1

A tunebook for HISS (v. 1.2: 2015)

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 peoplewill already know tunes that others can join in with. Other people might like some dots to play from, which is not quite asgood 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 theirheads. Players new to traditional music should remember that you don’t have to play exactly what the dots say. Play a versionthat fits your instrument and your skills: simplify if needs be; add ornaments where you think it appropriate; change the tuneslightly as you go through repetitions. If you can remember the tune it usually sounds more convincing than if you’re readingthe music. Dance tunes are often played in sets of two or three at a time, each tune several times through, but when people aretrying 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. Fiddlersusually 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 peoplemight enjoy informal musicking, as I do.

Mistakes, comments, suggestions? stuff@greenery.me.uk

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 orslightly swung. Jigs are sharply dotted in the north-east, less so farther south in my experience. Waltzes moderato. Slow airsare 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

3 3

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. Notwidely 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

reelHistory: 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 MajorWilliam 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

reelSaid to be a Shetland version of the (slow) air "King of the Fairies" but makes a great reel. (Apparently theShetland 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

WaltzSource: 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

WaltzHistory: 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, 1982More 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 airSource: 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 JohnPlayford and his sons. The attributions refer to first occurrence in the Playford series. They are all used frequently in Playfordcountry 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 muchin 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.

38

77. Sellenger’s Round

G C G C

86

G C G C

C G G D

C G D G D G

Playford 1670

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 fusionmusic, admired by Geminiani. Many of his pieces are still frequently played. Some are ’planxties’, a word thought to mean a piecewritten 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 perhapsThis 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 andgavottes. Mazurkas and scottisches are post-baroque, of course.

83. Le Canal En OctobreFr Ģderic 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 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

MazurkaHistory: "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 avalancheof reflections and emotions it aroused in my head. This air was composed on that occasion, with deliberate intentto 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

gavotteTranscription: 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

GavotteTranscription: 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

47

96. An droMichel Le Cam

44

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

49

98. La septieme estampie realAnonyme

86

50

99. Saltarello

I

86

1 2

II

1 2

III

1 2

IV

1 2

Late C14 Italian.

51

100. Ductia

86

86

52

Index&to&HISS&tune&book&v.12&(2015)

Roxburgh)Castle 1Harvest)Home 2Proudlock's)Hornpipe 3Miss)Thompson's 4Morpeth)Rant 5The)Hesleyside)Reel 6Jamie)Allen 7Salmon)Tails 8Nancy 9Rochdale)Coconut)Dance 10My)Love)is)But)a)Lassie)O 11St)Anne's)Reel 12Bonaparte)Crossing)the)Rhine 13The)Boy's)Lament)for)his)Dragon)(72nd's)Farewell)to)Aberdeen) 14Scollay's)Reel 15Eli)Greene's)Cakewalk 16Prince)Imperial)Galop 17March)of)St)Timothy 18Juliann)Johnson 19Reel)Eugene 20Tune)for)Karen 21Saturday)Night 22Fair)Jenny 23Korolenko 24The)Seven)Stars 25Hexham)Races 26The)OneYHorned)Sheep 27Oyster)Girl 28New)Rigged)Ship 29The)Connaughtman's)Rambles 30Tripping)Upstairs 31Bundle)and)Go,)or)I)Lost)My)Love 32The)Blackthorn)S\ck 33The)Snowy)Path 34The)Bu]erfly 35Foxhunter's)Jig 36Go)to)Berwick)Johnnie 37Rusty)Gulley 38Elsey's)Waltz 39Midnight)on)the)Water 40Waltz)for)Polle 41Ice)on)the)Water 42Valse)des)Jouets)(Waltz)of)the)Toys) 43

Michael)Turner's)Waltz 44Sweet)Hesleyside 46Sir)John)Fenwick's)the)Flower)amang)them)All 47Bewick's)Rest 48Roslyn)Castle 49Da)Slockit)Light 50Da)Slockit)Light)2nd)Part 51Fortune)my)foe 52Go)From)My)Window 53What)if)a)day 54Sick,)sick,)and)very)sick 55John)come)kiss)me)now 56Watkin's)Ale 57Monsieur's)Almain 58Wilson's)Wild 59All)In)A)Garden)Green 60Amarillis 61Childgrove 62Argeers,)or)The)Wedding)Night 63Daphne 64Dick's)Maggot 65Grimstock 66Hole)in)the)Wall 67Horses)Branle 68Indian)Queen 69Jack's)Maggot 70Lull)Me)Beyond)Thee 71Morisco 72Mr)Beveridge's)Maggot 73The)Parson's)farewell 74Portsmouth 75Stanes)Morris 76Sellenger's)Round 77Planxty)Fanny)Power 78Planxty)Irwin 79Hewle] 80Si)Bheag)Si)Mhor 81Carolan's)Draught 82Le)Canal)En)Octobre) 83Schocsche)‡)Virmoux 84L'inconnu)de)Limoise 85Mazurka)Limousin 86Bourrée)a)Huit 87Fil)et)Bobine)(thread)and)spool) 88

Index&to&HISS&tune&book&v.12&(2015)

T:La)Coccinelle)(The)Ladybird)Le)Ruban)Bleu) 89Bourr\'ee)d'Aurore)Sand 90Gavo]e 91Gavo]e)from)Trouz)Bras 92Gavo]e)ton)double 93La)Bourbonnaise 94Theme)Vannitaise)aka)Twiglet 95An)dro 96La)quinte)estampie)real 97La)sep\eme)estampie)real 98Saltarello 99Duc\a 100