g/f/}e dz/e/ fagf | e{f/e/}d ^ce d2 de |

{g}fede .fagf | {f}ed^cd .egfe | .fagf egfe | d^cde f2 ||

 


PROPOSAL [2], THE. AKA and see “George Carnegie’s Strathspey,” “Inverara Rant.” Canadian, Reel. Canada, Cape Breton. A Dorian. Standard tuning. AB. Dunlay and Greenberg gave this name to variations of the tune also known as “(I Wish You Would) Marry Me Now,” a four part tune. See also older Northumbrian versions “Lady Warkworth’s Reel [1]” and “Morpeth Lasses.” Sources for notated versions: Colin Boyd and Mary MacDonald (Cape Breton) [Dunlay and Greenberg]. Dunlay and Greenberg (Traditional Celtic Violin Music from Cape Breton), 1996; pg. 58. Celtic CX 001, Decca 14026, Colin Boyd (c. 1936. Unlisted after “Domhnull Tailear”). Marquis ERA 181, David Greenberg - “Bach Meets Cape Breton” (1996. Appears as “Traditional Reel”).

                       

PROSPERITY BREAKDOWN. AKA and see "Prettiest (Little) Girl in the Country(-O)." Renamed by the Georgia old-time band the Skillet Lickers in praise of F.D.R. and the New Deal.

                       

PROSPERITY SPECIAL. AKA and see "Pike's Peak."

                       

PROTECT(ING) THE INNOCENT. AKA and see "Shaving a Dead Man." The tune's original title, according to Oscar Wright, is "Shaving a Dead N....r." The title above comes from a story told by West Virginia musician Claude Keaton. "Mr. Keaton was listening to the tune on a cassette recorder one day at work when a co‑worker, who was black, asked him it’s name. Thinking of the TV program called 'Dragnet,' he said..." (Bill Hicks, 1972). Rounder 0010, Fuzzy Mountain String Band (learned from Oscar Wright). Rounder 0089, Oscar & Eugene Wright ‑ "Old Time Fiddle and Guitar Music from West Virginia."

                                   

PROTESTANT BOYS. AKA and see "Lillibulero," "Lilly Bullery," "Bumpers Are Flowing," "Orange and Green Will Carry the Day." Irish (originally), American; Jig or Air (6/8 time, "with spirit"). G Major (Bayard, Jarman, O'Neill): D Major (Bayard): A Major (Kerr). Standard tuning. AB (most versions): AABB (Kerr/Vol. 4). The tune, originally "Lillibulero" was associated by the Irish with the conquering English of William of Orange, and subsequently adopted by the Protestant Scots‑Irish. Chappell and Simpson cite several 17th century broadsides of an anti‑Catholic nature that could have been sung to the tune, all of which feature the phrase "Protestant Boys" prominently and recurrently. On the strength of this Bayard (1981) dates the version of this tune married to the title above from the late 1680's on. Sources for notated versions: Hiram Horner (fifer from Westmoreland and Fayette Counties, Pa.) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 445A‑B, pg. 414. Jarman (Old Time Fiddlin' Tunes); No. or pg. 16. Kerr (Merry Melodies), vol. 4; No. 228, pg. 25. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 45, pg. 29. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 19, pg. 4. F&W Records 1; "F&W String Band."

X:1

T:The Protestant Boys

B:O'Neill's Music of Ireland, no. 19

Z:transcribed by Paul de Grae

M:6/8

L:1/8

K:G

D|GFG BcB|AFA c2 e|dBG GcB|AGF G2 D|

GFG BcB|AFA c2 e|dBG c2 B|AGF G2 ||

d|g2 d e2 d|g2 d e2 d|def gfe|dcB A2 g|

edc Bcd|dcB ABc|dBG c2 B|AGF G2 ||

                       

PROUDLOCK'S HORNPIPE. AKA – “Lewis Proudlock’s.” AKA and see “Belle Isle’s March.” English, Hornpipe. England, Northumberland. G Major. Standard tuning. AABB. This version is apparently derived from smallpipe playing. The tune is a variant of “Monk’s March.” Shanachie 97011, Duck Baker - "Irish Reels, Jigs, Airs and Hornpipes" (1990). Topic 12TS283. Topic TSCD 669, Billy Ballentine (et al) – “Ranting and Reeling: Dance Music of the north of England” (1998. Billy Ballentine (born c. 1890’s) was a shepherd, and a piccolo and concertina player from Simmonburn Common, near Wark, Northumberland).

X:1

T:Proudlock’s Hornpipe

M:4/4

L:1/8

K:G

|:D2|GDGB AGAB|G2 gf gedc|(3Bcd BG (3ABc AF|GFGA BFED|

GDGB AGAB|G2 gf gedc|(3Bcd BG (3ABc AF|G2B2G2:|

|:Bc|dedc B2 (3GAB|cdcB A2Bc|dedc B2g2|agfe dcBA|

GDGB AGAB|G2 fg gedc|(3Bcd BG (3ABc AF|G2B2G2:|


                       

PROUDLY THE NOTE OF THE TRUMPET IS SOUNDING. AKA and see "O'Donnell Abu," "Our Land Shall Be Free."

                       


PROVIDENCE REEL. AKA – “The Providence.” AKA and see "The Rossport Reel," "Cooney's (Reel)." Irish, Reel. D Major. Standard tuning. AABB (Cranitch, Mallinson, Miller & Perron): AA'BB' (Alewine). The title “Providence Reel” honors Providence, Rhode Island. “Providence Reel” is said to be a composition of the great Co. Mayo and New York fiddler John McGrath (1900-1955), who named it "The Rossport Reel" after his birthplace (Taylor, 1992, whose information seems to come from McGrath’s nephew Vincent McGrath of Drogheda). McGrath was originally an accordion player until he lost some fingers on his right hand, and only then turned to the fiddle. That McGrath was the composer is in some dispute, and there are some who maintain he only wrote one composition, a reel in Paddy O’Brien’s tune book called “John McGrath’s Composition.” Irish, Reel. D Major. Standard. AABB (Cranitch, Mallinson, Miller & Perron): AA'BB' (Alewine). The title “Providence Reel” honors Providence, Rhode Island. “Providence Reel” is said to be a composition of fiddler John McGrath (1900-1955), who named it "The Rossport Reel" after his birthplace, Rossport in County Mayo (Taylor, 1992, whose information seems to come from McGrath’s nephew Vincent McGrath of Drogheda). McGrath, who spent most of his life in New York, was originally an accordion player until he lost some fingers on his right hand, and only then turned to the fiddle. That McGrath was the composer is in some dispute, and there are some who maintain he only wrote one composition, a reel in Paddy O’Brien’s tune book called “John McGrath’s Composition.” There is also a persistent rumor that the great fiddler Michael Coleman, originally from County Sligo, composed it on a train from New York to Providence, where he, Lad Beirne and Martin Wynne were booked to play a wedding for the Lyons family. They are supposed to have played it that same day. The late Danny O’Donnell of Donegal maintained that Coleman and Long Island fiddler Louis Quinn simply renamed the tune on a trip to Providence, Rhode Island. The tune does not appear in older collections and apparently was first published in 1950 by Boston button-accordion player Jerry O’Brien in his Irish Folk Dance Music under the “Rossport Reel” title. The first appearance in print under the “Providence” title appears to be in the Bulmer & Sharpley Collection (1974). Philippe Varlet finds the earliest sound recordings from the 1970’s by Paddy Reynolds (on his Rego LP “Sweet and Traditional”), by fiddler Sean Ryan, and on a tape by Aggie Whyte. The tune is distinguished by its beginning on the V chord on the downbeat. Sources for notated versions: Paddy Reynolds (1920-2005, Staten Island, New York) [Miller & Perron, Mulvihill]; . Alewine (Maid that Cut Off the Chicken’s Lips), 1987; pg. 29. Bulmer & Sharpley (Music from Ireland), 1976, vol. 2; No. 19. Cranitch (Irish Fiddle Book), 1996; No. 51, pg. 145. Mallinson (Essential), 1995; No. 45, pg. 20. Miller & Perron (Irish Traditional Fiddle Tunes), 1977; vol. 1, No. 6. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 99 (two versions). Mulvihill (1st Collection), 1986; No. 90, pg. 24. Treoir, vol. 38, No. 3 & 4, 2006; pg. 34. Cló Iar-Chonnachta Records, CICD 148, Mick Conneely – “Selkie” (2001). Coleman Music Center CHC 009, fiddler Fred Finn – “The Coleman Archive, vol. 2: The Home Place” (2005. Various artists). Green Linnet Records SIF 1058, Matt Molloy & Sean Keane ‑ "Contentment is Wealth" (1985). Kells Music, Paddy Reynolds – “Atlantic Wave.” Ossian OSS 5, Matt Cranitch – “Take a Bow.” Ossian OSS CD 130, Sliabh Notes – “Along Blackwater’s Banks” (2002). Rego, Paddy Reynolds - “Sweet and Traditional.” Tara CD 4011, Frankie Gavin – “Fierce Traditional.” Varrick VR‑038, Yankee Ingenuity ‑ "Heatin' up the Hall" (1989). Marcas O'Murchu – “O Bheal go Beal.” Glenside and Kilfenora Ceili Bands – “Songs, Jigs and Reels.”

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Providence, The

R:reel

C:John McGrath (?)

D:Matt Molloy & Sean Keane: Contentment is Wealth

Z:id:hn-reel-15

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

M:C|

L:1/8

K:D

~E3F DEFA|d2fd gefd|edBd A2FA|(3Bcd AF GFED|

~E3F DEFA|d2fd gefd|edBd A2FA|1 (3Bcd AG FDDF:|2 (3Bcd AG FDDe||

|:fd~d2 fdge|f2~d2 ecAe|fd~d2 fgaf|gfeg fdde|

fgaf gfec|dBAF G2FG|~A3F ABde|1 faeg fdde:|2 faeg fdAF||

                       

PROVINCIAL DANCE, THE. English, Polka. D Major. Standard tuning. AABB. From Geminiani's The Entire New and Complete Tutor for the Violin. Trim (Thomas Hardy), 1990; No. 90.

                       

PROVOST DAWSON'S FAVORITE. AKA and see "Linlithgow Loch."

                       

PRUITT. Old‑Time, Breakdown. USA, Oklahoma. G Major. Standard tuning. AABB. Source for notated version: John Ware (Waggoner County, Oklahoma) [Thede]. Thede (The Fiddle Book), 1967; pg. 89.

           

PRUDENTE, LA.  French, Country Dance (6/8 time). G 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. 52.

X:1

T:Prudente, La

M:6/8

L:1/8

S:Daubat – Cent Contredanses en Rond (1757), No. 52

Z:AK/Fiddler’s Companion

K:G

{A}G3 Bcd | efg {e}dcB | A3 {b}agf | gfe fga | {A}G3 Bcd | efg dcB |

edc BcA | G3G,3 :: {a}g>fg dg(b | b)gd bgd | {g}f>ef df(a | a)fd afd |

{a}g>fg dg(b | b)gd bgd | {g}f>ef {b}agf | gdB G3 :|

                                   

PRUNES FOR BREAKFAST. Irish, Jig. D Major. Standard tuning. AABB. Composed by Falmouth, Massachusetts, writer and musician Bill Black. Black (Music’s the Very Best Thing), 1996; No. 140.

X:1

T: Prunes for Breakfast

C: © B. Black

Q: 325

R: jig

M: 6/8

L: 1/8

K: D

A | dBc A2 A | BGd AFD | BGd fda | ^gdB AEA |

dBc AFA | Bcd FED | EBB cBc | dFE D2 :|

A | dcd aba | =cBc gag | fdd gdd | ^gdb a2 a |

bag fed | =cgc e^cA | dBc AEA | dFE D2 :|

                       

PRUNOBLE’S HORNPIPE.  English, Hornpipe. D Major. Standard tuning. AABB. The melody appears in the music manuscript copybook of fiddler John Burks, dated 1821. Unfortunately nothing is known of Burks, although he may have been from the north of England. The melody is an early version of the tune usually known as “Alexander’s Hornpipe.”

X:1

T:Prunoble’s Hornpipe

M:C|

L:1/8

R:Hornpipe

S:John Burks’ music manuscript copybook, dated 1821

K:D

ABc|dAFA DFAd|fdAd AFdf|gfge fefd|edcB ABcA|dAFA DFAd|

fdAd FAdf|gabg face|d2d2d2::AG|FAdA FAdA|GBdB GBdB|

Acec Acec|efaf gecA|FAdA FAdA|GBdB GBdB|Aceg face|d2d2d2:|

 

PRUSSIAN CAMP.  English, Jig. A Major. Standard tuning. AABB. The melody appears to be unique to London publisher Charles and Samuel Thompson’s 1765 publication. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 34.

X:1

T:Prussian Camp, The

M:6/8

L:1/8

N:The ‘d’ note in the third measure of the 2nd part may be played sharp.

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:A

agf edc|BcA GFE|agf edc|BcA e3::e=gf edc|dAF DFA|

fag fed|eBG E3|agf edc|BcA GFE|Fad cdB|A3 A,3:||

 

PRUSSIAN HORNPIPE [1]. English, Hornpipe. England, Northumberland. F Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 2; No. 244.

 

PRUSSIAN HORNPIPE [2]. English, Hornpipe. England, Northumberland. G Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 2; No. 383.

                       

PRUSSIAN LADS, THE. English, Reel. England, Northumberland. C Major. Standard tuning. AAB. Source for notated version: the 1770 music manuscript collection of Northumbrian musician William Vickers, about whom, unfortunately nothing is known [Seattle]. Seattle (William Vickers), 1987, Part 2; No. 221.

X:1

T:Prussian Lads, The

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:C

G|c2 ec B2dB|ABcA dBAG|d2 ec B2dB|A2B2c3:|

|:e|f2 ag fedc|Bcde dBAG|f2 ag fedc|e2^f2 g3e|

f2 ag fedc|Bcde dBAG|c2 ec B2dB|A2B2 “tr”c3:|

                       

PRUSSIAN MARCH. British military march appearing in an 1812 army manuscript book (Winstock).

 

PRUSSIAN SOLDIER, THE. English, Jig. G Major. Standard tuning. AABB. The melody appears 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. 74.

X:1

T:Prussian Soldier, The

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:G

GAB cAc|BGB AFD|GAB cAc|(B/c/d)B G3::Bdf gdB|gdB gdB|

Bdf gdB|gdB A3|Bdg gdB|gdB gdB|(c/d/e)c (A/B/c)A|BGG G3:||

           

PRUSSIAN’S DANCE.  English, Jig. G Major. Standard tuning. AABB. The melody was first published in John Hinton’s Universal Magazine of Knowledge and Pleasure (London, 1758). The melody also appears in the music manuscript collection of London musician Thomas Hammersley (1790). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 20.

X:1

T:Prussian’s Dance, The

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:G

def gfe|d2d dcB|cde dcB|ABG FED|def gfe|d2d def|gfe AB^c|d3 D3:|

|:dDd cDc|BAG AFD|dDd cDc|BAG AFD|EFG ABc|def gdB|ecA dBG|G3 [G,3G3]:||

           

PRUSSIENNE, LA. English?, Country Dance Tune (2/4 time). A Major. Standard tuning. AABBCC. From Preston's 24 Country Dances for the Year 1794. Trim (Thomas Hardy), 1990; No. 99.

                       

P’TIT BÛCHEUX, LE (The Little Lumberjack).  See “(Le) Petit Bûcheux.”

           

P'TITE 'NETTE, LA. French, Polka. G Major. Standard tuning. AABB. Composed by Fredrick Paris. Stevens (Massif Central), 1988; No. 100.

                       

PUC AR BUILE, AN. Irish, Air. The song tells of a mischievous goat gone amok. The word begin:
***

Ar mo ghabáil dom siar chun Droichead Uí Mhórdha,
Píce i m' dhóid is mé ag dul i meitheal,
Cé chasfaí orm i gcumar ceoidh
Ach pocán crón is é ar buile,
Alliliú puilliliu, alliliú tá an poc ar buile.

***

Do ritheamar trasna trí ruilleogach
Is do ghluais an comhrac ar fud na muinge,
Is treascairt dá bhfuair sé sna turtóga
Chuas ina ainneoin ar a dhroim le fuinneamh
Alliliú puilliliu, alliliú tá an poc ar buile.

***

Chieftains – “Water from the Well.” Clancy Brothers – “Hearty and Hellish.”

                       

PUDDING MAGGIE. Scottish, Strathspey. D Major. Standard tuning. AAB. John Glen (1891) finds the earliest appearance of this tune in print in Robert Bremner's 1757 collection (pg. 50). Paul Cranford notes the similarity of this tune with the strathspeys “Lady Mary Menzies Reel” and “Lucy Campbell's Strathspey [4].” Bremner (Scots Reels), c. 1757; pg. 50.

X:1

T:Pudding Maggie

M:C|

L:1/8

R:Reel or Strathspey

S:Bremner – Scots Reels (c. 1757)

Z:AK/Fiddler’s Companion

K:D

 F | D/D/D AF ADDF | D/D/D AF BEEF | D/D/D A>B d>efe | dBAF ADD :|

f | d>efg abaf | gefd beef | d>efg abaf | ge (a/g/f/e/) fdde | defg abaf | gefd beef |

(d/ef) (e/f/g) (a/g/f) (g/f/e) | f>bef dDD ||

                       

PUDDINGS AND PIES. English, Dance Tune. The air appears under this title in Playford's English Dancing Master (1703). John Gay used it in his ballad opera The Beggar's Opera (1729) under the title "There was an old woman."

                       

PULASKI GUARDS. American, Reel. B Flat Major. Standard tuning. AABB. The Pulaski Guards were formed in Boston in the mid-1830’s and became one of the premier Boston militia groups of the mid-19the century. Headquartered at C Street and Broadway, their first leader was Colonel J.L.C. Amee. A piece of music called “The Pulaski Guards Quick Step” was published in Boston in 1836, composed by one James Hooten, and dedicated to Colonel Amee (see American Memory: http://memory.loc.gov/cgi-bin/ampage?collId=mussm&fileName=sm2/sm1836/010000/010760/mussm010760.db&recNum=0&itemLink=S?ammem/mussm:@field(TITLE+@od1(Pulaski+guards+quick+step++))&linkText=0). Later the unit was part of Colonel Robert Codwin’s 1st Massachusetts Regiment during the American Civil War. The unit often paraded in the years preceding the war, sometimes at Horn Pond, an area of exclusive resorts and hotels that had been opened up by the development of the Middlesex Canal, thus making country excursions to the Woburn area readily accessible to Boston society. Parker L. Converse, in his Legends of Woburn, First Series, records:

***

Here in the summer, were numbers of boarders. Parties from Boston and elsewhere came for the day.

Balls, parades, water parties, and merry makings succeeded each other in rapid succession. Here came

Boston's Military, the Pulaski Guards. New England Guards, the Tigers with their peculiar yell, the Ancient

and Honorable Artillery Co., the Charlestown Light Infantry, all crack organizations at the time, with others

from a distance. These often encamped on the flat, back of the hotel [the area below Warren Street].

With them came Kendall's Boston Brass Band, and the Brigade Band of Boston, with John Bartlett,

the finest cornet player our State has yet produced. Here crowds gathered and listened, spell bound,

as the celebrated Ned Kendall, with his gold E-flat bugle….

***

Cole (1000 Fiddle Tunes), 1940; pg. 39. Ryan’s Mammoth Collection, 1883; pg. 65.

X:1

T:Pulsaksi Guards

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:Bb

FB BD | Cc/B/ A/F/G/A/ | {c}B/A/B/c/ d/e/f/g/ | (f/d/)c/e/ d/A/ (3B/A/G/ | FB BD |

Cc/B/ A/F/G/A/ | {c}B/A/B/c/ d/e/f/g/ | (f/d/)c/e/ d/B/B :: d/B/F/B/ D/B/F/B/ |

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

A/c/F/A/ c/F/A/c/ | d/B/c/A/ B/F/ (3G/A/B/ |1 F/D/C/D/ (B,/D) :|2 F/D/C/D/ B,2 || 


                       

PULL DOWN THE BLIND. AKA and see “Somebody’s Watching.” Irish, Waltz. D Major ('A' and 'C' parts) & G Major ('C' and 'D' parts). Standard tuning. AABCCD. Roche Collection, 1927/1982, vol. 3; No. 153, pg. 50. Green Linnet SIF3040, De Dannan - "Ballroom" (1987).

X:1

T:Pull Down the Blind

M:3/4

L:1/8

R:Waltz

S:Roche – vol. 3, No. 153  (1927)

Z:AK/Fiddler’s Companion

K:D

F2|D2(F3G)|A4B2|A2(d3e)|f4a2|a2(g3f)|e4f2|e2d2B2|A2G2E2|D2(F3G)|A4B2|

A2(d3e)|f4a2|a2(g3f)|(e2B2)c2|(d2f2)e2|d4:|A2|fff2f2|eee2e2|d2c2B2|A2F2A2|BBB2B2|

ccc2c2|d2c2B2|A2F2A2|fff2f2|eee2e2|d2c2B2|A2F2A2|B4B2|c4c2|A2B2c2|d4||

K:G

E2|D2(G3A)|B4c2|A2(G3e)|d6|D2(G3A)|B4c2|A2G2E2|D6|D2(G3A)|B4c2|A2(G3e)|

d6|D2(G3A)|B4c2|(A3G)G2|G4::(Bd)|e4e2|e4e2|e2f3e|e2d2B2|d4d2|d4d2|d2g2e2|

d2B2G2|c4c2|B4B2|A3GA2|B4D2|(D2G2)A2|B4c2|(A3G)G2|G4||

                       

PULL DOWN THE SHEETS. AKA and see "The Downfall of Water Street [2]" (Pa.). American, Reel. USA, southwestern Pa. G Major. Standard tuning. Alhough the tune sounds like an Irish hornpipe or reel, Bayard (1981) was unable to trace it. Sources for notated versions: Irvin Yaugher (fiddler from Fayette County, Pa., 1946) and James Bryner (elderly fiddler from Fayette County, Pa., 1960) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 163A‑B, pgs. 100‑101.

                       

PULL DOWN YOUR VEST. American, Reel. D Major. Standard tuning. AABB. The title means 'compose yourself'. Cole (1000 Fiddle Tunes), 1940; pg. 25. Ryan’s Mammoth Collection, 1883; pg. 49.

X:1

T:Pull Down Your Vest

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

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

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

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

                       

PULL THE KNIFE AND STICK IT AGAIN (Tarraing agus Sáith Arís). Irish, Jig. E Dorian. Standard tuning. AABB (Breathnach): AA’BB’ (Harker). Breathnach (1985) suggests the title may be from a County Clare saying, which goes “Pull the knife and stick it again as the Hag of Balla said.” This refers to a black-handled knife which was a charm against fairy-folk. Matt Molloy gives the story that there once was a witch who used to ambush riders by dropping on them from the treetops. The way to break her spell was to stab her and leave the knife in, and as long as one ignored her pleas to ‘pull it out and stick it in again’, one was safe. It was follow to comply with her request, for once the knife was removed the spell resumed. A jig version of “Castle Kelly”? Sources for notated versions: flute player Matt Molloy (Ireland) [Breathnach]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ III), 1985; No. 12, pg. 7. Harker (300 Tunes from Mike Rafferty), 2005; No. 176, pg. 55 (appears as “Pull Out the Knife and Stick it in Again”).  Green Linnet GLCD 3008, “Matt Molloy” (1984). Mulligan Records LUN 004, "Matt Molloy" (1976).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Pull Out the Knife and Stick it in Again

T:Pull the Knife and Stick it Again

R:jig

H:Related to “Castle Kelly,” reel #118

D:Matt Molloy

D:Stockton’s Wing

Z:id:hn-jig-49

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

M:6/8

L:1/8

K:Edor

~E3 GFE|DB,E DB,D|~E3 GFE|ABG AFD|

~E3 GFE|DB,E DEF|G2E FED|1 B,ED E2D:|2 B,ED E2e||

|:edB BAF|EDB, ~D3|edB BAF|ABc def|

edB BAF|EDB, DEF|G2E FED|1 B,ED E2e:|2 B,ED E2D||

 

PULLET [1], THE. AKA and see "The Sporting Boys [1]," "The Boys of Portaferry." Irish, English; Reel. B Minor ('A' part) & D Major ('B' part). Standard tuning. AB (Kennedy, Raven): AABB (Kerr). Kerr identifies the tune as Irish, but David Taylor (1992) believes the root tune of this and related melodies to be a Scots tune called "The Pigeon on the Gale" (not to be confused with the modern similarly‑titled "Pigeon on the Gate"). See also "The Pullet and the Cock," "Tarraing thar timpeall an Bhothair i." Kennedy (Fiddlers Tune Book), vol. 2, 1954; pg. 11. Kerr (Merry Melodies), vol. 1; No. 20, pg. 35. Raven (English Country Dance Tunes), 1984; pg. 177.

 

PULLET [2], THE. Irish, Reel. Ireland, Munster. F Sharp Minor (‘A’ part) & A Major (‘B’ part). Standard tuning. AB. Only vaguely similar to version #1. Identified by Stanford/Petrie (1902) as a Munster reel. Source for notated version: “From MS Music Book” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 458, pg. 115.

X:1

T:Pullet, The [2]

M:C

L:1/8

N:”Allegro”

S:Stanford/Petrie (1905), No. 458

Z:AK/Fiddler’s Companion

K:F#min

e/>d/ | cAF>G F2 E>F | AFE>F E2 e>d | cAF>G F2 E>F | ABc>A B2 A>d |

cAF>G F2 E>F | AFE>F E2 e>d | cAF>G F2 E>F | ABc>A B2A | B2 |

ABAG Acec | dcBc defd | cBAG Acea | fedc BdcB | ABAG Acec | dcBc defd |

cefg agae | fdcd B2A ||

 

PULLET [3], THE. AKA and see “The Boys of Portaferry.” Irish, Reel. G Major. Standard tuning. AABB. See also the related “Sporting Boys [1].” Sources for notated versions: flute player Pat Meehan (b. 1960, south County Sligo) [Flaherty]; set dance music recorded at Na Píobairí Uilleann, late 1980’s [Taylor]. Flaherty (Trip to Sligo), 1990; pg. 105 (appears as “Unknown”). Taylor (Music for the Set: Blue Book), 1995; pg. 29. Tara 3005, Planxty – “The Woman I Loved so Well.” NPU 007, Declan Masterson & Kevin Glackin – “Face the Hob.”

                       

PULLET AND THE COCK, THE. AKA and see "The Pullet [1]," "Tarraing thar timpeall an Bhothair i." Irish, Reel. G Major. Standard tuning. AAB. Source for notated version: “From Frank Keane” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 585, pg. 148.

X:1

T:Pullet and the cock, The

M:C
L:1/8

S:Stanford/Petrie (1905), No. 585

Z:AK/Fiddler’s Companion

K:G

d>c |: BG E>D E2 D>E | GE D>B, D2 dc | BGE>D E2 D>E | GABG A2 G>A :|

GAGF GBdB | cBAB cdec | BcBA GABG | AGBG AGE>F |

GAGF GBdB | cBAB cdef | gage dedB | cBAG A>cBA ||

                       

PULSE OF MY HEART [1] (Cuisle Mo Chroidhe/Croide) {phonetically ‑ "Cushla Machree"}. Irish, Slow Air (3/4 time). A Minor. Standard tuning. One part. "There are other airs with this name" (Joyce). Source for notated version: George Sinclair, Cork, via Forde (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 661, pg. 332.

 

PULSE OF MY HEART [2] (Cuisle Mo Croide). Irish, Slow Air (3/4 time). D Minor. Standard tuning. ABCD. An elaboration of version #1. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 554, pg. 97.

X:1

T:Pulse of My Heart [2]

M:3/4

L:1/8

R:Air

N:”Slow”

S:O’Neill – Music of Ireland (1903), No. 554

Z:AK/Fiddler’s Companion

K:D Minor

A2|d3 fed|c2A2 de|f2f2f2|e2e2e2|d3 fed|c2A2d2|c2A2A2|A4||A2|d3 fed|c2A2 de|

f2f2f2|e2e2e2|dc BA GF|G3 BAG|F2D2D2|D4||DE|F2 FG FG|c2A2A2|B2G2G2|

c2A2A2|F2 FA ce|f3e d2|c2 AG FG|F2 D2||DE|F2 FG FG|c2 A2A2|B2G2G2|

A2f2f2|dc BA GF|GF GB AG|F2 D2 D2|D4||

 

PULSE OF MY HEART [3] (Cuisle Mo Croide). Irish, Air (6/8 time, "animated"). G Minor. Standard tuning. AB. O'Niell (Music of Ireland: 1850 Melodies), 1903/1979; No. 555, pg. 97.

X:1

T:Pulse of My Heart [3]

M:6/8

L:1/8

R:Air

N:”Animated”

S:O’Neill – Music of Ireland (1903), No. 555

Z:AK/Fiddler’s Companion

K:G Minor

B>BB B2c|B>AA A2A|G2d d2c|B2G A2z|B>BB B2c|B>AA A2A|G2d d2c|B2A G2||

a|b2g g>^fg|b2g g>^fg|b2g d>cB|c2c c>BA|B>BB B2c|B>AA A2A|G2d d2c|B2A G2z||

                       

PUMP ROOM, THE. AKA and see "The Dog." English, Reel. England, Northumberland. F Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 3; No. 556.

                       

PUMPHERSTON HORNPIPE. Hornpipe (12/8 time). G Minor. Standard tuning. Composed by Jim Sutherland. It has been remarked upon by many that the tune bears a resemblance to the theme music for The Adams Family and Alfred Hitchcock Presents TV shows.

X:1

T:Pumpherston hornpipe, The

C:Big Jim Sutherland

S:Gerald Trimble, First Flight

I:speed 400

M:12/8

L:1/8

K:Dm

A,=B,^C | D^CD A,2F E2D ^C2G |FGA f2e d2c B2A | ^G2A ^G2A E2F D3 |

EFG FED ^C2A A,=B,^C |

D^CD A,2F E2D ^C2G | FGA f2e d2c B2A |^G2A EF=G FGA D2F |

ED^C A2A, D3 D2e||

fed fed e2 a4 | fed fed e2 a4 | fed edc dcB cBA |BAG ^GAF E2D ^C3 |

DEF DEF ^G2A ^G2A | DEF DEF ^G2A ^G2A|DEF ^CDE FGA GFE |

FED A2A, D3D2e| fed fed e2a4 | fed fed e2a4 | fed edc dcB cBA |

BAG ^GAF E2D ^C2A, | D^CD A,2F E2D ^C2G | FGA f2e d2c B2A |

^G2A EF=G FGA D2F | ED^C A2A, D3 A,=B,^C |

 

PUMPKIN CREEK. American, March (?) (2/4 time). D Major. Standard tuning. AABB. Sweet (Fifer’s Delight), 1965/1981; pg. 46.

X:1

T:Pumpkin Creek

M:2/4

L:1/8

R:March

Z:AK/Fiddler’s Companion

K:D

(3A/B/c/ | dd df/e/ | dB BA | ee ed/e/ | f/e/d ea | dd df/e/ | dB BA | d/e/f/d/ BA | zc d :|

|: z | af fd | e/f/g/f/ ef/g/ | af Bg | f2 ef/g/ | af fd | e/f/g/f/ ef/g/ | af Bg | e2d :|  

 

PUMPKIN PIE. Old‑Time, Breakdown. USA, Piedmont region of N.C. African-American fiddler Joe Thompson plays the piece in FCGD tuning. The tune is "seldom collected from other African-American old time musicians, but can be found in the repertoires of white musicians" (Kerry Blech). Global Village C217, (Black fiddle and banjo players Joe and Odel Thompson {Orange County, N.C.} ‑ "Old Time Music From the North Carolina Piedmont."

 

PUMPKIN VINE. Old-Time, Breakdown. G Major. Standard tuning. AABB. Source for notated version: Jimmy Wheeler [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 105.

 

PUNCH ALIVE. English, Country Dance Tune (cut time). C Major. Standard tuning. AB. The melody was printed in Playford's Dancing Master (3rd vol.) of 1728, at that time being printed by John Young. The earthy character of Punch, long a mainstay of street and fair puppet shows, was introduced in England from Italy (where it was called Pollicinella or Punchinello) in the mid-17th century. Pepys noted the arrival of the fat, shrill-voiced, humpbacked creature in his diary in the year 1662. Punch’s nemesis in the plays was his wife, called Joan in the early days, or the Devil, with varying results: sometimes he lost, sometimes he emerged victorious [Simpson & Roud, 2000]. Kidson (Old English Country Dances), 1890; pg. 4.

X:1

T:Punch Alive

M:C|

L:1/8

S:Frank Kidson – Old English Country Dances  (1890)

Z:AK/Fiddler’s Companion

K:C

e2f2d2c2|B2c2d2 cd|e2f2d2c2|d2B2 c4||

c2c2c2 BA|G2G2 G4|A2A2A2 GF|E2E2 E4|

C2D2E2F2|G2A2B2 AG|ABcA dcdB|c2c2 c4||

 

PUNCH BOWL. AKA and see "Bottom of the Punch Bowl [1]."

 

PUNCH FOR (THE) LADIES [1]. AKA and see “Ronayne’s Jig,” "Shandon Bells." Irish, Jig. G Major. Standard tuning. AABB. "In Mr. Pigot's book this tune is given along with 'Negus for Gentlemen' (p. 144, above), and the two were obviously linked together. Observe the intentional reverse: for punch is the proper drink for gentlemen, and negus for ladies" (Joyce). 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. Joyce (Old Irish Folk Music and Song), 1909; No. 705, pg. 353.

X:1

T:Punch for Ladies [1]

M:6/8

L:1/8

S:Joyce – Old Irish Folk Music and Songs (1909), No. 705

Z:AK/Fiddler’s Companion

K:G

B2A AGA | B2G GFG | B2A AGA | def gdc | B2A AGA | B2G GBd | e2g d2e | B2d dBG :|

|: def gag | fed edB | def gfg | efg afd \ def gag | fed edB | e2g d2e | B2d dBG :|

 

PUNCH FOR THE LADIES [2]. AKA and see "Boil the Kettle Early,"  "The Brown Red Girl," "The Connachtman's Rambles [1]," "Kitty got a clinking (coming from the races) [1]," "The Kilfinane Reel," "The Ladies Top Dress," "The Ladies Tight Dress," "The Lady on the Railroad," "The Listowel Lasses," "Love among the Roses," "Maureen Playboy," "McCaffrey's Reel," "Old Molly Ahern," "The Piper's Lass," "The Railway Station," "The Rathkeale Hunt," "Roll her on the Banks," "Rolling on the Ryegrass," "Sean‑Mhaire Ni Eachthighearn," "The Shannon Breeze [1]," “Strac an mhuc an leine,” "The Telegraph," "What the Devil Ails You/Him?"

 


PUNCH IN THE DARK, A. Irish, Reel. Composed by Gerry O'Connor. Green Linnett GLCD 1119, Cherish the Ladies - "The Back Door" (1992).

 

PUNCHEON CAMP(S). AKA and see "Possum Up a Simmon Tree [1]," "Kitty Puss," "Tucker's Old Barn," "Old Time Mockingbird." Old‑Time, Breakdown. USA, eastern Ky. D Major. Standard tuning. AABBCC. The 'C' part is irregular in Davenport's version, which is the same tune as Buddy Thomas's (eastern Ky.) "Possum Up a Simmon Tree." Source for notated version: Clyde Davenport (Monticello, Ky.) [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 190. Venerable Records, Andy Cahan ‑ "Hits From the Mountains." Appalachian Center Ser. AC002, Clyde Davenport, Clyde - "Puncheon Camps" (1992).

 

PUNCHEON FLOOR [1]. Old‑Time, Breakdown. USA; Arkansas, Tennessee. G Major. Standard tuning. AA'BB. Several melodies called “Puncheon Floor,” some related and some quite distinct, are extent in American traditional music. Ira Ford (1940), who collected in the Ozark region, remaked: "'Puncheon Floor' has been handed down as one of the favorite old dance tunes of America. More than any other of the traditional tunes of the olden days it seems to carry the spirit of sociability of the folks 'back yonder', where the people of a community were then closely banded together in a social order based upon the greatest good of the greatest number. The homes were built of logs and shingled with clap‑boards. The floors were made of puncheons, split logs laid with the round side down. After the puncheons were edged with the broadaxe and joined together, the floor was surfaced and smoothed off with an adz until it was as smooth as a modern dance floor. It was thus that this old tune had its genesis.” The title is mentioned as having been played in a newspaper account of a 1931 LaFollette, northeast Tenn., fiddlers' contest. The title also appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Ford (Traditional Music in America), 1940; pg. 57.

X:1

T:Puncheon Floor [1]

M:2/4

L:1/8

S:Ford – Traditional Music in America (1940)

Z:AK/Fiddler’s Companion

K:G

d/c/|B/A/G/B/ A/F/D/c/|B/A/G/B/ gd/c/|B/A/G/B/ A/F/E/F/|G/E/D/B, G,d/c/|

B/A/G/B/ A/F/D/c/|B/A/G/B/ gd/c/|B/A/G/B/ A/F/A/c/|B/G/A/F/ G||

|:e/f/|ga/g/ ed|e/ab/ ae/f/|g/ag/ ed/c/|B/G/A/F/ G:|

 

PUNCHEON FLOOR [2]. Old-Time, Breakdown. USA, Mississippi. G Major. Standard tuning. AABB. Little similarity to version #1. A very different tune that version #1. Arthur Smith of Tennessee recorded the tune as "Lost Train Blues," and Hoyt Ming and his Pepsteppers waxed it as "White Mule" (a simplified version with a third part added). The coarse strain is very similar to a variation used for "Katy Hill." Source for notated version: Hardy Sharp [Phillips]. Phillips (Traditional American Fiddle Tunes), 1994; pg. 190. Mississippi Department of Archives and History AH‑002, Hardy C. Sharp ‑ "Great Big Yam Potatoes: Anglo‑American Fiddle Music from Mississippi" (1985. Originally recorded in 1939 for the Library of Congress).

 

PUNCHEON FLOOR [3].  Old-Time, Breakdown. USA, Arkansas. G Major. Standard tuning. AABB’. Skeeter Walden’s “Puncheon Floor” was collected in a 1951 field recording. Source for notated version: Jim ‘Skeeter’ Walden (1879-1956, Busch, north Arkansas) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 153.

           


PUNCHEON ON THE FLOOR. AKA – "Puncheon Floor." Old‑Time, Breakdown. USA, western North Carolina. G Major ('A' part) & D Major ('B' part). Standard tuning. AB (Silberberg): AABB (Phillips, Spandaro): AABB’ (Johnson). Said to resemble "Richmond Cotillion," perhaps because of the key change. The title refers to the old practice of building cabin floors out of trees split down the middle and set in the ground flat side up. Sources for notated versions: Esker Hutchins [Phillips]; Laurie Andres [Silberberg]. Johnson (Kitchen Musician No. 2: Old-Timey Fiddle Tunes), 1982 (revised 1988, 2003); pg. 6. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 191. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 122. Spandaro (10 Cents a Dance), 1980; pg. 10. Alcazar Dance Series ALC‑202, Sandy Bradley ‑ "Potluck and Dance Tonite!" (1979). Heritage Records XXXIII, Esker Hutchins (Dobson, North Carolina) ‑ "Visits" (1981. Learned from "the grand old fiddler of the Dobson area, Crawley Hamlin").

X:1

T:Puncheon Floor

T:Puncheon on the Floor

L:1/8

M:C|

Z:AK/Fiddler’s Companion

K:G

(3DEF|”G”G2 GA BABc|d2g2 B3c|d2g2 dgBc|d2g2 B3A|

G2GA BABc|d2g2 B3c|dedc “D”BAGF|”G”G6:|

|:(3fga|”D”a2af “G”g2ge|”D”f2d2 “A7”e3e|”D”f2d2 “A”7efge|”D”f2d2 “A7”e3e|

“D”afaf “G”gege|”D”f2d2 “A7”e3f|”G”gfed “A7”cABc|”D”d6:|

           

PUNCHINELLO. AKA – “Punchinello’s Hornpipe.” AKA and see “Jock and Tam,” “Lady Susan Montgomery’s Hornpipe,” “Rusty Gulley [2],” “Three Case Knives,” “Three Rusty Swords.” English, “Old” Hornpipe (3/2 time). G Minor. Standard tuning. AABB (Callaghan): AABBCC (Howe). This air appears in the Musical Miscellany (London, 1731). A melody by this name “Punchinello’s Hornpipe, or Three Rusty Swords” appears in Offord’s John of the Greeny Cheshire Way, another setting of which appears in the same volume as “Three Case Knives.” The name Punchinello is a variant of the names Pulcinella, Polichinello, Pollicinella and Polichinelle, and derived from the Italian pulcino, a chicken, which refers to the character’s beak-like nose and his chirpy voice. On the comic stage he was a servant, like Harlequin, in the Commedia dell’arte.

***

George Cruichshank’s famous early 19th century drawing of Punch.

***

Ellias Howe set the tune in 6/8 time. Similar to “Dusty Miller [6].”

***

Callaghan (Hardcore English), 2007; pg. 77. Howe (1000 Jigs and Reels), c. 1867; pg. 156.

X:1

T:Punchinello [1]

M:6/8

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:Gmin

G2G G2g | f2e d2e | f>gf dcB | A3F3 | f>ed e>dc | d>cB A2c | BAG AG^F | G3G3 :|

|: A | B>cB dBG | B2B dBG | B>cB ddg | {g}^f3 d2 :| A | A>Bc c>dc | f2c A2F |

B2d d=ef | g2f =e2c | f2f fed | c2B A2^f | g2d dcB | A3G2 ||

 

PUNCHINELLO [2].  English, Country Dance Tune (whole time). D Major. Standard tuning. AABB. This particular “Punchinello” tune (there were several bearing the name) is 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. 149.

X:1

T:Punchanello  [2]

M:C

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:D

a2 fa g2 ef|gfed cBAG|FA d2 Gbeg|fedc d2D2:|

|:A2 FA B2 dB|BAGF AGFE|A2 FA B2 dB|AGFE D4:||

 

PUNKIE WILLIE. Scottish, Strathspey. A Minor. Standard tuning. AABB. Kerr (Merry Melodies), vol. 4; No. 143, pg. 17.

X:1

T:Punkie Willie

M:C

L:1/8

R:Strathspey

B:Kerr – Merry Melodies, vol. 4, No. 143

Z:AK/Fiddler’s Companion

K:A Minor

a|e<c c>B A2 A>B|c>Bc>d e<a a>g|e<c c>B A2 A>B|c/d/e/f/ e>dc<A A:|

|:B|c<c e>f g2 g>a|g>ec>e d>BG>B|c<c e>f g>ea>f|e/a/g/f/ e/d/c/B/ c<A A:|

           

PUNKIN HEAD. AKA and see "Over the Waterfall," "The Fellow/Feller That Looks Like Me." Old‑Time.

           

PUNK'S DELIGHT, THE. AKA ‑ "The New Way." English, Country Dance Tune. Published by Playford, The English Dancing Master (1651). Raven (English Country Dance Tunes), 1984; pg. 44.

           

PUNTER’S GRAVEYARD. American, Reel. B Minor. Standard tuning. AABB. Composed by Portland, Oregon, fiddler Dan Compton. The title references Compton’s father-in-law’s view of the Limerick races, which begin the day after Christmas, and his observation that the experienced punters keep their money in their pockets, owing to the fact that the favorites seldom seem to win. Songer (Portland Collection), 1997; pg. 162. Jigsaw - “Cut Up the Floor” (1996).

                       

PUP IN THE PARACHUTE.  English, Reel. G Major. Standard tuning. AABB. The melody appears in the music manuscript copybooks of H.S.J. Jackson (Wyresdale Lancashire, 1823) and J. Winder (Wyresdale, Lancashire, 1835). The title commemorates the demonstration of French inventor Jean-Pierre Blanchard’s  (1753-1809) method of escape from his hot air balloons, an invention that took Europe by storm in the 1780’s. In 1785 Blanchard went aloft with a dog as a passenger along with a parachute (developed by Sébastien Lenormand in France) and succeeded in harnessing the animal to the device, then dropping the dog safely to the ground. Blanchard used the parachute himself in 1793 to escape when his hot air balloon ruptured. Callaghan (Hardcore English), 2007; pg. 46.

 

PURCELL THE PIPER. Irish, Reel. G Major. Standard tuning. AABB.

X: 1

T: Purcell the Piper

M: 4/4

Q: 350

L: 1/8

R: reel

C: © B. Black

N: “Although I had heard about him for years, I first met Al Purcell of Dublin

N: and Detroit at the 1998 Chicago fleadh. He's the kind of guy you meet the

N: first time and think you've known all your life. This tune is dedicated to

N: Al and the other illustrious pipers in his family. (Just now heard that

N: Al has passed away - ar dheis DŽ go raibh a h-anam.)”

K: G

A | GEDE GABd | e2 ef edBd | gfef g3 e | d2 BG AcBA |

GEDE GABd | e2 ef edBA | GBdg fdcA | BGAF G3 :|

d | gfga fd d2 | cBcd BG G2 | EAAB cBcd | edef gaba |

gfga fd d2 | cBcd BGAG | EAAB cABG | EDEF G3 :|

                       

PURCELL'S REEL. Old‑Time, Breakdown. USA, Nebraska. A Major. Standard tuning. AABB. Nebraska fiddler Uncle Bob Walters (d. 1960) recorded the tune for R.P. Christeson in September, 1950. Walters was the son and grandson of fiddlers, and the ‘smoothest’ and most accomplished fiddler Christeson knew, and had an immense repertoire. Many of the tunes in the Christeson publications were sourced to him. “Purcell’s Reel” was known to other mid-western fiddlers, such as Nebraska/Iowa fiddler Dwight Lamb (who learned it from Walters). Source for notated version: Bob Walters (Burt County, Nebraska) [Christeson]. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; No. 22, pg. 18. 5 String Productions 5SP05002, The Hoover Uprights – “Known for their Reputation” (2006. Played in AEae tuning). Rounder Records CDROUN0529, Dwight Lamb – “Hell Agin the Barn Door: More Fiddle and Accordion Tunes from the Great Plains” (2005).

X:1

T:Purcell’s Reel

M:2/4

L:1/8

R:Breakdown

S:Christeson – Old Time Fiddler’s Repertory, vol.1, No. 22 (1973)

Z:AK/Fiddler’s Companion

K:A

E/E/|A/E/C/A,/ D/C/B,/A,/|C/E/A Ac/A/|B/E/c/E/ d/E/c/E/|B/A/G/F/ EF/G/|

A/E/C/A,/ D/C/B,/A,/|C/E/A Ac/B/|A/c/e/g/ a/e/c/A/|E<AA/4A/4 A:|

|:c/d/|e<ag/ a/b/a/e/|g<bb/4b/4 b(b|b/)e/g/e b/e/g/f/|e/g/a/b/ ae/g/|

a/g/b/g/ a/g/f/e/|f/e/a/f/ e/d/c/B/|A/c/e/g/ a/e/c/A/|[EA]<AA/4A/4 A:|

 

PURE DROP [1], THE. AKA and see “The Honeymoon (Reel) [2],” “Maid Who Left the Country [1].” Irish, Hornpipe. G Major. Standard tuning. AB (Kennedy): AABB (Levey, Roche). The term pure drop refers to the distillation of liquor, but is used euphemistically to describe core traditional Irish music and traditional renderings of it. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 160, pg. 38. Levey (Dance Music of Ireland, 2nd Collection), 1873; No. 81, pgs. 36-37. Roche Collection, 1982, vol. 2; no. 225, pg. 15.

X:1

T:Pure Drop, The [1]

M:C

L:1/8

R:Reel or Hornpipe

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

Z:AK/Fiddler’s Companion

K:G

dc | B>G (G2 {F/G/}) D>G G>c | B>G (Af) ge dc | B>G (G2 {F/G/}) D>G G>c |

B>G d>B A2 d>c | B>G (G2 {F/G/}) D>G G>c | B>G A>f g2 (fg) | af ge d3B |

(eg) dB A2 :: B>d | e2 fd ed BA | (Bd) Af ge dc | B>G G2 D>G G>c |

B>G d>B A2 B>d | e2 f>d ed BA | Bd ef g2 f>g | af ge d2 B>d | eg dB A2 :|

 

PURE DROP [2], THE (An Braon Glan). AKA and see "The Drogheda Lass/Lasses [1],” "The Drogheda Reel," "The Dangerous Reel," “Hand Me Down the Tackle,” “Hielanman’s Kneebuckle,” “Reidy Johnson’s [2],” "The Road to Drogheda,” “Tom(m) Steele."  Irish, Reel. D Major. Standard tuning. AB. Unrelated to “Pure Drop” [1]. Source for notated version: Chicago fiddler and composer Edward Cronin, originally from County Tipperary, who was also a weaver and a machinist. O’Neill said of him: “…he would play for housrs at a time such tunes as memory presented, his features while so engaged remaining as set and impassive as a sphinx…it was his open boast that he never forgot nor forgave an injury…” [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 1305, pg. 245. Gael‑linn CEFCD 114, Tony MacMahon & Noel Hill - “ "I gCnoc na Graí” ('In Knocknagree').

X:1

T:Pure Drop, The [2]

M:C|

L:1/8

R:Reel

S:O’Neill – Music of Ireland (1903), No. 1305

Z:AK/Fiddler’s Companion

K:D

d>D (3DDD FDFA | d2 ef gfge | d>D (3DDD FDFA | BEEF GABc |

d>D (3DDD FDFA | d2 ef g2 fg | afge fdec | BEEF GABc ||

d2 fd adfd | d2 ef g2 fe | d2 fd adfd | BEEF GABc | d2 fd adfd |

d2 ef g2 fg | afge fdec | BEEF GABc ||

                       

PURLONGS, THE. English, ‘Old’ Hornpipe (3/2 time). D Major. Standard tuning. AAB. The tune comes from a broadsheet ballad of c. 1690. Plain Brown Tune Book, 1997; pg. 34.

                       

PURRING GIRLS OF THE VILLAGE, THE. AKA and see “Anderson’s Reel.” Irish, Reel. Ireland, Sliabh Luachra region of the Cork-Kerry border. D Major. Standard tuning. AA’BB. Source O’Leary remembered the great Kerry fiddler Padraig O’Keeffe calling it by this title. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region, Kerry), recorded at a recital at Na Píobairí Uilleann in February, 1981 [Moylan]. Moylan (Johnny O’Leary), 1994; No. 31, pg. 19.

                       

PURSER’S AIR. Scottish, Air. Composed by American Scottish-style fiddler Bonnie Rideout in honor of Dr. John Purser, author of Scotland’s Music (1992). Maggie’s Music MMCD222, Bonnie Rideout – “Scottish Fire” (2000).

                       

PURSUIT, THE. AKA and see "Epsom New Wells."


                                   

PURTH CLARSEACH. A harp air recorded by the Irish collector Edward Bunting, a version of “Port Gordon.” ‘Purth Clarseach’ = ‘harp tune.’

                                   

PURTIEST GAL IN THE COUNTRY. AKA and see "Prettiest (Little) Gal in the Country(-O)."

                                   

PURTY GIRL, THE. Irish, Reel. G Major. Standard tuning. AB. See also "Mourne Mountains [1]," "Peggy Is Your Head Sick?" Roche Collection, 1927, vol. 1; No. 177, pg. 68.

X:1

T:Purty Girl, The

M:2/4

L:1/8

R:Reel

S:Roche – vol. 1, No. 177 (1927)

Z:AK/Fiddler’s Companion

K:G

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

B/G/A/F/ (G/E/)D | (E/A/A/)B/ A(G/E/) | D/E/G/A/ Bd | (e/g/d/)B/ AG ||

gg/a/ (ge/d/) | e/a/a/b/ a(g/e/) | d/e/g/a/ b/a/g/e/ | g/e/d/B/ AG |

gg/a/ (ge/d/) | e/a/a/b/ a(g/e/) | d/e/g/a/ b/a/g/e/ | g/e/d/B/ A ||

           

PURTY MOLLY BRALLAGHAN. AKA and see "Judy Brallaghan," "Molly Brallighan [1]," "Charming Molly Brannigan," "The Greenfields of America [1]," "Jimmy O'Brien's Jig," "Cossey's Jig," "Garranta Glasa Mheiricea."

           

PUSH ABOUT THE JORUM [1]. AKA and see "Captain O'Neill," “Lads and Lasses [2],” "The McClellantown Hornpipe," "The Rowan Tree [1]," "Rattle the Bottles [1]." Scottish, Strathspey or Reel. G Major. Standard tuning. AB (Cole): AAB (Athole, Gow, O’Farrell): AABB' (Kerr). 'Push about the jorum', as in 'hurry up and pass the whiskey jar'. A jorum was “a chamberpot, used as a mug in drinking healths or toasts” (Legman, notes pg.s. 176-177 in The Merry Muses of Caledonia, by Robert Burns). Burns used the tune as the vehicle for his songs “The Summer Morn” and “There’s Hair On’t.” A version also appears in Bayard (1944) as an untitled reel, collected in western Pennsylvania; see his note for "The Honeycomb Rock." As “Lads and Lasses” it appears in the manuscript collections of William Vickers (Northumberland) and Joshua Jackson (Yorkshire). Aird (Selection of Scotch, English, Irish and Foreign Airs), vol. 1, 1782; No. 111, pg. 39. Carlin (The Gow Collection), 1986; No. 312. Cole (1000 Fiddle Tunes), 1940; pg. 122 (strathspey). Gow (Fifth Collection of Strathspey Reels), 1809; pg. 20. Johnson (A Further Collection of Dances, Marches, Minuetts and Duetts of the Latter 18th Century), 1998; pg. 15. Kerr (Merry Melodies), vol. 3; No. 61, pg. 9 (reel). O’Farrell (Pocket Companion, vol. IV), 1810; pg. 124. Ryan’s Mammoth Collection, 1883; pg. 161. Stewart-Robertson (The Athole Collection), 1884; pg. 165.

X:1

T:Push about the Jorum [1]

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:G

g|dGBG FAAc|BGBd g2fe|dGBG FAAc|BGAF G2G:|

f|g2fg afed|ggfg a2df|g2fg afed|egfa g2gd|

g2fg afed|ggfg a2df|g2fg afed|egfa gbeg||

X:2

T:Push about the Jorum [1]

M:C

L:1/8

R:Reel

B:Gow – Fifth Collection of Strathspey Reels (1809)

Z:AK/Fiddler’s Companion

K:G

G|dGBG F(AA>)c|BGBd (e/f/g) “tr”f>e|dGBG F(AA>)B|EGFA G2G:||

d|[B2g2] “tr”f>g afed|(.g.g) “tr”f>g {fg}a2d2|dgfg afed|(e/f/g) (f/g/a) g2 g>d|

[B2g2] “tr”f>g afed|gg fg {fg}a2d2|dgfg afed|egfa gbeg||

 

PUSH ABOUT THE JORUM [2] (Cuir Tart an Deorum). Irish, Reel. D Major ('A' part) & A Major ('B' part). Standard tuning. AAB (O'Neill/1850 & 1001): AABB' (O'Neill/Krassen). See also the related “O’Rourkes” and "Captain O'Neill." O'Neill (Krassen), 1976; pg. 134. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1420, pg. 264. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 657, pg. 117.

X:1

T:Push About the Jorum [2]

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 657

Z:AK/Fiddler’s Companion

K:D

dB|AD (3FED CEEG|FDAD BcdB|AD (3FED CEEG|FGEF D2:|

K:A

ed|(3cBA eA fAeA|(3fga ec dcBA|(3cBA eA fAeA|(3fga ec d2 ed|

(3cBA eA fAeA|(3fga ec dcBA|dfdB cecA|Bcde fdBd||

           

PUSH ABOUT THE JUGG. Irish, Jig. E Minor. Standard tuning. AABB. O’Farrell (Pocket Companion, vol. II), c. 1806; pg. 130.

X:1

T:Push About the Jugg

M:6/8

L:1/8

R:Jig

S:O’Farrell – Pocket Companion, vol. II (c. 1806)

Z:AK/Fiddler’s Companion

K:Emin

EGE G2A | BAG F2A | DED FAd | AFD FED | EFE G2A | BAG FGA |

BGE AFD | E3B3 :: AFA d3 | dfe d3 | AFA d2B | ABA FED | B2e e2e |

efd e3 | B2e e2f | g2e fdB | gba gfe | fag fed | efg dBG | AdG FED | EFE G2A |

BAG FGA | BGd AFD | E4 G3 :|

                       

PUSH AND DRAW. Irish, Reel. D Major. Standard tuning. AABB. Composed by Peter Fitzgerald. Black (Music’s the Very Best Thing), 1996; No. 263.

X:1

T: Push and Draw

C: Peter Fitzgerald

Q: 350

R: reel

M: 4/4

L: 1/8

K: D

Adfe gefd | ecAF GABG | GEFA dBGA | =cGGF G3 B |

Adfe gefd | ecAF GABG | Acef gbag | fage fd d2 :|

ddad bdad | afgb fedB | =c2 EG c2 EG | =cEGc edce |

ddad bdad | afgb fedB | =cedc AGEG | Aceg fd d2 :|

           

PUSH THAT PIG'S FOOT A LITTLE FURTHER IN THE FIRE. Old‑Time, Breakdown. USA, Western North Carolina. Recorded by fiddler Marcus Martin (N.C.) for the Library of Congress. Martin was influence by E. Tenn. fiddler J. Dedrick Harris, who played regularly with Bob Taylor in the latter's bid for Governor of Tenn. in the late 1800's.

           

PUSH THE JUG ROUND. Irish, Air (3/4 time). G Dorian. Standard tuning. AB. "Restored from a most incorrect transcript" (Joyce). Source for notated version: "...from a MS. book lent me by Surgeon‑Major‑General King of Dublin (about 1885), who copied them 40 years previously from an old MS. book in Cork" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 369, pg. 169.

X:1

T:Push the Jug Around

M:3/4

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:Gmin

Bc|d2d2 ed|c2c2 dc|B2f2e2|f4 (3dc=B|c2c2 dc|B2B2c2|defedc|A2G2||

GA|B2d2de|f2g2a2|b2a2 gf|g4 (3def|g2e2g2|f2e2 Bc|defedc|A2G2||

           

PUSHEE’S. American, Quickstep March (2/4 time). D Major. Standard tuning. AABB. In 1862 Bruce and Emmett’s Drummers’ and Fifers’ Guide was published to help codify and train the hordes of new musicians in Union Army service early in the American Civil War. George Bruce was a drum major in the New York National Guard, 7th Regiment, and had served in the United States Army as principal drum instructor at the installation at Governor’s Island in New York harbor. Emmett was none-other than Daniel Decatur Emmett, a principal figure in the mid-19th century minstrel craze and composer of “Dixie” (ironically turned into a Confederate anthem during the war) and “Old Dan Tucker,” among other favorites. Emmett had been a fifer for the 6th U.S. Infantry in the mid-1850’s. See note for “Pushee’s Hornpipe” for more. Bruce & Emmett’s Drummers’ and Fifers’ Guide, 1862; pg. 58.

X:1

T:Pushee’s

M:2/4

L:1/8

R:Quickstep March

S:Bruce & Emmett’s Drummers’ & Fifers’ Guide  (1862)

Z:AK/Fiddler’s Companion

K:D

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

B/>A/^G/>B/ AF/>G/ | A/>B/G/>A/ F/>G/E/>F/ | D/>F/A/>d/ fd/>f/ |

e/>d/f/>e/ d/>c/B/>A/ | {c}dA/>F/ D :: A/>d/ | f/>d/e/>c/ d/>B/A/>G/ |

F/>A/d/>f/ ea/>f/ | g/>f/e/>d/ c/>d/e/>f/ | e/>d/c/>B/ AA/>G/ | F/>A/d/>f/ af/>a/ |

b/>a/g/>f/ ef/>e/ | d/>f/e/>g/ f/>a/c/>e/ | {c}dA/>F/ D :|

                       


PUSHEE'S HORNPIPE. AKA and see “Juniata,” “Juanita [1].” American, Hornpipe. USA, New Hampshire. B Flat Major. Standard tuning. AABB (Cole): AA’BB’ (Cranford). Composed by Abram Pushee (1791-1868), a New Hampshire fiddler, band leader and dancing master who lived in Lebanon, New Hampshire, for most of his life. Michael McKernan has researched him and fins that he was a well-known dance musician and teacher in the central Vermont and New Hampshire area, who influenced several generations of musicians. He organized for many years the Musicians’ Annual Balls in Lebanon, New Hampshire, in the mid 19th century, that brought together musicians from New Hampshire, Vermont, and Massachusetts (see note for “Headlight Reel," “Old Granite State Reel”). Pushee is also recorded as leading a band in Lowell, Massachusetts, in 1849 (McKernon was able to obtain a photocopy of the 1st violin parts of the manuscript repertoire). Obituary notices praised him for his talent and moral character, but McKernan finds that a more personal account gave that Pushee was rather loud-mouthed and an atheist, at least in private. The tune appears under both the “Pushee” title and as “Juanita” in Ryan’s/Coles. It was recorded on a 78 RPM by Cape Breton fiddler Winston Fitzgerald under the “Juanita” title. Source for notated version: Winston Fitzgerald (Cape Breton) [Cranford]. Cole (1000 Fiddle Tunes), 1940; pg. 88. Cranford (Winston Fitzgerald), 1997; pg. 5 (appears as “Juanita”). Ryan’s Mammoth Collection, 1883; pg. 122.

X:1

T:Pushee’s Hornpipe

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection  (1883)

Z:AK/Fiddler’s Companion

K:Bb

F | BB/c/ dc/B/ | B/d/f/g/ fd/f/ | b/f/d/f/ g/f/d/B/ | c/B/c/d/ c/e/d/c/ | BB/c/ dc/B/ | B/d/f/g/ fd/f/ |

g/b/f/d/ c/B/c/d/ | BdB :: B/G/ | G{A}G/^F/ G{A}G/F/ | GG/A/ BB/c/ | d{e}d/^c/ d{e}d/c/ |

d/=c/B/d/ fB/d/ | f/g/f/d/ fd/f/ | g/^f/g/a/ gb/g/ | f/d/B/d/ c/e/d/c/ | Bd/f/ b :|

           

PUSHIE’S FAVORITE. American, Hornpipe. A Major. Standard tuning. AABB. See note for “Pushee’s Hornpipe.” Howe (1000 Jigs and Reels), c. 1867; pg. 56.

X:1

T:Pushie’s Favorite

M:2/4

L:1/8

R:Hornpipe

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

Z:AK/Fiddler’s Companion

K:A

c/B/ | A/B/A/F/ E/F/A/B/ | cA Aa/f/ | e/f/e/c/ d/c/B/A/ | B/c/B/A/ Fc/B/ |

A/B/A/F/ E/F/A/B/ | cA Aa/g/ | f/e/f/a/ e/c/B/A/ | cA A :: G/A/ | B/G/E/G/ B/d/G/B/ |

A/B/c/d/ ec/e/ | f/e/f/g/ a/c/B/A/ | cB Bc/d/ | e/c/B/A/ F/A/E/C/ | A,A Aa/g/ |f/e/f/a/ e/d/c/A/ | cA A :|

                       

PUSS IN THE CORNER. AKA and see “Cat in the Corner [1],” “Lady Charlotte Murray [1],” “O’Mahoney’s Frolics.” Irish, Jig. D Major. Standard tuning. AABB. O’Neill prints the tune as “O’Mahoney’s.” Cole (1000 Fiddle Tunes), 1940; pg. 72. Ryan’s Mammoth Collection, 1883; pg. 104.

X:1

T:Puss in the Corner

M:6/8

L:1/8

R:Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

A/G/ | F2D DFA | dAF AFD | EGE CEC | EGE CEG | F2D DFA |

dAF AFD | GBG EFG | AFD D2 :: (a/g/) | f2d dfa | afd dfa | e2c ceg |

gec efg | faf edc | dcB AFA | (B/c/)dB AFA | dAF D2 :|

           

PUSSY AND THE BABY. AKA and see “Hell on the Wabash [4],” “She Oughta Been a Lady,” “Silver Lake [4].” Old-Time, Breakdown. Mel Durham, an Illinois native, had the tune under the title “Pussy and the Baby,” although in Missouri it can be found as “She Oughta Been a Lady.” Bayard prints it as “Silver Lake.”  Related to the Irish hornpipe “Boys of Bluehill” or “Beaux of Oak Hill [1].”

           

PUT HAME DA BORRAED CLAES. Shetland, (Shetland) Reel. G Major. Standard tuning. AB. From the districts of Mainland, Unst and Whalsay, Shetland. Carlin (Master Collection), 1987; No. 122, pg. 77.

           

PUT IN ENOUGH. AKA and see “Jackson’s Maid at the Fair,” “Pither in Enough.” Irish, Jig. D Major. Standard tuning. AABBCC. O’Neill (1922) remarks: “This is one of the famous ‘Piper’ Jackson's jigs, not included in any modern collection since its publication in a much higher key in Clinton's Gems of Ireland, London 1841.” Source for notated version: copied from James Aird’s Selections of Scotch, English, Irish and Foreign Airs (1782-97) [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; Nos. 126 & 153.

X:1

T:Put in Enough

M:6/8

L:1/8

C:Jackson

S:Aird's Selections 1782-97

Z:Paul Kinder

K:D

A/2G/2|F>GF "tr"FED|B>cB Bcd|F>GF "tr"FED|A2 A A2 d|

FGF "tr"FED|B2 B Bcd|cBA dAF|ABA A2:|

|:d|"tr"cBA cec|dBB "tr"B2 d|"tr"cBA cec|ABA A2 d|

"tr"cBA cec|dBB B2 d|"tr"cBA dAF|ABA A2:|

|:G|"tr"F2 d "tr"F2 d|B2 B Bcd|"tr"F2 d "tr"F2 d|A2 A A2 G|

"tr"F2 d "tr"F2 d|B2 B Bcd|"tr"cBA dAF|ABA A2:||

           

PUT ME IN MY LITTLE BED. See “Birdie [1]."

           

PUT ME IN THE BIG CHEST. AKA - "Put Me in the Great Chest." See "Beaton's Last," "Big Coffin Reel," "Cuir sa' Chiste Mhoir Mi," "Lying in the Coffin/Casket," "Miss Cruikshank's Reel (--Glass)," "Miss Hopkin's (Reel)," "Old Time Wedding Reel [3]," "Primrose Girl [1]," "Put Me in the Box," "Rose in the Garden [1]." Scottish, Canadian; Reel. Canada, Cape Breton. A Mixolydian (Dunlay & Reich): A Major (Dunlay & Greenberg, Perlman). Standard or ADae or AEae tunings. ABB (Dunlay & Reich, Dunlay & Greenberg/MacLellan): AABB' (Perlman): ABBA'BB (Dunlay & Greenberg/Campbell). Dunlay and Greenberg (1996) believe "Put Me in the Big Chest" is "barely recognizable" as being related to "Cuir Sa’ Chiste Mhoir Mi" or "Miss Cruickshank's Reel" by William Marshall. An alternate title is "Beaton's Last," a reference to the deathbed rendition of the tune by the famous Cape Breton fiddler Donald John the Tailor Beaton (1856-1919), who "played it with all his remaining strength just moments before he died." Another deathbed tale is connected with the tune: according to the Tannahill Weavers, the story goes that the composer of the tune lay dying and asked for a last bottle of stout. He drained it and requested that the bedroom window be opened. "I will throw this empty bottle and wherever it lands is where I wish my final resting place to be." He was buried on top of the wardrobe.
***
The tune is played as the last reel in the famous Cape Breton set “Old Time Wedding Reels.” Paul Cranford identifies Irish versions as "Primrose Girl" and "The Rose in the Garden" (see his scordatura Cape Breton setting in Canadian Folk Music Bulletin, vol. 19, No. 5, September 1995). A pipe setting appears in Barry Shears' Gathering of the Clans Collection, however, it appears the earliest pipe version appeared in Angus MacKay's (of Raasay) Piper's Assistant 1840 (under the title "Cuir Sa’ Chiste Mhoir Mi"). Mackay’s father, John MacKay of Raasay, had been among the last of the pupils at the famous ancient piping college of the MacCrimmons at Boreraig. The younger Mackay wrote, while still in his early twenties, a book called A Collection of Ancient Piobaireachd, or Highland Pipe Music; a piper’s bible for many decades after its appearance in 1838. The song "Four Nights Drunk" is sometimes sung to this tune. Sources for notated versions: John Campbell and Donald MacLellan (Cape Breton) [Dunlay & Greenberg]; Peter Chaisson, Jr. (B. 1942, Bear River, North-East Kings County, Prince Edward Island) [Perlman]. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pg. 46. Dunlay and Reich (Traditional Celtic Fiddle Music of Cape Breton), 1986; pg. 42. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 95 (appears as "The Big Coffin Reel"). JC 126, John Campbell- "Cape Breton on the Floor." Celtic 011 (78 RPM) CX011, CX 1, "Dan J. Campbell and Angus Allan Gillis" (1930's). Green Linnet GLCD1182, The Tannahill Weavers - "Choice Cuts 1987-1996." Paddledoo Music PAD 105, Jerry Holland and Alasdair Fraser - "Scottish Fiddle Rally, Concert Highlights 1985-1995" (1996. Appears as "Put Me in the Box"). Rounder 7001, Joe Cormier - "Scottish Violin Music from Cape Breton Island" (1974. Appears as "Put Me in the Box"). Rounder 7011, "The Beatons of Mabou" (1978. Appears as "Big Coffin Reel"). Rounder Records 7057, Jerry Holland – “Parlor Music” (2005). Wildcat Records WILDCD 101, Ronan Martin – “Ronan Martin” (2008).
X:1

T:Put Me in the Big Chest
T:Cuir a Chiste Mhoir Mi
S:K.E. Dunlay & D.L. Reich, Traditional Celtic Fiddle Music of Cape Breton
M:C|
L:1/8
R:reel
Z:transcribed by Jack Campin
K:Amix
% A lydian/major/mixolydian pentatonic; G and D gaps
F|EFAB c2cf|ecBA F/F/F AF|EFAB c/c/c cf|ecBc A/A/A A
F|EFAB c2cf|ecBA F/F/F AF|EFAB cB cf|ecBc A/A/A A||
c|efec eAAc|efec BABc |efec efaf |ecBc A/A/A A:|

X:2

T:Old Time Wedding Reel #3

T:Put Me In the Big Chest

T:Cuir's a' Chiste Mhoir Mi

R:Reel

A:Cape Breton

S:Sandy MacIntyre

N:From the playing of Sandy MacIntyre

Z:Transcribed Nov 20 1998 by Wil Macaulay

P:ABCB

M:C

L:1/8

K:A

P:A

F | EFAB c2cf | ecBA F/F/F AF | EFAB cBcf | ecBc A/A/A A :|

P:B

c | efec eAAc | efec BABc | efec efaf | ecBc A/A/A A :|

P:C

F | EFAB c2cB | c2cB ce fz |  EFAB cBcf | ecBc A/A/A A :|

 

PUT ME IN THE BOX. AKA and see “Put Me in the Big Chest.”

 

PUT ON YOUR CLOTHES (bAlcais an bLomaire" or "Cuir Ort Do Cuid Eadaig"). Irish, Double Jig. D Major (Roche): C Major (O'Neill). Standard tuning. AABB (Roche): AABB' (O'Neill). See also the related “Short Grass.” Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1050, pg. 197. Roche Collection, 1982, vol. 1; No. 116, pg. 49.

X:1

T:Put on Your Clothes

M:6/8

L:1/8

R:Jig

S:O’Neill – Music of Ireland (1903), No. 1050

Z:AK/Fiddler’s Companion

K:C

e/d/ | cGE cGE | {F}EDE CEG | cGE cGE | Add ded |

cGE cGE | {F}EDE CEG | cee e2d | cAA A2 :|

|: z | gag ged | ecc cde | aba age | edd d2 e |1 gag ged |

ecc cde | fed fed | ecA A2 :|2 gfe agf | gfe dcB | cee e2d | cAA A2 ||

 

PUT ON YOUR COAT. AKA and see "Short Grass."

 

PUT ON YOUR/THY SMOCK ON (A) MONDAY. AKA and see "Pretty Nancy". English, Country Dance Air (4/4 time {Chappell}, 6/4 time {Barlow, Barnes, Playford} or 6/8 time {Sharp}). G Major. Standard tuning. One part. The tune is mentioned in Thomas Heywood's play A Woman Killed With Kindness, performed in London in 1603, and is alluded to in Fletcher’s Love’s Cure (act ii, sc. 2. The title is tantalizingly close to "Pitt on your shirt on Monday,” a reel which does survive from an old MS (See "Pitt On...), but there is no way to ascertain whether they are in fact related. The present tune is published under the above title in Playford's Dancing Master, 4th edition (London, 1670, as “Put on Thy Smock a Monday”), and a Cambridge University lute MS. (as "Pretty Nancy"). It was published in subsequent editions of the Dancing Master through the 8th edition of 1690, after which it was dropped from the long-running series. Barlow (Complete Country Dance Tunes from Playford’s Dancing Master), 1985; No. 210, pg. 55. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 103. Chappell (Popular Music of the Olden Time), vol. 1, 1859; pg. 234. Sharp (Country Dance Tunes), 1994; pg. 40.

X: 1
T: Put on thy Smock on a Monday
M:6/8
L:1/8
K:C
c| c2 G E2 G| d3 d2 B| c2 B c2 d| g3 g2 e|d>ef e>dc|d2 B G>AB|c2 G E2 G|c3 c2:|

                       

PUT OUT THE FIRE. See "Bird's Nest."

                       

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

                       

PUT THE CAKE IN THE DRESSER. Irish, Reel. ‘Composed’ by London based Sligo fiddler Michael Gorman (1895-1970), the tune is actually the famous “Cooley’s Reel [1]” with a third part added, presumably composed by Gorman.

                       

PUT THE CHAIN ON THE PONY (Cuir an Slabhra ar an bPónaí). Irish, Slide. D Major. Standard tuning. AA’BB’. Source for notated version: melodeon player Denis O’Keeffe (Rathmore, County Kerry) [Breathnach]. Breathnach (CRÉ V), 1999; No. 73, pg. 37.

 

PUT THE GOWN UPON THE BISHOP. Scottish, Country Dance Tune (duple time). G Major. Standard tuning. AABB. "Very old” (Gow). Carlin (Gow Collection), 1986; No. 313. Gow (Complete Repository), Part 3, 1806; pg. 9. McGibbon (Scots Tunes, book III), 1768; pg. 75.

X:1

T:Put the Gown Upon the Bishop

M:C

L:1/8

R:Reel

S:Gow – 3rd Repository   (1806)

Z:AK/Fiddler’s Companion

K:G

(DE)(GA) ~G3B | A3B (BA)(GE) | (DE)(GA) G3A | (GA)BA G2D2 | c3d (B>AB)d |

(efg)B A2 ef | {a}(g2 fe dcBA) | ~G3A {A}B2 D2 :: de)(ga) g3b | a3b {b}a2 ge | (de)(ga) g3a |

(gab)a g2d2 | e(gfg) d(gfg) | (Bd)(gB) A2 ef | (g2 fe dcBA) | ~G3(A {A}B2D2) :|

X:2

T:Put the Gown upon the Bishop

M:C|

L:1/8

R:Country Dance Tune

N:”Brisk”

S:McGibbon – Scots Tunes, book III, pg. 75  (1768)

Z:AK/Fiddler’s Companion

K:G

D2G2B4 | A3B A2GE | (DEG2) (GAB2) | G3A G2D2 | (DEG2) (Bcd2) | c3d “tr”(B3A/B/) |

(ABd2) (efg2) | A3B A2 (GE) | (DEGA) BdAB | G3AG2D2 :: d2g2b4 | a3b a2 “tr”(ge) |

(deg2) (gab2) | (gfga) g2d2 | e2g2d2g2 | B2g2A2ef | g2”tr”(fe) (dc)(BA) | G3A G2D2 :|

 

PUT UP YOUR DAGGER JAIME. Scottish, Air (4/4 time). C Major. Standard tuning. AB. From the Blakie MS (?), 1692 (appears as "Put up they dagor Jennie"), however, the earliest known setting is by Giles Farnaby in the Fitzwilliam Virginal Book, c. 1620. Words that fit the tune can be found in a satire called Vox Borealis, or the Northern Discoverie, from 1641. Emmerson (1972) finds the tune mentioned in Baskervill's The Elizabethan Jig, which quotes a satirical pamphlet of 1641 in which has the Governor of Edinburgh Castle keeping a fool and a fiddler to entertain his household during drinking:

***

Put up thy Dagger Jamie,

and all things shall be mended,

Bishops shall fa.., no not at all

When the Parliament is ended,

Then the Foole he flirts out his folly and whilst the Fidler playes he sings:

Which never was intended,

but only for to flam thee;

We have gotten the game,

wee'll keep the same,

Put up thy Dagger Jamie.

***

Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 5, pg. 19.

 

PUT YOUR LITTLE FOOT DOWN. Old‑Time. Probably the varsovienne "Put Your Little Foot (Right Out/There)." The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.


                       


PUT YOUR LITTLE FOOT (RIGHT OUT/THERE). AKA and see "Varsovienne [4]" [4]. Old‑Time, Waltz or Varsovienne. USA; New Mexico, Arizona, Texas, Arkansas. G Major (Christeson): D Major (Phillips). Standard tuning. AB (Christeson): AABB (Phillips). The tune was recorded for the Library of Congress by musicologist/folklorist Vance Randolph from Ozark Mountain fiddlers in the early 1940's. In Ireland a dance called “Shoe the Donkey” is performed to the tune. Sources for notated versions: Forest Delk (Grant County, New Mexico) [Christeson]; Bob Wills (Texas) [Phillips]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; pg.150. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 297.

 

PUTNER’S RUN. Old-Time, Breakdown. G Major. Standard tuning (fiddle). AB. From fiddler Estill Adams. Source for notated version: Scott Marckx [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; p. 122.

 


PUTNEY FERRY. English, Country Dance Tune (6/8 time). D Minor. Standard tuning (fiddle). ABBCC. The tune dates to the year 1670 and was published by Playford. Barnes (English Country Dance Tunes), 1986. Sharp (Country Dance Tunes), 1909; p. 14.

X:1

T:Putney Ferry

M:6/8

L:1/8

S:Sharp – Country Dance Tunes  (1909)

Z:AK/Fiddler’s Companion

K:Dmin

(A | c2e f2g | a3) c3 | (d>ef e2d) | (cA2) A2(A |

d2e f2g | a3) c3 | (d>ef e2d) | (cA2) A2 ||

|: a | a2(a g>fg | f3) f2(e | f>ga) (g>fg) | (f3f2)e |

(f2e f2g | a2)a (a>gf) | e2d (c>Bc) | (d3d2) :|

|: (e | f>ed ce2) | (f>ed c e2) | (a>gf eg2 | (f3f2)(e |

f2e f2g | a2) a (a>gf) | e2d (c>Bc) | (d3d2) :|

 

PYRENEES WALTZ (Valse-clog des Pyrenees). French‑Canadian, Waltz. B Flat Major (Carlin): D Major (Begin): A Major (Joyal). Standard tuning (fiddle). ABA' (Begin): AA'BB' (Carlin, Joyal). Sometimes known as "Valse des Pyrenees," this tune is actually a waltz-clog, with a pronounced rhythm. Sources for notated versions: French-Canadian button accordion player Philippe Bruneau (Québec) [Begin]; influential accordion player Alfred Montmarquette {1870-1944} (Montreal, Québec) [Joyal]. Begin (Philippe Bruneau), 1993; No. 19, p. 31. Carlin (Master Collection), 1987; No. 85, p. 55. Joyal (Danses d'ici: Musique Traditionnelle du Québec), 1994; pp. 63 & 111. Folkways RBF 111, Alfred Montmarquette - "Masters of French-Canadian Music 2."  Starr 15619-B (78 RPM), Alfred Montmarquette (1928).

 

PYRAMIDS (THE).

X:1

T:Pyramids, The

M:9/8

L:1/8

S:William Mackie ms. (Aberdeen, early 19th century)

N:A piping ms.

Z:AK/Fiddler’s Companion

K:Emin

E2B BGE BGE|D2A AFd AFD|EFG ABc BAG|BeB AGF E2:|

|:eBe geg bge|dBd fdf afd|eBe geg bge|efg Be^d e3|

eBe geg bge|dAd fdf afd|egf edc BAG|BeB AGF|E3:||

 

PYTALA SIE PANIE. Polish. A popular folk tune with the ethnic Polish community in northern Wisconsin (Leavy).

 

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