A tunebook for HISS · 2020-03-09 · 1 A tunebook for HISS version 1.1 An unofficial fringe...
Transcript of A tunebook for HISS · 2020-03-09 · 1 A tunebook for HISS version 1.1 An unofficial fringe...
1
A tunebook for HISS
version 1.1
An unofficial fringe contribution
These are tunes to play in the bar in the evenings, or sat on the grass after lunch, or whever the fancy strikes. Some people
will already know tunes that others can join in with. Other people might like some dots to play from, which is not quite as
good but much better than sitting out.
The first tunes are mostly traditional dance tunes and airs, commonly played in pub sessions and dances in north east England.
It’s just a fragment of a very large pool; many experienced trad musicians have a stock of several hundred tunes in their
heads. Players new to traditional music should remember that you don’t have to play exactly what the dots say. Play a version
that fits your instrument and your skills: simplify if needs be; add ornaments where you think it appropriate; change the tune
slightly as you go through repetitions. If you can remember the tune it usually sounds more convincing than if you’re reading
the music. Dance tunes are often played in sets of two or three at a time, each tune several times through, but when people are
trying to learn the tune it can be repeated many times until most people have got the hang of it.
Most of this is dance music, so always keep the rhythm well marked. Trad players usually tap their foot pretty firmly. Fiddlers
usually bow everything as a default, and use slurs as an effect, often slurring across the beat to give lift on the weak beat.
Whistles and flutes often slur a lot and use cuts and tonguing as ornaments.
Chord names are to help rhythm/continuo players. Nothing sacred about them, use the ones you like.
I should add that this is entirely unofficial and nothing to do with any of the tutors. I just did it in the hope that other people
might enjoy informal musicking, as I do.
Mistakes, comments, suggestions? [email protected]
Thomas Green, 2013
2
Session tunes
When played for dancing rants and hornpipes go steadily in a swung (dotted) rhythm; reels go faster, played straight or
slightly swung. Jigs are sharply dotted in the north-east, less so farther south in my experience. Waltzes moderato. Slow airs
are definitely slow, maybe in free time.
--------- Hornpipes and rants -------
1. Roxburgh Castle
G C G C G Am D7
44
G C G C D7 G
G C G Am D7
G C G C D7 G
hornpipe
2. Harvest Home
D D A Em A7
44
D D A7 D
3 3 3 3
33
33
A D A D A Em A7
D D A7 D
hornpipe
3
3. Proudlock’s Hornpipe
3
3G D7 G C G D7 G D7
44
3
3G D7 G C G D7 G
3G Em Am D7 G Em A7 D7
3
3G D7 G C G D7 G
hornpipe
4. Miss Thompson’sErrington Thompson
3
D A D G D G
44
D A D A7 D
A D G D E7 A
G D A7 D
hornpipe
4
5. Morpeth Rant
D G A D G A
44
D G A D A D
D G Em A D A
D G Em A D
rant/reel
------- Reels -------
6. The Hesleyside Reel
G C G Am D
44
G C G D G
C G C G D
G C G D G
reel
5
7. Jamie Allen
G Em Am D7
44
G G D7 G
G Em Am D
G G D7 G
reel
8. Salmon Tails
G G D C D
44
G G D7 G
G C G D C D
G C G D7 G
G C G D C D
G G D7 G
march/reel/polka
6
9. Nancy
3
3D D D A7
44
D D G A7 D
D G A7 D G E7 A7
D D G A7 D
reel
10. Rochdale Coconut DanceTrad. Morris Dance
Em Em Am G D Em
44
G D G D G
G D G Am G
Reel
7
11. My Love is But a Lassie O
D D D A7
44
D G A7 D
D D D Em
D D A D D
reel
12. St Anne’s Reel
D G D G D
44
D G D G A7 D
D Em A7 D A
DBm Em A7 D
8
------- Contra dance tunes -------
Contra dance is a living dance tradition. Besides the traditional repertoire, some striking new tunes have been composed. Not
widely known as session tunes in England but cracking tunes.
13. Bonaparte Crossing the Rhinetrad
D A D D G D E7 A7
44
D A D D G A D D
D A G D G D E7 A7
D A G D G A D D
reel
14. The Boy’s Lament for his Dragon72nd’s Farewell to Aberdeen
William MacKay?
D A D Em A
44
D A D Em A D
D C G D D Em A
D C G D D A D
reel
History: According to the Fiddler’s Companion site, ’dragon’ is thought to mean a kite (German ’drachen’ means both
the flying toy and the fiery beast). Possibly first in print as "The 72nd’s Farewel to Aberdeen" in Pipe Major
William Ross’s 1885 collection
9
15. Scollay’s Reeltrad
Em Em Em D
44
Em Em Em Em
Em Em Am Em D
Em G C Em Em
reel
Said to be a Shetland version of the (slow) air "King of the Fairies" but makes a great reel. (Apparently the
Shetland name Scollay is unrelated to the Irish name Scully.)
16. Eli Greene’s CakewalkSadie Koninsky
Em Em Em Em Am Em
44
Am Em B7 Em B7 Em D G1 2
D Em G D A7
D7 D7 G G B71 2
reel
10
17. Prince Imperial GalopAnon
C C C F G F Dm F G7
44
C C C F Dm C G7 C
D7 G G G Em G C D Am D D7
G G G Em G D Am D7 G G7
march (played at reel speed for contra)
18. March of St TimothyJudi Morningstar
G D7 Em Bm C
44
G Am D7 Am D7 G1 2
D7 G D7
G -- -- D7 G
C C dim G Am D7 G D7
march (played at reel speed for contra)
11
19. Juliann Johnson
D D D A
44
D D D G A
G G G D
G G D G A
reel
20. Reel Eugene
Bm Em F 7 Bm
44
Bm Em F 7 Bm Bm A71 2
D D Em A7 A7 D
D D Em A7 D D1 2
reel
12
21. Tune for KarenCammy Kaynor
A7 Dm Gm A7 Dm A7
44
Dm Gm A7 Dm
F C7 F C7 F C7
F G7 C G7 C
reel
22. Saturday Night
C C G D
C C G7 C
C C G D G
C C G7 C
reel
13
23. Fair JennyTony Barnes
D A7 G A7 G A7
86
D A7 G A7 A7 D
G D
G A D
jig
24. KorolenkoJean-Paul Loyer
G G G C
86
C D D G D G
G C C D D G
C C G D G
C C G D G
jig
14
------- Jigs -------
25. The Seven Stars
D G D G A
86
D G D G A D
A A D A D E A
G D G D G A D
jig
26. Hexham Races
G D7 G Am D7
86
G D C G/d D7 G
G D7 G Am D7
G D C G/d D7 G
jig
15
27. The One-Horned Sheep
G C G G Am D
86
G C G C D G
G G G D
G G C D D1 2
jig
28. Oyster Girl
G D7 G Am D7
86
G C G D7 G
G C D7 G
G C G D7 G
jig
16
29. New Rigged Ship
D D A A
86
D D A G A7 D
D Bm Em A7
D Bm D A7 D
jig
30. The Connaughtman’s Rambles
D G D Bm
86
D G D Em Bm
D D Bm D A
D D Em Bm
jig
17
31. Tripping Upstairs
D G D A7 D G
86
D G D A7 D
Bm Bm A
Bm Bm A7 D
jig
32. Bundle and Go, or I Lost My Love
Am C G C
86
C G C G Am
Am Em Am Em
C G C G Am
jig
18
33. The Blackthorn Stick
G C G C G D7 G D7
86
G C G C G D7 G
G G G C Am D7
G C G C G D7 G
jig
34. The Snowy PathMark Kelly
D G D A A1 2
89
F m G D D1
D A2
slip jig
35. The Butterfly
Em D Em D Em D Bm D
89
C D C D
Em D Em D Em D
slip jig
19
36. Foxhunter’s Jig
D G D A D G D A
89
Bm Em D A
D G D A D G D A Em D
Em D A
slip jig
------- 3/2 Hornpipes -------
37. Go to Berwick JohnnieTrad
G A G G A D A
23
G G G A
G G G A
triple hornpipe. Berwick was the nearest place where an errant Scotsman would be shielded by English law.
20
38. Rusty Gulleyaka Punchanello’s Hornpipe / Three Rusty Swords
G D G G G
23
Em Bm C D C G D Em D
triple hornpipe. A gulley is a large knife.
Bars 2 and 4 of each part can be played as 6/4, i.e. two dotted minims per bar instead of 3 minims - nice effect
21
------- Waltzes -------
39. Elsey’s Waltz
D D G A D Bm E7 A
43
D D G A D A G D
D Bm G D F m Bm E7 A
F m Bm G A D A G D
waltz
40. Midnight on the WaterLuke Thomasson
D D D A D G
43
3D A D
G G G D Em
Em Bm D G G D
D D G D A D
22
41. Waltz for PolleWim Poesen
G G G G C C G D
43
G G G D C D7 G G1
G C C D D G G Em Em2
C C D D C D7 G G G G1 2
Waltz
Source: Matthiesen’s Waltz Book III
42. Ice on the WaterGeorge Reynolds
G F Am G G
43
F Am D G F
Am G F F D G
G D F C
G D F D
G D F Am
E Maj7 E Maj7 D G
waltz
23
43. Valse des JouetsWaltz of the Toys
Michel Faubert
D G D
43
G Em A G
D A7 D G D
Bm Em A G A7 D
D G A D
Bm Em A7 D
Bm G A F
G D A7 D
waltz
24
44. Michael Turner’s Waltz
G G C G
43
G D G D G D7 G
D7 Am G C G
C G G D7 G
Waltz
History: Derived from the trio to number 2 of Mozart’s set of German dances KV 536 via the MS tunebook of Michael
Turner of Warnham (1796-1885), pub. as ’A Sussex Tune Book’ ed. Loughran and Gammon, 1982
More here: http://www.petecooper.com/eftnotes.htm#19
45. Mozart’s second violin part to the above
43
25
------- Slow airs -------
46. Sweet HesleysideAnon. Chording: S. Hardy
G Am/C Am D D7 G
86
G G+ Am/C Am D D7 G
C G D G A A7 D D7 G G+ Am/C Am
D D7 G G G Am/C Am D D7 G
slow air for Northumbrian smallpipes, probably from 1920s/30s
47. Sir John Fenwick’s the Flower amang them All
G G G G Am
43
Am Am D G G
G G Am G G
D G G G G
Am Am Am D G G G
G Am G Am D
slow air. A Jacobite tune (two pipers are said to have been hanged for playing it). Oldest known version 1695
26
48. Bewick’s RestDerek Hobbs
D Em/d D C/D D Em/D C/D
44
D Em/D D C/D D C/D D
D C/D D G/D D C/D D
D C/D D G/D D C/D D
slow air
Source: Bewick’s Footsteps, published by Rossleigh Music
49. Roslyn Castle
Em C B Em B Em
44
C Em B Em Em
Em Em B Em Em B
C B Em B Em Em
27
50. Da Slockit LightTom Anderson
D A7 D G D G A7
44
D A7 D G A7 D
D A D D E7 A
D A D G A7 D
D A Bm G D G A7
D F Bm G A7 D
slow air
51. Da Slockit Light 2nd PartEllen Thomas
44
28
Broadsheet ballad tunes
These tunes appear frequently in 17th century broadsheets, and many were used as the basis of variation sets.
52. Fortune my foe
Gm Dm B F Gm B F Gm Dmaj
B B B C F
F B Dm Gm Dsus G
53. Go From My Window
Go from my win dow love, go; Go from my win dow my dear; The
G D G D G D
44
wind and the rain wi ll drive you back a gain, You can not be lodg ed here.
Dm Am C G D G G D G
54. What if a dayThomas Campiom
Am E Am E Am G C G A Esus4 E Am
C m G Am E Am G C m Em Bsus4 B E
Am G C m G Am G Em Am Em F m E Am
29
55. Sick, sick, and very sick
Bm F m Bm F Bm
44
Bm F m Bm F Bm
F m D Bm Em Bm
F m D Bm Em B
56. John come kiss me now
57. Watkin’s Ale
G C Am D G
23
G Am C Am D
G D Em G C G D G
30
58. Monsieur’s Almain
C G C Dm C
44
C G C Dm C
C G C Dm A Dm
C G F C G C
59. Wilson’s Wild
D D G A
43
D D Em A D D1 2
D D G A
D G D A
D G D A D
31
Playford tunes
These tunes come from dance books of the 17th and 18th centuries, notably the series called ’The Dancing Master’ produced by John
Playford and his sons. The attributions refer to first occurrence in the Playford series. They are all used frequently in Playford
country dancing today and I have mostly used the present day versions and harmonies.
60. All In A Garden Green
G D Em D C Am D
22
C G Am7 D7 G
G C D7 G Em Am D7
G Am D7 G C
Am D G
61. Amarillis
G D Em D G D G
44
Am C G Am D
G C G Am Em D G
Playford 1670
32
62. Childgrove
Dm Gm Am
44
Dm Gm A7 Dm
F C Dm Am
F C Dm A7 Dm
Playford 1701
63. ArgeersThe Wedding Night
No convincing explanation has been found for the title. The North African territory of Algiers was much
in the news in the 1660s.
33
64. Daphne
Em B Em G D C Em
86
Em D Em B G Am D G
G D Em Bm
Em Em G Am D Em
Playford 1651
65. Dick’s Maggot
G D G Am G G D G D G
23
D Bm Em A D F m Bm D A D
G C Am D G C D G
Playford 1702
66. Grimstock
G Em D G C Am D
86
G Em D G C D G
G G G D G
Playford 1651
34
67. Hole in the Wall
G D Em Bm Em Em
23
Em Am B Em Am Bsus Em
C D Em D G D D Em
Purcell (Hornpipe from Abdelazar), adopted by Playford 1696
68. Horses Branle
44
derived from a branle in Thoinot Arbeau’s ’Orchésographie’ - not a Playford tune but feels related
69. Indian Queen
D A D A
44
D A Bm A7 D
A F m Bm Bm E7 A
G A Em A Em A D
Playford 1701
35
70. Jack’s Maggot
D G D G A
D G A D A D
D D G A
D D G A D
Playford 1702
71. Lull Me Beyond Thee
Dm F C F Dm Gm A Dm
86
F B Gm A Dm Gm A Dm
F C F C F C F C
F C Dm Am F Gm A Dm
Playford 1651
36
72. Morisco
44
1 2
1 2
Appears as a branle in Thoinot Arbeau’s ’Orchésographie’, 1589, and later in Playford, Dancing Master, Supplement to 3rd Ed., 1657
73. Mr Beveridge’s Maggot
Gm D7 Gm Cm D7 Gm Gm F7 B E F7 B
23
B F Gm Cm A7 D7
D7 Gm D7 Gm B F Cm D7 Gm
Playford (1695)
74. The Parson’s farewell
Dm C B Am F
C Dm C Dm
Apparently this comes from a bourrée
37
75. Portsmouth
G C G C D
44
G C G D7 G
G G Em Am Am
G C G D7 G
Playford 1701
76. Stanes Morris
Am E Dm Am Am Dm Em Am
C G Am C G Am
C F C Am Dm Em Am
William Ballet Lute Book (1595). No known connection with Staines town.
39
Carolan tunes
Whereas eighteenth-century Scotland achieved a fair degree of fusion between traditional (popular) music and fashionable,
cultivated baroque style, Ireland notably didn’t. The harpers and pipers went on as they always had, uninfluenced by baroque fashion,
but in rapidly dwindling numbers. Turlough O’Carolan (1670-1738) was the exception, a blind harper creating genuine fusion
music, admired by Geminiani. Many of his pieces are still frequently played. Some are ’planxties’, a word thought to mean a piece
written in honour of a patron.
78. Planxty Fanny PowerTurlough O’Carolan
G C Am D7 D7
86
G Am D D7 G
G Em C D7
G C D7 G D7 G
planxty
79. Planxty IrwinColonel John Irwin
Turlough O’Carolan
G C G Em C G D
86
G C G Em Am G D G
G D D G D Am D7
G C G Em Am G D G
planxty
40
80. HewlettO’Carolan
D A Bm G
43
D G D G A D D1 2
D Bm
Em A D
D A Bm G
D G D G A D
81. Si Bheag Si MhorTurlough O’Carolan (Ireland)
D D7 G D G A7 D D7
43
G D Bm D G A7 D D
D D7 G D G D Em7 A7
D D7 G D Em7 A7 G D
41
82. Carolan’s DraughtTurlough O’Carolan
G Bm Em G Em G C Am
44
G Bm Em A G Am D
D G Em C Em G G Em
G D Bm Em
Em Am Em G C D G
Em D G Am G
play as a march perhaps
This seems to be influenced by Vivaldi or Geminiani
42
French Dance Tunes
Some of the traditional French and Breton dance forms, as used by the baroque composers, are alive and well, notably bourrées and
gavottes. Mazurkas and scottisches are post-baroque, of course.
83. Le Canal En OctobreFrâ¢deric Paris
G C G C C D D G
44
G C G C C D G
Bm C D C C D D G
Bm C D C C D G
schottische
84. Schottische à Virmoux
D G D G
22
D A D G D A7
D D G D
G D G D A D
schottische
43
85. L’inconnu de LimoiseJ F (’Maxou’) Heintzen
G Em Am D
43
G Em Am D
C Bm Em Bm
C C D7 D7 G1 2
Mazurka
History: "Some years ago a workman from Limoise (Allier), occupied in moving some statues, was surprised to discover
a corpse buried with a cornemuse (type of French bagpipes) beside him. It is hard for me to describe the avalanche
of reflections and emotions it aroused in my head. This air was composed on that occasion, with deliberate intent
to make people weep." - Maxou Heintzen (tr Thos G)
86. Mazurka Limousintrad - learnt from Stewart Hardy
Am Em B7 Em
43
Am Em B7 Em Em Em A1 2
D Em A D Em A D C B7 Em Em1 2
mazurka
87. Bourrée a Huittrad
83
bourrée (three-time). A very traditional one with a lot of lift every four bars
44
88. Fil et Bobine (thread and spool)La Coccinelle (The Ladybird)
Jean Blanchard
G G Am D G
83
G Am D G Am C
D G Am C D D G1 2
bourrée (three time)
89. Le Ruban Bleu
G D G D G
42
D G D G D G D G1 2
bourrée (two-time)
90. Bourrée d’Aurore Sand
Em Em B B Am Em
42
D Em Em Em Am
Em Em Am D Em
bourrée (two-time)
45
91. GavotteMichael Praetorius (1571-1621)
44
gavotte
Transcription: S. Piron
92. Gavotte from Trouz Bras
Am (Gm) G Am
42
Am Dm G C
F Dm G Am
gavotte
93. Gavotte ton doubleTrad.
44
46
94. La BourbonnaiseGavotte
François Couperin
1 2
21
1 2
1 2
Gavotte
Transcription: Transcribed by Frank Nordberg - http://www.musicaviva.com
95. Theme Vannitaise aka Twiglet
Em D
44
Em D Bm Em Em
Bm D Em
Bm G D Em
an dro
48
Medieval dance tunes
Nobody knows much about these but they’re cracking tunes.
97. La quinte estampie realFrench, 13th century
open ending
86
closed ending