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
1
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
4
4
G
C
G
C
G
C
G
C
G
C
D7
G
G
Am
D7
D7
G
hornpipe
2. Harvest Home
D
D
A
Em
A7
4
4
D
D
A
D
3
A7
A
3
D
A
3
D
Em
A7
3
3
3
D
D
A7
hornpipe
2
3
D
3
3. Proudlock’s Hornpipe
G
D7
G
C
G
D7
G
D7
3
4
4
3
G
D7
G
C
G
D7
G
3
3
G
G
Em
D7
3
Am
G
D7
G
C
Em
G
A7
D7
D7
G
3
3
hornpipe
4. Miss Thompson’s
Errington Thompson
D
A
D
G
D
G
4
4
3
D
A
A
G
D
D
A7
G
D
D
A7
hornpipe
3
D
E7
A
D
5. Morpeth Rant
D
G
A
D
G
A
4
4
D
G
D
D
A
G
G
D
Em
A
A
Em
D
D
A
A
D
rant/reel
------- Reels ------6. The Hesleyside Reel
G
C
G
Am
D
4
4
G
C
C
G
G
C
G
C
reel
4
D
G
G
G
D
D
G
7. Jamie Allen
G
Em
Am
D7
4
4
G
G
G
D7
Em
G
G
Am
G
D
D7
G
reel
8. Salmon Tails
G
G
D
C
D
4
4
G
G
G
C
G
C
G
C
G
D7
D
G
G
G
D
G
march/reel/polka
5
D7
G
C
D
D7
G
C
D
G
9. Nancy
D
D
D
3
A7
4
4
3
D
D
D
G
G
D
A7
D
D
A7
D
G
G
E7
A7
A7
D
reel
10. Rochdale Coconut Dance
Trad. Morris Dance
Em
Em
Am
G
D
Em
4
4
G
D
G
G
D
G
Reel
6
D
Am
G
G
11. My Love is But a Lassie O
D
D
D
A7
4
4
D
G
A7
D
D
D
D
D
D
A
Em
D
D
reel
12. St Anne’s Reel
D
G
D
G
D
4
4
D
G
D
G
D
D
Bm
Em
A7
A7
Em
A7
7
D
D
D
A
------- 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 Rhine
trad
D
A
D
D
G
D
E7
A7
4
4
D
A
D
D
D
A
D
A
G
G
D
G
G
D
G
A
D
D
D
E7
A
A7
D
D
reel
14. The Boy’s Lament for his Dragon
72nd’s Farewell to Aberdeen
William MacKay?
D
A
D
Em
A
4
4
D
A
D
D
C
C
G
D
G
Em
D
A
D
D
D
D
Em
A
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
8
15. Scollay’s Reel
trad
Em
Em
Em
D
4
4
Em
Em
Em
Em
Em
Em
Am
G
C
Em
Em
D
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 Cakewalk
Sadie Koninsky
Em
Em
Em
Em
Am
Em
4
4
Am
D
D7
Em
1
B7
2 Em
Em
B7
G
1 G
D7
reel
9
Em
D
G
D
2 G
A7
B7
17. Prince Imperial Galop
Anon
C
C
C
F
G
F
Dm
F
G7
Dm
C
G7
C
D
Am
D
Am
D7
4
4
C
C
D7
G
C
G
G
G
G
G
F
Em
Em
G
C
G
D
D7
G
G7
march (played at reel speed for contra)
18. March of St Timothy
Judi Morningstar
G
D7
Em
Bm
C
4
4
1 Am
G
2 Am
D7
D7
D7
G
G
--
C
--
C dim
D7
D7
G
G
Am
march (played at reel speed for contra)
10
G
D7
G
D7
19. Juliann Johnson
D
D
D
A
4
4
D
D
G
D
G
G
G
A
G
G
D
D
G
A
reel
20. Reel Eugene
Bm
Em
F 7
Bm
4
4
Bm
Em
D
D
1 Bm
F 7
D
D
Em
Em
A7
reel
11
A7
1 D
2 Bm
A7
D
2 D
A7
21. Tune for Karen
Cammy Kaynor
A7
Dm
Gm
A7
Dm
A7
4
4
Dm
Gm
F
F
A7
C7
F
G7
Dm
C7
C
F
C7
G7
C
reel
22. Saturday Night
C
C
C
C
C
C
G
D
G7
C
G
C
G7
reel
12
C
D
G
C
23. Fair Jenny
Tony Barnes
D
A7
G
A7
G
A7
6
8
D
A7
G
G
A7
A7
D
D
G
A
D
jig
24. Korolenko
Jean-Paul Loyer
G
G
G
C
6
8
C
D
G
D
C
D
C
C
C
G
D
C
G
C
G
jig
13
G
D
D
D
G
G
G
------- Jigs ------25. The Seven Stars
D
G
D
G
A
6
8
D
G
A
G
D
A
D
G
G
D
A
A
D
D
G
E
D
A
A
D
jig
26. Hexham Races
G
D7
G
Am
D7
6
8
G
D
G
G
C
G/d
D7
D
D7
G
C
G/d
jig
14
G
Am
D7
G
D7
27. The One-Horned Sheep
G
C
G
G
G
C
Am
D
6
8
G
C
G
G
G
D
G
G
G
D
1 D
C
2 D
jig
28. Oyster Girl
G
D7
G
Am
6
8
G
C
G
G
G
C
D7
D7
C
G
jig
15
G
G
D7
G
D7
29. New Rigged Ship
D
D
A
A
6
8
D
D
D
A
G
Bm
D
Bm
Em
D
A7
D
A7
A7
D
jig
30. The Connaughtman’s Rambles
D
G
D
Bm
6
8
D
G
D
D
D
Em
D
Bm
D
Em
jig
16
Bm
D
A
Bm
31. Tripping Upstairs
D
G
D
A7
D
G
6
8
D
G
D
Bm
Bm
A7
Bm
D
A
Bm
A7
D
jig
32. Bundle and Go, or I Lost My Love
Am
C
G
C
6
8
C
G
Am
C
C
Em
G
Am
G
C
jig
17
Am
Em
G
Am
33. The Blackthorn Stick
G
C
G
C
G
D7
G
D7
6
8
G
C
G
G
G
C
G
G
C
G
D7
G
C
G
C
G
Am
D7
D7
G
jig
34. The Snowy Path
Mark Kelly
D
G
1 A
D
2 A
9
8
F m
1 D
G
2 D
D
A
slip jig
35. The Butterfly
Em
D
Em
D
Em
D
Bm
9
8
C
Em
D
Em
D
C
D
D
Em
D
slip jig
18
D
36. Foxhunter’s Jig
D
G
D
A
D
G
D
A
9
8
Bm
D
Em
G
D
D
A
Em
D
A
G
D
A
Em
D
D
A
slip jig
------- 3/2 Hornpipes ------37. Go to Berwick Johnnie
Trad
G
A
G
G
A
D
3
2
G
G
G
G
G
G
A
A
triple hornpipe. Berwick was the nearest place where an errant Scotsman would be shielded by English law.
19
A
38. Rusty Gulley
aka Punchanello’s Hornpipe / Three Rusty Swords
G
D
G
G
G
3
2
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
20
------- Waltzes ------39. Elsey’s Waltz
D
D
G
A
D
Bm
E7
A
3
4
D
D
G
D
Bm
G
F m
Bm
A
D
D
G
A
F m
A
G
Bm
D
E7
D
A
A
G
D
waltz
40. Midnight on the Water
Luke Thomasson
D
D
D
A
D
G
3
4
D
A
G
Em
D
G
Bm
G
D
D
D
D
3
G
G
D
Em
G
A
21
D
D
41. Waltz for Polle
Wim Poesen
G
G
G
G
C
C
G
D
3
4
G
G
2 G
C
G
C
D
C
C
D
C
D
D
D7
D
G
C
G
1 G
D7
1 G
G
Em
Em
2 G
G
G
Waltz
Source: Matthiesen’s Waltz Book III
42. Ice on the Water
George Reynolds
G
F
Am
G
G
3
4
F
Am
Am
D
G
F
G
G
G
E Maj7
G
F
D
F
D
G
F
D
C
F
D
D
F
E Maj7
Am
D
waltz
22
G
43. Valse des Jouets
Waltz of the Toys
Michel Faubert
D
G
D
3
4
G
D
Em
A
D
G
A7
Bm
Em
D
A
D
G
G
Bm
Em
Bm
G
G
G
A7
A
A7
F
A7
waltz
23
D
D
A
D
D
D
44. Michael Turner’s Waltz
G
G
C
G
3
4
G
D
G
D7
C
D
Am
G
G
G
G
D7
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
3
4
24
------- Slow airs ------46. Sweet Hesleyside
Anon. Chording: S. Hardy
G
Am/C
Am
D
D7
G
6
8
G
G+
C
D
Am/C
G
D
D7
Am
G
G
D
A
A7
G
G
D7
D
D7
Am/C
G
G
Am
G+
D
Am/C
D7
Am
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
G
G
3
4
Am
Am
G
G
D
Am
G
D
Am
G
G
G
Am
Am
Am
G
G
D
G
G
G
G
Am
G
D
slow air. A Jacobite tune (two pipers are said to have been hanged for playing it). Oldest known version 1695
25
48. Bewick’s Rest
Derek Hobbs
D
Em/d
D
C/D
D
Em/D
C/D
4
4
D
Em/D
D
D
C/D
D
C/D
C/D
D
D
G/D
D
C/D
D
G/D
D
D
C/D
D
C/D
D
slow air
Source: Bewick’s Footsteps, published by Rossleigh Music
49. Roslyn Castle
Em
C
B
Em
B
Em
4
4
C
Em
Em
C
B
Em
B
Em
Em
B
Em
B
Em
26
Em
Em
B
Em
50. Da Slockit Light
Tom Anderson
D
A7
D
G
D
G
A7
4
4
D
A7
D
D
A
A
D
D
G
D
D
D
A
D
G
Bm
A
A7
D
G
D
E7
G
Bm
F
A7
D
G
A7
A7
D
slow air
51. Da Slockit Light 2nd Part
Ellen Thomas
4
4
27
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
B
B
F
B
Dm
B
Gm
F
Gm
Dmaj
C
F
Dsus
G
53. Go From My Window
G
D
G
D
G
D
4
4
Go
from my win dow love,
Dm
Am
wind
and the rain
go;
C
wi
ll
Go
G
from my
D
drive you back a
gain,
win
dow my
G
You
G
can
not be lodg
dear;
The
D
G
ed
here.
54. What if a day
Thomas Campiom
Am
E
C m
Am
Am
G
G
C m
E
Am
G
Am
G
E
Am
G
C
Am
Em
28
Am
G
C m
Em
G
Em
A
Esus4
Bsus4
F m
B
E
E
Am
E
Am
55. Sick, sick, and very sick
Bm
F m
Bm
F
Bm
4
4
Bm
F m
Bm
F m
D
F m
D
Bm
F
Em
Bm
Bm
Bm
Em
B
56. John come kiss me now
57. Watkin’s Ale
G
C
Am
D
G
3
2
G
G
Am
D
Em
C
G
C
29
Am
G
D
D
G
58. Monsieur’s Almain
C
G
C
Dm
C
4
4
C
G
C
G
C
Dm
C
C
C
Dm
G
F
A
C
Dm
G
C
59. Wilson’s Wild
D
D
G
A
3
4
D
D
D
Em
A
D
D
G
D
G
D
G
2 D
A
A
D
30
1 D
A
D
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
2
2
C
G
G
C
G
Am
Am
Am7
D
D7
G
D7
G
Em
D7
G
Am
D7
D
G
C
G
61. Amarillis
G
D
Em
D
G
4
4
Am
G
C
C
G
Am
G
Em
Am
D
Playford 1670
31
D
G
62. Childgrove
Dm
Gm
Am
4
4
Dm
Gm
F
F
C
A7
Dm
Dm
C
Am
Dm
A7
Playford 1701
63. Argeers
The 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.
32
Dm
64. Daphne
Em
B
Em
G
D
C
Em
B
G
Am
D
G
6
8
Em
D
Em
G
Em
D
Em
Em
G
Am
Bm
D
Em
Playford 1651
65. Dick’s Maggot
G
D
G
Am
G
G
D
F m
Bm
G
D
G
3
2
D
Bm
G
Em
C
A
D
Am
D
G
D
A
C
D
D
G
Playford 1702
66. Grimstock
G
Em
D
Em
D
G
C
Am
D
6
8
G
G
G
G
C
G
Playford 1651
33
D
D
G
G
67. Hole in the Wall
G
D
Em
Bm
Em
Em
3
2
Em
Am
C
D
B
Em
Em
D
G
Am
Bsus
Em
D
D
Em
Purcell (Hornpipe from Abdelazar), adopted by Playford 1696
68. Horses Branle
4
4
derived from a branle in Thoinot Arbeau’s ’Orchésographie’ - not a Playford tune but feels related
69. Indian Queen
D
A
D
A
4
4
D
A
A
G
Bm
F m
A
Em
Bm
A
Playford 1701
34
A7
Bm
Em
D
E7
A
A
D
70. Jack’s Maggot
D
G
D
D
G
A
D
D
D
D
G
A
A
D
G
D
A
G
A
D
Playford 1702
71. Lull Me Beyond Thee
Dm
F
C
F
Dm
Gm
A
Dm
A
Dm
6
8
F
B
F
F
C
C
Gm
A
F
C
Dm
Dm
Gm
F
Am
F
Playford 1651
35
C
Gm
F
A
C
Dm
72. Morisco
4
4
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
3
2
B
F
D7
Gm
Gm
D7
Gm
Cm
B
F
A7
Cm
D7
D7
Gm
Playford (1695)
74. The Parson’s farewell
Dm
C
B
C
Am
Dm
Apparently this comes from a bourrée
36
F
C
Dm
75. Portsmouth
G
C
G
C
D
4
4
G
C
G
G
G
G
D7
Em
C
G
Am
G
Am
D7
G
Playford 1701
76. Stanes Morris
Am
E
Dm
C
C
Am
G
F
Am
Am
Dm
C
C
Am
William Ballet Lute Book (1595). No known connection with Staines town.
37
Dm
Em
Am
G
Am
Em
Am
77. Sellenger’s Round
G
C
G
C
6
8
G
C
C
C
G
G
G
D
C
G
G
D
D
Playford 1670
38
G
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 Power
Turlough O’Carolan
G
C
Am
D7
D7
6
8
G
Am
G
G
D
Em
C
D7
G
C
D7
D7
G
D7
G
planxty
79. Planxty Irwin
Colonel John Irwin
Turlough O’Carolan
G
C
G
Em
C
G
Am
G
D
6
8
G
C
G
G
G
Em
D
C
G
D
G
Em
Am
planxty
39
D
G
D
Am
D
G
D7
G
80. Hewlett
O’Carolan
D
A
Bm
G
3
4
D
G
D
G
1 D
A
D
2 D
Bm
Em
D
A
D
A
D
Bm
G
G
D
G
A
D
81. Si Bheag Si Mhor
Turlough O’Carolan (Ireland)
D
D7
G
D
G
A7
D
D7
3
4
G
D
D
D
Bm
D7
D7
D
G
G
G
D
A7
G
D
Em7
40
D
D
D
Em7
A7
G
A7
D
82. Carolan’s Draught
Turlough O’Carolan
G
Bm
Em
G
Em
G
C
Am
4
4
G
Bm
D
Em
G
G
D
Em
Am
Em
D
A
Em
G
C
Em
Bm
Em
G
Am
G
D
G
Em
Em
G
C
Am
play as a march perhaps
This seems to be influenced by Vivaldi or Geminiani
41
D
G
G
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 Octobre
Frâ¢deric Paris
G
C
G
C
C
D
D
G
4
4
G
C
G
Bm
Bm
C
C
D
C
C
C
D
D
C
C
G
D
D
C
G
D
G
schottische
84. Schottische à Virmoux
D
G
D
G
2
2
D
A
D
D
G
G
D
D
D
G
G
D
D
schottische
42
A7
A
D
85. L’inconnu de Limoise
J F (’Maxou’) Heintzen
G
Em
Am
D
3
4
G
Em
C
C
Am
Bm
D
Em
Bm
1 D7
C
2 D7
G
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 Limousin
trad - learnt from Stewart Hardy
Am
Em
B7
Em
3
4
Am
D
Em
Em
1 Em
B7
A
D
Em
A
D
2 Em
C
Em
B7 1 Em
A
2 Em
mazurka
87. Bourrée a Huit
trad
3
8
bourrée (three-time). A very traditional one with a lot of lift every four bars
43
88. Fil et Bobine (thread and spool)
La Coccinelle (The Ladybird)
Jean Blanchard
G
G
Am
D
G
3
8
G
Am
D
D
G
Am
G
Am
1 C
C
2 D
D
G
bourrée (three time)
89. Le Ruban Bleu
G
D
D
G
G
D
G
2
4
D
G
D
G
D
1
bourrée (two-time)
90. Bourrée d’Aurore Sand
Em
Em
B
B
Am
Em
2
4
D
Em
Em
Em
Em
Em
Am
bourrée (two-time)
44
Am
D
Em
2 G
91. Gavotte
Michael Praetorius (1571-1621)
4
4
gavotte
Transcription: S. Piron
92. Gavotte from Trouz Bras
Am
(Gm)
G
Am
2
4
Am
F
Dm
G
Dm
G
C
Am
gavotte
93. Gavotte ton double
Trad.
4
4
45
94. La Bourbonnaise
Gavotte
François Couperin
1
2
1
2
1
2
1
2
Gavotte
Transcription: Transcribed by Frank Nordberg - http://www.musicaviva.com
95. Theme Vannitaise aka Twiglet
Em
D
4
4
Em
D
Bm
Bm
D
Bm
G
an dro
46
Em
Em
Em
D
Em
96. An dro
Michel Le Cam
4
4
47
Medieval dance tunes
Nobody knows much about these but they’re cracking tunes.
97. La quinte estampie real
French, 13th century
6
8
open ending
closed ending
48
98. La septieme estampie real
Anonyme
6
8
49
99. Saltarello
6
8
I
1
2
II
1
2
1
2
1
2
III
IV
Late C14 Italian.
50
100. Ductia
6
8
6
8
51
52