The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

_______________________________

HOME       ALPHABETICAL FILES        REFERENCES

[COMMENT1] [COMMENT2] 

JA - JACKS

[COMMENT3] 

 

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]

 

 

[COMMENT4] 

J. B. FUSILIER'S SONG. Cajun, Waltz. USA, Louisiana. A Major. Standard tuning. ABB. Varise Connor remembered playing this song with J.B. Fusilier, but he didn't remember the name. Source for notated version: Varise Connor, J.B. Fusilier (La.) [Francois]. Francois (Yé Yaille Chère!), 1990; pg. 166.

           

J. B. MILNE. Scottish, March (2/4 time). A Major. Standard tuning. One part. Composed by Adam Rennie. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 29.

                       

J. B. MILNE REEL. Scottish; Reel, Polka and/or Country Dance Tune (4/4 time). A Major. Standard tuning. AB (Carlin): AA'BB' (Page). The melody is a 20th century composition by Dundee fiddler Angus Fitchet (1910-1991), already ensconced in traditional repertoire. Fitchet was born in Dundee in 1910 and became a leading country dance band leader and fiddler during the mid‑20th century in Scotland. J. B. Milne was an entrepreneur in Dundee in the 1930’s, who owned a string of cinemas in the Angus area. Fitchet’s first professional appearance was at the age of twelve when he was asked to substitute for a cinema violinist in pre-‘talkie’ days, when small bands or orchestras played to accompany the silent films. There is a Scottish dance that goes with the tune, by Hugh Foss. While perhaps apocryphal, the story goes that in the first half of the dance the movements depict film going through the reels of a projector (with the first couple standing for the threading film), while the second half depicts the rectangular corners of the screen. Carlin (Master Collection), 1984; No. 115, pg. 74. Page (The Ralph Page Book of Contras), 1969; pg. 23. Fretless Records 119, Rodney and Randy Miller‑‑"Castles in the Air.” Topic 12TS239. Topic TSCD 669, Will Atkinson (et al) – “Ranting and Reeling: Dance Music of the north of England” (1998).

X:1

T:J.B. Milne

R:Reel, polka

C:Angus Fitchet

Z: John Chambers <jc:trillian.mit.edu>

N: 8x32R3

M:C|

L:1/8

F:http://trillian.mit.edu/~jc/music/abc/reel/JBMilneR.abc

K: A

cd \

| "A"efed c2A2 | E2A2 c4 | cedc B2A2 | "Bm"d6 Bc \

| "E7"dedc B2G2 | E2G2 B4 | BdcB A2B2 | "A"c6 ||

cd \

| "A"efed c2A2 | E2A2 c4 | cedc B2A2 | "D"f6 fg \

| "Cdim7"af^d=c A2ag | "A"fecA E2gf | "E7"~e2^de f2g2 | "A"a6 |]

cd \

| "A"e2c2 f2c2 | e2c2 f2c2 | ~e2^de "F#m"fe=dc | "Bm"d6 Bc \|

"E7"d2B2 e2B2 | d2B2 e2B2 | ~d2cd edcB | "A7"c6 ||

cd \

| "A"e2c2 f2c2 | e2c2 f2c2 | ~a2ga baga | "D"f6 fg \

| "Cdim7"abag fagf | "A"fecA E2gf | "E7"~e2^de f2g2 | "A"a6 |]

           

J. B. REEL, THE. Scottish, Reel. Composed in 1932 by Aberdeen fiddler and composer J. Murdoch Henderson (1902-1972), dedicated to James B. Paterson, Headmaster at Bracoden, later Cullen. Henderson (Flowers of Scottish Melody), 1935.

           

J. C. MACISAAC’S STRATHSPEY. Canadian, Strathspey. Canada, Cape Breton. G Major. Standard. AAB. Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 168, pg. 48. Fiddlesticks cass., Jerry Holland - “Fathers and Sons” (1992).

           

J.D. BURGESS. Scottish, Pipe March. Topic TSCD 669, Willy Taylor (et al) – “Ranting and Reeling: Dance Music of the north of England” (1998. Taylor {b. 1916} was a shepherd, and a fiddler and melodeon player from Wooler, Northumberland).

 

J. F. DICKIE. See “James F. Dickie.”

           

J. F. DICKIE'S DELIGHT. See “James F. Dickie’s Delight.”

           

J. F. MACKENZIE (ESQ. OF GARRYNAHINE). Scottish, Pipe Strathspey. A Major. Standard. AB. Composed by Pipe Major William Ross (1879-1966). Martin (Ceol na Fidhle, vol. 3), 1988; pg. 1. Martin (Traditional Scottish Fiddling), 2002; pg. 16.

X:1

T:J.F. MacKenzie.

M:4/4

L:1/8

K:A Major

a|"A" A<Ac>B c<ee>f| "A" a>fe>c "D" f>ef<a|

"A" A<Ac>B "A" c<ef>e| "E"(3fga e>c "A" A2 Aa|!

"A" A<Ac>B c<ee>f| "A" a>fe>c "D" f>ef<a|

"A" c2 e>c "D" B>cf>e| "E" (3fga e>c "A" A2 A|!

B|"A" A<aa>e "D"f<af>e| "A"c<ef>e "D"f<af>e|

"A"A<aa>e "D"f<af>e| (3fga e>c "A"A2 A>B|!

"A" A<aa>e "D"f<af>e| "A" c<ef>e f<af>e|

"A" c2 e>c B>cf>e| "E"(3fga e>c"A"A2 A||

           

J. H. ALEXANDER. Scottish, Reel. E Flat Major. Standard. AAB. A 20th century composition by Hector MacAndrew. Paul Cranford (1997) thinks Alexander Walker’s “Loch Builg” makes a good medley piece with this tune. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 140, pg. 57.

           

J. J. GARDINERS. AKA and see “Gardiner’s Favourite [1].” Irish, Reel. G Major. Standard tuning. AABB. The tune is similar in contour to McNulty’s “Gardiner’s Reel.”  Source for notated version: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 18, pg. 5.

           


J. MURDOCH HENDERSON. Canadian, Reel. Canada, Cape Breton. A Major. Standard tuning. AABB. A reel composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976) in honor of Aberdeen fiddler J. Murdoch Henderson (1902-1972). Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 75, pg. 33. MacDonald (The Heather Hill Collection).

           

J. O. ALBERT LAMADELEINE. French-Canadian, Reel. A Major (‘A” part) & D Major (‘B’ part). Standard tuning. AA’B. A ‘crooked’ tune. Source for notated version: a 78 recording by Albert LaMadeleine, who recorded in the 1930's [Remon & Bouchard]. Remon & Bouchard (25 Crooked Tunes, vol. 1: Québec Fiddle Tunes), 1996; No. 16.

           

J. O. FORBES OF CORSE. Scottish, Slow Strathspey ("Pastoral Air"). E Major. Standard tuning. AB. Composed by self‑taught fiddler Peter Milne (1824-1908), one of J. Scott Skinner's teachers, who earned a living playing in theaters until his opium addiction (he had become dependent while taking laudanum for a ailment while living in London) reduced him to busking on ferry‑boats running across the Firth. Skinner (1904) writes: “Peter Milne was the founder of the present style of Strathspey playing, and the best all round player and composer of his day. His left hand was as unerring and accurate as a machine.” In his manuscript copy of the melody Skinner wrote that the melody was Milne’s own favourite strathspey composition. Indeed, it is considered by those today to be one of his best pieces. Skinner also noted the tune could be played as a ‘solo strathspey’ (for listening) or to accompany a schottische. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 225, pg. 90. Hunter (Fiddle Music of Scotland), 1988; No. 156. Skinner (The Scottish Violinist), pg.37. Skinner (Harp and Claymore Collection), 1904; pg. 19.

See also listing at:

Alan Snyder’s Cape Breton Fiddle Recording Index

X:1

T:J.O. Forbes, Esq. of Corse

M:C

L:1/8

R:”Solo Strathspey or Schottische”

C:Peter Milne

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:E

A | (G>B) (E>G) (A>c) (F>A) | (G<B) (c>d) e2 e>d | c>eB>e A>eG>e | F<ff>e .d/.e/.d/.c/ .B/.c/.B/.A/ |

G<B ~E>G A<c ~F>A | (G<B) g>f e2 e>d | c>eB>e A>eG>e | G>E({E}F>)D E2E || a |

(g/a/b/a/ g<).e (c<e) a>c’ | (B<e) g>b (B<d) (f>a) | (g/a/b/a/ g<.e) (c<e) a>c’ | (b<B) g>f e2 e>a |

(g/a/b/a/ g<).e .c<.e .a<.c’ | B<e g<b ~B<d f>a | (3gfe (3def (3eBA (3GAB | (3cde (3def g<e e2 ||

           

J. P. CORMIER’S JIG. Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AABB. Composed by the late Inverness, Cape Breton, fiddler and composer Jerry Holland (1955-2009) in honor of Cape Breton guitarist J.P. Cormier. Cranford (Jerry Holland: The Second Collection), 2000; No. 269, pg. 97. Odyssey ORCS 1051, Jerry Holland – “Fiddler’s Choice” (1998).

           

J. SCOTT SKINNER (THE STRATHSPEY KING). Scottish, Reel. A Major. Standard tuning. AABB. Composed by Aberdeenshire fiddler and composer J. Murdoch Henderson (1902-1972) in 1933. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 71, pg. 32. Henderson (Flowers of Scottish Melody), 1935.

X:1

T:J Scott Skinner

C:J Murdoch Henderson

M:4/4

L:1/8

K:A

e|c>A A/A/A EGAE|CEAc eaec|d>B B/B/B GABc|dBba gbed|c>A A/A/A EGAE|

CEAc eaec|fdcd eaga|fdBG A3||B|Aaga caga|ecea fedc|

Bb^ab egb=a|gfe^d defg|aAAa gebg|fdda ecce|fdcd eaga|fdBG A3|]

           

JA SAM SIROTA (I Am an Orphan Boy). One of the best-known tunes among the ethnic Slovak and Croatian population of northern Wisconsin.

           

JABE MEADOW. American, Hornpipe. B Flat Major. Standard tuning. AABB. The hornpipe has been popular with Cape Breton fiddlers—Paul Stewart Cranford (2000) notes that it was a favorite of influential fiddler Angus Chisholm. Cole (1000 Fiddle Tunes), 1940; pg. 109. Cranford (Jerry Holland: The Second Collection); No. 50, pg. 21. Ryan’s Mammoth Collection, 1883; pg. 145. Brownrigg Productions BRGCBS-001, Cape Breton Symphony – “Fiddle.” Carl MacKenzie – “…And His Sound is Cape Breton.” Carl MacKenzie – “Highland Fiddle & Dance.“ Howie MacDonald – “The Ceilidh Trail.” Natalie MacMaster – “Road to the Isle.” Rounder CD-RDR-7021, Natalie MacMaster – “A Compilation” (1998). WRC11940, Howie MacDonald – “Howie & His Cape Breton Fiddle.”  

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

X:1

T:Jabe Meadow

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:Bb

F/E/ | D/B,/D/F/ B/E/G/B/ | A/F/A/c/ B/A/B/c/ | d/B/g/f/ e/d/c/B/ | (3.c/.c/.c/(c/B/) G/B/F/E/ |

D/B,/D/F/ B/E/G/B/ | A/F/A/c/ B/A/B/c/ | d/B/b/g/ f/d/B/d/ | c/B/G/A/ B :|

|: f | g/f/=e/f/ d/f/B/c/ | d/B/A/B/ G/B/F/E/ | D/F/B/c/ d/B/A/B/ | g/f/f/d/ .cd/f/ |

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

           

JACK A LENT. AKA and see "Lord of Carnavon's Jig." English, Country Dance Tune (2/2 time); Scottish, Hornpipe. G Major. Standard tuning. AB (Sharp): AABB (Barnes, Carlin, Fleming-Williams, Raven). Jack-a-Lent is a half-starved, sheepish booby, and also refers to a stuffed figure (similar to a scare-crow), representing Judas, thrown at during Lent. Shakespeare says: "You little Jack-a-lent, have you been true to us?" (Merry Wives of Windsor, iii. 3). The English convivial song “When Joneses/Joan’s/Jone’s ale was new,” mentions a Jack-a-Lent in the first stanza:

***

There was a jovial tinker which was a good ale drinker,

He never was a shrinker believe me this is true,

And he came from the Weald of Kent when all he money was gone and spent,

Which made him look like a Jack-a-Lent, and Joan's Ale is new!

***

The melody was first published by John Playford in his collection The English Dancing Master (1651). Source for notated version: concertina player Alf Edwards (England) [Carlin]. Barnes (English Country Dance Tunes), 1986. Carlin (English Concertina), 1977; pg. 32. Fleming‑Williams & Shaw (English Dance Airs; Popular Selection, Book 1), 1965; pg. 8. Raven (English Country Dance Tunes), 1984; pg. 33 & 43 (the latter is a facsimile copy of the Playford original). Sharp (Country Dance Tunes), 1909/1994; pg. 65.

X:1

T:Jack A Lent

M:2/2

L:1/8

S:Sharp – Country Dance Tunes (1909)
Z:AK/Fiddler’s Companion

K:G

|: (d4 d2 cB | AGAB c2) (BA | G2) .G2 .G2 g2 | (f4 e4) |

(d4 d2 cB | AGAB c2) (BA | G2) .G2 .G2 .g2 | (f4 e4) ||

(B3c d2 cB | AGAB ABcd | BcBA G2) (ga | fefg e4) |

(B3c d2 cB | AGAB ABcd | BcBA G2) (ga | fefg e4) ||

           

JACK A (O) TAR. AKA and see "Jacky Tar," "Jack and His Trousers (On)," "Cuckoo's Nest." Scottish, Hornpipe. E Minor. Standard tuning. AB (Athole, Skye): AABB (Honeyman). The tune is clearly "The Cuckoo's Nest."

***

Jack Tar. Attributed to figurehead carver Jeremiah Dodge of New York (died c. 1860).

***

Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 48. MacDonald (The Skye Collection), 1887; pg. 173. Stewart-Robertson (The Athole Collection), 1884; pg. 296.

X:1

T:Jack A’ Tar

M:C|

L:1/8

R:Hornpipe

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

Z:AK/Fiddler’s Companion

K:G

B2|e2 e2 efge|d2 (B2 B2) dB|ABde faef|d2 A2 A2 z2|e2 ef g2 fe|

dBGB d2 BA|GFGE DEFA|G2 E2 E2||GA|BGEG BGEG|BAGF E2 FG|

AFDF AFDF|AGFE D2 EF|GFGE g2 fe|dBGB d2 BA|GFGE DEFA|G2 E2 E2||


           

JACK AND HIS TROUSERS (ON). AKA and see "Cuckoo's Nest," "Cuckoo's Hornpipe," "Jacky Tar," "Jack A Tar," "Come in Jolly Tar with your Trousers On." Scottish. The melody appears in the Gillespie Manuscript of Perth (1768).

           

JACK AND JILL (Seán is Sinéad). AKA and see "Seán sa Ceo/Cheo." Irish, Reel. A Dorian. Standard tuning. ABC. A minorish setting of “Seán sa Ceko/Cheo.” Breathnach (1976) says the reel is from the repertoire of piper John Gorman and is a version os “Seán sa Cheo.” Source for notated version: fiddler Johnny Henry and flute player Michael J. Ryan (Ballymote, Co. Sligo) [Breathnach]. Breathnach (CRÉ II), 1976; No. 297, pg. 150.

           

JACK ARE YOU THEIR. English. England, Northumberland. One of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript.

           

JACK AT THE HELM. AKA and see "Niel Gow’s Strathspey.” Shetland, Whalsay.

           

JACK AUSTIN’S HUMOUR.  English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABB. The melody was first published in John Hinton’s Universal Magazine of Knowledge and Pleasure (London, 1753). Subsequently it appeared in John Johnson’s 200 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. 74.

X:1

T:Jack Austin’s Humour

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:G

d d2 e|dBcA|B2G2|d d2 e|dBcA (G2 G2):|
|:{c}B2 AG|{c}B2 AG|FGAB|A2 D2|{c}B2 AG|{c}B2 AG|FGAF|G2 G2:||

 

JACK BROKE DOWN THE PRISON DOOR. Shetland, Shetland Reel. Shetland, Whalsay. G Major. Standard tuning. AABB (most versions): AA’BB’ (Martin & Hughes). G.M. Nelson (in Anderson & Georgeson, 1970) relates the story behind the tune which was written by one John Gaudie, born in Levenwick, Shetland, in the 19th century. John was a young man of uncommon strength and a good fiddler who worked in the Sandwick copper mines until he met with an unfortunate accident. It seems he was ascending the mine shaft after his shift one night when a man above him (some say it was John's rival for the affections of a young woman) dropped a proving hammer which struck John on the head. He survived the resulting severe concussion but was ever after plagued with serious neurological problems which manifested generally as "spasms of violent madness," but which, luckily, left his musical abilities intact. In fact, though he could find little employment due to his disability, he had plenty of time to spend with his fiddle and, still a young man, he was acknowledged to be the best fiddler in Shetland at that particular time. Unfortunately, his disability hampered him to the extent that when he visited town he sometimes became belligerent.  On one occasion when he visited Lerwick he committed a breach of the peace and was seized upon by special constables and local citizenry, to be placed in "Nicol's Hotel," or the local jail, run by an old soldier named Sergeant Nicol.

***

When Johnnie realised where he was his fury increased still further

and, during the evening, with hand and foot, for there is no record

of his possessing any other implement, he broke down the door and,

once outside, set course for Clickimin and thence for home as hast

as he could go. Everybody was glad to see him go and no attempt

was made to restrain him. Johnnie, however, when he got home attributed

his escape not only to his strength but to his subtle diplomacy in avoiding

the authorities after he had broken goal. This amused him greatly, and as

he enjoyed it to the full he took down his fiddle and composed that lively

Shetland reel entitled "Johnnie Brood da Prison Door," or "Jack Brook

da Prison." (Nelson)

***

The melody is in repertory of Shetland Fiddle Band, and therefore is now widely known in the islands. Similar in parts to the Irish “Roving Bachelor.” Sources for notated versions: Aly Bain (Shetland) [Brody, Miller & Perron], Willer Hunter (Shetland) [Cooke]. Brody (Fiddler’s Fakebook), 1983; pg. 141. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex. 41, pg. 99. Martin & Hughes (Ho-ro-gheallaidh), 1990; pg. 31. Miller & Perron (Irish Traditional Fiddle Music), 1977; Vol. 2, No. 23. Philo 2019, Tom Anderson and Aly Bain‑ "The Silver Bow." Leader LER 2022, "Aly Bain & Mike Whellans."

X:1

T:Jack Broke Da Prison Door

M:4/4

L:1/8

Q:1/4=220

C:Trad Shetland

R:reel

K:G

"G"G2 BG "(Em)"BdBG|"(Am)"cBAB "D"dBAB|"G"G2 BG "(Em)"BdBG|[1"D(Am)"ABAG

 E2 DE/2F/2:|[2"D"ABAG E2 DG||!

"G"g2 gd edBG|"G"g2 gd "D"eaaf|"G"g2 gd "(Em)"edBG|[1"(Am)"ABAG "(D)"E2

DG:|[2"(Am)"ABAG "(D)"E2 D2||!

           

JACK CAMERON. Canadian, Reel. A Major. Standard tuning. AABB. Messer (Way Down East), 1948; No. 17. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 37, pg. 29.

X: 1

T:Jack Cameron

M:2/4

L:1/16

Z:Transcribed by Bruce Osborne

K:A

AB|cAce dcBA|cAce fgaf|e^def ecAB|c2B2 B2AB|

cAce dcBA|cAce fgaf|e^def ecAB|c2A2 A2:|

|:ce|agab agfe|dcde fagf|ecaf ecAB|c2B2 B2e2|

agab agfe|dcde fagf|ecaf ecAB|c2A2 A2:|

           

JACK CLUMB UP THE PLUM TREE. AKA and see "The Cat Clumb Up the Plum Tree Schottische," "Rochester Shottishe [2]," "The Sparrow in the Treetop," "What the Devil Ails You [2]."

                       

JACK COEN’S JIG. Irish, Jig. Learned by Bronx flute player Jack Coen (b. 1928) as a boy in County Galway. Accordion player Paddy O’Brien learned the tune from Jack and broadcast it as “Jack Coen’s Jig.” Green Linnet Records, Jack & Fr. Charlie Coen – “The Branch Line (1992. Originally recorded for Topic Records in 1977).

 

JACK COEN’S (JIG) [2].  AKA and see “Jim Conroy’s Jig,” “Leg of the Duck [2],” “Pride of the West.” Irish, Jig. G Major. Standard tuning. AABB.

See also listings at:

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

Alan Ng’s Irishtune.info

           

JACK COEN’S REEL.  AKA and see “Jim Conroy’s Reel,” “John Naughton’s Favorite.” Irish, Reel.

           

JACK, COM KISS ME (sic). English, Country Dance Tune (cut time). G Major. Standard tuning. AABB. The melody is contained in the Joseph Kershaw manuscript. Kershaw was a fiddler who lived in Slackcote, Saddleworth, North West England, in the 19th century, and his manuscript dates from around 1820 onwards. The first part of the tune is slightly reminiscent of the similarly titled “John, Come Kiss Me Now.” The Joseph Kershaw Manuscript, 1993; No. 8.

                       

JACK CONNELL’S. Irish, Polka. G Major. Standard tuning. AABB. The tune comes from Jack Connell in The Lighthouse in Ballydesmond, County Kerry. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 267, pg. 152.

..........................            

JACK COUGHLAN’S (REEL). AKA - "Jack Coughlan's Fancy," "Kevin Crawford's." Irish, Reel. G Major. Standard tuning. AB. Jack Coughlan, who composed the tune, was a flute player from Ballinakill, the same part of County Galway as Black's source, Mike Rafferty. Coughlan was a member of the ‘new’ Ballinakill Ceilí Band in the 1940’s, according to Gearóid Ó hAllmhuráin (1999), made up of the ‘next’ generation of traditional musicians, including flute and time whistle player Eddie Moloney, Aggie Whyte, Jack Coughlan and Kevin Moloney. Source for notated versions: Bill Black learned this tune at Mike Rafferty’s retirement party in May 1989; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Black (Music’s the Very Best Thing), 1996; No. 67, pg. 35. Harker (300 Tunes from Mike Rafferty), 2005; No. 54, pg. 17. Celtic Crossings CD0299-02, Gearóid Ó hAllmhuráin & Patrick Ourceau – “Tracin” (1999. Learned from a tape of flute player Eddie Moloney). Green Linnet SIF 1045, Joe Burke - "Tailor's Choice." "Joe and the Gabe." Kells KM 9509, Mike and Mary Rafferty – “The Dangerous Reel” (1996).

X:1

T: Jack Coughlan's

S: Mike Rafferty

Z: transcribed by B.Black

Q: 350

R: reel

M: 4/4

L: 1/8

K: G

B | cABA G3 B | AE E2 GEDB | cABA G3 A | BdAc BGGB |

cABA G3 B | AE E2 GEDB | cABA G3 A | BdAc BGGE ||

DBDE GFGA | BA (3Bcd ed B2 | dBde g3 e | dBAc BGGE |

DBDE GFGA | BA (3Bcd ed B2 | dBde g3 e | dBAc BGGB ||

           

JACK DANIEL'S REEL. Canadian, Reel. Canada, Cape Breton. A Major. Standard tuning. AABB. Composed by fiddler John Morris Rankin (d. 2000). Cranford (Jerry Holland: The Second Collection), 2000; No. 23, pg. 11. Green Linnett GLCD 1146 - The Tannahill Weavers - "Capernaum" (1994. Learned from Scottish dancer Billy Forsyth, who had the tune while on a trip to Nova Scotia). Green Linnet GLCD 1182, The Tannahill Weavers - “Choice Cuts” (1997).

See also listing at:

Alan Snyder’s Cape Breton Fiddle Recording Index

           

JACK DANIELSON'S REEL. Old‑Time, Breakdown. USA; Nebraska, Missouri. A Major. Standard tuning. AABBCC. The tune was one of  ‘100 essential Missouri tunes’ listed by Missouri fiddler Charlie Walden. Source for notated version: Bob Walters (Burt County, Nebraska) [Christeson, Phillips]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; pg. 10. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 119. Marimac 9054, The Ill-Mo Boys - "Fine as Frog Hair" (1995).

           

JACK DELAD.  French-Canadian, Reel. A Major. AEae tuning. AA’BB’. The ‘B’ part is twice the length (16 measures) than the first. Related to the “Four Hand Reel.” The title, “Jack(‘s) the Lad” in English, is unrelated to the tune that usually is known by that name. Source for notated version: fiddler André Alain (1931-2000) of St-Basile-de-Portneuf, near Québec City [Hart & Sandell]. Hart & Sandell (Dance ce Soir), 2001; No. 1, pg. 41. André Alain: Violoneux de St-Basile-de-Portneuf.”

                       


JACK DOLAN ("Sean ua Dublain" or "Seagan ua Dunlaing"). Irish, Reel. E Minor/G Major. Standard tuning. AAB. O'Neill (Krassen), 1976; pg. 125. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1358, pg. 253. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 612, pg. 111.

X:1

T:Jack Dolan

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 612

Z:AK/Fiddler’s Companion

K:Emin

e3 d Bddg|edBc dBGB|efed Bddg|edgd BA (3Bcd:|

g2 eg fdef|gfgb agef|g2 eg fded|BAGA (3Bcd ef|g2 bg fdef|

gfgb a2 ga|bgaf gfed|BA (3Bcd eaag||

           

JACK DOYLE’S. Irish, Polka. Ireland, West Kerry. G Major. Standard tuning. AABB. See note for “Jack Doyle’s Favourite.” Mac Amhlaoibh & Durham (. An Pota Stóir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), No. 44, pg. 30 (appears as “Gan Ainm” {untitled}).

           

JACK DOYLE'S FAVOURITE. Irish, Reel. A Dorian. Standard tuning. AABB. Jack Doyle is an accordion player who lived for a long while in New York, but who returned to Co. Kerry later in life. See also Breathnach (CRÉ II), 1976, No. 226 (listed as "gan anim," untitled) for another version of this tune, from the piping of Felix Dolan. Taylor (Crossroads Dance), 1992; No. 29, pg. 22. Shaskeen - "My Love is in America" (appears as "Untitled").

           

JACK GRACE’S FRONT.  English, Jig. D Major. Standard tuning. AABB. The melody first appeared in John Hinton’s periodical Universal Magazine of Knowledge and Pleasure (London, 1759). It also appears in the John Fifle music manuscript collection of 1780-1804. Fife was a resident of Perthshire Scotland, but may well have spent some time at sea, for there are indications in the manuscript of battles in the Mediterranean and the Caribbean. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 41.

X:1

T:Jack Graces Front

M:6/8

L:1/8

N:The ‘G’ note in the seventh measure of the 1st 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:D

d2f afd|c2d ecA|Bcd AGF|EFG FED|d2f afd|c2d ecA|Bdc BAG|A3 A,3:|

|:A2A AGF|Bcd AFD|EFG ABc|def ecA|Bcd efg|fed cBA|Bcd egf|edc d3:||

 

JACK HALL’S JIG. Canadian, Jig. Canada, Prince Edward Island. G Major. Standard tuning. AABB’. Source for notated version: learned in the 1930's from P.E.I. accordion player Jack Hall by Jerry Holland Sr., who passed it on to Jerry Holland Jr. (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 272, pg. 78. Fiddlesticks cass., Jerry Holland - “Fathers and Sons” (1992).

           

JACK I'LL TICKLE THEE. English, Jig. G Major. Standard tuning. AABB. The melody was first printed in Charles and Samuel Thompson’s third country dance collection (London, 1773). It was entered into the 1770 music manuscript collection of Northumbrian musician William Vickers (about whom, unfortunately, little is known). Seattle (William Vickers), 1987, Part 3; No. 495. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 53.

X:1

T:Jack I’ll Tickle thee

M:6/8

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:G

B2c dBG|ecA dBG|F2G AFD|BGE AFD|B2c dBG|ecA dBG|f2g afd|ge^c d3:|
|:ded dgd|dbd dcB|cdc cec|cac cBA|B2B BAG|FGA D2 d/c/|BAG DGF|G3 G3:||

           

JACK-IN-THE-BOX. Irish, Reel.

X:1

T:Jack‑in‑the‑Box

M:4/4

L:1/8

S:learned from David Kidd

R:reel

D:Joe McKenna

Z:Lorna LaVerne

K:D

|: dcBA F3E | D2FE DF(3FFF | ABcd F3E | DEFA BE(3EEE :|

dcBc d3B | cded cA(3AAA | ABcd e^def | gefe d3B |

ABcd e3d | cded cA(3AAA | ABcd e^def | gefe d3 |

           

JACK IN THE FOG. AKA and see "Sean sa Ceo," "Chancy Cheory." Irish. Identified as an "older" tune often known by its Gaelic title "Sean sa Ceo" or as "Chancy Cheory." Front Hall 018, How to Change a Flat Tire ‑ "Traditional Music of Ireland and Shetland."

           

JACK IN THE GARRET. Irish, Jig. D Major. Standard tuning. AABB (Kennedy): AABBCC (O’Farrell). Kennedy prints two of O’Farrell’s three parts, omitting O’Farrell’s first strain. Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 74, pg. 19. O’Farrell (Pocket Companion, vol. II), c. 1806; pg. 89.

X:1

T:Jack in the Garret

M:6/8

L:1/8

R:Jig

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

Z:AK/Fiddler’s Companion

K:D

d/B/ | AFD DED | GFE FGA | B3 AGF | GFG EdB | AFD DED |

GFE FGA | Bcd ABG | FGF D2 :: A | dcd efg | fed edc | dcd efg |

fdB B2A | dcd efg | fed edc | Bcd ABG | FGE D2 :: f/g/ | afd ded |

gfe fga | b3 agf | gfg efg | afd ded | gfe fga | Bcd efg | fge d2 :|

                       

JACK IN THE GREEN. See “Jack on the Green.”

                       

JACK IN THE WEST.  AKA and see “Camstronnan’s Rant,” “Card and Spin,” “Mr. McPhaden’s Favorite.”

 

JACK IS YET ALIVE. Scottish, Shetland; Reel. Shetland, Mainland district. G Major. Standard tuning. One part. Hunter (Fiddle Music of Scotland), 1988; No. 197.

           

JACK LAMSON’S HORNPIPE. American, Hornpipe. F Major. Standard tuning. AABB. Howe (1000 Jigs and Reels), c. 1867; pg. 51.

X:1

T:Jack Lamson’s Hornpipe

M:4/4

L:1/8

R:Hornpipe

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

Z:AK/Fiddler’s Companion

K:F

c2 | fefg afdB | cdef gabg | babg agaf | ecfd cdec | fefg afdB | cAdf efed |

cABd cAGB | A2F2F2 :: c2 | FEFD EFGA | BAGA Bcdf | gfed cdec |

dBGF EFGA | BABd cfed | cbAf eAdc | BGEF GABc | A2F2F2 :|

                       

JACK LATTIN. AKA – “Jack Latten.” See "Jackie Layton."

           

JACK LEIGHTON. AKA and see "Jackie/Jacky Layton"


           

JACK LIMBERLEGS. Old‑Time, Song Tune (2/4 time, irregular measure at beginning). G Mixolydian. GDgd tuning. One part. An American nonsense‑type song, a take‑off on the limberjack, a wooden doll with hinged limbs which 'dances' when place on a wooden strip that is then sprung. Lyrics to the tune go:

***

I went to the market sell some eggs,

There I spied Jack Limberlegs.

Twas limber legs and limber toes,

Two black eyes and a teapot nose.

***

Old Nan Tucker son‑in‑law

Biggest fool I ever saw.

He wore his shirt outside his coat,

Buttoned his britches up 'round his throat.

***

My gran‑mammy lookin' like she been sheared,

'N gran‑pappy he had a great ling beard.

He looked like his face was carved in stone,

He looked like a goat but he had no horn.

***

You talk about your honey but you ought to see mine,

She's humpbacked, bowlegged, crippled and blind,

She ain't so good lookin' but she dresses mighty fine,

Maybe some day she'll be divine.

***

I went to the market sell some eggs,

There I spied Jack Limberlegs.

'Twas limber legs and liber toes,

Two black eyes and a teapot nose.  (Reiner & Ancik)

***

Source for notated version: Arthur 'Cush' Holston (Florida) via Lloyd Baldwin [Reiner & Anick]. Reiner & Anick (Old Time Fiddling Across America), 1989; pg. 118.

           

JACK LINTEL'S JIG. AKA and see "Cam Ye O'er From France,” “The Cellar Door,” “Cellar door key.” English, Jig (3/4 time). England, Northumberland. A Minor. Standard tuning. AABBCC. The melody appears in the 1770 music manuscript copybook of William Vickers, a Northumbrian musician about whom unfortunately little is known. Vickers noted the tune in two sharps, although it plays best with no sharps or flats on the fiddle. Matt Seattle comments that pipers may prefer to play the F’s sharp. Vickers also noted the tune in 6/8 time, but most of the note groupings are in ¾ time. Seattle also points out the tune is similar to Vickers’ version of “Bob and Joan” With the tune set in A minor, the first part closely resembles “Cam Ye O’er from France.” Seattle (William Vickers), 1987, Part 2; No. 208.

X:1

T:Jack Lintel’s Jigg

M:3/4

L:1/8

R:Jig

S:William Vickers’ Northumbrian music manuscripts, pg. 50  (1770)

Z:AK/Fiddler’s Companion

K:D

cAA Ec2|cAAc B/c/d/B/|cAAE c2|BGGd B/c/d/B/:|

|:c2 df e2|eAAc B/c/d/B/|c2 df eg|BGGd B/c/d/B/:|

|:egce gc|egcg BG|egce gc|BGGd B/c/d/B/||

           

JACK LOUGHLIN (Seán Ua Loclainn). Irish, Jig. A Major. Standard tuning. AABB. Source for notated version: Mahony [O’Neill]. O'Neill (Krassen), 1976; pg. 66. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1076, pg. 203.

X:1

T:Jack Loughlin

M:6/8

L:1/8

R:Jig

S:O’Neill – Music of Ireland (1903)

Z:AK/Fiddler’s Companion

K:A

d/B/|AGF G2E|EFE EFG|A2B c2d|efg a2f|{a}gfe dcd|eaf g2f | edc dBG | B2A A2 :|

|:(3e/f/g/|aba gfe|dgf efg|aba gfe|dBA G2 A/B/|{d}cBc dcd|eaf g2f|edc dBG | B2A A2 :|

           


JACK MAGUIRE'S REEL (Ríl Sheáin Mhig Uidhir). AKA and see  The Noisy Curlew,” "Sherlock's Fancy," "The Snake." Irish, Reel. D Major. Standard tuning. AABB'. David Taylor (1992) believes this to be a composition of "the largely un‑acknowledged" Bronx fiddler John McGrath (1900‑1955, originally from County Mayo), whom he maintains was the composer of many tunes in the 'traditional' repertoire or the arranger and popularizer of scores more. Caoimhin Mac Aoidh, however, maintains the tune was played by Donegal musicians in Glencolmcille during James Byrne's father's time, which may have predated McGrath. Mac Aoidh believes it may be possible that Bulmer & Sharpley’s source, Sean McGuire, learned the tune in Donegal in the 1950’s and 1960’s. Jack Maguire is thought to be Sean Maguire/McGuire’s father. Sources for notated versions: flute player Roger Sherlock (Co. Sligo, Ireland) [Breathnach]; Sean McGuire [Bulmer & Sharpley]. Breathnach (CRÉ III), 1985; No. 105, pg. 53. Bulmer & Sharpley (Music from Ireland), vol. 2; No. 21 (appears as “Gan ainm/No title”). Flaherty (Trip to Sligo), 1994; pg. 11. Taylor (Crossroads Dance), 1992; No. 10, pg. 10. Inchecronin Records INC 7420, Roger Sherlock ‑ "Memories of Sligo" (1978). Shaskeen ‑ "The Mouse Behind the Dresser." Nimbus Records, Seamus Egan & Eileen Ivers – “Dear Old Erin’s Isle” (appears as “The Noisy Curlew”).

X:1

T:Jack Maguire's

R:reel

S:Session at Shoot the Crows, Sligo, 1992

H:Also played with single parts

D:Shaskeen: 25th Silver Jubilee Collection

Z:id:hn-reel-405

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

M:C|

L:1/8

K:D

DF~F2 DG~G2|DF~F2 EFDC|DF~F2 ABde|fdAG FGEF|

DF~F2 DG~G2|DF~F2 EFDC|DF~F2 ABde|fdAG FDD2:|

|:fgaf g2ag|fgaf gfeg|fgaf g2ag|f2eg fdde|

fgaf g2ag|fgaf gfeg|fdAF G2ag|fdAG FDD2:|

"variations"

|:DFAF DGBG|DFAF EDCE|DFBF ABde|fdAG FGEF|

DFAF DGBG|DFAF EDCE|DFBF ABde|fdAG FDD2:|

|:f2af gaag|f2af gfeg|f2af gaag|fdAG FDD2|

fgaf g2ag|fgaf gfeg|fdAF G2ag|fdAG FDD2:|

           

JACK McGANN. American, Reel. D Major. Composed by contemporary New England fiddler Rodney Miller. Jack McGann is a Boston based musician. I knew another Jack McGann as a well-known Philadelphia guitarist of the 1970's, a master of acoustic swing and blues, who ended his life in a struggle with a Texas music company he was working for. Jack had AIDS, back when the infection was relatively new and the scare quotient quite high. Upon learning of his condition the company summarily fired him rather than give him any benefits due to his disability, and Jack was in litigation when he died. I believe the case was decided in favor of him, posthumously. On a personal note, I took lessons from Jack in the early 1970's and found him an inspirational teacher and a noble person who deserves to be remembered as much for his music as for the circumstances of his death. 

           

JACK McGUIRE [1]. AKA and see “The Blackthorn Stick [4]." "The Irishman's Blackthorn Stick," "Clear the Road," "Inch of Garth" "The Jolly Clamdiggers," “The Old Blackthorn,”  "The Rising (of the) Sun" (Eiri na Greine). Irish, Jig.

 

JACK McGUIRE [2]. Irish, Reel. D Major. Standard tuning. AABB. Source for notated version: flute, tinwhistle and piccolo player Jack McGuire, fiddler Seán McGuire’s father, who was from County Cavan [McGuire & Keegan]. McGuire & Keegan (Irish Tunes by the 100, vol. 1), No. 65, pg. 17.

           

JACK MITCHELL’S POLKA. AKA and see “Dan Mac’s,” “Dan Mack’s,” “Jerome Burke’s,” “The Newmarket Polka [2].”

           

JACK MURPHY’S. Irish, Reel. D Minor. Standard tuning. AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black, in honor of “a great fan of Irish music who passed away a few years ago.” Black (Music’s the Very Best Thing), 1996; No. 13, pg. 7.

X:1

T: Jack Murphy's

C: © B.Black

Q: 350

R: reel

M: 4/4

L: 1/8

K: Dm

A | dAFE D2 A,D | CDEC DEGA | dAFE DEFG | ADBD cGEG |

dAFE D2 A,D | CDEC DEGA | dedc AGcA | GEDC D3 :|

E | F2 AF cFAF | dcde fede | fgaf egec | BGAF ECEG |

F2 AF cFAF | d3 e f3 g | afge fedc | BGAF D3 :|

           

JACK O TAR. See "Jack A Tar."

           

JACK O'DONOGHUE. Irish, Air (6/8 time). G Major. Standard tuning. AABB. Roche Collection, 1983, vol. 1; No. 17, pg. 12.

           

JACK OF ALL TRADES (An Ilceardaige). Irish, Double Jig. A Major. Standard tuning. AABB. O'Neill (Music of Ireland: 1850 Selections), 1903/1979; No. 936, pg. 174. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 166, pg. 42.

X:1

T:Jack of All Trades

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 166

Z:AK/Fiddler’s Companion

K:A

E|ABA Ace|a2A A2B|cde dcB|ABA GFE|ABA Ace|a2A A2B|cde dcB|cAA A2:|

|:E|A3 cBA|cee e2e|a3 f2b|gee e2e|fga ecA|gbe’ c’ae|fga c2B|cAA A2:|

           


JACK OF DIAMONDS [1]. AKA and see "Fort Worth," "Clinch Mountain," "The Wagoner's Lad," "The Cuckoo [5]," "Robi Donadh Gorrach," "Johnnie Armstrong," "Tod(d)lin’ Hame," "Bacach," "Hell on the Wabash." See also related tunes "Mason's Apron" and "Wake Up Susan [1]." Old‑Time, Texas Style; Breakdown.  USA; Oklahoma, Texas, Missouri, Arkansas, West Virginia. A Major. Standard or AEac# tunings. AABB (Brody, Thede): AABCDD (Phillips). A showcase tune in Texas and contest-style fiddling. As such, there are a wide variety of versions, often with idiosyncratic strains. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Sources for notated versions: Frank McCraw (Pottawatomie County, Oklahoma) [Thede]: Benny Thomasson (Texas) [Brody, Phillips]; Cyril Stinnett (Mo.) [Phillips]. West Virginia fiddler Ernie Carpenter learned his version from Wallace Pritchard. Brody (Fiddler’s Fakebook), 1983; pg. 142. Fiddler Magazine, vol. 11, No. 3, Fall 2004; pg. 46. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 120. Thede (The Fiddle Book), 1967; pg. 51. Augusta Heritage Records 003, Ernie Carpenter ‑ "Elk River Blues: Traditional Tunes From Braxton County, W.Va." County 724, Benny Thomasson‑ "Country Fiddling." Missouri State Old Time Fiddlers Association 002, Taylor McBaine ‑ "Boone County Fiddler." Rural Records RRCF 251, Curly Fox (1970). Voyager 301, Dwayne Youngblood‑ "Fiddle Jam Session." Voyager 309, Benny and Jerry Thomasson‑ "The Weiser Reunion: A Jam Session" (1993). Voyager 319‑S, Ace Sewell‑ "Southwest Fiddlin.'"

X:1

T:Jack of Diamonds [1]

M:C|

L:1/8

R:Breakdown

K:A

(3efg|a2A2 ABcA|A,CEG ABcA|dcBA GABG|EFGB ef (3efg|

a2A2 ABcA|EFAB A2 FD|EFGA Bcea|feBc A2z2:|

|:cB|(3cde ef edcA|dced faed|cedf ecAc|BAGF EDCB,|

(3A,B,C (3EFG|AEAc|BFBc dfec|egbe agaf|ecBG A2:|

 

JACK OF DIAMONDS [2]. AKA and see "Fort Worth." Old-Time, Breakdown. C Major. Standard tuning. AABB. Related to the “Wake Up Susan” and “Mason’s Apron” family of tunes. Source for notated version: Hugh Farr [Phillips]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 120.

 

JACK OF DIAMONDS [3]. AKA and see "Rye Whiskey [1]," "The Drunken Hiccups [1]." Old-Time, Fiddle Piece (3/4 time). USA; central West Virginia, western North Carolina. DGdg tuning (Harvey Sampson). This old tune (which often goes by the name "Rye Whiskey" or "Drunken Hiccoughs" in the South and Midwest) has been often used as a song tune as well as an instrumental piece; Bayard (1981) thinks the vocal set preceded the instrumental versions (see notes for "Drunken Hiccups [1]." North Carolina fiddler Tommy Jarrell learned the tune from his father, Ben Jarrell (who recorded it in 1927), who had it from a renowned 19th century fiddler named Houston Galyean, "which seems to date (the tune) back at least to the Civil War days" (Richard Nevins). The tune can be heard played by the band in the bar room scene of Walter Hill’s 1980 film The Long Riders. Augusta Heritage Recordings AHR-004C, Harvey Sampson and the Big Possum String Band – “Flat Foot in the Ashes” (1986/1994. Learned by Calhoun County, W.Va., fiddler Harvey Sampson from his father). County 723, Cockerham, Jenkins, and Jarrell‑ "Back Home in the Blue Ridge." County 790, Leftwich & Higginbotham - "No One to Bring Home Tonight" (1984).

           

JACK OFF THE GREEN [1]. English, Jig. D Major. Standard tuning. One part. See note for “Jack on the Green [3].” The title should probably read “Jack of the Green.” Carlin (Master Collection), 1984; No. 20, pg. 24.

           

JACK O’ THE GREEN [2]. AKA – “Ye Cheshire Way.” English, Jig (9/8 or 9/4 time). D Major. Standard tuning. AABB. The melody was first printed in David Rutherford’s Compleat Collection of 200 of the Most Celebrated Country Dances (London, 1756). The melody appears in the 1770 music manuscript copybook of William Vickers, a Northumbrian musician about whom, unfortunately, little is known; it also appears in London musician Thomas Hammersley’s 1790 music manuscript copybook. See note for “Jack on the Green [3].” Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 186.

X:1

T:Jack o’ the Green [2]

M:9/8

L:1/8

R:Jig

S:William Vickers’ music manuscript copybook, pg. 47  (1770)

Z:AK/Fiddler’s Companion

K:D

C2E D2F E2G|F2A AEG F2D|C2E D2F E2c|d2d dAG FED:|

|:d2f ecA BdB|c2e eBe c2A|d2f ecA BdB|c2d dAG FED:|

X:2

T:Jack on the Green [2]

M:9/4

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

D4E2(DEF2)D2(EFG2)E2|F4A2A2E2G2”tr”F4D2|D4E2(DEF2)D2(EFG2)E2|”tr”c4d2d2A2G2”tr”F4D2:|

|:d4f2e2c2A2(Bcd2)B2|”tr”c4e2e2B2d2”tr”c4A2|d4f2e2c2A2(Bc)d2B2|”tr”c4d2d2A2G2”tr”F4D2:||

 

JACK ON THE GREEN [3] (Sean Air an Bainseac). Irish, Slip Jig. G Major. Standard tuning. AABB. A tune by this title in 9/8 meter also appears in the Bodleian Manuscript (in the Bodleian Library, Oxford), inscribed "A Collection of the Newest Country Dances Performed in Scotland written at Edinburgh by D.A. Young, W.M. 1740." "Jack on the Green" was mentioned by MacTaggart in The Scottish Gallovidian Encyclopedia (1824) in a description of a rural country dance class as being one of the hornpipe dances taught by the master. There are several melodies that go by the similar titles “Jack on the Green,” “John of the Green” “Jack o’ the Green” etc., and, while some are similar in parts, most differ from one-another. This may be explained by the MacTaggart comment that there was a dance called Jack of the Green to which perhaps several (or even many) 9/8 time tunes were employed as vehicles for the steps.

***

The title may or may not relate to the Jack on the Green folklore character. Some accounts link the Jack-on-the-Green to the figure variously known as the Green Man, Jack-in-the-Green, Robin Hood, the King of the May and the Garland, who was a central figure in the May-Day celebrations throughout Northern and Central Europe. Designs of foliate heads or men date back to the 2nd century AD, and can be seen in churches, architecture, paintings and on monuments. In more recent times the Green Man has graced innumerable pub signs. He is symbolic of ‘The May’, the traditional beginning of Spring and the regeneration of the life-cycle.

***

J. Simpson and S. Roud have an entry on Jack-in-the-Green in their Oxford Dictionary of English Folklore (2000), which associates the Jack as one of the figures of traditional May celebrations by chimney sweeps. In addition to the Lord and Lady, clowns, musicians and figures clashing a broom and shovel together rhythmically, capering boys, and donkey riders, there was a Jack, “a man inside a wood or basketwork frame, from well above his head to his ankles, on which was fixed an abundance of greenery and flowers. The visual effect was a conical-shaped bush on feet, which danced.” They point out that, while great antiquity for the Jack figure is often claimed, there is scant evidence to support it. First of all, the custom was not widespread through England, and was clustered primarily in London, Oxfordshire and Buckinghamshire. Second, the earliest references to the Jack are only from the late 18th century. They believe that speculations of a link with Green men by Lady Raglan in 1939, plus a good deal of romantic or wishful thinking, have lead the assignation of antiquity to be continually perpetrated. Roud and Simpson also point out that the custom was in decline by the mid-19th century due to the drunkenness, tawdriness and vulgarity of the sweeps’ proceedings, and needed to be “abolished before it could be reinvented, cleaned up, and made safe, to take its place in the pageants of the late Victorians and Edwardians, and the fetes, fayres, and processions of the 20th century.”

***

Cole (1000 Fiddle Tunes), 1940; pg. 77. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 35, pg. 9. O'Neill (Krassen), 1976; pg. 83. O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 70. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1149, pg. 217. Plain Brown Tune Book, 1997; pg. 27. Ryan’s Mammoth Collection, 1883; pg. 110.

X:1

T:Jack on the Green [3]

M:9/8

L:1/8

R:Slip Jig

S:O’Neill – Music of Ireland (1903), No. 1149

Z:AK/Fiddler’s Companion

K:G

d | g2g gfg efg | a2a abg fed | g2g gfg e2e | def gdc BAG :|

|: F2A G2B A2d | d^cd AB=c BAG | F2A G2B A2d | def gdc BAG :|

           

JACK O’NEILL’S FANCY. AKA and see “Jim Coleman’s [2],” “Sweeney’s Hornpipe,” “The Sweep’s Hornpipe [2].” Irish, Hornpipe. Irish, Hornpipe. G Major. Standard tuning. AABB’. Source for notated version: John ‘Jack’ E. O’Neill (Chicago) [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 335.

X:1

T:Jack O'Neill's Fancy

M:4/4

L:1/8

S:John E. O'Neill, Chicago

Z:Paul Kinder

R:Hornpipe

K:G

(3DEF|GFGA BAGF|E2 e2 (3efe dc|BGdB AB (3cBA|(3GFG BG DCB,D|

GFGA BAGF|E2 e2 (3efe dc|BGdB AB (3cBA|GB (3AGF G2:|

|:ba|gafg egba|(3gag (3fgf e2 ag|fgef dfag|(3fgf (3efe d2 ba|

gafg egba|(3gag (3fgf e2 (3Bcd|1edef gfga|b2 e2 e2:|2edef gfga|bagf edBA||

           

JACK O’REILLY. Irish, Air (4/4 time). A Minor/Mixolydian/Dorian. Standard tuning. One part. Source for notated version: “From Mr. MacDowell, March, 1859" [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 351, pg. 89.

           


JACK PUDDING. AKA and see "Step Stately [1]." English, Country Dance Tune (6/8 time). A Minor. Standard tuning. AAB. The melody was first published by Playford in his English Dancing Master (1651). A ‘Jack Pudding’ is a buffoon who performs pudding tricks, such as swallowing a certain number of yards of black-pudding (i.e. blood pudding in a sausage casing). There are many such figures in Northern European tradition: to the Dutch he is Pickel-herringë; the Germans call him Hans Wurst (John Sausage); the Frenchman, Jean Potage; the Italian, Macaro’ni; and the English, Jack Pudding. Later the term appears to have been applied to a jester, harlequin, or a Punch-like clown figure. Raven (English Country Dance Tunes), 1984; pg. 32 & 42 (the latter is a facsimile copy of the Playford original). Harmonia Mundi 907101, The King's Delight - "17c. Ballads for Voice & Violin Band" (1993. Appears as the tune for "A Light Hearts a Jewell").

X:1

T:Jack Pudding

M:6/8

L:1/8

K:Amin

E | A2A B2G | cA2 d2B | ec2 B2A | (A3 A2) :| a | g e2 f2d | e c2 d2B |

cA2 BG2 | (c3 c2)c | d B2 e2B | ^GE2 c2d | e c2 dB2 | (A3 A2) ||

 

JACK RAMBLE.  See “Jack’s Ramble.”

           

JACK REGAN’S. AKA and see “Toormore Slide.” Irish, Slide (12/8 time). B Minor. Standard tuning. AABB. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 238, pg. 138.

           

JACK REEDY’S. Irish, Polka. G Major. Standard tuning. AABB. Mallinson (100 Polkas), 1997; No. 68, pg. 26.

           

JACK RICHARD’S TUNE. Canadian, Reel. Canada, Prince Edward Island. D Major. Standard tuning. AABB. The tune was named for a local Prince County, PEI, fiddler. Source for notated version: Ervan Sonier {1920-1994} & Toussaint Arsenault {b. 1916} (Summerside, Prince County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 73.

           

JACK ROBINSON. English, Country Dance Tune. The melody was found by the author of English Folk-Song and Dance in the repertoire of fiddler William Tilbury (who lived at Pitch Place, midway between Churt and Thursley in Surrey), who used, in his younger days, to play the fiddle at village dances. Tilbury learned his repertoire from an uncle, Fiddler Hammond, who died around 1870 and who had been the village fiddler before him. Wild Goose WGS 320, Old Swan Band – “Swan-Upmanship” (2004).

           

JACK ROE. Irish, Reel. A Dorian. Standard tuning. AABB. Source for notated version: fiddler Seán McGuire learned the tune from his father Jack, a flute, piccolo, and tin whistle player from County Cavan [McGuire and Keegan]. McGuire & Keegan (Irish Tunes by the 100, vol. 1), No. 72, pg. 19.

                       

JACK RYAN’S. Irish, Polka. Ireland, West Kerry. A Major (Mac Amhloibh & Durham): G Major (Taylor). Standard tuning. AABB. Mac Amhlaoibh & Durham (An Pota Stóir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), No. 13, pg. 17. Taylor (Music for the Sets: Blue Book), 1995; pg. 6.

           

JACK SMITH'S FAVORITE. AKA and see “Caber Feigh,” “Kathy Jones.” American, Reel. C Major. Standard tuning. AABB. A version of the Scots tune “Caber Feigh.” See also the fling “Orange and Blue” in Giblin’s Collection of Traditional Irish Dance Music (Boston, 1928) and other sources, a tune Paul de Grae says is much more closely related than the “Caber Feigh” versions. Cole (1000 Fiddle Tunes), 1940; pg. 40. Ryan’s Mammoth Collection, 1883; pg. 67.

X:1

T:Jack Smith’s Favorite

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:C

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

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

e/f/.g e/f/.g | e/f/g/e/ .c(d/e/) | f/g/.a f/g/a. | f/g/a/f/ .d(g/f/) |

e/f/.g e/f/.g | e/f/g/e/ c/e/f/g/ | a/f/g/e/ f/d/e/c/ | G/c/B/d/ c :|

           

JACK STUARD. AKA – “Jacky Stewart’s Reel.” English, Reel. England, Northumberland. E Minor. Standard tuning. AABB. "Jock Stuart"???  A variant was published by Robert Bremner as “Jacky Stewart’s Reel.” 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. 223.

X:1

T:Jack Stuard

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:Emin

E|E/E/E GA BGEG|AFDF dFDF|E/E/E GA egab|gefd e/e/e e2:|

|:egfe B/B/B fB|dgfe d/d/d fd|egfe B/B/B fB|GBAF E/E/E E2:|

           

JACK SWEENEY’S [1]. Irish, Jig. D Major. Standard tuning. AA’B. Jack Sweeney was identified by source O’Leary as a ten-key accordion player from Tuar Mor, on the borders of Kilcummin--”I played with him in Tuar Mor at the age of twelve years” (Moylan). Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border), recorded in recital at Na Piobairi Uilleann, February, 1981 [Moylan]. Moylan (Johnny O’Leary), 1994; No. 183, pgs. 105-106.

 

JACK SWEENEY’S [2]. Irish, Polka. D Major. Standard tuning. AA’BB’. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 199, pg. 115.

 


JACK SWEENEY’S [3]. AKA and see “Mairi’s Wedding.” Irish, Polka. E Dorian. Standard tuning. AA’BB’. A frequently heard polka at Irish sessions (often known under the alternate title) although the tune’s origins lie in the Scottish Hebrides. Sweeney was a musician who passed on numerous polkas to a young Johnny O’Leary. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 270, pg. 154.

           

JACK TAR. AKA and see “Pigeon on the Gate [2],” “Pigeon on the Gatepost [2],” “Pigeon on the Pier [2]," “Roddy Joe’s Reel,” “The Sturgeon Tea,” “The Twin Sisters [1].” The title “Jack Tar” for the tune comes from Kings County, Prince Edward Island, where it is one of several titles.

           

JACK THE BATCHELOR. Irish, March (2/4 time). A Minor. Standard tuning. AABB. There was a famous smuggler who lived n Rush, Ireland,—some say he was a pirate or even a ‘robin hood’ character—called Jack the Bachelor or Jack Field, whose real name was Jack Connors. Jack, originally from Wexford, was a romantic and swashbuckling character who was very popular in high society circles. He practiced his trade from a place known as Smugglers Cave, between Loughshinney and Skerries, north Dublin. Rush (from the Irish Gaelic Ros Eo, meaning ‘headland of the yew trees’) was notorious as a center for smuggling in the 18th century. Such was his reputation that the reference below (i.e. to Jack Field), from a period ballad, would be readily understood:

***

The lover may sigh
The courtier may lie
And Croesus his treasure amass,
All these joys are but vain
They are blended with pain
I'll stand behind Field and my glass.

***

Jack’s cave is still said to contain treasure, and one tale has it that the hoard is guarded by a green serpent (despite the well-known fact that St. Patrick dispensed with species in Ireland long ago!). The cave, say some, extends all the way to Baldongan Castle.

O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 67.

X:1

T:Jack the Batchelor (sic)

M:2/4

L:1/8

S:O’Farrell – Pocket Companion, vol. III (c. 1808)

Z:AK/Fiddler’s Companion

K:Amin

e/d/ | cA AB | c2 BA | d2 d(d/e/) | ge e>d | cAAB | c2 BA | Ad dc/d/ | ed d2 :|

|: cdef | (g2 g)f/e/ | (ab) ag/f/ | ge (ef) | gf (ga) | ge ed/c/ | d2 d(e/f/) | ge e2 :|

                       

JACK THE BRISK YOUNG DRUMMER.  AKA and see “The Drummer.”

 

JACK THE DRUMMER.  AKA and see “The Drummer.”

 

JACK THE HORSE COURSERS HORNPIPE. English, Hornpipe (4/4 time). G Major. Standard tuning. AABB. The melody appears in Walsh’s third volume of Lancashire tunes (Lancashire Jigs, Hornpipes, Joaks, etc.) published around the year 1730.

X:1

T:Jack the Horse Coursers Hornpipe

B:Walsh

M:4/4

L:1/8

K:G

G2 e2| d2 cB ABcd| A2 ED GDGB| ADFA GDGB| ADFA G2 e2|d2 cB A2 BG|\

F2 ED c2 BA| B2 AG F3 G| G4::d2 g2| f2 ed e2 fd|^c2 BA dAdf| eAeg fAdf|\

eAef B2 g2| f2 ed ^c3 B| B4 B2 e2| d2 cB A2 BG| F2 ED BGBd| AFAc BGBd|\

AFAc G2 e2|d2 cB A2 BG| F2 ED c2 BA| B2 AG F3 G| G4:|

                       

JACK THE JOLLY PLOUGHBOY. AKA and see "The Jolly Plowman/Ploughman [1]," "The Low-Back(ed) Car [2]," "To Rodney We Will Go," "Farewell--but whenever you welcome the hour," "The Drop of Dram." Irish, Air (6/8 time). E Major. Standard. AAB. O'Sullivan (1983) finds the earliest printing of this air in Aird's Scotch, English, Irish and Foreign Airs, volume III (1788), pg. 160, under the title "To Rodney we will go," and notes Moore used the melody for his song "Farewell-but whenever you welcome the hour" (he believes Moore's source for the tune to have been "The Drop of Dram" in O'Farrell's Pocket Companion, book IV). Moffat prints the song in his Minstrelsy of Ireland, pgs. 12-13, to an identical tune as Bunting (1840). Samuel Lover's best-known song, "The Low-Back'd Car," uses the melody. Further, O'Sullivan finds variants of the melody in Baring-Gould's Folk Songs of the West Country as "A Hunting we will go" (pg. 12) and in Moeran's Six Suffolk Folk Songs as "Nutting Song," and in fact it has melodic similarities to the English tune "Nutting Girl." Source for notated version: noted by the Irish collector Edward Bunting from the playing of harper J. Duncan in 1792. O'Sullivan/Bunting, 1983; No. 23, pgs. 38-39.

           

JACK THOMPSON’S FANCY. English, Schottische. The tune was reconstructed by Northumbrian fiddler Jack Thompson after World War II. He was playing at a dance in Eglingham, according to Reg Hall (1998), when an elderly man requested the tune that used to be played for the dance The Ideal Schottische. Thompson barely remembered it, but the Cheviot Ramblers were able to fashion on the spot a version of the requested melody, which now bears the fiddler’s name. Topic 12TS222. Topic TSCD 669, Cheviot Ranters (et al) – “Ranting and Reeling: Dance Music of the north of England” (1998).

 

JACK WALSH’S JIG.  AKA and see “Scatter the Mud [2].”

 

JACK WARREL’S HORNPIPE.  English, “Old” Hornpipe (triple time). C Major. Standard tuning. ABCDEFGHIJKLMN. From Thomas Marsden’s A Collection of Original Lancashire Hornpipes, Old and New. Containing Divisions upon each (London, 1705). The book was sold out of Henry Playford’s shop at the Temple Change, priced at one shilling. 
X:1
T:Jack Warrel's Hornpipe
M:9/4
L:1/4
S:Marsden
Z:Transcribed by Pete Stewart and posted at www.goodbagpipes.co.uk/pipetunes/   
N:(reposted at Fiddler’s Companion by permission)
K:C
A2BcBABAG|AFABAGF2D|B2cdcBcBA|BAGGABA2G||
F>GA/B/ cBABAG|AFABc/B/ A/G/ F2D||dBGGdGAFD|BAGGABA2G||
cAFFcFBAG|AFABAGF2D|dBGGdGAFD|BAGGABA2G||
f2ffAfe2d|cAAA2GF2D|g2ggGgf>ef|e/f/gGGABA2G||
F>ef/g/agfe2d|d/e/fABAGF2D|G>fg/a/bagagf|e/f/gGGABA2G||
c/B/ A/G/Fc/B/ A/G/F d/c/B/A/G|AFABAGF2D|d/c/B/A/Gd/c/ B/A/Gc/B/A/G/F|d/c/B/A/GGABA2G||
FcFcFcBAG|AFABAGF2D|GdGdGdAFA|BAGGABA2G||
M:3/2
c/B/ A/G/ F/G/ A/F/ G/A/ B/G/|A/F/ A/B/ c/B/ A/G/ F/G/ A/F/|d/c/B/A/ G/A
/ B/G/ F/G/ A/F/|G/A/ B/c/ d/c/B/A/ B/c/d/B/||
c/A/ F/A/ c/A/ F/A/ d/B/ G/B/|c/A/ F/A/ B/A/G/A/ F>D|d/B/ G/B/ d/B/ G/B/c/A/ F/A/|d/B/ G/B/ d/B/ G/B/ d/B/ G/B/||
c/A/ F/A/ c/A/ F/A/ d/B/ G/B/|c/A/ F/A/ B/A/ G/B/ F>D|B/c/ d d/c/ BA2|B/G/G G>A A>G||
M:9/4
L:1/4
f2ff>g f/g/e2d|cAAA2GF2D|g2gg>ag^f>ef|g2GG>ABA2G||
f>gaagfe2d|cAAA2GF2D|B>cddcBA3|BGGG2BA2G||
cAFABcGBd|FAcBAGF2D|dBGB>cdD3|BGGG2AA2G||
cAFFAcGBd|FAcBAGF2D|B>cdde/d/c/B/A3|BGGG2AA2G||

                       

JACK WILSON. Old-Time, Breakdown. USA, Kentucky. D Major. Standard tuning. AABB (Titon): AA'BB' (Molsky). The tune is originally from Kentucky fiddler John Salyer (1882-1952), although it has deviated from his version through the “folk process,” along with the fact that his 1941 recording, a fiddle/banjo duet, was such that the fiddle is difficult to hear.  Source for notated version: John M. Salyer (Salyersville, Magoffin County, Ky., 1941) [Titon]; Bruce Greene [Phillips]. Phillips  (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 121. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 72, pg. 102. Berea College Appalachian Center AC003, “John M. Salyer: Home Recordings 1941-1942, Vol. 1” (1993). Marimac 9033, Wandering Ramblers – “Rambling and Wandering (1991).

X:1

T:Jack Wilson

S:Bruce Molsky, Edinburgh February 1999

N:From the playing of John Salyer.

N:Drone the D string throughout B part.

Z:Nigel Gatherer

M:4/4

L:1/8

K:D

ef|g2 ga gedg|edeg a2 a2|a g2 a gedg|edBd A2 ef|

g2 ga gedg|egab a2 ef|gaba gedg|edBd A2 F2|]

A2 Bc defd|edBc d2 d2|A2 Bc defd|edBd A2 F2|

A2 Bc defd|edBc d2 ef|g2 ga gedg|edBd A2 F2|]

           

JACK WON'T SELL HIS FIDDLE. AKA and see "I Have a Wife of My Own." Scottish, Jig (9/8 time). E Dorian. Standard tuning. AABB. Kennedy (Fiddler’s Tune Book: Slip Jigs and Waltzes), 1999; No. 36, pg. 9.

           

JACK WOOD, THE. Canadian, Reel. D Major. Standard tuning. AABB. Messer (Way Down East), 1948; No. 18. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 38, pg. 29.

X:1

T:Jack Wood Reel

R:Reel

M:4/4

L:1/8

Z:Transcribed by Bruce Osborne

K:D

A2|A,2DF Adfg|a2ab afdf|(3gag (3fgf  ecAc|ecac ecAE|

A,2DF Adfg|a2ab afdf|(3gag ec AABc|d2f2 d2:|

|:fg|(3aba fd Adfa|(3gag ec Acef|(3aba fd Adfd|e2[c2a2] [c2a2]fg|

(3aba fd Adfa|(3gag ec Aceg|fafd egec|d2f2 d2:|

           

JACKET BLUE. Irish, Air (3/4 time). G Major. Standard tuning. One part.

***

What kind of clothes does you William wear,

Or what was the colour of your William’s hair?
Genteel he was, not at all like you,

For you advise me, for you advise me,

To slight my sailor with his jacket blue.

***

Joyce (Old Irish Folk Music), 1909; No. 331, pg. 154.

X:1

T:Jacket Blue

M:3/4

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:G

D|BB B2 AB|GA E3F|G/A/B/c/ d>c de|dA B3 B/c/|de G2 FE|

FG A2 BA|BE E>D GA|Bd e>d ec|BA G>F ED|EF G3||

                       

JACKET OF BATTERIES. Irish, Reel. C Major. Standard tuning. De Danann – “Jacket of Batteries.”

X:1
M:4/4
L: 1/8
R: Reel
K: C
C2EC B,DGF|EccB cGEG|FAdF EGcE|FEDC B,G,A,B,|....

                                   

JACKET TRIMMED IN BLUE, THE. AKA and see "Bonnet Trimmed in Blue," "Cracovienne (Quickstep),” “I Have a Bonnet Trimmed with Blue [1],” “Krakoviak." Irish, Canadian; Polka. Ireland, West Kerry. G Major (Messer): A Major (Mac Amhlaoibh & Durham). Standard tuning. AABB. Mac Amhlaoibh & Durham (An Pota Stóir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), No. 12, pg. 16 (appears as “A Bonnet Trimmed in Blue”). Messer (Way Down East), 1948; No. 57. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 98, pg. 63.

X:1

T:Jacket Trimmed in Blue

R:polka

M:2/4

L:1/8

Z:Transcribed by Bruce Osborne

K:G

D|GA/B/ ce|dB B2|de/d/ cA|GB B2|

GA/B/ ce|dB B2|de/d/ cF|AG G:|

|:z|de/f/ ge|dB B2|de/d/ cA|GB B2|

de/f/ ge|dB B2|de/d/ cF|AG G:|

           


JACKETS GREEN, THE. Irish, Air and March (2/4 time). G Major (Mulvihill): D Major (Miller & Perron). Standard tuning. One part. Words to the song were written by Michael Scanlon (1836-1900), who also wrote "Bold Fenian men" and "Limerick is beautiful."

***

Oh Ireland! Sad is thy lonely soul, and loud beats the winter sea,

But sadder and higher the wild waves roll from the hearts that break for thee.

Yet grief shall come to our heartless foes, and their thrones in the dust be seen,

But Irish maids love none but those who wear the jackets green.

***

Sources for notated versions: Liverpool Ceili Band & Liam Greenall (Liverpool, England) [Mulvihill]; Mary O’Hara [Miller & Perron]. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 141. Mulvihill (1st Collection), 1986; No. 4, pg. 103. Tradition TLP-1024, Mary O’Hara – “Songs of Ireland” (1958).

           

JACKEY BULL.  English, Jig. D Major. Standard tuning. AABB. The melody was first printed in Thomas Wilson’s Companion to the Ballroom (London, 1816, pg. 96). There was a song (sung by “Mr. Moss”) called “Jackey Bull” from English dramatist John O’Keefe’s The Agreeable Surprize (London, 1784), a comic opera in two parts—although the connection to the jig is unknown. Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 73, pg. 19.

 

JACKEY LAYTON. See "Jackie Layton."

           

JACKEY’S FANCY.  AKA and see “Blind Man’s Ramble,” “Chips and Shavens.” English, Reel.

 

JACKIE AND MAMIE’S. Canadian, Jig. Canada, Cape Breton. F Major. Standard tuning. AA’BB’. Composed by baroque violinist and Cape Breton-style fiddler David Greenberg. Cranford (Jerry Holland: The Second Collection), 2000; No. 283, pg. 101. BM-91, Buddy MacMaster – “Glencoe Hall.” Marquis Records, David Greenberg & Doug MacPhee – “Tunes Until Dawn” (2000).

           

JACKIE COLEMAN’S NO. 2. Irish, Reel. D Major. Standard tuning. AABB. Jackie Coleman (1928-2001) was a flute and whistle player born in Sheffield, England, to parents from near Gurteen, County Sligo. The family apparently moved back to Gurteen in 1933, moved again to England in 1947, and back once more to Gurteen in 1967. Sources for notated versions: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]; flute player Seamus Tansey [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1974, vol. 3, No. 24. Mulvihill (1st Collection), 1986; No. 178, pg. 48.

           

JACKIE COLEMAN'S REEL. Irish, Reel. D Major. Standard tuning. AABB. A popular session reel. Jackie Coleman (1928-2001) was a flute and whistle player born in Sheffield, England, to parents from the townland of Knicknahoo, near Gurteen, County Sligo. The family moved back to Gurteen in 1933, moved again to England in 1947, and back once more to Gurteen in 1967. Coleman was a distant relative of famed fiddler Michael Coleman, and played both flute and fiddle. According to Stephen Jardine's Thesis, "A Study of the Composition of Tunes and Their Assimilation into Irish Traditional Dance Music,” “Jackie Coleman's” was composed in 1954 by Jackie Coleman himself. The jig “Farewell to Gurteen” is another of Jackie’s compositions. Sources for notated versions: fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia) [Cranford]; Frank McCollam (Ballycastle, County Antrim) [Mulvihill]; sessions at the Regent Hotel, Leeds, England [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1974, vol. 1, No. 6. Cranford (Brenda Stubbert’s), 1994; No. 51, pg. 18. Cranitch (Irish Fiddle Book), 1996; pg. 85. Jordan (Whistle and Sing), 1975; 32. Mallinson (Essential), 1995; No. 11, pg. 4. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 2, No. 21. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 78. Martin & Hughes (Ho-ro-gheallaidh), 1990; pg. 35. Mulvihill (1st Collection), 1986; No. 177, pg. 48. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 55, pg. 28.

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:Jackie Coleman’s

M:4/4

L:1/8

R:Reel

Z:AK/Fiddler’s Companion

K:D

dB|A~F3 EDB,D|F2 AF BFAF|E2 BE dEBE|ABde fedB| A~F3 EDB,D|

F2 AF BFAF|E2 BE dEBE|1 ABde fddB:|2 ABcd fdde||

|:fd{e}dc dfag|fd (3ddd fagf|eA (3AAA eAfA|eA (3AAA efge|

fd{e}dc dfag|fd (3ddd dfaf|g2 {a}gf gbag|faeg fd d2:|

           

JACKIE DALY’S REEL [1].

X:1

T:Jackie Daly's Reel [1]

C:Jackie Daly

D:Arcady, "After The Ball"

Z:transcribed by Paul de Grae

R:reel

M:4/4

L:1/8

K:Em

GF|"Em" EGB,E "D" DEFD|"Em" E2 B^c "Bm" dcAF|

"Em" EGB,E "D" D2 ^CD|"Bm" B,^CDE "D" FAGF|

"Em" EBGE "D" DAFD|"C" CGEC "Bm" B,2 CB,|

"Am" A,B,CE "Bm" DEFB|"D" AFDF "Em" E2:||BA|

Bceg "Bm" fede|"D" fagf "Em" edBA|

"G" G3 A BABc|"D" d^cde dBA=c|

"G" BcBG "B7" ABAF|"Em" GAGE "D" F2 (3A,A,A,|

"Am" A,B,CE "Bm" DEFB|"D" AFDF "Em"E2 BA||

"C" Bceg "D" fede|"A" fagf "D" edBA|

"G" G3 A BABc|"D" d^cde dBA=c|

"G" BcBG "D" ABAF|"C" GAGE "Bm" F2 (3A,A,A,|

"Am" A,B,CE "Bm" DEFB|"D" AFDF "Em" E2||

 

JACKIE DALY’S REEL [2]. Irish, Reel. D Major. Standard tuning. AABB. Composed by Cork button accordion player Jackie Daly.

X:1

T:Jackie Daly's Reel [2]

C:Jackie Daly

D:Arcady, "After The Ball"

Z:transcribed by Paul de Grae

R:reel

M:4/4

L:1/8

K:D

de|"D" fedc "Bm" BF ~F2|"A" AFEF "D" DEFA|

"Bm" Bcde fB ~B2|"A" ABde "F#m" faef|

"G" dcBA "Bm" BF ~F2|"A" AFEF "D" DEFA|

"Bm" Bcde faef|"A" dBAF "D" D2:|:dc|

"Bm" Bcde fb ~b2|"Em" gfeg "Bm" fedf|

"A" ec ~c2 Ac ~c2|ecac "F#7" e2 dc|

"G" Bcde "Bm" fb ~b2|"Em" gfeg "D" fedf|

"A" ecac bcaf|gece "D" d2:|

 

JACKIE DALY’S REEL [3]. AKA and see “John Slattery’s Reel.” Irish, Reel. Although here called after the influential County Cork accordion player Jackie Daly, the reel is “John Slattery’s Reel,” named after a local Ardfert, County Kerry, musician, via fiddler Paddy O’Sullivan (Sr.), who played it for Brendan Breathnach in 1966. It appears as “Jackie Daly’s” on fiddler John Faulkner’s recording. Green Linnet GLCD 1064, John Faulkner – “Kind Providence.”

           

JACKIE DONNAN'S MAZURKA. AKA and see “Joe O’Dowd’s (Mazurka).” Irish, Mazurka (3/4 time). D Major. Standard tuning. AABB. A version of this tune appears in the Roche Collection as a redowa called “The Barnacle.” Source for notated version: fiddler Jackie Donnan (Co. Down) [Boys of the Lough]. Boys of the Lough, 1977; pg. 15. Transatlantic TRA 311, Boys of the Lough ‑ "Lochaber No More."

X:1

T:Jackie Donnan's Mazurka

R:mazurka

Z:id:hn‑mazurka‑4

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

M:3/4

L:1/8

K:D

dB|:A2 AF AB|d2 dB df|e2 ed ef|a2 af ed|

A2 AF AB|d2 dB df|e2 ed ef|1 d2 dB dB:|2 d2 dA de||

|:f2 fe de|f2 fe df|e2 ec Ac|e2 e2 de|

f2 fe de|f2 fe df|a2 fd ef|d2 d2 Ad:|

|:f2 f2 ef|d2 d2 dc|B2 BA FA|B2 BA FA|

f2 f2 ef|d2 d2 af|e2 ed ef|1 d2 d2 Ad:|2 d2 d2 dB||

           

JACKIE DUNN. Canadian, Reel. Canada, Cape Breton. G Major. Standard tuning. Composed by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia) for fellow-fiddler Jackie Dunn (b. 1969, Antigonish County, Nova Scotia). Cranford (Brenda Stubbert’s), 1994; No. 73, pg. 26.

           

JACKIE FITZPATRICK'S REEL (Ríl Jeaic Mhic Ghiolla Phádraig). AKA and see "Paddy in London [1]." Irish, Reel. A Dorian. Standard tuning. AB. Breathnach (1976) notes the tune is called “Paddy in London” in Westmeath. Source for notated version: flute and whistle player Micko Russell (Doolin, Co. Clare, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 225, pg. 117.

           

JACKIE I HARDLY KNEW YA'. Canadian, Jig. Canada, Nova Scotia. G Major. Standard tuning. AA'B (Cook): AA'BB' (Fiddler Magazine). Composed by Antigonish, Nova Scotia, fiddler Jackie Dunn. Cook (Night in the Kitchen Collection), 1996; pg. 36. Fiddler Magazine, vol. 3, No. 2, Summer 1996; pg. 19. Jackie Dunn - "Dunn to a 'T'".

           

JACKIE/JACKY LATIN (Seagan Ua Laidean). See "Jackie Layton," "Jockey Latin."

           

JACKIE LAYTON. AKA ‑ "Jack/Jackie/Jacky Latin/Latten," "Jockey Latin," “Jaque Latin,” "Jackey Layton," "Jack Leighton,” “Jennie, Rock the Cradle,” “Jock o’ Latin, “Jockey Layton." AKA and see "Jockey Latin." Scottish, English, Irish; Reel and Country Dance Tune. England, Northumberland. G Major (most versions): D Major (O'Neill). Standard tuning. AB (Kerr, Surenne): ABC (Callaghan, O'Neill): AAB (Gow, Kennedy, Stokoe & Bruce): AABBCC (Barnes): AABBCCDDEEFFGGHHII (Peacock). Another tune in which the provenance is debatable and which is popular throughout the British Isles as a bagpipe and fiddle tune. The earliest appearance in print of the melody under the “Latin” title (or variations of the same) appears to be in the Scottish Drummond Castle Manuscript (in the possesssion of the Earl of Ancaster at Drummond Castle), inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734." It is also said to have been published in the same year in Ireland in John Neal's 3rd Collection of Country Dances (1734), according to Matt Seattle (whose information was supplied by Seán Donnelly). Closely following this is the melody appeared in Daniel Wright's Flute Tutor (1735) and the ballad opera The Female Rake (1736), indicating its popularity at that time. “Jacky Latin” appears in the 3rd book of  The Compleat Country Dancing Master (1735) and volume 2 of Walsh's Caledonian Country Dances (c. 1737). Later printings can be found in Waylet’s Collection of Country Dances (1749), book 12 of Oswald's Caledonian Pocket Companion (c. 1759-60), the McLean Collection (printed by James Johnson in Edinburgh, 1772), the Gillespie MS. of Perth (1768), and Bremner's McGibbon Collection (1768), though tune in the McLean Collection has been found contain a transposed flute version of the piece that Robert Bremner published four years earlier. The title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800, indicating that its popularity had at least spread to the Borders region. Johnson included “Jacky” in his Scots Musical Museum (No. 430), as the tune for Robert Burns' "Lass of Ecclefechan.”

***

There have been several stories extent about the origins of the tune and regarding the personage of Jacky Lattin, some of which are quite erroneous. A correspondent of Captain Francis O’Neill’s, one Patrick O’Leary of Drumlona, Eastwood, Adelaide, South Australia, claimed the melody was Irish in origin and related this story from County Monaghan:

***

This fine old reel is said to have been composed in honor of

a young man, John Duffy--better known as ‘Jack’ Duffy--who

lived in the townland of Lattan, near (Walter ‘Piper’) Jackson’s

home in the parish of Aughnamulien. Duffy being a fine,

strapping young man, a local Adonis, and an incomparable

dancer in those days when dancing was a fine art in Ireland,

he won Jackson’s friendship and esteem to such a degree, that

the great composer immortalized him in the beautiful tune,

‘Jack o’ Lattan.”

***

A variant story put forward is that Jack Lattin was an Irishman who danced himself to death at the age of 21. Yet another identification has it that Lattin was an accomplished and gifted fiddler and an associate of another famous Irishman immortalised in tune: Larry Grogan, the gentleman piper from Wexford. O’Neill (1922) remarks: “The renowned Walter Jackson popularly known as ‘Piper’ Jackson who flourished about the middle of the 18th Century, was reputed to be the composer of ‘Jack Lattin’, ‘Jack O'Lattan’, or ‘Jacky Latin’, as the tune has been variously called. Under the first name it was printed in Waylet's Collection of Country Dances, 1749. As ‘Jack Laten’ I find an elaborate setting of it in McGibbon’s Collection of Scots Tunes published in London 1755 consisting of four original parts apparently, and fifteen variations. While preserving the same strain, but more suitable to our purpose, O'Farrell's setting of much later date is here presented. A tune known to me as ‘Jenny Rock the Cradle’ was declared to be ‘Jacky Latin’ by a musical acquaintance, and it was under the latter name it was printed in O'Neill's Dance Music of Ireland in 1907. If both tunes were derived from Jackson's original composition, they furnish a striking illustration of how time, taste, and development diversify a strain of music in a few generations.” “Jenny Rock the Cradle” is a title associated with at least two tunes, however, and only the first strain of O’Neill’s “Jenny Rock the Cradle” (from an mid-19th century manuscript) is the same a “Jack Lattin.”

***

These threads of stories and variants were exhaustively investigated by Seán Donnelly in his article “Ecstasy in Eighteenth Century Kildare?: The Strange Fate of John Lattin of Morristown Lattin (1731)”, published in the Journal of the County Kildare Archaeological Society xviii, 4 (1998-99), 565-88. Donnelly thoroughly researched the subject and finds that John “Jack” Lattin (1711-1731), a member of the Roman Catholic Lattin family of the estate of Morristown Lattin in County Kildare, was a young man of which there is some historical record, including some details of his life and fate. Older accounts agree that Lattin wagered that he could dance a distance of many miles, that he performed the feat and that he died subsequently—perhaps only days after the event, suggesting that he had an underlying health problem or that his exhaustion lowered his resistance to the many fevers endemic in the 18th century. Donnelly concludes that Lattin danced eight miles, from Morristown to Castle Browne, rather than the 20 mile distance from Morristown to Dublin that is often mentioned in later stories.  Wagering on such marathon dances was not unqiue; Jack Kemp, an actor in Shakespeare’s troop, heavily bet that he would complete an 120 mile distance in England (see note for “Kemp’s Jig”).  It is also true that Lattin and Larry Grogan were friends and musicians—fiddlers—who played together. Donnelly has no conclusions about who might have composed the tune, although he thinks it unlikely that Lattin did himself, as some have suggested and suggests that it originated with someone (a fiddler) in the Dublin music society that orbited around the Neals, performers and publishers.

***

The melody was published in O'Farrell's Collection of National Irish Music for the Union Pipes (1804) as “Jack Latten with variations," a five part tune, the whole of which was reproduced by O’Neill in his Waifs and Strays of Gaelic Melody, though O’Farrell’s seems to be the earliest Irish printing. In the Fleischmann index, however, there is a note that the tune appears under the title “Irish Tune” in John Young's Collection of Scotch Tunes for the Violin (c. 1700), and if the reference is accurate, this would seem to indicate Irish origins for the melody predate Scottish ones. “Jack Lattin” is first mentioned in print in Faulkner’s Dublin Journal of June 1733 where it is advertised that “Jack Latin (will be played) on the Pipes, by two of the best Masters in this Kingdom,” indicating it was well-known at the time. Donnelly finds many other printed references to the tune in Ireland in the 18th century, but by the end of that century its popularity had ebbed, although by that time the tune was widely disseminated. In fact, says Donnelly, by the time of the O’Farrell printing most Scottish musicians would have disputed the claim the “Jack Lattin” was Irish in origin.

***

In a personal communication, M. Luc De Cat writes that “I found a 4 part tune from the same family in a tunebook edited in 1756 where it is arranged for harpsichord : Cents Contredanses en Rond (100 country dances, rounds) by Jean-Baptiste-Robert d' Aubat (de) St.-Flour. It appears as number 21:  ‘Jacques Lutin ou l'Angloise’ (l'Angloise is the old way of writing l'Anglaise which is the name given to tunes from British origin). d'Aubat st-Flour was a dancing master in Gent (Belgium) and was, as his name indicates, from French origin. In his book are dance-tunes from British and French origin, and some classical sounding tunes. He was playing for the upper-class, who liked county dances at that time (with all the romantic pastoral feelings about the countryside).” A Dutch publication of 1755, Recueil de 24 Contredances Anglise Les Plus Usite by G. Willsim (with dance figures), includes “Jack Lattin” under the title “Jaque Latin.” [A copy of the latter publication is held at the University of North Carolina, Greensboro].

***

Despite its Irish roots, “Jack Lattin” was popular with English fiddlers as well in the late 18th and 19th centuries, primarily from the north of England. It appears, for example, in the music manuscripts of a number of British musicians, including Benjamin Cooke (c. 1770, Leeds, West Yorkshire), James Biggins (1779, Leeds, west Yorkshire), Joseph Barnes (1762, Carlisle, Cumbria), Tom Clough (various dates, Northumberland), John Fife (1780, Perth, Scotland), John Peacock (Northumberland), William Higgott (c. 1800, Cumbria), Joshua Jackson (, Harrogate, north Yorkshire), William Vickers (1770, Northumberland) and Thomas Watts (late 18th century, Peak Forest, Derbyshire). Similarly, it appears in a few American musicians’ manuscripts of the same period, such as Silas Dickinson’s copybook (c. 1800, Amherst, Massachusetts), Whittier Perkins (1790, Massachusetts),  It even appears in a 1772 music copybook of a Mexican musician, Joseph Maria Garcia (Chalco, Mexico), presently in the Southwest Museum, Eleanor Hague Collection, MS 203), where it appears as “El Kaclattin, or Jack Latin.” 

***

Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 66 (appears as “Jaque Latin”). Callaghan (Hardcore English), 2007; pg. 38. Carlin (The Gow Collection), 1986; No. 392. Gow (Complete Repository), Part 3, 1806; pg. 18. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 74, pg. 19. Kerr (Merry Melodies), vol. 3; No. 106, pg. 13. O'Neill (1001 Gems), 1907/1986; No. 537, pg. 100 (appears as "Jacky Latin"). O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 219. Peacock’s Tunes, c. 1805/1980; No. 49, pg. 23. Bruce & Stokoe (Northumbrian Minstelsy), 1882; pg. 176. Surenne (Dance Music of Scotland), 1852; pg. 95. Topic TSCD 529, Cut & Dry Band – “Wind in the Reeds: The Northumbrian Smallpipes” (1976).

See also listing at:

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

X:1

T:Jockey Latin

M:C|

L:1/8

S:Gow – 3rd Repository

Z:AK/Fiddler’s Companion

K:G

(B/A/B/c/) dg dBBg|dBBg {e}d2 cB|(G/A/B/c/) de dBBg|a(AA>)B (A/B/c) B>A:|

(G/A/B/c/) dB ecdB|(G/A/B/c/) dB {e}d2 cB|(G/A/B/c/) dB ecdB|c(AA>)B (A/B/c) B>A|

(G/A/B/c/) dB ecdB|(G/A/B/c/) dB {e}d2 cB|(G/A/B/c/) dB ecdB|a(AA>)B (A/B/c) B>A||

X:2

T:Jackie Layton

M:C

L:1/8

R:Reel

S:Bruce & Stokoe – Northumbrian Minstrelsy  (1882)

Z:AK/Fiddler’s Companion

K:G

G/A/B/c/ dg dBBg|dBBg d2B2|G/A/B/c/ dg dBBg|

gAAB c2 BA|G/A/B/c/ dg dBBg|dBBg d2B2|

G/A/B/c/ d/e/g/e/ d/c/B/d/ B/c/d/f/|gAAB c2 BA:|

|:G/A/B/c/ dB ecdB|G/A/B/c/ dG d2 cB|G/A/B/c/ dB ecdB|

eAAB c2 BA|G/A/B/c/ dB ecdB|G/A/B/c/ dB c2 BA|

G/A/B/c/ d/c/B/d/ e/d/c/e/ d/c/B/d/|eAAB c2 BA:|

X:3

T:Jacky Latin

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 537

Z:AK/Fiddler’s Companion

K:D

(3ABc|dAFA DAFA|dAFG A2 (3ABc|dAFA DAFA|GFEF G2 (3ABc|dAFA DAFA|

dAFG A2 (3ABc|dBcA BGAF|GFEF G2||AF|DFAc BGTAF|DFAB A2 AF|DFAc BGAF|

GFEF G2 FE|DFAc BGAF|DFAB A2 (3ABc|dBcA BGAF|GFEF G2||AG|

(3FED AD BDAD|(3FED AB A2 AG|(3FED AD BDAD|GFEF G2 AG|

(3FED AD BDAD|(3FED AB A2 (3ABc|dBcA BGAF|GFEF G2||

X:4

T:Jack Lattin with Variations

M:4/4

L:1/8

S:O'Farrell's National Irish Music 1797

Z:Paul Kinder

R:Reel

K:D

FE|:DFFd AFFA|DFFf A>B A/2G/2F/2E/2|DFFd AFFA|BEEF G2 {G}FE:|

|:DF/2G/2 AF BGAF|DDAF A>B A/2G/2F/2E/2|DF/2G/2 AF BGAF|

BEEF G2 {A}GF/2E/2:||:DFd>f e{d}c d2|DFdF A>B A/2G/2F/2E/2|

DFdf ec d>A|BEEF G2 {A}GF/2E/2:||:fddd Addd|fd df/2g/2 agfe|

fddd Adfd|ecce g2 {a}gf/2e/2:||:fdec dB A/2G/2F/2E/2|

DFBF A>B A>g|fdec dB d/2c/2B/2A/2|BEEF G2 GF/2E/2:||

                                   

JACKIE ON THE GREEN. Old‑Time. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Perhaps related to "Jack on the Green"??

                                   

JACKIE ROACH’S FAVORITE. Irish, Jig. D Mixolydian. Standard tuning. AABB. According to Dan Collins the tune was composed by John McGrath. Source for notated version: the late New York fiddler Jackie Roach (at one time a student of Sligo fiddler James Morrison) via Dan Collins [Black]. Black (Music’s the Very Best Thing), 1996; No. 250, pg. 133.

X:1

T: Jackie Roach's Favorite

Q: 325

R: jig

Z:Transcribed by Bill Black

M: 6/8

L: 1/8

K: Dmix

AcA DED | A2 B cBA | G3 GEF | GAG EFG |

AcA DED | AGE cBA | GFG A2 G | FDD D3 :|

fdf ged | cAG EFG | f2 f ged | eag efg |

fdf ged | cAG EFG | A2 A BAG | FDD D3 :|

           

JACKIE SMALL’S JIG. Irish, Jig. Recorded by the band De Danann.

X:1

T:Jackie Small’s Jig

R:Jig

Z:Rick Gagne

K:Ador

A2~A fAA | eAA dBG | A2~A fgf | edB dBG |

A2~A fAA | eAA def | gzb age |1 edB dBG :||2 edB deg ||

bgb afa | age deg | bgb afa | age e2 g/a/ |

bgb afa | age def | g2b age |1 edB deg :||2 edB dBG ||

           

JACKIES, THE. English?, Hornpipe. C Major. Standard tuning. AABB'. Hardings All-Round Collection, 1905; No. 94, pg. 30.

X:1

T:Jackies, The

M:C

L:1/8

R:Hornpipe

B:Harding’s All-Round Collection, No. 94  (1905)

Z:AK/Fiddler’s Companion

K:C

(3GAB|c2c2c2 ef|gega gedc|agfe fedc|Bcde d2 (3GAB|c2c2c2 ef|

gega gedc|agfe fdBA|G2c2c2:||ef|gega gega|ageg ageg|

agfe fedc|Bcde d2ef|gega gega|ageg ageg|agfe fedc|G2 B2 c2||

           

JACKIE'S FRIENDS ARE/IS NEVER PLEASED. English, Reel. England, Northumberland. G Major (E Minor?). Standard tuning. AB. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 21. Raven (English Country Dance Tunes), 1984; pg. 179.

           

JACK'S ALIVE [1] (Tá Neaic Beo). English, Irish; Reel. England; Northumberland, Dorset. G Major. Standard tuning. AAB. A duple-time setting of the tune often rendered as a jig (see “Jack’s Alive [3]"). Trim's Thomas Hardy MS. version is very much simplified as it is in the 19th century Joseph Kershaw Manuscript. Kershaw was a fiddle player who lived in the remote area of Slackcote, Saddleworth, North West England, who compiled his manuscript from 1820 onwards, according to Jamie Knowles. Source for notated version: fiddler and uilleann piper Stephen Grier (Farnaght, County Leitrim), who wrote down his tunes in the 1880's [Breathnach].  Breathnach (CRÉ IV), 1996; No. 116, pg. 60. Hall & Stafford (The Charlton Memorial Tunebook), 1974; pg. 8. The Joseph Kershaw Manuscript, 1993; No. 41. Offord (John of the Greeny Cheshire Way), 1985; pg. 80. Raven (English Country Dance Tunes), 1984; pg. 187. Trim (Thomas Hardy), 1990; No. 11.

X:1

T:Jack’s Alive [1]

M:C|

L:1/8

K:G

G3B A3c|dBcA BGFD|G3B A3c|dBcA G2G2:|

||g2 ga f2 fg|efge afdf|g2 ga f2 fg|egfa g2G2|

gggg ffff|eeeg afdf|g2 dB e2 cA|dBcA G2G2||

 


JACK'S ALIVE [2]. American, Hornpipe. G Major. Standard tuning. AABB. 'A' part same as in version #1, but 'B' parts differ. Cole (1000 Fiddle Tunes), 1940; pg. 111. Ryan’s Mammoth Collection, 1883; pg. 149.

X:1

T:Jack’s Alive [2]

M:2/4

L:1/8

R:Hornipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

D | GG/B/ AA/c/ | d/B/c/A/ G/F/E/D/ | GG/B/ AA/c/ | d/B/c/A/ G :|

|: d | g/a/g/f/ e/d/e/g/ | a/b/a/f/ g/f/e/d/ | g/a/g/f/ e/d/e/g/ | a/b/a/f/ g :|

 


JACK'S ALIVE [3]. AKA and see “Dusty Bob’s (Jig),” “Rob Roy [2].” AKA – “Jack Alive.” English (originally), Scottish, American; Jig. G Major. Standard tuning. AABB (Kennedy, Raven): AAB (Gow). A triple time version of the tune in version #1. One version was played by the English sailors in their artillery battery before San Sebastian in 1809, whenever a French shell landed in their works (Winstock, 1970; pg. 141). The melody appears in several English and Scottish publications and manuscripts, including early in Rutherford’s Choice Collection of Sixty of the Most Celebrated Country Dances (London, 1750, pg. 17), Rutherford’s Compleat Collection of 200 country Dances, vol. 2 (London, 1760, pg. 60), the James Gillespie Manuscript of Perth (1768) and in William Vickers’ Northumbrian music manuscript of 1770 (as “Jack Alive”). Following these publications the melody appears in a good many collections and musicians manuscripts in Britain, Ireland and North America, including, in Britain, London musician Thomas Hammersley’s c. 1790 music manuscript book. The country dance “Jack’s Alive” was particularly popular in late 18th and early 19th century America, printed in a number of period collections, such as John Trumbull’s Gentleman and Lady’s Companion (Norwich, Conn., 1798). In Ireland it appears in Himes’ 48 Original Irish Dances (second part, c. 1795). The first strain is a variant of “The Kesh Jig” (or vice-versa). Philippe Varlet discovered the tune on a 78 RPM recorded in 1938 by Irish accordion player Terry Lane as part of a medley called simply “Quadrilles.” The same tune appears in the Fleishmann index of traditional Irish music as “The Miser,” from Kane O’Hara’s comic opera Midas, London, 1764. American versions appear in the music manuscript collections of New Hampshire musician Clement Weeks’ (1783) and fluter Daniel Huntington (New York, 1817), and published versions are contained in Loring Andrews’ Collection of Contra Dances (Stockbridge, MA, 1794), and a Collection of Contradances printed in Walpole, New Hampshire in 1799, among others (sources can be located at the links below, particularly EASMES). The title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800. Ryan’s/Cole’s published the same tune as “Dusty Bob’s.” Carlin (The Gow Collection), 1986; No. 387. Gow (Complete Repository), Part 3, 1806; pg. 17. Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 75, pg. 19. Raven (English Country Dance Tunes), 1984; pg. 127. Wilson (Companion to the Ballroom), 1816; pg. 234.

See also listings at:

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

Keller/Camus/Cifaldi’s Early American Secular Music/European Sources

X:1

T:Jack’s Alive

M:6/8

L:1/8

R:Jig

S:Gow – 3rd Repository  (1806)

Z:AK/Fiddler’s Companion

K:G

(GAG) B3|(ABA) c3}(B/c/d)B c2A|B2G AFD|(GAG) B3|(ABA) c3|

(B/c/d)B cAF|G3G3:||g2g gag|f2f fgf|e2e efg|{fg}a2g fed|

g2g gag|fff g2f|efg afd|g3 g2d|gag gag|fgf fgf|efe efg|

{fg}a2g fed|g3 Bcd|e2 ABc|dBG cAF|G3G3||

X:1

T:Jack Alive

M:6/8

L:1/8

R:Jig

S:William Vickers’ 1770 music manuscript (Northumberland)

K:G

G3 BAB|A3c3|d2B c2A|B2G AFD|G3 BAB|

A3c3|dBG cAF|G3 G,3::g2g gag|f2f fgf|e2e efg|

fag fed|g2g gag|f2f fgf|efg faf|g3G3|gag gag|fgf fgf|

efe efg|fag fed|g2g B2d|e2e A2c|BdB cAF|G3 G3:|

           

JACK'S BE THE DADDY ON'T. AKA and see "Buttered Peas(e) [1]," "Stumpie/Stumpey," "Highland Wedding [1]" (pipe versions). English, Reel. England, Northumberland. G Major. Standard tuning. AABB. Hunter (Fiddle Music of Scotland), 1979; No. 150 (appears as "Stumpie"). Kerr (Merry Melodies), Vol. 1; pg. 6 (appears as "Stumpie"). Mooney, 1982; pg. 3. Northumberland Pipers' Tune Book, vol. 1, 1970; pg. 26. Peacock's Tunes (c. 1800), 1980; No. 41. MacDonald (The Skye Collection), 1887; Pg. 4 (appears as "Stumpie"). Seattle (William Vickers), 1987, Part 2; No. 202.

           

JACK'S CREEK WALTZ. Old‑Time, Waltz. USA, central Ky. Probably composed by Kentucky fiddler Doc Roberts and named for a creek in his home county, Madison. Roberts' son James said, "The Jack's Creek Pike runs right out of Richmond down to the Kentucky River, where they have a ferry. It was the only place you could cross between Lexington and Richmond" (Wolfe, 1983). County 412, "Fiddling Doc Roberts" (1983). Document 8043, Doc Roberts. Gennett 7017 (78 RPM), Doc Roberts.

           

JACK'S DELIGHT [1]. Scottish, Hornpipe. D Major. Standard tuning. AB. Kerr (Merry Melodies), vol. 1; No. 22, pg. 45.

X:1

T:Jack’s Delight [1]

M:2/4

L:1/8

R:Hornpipe

S:Kerr – Merry Melodies, vol. 1, pg. 45 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

A|dd c/e/c/A/|df/d/ Ae/f/|gg/f/ ee/d/|c/e/d/B/ A/B/c/A/|

dd c/e/c/A/|df/d/ Ae/f/|g/f/g/e/ cA/B/c/|d z d||(A/G/)|

F/A/F/A/ d/A/F/A/|A/G/F/G/ EF|G/B/G/B/ e/d/c/d/|c/A/B/^G/ A/B/A/=G/|

F/A/F/A/ d/A/F/A/|G/B/G/B/ d/B/G/B/|c/g/e/d/ c/A/B/c/|df d||

 

JACK’S DELIGHT [2]. AKA – “Mock Highland Man.” English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABB. The melody first appears in John Johnson’s Choice Collection of 200 Favourite Country Dances, vol. 4 (London, 1748), with the alternate title “Mock Highland Man.” It also appears in print in David Rutherford’s Compleat Collection of 200 of the Most Celebrated Country Dances (London, 1756), and Charles and Samuel Thompson’s 1757 country dance collection. Cheapside, London, musician Walter Rainstorp included the melody (with John Johnson’s title and alternate title) in his music manuscript book, begun in 1747. Riley (Flute Melodies, vol. 2), 1820; pg. 45. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 190. Wilson (Companion to the Ball Room), 1816; pg. 114.

X:1

T:Jack’s Delight [2]

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:G

G2G2|A2D2|”tr”D2 AG|E/E/E E2|(ga/b/) ag|”tr”f2 ed|”tr”B2 AG|D/D/D D2:|

(Bd)dc/d/|ec “tr”c2|(Ac)cB/c/|dB “tr”B2|(GB)BA/B/|cAAB/c/|dBcA|G/G/G G2:||

           

JACK'S FAREWELL, THE. English, Country Dance Tune (6/8 time). D Minor. Standard tuning. AB (Sharp): AABB (Barnes). A ‘Jack’ was an English seaman, as in ‘Jack Tar’. The melody dates to 1701. Barnes (English Country Dance Tunes), 1986. Sharp (Country Dance Tunes), 1909/1994; pg. 74.

X:1

T:Jack’s Farewell, The

L:1/8

M:6/8

S:Sharp – Country Dance Tunes (1909)

Z:AK/Fiddler’s Companion

K:D Minor

f/e/dd fAG|FAd ^c2e|f/e/dd fAA|d/f/e^c d3|f/e/dd fAG|FAd ^c2e|f/e/dd fAA|d/f/e/^c d3||

A/B/cc AFF|fg/f/e f2a|b/a/gf eae|f/e/d^c d3|A/B/cc AFF|fg/f/e f2a|b/a/gf eae|f/e/d^c d3||

           

JACK'S FAVORITE TUNE [1]. American, Polka. A Major. Standard tuning. AABB. Ford (Traditional Music in America), 1940; pg. 83.

X:1

T:Jack’s Favorite Tune [1]

M:2/4

L:1/8

S:Ford – Traditional Music in America (1940)

Z:AK/Fiddler’s Companion

K:A

e|ec c>e|ac e>e|eB B/A/B/d/|cA A>c||ec c>e|ac e>e|

eB B/A/B/d/|cA Az::e/e/e/e/ ef|e/e/e/e/ ea|c’ebe|

a/a/a/a/ ac|d/f/f/f/ ff|c/e/e/e/ ee|cB BA/B/|cA Az:|

 

JACK'S FAVOURWRIGHT [2]. American. A variant of "Because He/I Was a Bonnie/Bonny Lad," "Bonny Lad." Murphy Manuscript (a manuscript tune book), 1790; pg. 18.

           

JACK’S FRIEND IS NEVER PLEASED. English, Reel. D Major. Standard tuning. AABB. The melody appears in the 1770 music manuscript book of Northumbrian musician William Vickers. Unfortunately, nothing is known about him.

X:1

T:Jack’s Friend is Never Pleased

M:C|
L:1/8
R:Reel

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

K:D

F|G2 cB/A/ BG B/c/d/B/|G2 cB/A/ GEEF|G2 cB/A/ BG B/c/d/B/|D2 AF FDD:|

|:g|egdg Bg dc/B/|A2 cB/A/ GEEg|egdg Bg BA/G/|D2 AG FDD:|

 

JACK’S GONE A SHEARING. English. See also the related tunes “Forks and Knives,” “Three Case Knives,” and one of the “Rusty Gulley” tunes.

X: 1
T:A horn pyp
T:(aka Jack's Gone A-Shearing)
M:3/2
L:1/4
R:Triple-time hornpipe
S:Sinkler ms Glasgow 1710
Z:Matt Seattle
N:repeats assumed; str 3 bar 3 suspect
K:Dmix
D/E/F/G/ AD A2|c G2 C E/F/G/E/|D/E/F/G/ AD F/G/ A|d A2 G F E/D/:|]
[|:d/e/f/d/ e/f/g/e/ f/g/a/f/|ge ec e/f/g/e/|d/e/f/d/ e/f/g/e/ f/g/a/f/|aAAG/A/F E/D/:|]
[|:DA FA DA|cG GG C E/F/G/E/|B,F DF B,F|aA AG/A/F E/D/:|]

 

JACK'S GONE TO EDENBROUGH/EDINBURGH. English. England, Northumberland. One of the "missing tunes" of William Vickers' 1770 Northumbrian dance tune manuscript.

 

JACK’S HALL.  Canadian, Jig. Canada, Cape Breton. C Major. Standard tuning. AABB. Composed by Cape Breton fiddler Kitchener MacDonald (perhaps Willard Kitchener MacDonald, 1916-2003, the famous Hermit of Gully Lake). Source for notated version: John Morris Rankin [Cranford/Holland]. Cranford (Jerry Holland: The Second Collection), 2000; No. 254, pg. 92. The Cape Breton Collection, 1940.

           

JACK'S HEALTH. AKA and see "Bolt the Door." English, Country Dance Tune (6/8 time). A Dorian. Standard tuning. AA'B. The melody dates to 1686. Barnes (English Country Dance Tunes), 1986.

X:1

T:Jack’s Health [1]

T:Bolt the Door

L:1/8

M:6/8

S:From a workshop with English country dance fiddler Marshall Barron

Z:Transcribed by Andrew Kuntz

K:Ador

g2f|:ecA A2B|G2E E2B|c2A B2G|A2B c2d|ecA A2B|G2E E2B|

c2A B2G|1 ABA g2f:|2 ABA A2B||cBA G2B|e3 d2B|c2A B2G|

A2B c2d|ecA A2d|e3 d2 B|c2A B2A|G3 g2e|dBG G2 d|e3 d2B|

c2A B2G|A2B c2d|ecA A2d|e2a a2f|g2e d2B|A3||

 

JACK’S HEALTH [2].  English, Jig. G Major/Mixolydian. Standard tuning. AABB. The melody was published by John Playford in the 6th edition of the Dancing Master (1679), and in all subsequent editions through the end of the series, with the 18th edition published by John Young in 1728. The Walsh’s published the tune in their Compleat Country Dancing Master, published in London in 1718 and republished in 1731 and 1754. The melody was also employed as the vehicle for a song in J. Watts’ ballad opera The Chamber-Maid, published in London in 1730. It also appears in the 1790 music manuscript copybook of London musician Thomas Hammersley. This was the first melody employed for the dance Jack’s Health—at some point “Bolt the Door” was substituted as the vehicle for the dance, thus also taking the name “Jack’s Health” through association (see “Jack’s Health [1]”). Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 65.

X:1

T:Jack’s Helath [2]

M:6/4

L:1/8

R:Jig

S:John Playford – Dancing Master, 6th edition (1679)

K:G

d2|B3A G2 d3e=f2|e4e2 e4g2|d4B2 B3c d2|A4A2 A4 dc|B3A G2d3c d2|

e4e2 e4g2|d4B2 A3G F2|G4G2 G4::g2|a4d2 d3e f2|g4a2 b4a2|

g4a2 f3 ed^c|d4 d2 d4 cB|c3d c2 B4c2|A4 G2 F4B2|E3F G2 A3G F2|G4G2 G4:|

           

JACK'S LIFE. American, Country Dance Tune (4/4 time). G Major. Standard tuning. AA'BB. Composed by Ralph Page. Page (Ralph Page Book of Contras), 1969; pg. 7. F&W Records 2, "F&W String Band 2."


           

JA(C)KS LODGE. English. England, Northumberland. One of the "missing tunes" of William Vickers' 1770 dance tune manuscript.

           

JACK'S MAGGOT. English, Country Dance Tune (2/2 time). D Major. Standard tuning. AABB. A 'maggot' was another name for a dram, a small unit of liquid measure, but also was used to mean something of slight consequence or a plaything; from the Italian maggioletta. Maggots were dances written in the later 17th century, and often dedicated to a personage. The melody was first published in 1703. Barnes, 1986. Fleming‑Williams, 1965; pg. 12. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 23. Raven (English Country Dance Tunes), 1984; pg. 25. Sharp (Country Dance Tunes), 1909/1994; pg. 76.

X:1

T:Jack’s Maggot

L:1/8

M:2/2

S:Sharp – Country Dance Tunes

Z:AK/Fiddler’s Companion

K:D

|:d2D2F2A2|BABc d2e2|fg a2 Bc d2|e3f e2 cB/c/|d2D2F2A2|Bc d2c2 ag|f2d2 e2 c2|d4 d2:|

|:fg|a2 f4 a2|f2 d4 ef|gfed c2ed2|e6 fg|a2f2d2f2|A2d2F2A2|d3e e3d|d6:|

           

JACK’S RAMBLE.  English, Jig. D Major. Standard tuning. AABB. The melody appears in Thompson’s Compleat Collection of 200 Country Dances, vol. 4 (c. 1780).  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. 24 (appears as “Jack Ramble”).

 

JACK'S THE LAD [1] ('Se Sean/Seagan An Buacaill). AKA and see "The College Hornpipe," "Lancashire Hornpipe [1]," "Sailor's Hornpipe [1]." Irish, Hornpipe. D Major. Standard tuning. AABB. The title appears in a list of tunes in his repertoire brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997). O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1737, pg. 323. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 915, pg. 157.

X:1

T:Jack’s the Lad

M:C|

L:1/8
R:Hornpipe

S:O’Neill – 1001 Gems (1903), No. 915

Z:AK/Fiddler’s Companion

K:D

(3ABc|d2D2 D2AG|Fadc defd|e2E2 E2ed|cea^g a2f2|

gfga bagf|gfec dcBA|Bdce dfeg|f2d2d2:|

|:AG|FadA FadA|B2G2G2 GF|GBec GBed|c2A2 A2ef|

gfga bagf|gfec dcBA|Bdce dfeg|f2d2d2:|

 

JACK’S THE LAD [2]. AKA and see “Jack Delad.”

 

JACK’S WHIM.  English, Country Dance Tune (2/4 time). F Major. Standard tuning. AABB. The melody was originally published in Charles and Samuel Thompson’s Compleat Collection, vol. 3 (London, 1773). It was included twice in the 1788 music manuscript collection of fiddlers John and William Pitt Turner (Norwich, Conn.), among several other tunes from the Thompson’s 1773 volume. John Johnson had earlier printed different tunes under this title. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 74.

X:1

T:Jack’s Whim

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:F

cc A2|G>ABG|cc A2 BG F2::c>ccA|defd|cdcA|G2G2|BABc|defd|cB/A/ BA/G/|F2F2:||

 

_______________________________

HOME       ALPHABETICAL FILES        REFERENCES

 

© 1996-2010 Andrew Kuntz

Please help maintain the viability of the Fiddler’s Companion on the Web by respecting the copyright.

For further information see Copyright and Permissions Policy or contact the author.

 

 

                       


 [COMMENT1]This was Font/Pitch 1,10 - Off.

 [COMMENT2]This was Font/Pitch 1,10 - On.

 [COMMENT3]This was Font/Pitch 1,10 - Off.

 [COMMENT4]Note:  The change to pitch (12) and font (1) must be converted manually.