The Fiddler’s Companion

ƒD 1996-2009 Andrew Kuntz

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JOAN BEATON’S REEL . Canadian, Reel. Canada, Cape Breton. The tune was composed by Cape Breton fiddler Kinnon Beaton, and has gathered some currency among modern Cape Breton fiddlers. Beaton (The Beaton Collection). Smithsonian Folkways Records, SFW CD 40507, The Beaton Family of Mabou ? ?Cape Breton Fiddle and Piano Music? (2004).?

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JOAN BOAS TUNE , A. Canadian, March. Canada, Cape Breton. Burt Feintuch (2004) identifies Joan MacDonald Boes as “a composer and pianist from Inverness County, perhaps best know for her strathspey ‘The Sweetness of Mary?.?Smithsonian Folkways Records, SFW CD 40507, The Beaton Family of Mabou ? ?Cape Breton Fiddle and Piano Music? (2004).?

JOAN COYNE’S . See ?Martin Wynne’s No. 2.?

JOAN MACDONALD . Cape Breton. Shanachie 14001, "The Early Recordings of Angus Chisholm" (Cape Breton).

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JOAN SANDERSON . AKA and see "The Cushion Dance." English, Country Dance Tune (3/4 & 6/4 time). G Dorian. Standard tuning. AABCC. The air appears in Playford's Dancing Master of 1686. 'Joan Sanderson' (or John Sanderson, if the participant is male) is a figure in the dance‑game of "The Cushion Dance" (see notes on that tune and the Scottish version called "Babbity Bowster"). The Cushion dance is described by Mrs. Groves: ”The dance is begun by a single person, man or woman, who, taking a cushion in hand, dances about the room, and at the, end of a short time stops and sings: ‘This dance it will no farther go,? to which the musician answers:? ‘I pray you, good sir, why say so?? ‘Because Joan Sanderson will not come to.? ‘She must come to whether she will or no,? returns the musician, and then the dancer lays the cushion before a woman; she kneels and he kisses her, singing ‘Welcome, Joan Sanderson.? Then she rises, takes up the cushion, and both dance and sing? Prinkum prankum is a fine dance, and shall we go dance it over again?? Afterwards the woman takes the cushion and does as the man did.?

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?The dance survived for several hundred years in some areas. Writing of Cornish entertainments, Davies Gilbert reported in 1823 "...at length to French-More (i.e. “Trenchmore?) and the Cushion Dance, and then all the company dance; lord and groom, lady and kitchen-maid, no distinction!" Chappell (Popular Music of the Olden Times), vol. 1, 1859; pg. 287.

X:1

T:Joan Sanderson

T:Cushion Dance, The

M:3/4

L:1/8

S:Chappell ? Popular Music of the Olden Times (1859)

Z:AK/Fiddler’s Companion

K:G Dorian

G2d2c2 | =B3c A2 | G2G2D2 | G6 :|

M:6/4

L:1/8

G4d2 d4c2 | d3_e d2 c4A2 | B4B2 c3d B2 | A4G2G4 ||

|: A2 | B3cB2 F4F2 | G3AG2 D4D2 | B4B2 c3d B2 | A4G2 G6 :|

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JOAN TO THE MAYPOLE . English, Air (2/4 time). G Major. Standard tuning. AB. The tune appears in Pills to Purge Melancholy (1707 & 1719) under this title and also as the tune to "The Disappointment" (1707). Chappell (1859) finds this ballad in the Roxburghe and Douce Collections where it is entitled "May‑day Country Mirth; or, The Young Lads and Lasses' Innocent Recreation, which is to be prized before courtly pomp and pastime: to an excellent new tune." In Pepys it is called "Rural Recreation; or, The Young Men and Maids' Merriment at their Dancing around a Country May‑pole." The oldest printing is perhaps 1630, and Chappell reports that one of Richard Brathwaite's "Shepherd's Tales" (1621) is "The Shepherd's Holiday, reduced in apt measures to Hobbinall's Galliard, or John (Joan) to the Maypole."? Chappell (Popular Music of the Olden Time), Vol. 2, 1859; pgs. 100‑101.

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Joan to the maypole away let us on,

The time is swift, and will be gone.

There go the lasses away to the green,

Where their beauties may be seen;

Bess, Moll, Kate, Doll,

All the brave lasses have lads to attend ‘em,

Hodge, Nick, Tom, Dick,

Jolly brave dancers, and who can ammend ‘em.

Joan to the maypole away let us on,

The time is swift and must be gone,

There go the lasses away to the Green,

Where their beauties may be seen.

***

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T:Joan to the Maypole

L:1/8

M:2/4

S:Chappell ? Popular Music of the Olden Time? (1859)

Z:AK/Fiddler’s Companion

K:G

DD/D/|GG/G/ AG/A/|B>B d>d|e/d/c/B/ d/B/A/G/|A2 DD/D/|

GG/G/ AG/A/|B2 d>d|E/d/c/B/ c/B/A/G/|G2||d<^c|d<D d<^c|

d<D DD/D/|GG/A/ BA/G/|FE e<^d|e<E E<^d|e<E =DD/D/|

GG/A/ BA/G/|FE||DD/D/|GG/G/ AG/A/|B>B d>d|e/d/c/B/ c/B/A/G/|

A2 DD/D/|GG/G/ AG/A/|B2 dd|e/d/c/B/ c/B/A/G/|G2||

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JOANIE’S JIG . American, Jig. D Major. Standard tuning. AABB. Composed by Nancy Martin of Vancouver, Washington. Danny Hathaway writes to say the jig was composed for his wife, Joan Hathaway, who played piano and whistle in various bands with the Martins. Songer (Portland Collection), 1997; pg. 110.

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JOAN'S PLACKET (IS TORN) . AKA and see "Jumping Joan," "Jumping John," "Cock o? the North [1]" (Scottish), "Aunty Mary" (Irish). English, Country Dance Tune (6/8 or 6/4 time): Scottish, Scottish Jig. A Major (Kennedy, Watson): G Major (Emmerson, Merryweather, Wilson): F Major (Scott). Standard tuning. One part (Scott): AAB (Emmerson, Kennedy, Wilson): AABBAAB'B' (Merryweather). In conventional usage the word placket is a slit at the top of a skirt or petticoat which makes it easier for the wearer to put it on and take off. The word also refers to petticoats themselves and aprons, and also for women in general. In the political ballad song, Joan's placket has been "rent and torn." The earliest mention of the piece was in Samuel Pepys' diary for June, 1667, but it has been rumored that a trumpet version of the tune was played at the execution of Mary Queen of Scots in 1587. Chappell (1859) cites the Rev. G.R. Greig's Family History of England and Miss Strickland's Mary Stuart (which also says the tune was "sung, with appropriate words, to brutalize the rabble at the burning of witch") as reporting the tale but the story has never been substantiated, and Kidson (1915), for one, scoffs at it. He does think the tune originally a trumpet tune, by reason of its structure, which had the odd fortune to "have been used in defiance or ridicule". Kidson and Winstock both cite Pepys who recorded that it was played in derision by the Dutch whose fleet sailed up the Medway in 1667, burned the English men‑o‑war lying there, and towed off the Royal Charles (which the English had deserted) with a Dutch trumpeter playing the tune from the captured vessel. The wit is apparent when ‘placket? is taken in the sense of a woman--the Dutch have stolen her from under the noses of the English. Political lampoons thereafter were attached to the melody. It appeared in the 1686 edition of Playford's "Dancing Master" and in all subsequent editions, as well as the ballad operas of Achilles, The Bays' Opera, and Colley Cibber's Love in a Riddle (which was translated {or stolen, as Scott asserts} by Bickerstaff to "Love in a Village" in the early 18th century). In Loyal Songs (1685 & 1694) it is entitled "The Plot cram'd into Jone's Placket." At some point the tune was transformed into the Scottish "Cock of the North" (though Emmerson {1971} thinks the English tune a version of the Scotch one), which is very similar, if not nearly identical in some versions. The phrases of the tune are punctuated in the manner of the Scotch Measure, though, since it is in 6/8 time, the form is called a 'Scotch Jig'.

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When I followed a lass who was froward and shy

I stuck to her, stuff

Til I mad her comply.

I took her so lovingly round the waist,

And hugged her tight and held her fast;

When hugged and hauled,

She screamed and squalled.

But, tho' she vowed all that I did was in vain,

I pleased her so well, that she bore it again.

I pleased her so well, that she bore it again.

Hoighty toity, whisking frisking,

Green was her gown upon the grass,

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Oh, those were the joys of our dancing days,

Oh, those were the joys of our dancing days.

***

Emmerson (Rantin? Pipe and Tremblin? String), 1971; No. 84, pg. 161. Kennedy (Fiddlers Tune Book), vol. 2; pg. 36. Kerr (Merry Melodies), vol. 2; No. 311 (“Cock of the North?). Kidson (English Folk Song and Dance), 1915; pg. 32. Merryweather (Merryweather’s Tunes for the English Bagpipe), 1989; pg. 42. Playford (Dancing Master), 13th ed., pg. 30. Scott (English Song Book), 1926; pg. 28. Simpson (British Broadside Ballad), 1966; pg. 389. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 182. Walsh (The Complete Country Dancing Master), vol. 1, 1731; No. 30. Watson (A Rollick of Recorders or Other Instruments), 1975; No. 9, pg. 10. Wilson (A Companion to the Ballroom), 1817; pg. 106.

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T:Joan’s Placket

M:6/4

L:1/8

K:A

AB|c4 c2 c3 BA2|B4? B2 B4 ed|c3d e2B4 A2|(A6 A4):|

fg|a4 e2 f4e2|a4 e2 f4e2|a4 e2 c3B A2|B4 B2 B4 ed|

c4 c2 c3B A2|B4 B2 B4 ed|c3 d e2 B4 A2|(A6 A4)||

X:2

T:Joan’s Placket

M:6/4

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:G

GA|B4B2 B3AG2|A4A2 A4dc|B3AG2 A2G2F2|G6 G4||d2|g4d2 e4d2|g4d2 e4d2|

g4d2 B3AG2|A4A2 A4dc|B4B2 B3AG2|A4A2 A4dc|B3AG2 A3GF2|G6-G4:||

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JOB IN GETTIN' THERE . AKA ‑ "Jobbin Gettin There." Old‑Time, Breakdown. USA, Tennessee. Charles Wolfe thinks the title derives from a Tennessee expression, "He's a job in gettin' there," meaning one who is slow. County 542, Crook Brothers (1928) ‑ "Nashville: the Early String Bands, Vol. 2."

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JOB OF JOURNEY WORK [1] , THE (“Greim/Mir Obairaonlae? or “Obair an Aistir?). AKA ? “Stone Grinds All.? Irish, Scottish; Set Dance (cut time or 4/4). D Mixolydian (Roche): D Major (O'Neill): D Major/Mixolydian (Cranitch, Joyce, Mulvihill, Stanford/Petrie). Standard. AB (Standord/Petrie): AABB (Cranitch, Joyce, Mulvihill, O’Neill, Roche). Francis O’Neill (1922) said this set-dance tune was derived from a song air. Samuel Bayard (1954) published a study of a tune family he called "The Job of Journeywork," evidently feeling "this long, irregular tune developed by the eighteenth century Irish dancing masters was somehow archetypical" (Cowdery, 1990). The second strain of the melody has been the one which has spawned the most variants, one of many of the "standard building blocks" (ƒ‚ Canainn, 1978) of the Irish melodic tradition. See "Tom Sullivan's" and "Matt Hayes's Polka [2]" for examples of conjoining phrases based in part on "The Job of Journeywork." Joyce (1890) states the tune was “a great favourite? in some of the Munster counties twenty or thirty years before he first published his volume in 1873.

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However, the first printed appearance of the tune appears to be in James Aird’s Selection of Scotch, English Irish and Foreign Airs, vol. 3 (Glasgow, c. 1795). It is perhaps based on an older air called ?My Wife She’s ta’en the Gee.? Robert Burns used the tune for one of his songs appearing in the Scots Musical Museum (vol. V, Edinburth, 1788, No. 480), entitled “Here’s His Health in Water.? The great east Clare fiddle stylist Paddy Canny's recording of the tune has been called the standard for modern settings and was used as the theme for the radio program of the same name in Ireland.? Some similarity has been noted between “Job of Journeywork? and a tune printed by Stanford in his Irish Melodies (1894) called “The Little Red Fox.? The versions printed by Howe and Joyce are virtually identical. The melody is called “Stone Grinds All? in Connecticut fifer Giles Gibb’s (1760-1780) music manuscript book.

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In Irish tradition “Job of Journeywork? is one of the four tunes called the Traditional Sets (i.e. set dances), along with “St. Patrick’s Day,? “The Blackbird? and “Garden of Daisies.?

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Source for notated version: “A Munster dance. From (the Irish collector) Mr. Joyce? [Stanford/Petrie]; Joyce himself learned it from “hearing it constantly played by pipers and fiddlers? [Joyce]. Cotter (Traditional Irish Tin Whistle Tutor), 1989; 87. Cranitch (The Irish Fiddle Book), 1996; No. 92, pg. 163. Howe (1000 Jigs and Reels), c. 1867; pg. 20. Joyce (Ancient Irish Music), 1890; No. 37, pgs. 38-39. Mulvihill (1^st Collection), 1986; No. 1, pg. 109. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 394, pg. 188. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1792, pg. 336. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 966, pg. 166. Reavy (The Music of Corktown). Roche Collection, 1983, vol. 2; No. 271, pg. 29. Stanford/Petrie (Complete Collection), 1905; No. 892, pg. 226. Columbia Legacy CK 48693, "The Best of the Chieftains" (1992). Gael-Linn CEF 045, “Paddy Keenan? (1975).

X:1

T:Job of Journeywork, The [1]

M:C|

L:1/8

R:Set Dance

Z:O'Neill ? Music of Ireland (1903), No. 1792

Z:AK/Fiddler’s Companion

K:D

fe|dcAG FGAB|(3=cBA BG A2 {fa}fe|d2{e}dc {e}dcAF|GBAF DEFG|\

(3ABA GA FGEF|DCDE ~F3G|AD {e}(3dcd cdec|d2{e}dcd2::de|\

(3faf ef gfef|dedc ABde|(3faf ef gfec|dedc A2 fg|\

agfa gfec|~d3e f2 ec|dcAG FGAB|(3=cBA BG A2 fe|\

(3ded (3cdc (3BAG AF|DCDE ~F3G|Ad {e}(3dcd cdec|d2{e}dcd2:|

X:2

T:Job of Journeywork, The

M:C

L:1/8

R:Set Dance

S:Joyce ? Ancient Irish Music (1890)

Z:AK/Fiddler’s Companion

K:D

fe | dcAG FGAB | =cBcA cdef | dB=cA BGAF | GBAF DEFG |

ABAF GFEF | D2 DE F2G2 | A2d2 cdef | d2 dd d2 :: de | f2 ef gfef |

d2 dc A2 de | f2 ef gfef | d2 dd d2 cd | eaag f2 ed | dcde f2 ed |

dcAG FGAB | =cBcA cdef | dB=cA BGAF | GBAF DEFG |

ABAF GFEF | D2 DE F2G2 | A2d2 cdef | d2 dd d2 :|

JOB OF JOURNEY WORK [2] , THE. Irish, Set Dance (2/4 time). G Major. Standard tuning. AABB. O’Neill (1922) says: ?This is a variant of the Long Dance of the same name in O'Neill's Dance Music of Ireland. It differs however in having two bars less in the second part.? Source for notated version: copied from James Aird’s Selection of Scotch, English, Irish and Foreign Airs (1782-97) [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 84.

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T:Job of Journey Work

M:2/4

L:1/8

S:Aird's Selections 1782-97

Z:Paul Kinder

K:G

g2|dB GB|"tr"d2 dg|dB c/2B/2A/2G/2|A2 GA|

B/2A/2G/2A/2 B/2A/2G/2F/2|E>F GA|de e^d|g2:|

|:d2|gg a/2g/2f/2e/2|dd dB|gg a/2g/2f/2g/2|"tr"e2 dB|

gg a/2g/2f/2e/2|dd dg|dB c/2B/2A/2G/2|"tr"A2 GA|

B/2A/2G/2A/2 B/2A/2G/2F/2|E>F GA|Be e^d|e2:||

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JOBE'S QUICKSTEP . American, March. The first part is similar to an untitled reel in Bayard (1981, No. 84, pg. 52). American Veteran Fifer, 1902 & 1927; No. 38.

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JOB’S DONE , THE.? English, Jig. D Major. Standard tuning. AABB. The melody is unique to London publisher Charles and Samuel Thompson’s 1765 country dance collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 142.

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T:Job’s done, The

M:6/8

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:D

d2d cBc|d2 a afd|B2e cBc|dAG FED|d2 d cBc|d2a afd|B2e {d}cBc|d3 D3:|

|:f/g/aa g/a/bb|e/f/gg f/g/aa|f2a afd|c2d ecA|f/g/aa g/a/bb|e/f/gg f/g/aa|fdf gec|d3 D3:||

JOCK AND JILL.? AKA and see ?Jenny’s Chickens.?

JOCK AND TAM .? AKA and see ?Lady Susan Montgomery’s Hornpipe,? ?Punchanello(’s Hornpipe),? ?Rusty Gulley [2],? ?Three Case Knives,? ?Three Rusty Swords.?

JOCK HALCROW . Scottish, Waltz. Scotland, Orkney Islands. Composed by Jock Halcro, a fiddler with the Orkney Strathspey and Reel Society. Greentrax CDTRAX 9009, Pat Shearer - “Scottish Tradition 9: The Fiddler and his Art? (1993).

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JOCK O' HAZELDEAN . Scottish, "Fling" or Air (2/4 time). F Major (Hardings): E Major (Neil). Standard tuning. AB (Neil): AABB (Hardings). The original melody can be found in the Leyden MS under the title "The Bony Brow," and an early version appears in Lady Margaret Wemmyss? lute manuscript from the 1640’s under the title “My Lady Binnis Lilt.? The lyrics were substantially reworked (as was the melody), with additional words, by Sir Walter Scott, adding on to a stanza accredited to Thomas Pringle. They tell the tale of a young woman forced into an arranged marriage by her family who elopes on her wedding day with her true love, Jock O' Halzeldean. It was first published by Scott’s old music teacher, Alexander Campbell, and was also published in The Songs of Scotland (1854). Scott’s daughters were musical, and one, Sophia, copied ballad airs into her music book, among them “Jock O? Hazeldean.? Purser (1992) remarks that her father loved to hear her sing it, preferring her rendition to Madame Caradori’s, and James Hogg reported that:

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She loved her father so?I shall never forget the looks of affection

she would throw up to him as he stood leaning on his crutch and

hanging over her harp as she chaunted to him his favorite old

Border Ballads or his own wild Highland Gatherings?

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Harding’s All Round Collection, 1905; No. 167, pg. 53. Neil (The Scots Fiddle), 1991; No. 31, pg. 40. Lochshore CDLDL 1215, Craob Rua - “The More that’s Said the Less the Better? (1992).

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JOCK OF THE GREEN . Scottish. Appears in Henry Playford's 1700 collection of Scottish dance tunes.

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JOCK O' THE SYDE . AKA and see "Derwentwater's Farewell," "Montrose Lasses," "My Dear and Only Love Take Heed," "Dick o' the Cow."

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JOCK TAMSON'S . AKA and see ?My Heather Hills,? ?Road to India.? Scottish (originally), American; Hornpipe. USA, New England. D Major. Standard tuning. AABB. The name, believes Don Meade, is from a character in Scottish dialect songs, ultimately derived from poet Robert Burns and his line—“We’re all Jock Tamson’s weans.? Cole (1000 Fiddle Tunes), 1940; pg. 108. Miller & Perron (New England Fiddler’s Repertorie), 1983; No. 137. Ryan’s Mammoth Collection, 1883; pg. 144.

X:1

T:Jock Tamson’s Hornpipe

L:1/8

M:C|

K:D

Ad|fg fe de dB|A2F2F3E|DF Ad gf ed|cd ef e2Ad|

Fg fe de dB|A2F2F3A|FA df ea ce|d2f2d2:|

|:ef|gf eg fe df|ed cB A2ef|gf eg fe df|e2a2a2ef|

gf eg fe df|ed ce dc BA|Bd ce df eg|f2d2d2:|

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JOCK THE LAIRD’S BROTHER . AKA and see ?Auld Rob Morris.?

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JOCK WILSON OF FENTON . English, Rant. D Major. Standard tuning. AABB. Fenton is a village in North Northumberland, about 3 miles north of Wooler. The tune is a modern (1970’s) composition by Bryce Anderson, late of the group The Cheviot Ranters in tribute to their drummer, Jock Wilson. Barry Callaghan (2007) calls it “a phenomenally good rant tune which is widely played.? Callaghan (Hardcore English), 2007; pg. 39.

X:1

T:Jock Wilson of Fenton

M:4/4

L:1/8

Z:C.G.P

K:D

|:AG|FAd2d2ed|cdefg2ag|fedc dfaf|gfed cBAG|FAd2d2ed|!

cdefg2ag|fedfefge| f 2d2d2:|| :dc|Bcde fede|fedcB2cB|!

ABcd edcd|edcBABAG|FAd2d2ed|cdef g2ag|fedf efge |f2d2d2:||

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JOCK WILSON’S.? See “Jock Wilson’s Ball.?

JOCK WILSON'S BALL. AKA ? ‘Jock Wilson’s,? ?Mo Chuachag Laghach .? “My Gentle Milk Maid.? Scottish, Pipe Reel. B Minor/Dorian. Standard tuning. AB (Cranford/Holland): AAB (Perlman). ?Jenny Nettles? is perhaps the ancestral tune, however, according to Bobby MacLeod, it was composed by Pipe Major John McColl of Oban. Paul Stewart Cranford (2000) notes that the Cape Breton fiddle setting is perhaps linked to a local puirt a beul (mouth music) version, and that ?Chuachag Laghach Thu? (My Gentle Milk Maid)/?Mo Chuachag Laghach ? is a close variant in pipe repertoire. Source for notated version: Paul MacDonald (b. 1974, Charlottetown, Queens County, Prince Edward Island) [Perlman]. Cranford (Jerry Holland: The Second Collection), 2000; No. 69, pg. 28 (appears as “Jock Wilson’s?). Martin (Ceol na Fidhle), vol. 1, 1991; pg. 44. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 113. Rounder 82161-7032-2, Bill Lamey ? “From Cape Breton to Boston and Back: Classic House Sessions of Traditional Cape Breton Music 1956-1977? (2000). Jerry Holland ? “Master Cape Breton Fiddler? (1982).

X:1

T:Jock Wilson’s Ball

R:reel

N: Scots Guards #356 p.200

Z: 1997 by John Chambers <jc:trillian.mit.edu>

M: C|

L: 1/8

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

K: BDor

|: c- \

| "Bm"d2"(A)"c2 "Bm"B2f2 | Bcde fBBc | "Bm"d2"(A)"c2 "Bm"B2f2 | "A"~A2eA cAA :|

|: c- \

| "D"d2a2 f2ef | ~d2 fe "Bm"fBBc | "D"d2a2 f2ef | "A"~A2eA cAAB |

| "D"d2a2 f2ef | ~d2 fe "Bm"fBBc | "D"defg a2af | "A"~e2ed cee :|

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JOCKEY... See also "Jockie"

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JOCKEY [1] , THE. AKA and see "Captain Dunn's Hornpipe."

JOCKEY [2] , THE. AKA and see "Fourpence Ha'penny Farthing."

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JOCKEY AT THE FAIR . AKA and see "Jockey to the Fair."

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JOCKIE BLYTH AND GAY .Scottish, Air (3/4 time). D Major. Standard tuning. AABB. McGibbon (Scots Tunes, Book 1), c. 1762; pg. 20.

X:1

T:Jockie blyth and gay

M:3/4

L:1/8

R:Air

N:”Slow?

S:McGibbon ? Scots Tunes, Book 1 (c. 1762)

Z:AK/Fiddler’s Companion

K:D

F2 (AF)”tr?(ED) | B3c B2 | (Ad) (AF)”tr?(ED) | E3f G2 | F2 (AF)”tr?(ED) | B3c d2 |
(e>f)(ec)”tr?(BA) | A3B A2 :: c2 (ec)(de) | f3gf2 | (ea)(ec)”tr?(BA) | d3e (d/e/f) |

B2 (GB)(eB) | c2 “tr?(BA) d2 | (A>B)(AF)”tr?(ED) | d3e d2 :|?

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JOCKEY BOY . Old‑Time, Breakdown. USA, southwestern Pa. A tune and tune name peculiar to the Franklin/Floyd County area of southwestern Va. (Tom Carter & Blanton Owen, 1976).

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JOCKEY CLUB , THE. Scottish, Reel. D Major. Standard tuning. AB. The melody appears in Robert Mackintosh's 1793 collection. Glen (The Glen Collection of Scottish Dance Music), vol. 2, 1895; pg. 9.

X:1

T:Jockey Club, The

M:C|

L:1/8

R:Reel

S:Glen Collection, vol. 2? (1895)

Z:AK/Fiddler’s Companion

K:D

g | f2 df ecAc|dBAF GEEg|f2 df ecAc|dBAG FDDg|f2 df ecAc| d/c/B/A/ dF GEEG| FABG Acdf |

geag fdd || A | FADF GBEG | FADF EA,A,G| FADF GBEg|

fdec dDDA | FADF GBEG | FADF EA,A,G | FABG Acdf | gbag fdd ||

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JOCKEY DRUCKEN BABBLE . Scottish, Air. From the Skene Collection c. 1615, collected by or for John Skene of Hallyards in Midlothian, set in tablature for the mandora. "Perhaps it is a wry comment by one of the jockeys on the way their ancient learning was disregarded. The word 'jockey' is a corruption of 'joculator', a type of travelling minstrel. They are described in this manuscript extract (quoted by Dauney) from 'Reliquae Divi Andeae', by one Martine, secretary to the Archbishop of St. Andrews, Archbishop Sharpe, in the latter part of the 17th century: 'The bards at length degenerated in degrees into common ballad makers for they gave themselves up to the making of mystical rhymes and to magic and necromancy. To our fathers' times and to ours something remained of this ancient order and they are called by others and by themselves as 'jockies' who go about begging and use still to recite the sluggornes of most of the true ancient surnames of Scotland; from old experience and observation, some of them I have discoursed and found to have reason and discretion. One of them told me there were not above twelve of them in the whole isle but he remembered the time when they abounded so as at one time he was one of five that usuallie met at St. Andrews.' (Williamson)." Flying Fish FF358, Robin Williamson ‑ "Legacy of the Scottish Harpers."

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JOCKEY HAS GOTTEN A WIFE . AKA - “Jockey has got him a wife.? AKA and see ?Buttered Pease [2]." Scottish, Country Dance Tune (9/8 time). The melody also appears in the London stage production Irish Fair (1772). John and William Neale (A Choice Collection of Country Dances), Dublin, c. 1726. See also the closely related ?Swaggering Jig [1]? and the many alternate titles contained in that note.

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JOCKEY LATIN . AKA and see ?Jackie Latin,? "Jackie Layton."

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JOCKEY (LAY) IN THE HAYLOFT . AKA and see ?Jockey Up in the Hayloft.? English, Slip Jig. England, Northumberland. G Major. Standard tuning. AABBCCDD. G Mixolydian. Standard tuning. AABB. Bruce & Stokoe (Northumbrian Minstrelsey), 1882; pg. 147. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 19. Raven (English Country Dance Tunes), 1984; pg. 129.

X:1

T:Jockey Lay Up in the Hay Loft

M:9/8

L:1/8
S:Bruce & Stokoe ? Northumbrian Minstrelsy? (1882)

Z:AK/Fiddler’s Companion

K:G

GBG GBG F2D | GBG G2B cAF | GBG GBG F2D | =FGA =f2d cAF :|

|: B/c/dB A/B/cA B2G | B/c/dB cAd cAF | B/c/dB A/B/cA B2G | =FGA =f2d cAF :|

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JOCKEY ROUS'D WITH LOVE . AKA and see "The Bonny Gray‑ey'd Morn," "The Bonny Grey‑ey'd Morn Begins to Peep." English. Composed by Jeremiah Clark.

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JOCKEY SAID TO JENNY . Scottish, English. England, Northumberland. A border song or tune in triple-time hornpipe meter.

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JOCKEY STAYS LANG AT THE FAIR . English, Jig. England, Northumberland. C Major (with F's sharped). Standard tuning. AABBCCDD. "A characteristic specimen of smallpipe variations," says Emmerson (1971) of this piece. Emmerson (Rantin? Pipe and Tremblin? String? A History of Scottish Dance Music), 1971; pg. 191. Peacock (Peacock’s Tunes), c. 1805/1980; No. 13, pg. 4. Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 167.

X:1

T:Jockey Stays Lang at the Fair

M:9/8

L:1/8

R:Jig

S:Bruce & Stokoe ? Northumbrian Minstrelsy? (1882)

Z:AK/Fiddler’s Companion

K:G

e3 ce/f/g/e/ gce|d3 GB/c/d/B/ dBG|e3 ce/f/g/e/ gce|dgf dcB c2G:|

|:e/f/gf e/f/gf edc|dgf dgf dcB|e/f/gf e/f/gf edc|dgf dcB c2G:|

|:c/B/c/d/e/f/ gce c2e|d/c/B/c/d/B/ G B/c/d/B/ dBG|

c/B/c/d/e/f/ gce c2e|dgf dcB c2G:|

|:gce gce gce|gBd gBd gBd|gce gce gce|dgf dcB c2G:|

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JOCKEY/JOCKIE TO THE FAIR (An Riamanaige/Marcac Ag An Aonac). AKA ‑ "Jogging to the Fair." English (originally), Morris Dance Tune (6/8 time) and March; Irish, Jig or Set Dance; American, Country Dance (6/8 time). G Major (most versions): A Major (Bacon & Karpeles ‑ Headington): D Major (Bacon‑Longborough). Standard tuning. ABCB (Bacon‑Ascot Under Wychwood): AAB (Harding): AABB (S. Johnson, Kershaw, Morrison, O'Neill): AABBB, x4 (Bacon & Mallinson‑ Bledington): ABCBCB' (Karpeles‑Headington): ABCDCD (Mallinson‑Headington): ABCBCBC (Bacon‑Headington): AABBA'A'B'B' (Karpeles): ABCBCB (Bacon‑Bampton, Bledington, Longborough): AAABBAAABBCCCB (Bacon‑Ducklington): ABABCBABCBA (Bacon‑Sherborne). The melody, dating at least from the mid‑18th century, was a popular tune throughout England and served several functions, including dancing and marching. Morris dance versions are wide-spread and numerous and have been collected from the villages Adderbury, Ascot‑Under Wychwood, Bampton, Bledington, Brackley, Ducklington, Headinton, Longborough, and Sherborne areas of England's Cotswolds. In the north, the title appeared in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800. One version of the tune was used as a march in the British army during the Revolutionary War period (Winstock). The word ‘jockey? is Scots in origin and derives from the word ‘joculator?, which by the 17^th century meant an itinerant minstrel. See also the derivative set dance ?The Hurling Boys.?

***

Sources for notated versions: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]; contained in the 19^th 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 [Kershaw]. Aird (Selections), vol. 2, 1782; No. 5, pg. 2. Bacon (The Morris Ring), 1974; pgs. 16, 25, 54, 94, 104, 108, 136, 193, 264 & 291. Harding's All‑Round Collection, 1905; No. 53, pg. 16. S. Johnson (The Kitchen Musician No. 6: Jigs), 1982 (revised 1989, 2001); pg. 3. S. Johnson (Twenty‑Eight Country Dances as Done at the New Boston Fair), vol. 8, 1988; pg. 6. The Joseph Kershaw Manuscript, 1993; No. 47. Karpeles (A Selection of 100 English Folk Dance Airs), 1951; pgs. 34 & 38. Mallinson (Mally’s Cotswold Morris Book), 1988, vol. 2; No's. 1 and 2 (Short and Long versions), pg. 3. Mallinson (Mally’s Cotswold Morris Book), 1988, vol. 1; No. 34, pg. 23. Morrison (Twenty-Four Early American Country Dances, Cotillions & Reels, for the Year 1976), 1976; pg. 29. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1796, pg. 336 (appears as "The Jockey At the Fair"). O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 969, pg. 166 (appears as "The Jockey at the Fair"). Raven (English Country Dance Tunes), 1984; pg. 79. Roche Collection, 1983, vol. 2; No. 277, pg. 32 (appears as "Jockey at the Fair"). EMI/Harvest 7243 8 29861 2 6, Ashley Hutchings et al - "Son of Morris On" (1976/1994).

X:1

T:Jockey at the Fair

T:Jockey to the Fair

M:6/8
L:1/8

S:O’Neill ? Music of Ireland (1796)

Z:AK/Fiddler’s Companion

K:G

D | G2A B2c | d2g d2c | BdG GFG | cBc A2c | d^cd efg | a2f d2g |

fed AB^c | (d3 d2) :: f/g/ | afd afd | c2c B2d | dgd dgd | c2c B2d |

e2f gfe | d2c B2d | edc B2A | B2G E2F | G2G GBd | e2f g2e |

dBG A2B | E2F G2A | B2g B2A | (G3 G2) :|

X:2

T:Jockie to the Fair

M:6/8

L:1/8

R:Jig

S:John Rook music manuscript collection (Waverton, Cumbria, 1840)

K:G

D|G2A B2c|d2g d2c|Bd>G GFG|(A/B/cB) A2d|d^cd efg|

faf e2g|fed Ad^c|d3 d2::d|afd afd|c2c B2d|

dgd dgd|c2c B2c|e2f g2f|e2f B2e|e^de B2A|G2F E2F|

G2G G2B|d3g3|dBG A2B|E2F G2A|B2g BcA|G3 G2:|

JOCKEY TO THE FAIR [2] . See "Jogging to the Fair."? Variation of versions #1 and #2.

JOCKEY UP IN THE HAYLOFT . See ?Jockey (Lay) in the Hayloft.?

JOCKEY WAS THE BLYTHEST/BRAVEST LAD IN A' OUR TOWN . Scottish, Slow Quickstep. A Minor (Gow): C Minor (Mackintosh). Standard tuning. AABB. Appears in David Young's McFarlane MS. (1740) in air‑minuet‑jig form, in a 1772 sheet by Mackintosh, and in the McLean Collection published by James Johnson in Edinburgh in 1772 (where it is ascribed to Robern McIntosh). Carlin (Gow Collection), 1986; No. 569. Gow (Complete Repository), Part 3, 1806; pg. 13.

X:1

T:Jockey was the Blythest Lad in a? our Town

M:2/4

L:1/8

S:Gow ? 3^rd Repository? (1806)

Z:AK/Fiddler’s Companion

K:A Minor

A>B|(c<A) (ce)|(d<B) A^G|~A3 (B/c/)|E3A|(G<E) DC|D2 EF|(EA) A>^G|A2:|

|:c>d|(ec) c>e|g3e|d>edB| G3g|ab/c?/ (a/g/)(f/e/)|~f3 g/a/|(g<e) d>c|c2 A>B|

(c<A) (ce)|(d<B) A^G|(A2 ~A)B/c/|E3A|(G<E) DC|D2EF|(EA) A^G|A2:|

JOCKEY WENT TO THE WOOD . Scottish. From the Skene Collection. "Said to be similar to a Welsh tune quoted by Edward Jones, called 'Reged' (sic) {Williamson}." Flying Fish 358, Robin Williamson ‑ "Legacy of the Scottish Harpers."

JOCKEY'S AT THE HELM . English. England, Northumberland. Title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800.

JOCKEY'S DANCE . English, Jig. C Major ('A' part) & G Major ('B' part). Standard tuning. AABB. Harding’s All Round Collection, 1905; No. 59, pg. 18.

X:1

T:Jockey’s Dance

M:6/8

L:1/8

R:Jig

B:Harding’s All Round Collection, No. 59 (1905)

Z:AK/Fiddler’s Companion

K:C

G|c2c Gce|g2g g2e|gfd fec|dfe d2G|c2c Gce|g2g g2e|

d2a g2f|e2c c2::B/c/|d2G G2e|d2G G2g|^fed def|

dab g2 B/c/|d2G G2e|d2G G2g|^fed def|gde =fAB:||

JOCKEY’S DELIGHT .? English, Jig. B Flat Major. Standard tuning. AABB. The melody is unique to Charles and Samuel Thompson’s Compleat Collection, vol. 3 (London, 1773). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 75.

X:1

T:Jockey’s Delight

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:Bb

B,DF Bcd|cAF “tr”F3|gfe dcB|ABc cAF|DFB BFD|EGc c2B|ABG FG=E|F3 F3:|
|:f3 (f/e/dc)|c3 =B3|Gfe dc=B|cGE C3|e3 (e/d/cB)|B3 A3|Fed cBA|BFD B,de|

FdB Bdf|ecA Ace|dBG GBd|cAF “tr”F2E|DFB BFD|EGc cde|dfB ceA|B3 B,3:||

JOCKEY'S ESCAPE FROM DUNDEE. AKA and see "Bonny Dundee [3]."

JOCKEY'S FRIENDS ARE ILL TO PLEASE. English. England, Northumberland. Title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800.

JOCKIE'S FU' (DRUNK) AND JENNIE'S FAIN (EAGER) . Scottish. The bawdy title, from the 18th century, appears in the David Young's McFarlane MS. (Vol. 3, No. 36), 1740.

JOCKEY'S HORNPIPE . Old‑Time, Breakdown. USA, Missouri. G Major. Standard tuning. AABB. Christeson says: "Uncle William Raines told me that he heard this tune played so often under or near the racetrack stands at the county fairgrounds in the early days that he called it "Jockey's Hornpipe". True title is unknown." Uncle William Raines (Morgan County, Missouri; Christeson). R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; pg. 106.

JOCKEY’S JIG .? English, Jig. G Major. Standard tuning. AABB. The melody was printed by Walsh (London, 1711). Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 67.

JOCKIE'S LOST HIS DEARIE. English. England, Northumberland. Title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800.

JOCKEYS TO THE FAIR . See "Jockey to the Fair."

JOCK'S LODGE. Scottish, Reel. A Mixolydian. Standard tuning. AAB. John Glen (1891) finds the earliest version of the tune in print in Robert Bremner's 1757 collection. Bremner (Scots Reels), c. 1757; pg. 93

X:1

T:Jock’s Lodge

M:C

L:1/8

R:Reel

S:Bremner ? (Scots Reels), c. 1757

Z:AK/Fiddler’s Companion

K:A Mixolydian

e | “tr”c>Bae cAeA | BGdB G/G/G “tr”B2 | “tr”c>BAe cAeA | dBgB A/A/A “tr”e2 :|

“tr”c>BA(^g a)baf | gedB G/G/G “tr”B2 | “tr”c>BA^g abae | fdgB A/A/A “tr”e2 |

“tr”c>BA(^g a>)baf | gedB G/G/G “tr”B2 | cAdA eAfA | ^gAac A/A/A “tr”e2 ||

JODIE . Old-Time, Breakdown. USA, West Virginia. Milnes? source, Delbert Hughes, was a coal miner in southern West Virginia who worked several locations. Milnes suspects the title of the tune might be the name of one of the small mining camps in the area. Shanachie Records 6040, Gerry Milnes & Lorriane Lee Hammond ? “Hell Up Coal Holler? (1999. Learned from the late fiddler Delbert Hughes, of Cabin Creek, West Virginia).

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JOE BAN(E)’S [1] .? Irish, Single Reel. G Major. Standard tuning. AB. Joe Ban(e) was a east County Clare whistle player who played with Bill Malley. Several tunes are associated with his playing.?

X:1

T:Joe Ban(e)’s [1]

M:C|

L:1/8

R:Single Reel

S:Patrick Ourceau workshop ?? Catskills 10/03

Z:AK/Fiddler’s Companion

K:G

ege(d c)AAB | ~c2 ed (dB) G2 | eged (3Bcd ef | {a}gfge d2 (3Bcd | ege(d c)AAB | ~c2 ed dB G2 |

eged (3Bcd ef | {a}gfge d2 || AB | ~c2 g(c a)(cg)c | ~c2 a(c e)(dcA) | ~c2 gc acgc | e(ag)e d2 AB |

~c2 g(c a)(cg)c | ~c2 a(c e)dcA | ~c2 gc acgc | eage d2 AB ||

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JOE BANE'S [2] . Irish, Single Reel or Fling. G Major. Standard tuning. AA’B. Green Linnet SIF‑1110, Martin Hayes ‑ "My Love is in America: The Boston College Irish Fiddle Festival" (1991). Green Linnet GLCD 1127, “Martin Hayes? (1993). Danu - ?

X:1

T:Joe Bane’s [2]

R:reel or fling

M:C|

L:1/8

K:G

B2~B2 BAGA|BABc dedc|B2~B2 BAGB|1 d2cA AGGA:|2 d2cA AGG2||

e2a2 g3e|d2Bc d2d2|e2a2 g3e|d2cA AGG2|

e2a2 g2e2|d2e2 f2g2|abaf g2ge|d2cA AGGA||

JOE BANE’S [3] .? Irish, Reel. G Major. Standard tuning. AA’B. Treoir, vol. 39, No. 1, 2007.

X:1

T:Joe Bane’s [3]

M:4/4

L:1/8

R:Reel

K:G

BcBA GEED|G2 BG cG BG|BcBA GEED|1 EAAG A2 GA:||2 EAAG A2 z2||

Bded g2 ed|g2 ed BGGA|(3Bcd ed g2 ed|eaag aged|

Bded g2 ed|g2 ed BG G2|BcBA GEED|EAAG A4||

JOE BOWERS . Old‑Time, Air (6/8 time). G Major. Standard tuning. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. O’Neill (1913) prints the melody and identifies it as a California Gold-Rush (1849) song of unmistakably Irish origins. He classifies it with those airs in which the first and last phrases are the same, while the 2nd and 3rd strains are closely patterned after one another. See ?The Enniskillen Dragoons? for a partial list of other songs of this type. O’Neill (1913), pg. 114.

JOE BURKE’S [2] . Irish, Jig. D Mixolydian. Standard tuning. AABB. Source for notated version: from a manuscript collection compiled by Mike Reynolds [Black]. Black (Music’s the Very Best Thing), 1996; No. 127, pg. 66.

X:1

T: Joe Burke's #2

S: Mike Reynolds

Q: 300

R: jig

M: 6/8

L: 1/8

K: Dmix

A | FAD FAD | fed cAG | EGC EGC | cBd cAG |

FAD FAD | fed cAG | EFG BAG | FAD D2 :|

g | fed ceA | ceA cBA | fed fed | cec d2 e |

fed ceA | ceA cBA | EFG BAG | FAD D2 :|

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JOE BURKE'S HORNPIPE . AKA and see ?The Ballinakill Hornpipe,? ?Fort at Kincora,? ?Galway Hornpipe [3],? ?Sherlocks.? Irish, Hornpipe. G Major. Standard tuning. AABB. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 1, No. 9. Miller & Perron (Irish Traditional Fiddle Music), 2^nd Edition, 2006; pg. 117. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 113, pg. 57.? Talcon Records KG240, Paddy Cronin ? “The House in the Glen? (197?).

X:1

T:Joe Burke’s

M:C

L:1/8

R:Hornpipe

B:Luke O’Malley’s Collection of Irish Music, vol. 1, No. 113? (1976)

Z:AK/Fiddler’s Companion

K:G

(3DEF|:GA (3GFE DG,B,D|GFGA Bg ~g2|ef (3gfe dBGA|BAGF E2 (3DEF|

GA (3GFE DG,B,D|GFGA Bg~g2|ef (3gfe dBGA|1 (3BAG (3AGF G2 (3DEF:|2 (3BAG (3AGF G2d2||

|:d^cde dBGE|DEGA Bg ~g2|ef (3gfe dBGA|BdcB ADEF|

GA (3GFE DG,B,D|GFGA Bg~g2|ef (3gfe dBGA|1 (3BAG (3AGF G2 Bd:|2 (3BAG (3AGF G2z2||

???????????????????????

JOE BURKE’S POLKA . Irish, Polka. Composed by C#/D button accordion player Jackie Daly (County Cork), in honor of his friend Joe Burke, and a tweak to him as well, for Burke is well-known for his dislike of polkas.

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JOE CANT'S REEL (Cor Seosam U? Canta). Irish, Reel. A Dorian. Standard tuning. AAB. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 568.

X:1

T:Joe Cant’s Reel

M:C|

L:1/8

R:Reel

S:O’Neill ? Dance Music of Ireland: 1001 Gems (1907), No. 568

Z:AK/Fiddler’s Companion

K:A Minor

AB{d}cA e2 dB|(3GGG BG dGBG|AB{d}cA e2 dB|cABG EA A2:|A a2 g e2 ed|

cde^f g2 fe|A a2 g e2 ed|cABG EA A2|A a2 g e2 ed|cde^f g2 fe|ag^fe gfed|ede^f g2 ea||

JOE CASSIDY’S HORNPIPE . Irish, Hornpipe. Ireland, County Donegal. A close relative of ?The Humors of Castle Bernard,? which also shows some similarities with James Hill’s famous hornpipe ?The High Level Bridge,? according to Caoimhin Mac Aoidh (1994). Joe Cassidy, whose hey-day with in the mid-20th century, was a grandson of Jimmy Peoples, master fiddler and scion of the famous fiddling family, from whom he learned to play.

JOE COLEMAN'S MARCH . American. A tune with a story similar to "MacPherson's Farewell" or "Last of Callahan," though here the condemned Joe Coleman plays his tune in a wagon on the way to the gallows.

JOE CONFIANT’S . Canadian, Strathspey. Canada, Cape Breton. A Major. AEae tuning. AABB. Dunlay & Greenberg credit Johnny Wilmot (1916-1993) with disseminating this tune, learned from Joe Confiant. Source for notated version: Stan Chapman (Antigonish, Nova Scotia) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin? Music from Cape Breton), 1996; pg. 131.

JOE CONWAY’S . AKA and see ?The Tenpenny Bit [2],? ?The Ducks and the Oats,? ?The New Tenpenny.? Irish, Jig. Ireland, Sliabh Luachra region of the Cork-Kerry border. A Dorian. Standard tuning. AA’BB. Source Johnny O’Leary identified Joe Conway as a button accordion player (whose instrument was “a small little box with the double rows, like the Black Dot?)from “over between Rathmore and Millstreet,? and who died in 1992 at the age of 86 or 87. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra, Kerry), recorded at a recital at Na Piobairi Uilleann, February, 1981 [Moylan]. Moylan (Johnny O’Leary), 1994; No. 26, pgs. 16-17. Topic 12T311, Joe and Julia Clifford - “Humours of Lisheen? (The Ducks and the Oats).

JOE COOLEY'S DELIGHT . AKA and see ?Cathleen Hehir’s,? ?Kishkeam Lasses,? "Rural Felicity [2]." Irish, Double Jig. D Major. Standard tuning. AABB. Joe Cooley (1924‑1973) was a button accordeon player originally from County Galway who spent most of his life in America. He was a member of the Tulla Ceili Band during the late 1940's. Taylor (Through the Half‑door), 1992; No. 61, pg. 43. Shaskeen ‑ "Atlantic Breeze."

JOE COOLEY’S HORNPIPE . See ?Cooley’s Hornpipe.?

JOE COOLEY’S JIG . AKA and see ?The Hole in the Hedge,? ?Seamus Cooley’s Jig.? Irish, Jig. G Major. Standard tuning. AABB?. The first part is very similar to ?The Angry Peeler.? It has been recorded by the Tulla Ceili Band and by P.J. and Martin Hayes (as “Seamus Cooley’s Jig?).

X:1

T:Joe Cooley’s Jig

M:6/8

L:1/8

R:Jig

Z:AK/Fiddler’s Companion

K:G

BAB G2D | DED DEG | ABA AGE | ABG ABc | BAB G2D |

DED DEG | ABA AGE | GAG G2A :: BAB d2A | BAB dBG |

ABA AGE | ABA ABc |1 BAB d2A | BAB dBG | ABA AGA |

B2A G2A :|2 BAB G2D DED DEG | FGF FEF | G2F E3 ||

JOE COOLEY’S JIG [2].? See note for ““An T?ir?n Garbh.?

JOE COOLEY’S NO. 1. AKA and see ?Last Night’s Fun [4].?

JOE COOLEY’S (REEL) [1] . Irish, Reel. D Major. Standard tuning. AB. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border), recorded in concert at Na Piobairi Uilleann, November, 1990 [Moylan]. Moylan (Johnny O’Leary), 1994; No. 169, pg. 97.

JOE COOLEY'S REEL [2] . AKA and see "Cooley's Reel [1]," "Reynold's Reel," "Mulhaire's Reel," "The Sailor's Farewell,? ?Sailor’s Return [2]," "The Rough Road." Irish, Reel. E Dorian. See notes under “Cooley’s Reel [1], a very popular session reel.

JOE CORMIER’S .? Canadian, Reel. Canada, Cape Breton. A Mixolydian. Standard tuning. AA’BB’CC?. According to Pascal Gemme (of the group Genticorum) this tune is very popular at Montréal sessions.

X:1

T:Joe Cormier's
R:reel
M:4/4
L:1/8
Q:2/4=120

F:Posted to Irtrad 6/11/05
K:Amix
AB|:c2 Bc Afed|cAce agef|g2 fa geef|gedB GABG|c2 Bc Afed|cAce agef|gedB
Gfed|1cABc A2 AB:|2cABc A2 z2||
|:ABcd efec|ABcd ge (3cBA)|GABc dedB|GABc dBAG|ABcd eaaf|geaf geef|gedB
Gfed|1cABc A3 z:|2cABc A3 G
|:~A2 aA AgAA|fAAe-edef|~g2 fa geef|gedB GABG|~A2 aA AgAA|fAAe-edef|gedB
Gfed|1cABc A3 G:|2cABc A2||

X:2

T:Joe Cormier

M:2/4

L:1/8

R:Reel

S:Transcribed by fiddler Pascal Gemme (of the group Genticorum)

K:A Mixolydian

e/d/|cB Ae/d/|c/A/c/e/ f/a/e/f/|gf/a/ g/d/e/f/|g/e/d/B/ G/f/e/d/|cB Ae/d/|

c/A/c/e/ f/a/e/f/|g/e/d/B/ G/A/B/d/|1 c/B/G/B/ Ae/d/:|2 c/B/G/B/ A(3A/A/A/||

|:A/B/c/d/ e/a/e/c/|A/B/c/d/ e/d/c/B/|G/A/B/c/ d/B/G/B/|G/A/B/c/ d/B/G/B/|

A/B/c/d/ e/a/e/a/|g/e/a/f/ g/d/e/f/|g/e/d/B/ G/A/B/d/|c/B/G/B/ A2:|

|:Aa/A/ A/g/A/A/|f/A/A/(e/ e/)d/e/f/|gf/a/ g/d/e/f/|g/e/d/B/ G/A/B/G/|

Aa/A/ A/g/A/A/|f/A/A/(e/ e/)d/e/f/|g/e/d/B/ G/A/B/d/|1 c/B/G/B/ A(3A/A/A/:|2 c/B/G/B/ Ae/d/||

JOE DERRANE'S COMPOSITION .Irish, Barndance. B Minor. Standard tuning. Composed probably by Boston button accordion player and teacher Joe Derrane (with whom Jerry O’Brien recorded a few 78’s), who may have called it “Roseland Barndance.? Jerry O'Brien's Irish Folk Dance Music (Roxbury, Massachusetts, 1952). Green Linnet SIF 1163, Joe Derrane ? “Return to Inis M?r.?

X:1

T:Joe Derrane's Composition

C:Joe Derrane (presumably)

B:Jerry O'Brien, "Irish Folk Dance Music"

R:barndance

M:4/4

L:1/8

K:Bm

de|fBdf eAce|dGBd cF^Ac|(3B^AB (3dBd (3fdf (3b^gb| afdf a2 de|

fBdf eAce|dGBd cF^Ac|BfdB AecA|F^Adc B2||

||:fg|afdc Bdgb|b2 a2 a2 fa|a2 g2 g2 ga|g2 f2 f2 fg|

afdc Bdgb|b2 a2 a2 fa|gfge cBcd|(3efe dc d2:||

K:G

Bc|dGBd e^GBd|eAce f^A^ce|fBdf gBeg|agec A2 dc|

BDGB d2 cB|(3ABc AB cAdc|B/c/B/D/GB A/B/A/D/ FA|

GB (3AGF G2:||: GF|EB,EG B2 EB,|EG B2 B2 AG|FAFE D2 FG|AFDF A2 GF|

EB,EG B2 EB,|EG B2 B2 AG|F2 ED B2 AF|(3GBG E2 E2:||

???????????????????????

JOE DERRANE'S JIG (Port Sheosaimh U? Dhearáin). AKA and see ?Bit of Ginger,? ?The Fisherman,? ?Fisherman’s Lilt [2],? ?Lilting Fisherman,? ?Lissalumna Fiddler,? "Paddy's Resource [2]." Irish, Double Jig. G Major ('A' part) & D Major ('B' part). Standard. AABB'. Alternate titles come from the Leitrim Ceili Band (“Lissalumna Fiddler?), Liverpool Ceili Band (“The Fisherman?), The tune was attributed by Derrane and O’Brien to New York fiddler Paddy Killoran, originally from County Sligo.

***

Paddy Killoran

***

Sources for notated versions: fiddlers Paddy Reynolds & Andy McGann (New York) [Breathnach]; set dance music recorded at Na P?obair? Uilleann in the late 1980’s [Taylor]. Breathnach (CRE III), 1985; No. 25, pg. 12. Taylor (Music from the Sets: Blue Book), 1995; pg. 1. Shanachie Records 22904, Andy McGann & Paddy Reynolds ‑ "Traditional Music of Ireland." Topic Records, John Doonan ? “At the Feis.?

X:1

T:Joe Derrane's Jig

T:Bit of Ginger

T:Fisherman's Lilt

M:6/8

L:1/8

S:learned from David Kidd

S:Paddy Killoran

B:Music for the Sets (NPU); J. O'Brien's Accordion Tutor

D:Music for the Sets (NPU); others?

R:Jig

P:AABB

Z:Lorna LaVerne

K:G

dBG GBd | ~g3 ege | dBG GFG | AFD cBA |

dBG GBd | g3 e/f/ge | dBG FGA |1 BGG G3:|2 BGG GFG||

K:D

ABA Ade | f3 f2e | dce dcB | AFF F2G | AFA AFA | BGB Bcd |

cec ABc |1 d3 dFG:|2 d3 d3\\

JOE DERRANE’S JIG [2] . AKA and see ?Deranne’s,? ?Hardiman’s Fancy.?

JOE DOBBINS . See ?Coleman’s March [1].?

???????????????????????

JOE JOHNSON'S WALTZ . Old‑Time, Waltz. USA, Nebraska. C Major ('A' part), F Major ('B' part). Standard tuning. ABB. Composition claimed by Lincoln, Nebraska, ex‑street performer and guitarist Joe Johnson and his fiddler brother. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 1), 1973; pg. 187.

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JOE KEARNEY’S REEL . Canadian, Reel. Canada, Prince Edward Island. E Dorian. Standard tuning. AA’BB?. Source for notated version: Joe Kearney (1914-1993, Sturgeon, South Kings County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 111.

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JOE KEEGAN’S JIG . Irish, Jig. A Dorian. Standard tuning. AABB. Source for notated version: Jospehine Keegan’s father, Joe Keegan, a flute player “from the County Laois side of Portartington? [McGuire & Keegan]. McGuire & Keegan (Irish Tunes by the 100, vol. 1), 1975; No. 25, pg. 7.

???????????????????????

JOE KELLY’S RETREAT . Irish, Jig. D Mixolydian. Standard tuning. AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black, “with New Jersey’s own Joe Kelly (now Brother Francis) in mind.? Black (Music’s the Very Best Thing), 1996; No. 24, pg. 12.

X:1

T: Joe Kelly's Retreat

C: ƒD B.Black

Q: 350

R: jig

M: 6/8

L: 1/8

K: D

afd gfg | efd BAA | DFA dcd | DFA =cBc |

aba gfe | def BAA | =cBc ABG | EDD D3 :|

A,DF B,DG | =CDE EDD | FAd GBd | AGA =c2 e |

aba gfe | def BAA | =cBc ABG | EDD D3 :|

???????????????????????

JOE KENNEDY'S . AKA and see "Apples in Winter [1]," ?Hills of Glenorchy [1],? ?The Jolly Corkonian,? "Kennedy's Jig." Irish, Jig. E Minor. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 52. Howe (1000 Jigs and Reels), c. 1867; pg. 29. Ryan’s Mammoth Collection, 1883; pg. 80.

X:1

T:Joe Kennedy’s Jig

M:6/8

L:1/8

R:Jig

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

Z:AK/Fiddler’s Companion

K:E Minor

B | BEE BEE | BAG FEF | DED FDF | AB^c dfd | BEE def | gfe fdB | AFA AdF | FEE E2 :|

|: e | e/f/ge fed | e/f/ge fed | d/e/fed AF | DFA def | edB def | gbg edB | AFA AdF | FEE E2 :|

??????????? ???????????

JOE MACDONALD’S REEL . Canadian, Reel. Canada, Prince Edward Island. A Major (‘A? part) & A Mixolydian (‘B? part). Standard tuning. AABB?. Composed by Emmett Hughes (b. 1921, Dromore, Queens County, PEI) in honor of a St. Andrews, Kings County, PEI, fiddler. Source for notated version: Emmett Hughes [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 106.

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JOE MACKINNON’S REEL . AKA and see ?Douglas Hornpipe.? Canadian, Reel. Canada, Prince Edward Island. The tune is named after a local western P.E.I. fiddler. Rounder CD7014, Leonard McDonald? “Fiddlers of Western Prince Edward Island? (1997).

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JOE MADDEN’S BIG DAY . Irish, Reel. D Major. Standard tuning. AABB. Composed by Falmouth, Massachusetts, musician Bill Black to commemorate the testimonial day of accordion player Joe Madden, in New York’s Gaelic Park, in February, 1992. Joe is the father of Cherish the Ladies flute player Joanie Madden. Black (Music’s the Very Best Thing), 1996; No. 152, pg. 80.

X:1

T: Joe Madden's Big Day

C: ƒD B. Black

Q: 350

R: reel

M: 4/4

L: 1/8

K: D

A | d2 cd BAFE | DEFA BAFA | D2 (3FED FAAB | defd BABc |

d2 cd BAFE | DEFD EB,B,A, | DEFA BedB | AFEF D3 :|

e | fbaf edde | fded BABc | df (3fgf af (3fgf | bafd ecde |

fbaf edde | fded BABc | dBcA BAFA | BAFE D3 :|

???????????????????????

JOE McGOLDRICK’S. Irish, Reel. F Major. Standard tuning. AA’BB. Paul de Grae identifies this tune as a variant of ?Dublin Lasses.?

X:1

T:Joe McGoldrick's

S:Jimmy Power

N:a version of "Dublin Lasses" or "Boys of Ballisodare"

R:reel

M:4/4

L:1/8

K:F

cF ~F2 cFdF|c2 FG AG G2|c2 ~F2 dFcA|GBAG FD D2|

cF ~F2 cFdF|c2 FG AG G2|DEFG d2 cA|1GBAG FD D2:|2 GBAG ^FD D2|:

fefg abag|fefg ad d2|f3 g a2 ag|fdec Ad d2|

fefg abag|fefg addf|afge f2 ed|=cAGB AD D2:||

???????????????????????

JOE MONAHAN’S REEL . AKA and see ?The Tinker’s Daughter.? Irish, Reel. D Major. Standard. AABB. Source for notated version: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Mulvihill (1^st Collection), 1986; No. 73, pg. 19.

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JOE MOROZE'S . Canadian, Jig. Canada, Cape Breton. A Minor. Standard. One part. Composed by Westmount, Cape Breton, fiddler Howie MacDonald. Cook (Night in the Kitchen Collection), 1996; pg. 43.

???????????????????????

JOE O’CONNELL’S . AKA and see ?Black-Eyed Sailor,? ?Lord Wellington [2],? ?Sheehan’s Reel,? ?Wellington’s Reel [1].? Irish, Reel. The tune was recorded under this title on a 78 RPM by fiddler Hugh Gillespie. Philippe Varlet says the tune was popular in the 78 era.

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JOE O'DOWD'S JIG . Irish, Jig. D Major. Standard. AABB. Attributed to Sligo fiddler Joe O'Dowd. Source for notated version: John Vesey (DeMarco & Krassen). DeMarco & Krassen (A Trip to Sligo), 1978; pgs. 27, 41, 55. Shanachie SH29009, Andy McGann ‑ "It's a Hard Road to Travel."

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JOE O’DOWD’S (MAZURKA) . AKA and see ?Jackie Donnan's Mazurka.? Irish, Mazurka.

X:1

T:Joe O'Dowd's

R:Mazurka

M:3/4

L:1/8

Q:190

K:D

dB | A2 AF AB | d2 dc df | e2 ed ef | a2 a2 dB |

A2 AF AB | d2 d/d/c df | e2 ed fe | d4 dB |

A2 AF AB | d2 d/d/c df | e2 ed ef | af ef dB |

A3 F AB | d2 dc df | e2 ed {a}fe | d4 Ad ||

(ef) ~f2 ef | d2 d/d/c dc | (AB) {d}BA FA | (AB) {d}BA FA |

(ef) ~f2 ef | d2 df af | e2 ed fe | d2 d2 Ad |

(ef) ~f2 ef | d2 dc dc | B2 Bc de | f2 f2 Ad |

f2 ~f2 ef | d2 df a/a/f | e2 ed {a}fe | d4

???????????????????????

JOE PETE’S REEL . Canadian, Reel. Canada, Prince Edward Island. A Mixolydian. Standard. AA’B. Both parts to the tune are very irregular. Source for notated version: Peter Chaisson, Jr., learned from his father Joe Chaisson (b. 1942, Bear River, North-East Kings County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 101.

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JOE POLLITTE’S CIRCUS TUNE .? American.? ‘C? Major. Pollitte was a French-influenced fiddler from Missouri.

???????????????????????

JOE POLLITTE’S QUADRILLE .? American. C Major.

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JOE ROBICHAUD’S FAVORITE .? American, Jig. A Major. Standard. AA’BB?. Composed by Vermont fiddler Pete Sutherland, titled after Burlington French-Canadian fiddler Joseph Robichaud. Sutherland (Bareface), 1984; pg. 15.

JOE ROACH . Canadian, Reel. Canada, Cape Breton. G Dorian. Standard. AB. Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 192, pg. 54. Fiddlesticks cass., Jerry Holland - “Lively Steps? (1987).

???????????????????????

JOE RYAN’S BARN DANCE .? Irish, Barn Dance. Green Linnet GLCD 1175, Cherish the Ladies ? “New Day Dawning.? Green Linnet GLCD 1187, Cherish the Ladies ? “One and All: the best of Cherish the Ladies? (1998. Learned from a tape of Inagh, County Clare, fiddler Joe Ryan, a cousin of Joanie Madden’s mother).

???????????????????????

JOE SKELTON’S . Irish, Hornpipe. D Major. Standard. AABB. Source for notated version: Galway whistle player Joe Skelton [Taylor/Tweed]. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 39.

???????????????????????

JOE TANZY'S REEL . AKA and see ?Braes of Glendochart,? “Braes of Glendochert,? ?Mr. Menzies of Culdare(‘s Reel),? ?Paddy Murphy’s Wife [1],? "Pat Carney's Reel." Irish, Reel. D Major. Standard. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 28 (and page 30, under the title "Pat Carney's Reel"). Ryan’s Mammoth Collection, 1883; pg. 52.

X:1

T:Joe Tanzy's

T:Pat Carney's

T:The Braes of Glendochart/Glendochert

T:Mr Menzies of Culdares

B:Cole's 1000 Fiddle Tunes

Z:Nigel Gatherer

M:4/4

L:1/8

K:D

G|(3FED AF BGAF|EG=cG ECCE|(3FED AF BGAF|Dddc dDDG|

(3FED AF BGAF|EG=cG ECCE|(3FED AF BGAF|Dddc dDD:|]

g|fada fdad|eg=cg ecgc|fada fdgd|(3Bcd AG FDDg|

fada fdad|eg=cg ecgc|afge fdec|dBAG FDD:|]

???????????????????????

JOE TURNER BLUES . Old‑Time, Blues. USA, Texas. A Major. Standard tuning. AB. One of the tunes played by Bond's String Band, a late 1920's six to eight piece string band from Corbin, Kentucky, whose personnel was composed almost entirely of railroaders. The band specialized in playing blues tunes, but did not record (Wolfe, 1982). Source for notated version: Red Williams (Dallas, Texas) [Christeson]. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; pg. 155.

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JOE’S FAVOURITE . AKA - “George MacInnis’s Favourite.? Canadian, Reel. Canada, Cape Breton. A Dorian. Standard tuning. AB. Source for notated version: Alex Gillis (Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music from Cape Breton), 1996; pg. 61. CAT-WMR004, Wendy MacIsaac - “The ‘Reel? Thing? (1994. Appears as “Traditional Reel? before “Donalbane?). Decca 14024, Alex Gillis/The Inverness Serenaders (c. 1930's). DMP6 27-1-4, Doug MacPhee - “Cape Breton Piano III (1981. Appears as “George MacInnis’s Favourite?). 02 50399, Dave MacIsaac - “Nimble Fingers? (1995. Appears as first reel in “Donald John the Tailor? medley).

???????????

JOE’S JIG .? English, Jig. D Major. Standard tuning. AABB. The melody, like many in Charles and Samuel Thompson’s 1757 collection, first appeared in John Johnson’s 200 Favourite Country Dances, vol. 7 (London, 1756). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 91.

X:1

T:Joe’s Jigg

M:6/8

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:D

DED F2A|EFE G2B|DED FAB|dAG FED|DED F2A|EFE G2B|ABc def|edc d3:|
|:(f>gf/e/) (f>gf/e/)|(f>gf/e/) f2A|Bcd ABc|dAG FED|DED FAd|EFE GBe|ABc def|edc d3:||

???????????

JOE’S LAST SINGLE . Canadian, Single Jig (12/8 time). Canada, Cape Breton. G Major. Standard tuning. AB. Editor Paul Cranford explains that the elderly Irish-style Northside (Cape Breton) fiddler Joe Confiant had a repertoire of single jigs, but that the style had fallen out of favor with fiddlers and dancers in the generation after his. This tune he played about 1980, on his last visit to the Stubbert family. Source for notated version: fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia) [Cranford]. Cranford (Brenda Stubbert’s), 1994; No. 124, pg. 43.

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JOEY BEATON [1] . Canadian, Reel. Canada, Cape Breton. D Major. Standard tuning. AABB?. Composed by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia) in honor of pianist Joey Beaton (Mabou, Cape Breton). Cranford (Brenda Stubbert’s), 1994; No. 62, pg. 22. Brenda Stubbert - “Tamerack ‘er Down? (1985).

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JOEY BEATON’S REEL [2] . Canadian, Reel. Canada, Cape Breton. B Minor. Standard tuning. AABB?. Composed by the late fiddler Jerry Holland (1955-2009, Inverness, Cape Breton) in honor of pianist Joey Beaton, also a buisnessman in Mabou, Cape Breton. Cranford (Jerry Holland’s), 1995; No. 59, pg. 18. Rounder Records, “Jerry Holland? (1976). Rounder Records 7057, Jerry Holland ? “Parlor Music? (2005).

JOEY BEATON’S REEL [3] .? Canadian, Reel. Canada Cape Breton. Composed by fiddler Donald Angus Beaton (1912-1982). Smithsonian Folkways Records, SFW CD 40507, The Beaton Family of Mabou ? “Cape Breton Fiddle and Piano Music? (2004).?

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JOEY'S HORNPIPE . American, Hornpipe. D Major. Standard tuning. AABB. Composed by Peterborough, New Hampshire, caller and accordion player Bob McQuillen. Sweet (Fifer’s Delight), 1964/1981; pg. 78.

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JOPE WINGERTER'S TUNE . Old-Time, Breakdown. D Major. Standard tuning. AABBCCBB. Source for notated version: Lynn Smith [Phillips]. Phillips (Traditional American Fiddle Tunes, Vol. 1), 1994; pg. 125.

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JOG ON (JOG ON THE FOOTPATH WAY). AKA and see "Hanskin," "Eighty‑Eight." English, Country Dance Tune (6/4 or 6/8 time, with one bar in the part receiving an extra beat). G Major (Chappell, Kines): A Major (Sharp). Standard tuning. One part. The air was published in Playford's English Dancing Master (1650), The Antidote against Melancholy (1661, set to the tune of "Hanskin"), and many other 17th century song collections, attesting to its popularity at the time. Shakespeare, in his play The Winter's Tale (act IV, scene 3), has Autolycus make his exit with one stanza of the song.

***

Jog on, jog on, the footpath way

And merrily bent the stile‑a;

Your merry heart goes all the day,

Your sad tires in a mile‑a.

***

Chappell (Popular Music of the Olden Times), Vol. 1, 1859; pg. 159. Kines (Songs from Shakespeare’s Plays and Popular Songs of Shakespeare’s Time), 1964; pg. 27. Raven (English Country Dance Tunes), 1984; pg. 42 (a facsimile copy of the Playford original). Sharp (Country Dance Tunes), 1909/1994; pg. 54. Harmonia Mundi 907101, The King's Delight - "17c. Ballads for Voice & Violin Band" (1993).

X:1

T:Jog On

M:6/8

L:1/8

S:Sharp ? Country Dance Tunes? (1909)

Z:AK/Fiddler’s Companion

K:A

d2 A d2e|f>=gf ecA|ded a2=g|

L:1/8

M:9/8

f3 e3 e2f|

L:1/8

M:6/8

=g>ag f>gf|e>dc ded|cBc B3|A6||

???????????????????????

JOGGING TO THE FAIR . AKA and see "Jockey to the Fair [2]." English, Morris Dance Tune (6/8 time). G Major. Standard tuning. ABCBCB. From the village of Bampton, Oxfordshire, England. Bacon (The Morris Ring), 1974. Mallinson (Mally’s Cotswold Morris Book), 1988; No. 52, pg. 32.

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