text:
The Fiddler's Companion
© 1996-2009 Andrew Kuntz
Notation Note: The tunes below are recorded in what is called "abc notation." They can easily be converted to standard musical notation via highlighting with your cursor starting at "X:1" through to the end of the abc's, then "cutting-and-pasting" the highlighted notation into one of the many abc conversion programs available, or at concertina.net's incredibly handy "ABC Convert-A-Matic" at
**Please note that the abc's in the Fiddler's Companion work fine in most abc conversion programs. For example, I use abc2win and abcNavigator 2 with no problems whatsoever with direct cut-and-pasting. However, due to an anomaly of the html, pasting the abc's into the concertina.net converter results in double-spacing. For concertina.net's conversion program to work you must remove the spaces between all the lines of abc notation after pasting, so that they are single-spaced, with no intervening blank lines. This being done, the F/C abc's will convert to standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth it. [AK]
HARBOUR LIGHTS [1]. Scottish, Hornpipe. G Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 4; No. 289, pg. 31.
T:Harbour Lights [1]
S:Kerr – Merry Melodies, vol. 4, No. 289 (c. 1880's)
Z:AK/Fiddler's Companion
D2 | G>FG>B d>B G2 | c>Bc>e g>e c2 | G>F>G>B d>B G2 | A>GF>E D2 D2 |
G>FG>B d>B G2 | c>Bc>e g>e c2 | d>gf>e (3ded (3cBA | G2B2G2 :|
|: D2 | A>^GA>B c>A F2 | G>FG>A B>G D2 | c>Bc>A B>AB>G | (3ABA (3GFE D2D2 |
A>^GA>B c>A F2 | G>FG>A B>G D2 | d>gf>e (3ded (3cBA | G2B2G2 :|
HARBOR LIGHTS (JIG) [2]. AKA and see "Whiskey Jig."
T:Harbour of Ballyshone
T:Cuan Bhaile Seoin
B:Joyce – Old Irish Folk Music and Songs, No. 452 (1909)
Z:AK/Fiddler's Companion
D/E/|FAF EGE/C/|EDD DEG|A/B/c/B/A/G/ EG/E/D/E/|C2 C C2:||
E/F/|GAB c2 B/c/|d2 c/B/ ABG|A/B/c/B/A/G/ EG/E/D/E/|C>DE/C/ DCC|
c>de/c/ A>GE/C/|EDD DEG|A/B/c/B/A/G/ EG/E/D/E/|C2 C C2||
HARBOURSTOWN HOUSE (Teach Bhaile an Chuain). Irish, Reel. G Major. Standard
tuning. AB. Source for notated version: Jack Wade (
HARD HEARTED MAIDEN. Irish, Air (3/4 time). F Major. Standard tuning. AB. O'Neill (O'Neill's Irish Music), 1915; No. 82, pg. 48.
T:Hard Hearted Maiden
S:O'Neill – O'Neill's Irish Music (1915)
Z:AK/Fiddler's Companion
CD | F2G2A2 | c2f2e2 | d2c2 A>B | A4 GF | (G2A2)F2 | D4 CD | F2F2G2 | A2d2 c>d |
c2A2B>A | G2F2F2 | F4 || cd | f2e2d2 | c2A2^c2 | d2D2FA | ^c2A2de | f2e2 d^c |
d4 AG | F2D2 FG | A2f2d2 | c2A2 FG | A2d2 cA | G2F2F2 | F4 ||
HARD HEARTED WIDOW, THE. Irish, Slow Air (6/8 time). E Minor. Standard. AABB. "This air...from an old MS. written before 1770, belonging to Mr. T.S. Head" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 768, pg. 377.
HARD IS MY FATE (Nach truagh mo chas). Scottish, Slow Air (4/4 time,
"Slow and plaintive"). B Flat Major. Standard. AAB (Fraser): AABB
(Alburger, Hunter). "This delightful melody has been attached to a
supposed soliloquy of Prince Charles on the night after his defeat at Culloden.
The editor's mother, with her elder sister, then little girls, were, from the crowd
which the presence of the Prince and Lord Lovat brought to their father's
house, stowed into a small apartment or closet betwixt the Prince's bedchamber
and another, having a door of communication with both when requisite. The
whispers of the little girls, in terror of making noise, produced suspicion in
the Prince's breast of having been betrayed. Their door was secured; but how
they must have been astonished to hear him knock, and exclaim with agitation
'Open, open!'‑‑when, upon their reluctantly opening the door, he
presented a visage of consternation which they could never forget, easier to be
imagined than described. It however gave them the best opportunity they had of
viewing his person; and his only exclamation which they understood was 'Hard is
my fate, when the innocent prattle of children could annoy me so much.'"
(Fraser). Alburger suggests that this tune may be an unacknowledged composition
of Fraser's, "writing music associated with the past in the same way that
Burns and Hogg wrote poems and songs with historic connections and, by not
acknowledging the them as theirs, left the reader to think he would"
(Alburger). Alburger (Scottish Fiddlers
and Their Music), 1983; ex. 98, pg. 163. Fraser (The Airs and Melodies Peculiar to the
T:Hard is my fate
T:Nach truagh mo chàs
R:Slow Air
S:Fraser Collection (1874)
Z:AK/Fiddler's Companion
B>c|d2F2F2d2|dccB B2 B>c|d2G2G2c2|BAGF F2 B>c|d2F2F2d2|
dccB B2 B>c|d3G c3A|B6:|
|:D>E|F3D B3c|dBFD E3D|C3D E3F|GFFE D2 zd/e/|f3d b3a|
gfed e3f|g3f f3A|B6:|
HARD ROAD, THE (An Bóthar Dian). Irish, Jig. G Major. Standard
tuning. AABB. Source for notated version: accordion player Paddy O'Brien
(originally from
HARD ROAD TO PASSAGE, THE. Irish, Jig. D Major/Mixolydian. Standard
tuning. AABB. Source for notated version: set dance music recorded live at Na
Píobairí Uilleann, in the 1980's [
[1]. Old‑Time, Breakdown. D Major.
ADae tuning. AABB. Sources for notated versions: Liz Slade (
T:Hard Road to Travel
S:Liz Slade
N:ADae tuning
Z:Transcribed by Andrew Kuntz
A/A/F/F/ A/B/A/A/|B/A/B/(B/ A)(3A/2B/2c/2|d/)e/f/f/ e/e/(A/d/)|
(e/ f) ([d/e/] [d/f/])e/[df]|A/A/F/F/ A/B/A/A/|B/A/B/B/ A(3A/2B/2c/2|
d2f2 e/(A/d)|(e/ e) (e/ e)f||(f/ g) f/ (g/f/)g/e/|f/e/f/e/ (f/e/)d|
A/B/d/(e/ f/)e/d/e/|(e/ f) (e/ f)f|f/ g f/ g/f/g/e/|f/e/f/e/ f/e/d|
A/B/d/e/ fe|d/ [df] d/ [d2f2]||
[2]. Irish, Reel. E Dorian. Standard
tuning. AB.
See also listing at:
Alan Ng's Irishtune.info
T:Hard Road to Travel, the [2]
D:Mike and Mary Rafferty, the Old Fireside Music.
E2BE edBz|dBAF DEFD|E~EBE edBz|dBAF BFAF|
EzBE edBz|dBAF DEFD|E~EBE edBz|dBAF BFaf||
ezef gfef|dBAF Defd|e~e2f gfez|dBAF BFaf|
ezef gfef|dBAB defg|abaz fafe|dBAF BFAF||E8||
HARD ROAD TO TRAVEL [3], A. Irish, March (4/4 time). D Major. Standard tuning. ABC. O'Neill (O'Neill's Irish Music), 1915; No. 121, pg. 68.
T:Hard Road to Travel, A [3]
S:O'Neill – O'Neill's Irish Music (1915)
Z:AK/Fiddler's Companion
GFGB A2 (3ABc | dcdB ABAG | F2D2D2 || (3ABc | d2 dA BAFA | DAFA BAFA |
d2 dA BAGF | G2E2E2 (3ABc | d2 dA BAFA | DAFA BAFA | GABG EFGE | F2D2D2 ||
(3ABc | dAFA BAFA | DAFA BAFA | dAFA BAGF | G2E2E2G2 | FDFA GEGB |
AFAc d2 cB | AdcB AGFE | F2D2D2 ||
HARD SWEET CIDER. Old-Time, Breakdown. The tune resembles "Paddy Won't You Drink Some Good Old Cider." Marimac 9064D, Lauchlin Stamper & A.C. Overton - "Sally with the Run Down Shoes" (1996).
HARD UP BIG CANOY. American. A tune in the repertoire of blind northeast
HARDIMAN THE FIDDLER (Fear-Tailce An Fidileir). AKA ‑ "Hardy Man the
Fiddler." Irish, Slip Jig. D Major
(O'Neill/1850 & 1001): D Mixolydian (Cranitch, Mallinson, Mitchell,
O'Neill/Krassen, Tubridy): D Mixolydian ('A' part) & D Major ('B' part)
{Feldman & O'Doherty}: D Minor (Tolman). Standard tuning. One part
(Mitchell): AAB (Cranitch, O'Neill, Taylor, Tolman, Tubridy): ABB (Feldman
& O'Doherty): AABB (Mallinson). David Taylor (1992) suggests that these
several tunes with the name "Hardiman" (of which "Hardiman the
Fiddler" is probably the most famous) honor the historian James Hardiman,
author of Irish Minstrelsy (1831). Sources
for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west
Clare) [Mitchell]; set dance music recorded at Na Píobairí Uilleann, late
1980's [Taylor]; fiddlers Francie and Mickey Byrne (County Donegal) [Feldman
& O'Doherty]. Breathnach (Folk Music
and Dances of
T:Hardiman the Fiddler
R:Slip Jig
A2G FDE F2G|A3 AGA cAG|A2G FDE F2G|Add ded cAG:|
||Add d2e f3|Add ded cAG|Add d2e f2g|agf ged cAG|
Add d2e f3|Add ded cAG|dcA B/c/de f2g|agf ged cAG||
HARDIMAN'S FANCY. AKA - "Hardiman's." AKA and see "Derrane's,"
"Joe Derrane's Jig [2]." Irish,
Double Jig. D Major/Mixolydian. Standard tuning. AABB (most versions): AA'BB
(Harker/Rafferty). Jerry O'Brien's button accordion tutor (where the tune is
given in the body of the music as "Hardiman's Jig" but in the frontspiece as
"Hardiman's Fancy Jig") credits the tune to a Martin Hardiman of
See also listings at:
Jane Keefer's Folk Music Index: An Index to Recorded Sources
Alan Ng's Irishtune.info
T:Hardiman's Fancy
Z:Philippe Varlet
~B3 BAF|AFE EFE|DFA def|afe dBA|
~B3 BAF|AFE EFE|DFA def|1 edB Bdc :|2 edB Bcd ||
efe edB|AFF dFF|def afa|bff afa|
bff afa|baf edB|def afe|1 dBB Bcd :|2 dBB Bdc ||
T: Hardiman's
S: De Danaan / J.Derrane
R: jig
Z:Transcribed by Bill Black
A | BdB BAF | AFE EFE | DFA def | afe dBA |
BdB BAF | AFE EFE | DFA def | edB B2 :|
B | efe edB | AFF dFF | def afa | b2 b afe |
bff afa | baf edB | def afe | dBB B2 :|
HARDING'S JIG. AKA and see "Austin Barret's," "The Blasket Sound Jig," "Dusty Windowsill," "Harland's," "Johnny Harling's," "The Howling Jig," "Tim Harding's."
HARDY MAN THE FIDDLER. AKA and see "Hardiman the Fiddler."
HARE, THE. French-Canadian, Reel. G Major. Standard.
AABB. Source for notated version: Skip Parente (
HARE AMANG THE HEATHER, THE. AKA - "Hare Among the Heather," "Hare in the Heather," "Morning Dew [1]." Scottish, Reel. E
Minor (Gatherer): E Dorian (Kerr). Standard. AABBCC. Familiar to Irish
musicians as the popular session reel "Morning Dew." Gatherer (
T:Hare Among the Heather, The
S:Kerr – Merry Melodies, vol. 4, No. 132 (c. 1880's)
Z:AK/Fiddler's Companion
(3BBB (eB) fBeB | B^cdB ADFA | (3BBB (eB) fBeB | d^cdB ADFA :|
|: B2 (EB) GBEB | B2 (EB) ADFA | B2 (EB) GBEB | B^cdB ADFA :|
|: E2 B2 BAFD | E2B2 ADFD | E2B2 BAFA | B^cdB ADFA :|
[1] ("An Gearrgiad
Annsa Arbar" or "Gearrfhiadh 'San Arbhar"). AKA and see "The Absent-Minded Man, "Fox Chase [2]." English, Scottish,
Irish, American; Jig.
Cork guitarist Paul de Grae came
across "a bit of doggerel that
adorns an old postcard showing the North Kerry piper Tom McCarthy, who for 65
years played regularly on the Castle Green, Ballybunnion:
I like to hear Tannhauser on a fine orchestral band
Or listen to Paderewski when he's playing on a grand,
But there's something more enchanting to the heart that is Irish-born,
To hear old Tim [sic] McCarthy playing "The Hare among the Corn".
McCarthy was remarkable, like the harper Denis Hempson, for having lived in three centuries--in McCarthy's case,
1799-1904. He was a distant relative of the English singer Martin Carthy, who invented the guitar tuning that I use for
playing tunes like "The Hare among the Corn" at our regular North Kerry session (which sometimes just *seems* like it's
been going for 65 years...)."
Sources for notated versions: Trotter Manuscript (1780, pg. 44) [Johnson]; an unknown piper in the year 1800 [Bunting]. Holden (Most Esteemed Irish Melodies), volume II, No. 35. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 42, pgs. 100‑101. Kerr (Merry Melodies), vol. 3; No. 230, pg. 26. Kinloch (100 Airs), No. 48. McFadden (Scotch, English, Irish and Foreign Airs), volume V, pg. 25. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 766, pg. 143. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; Nos. 49 & 254 (appears as "The Absent-Minded Man"). O'Sullivan/Bunting, 1983; No. 146, pgs. 203-204. Riddell (Scotch, Galwegian and Border Tunes), 1794. Seattle (William Vickers), 1987, Part 2; No. 390. Wright (Compleat Collection of Celebrated Country Dances), volume I, pg. 4.
T:Hare in the Corn [1]
S:O'Neill – Music of
Z:AK/Fiddler's Companion
(3A/B/c | d2G d2=f | edc B2G | c2e dcB | cAA A2 (B/c/) | d2G d2=f |
edc BAG | Aag {g}fef | gGG G2 :: (3A/B/c/ | .d(B/c/d/B/) GBc | .d(B/c/d/B/) GBd |
.e(c/d/e/c/) Ace | .e(c/d/e/c/) ABc | dBd ece | fef {a}gfe | dcB Agf | gGG G2 :|
T:Hare in the Corn [1]
S:William Vickers' music manuscript collection ( Northumberland, 1770)
G|(d3 d>)e=f|edc BAG|c2a B2g|aAA ABc|(d3 d)e=f|
edc BAG|cBc agf|gGG G2::dB/c/d/B/ GB/c/d/B/| dB/c/d/B/ GB/c/d/B/|
cA/B/c/A/ FA/B/c/A/| cA/B/c/A/ FA/B/c/A/|dcB edc|fed gfe|dcB Agf|gGG G2:|
HARE IN THE CORN [2] (An Gearrfiad 'San Arbar). Irish (originally), American; Jig.
D Mixolydian. Standard tuning. AABBCC. Not apparently related to version #1.
Captain Francis O'Neill wrote (in Irish Folk
Music, 1910) that he took this tune from "an American collection,"
presumably the version from Ryan's
Mammoth Collection, which it is identical to (Carolan, 1997). Breathnach
(1985) states that O'Neill's second part does not go with the "Hare in the Corn"
tune. See also the related "Art
O'Keeffe's [1]." Cole (1000
Fiddle Tunes), 1940; pg. 56. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 767, pg. 143. O'Neill (Dance Music of
T:Hare in the Corn [2]
S:O'Neill – Dance Music of
Z:AK/Fiddler's Companion
B|BAB c2A|BAB c2A|BdB AFD|EFE E2c|BAB c2A|BAB c2A|BdB AFA|DED D2:|
|:G|F2A AFA|BGB AFA|BdB AFD|EFE E2G|F2A AFA|BGB AFA|BdB AFA|DED D2:|
|:g|fdd edd|fdd d2A|BdB AFD|EFE E2g|fdd edd|fdB AFA|DFA deg|fdd d2:|
IN THE CORN [3], THE (An Giorria San
Arbhar). AKA
and see "The Absent‑minded
Man," "Fhiach an Mhada Rua," "The Hare in the Corner," "The House in the Corner,"
"The Hunt of the Hound and the Hare," "The Little House
(A)round the Corner [1]," "O as I was kiss'd Yestreen [2],"
"The Royal Irish Jig". Irish, Double Jig. D Major. Standard tuning.
AA'BB' : AABBCC (Kennedy, O'Farrell). O'Neill's names for the tune are "The
Absent-Minded Man," "The House in the Corner," "The Little House around the
Corner," "The Royal Irish Jig" and "O, as I was kissed Yestreen." Levey also
gives it as "The House in the Corner." Breathnach identifies the tune as the
jig in the set piece "The Hunt
of the Hound and Hare" in Feldman & O'Doherty's Northern Fiddler. He also remarks that Seamus Ennis employed a
version of "Hare in the Corn" as an overture to programmatic piece "The
Foxhunt." O'Neill (1922) remarks: "A rather florid setting of 'The Hare
in the Corn', procured 'from a piper in 1800" is printed in Bunting's Ancient Music of Ireland, published in
1840, with notation 'Author and date unknown'. The name is not indexed in any
of the Petrie or Joyce Collections. The setting X:1 below was taken from Aird's Selections
of Scotch, English, Irish, and Foreign Airs, vol. 5, 1797. Identical to
Aird's version is the one contained in the John Rook (Wigton area,
Cumbria) manuscript, 1840. American
versions of the tune can be found in print and in manuscript collections. It
appears in the music manuscript collection of flute player Henry Beck (1786),
John Gaylord Jr. (Conn., 1816), Luther Kingsley (Mansfield, Conn., 1755), and
Whittier Perkins (Mass., 1790). The jig is also known as 'The Hare in the
Corner.'" Miller prints a variant with a different 'B' part. Source for notated version: fiddler Paddy
Glackin (
T:Hare in the Corn, The [3]
S:Aird's Selections, vol. 5 (1797)
Z:Paul Kinder
c|BGB def|gdc B2 G|cec BdB|cAA A2 c|
BGB def|gdc B2 G|Aag fef|gGG G2:|
|:c|dBB GBB|dBB GBB|cAA FAA|cAA GBc|
dBB ecc|fdd gee|dBB cAf|gGG G2:||
T:Hare in the Corn, The [3a]
S:Randy Miller
FEF ABc|dAG FED|GBG FGA|BEE E2A|
FEF ABc|dAG FED|afd gec|dAF D3:|
||afd gec|dAG FED|GBG FGA|BEE E2^g|
afd gec|dAG FED|afd gec|dAF D3|
afd gec|dAG FED|GBG FGA|BEE E2^g|
aba gec|dAG FED|faf gec|dAF D3||
HARE IN THE CORN [4], THE (An Giorria San Arbhar). AKA and see "The Cat in the Corner [2]," "Quarry Cross Slide [2]," "Sleamhnáin
chrosaire an chairéil, no. 2." Irish, Slide (12/8 time).
HARE IN THE CORN [5], THE. AKA and see "Art O'Keeffe's [1]." Irish, Jig. D Major. Standard tuning. AA'BB'. Source for notated version: accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O'Leary), 1994; No. 212, pg. 122. Topic 12T311, John & Julia Clifford - "Humours of Lisheen" (appears as "Art O'Keeffe's").
T:Hare in the Corn [5]
S:Johnny O'Leary
e|fdf gfe|faf gfe|f/g/af ecA|BcB Bce|fdf gfe|faf gfe|
f/g/af ec/d/e|1 ABA A2e:|2 ABA A2B||:cBc ece|faf ec/d/e|
a2f ecA|Bcc BAB|c2c ece|faf ece|f/g/af ec/d/e|1 ABA A2B:|2 ABA A2e||
HARE IN THE CORN [6], THE. AKA and see "The Old Hag in the Corner [1]," "Rathawaun." Irish, Jig. D Major. Standard tuning. AABB: AA'BB' (Connolly & Martin). Connolly & Martin (Forget Me Not), 2002; pgs. 40-41. Shanachie 79026, The Chieftains – " Bonaparte's Retreat" (appears as second tune of Around the House and Mind the Dresser set).
T:Hare in the Corn, The [6]
F2A AFA | B/c/dB AFE | ~F3 EDE | F2D DED | F2A AFA | B/c/dB AFA |
Bcd ecA | ded d3 :: ~f3 fed | g2e ede | ~f3 fed | a^ga ba=g | ~f3 fed |
~g2e edB | AB/c/d ecA | ded d3 :|
HARE IN THE CORN [7], THE. AKA and see "Coleman's Fancy," "The Curragh Races [1]," "The Maid in the Cherry Tree [3]." Irish, Reel. A Mixolydian/Dorian. Standard tuning. AA'BB'. Doherty's tonality slips between the mixolydian and dorian mode, although the 'B' part settles in the dorian (almost 'C' major). Source for notated version: John Doherty (1895-1980, County Donegal) [Feldman & O'Doherty]. Feldman & O'Doherty (The Northern Fiddler), 1979; pg. 69.
IN THE CORN [8], THE. Irish,
Jig. G Major. Standard tuning. AABB. Source for notated version: B/C
accordion player Billy McComiskey (
Taylor (Traditional Irish Music: Karen Tweed's Irish Choice), 1994; pg. 9.
T:Hare in the Corn, The [8]
d2B GFG | ded cBA | BAG EDB, | EDB, A,B,A, | G,B,D G,B,D |
EFG Adc | B2G dBG | B/A/GF G2 B :|
HARE IN THE CORN [9]??? A melody and dance under this title, different than version #1, appears in Wright's Collection, c. 1742.
HARE IN THE CORN [10]???, THE. Shanachie 79011, Planxty ‑ "Cold Blow and the Rainy Night." Shanachie 79012, Planxty ‑ "The Planxty Collection" (1974).
HARE IN THE CORNER. AKA and see "Quinn's Reel [2]," "The Maids of Kilmallock," "Hare in the Corn [3]."
HARE IN THE HEATHER, THE (Giorria sa bhFraoch). AKA - "The Hare Among the Heather."
AKA and see "The Morning Dew [1]."
Irish, Reel. E Dorian. Standard tuning. ABC. Source for notated version: piper
Matthew Tiernan/Maitiu Mac Righearnain (
HARE ON THE MOUNTAIN, THE. AKA and see "Fire on the Mountain(s) [2]," "Fire in the Valley," "The Blackthorn Stick [1]," "The Maid(en) on the Green," "The Eagle's Nest," "The Rose on the Mountain [1]," "The Catholic Boys [3]," "The Humors of Bantry," "Billy Patterson('s Favorite)," "Boys of Bockhill/Rockhill."
HAREM SCAREMS, THE. Canadian, Reel.
HARE'S EAR. American, Jig. Composed by
HARE'S FOOT, THE. AKA and see "The Hare's Paw."
HARE'S LAMENT, THE. Irish, Slow Air or Lament (3/4 time). A Minor. Standard tuning. AB. Stanford/Petrie (Complete Collection), 1905; No. 1028, pg. 262.
HARE'S MAGGOT. AKA and see "Up with Aily." English, Country Dance Tune (3/2 time). A Minor. Standard tuning. AAB. One meaning of maggot is for a dram, a unit of liquid measure, but the musical meaning may stem from the word's derivation from the Italian word maggioletta, or a plaything. The melody was published in 1701. Fleming‑Williams & Shaw (English Dance Airs; Popular Selection, Book 1), 1965; pg. 13. Raven (English Country Dance Tunes), 1984; pg. 28. Island Records AN-700, Kirkpatrick & Hutchings - "The Compleat Dancing Master" (1974).
T:Hare's Maggot
R:Country Dance Tune
e4A4a4 | ga b2e2 ^g2 a4 | e2 gf e2g2e2c2 | d2g4 d2B2G2 | c2e2 f4 e2f2 |
(d4d4) c4 :||: e2c4 e2g2e2 | d2B4 d2g2d2 | c2e2A2 c2E2A2 | ^G6 A2B4 |
c2e4 B2c2A2 | ^f2b4 f2^g2e2 | a2e2 fe d2 ed c2 | c6 B2 A4 :|
HARE'S PAW [1], THE ("Cois an Ghiorria" or "Cois a' Ghaorthaidh"). AKA and see "The Bundle of Straw," "The Corry Boys," "Follow Me to Carlow," "The Hare's Foot," "Jim Kennedy's Favorite," "Low Park," "The Lowlands of Scotland," "The Silvermines [1]," "The Tralee Lasses." Irish, Reel. E Minor. Standard tuning. AB (Breathnach, Harker/Rafferty), Moylan, Mulvihill): AAB (Kerr, Tolman): AABB' (Carlin). O'Neill prints versions as "The Hare's Foot," "Jim Kennedy's Favourite" (the shortened "Kennedy's Favourite" also appears to be a variant) and "The Lowlands of Scotland." Joyce prints the tune as "The Silvermines." A variant called "Billy in the Lowlands (2)," was printed by Peter Kennedy. Sources for notated versions: accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; fiddler Tommy Potts (Ireland) [Breathnach]; Sean Ryan (County Offaly) via Jim Bly [Mulvihill]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ I), 1963; No. 185, pg. 72. Carlin (Master Collection), 1984; No. 201, pg. 119. Giblin (Collection of Traditional Irish Dance Music), 1928; 29. Harker (300 Tunes from Mike Rafferty), 2005; No. 79, pg. 25. Joyce (appears as "The Silvermines"). Kerr (Merry Melodies), vol. 1; No. 14, pg. 35. Kerr (Merry Melodies), vol. 2; pg. 32 (appears as "Irish Reel"). Kerr (Merry Melodies), vol. 4; (appears as "Bundle of Straw"). Levey Collection (appears as "Gan ainm"). Moylan (Johnny O'Leary), 1994; No. 202, pg. 117 (see also No. 149). Mulvihill (1st Collection), 1986; No. 17, pg. 5. Tolman (Nelson Music Collection), 1969; pg. 21.
See also listings at:
Jane Keefer's Folk Music Index: An Index to Recorded Sources
Alan Ng's Irishtune.info
T:Hare's Foot, The
B:Kerr's Merry Melodies, Bk.2, p32 (appears as "Irish Reel")
Z:Nigel Gatherer
e2|G2 GA BE E2|BEdE BEEF|G2 GA BABd|egfd e2:|]
ef|(3gag (3fgf edBc|d2 ed Bd d2|(3gag (3fgf edBd|egfd e2|
(3gag (3fgf edBc|d2 ed Bd d2|bgaf gfed|egfd e2|]
T:Hare's Paw, The
D:Tommy Keane: The Piper's Apron
Z:transcribed by firstname.lastname@example.com
~G3B A2GA|BE~E2 GEDE|~G3A ~B3d|1 (3efg fg edBA:|2 (3efg fg ~e3f||
|:g2fg edB^c|d2 (3fed ^cdef|g2fg ed (3B^cd|1 egfg ~e3f:|2 egfg edBA||
T:Hare's Paw, The
S:Mulvihill – 1st Collection
G3B A2 GA|BE {F}(3EDE GEDE|{A}GFGA BABd|(3efg fg edBA|
GABG A2 GA|BE{F}(3EDE GEDE|GFGA BABd|(3efg fd e3||f|
~g2 fg edBc|(3ded ed Bd{e}(3ded|(3gfg fg edBd|(3efg fd e3f|
g2fg edBc|dfed Bd{e}(3dcd|e3f edBd|(3efg (af) gedB||
HARE'S PAW [2], THE ("Cois an Ghiorria" or "Cois a' Ghaorthaidh"). Irish, Air (4/4 time). D Major. Standard tuning. One part. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 62, pg. 55 (appears as "Cois a' Ghaorthaidh").
HARESHAW LINN. English, Strathspey. England, Northumberland. D Major. Standard tuning. AABBCCDD. Composed by Robert Whinham (1814-1893), a musician, teacher, composer, dancing master and fiddler, originally from Morpeth. Dixon finds the title references a scenic waterfall in Northumberland, on the Hareshaw Burn, which flows into the North Tyne. Source for notated version: the 19th century music manuscript of C. "Kit" Liddell [Dixon]. Dixon (Remember Me), 1995; pg. 47.
HARESHAWHEAD STRATHSPEY. English, Strathspey. England, Northumberland. D Major (Hall & Stafford): A Major (Dixon). Standard tuning. AABB. Composed by Robert Whinham (1814-1893), a musician, teacher, composer, dancing master and fiddler, originally from Morpeth. Dixon finds the title references a farm called Hareshawhead on the Bellingham to Otterburn road in Northumberland. Source for notated version: the 19th century music manuscript of C. "Kit" Liddell [Dixon]. Dixon (Remember Me), 1995; pg. 47. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 60.
SALES, LES (The Snapbeans
Aren't Salted).
Cajun (Zydeco), Two-Step. USA, Louisiana. A Major. Standard tuning.
HARK I HEAR. Irish, Air (4/4 time).
T:The soldier's song, "Hark I hear etc."
S:Stanford/Petrie (1905), No. 772
Z:AK/Fiddler's Companion
z/ | G2 F>E
E3 E | (EF) (GA) B2 Gz | G2F2F3F |
B2 cd e3e | (ef) (gf) e2c2 | e2 ec cB G2 | B2G2 GF E2 || CD EF E4 |
EF GF F4 | G2B2c3_d | cB G2 Bc | F2E2 E3 ||
HARK, THE TRUMPET SOUNDS TO ARMS. See "Le Printemps Rappelle Aux Armes."
HARLAND'S. AKA and see "Austin Barret's," "The Blasket Sound Jig," "Dusty Windowsill," "Harding's Jig," "Johnny Harling's," "The Howling Jig," "Tim Harding's."
HARLEQUIN, THE. AKA and see "Father Dollard's Hornpipe."
Irish, Hornpipe. G Major. Standard tuning. AABB. The title "The Harlequin" is
an alternate Sliabh Luachra title for the tune also known as "Father Dollard's
Hornpipe." Paul Deloughery's note with the tune in his book says: "Harlequinn (sic)
was a General in the British Army. This is (fiddler Padraig) O'Keeffe's version
of it." There is some confusion of names of this tune with one called "The
Chancellor," since both were played in a medley on recordings of Dennis Murphy
and Julia Clifford. There are a number of melodies entitled "Harlequin," a name
that is derived from the comic-theatre figure of 17th century
Italian commedia dell'arte. Harlequin was originally one of the two Zannis or
comic servants, although later he became the love interest or leading man.
Deloughery (Sliabh Luachra on Parade),
1988; pg. 77. Claddagh
RTE 183 CD, Denis Murphy – "Music from Sliabh Luachra." Clolar-Connachta CICD
142, Charlie Piggott & Gerry Harrington – "The New Road." Topic 310, Julia
Clifford, Billy Clifford – "Star of
T:Harlequin, The
Bc | (3dcB gd edBA | ~G3A BGDC | B,DGA BdcB | {c}BAAG A2Bc |
dBgd edBA | ~G3A BGDC | B,DGE CEAc | (3BAG (3AGF G2 :|
|: Bc | dgBg dBGd | dBGd gdBG | AGAB cBce | (3agf (3gfe d2 Ac |
BABc dBGd | (3efg (3fga gedc | BGBd ecAF | (3ABA GF G2 :|
HARLEQUIN HORNPIPE [1]. AKA and see "Constitution
Hornpipe [2]," "Swower Creek
[1]" (
T:Harlequin Hornpipe [1]
S:Ryan's Mammoth Collection (1883)
Z:AK/Fiddler's Companion
DFAd fdAF | GBdg bgdB | Adfa gfed | edcB AGFE | DFAd fdAF |
GBdg bgdB | afge fdec | d2f2d2z2 :: agfe dfaf | bagf efgb |
agfe defd | edcB A2z2 | agfe dfaf | bagf efgb | afge fdec | d2f2d2 :|
HARLEQUIN (HORNPIPE) [2]. Scottish, Hornpipe. A Minor ('A' part) & C Major ('B' part). Standard tuning. AA'AA'BB. Kerr (Merry Melodies), vol. 4; No. 302, pg. 32.
T:Harlequin (Hornpipe) [2]
S:Kerr – Merry Melodies, vol. 4, No. 302 (c. 1880's)
Z:AK/Fiddler's Companion
E2|:A2 (A^G) ABcd|(e^d)ef ecA2|BABc edcB|A^GAc BGE2|A2 (A^G) ABcd|
(e^d)ef ecA2|dfed cB(A^G)|A2a2A2:| G2|:c2 (cB) cdef|(g^fga ge c2|1
dcde gfed|(cB)ce dBG2:|2 dfed cBAB|d2c2c2||
HARLEQUIN HORNPIPE [3]. AKA and see "Clover Blossom," "Hand Organ." The "Harlequin" title for this tune is one of O'Neill's alternate titles for the hornpipe "Clover Blossom." It is in Ryan's Mammoth Collection (1883) as the "Hand Organ."
HARLYQUIN RANGER. AKA – "Harlequin Ranger." English, Jig. B Flat Major. Standard tuning. AABB. Harlequin Ranger was a pantomime produced by David Garrick in London in 1751, a burlesque of Rich's Covent Garden pantomimes which mocked the entertainment of wire dancing and the antics of strange animal's in Rich's theatre. When Rich's friends attended Garrick's play, they attempted to disrupt the performance by throwing an apple at the comic actor Henry Woodward, who retorted with a sarcastic comment from the stage. A lawsuit ensued. The melody first appears in John Hinton's Universal Magazine of Knowledge and Pleasure (London, 1754). Subsequently it was published in John Johnson's 200 Favourite Country Dances, vol. 7 (London, 1756), and Charles and Samuel Thompson's 1757 country dance volume. In America, the tune was included in the 1788 music manuscript copybook of John and William Pitt Turner, fiddlers from Norwich, Conn. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 77.
T:Harlyquin Ranger
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
B/A/|BFD B,DF|Bdf b2f|bfd gec|A/B/cc "tr"c2 B/A/|BFD B,DF|Bdf b2b|
Bff fdd|dBB B2::d|.eg/f/e/d/ .cf/e/d/c/|.Be/d/c/B/ AFF|.eg/f/e/d/ .cf/e/d/c/|FBB B2:||
HARLEQUIN REEL. Scottish, Reel. The melody appears in the Drummond Castle Manuscript (1734), inscribed "A Collection of the best Highland Reels written by David Young, W.M. & Accomptant."
HARLEQUIN TUNE [1]. Scottish. John Glen (1891) finds the earliest printing of this tune in Neil Stewart's 1761 collection (pg. 53).
HARLEQUIN TUNE [2]. Scottish. John Glen (1891) finds the earliest printing of this tune in Neil Stewart's 1761 collection (pg. 56).
HARLEQUIN UNDERGROUND. English, Reel. England, North‑West. D Major. Standard tuning. AABB. Knowles (Northern Frisk), 1988; No. 94.
HARLEQUIN'S JIG. AKA and see "Steel's Jig."
HARLEY ASHTRAY REEL, THE. Scottish, Reel. G Major. Standard tuning. AA'BB. Composed by Charlie McKerron, a member of the Scottish band Capercaille. Green Linnet SIF 3104, Capercaille – "Secret People."
T:Harley Ashtray Reel, The
Z:Adrian Scahill
EAAG ABcd|eAA2 eAfA|fggf gedc|Bggf gedB|\
EAAG ABcd|eAA2 eAfA|fggf gedB|1 GABG A3G:|2 GABG A2(3Bcd||
eaag aged|eAA2 eAfA|g2fa gedc|Bggf gedB|\
^cAA2 cAdA|eAA2 eAfA|g2fa gedB|GABG A4:||\
HARLEY WHIM. English, Reel.
HARLIQUN AIR. English, Air (4/4 time). D
Major. Standard tuning. AABB. Perhaps the title refers to a melody or one of
the songs in Thomas Arne's (1710-1778) pantomime Harlequin Restor'd, or Taste Alamode, written in 1736. Source for
notated version: the 1770 Benjamin Cooke music manuscript (
T:Harliquin Air
d2A2A2d2|cdec A4|B2G2G2E2|….
HARMONICA, THE. Scottish, Country Dance Tune (6/8 time). G
Major. Standard tuning. AA'B. The title may refer to the mouth organ, a
free-reed instrument commonly called the harmonica, invented in 1821 by German
clock maker Christian Friedrich Ludwig Buschmann. Matthias Hohner, still the
most famous maker today, began manufacturing the instrument in 1857 from a
factory in
T:Harmonica, The
B:Kerr – Merry Melodies, vol. 1, pg. 29 (c. 1880's)
Z:AK/Fiddler's Companion
d|:g2d B2g|e2c A2G|FGA DEF|G2B d2d|g2d B2g|
e2c A2G|FGA DEF|G3 G2||d|c2a a2c|B2g g2B|
ABc def|g2a b2d|c2a a2c|B2g g2b|agf ed^c|
dFG ABc|dBg ecg|dBg ecg|dcB BAG|
FAA ABc|dBg ecg|dBg ecg|dcB AGF|GBd g2||
HARMONIOUS BLACKSMITH, THE (Y Gof Du). Welsh. This Welsh air was arranged with variations for harpsichord by the great composer Handel. It is said that he came to Whitchurch on the Welsh borders and there had to take shelter from a downpour in a village smithy. Overhearing the smith singing this tune in Welsh as he worked at his anvil, the composer was so taken with it he felt compelled to memorize it. Flying Fish FF70610, Robin Huw Bowen – "Telyn Berseiniol fy Ngwlad/Welsh Music on the Welsh Triple Harp" (1996).
HARMONIUM, THE. English, Reel.
HARMONY [2]. Irish, Air (2/4 time). G Major. Standard tuning. AABB. "Rather slow," directs O'Farrell. O'Farrell (Pocket Companion, vol. IV), c. 1810; pg. 146.
T:Harmony [2]
N:"Rather slow"
S:O'Farrell – Pocket Companion, vol. IV (c. 1810)
Z:AK/Fiddler's Companion
dc BB | dc AA | cB G/B/d/B/ | A2D2 | GG AA | BB cc | B/d/(g/f/) e/d/c/B/ | B2A2 |
dc BB | dc AA | cB G/B/d/B/ | A2D2 | G>B A>c | B>g f/e/d/c/ | B2 {G}"tr"A2 | G3z :|
|: d>c B/A/B/c/ | d/B/d/B/ e/d/c/B/ | c>B A/B/A/B/ | c/B/c/A/ d/c/B/A/ | G/A/G/A/ F/A/F/A/ |
G/A/G/B/ A/B/A/c/ | c/B/g/f/ a/f/d/c/ | B/g/f/g/ f/e/d/c/ | B/g/f/g/ a/4g/4f/4e/4d/c/ | B>G "tr"A2 | G3z :|
HARMONY OF MAY, THE. Irish, Air (4/4 time). E Flat Major. Standard tuning. AB. Source for notated version: "From Miss Ross" [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 554, pg. 140.
T:Harmony of May, The
S:Stanford/Petrie (1905), No. 554
Z:AK/Fiddler's Companion
E2 | E3D E2F2 | G B3 A2F2 | E3D E2F2 | G4 A2F2 | E2D2E3F | G2e2c3B |
B>c GE "tr"F3E | E6 || B2 | e2e2f3d | e2c2B2 cd | e2e2f3d | e6 e2 |
g3e f3d | e2c2 BG Bc/d/ | e2 BA G2E2 | G4 B3G | E2B,2E3G | A2G2 {G}F2E2 |
A2G2F2G2 | (A4 G3)F | E2B,2E2F2 | G2e2c3B | B>c GE "tr"F3E | E6 ||
HARP THAT IN DARKNESS. AKA and see "Paddy Whack [1]."
T:Harp that once, The
S:Kerr – Merry Melodies, vol. 3, No. 311 (c. 1880's)
Z:AK/Fiddler's Companion
HARPER'S FERRY. See "John Brown's March [2]."
HARPER'S FROLICK. AKA – "Harper's Fancy." English, Country Dance Tune (2/4 time). D
Major. Standard tuning. AABB (Callaghan): AA'BB (Carlin). A very popular
English session tune (often paired with "Bonnie Kate"), originally appearing in
T:Harper's Frolick
S:Ashover MS (1762)
A|FADA |FADd| cdec|d/c/d/e/ dA|FADA|FADd|cd ed/c/|d3:|
|:g|f d2 e/f/|g e2 g|f d2 f|e/d/c/B/ A>g| f d2 e/f/|g e2 g|fd ed/c/|d3:||
T:Harper's Frolic, The
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
dA|FADA|FADd|cd ed/c/|d3:|
|:g|f d2 e/f/|g e2 g|f d2 f|e/d/c/B/ A>g|f d2 e/f/|g e2 g|fd ed/c/|d3:||
T:Harper's Frolic
N:modern version
A/G/|:FA DA/G/|FA Dd|cd ec|d/c/d/e/ dA/G/|FD DA/G/|FA Dd|
cd e/d/c|1 d2 dA/G/:|2 d2 d>e||:fd d/e/f|ge e/f/g|fd df|
e/d/c/B/ A>e|fd d/e/f|ge e/f/g|f/e/d e/d/c|1 d2 d>e:|2 d2d2||
HARRIER'S, THE. See "Merry Harrier's [1]."
HARRINGTON{'S} HALL (Cuirt Na Caosga). Irish, Jig or March. D Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 56 (listed as a jig). Miller (Fiddler's Throne), 2004; No. 55, pg. 44. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 1839, pg. 345 (listed as a march). Ryan's Mammoth Collection, 1883; pg. 84.
T:Harrinton Hall
R:March or Jig
S:O'Neill – Music of
Z:AK/Fiddler's Companion
A | d2 d ceA | dff f2g | afd dcd | e>de/f/ gfe |
d2d ceA | dff f2g | afd Bgf | edc d2 :|
|: g | fdf fga | fdd dcd | eAA fAA | g>fg/a/ gfe |
d2d ceA | dff f2g | afd Bgf | edc d2 :|
HARRIOT, THE. Scottish?, Country Dance Tune (2/4 time). C Major (Gow, Harding's): D Major (Sweet). Standard tuning. AABB. Gow (Second Collection of Niel Gow's Reels), 1788; pg. 54 (3rd ed.). Hardings All Round Collection, 1905; No. 171, pg. 54. Sweet (Fifer's Delight), 1964/1981; pg. 58.
T:Harriot, The
Z:AK/Fiddler's Companion
ff de/f/ | gg e2 | cc AB/c/ | d/c/d/e/ f/g/a/g/ | ff de/f/ | gg e2 | cc AB/c/ | d2D2 :|
|: aa fd | BB/c/ d/c/d/B/ | Aa fd | e/d/e/f/ e2 | aa fd | BB/c/ d/c/d//B/ | Aa fd | e/d/e/f/ d2 :|
T:Harriot, The
B:Gow – 2nd Collection of Niel Gow's Reels, 3rd ed., pg. 34 (orig. 1788)
Z:AK/Fiddler's Companion
.e.e "tr"cd/e/|ff d2|.B.B "tr"GA/B/|c/B/c/d/ e/f/g/f/|.e.e "tr"cd/e/|
.f.f d2|BB "tr"GA/B/|c2C2::gg ec|"tr"aa/b/ c'/b/c'/a/|gg ec|
"tr"d/(c/d/e/) d/e/f/a/|ggec|"tr"aa/b/ c'/b/c'/a/|ggec|"tr"(d/c/d/)e/ c2:|
HARRIS DANCE. Scottish, Reel. C Major (Martin): A Major (Miller). Standard tuning.
AABB. Source for notated version: adapted from Patrick McDonald's A Collection of
HARRIS NO. 4. See "Tiffany's Fancy."
S:Ryan's Mammoth Collection (1883)
Z:AK/Fiddler's Companion
(A/B/) | c/A/F/A/ .E(e/g/) | a/e/f/a/ e/d/c/B/ | c/A/F/A/ .E(A/B/) | c/A/B/c/ .A(A/B/) |
c/A/F/A/ .E(e/g/) | a/e/f/a/ e/d/c/B/ | c/A/F/A/ .E(A/c/) | c/A/B/G/ A :| E |
A/c/e/g/ .a(f/a/) | .g(f/a/) e/c/d/B/ | A/c/e/g/ a/f/e/d/ | c/A/B/c/ AE |
A/c/e/g/ .a(f/a/) | .g(f/g/) f/e/c/B/ | A/c/e/g/ a/f/e/d/ | c/A/B/c/ A :|
HARRY BARRETT'S FAVOURITE. AKA and see "Tatter Jack Walsh," "To Cashel(l) I'm Going [1]."
HARRY BLOODGOOD'S FAMOUS (JIG). American, Dance Tune (cut time or 4/4). B Flat Major. Standard tuning. AABB. The term jig in this case references a type of syncopated American duple-time dance tune, once associated with the banjo, not the more familiar 6/8 time Irish jig. Edward Le Roy Rice, in his book Monarchs of Minstrelsy (New York, 1911) has this entry on Bloodgood:
HARRY BLOODGOOD (Carlos Moran) was one of the most accomplished and versatile performers
that ever blacked his face; good in everything he undertook; he could sing, dance and act. He made
his first
he joined Boyce and Mudge's Minstrels; subsequently appearing with Sam Sharpley's , and later with
Joseph Trowbridge, he had the Bloodgood and Trowbridge's Minstrels; their season ended July 16,
1871; Mr. Bloodgood then taking his own show, with which he travelled intermittently for several seasons.
In 1869 he also was associated with Delehanty, Hengler and Bloodgood's Minstrels. Mr. Bloodgood was
without exception the most pronounced favourite that ever played the old Howard Athenaeum in Boston;
he was in the stock there at various times, covering a period of several years.. About 1881 he wrote and
appeared in the play "Hix's Fix," sharing the lead with W.A. Mestayer; the piece afterwards called "Wanted,
A Partner."
Mr. Bloodgood married Helene Smith, the danseuse, about 1864; they were divorced in the spring of 1867;
and on January 20, 1870, in Boston, he married Clara Gettis, also a dancer. It was not until about three
years later that he found connubial blessedness, when he married Lisle Riddell, with whom he lived most
happily the balance of his life.
Mr. Bloodgood made a distinct hit playing Uncle Tom at the Boston Theatre, with an all-star cast. Harry
Bloodgood was born in Savannah, Georgia, March 31, 1845; he died in North Conway, New Hampshire,
June 12, 1886. (pgs. 177-178).
New York researcher, writer and musician Don Meade says Bloodgood was the composer of "Poor Old Rufe" (or "Rube"), a popular black-face minstrel song published in Minstrel Songs Old and New (Boston, 1883, the year Ryan's Mammoth was published). Cole (1000 Fiddle Tunes), 1940; pg. 85. Kerr (Merry Melodies), vol. 2; No. 389, pg. 43.
T:Harry Bloodgood's Famous Jig
R:(Sand) Jig
S:Ryan's Mammoth Collection (1883)
Z:AK/Fiddler's Companion
F2 | Bz (B2 B>).A(c>.B) | dz (B2 B>)Ac>B | A>Bc>d e>dc>B | c>BA>G F>ED>E |
Fz(B2 B>)Ac>B | dz(B2 B>)AB>c | (d4 d>)ec>d | B>cA>B G2 :: F2 |
(3BcB (F>B) (d>.F)B>d | (3cdc G>c e>dc>B | (3ABA E>B (3ABA E>A | G>F=E>F D>FG>A |
(3BcB F>B d>FB>d | (3cdc G>c e>dc>B | A>g f2 F>ed>c | B2 [F2d2] [D2B2] :|
HARRY BRADSHAW'S REEL. Canadian, Reel. Canada, Cape Breton. A Major. Standard tuning (fiddle). AABB'. Composed by the late fiddler Jerry Holland (1955-2009, Inverness, Cape Breton). Harry Bradshaw from Dublin is a highly regarded scholar on Irish traditional music and record producer. Cranford (Jerry Holland's), 1995; No. 16, p. 5. Fiddlesticks cass., Jerry Holland - "Fathers and Sons" (1992). Green Linnett, Jerry Holland - "The Fiddlesticks Collection" (1995). Green Linnet GLCD 1134, Cherish the Ladies – "Out and About." Green Linnet GLCD 1187, Cherish the Ladies – "One and All: the Best of Cherish the Ladies" (1998). Patty Furlong – "Traditional Irish Music on the Button Accordion" (1999). Rounder Records , John L. MacDonald – "Formerly of Foot Cape Road: Scottish Fiddle Music in the Classic Inverness County Style" (2005).
HARRY CARMICHAEL. Scottish, Jig.
T:Harry Carmichael
N: Arr G.Blair
C:Angus Fitchett
f| "G"g2 G G2B|"D7"AGA "G"G2f|"Em"g2 e "A"a2g|"D7"f2 e def|"G"g2 G G2 B|
"D7"AGA "G"G2B|"D7"c2 A dec|"G"B2A G2:||:f|"G"gdB gdB|"C"e2c c2e|"A"ae^c
ae^c|"D7"f2d d2d|"G"gdB gdB|"C"e2c "D7"A2G|"D"FED "D7"cBA|"G"G3G2:|
HARRY COOPER. American, Reel.
T:Harry Cooper
S:fiddler Irvin Yaugher (Mt. Independence, southwestern Pa, 1943, learned from his great-uncle)
N:Yaugher played the 'c' notes on the 2nd string in-between natural and sharp, a not-uncommon traditional style
B:Bayard – Hill Country Tunes (1944, No. 32)
(3D>EF|G2 DC B,G,B,[G,D]|EDEG FD D2|G3 A^cAcA|
G2 Bd ecAF|G2 GG G2||ef|g2d2 e2 ^cA|
DBAG FD D2|G2A ^cAcA|EA A2A2 ef|
G2d2e2 ^cA|dBAG FD D2|G2 Bd e^cAF|G3G G2||
SCHOTTISCHE. English, Schottische.
T:Harry Cox's Schottische
d2 (3dcB
HARRY DHU. Welsh, Air. The tune appears in Blind Parry's Twelve Airs for one and two Guitars, 1781 edition.
HARRY GIDLEY'S WALTZ. English, Waltz. G Major (Carlin): D Major (Callaghan). Standard tuning.
One part (Carlin): AB (Callaghan). Source for notated versions: melodeon player
Bob Cann (1916-1990, South Tawton, Dartmoor), who had the tune from the
harmonica player named in the title [Callaghan, Carlin]. Callaghan (Hardcore English), 2007; pg. 84. Carlin
(Master Collection), 1984; No. 27,
pg. 27. Topic Records 12TS275, Bob Cann – "West Country Melodeon" (197-). Veteran
VT138CD, Bob Cann – "Proper Job!: Melodeon Playing from
HARRY MUNRO. AKA and see "Coolin Roe." Irish, Air (3/4 time). D Dorian/A Minor. Standard tuning. One part. "'Irish and very old', remarks MacDowell in his MS." (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 538, pg. 288.
HARRY OF THE WEST. American, Breakdown. USA, Texas. G Major. Standard tuning. AABB. Steve
Rice remarks that one of the nicknames of the early 19th century
American politician Henry Clay was "Harry of the West," according to the
biography by Robert V. Remini (Henry
Clay, Statesman for the Union, 1991), so-called because Clay was from
Kentucky, which was still considered the western frontier in his hey-day.
Remini states: "...Clay was an
accomplished performer with the violin and was sometimes known as 'the fiddler
of the
T:Harry of the West
(3DEF|GAGE DBDG|EFGA Bdge|dBGA BGAG|FAGE DB (3DEF|
GAGE DBDG|BeBg fage|dBGA BGAG|EG2A G2:|
|:Bc|dega b^abg|=abag eage|dBGA BGAG|FAGE DBGA|
Bdga b^aba|gbag fdge|dBGB AGEG|DGFA G2:|
HARRY'S DELIGHT. English. England, Northumberland. One of the "missing tunes" of William Vickers' 1770 Northumbrian dance tune manuscript.
HARRY'S LOCH. AKA and see "The Kilfenora Lass." Irish, Jig. A Mixolydian ('A' part) & G Major ('B' part). Standard tuning. AAB. The tune was popularized in modern times by the Kilfenora Ceili Band who recorded it on their 1960 LP. It appears in Geraldine Cotter's whistle tutor and companion recording. Taylor (Crossroads Dance), 1992; No. 37, pg. 28. Shaskeen ‑ "The Mouse Behind the Dresser." Chris Droney – "The Fertile Rock."
HARSH FEBRUARY, THE. AKA – "Dave White's." Scottish (originally), Irish; Reel. D Major. Standard tuning. AABB. Composed by Scottish piano-accordion player Phil Cunningham (brother of Black's source). The tune is attributed to Phil Cunningham in Jerry Holland's Second Collection (2000), edited and published by Paul Stewart Cranford. The tune is also known as "Dave White's," referring to a Cape Breton stepdancer of Holland's acquaintance, and composition of the melody is sometimes attributed to Holland (who recorded it as "Harsh February" on his album "Fiddler's Choice"). Source for notated version: Scottish fiddler Johnny Cunningham [Black]. Black (Music's the Very Best Thing), 1996; No. 267, pg. 144. Cranford (Jerry Holland: The Second Collection), 2000; No. 101, pg. 40. Green Linnet, Johnny Cunningham - "Squeeze." Green Linnet GLCD 1145, Wolfstone – "Year of the Dog." Odyssey ORCS 1051, Jerry Holland – "Fiddler's Choice" (1998). Phil Cunningham (et al) – "The Big Squeeze." Lunasa – "The Merry Sisters of Fate" (appears as first tune of 10th set, although is mistakenly listed as 2nd tune on the lable).
See also listings at:
Alan Snyder's Cape Breton Fiddle Recording Index
T: Harsh February
S: ? Phil Cunningham
R: reel
Z:Transcribed by Bill Black
D | FABd B2 AF | ABdf e2 de | f2 ed BddB | ABdA FE E2 |
FABd B2 AF | ABdf e2 de | b2 fb afef | afef d3 :|
f/a/ | b3 f a2 fe | defd edBA | FABd FABd | afde fe e2 |
b3 f a2 fe | defd edBA | FABd FABd | afef d3 :|
HARTE'S_JIG. See "Bill Harte's Jig."
HARTIGAN'S FANCY (Roga Uí {h-}Artagain). AKA – "Hardigan's." AKA and see "Bliven's Favorite," "The Butchers of Bristol [1],"
"By your leave, Larry
Grogan," "Coppers
and Brass [2]," "The County
Limerick Buckhunt," "Finerty's
Frolic," "Green Sleeves [3],"
"Groom," "The Humors of Ennistymon [1],"
"The Humours of
Milltown [2]," "Larry Grogan('s)
[1]," "The Lasses of Melrose," "Lasses of Melross," "Little Fanny's Fancy," "Lynn's Favourite," "Lynny's
Favourite," "Paddy's the Boy,"
"Pingneacha Rua agus Pras," "Queen
of the Rushes," "The Waves of
Tramore," "Willie Clancy's."
Irish, Double Jig. G Major. Standard tuning. AABB (O'Neill): AA'BB'CC'
[Taylor/Tweed]. Francis O'Neill says this jig was unpublished and "new to us,"
at least in the "Hartigan" form, prior to obtaining it from source Carey, and
listed an alternate title as "Little Fanny's Fancy." Despite O'Neill's
assertion that it was new, he printed in the same publication a variant called
"By your leave, Larry Grogan." Joyce's jig "Green Sleeves," printed in Old Irish Folk Music and Songs (1909),
and Goodman's "Humours of Ennistymon" (volume III, 152) are two more of many
variants of this large tune family. Breathnach remarks that a version was
originally printed (by John Walsh before 1736 in Country Dances Book the Second) under the title "Larry Grogan,"
named for the
T:Hartigan's Fancy
S:O'Neill – Dance Music of
Z:AK/Fiddler's Companion
D|B2B GBd|cBc ABc|B2B GBd|cAG FGA|B2B GBd|cBc ABc|d/e/fd cAF|AGG G2:|
|:d|f2f fed|cAG FGA|g2g gfg|afd d2 f/g/|fag fed|cAG FGA|B/c/dB cAF|AGG G2:|
HARTLEY'S. Canadian, Reel.
HART'S HORNPIPE (Pibddawns Hart). Welsh, Hornpipe. G Major. Standard tuning. The tune appears in print in Cambrian Trifles (1812).
T:Hart's Hornpipe
K:G Major
GF|G2g2 gddB|c2e2 e2fg|dBdB e2e2|AGAB GFED|G2g2 gddB|c2e2 e2fg|dBdBcAGF|
G2B2 G2:|:FG|BGBG B3d|ecec A3e|dBdB cBAG|FGAB A2GA|BGBG B3d|ecec A3e|
dBdB cAGF|G2B2G2:|:GF|GDB,D GABG|AFDF AFcA|BGcA d3e|dgdB B2A2|GDB,D GABG|
AFDF AFcA|BGcAd3e|dBAB G2:||
HARTSHEAD HORNPIPE, THE. English, Hornpipe (3/2 time).
HARVEST, THE. English, Country Dance Tune (4/4 time). B Flat Major. Standard tuning. AABB. Knowles (Northern Frisk), 1995; pg. 15.
HARVEST FIELD, THE (Pairc an Fogmair). Irish, Reel. G Major. Standard
tuning. AB (O'Neill/1850 & 1001): AA'B (O'Neill/Krassen). O'Neill
(Krassen), 1976; pg. 136. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1428, pg. 265. O'Neill (Dance Music of
T:Harvest Field, The
S:O'Neill – Dance Music of
Z:AK/Fiddler's Companion
BA|GFGA Bd {e}(3dcd|efge dB {B}(3BAB|efge dBGA|
BAAG AcBA|GFGA Bd {e}(3dcd|efge dB B2|{a}gfge dBge|dBAB G2||
Bc|dbag efge|dBgB BA A2|dbag efge|dgfa g2 ga|
(3bag af gfed|(3efg dB cBAF|GFGA Bcdg fdcA G2||
HOME [1] (Deire an
Fogmair/Baile an Fhómhair). AKA and see "Cincinnati
Hornpipe [1]," "Cliff
Hornpipe," "Cork Hornpipe [1],"
"Dundee Hornpipe," "Fred Wilson's Clog," "Free Round
Trip," "Granny, Will Your Dog Bite?" (Pa., floating title), "Harvest
Time," "Higgins' Hornpipe,"
"Kephart's Clog" (Pa.),
"Kildare Fancy," "O'Higgin's
Hornpipe," "Ruby Lip," "Sailor's
Stampede Clog," "Snyder's Jig"
(Pa.), "Standard Hornpipe,"
"Uncle George's Hornpipe," "Wilson's
Clog [1]," "Wilson's Hornpipe," "Wooden Shoe Clog," "Zig-Zag Hornpipe/Clog."
Their hands accompany the dance in little wristy arcane movements,
thumbs alternating with their digits. Their feet are hardly off the
ground as they hell and toe and tap, till it seems there is a skim of
twilight shimmering between their boots-soles and the black wet
tarmac. Loose change jingles in their pockets as they waver gravely
in the pre-determined and formal quarter-bows, catching one another's
little fingers on occasions, sometimes going for a full hand-clasp, instantly
and rhythmically released. They doppelgänger one another. Nods and winks
are witnessed as they undergo the subtle dramas of the ceili house. They
reinvent the past and all their past encounters; then the pattern comes
to its conclusion. Four feet stand on terra firma for one instant, then they
break apart and take the gait of normal human beings. Everyone's relaxed
now… (pg. 111).
William Sidney Mount (1807-1868). The Power of Music (The Force of Music), 1847.
The melody was played by old fiddler
William "Jinky" Wells for the Bampton Morris Dancers in Oxfordshire, although
it is not a morris tune and is seldom heard for morris dancing nowadays. In
parts of the
…At the end of the summer, when the hay and the harvest had been gathered
in, Mr. Norris gave a 'Harvest Home' to the people he employed…The dancing
was in the courtyard of the house, on the clean stone floor and a local fiddler
supplied the music on his fiddle…At Christmas there was sometimes a dance
in the kitchen. A story goes, that on one occasion when the room was very full,
the little old fiddler was hoisted on to the dresser where a chair had been placed,
to put him out of the way…
(see also note for "Around the House and Mind
the Dresser" for a similar anecdotal conservation of space in
Sources for notated versions: a c.
1837-1840 MS by Shropshire musician John Moore [Ashman]; piper Willie Clancy
(1918-1973, Miltown Malbay, west Clare) [Mitchell]. Allan's Irish Fiddler, No. 85, pg. 22. Ashman (Ironbridge Hornpipe), 1991; No. 113, pg. 47. Brody (Fiddler's Fakebook), 1983; pg. 131.
Cazden, 1955; pg. 41. Carlin (English
Concertina), 1977; pg. 50. Craig (The
Empire Collection of Hornpipes), c. 1890's; pg. 3. Hardie (Caledonian Companion), 1986; pg. 21. Hardings Original Collection; No. 1.
Honeyman (Strathspey, Reel and Hornpipe
Tutor), 1898; pg. 46. Hunter (Fiddle
Music of Scotland), 1988; No. 329 (arranged for string quintet by James
Hunter). Jarman (Old Time Fiddlin' Tunes);
No. or pg. 23. Kennedy (Fiddlers Tune
Book), vol. 1, 1951; No. 6, pg. 3. Kerr (Merry Melodies), vol. 1; No. 2, pg. 42. Kerr (Merry Melodies for the Piano), pg. 27. Lerwick (Kilted Fiddler), 1985; pg. 50. MacDonald
(The Skye Collection), 1887; pg. 171.
Martin (Ceol na Fidhle), vol. 2,
1988; pg. 41. Mitchell (Dance Music of
Willie Clancy), 1993; No. 44, pg. 55. O'Malley (Luke O'Malley's Collection of Irish Music, vol. 1), 1976; No. 118,
pg. 59. O'Neill (O'Neill's Irish Music),
1915/1987; No. 353, pg. 172. O'Neill (Krassen), 1976; pg. 207. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1603, pg. 297. O'Neill (Dance
Music of
See also listings at:
Jane Keefer's Folk Music Index: An Index to Recorded Sources
Alan Ng's Irishtune.info
T:Harvest Home
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler's Companion
FE|DAFA DAFA|dfed dcBA|eAfA gAfA|edcB AGFE|DAFA DAFA|
dfed dcBA|Aceg fedc|d2 d2 d2:||:cd|eA A/A/A fA A/A/A|gA A/A/A fA A/A/A|
eAfA gAfA|edcB AGFE|DAFA DAFA|dfed dcBA|Aceg fedc|d2 d2 d2:|
T:Hornpipe (Harvest Home)
N:There may have been variations or more parts to the tune in the ms.
N:The notation is not clear, and the copy degraded.
S:William Sidney Mount's (1807-1868) music manuscript papers
Z:AK/Fiddler's Companion
B|EBGB EBGB|efgf edcB|fBgB aBgB|fedc BAGF|EBGB EBGB|efgf edcB|
FBgB afdf|e2e2e2::de|fBBB B2 fa|gccc c2 fg|afge fdec|
fedc BAGF|EBGB EBGB|efgf edcB|fBgB afdf e2e2e2:||
HARVEST HOME [2]. AKA and see "Stirling Castle," "The Kirn." Scottish, Strathspey. D Major. Standard tuning. AAB. Only a passing resemblance, perhaps, to "Harvest Home [1]." MacDonald (The Skye Collection), 1887; pg. 35. Stewart-Robertson (The Athole Collection), 1884; pg. 83.
T:Harvest Home
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler's Companion
(3Bcd (3efg f<dd:|
f|ddf>d g>ef>d|g2 e>d c>BA>f|ddf>d g>ef>d|B<g e>c d2 A>f|
ddf>d g>ef>d|g2 e>d c>BA>c|(3dfe (3efg (3fed (3cBA|
(3BAB (3ABc (3dAG (3FED||
HOME WALTZ. American, Waltz. C Major. Standard
tuning. AABB. Fiddler Gene Clardy was one of the older
T:Harvest Home Waltz
S:Howe – Complete Preceptor for the Accordeon (1843)
Z:AK/Fiddler's Companion
z2 | (G2e2)d2 | (c2E2)G2 | (F2D2)B2 | (c2e2)G2 | (G2e2)d2 |
(c2E2)G2 | (F2D2)B2 | c4 :: G2 | F2D2B2 | c2e2G2 | F2D2B2 |
c2e2G2 | G2e2d2 | c2E2G2 | F2D2B2 | c4 :|
HARVEST IS IN, THE. English, Country Dance Tune (cut time). A Major. Standard tuning (fiddle). AABB. The melody is unique to London publisher Charles and Samuel Thompson's 1765 collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 136.
T:Harvest is in, The
B:Thompson's Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)
Z:Transcribed and edited by Fynn Titford-Mock, 2007
Z:abc's:AK/Fiddler's Companion
A2 [A,2A2] AcBA|B2E2 BdcB|c2A2 cedc|BAGF E4|A2 [A,2A2] AcBA|B2E2 BdcB|
ce^df egfa|gef^d e4::ecac ecac|d2 cB BedE|BedE c2 BA|
AEcA ecfd|geaf {a}g2 fe|a(f/g/a)f e(c/d/e)c|d(B/c/d)c BGEe|caBg a2A2:||
HARVEST MOON [1], THE. AKA and see "Gealach na gCoinnleach." Irish,
HARVEST MOON [2], THE. AKA and see "Hanly's Tweed," "Paddy O'Brien's (Reel) [2]." Irish,
Reel. A Dorian. Standard tuning (fiddle). Composed by the late button accordion
player Paddy O'Brien. PTI 1041, James and John Kelly –
"Irish Traditional Fiddle Music" (appears as second reel of "London Set"). Martin Connolly – "Back in
T:Paddy O'Brien's (Reel) [2]
T:Harvest Moon [2]
C:Paddy O'Brien
H:Mike played it following the
D:Martin Connolly "Back to
A2EA FAEA|BzAB GABG|AE~E2 A2 (3Bcd|edef gzed|
eaag ed(3Bcd|g{a}g fa gedz|edBA
BGGA|1 BedB A4:|2
|:eaaf g~g2z|eaag ed (3Bcd|ezaf g~g2e|dG~G2 AG (3Bcd|ea~a2 bg~g2|
agab gzag|edBA BGGA|1 BedB A2 (3Bcd:|2 BedB A4||
T:Harvest Moon
Z:Jeffrey Erickson
S:Paul Groff, house concert/session,
K:A Dorian
cd | eAAG AcBA | GEDE GABd | e2 AB cdeg | afge d2 cd | eAAG AcBA |
GEDE GABd | e/2f/2g af gedB | GBdB BA A2 |
B | c3 d e g3 | e a3 g2 fg | e2 AB cdeg | afge dged | cBcd e g3 | e a3 g
edB | c2 BA GEDE | GABG A3 |
HARVEST TIME. American?, "Country Dance" (6/8 time). A Major. Standard tuning. AABB. The 'A' part is similar to "Dingly Dell." Hardings All Round Collection, 1905; No. 142, pg. 44‑45.
HARVEST TIME [2]. Irish, Jig. Composed by the late
HARVESTER'S JIG. Canadian, Jig. D Major. Standard tuning. AA'BB'. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 154, pg. 103.
HARVESTER'S (WALTZ), THE. English, Waltz. D Major. Standard tuning. AA'BB. Kennedy (Fiddler's Tune-Book: Slip Jigs and Waltzes), 1999; No. 131, pg. 32.
T:The Harvey Jig
Z:Transcribed by Bruce Osborne
A|ABA F2A|dcd f2a|e2f gfe|cde dcB|
ABA F2A|dcd f2a|e2f gec|d3 d2:|
|:(3e/f/g/|aba faf|dcB A2G|FDF AGF|E3 E2e|
gag efe|dcB A2 (3e/f/g/|aba gfe|d3 d2:|
HARVEY MITCHELL. Scottish, Pastoral Air (4/4 time). E Flat Major. Standard tuning. AA'B. Composed by Alastair J. Hardie in honor of Harvey Mitchell, a friend of Scottish traditional music and head of Cultural and International Services for Lothian Regional Council until 19881. Hardie (Caledonian Companion), 1992; pg. 94.
HARVEY TOLMAN'S FANCY. Canadian, Jig.
HARVEY'S FAVORITE. Appears in Dobson's "New System for the Banjo." 2nd part similar to "Pacific Slope Reel."
© 1996-2009 Andrew Kuntz
Please help maintain the viability of the Fiddler's Companion on the Web by respecting the copyright.
For further information see Copyright and Permissions Policy or contact the author.
[COMMENT1]This was Font/Pitch 1,10 - Off.
[COMMENT2]This was Font/Pitch 1,10 - On.
[COMMENT3]This was Font/Pitch 1,10 - Off.
[COMMENT4]Note: The change to pitch (12) and font (1) must be converted manually.


text:
Opium – Opium is the controlled substance that is exuded from the immature fruit of the opium poppy. It has the effect of numbing pain and causing hallucinations and spiritual visions. It is highly addictive. In some ancient belief systems opium is a channel for reaching the spirit world and being able to understand the workings of the universe.
However, since our spirit is trapped in a body that will not let go of it until we die, our spirit, after tasting the freedom found in opium wishes to take more frequent journeys outside of that body. This is an explanation for why it is so addictive. Opium in your dreams represents spiritual release, regardless of how bad the actual drug is for you.
Note: If you have had a dream related to this dream symbol or would like to add something that is related to this topic please leave comment below. Comments are a great way to interact with others who are dreaming about similar topics.

subset: commoncrawl


text:
A resource and activity center for gay, lesbian, bisexual, transgender and questioning youth ages 14-22.
The Transgender Group is a weekly discussion and support group that gathers in the library. See the calendar page for the current day and time. Facilitated by transgendered adults, this group provides a chance for youth who have questions or are exploring their gender identity, or who identify as transgendered, to get to talk with adults and other youth about their experiences, feelings, and issues. This long-standing group is one of the very few transgender youth discussion groups anywhere in the world and is one example of how Lambert House is an international leader in LGBTQ youth support.
Queer Young Females Group is a discussion/support group that meets weekly in the library. Topics range from family issues to school happenings to like/lust/love relationships. All queer females welcome. Respect for others' personal experiences and ideas is required, as well as respect for their privacy. Come discuss how smart, strong queer women live their lives.
Boy's Group meets in the library each week; a volunteer conducts the meeting and youth take the opportunity to talk about issues that relate to their everyday lives.
Phone: (206) 322-2515


text:
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text:
Jack Guernsey is an experienced litigator who has successfully represented many clients in complex commercial litigation and fiduciary litigation, with a strong focus on restrictive covenant and trade secret matters as well as trust and estate matters. He has also served as lead counsel on intellectual property litigation, products liability and complex torts, and employment litigation. Clients value Jack's keen analysis and formidable advocacy skills. Jack focuses his practice in federal and state courts in Pennsylvania and New Jersey, but he has appeared in courts from the Virgin Islands to Texas in representation of clients.
Jack served five years on Army active duty, including one tour in Vietnam, where he was awarded a Silver Star and a Bronze Star. He served 25 years in the reserve forces, the last 21 in the Delaware Army National Guard, in positions of responsibility, including four years as a brigade commander, before retiring in 1999.
Harvard Law School, J.D., 1977
United States Military Academy at West Point, B.S., with distinction, 1969
New Jersey
U.S. District Court for the Eastern District of Pennsylvania
U.S. District Court for the Middle District of Pennsylvania
U.S. District Court for the Western District of Pennsylvania
U.S. District Court for the District of New Jersey
U.S. Court of Appeals for the Third Circuit
Federal U.S. Circuit Court of Appeals
"Jack is praised as being "thoughtful and strategic" and a "very good trial lawyer.""
Chambers USA 2020
Jack's free time is spent in travel and outdoor activities, including skiing, hiking, and fighting the waves at the Jersey Shore.
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Selected as a Leading Lawyer for General Commercial Litigation in Chambers USA, The Client's Guide to America's Leading Lawyers for Business (2010–present)
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text:
7th MSC Community
Brigadier General Arlan DeBlieck
Brigadier General Arlan DeBlieck
Commanding General
Brigadier General Arlan M. DeBlieck was commissioned as a Second Lieutenant in the U.S. Marine Corps Basic Officer School in November of 1985. He then served as Platoon Commander for Alpha Company, 9th Motor Transport Battalion, 3rd Force Service Support Group in Okinawa, Japan. Later assignments in Okinawa included Aide-de-Camp for 3rd Forces Service Support Group; Executive Officer for Bravo Company, 9th Motor Transport Battalion, 3rd Force Service Support Group; Assistant S3 for the 9th Motor Transport Battalion, 3rd Force Service Support Group; and Command Officer for Bravo Company, 9th Motor Transport Battalion, 3rd Force Service Support Group, completing his overseas assignment in September of 1988.
In November of 1988, Brig. Gen. DeBlieck transitioned to Quantico, Va., where he served as the Support Battalion Motor Transport Officer until October of 1989, and then the S4 Maintenance Management Officer until January of 1990 for the Basic School, Marine Corps Combat Development Center. Brig. Gen. DeBlieck then attended the Army Transportation Officer Advanced Course, and then transitioned to his final active component Marine Corps assignment as a Inspector-Instructor in the Transport Company for the 6th Motor Transport Battalion, 4th Force Service Support Group in Providence, R.I., before transferring to the Marine Corps Reserve as the Maintenance Management Officer for the G/S Maintenance Company, 4th Maintenance Battalion, 4th Force Service Support Group in June of 1993.
Brig. Gen. DeBlieck transferred to the Army Reserve in March of 2000 where he served as Maintenance Officer for Support Operations, as well as S3 for the Special Troops Battalion in the 19th Theater Support Command until January of 2003 when he deployed as the Transportation Branch Chief for Support Operations, 3rd Corps Support Command in support of Operation Iraqi Freedom. In March of 2004, he returned to reserve status where he served as the Highway Regulations Officer and then the Assistant Chief of Staff of Transportation for the 3rd Corps Support Command in Des Moines, Iowa. In August of 2005, Brig. Gen. DeBlieck took command of the 450th Movement Control Battalion, out of Manhattan, Kan., and deployed with them from November 2006 until April 2008 while serving in support of Operation Enduring Freedom in Bagram, Afghanistan.
Upon return from deployment, Brig. Gen. DeBlieck served as the G3 for the 89th Regional Support Command until October of 2008, when he assumed command of the 561st Regional Support Group (RSG). Brig. Gen. DeBlieck deployed as Commander of the 561st RSG from September of 2009 until June of 2010 in support of Operation Iraqi Freedom in Baghdad, Iraq. Brig. Gen. DeBlieck served as the Deputy Commanding Officer for the 103rd Sustainment Command (Expeditionary). He assumed command April 22, 2012. Upon his promotion to brigadier general in June 2012, he became the Commanding General. He relinquished command Aug. 19, 2014 to become the Commanding General of the 7th Mission Support Command and the Deputy Commanding General for the 21st Theater Sustainment Command on Aug. 20, 2014.
Brig. Gen. DeBlieck's awards and decorations include the Bronze Star Medal with one oak leaf cluster, Defense Meritorious Service Medal, Meritorious Service Medal, Army Commendation Medal, Navy Commendation Medal, Army Achievement Medal, Navy Achievement Medal, Army Reserve Component Achievement Medal with two oak leaf clusters, Selected Marine Corps Reserve Medal, National Defense Service Medal with bronze star, Afghanistan Campaign Medal with one campaign star, Iraqi Campaign Medal with one campaign star, Global War on Terrorism Expeditionary Medal, Global War on Terrorism Service Medal, Korean Defense Service Medal, Armed Forces Reserve Medal with 'M' device, Army Service Ribbon, Overseas Service Ribbon with a numeral '3', Army Reserve Overseas Training Ribbon with a numeral '5', Sea Service Deployment Ribbon with two bronze stars, NATO Medal, Navy Unit Commendation, Meritorious Unit Commendation, and Combat Action Badge. Brig. Gen. DeBlieck recently retired from the United States Department of Agriculture and is married to the former C. Michelle Sammuels.


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It starts with one transition. And before you know it, you are staring at empty pages and wondering how in that brief momentary weakness, you thought you could pursue hobbies like writing, singing etc in this lifetime. Very recently I heard Vikram Seth give an interview. He had started off in a 9 to 5 job, realized he cannot work in a place like that and started writing instantly and like a writer's fairy tale he was instantly picked for publishing. He worked and still does in a different time and place: One without education loans and retired parents. Meanwhile, in a world far far away Seth's namesake runs an organization that openly embraces the existence of these mundane responsibilities. So while Seth paints beautiful paintings and reads poetry while publishers sit biting their nails over when he will deliver, two doors away there lies a pile of papers which read of lost authors almost accomplishments. We, the walking unread, are a huge population. We thrive in the fact that a few loyal friends read what we write. We feel bad when the number of views on our blogs fall below 100 and every night when we listen to likes of Seth talking, we dream of the day we will own a book that has ugly connotations of India and reeks of social and cultural stereotyping. I know this reads like the rant of a self obsessed desperate author. But it is more like an attempt to rewrite illogical systems. I work in a bank as some few and numbered readers of this blog might already know. And my world is different. In my world, Murakami and Seth are considered same genre. In this place, people laugh off all kind of philosophical discussion and they have no time wonder about the higher questions of existence.
Which world do we belong to? The walking unread belongs to a class that stays put in this world all their lives and for those two seconds of rants on bloggers, dream of what it would be like to be a real writer. I love this world. The challenge of an empty page is a bigger appeal to me than that of an empty excel sheet. For now, it's just a return to my favorite challenge. Tomorrow can be reserved for the mundane and morbid.


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… most of the things that God will do in your life … will be … by responsible collaboration
For every blessing that God has for you he puts on you the responsibility to appropriate it. It is the Lord's business to make a promise and provision, it is your responsibility to take possession of what is meant for you. To take possession of it means it must be your desire to possess what God has for you. Desire expresses itself in faith, in prayer and in corresponding action. God will not give anyone what he has no desire for or what he takes no action for. Don't forget that the action is to possess and not to provide
For most of the things that God will do in your life, they will be accomplished by collaboration. The operation of the Holy Spirit in your life, for instance is collaborative. He does not usurp your responsibility; He rather works with you – Jn 15:26 (Acts 5:32). What about 'the spirit himself makes intercession for us' according to Rom 8:26? Well, the Spirit makes intercession for us because of our weaknesses.
As we patiently hope for the things which God has for us, groaning in ourselves for them, the Holy Spirit also helps our weaknesses (the general weaknesses of our present life) which limit us even as we groan in ourselves. The scripture indicates that when we pray, we do not know what we should pray for as we ought to (possibly a problem of limited expression). He helps our weaknesses by taking hold of opposite together with us. He lays hold along with us, he strives to obtain with us what we long for with groaning that cannot be expressed in human words.
Just as it is with the Holy Spirit, the role of others in your lives is not to usurp your responsibility but to cooperate with you over what you are take responsibility for. They take hold together with you, walk together with you over your desires that you can do something about or at times nothing much about. Your responsibility is however primary. There must be a desire and an action, unless you are in a state of total incapability which is an extreme – Jn 11:1-2; Jam 5:16. Some who have refused to do something (even if little) about their predicament have been found to be incapable of receiving the help because of lack of desire or unwillingness to use the change that time offers them.
You may wonder about cases like that of Dorcas in Acts 9:36-43 and Peter in Acts 12:1-19. Theirs, I observe, were extreme or near extreme cases, wherein others had to fight for their cause. The values they have added to others was the reason why those people did not let go of them. The intervention of others in those two cases was not about merely securing an extension of existence for them, it was more for the roles they were fulfilling. For them to live was Christ.
Never pass the buck of your life to another, for the change starts with you. It is time to take responsibility away from lying vanity of who shall do it for you. Jon 2:8. Get ready to cross the Jordan for yourself. You cannot sit still where you are and expect to have the experience across the Jordan. Until you get to your destination a protracted stopping over might be a tool for vulnerability.


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Follow-up on Iran
Feb 24, 2007
Some have found that the Super Bowl each year tends to be prophetic. Because the teams and cities carry a lot of symbolism it has been fun and interesting to try to predict the outcomes ahead of time. Certainly, over the years there have been too many "coincidences" to be mere chance.
This year on February 4, 2007 the Colts beat the Bears by a score of 29 to 17.
The consensus among us was that the Colts would win, with Peyton Manning (the Manchild) as quarterback. Colts are horses, which also represent the overcomers, or Sons of God. The name Jesus (Greek: Ie-sus) is actually transliterated from the Hebrew Yah-Sus, "Yahweh's Horse." The horse is spelled in Hebrew with a double samech (S-S), a letter which means "prop or support." The horse is also a symbol of Salvation, which is what Yeshua's name means.
Peyton Manning won the Super Bowl after 144 regular season starts. The number 144 has to do with the Elect, specifically the resurrected ones. The Greek name, Lazarus, carries a numeric value of 144. So this number is related to 153, "Sons of God," but differs in shade of meaning.
The game was played in the rain (the outpouring of the Holy Spirit).
"Prince" performed at half-time. Jesus (the Prince of Peace) came suddenly to His Temple in the middle of the feast of Tabernacles (John 7:14) to fulfill Malachi 3:1.
Finally, Tony Dungy and the team owner publicly gave God the credit for the victory.
All in all, the game appeared to have a prophetic implication as a sign of things to come. But in January as we discussed and pondered the implications of this match-up, I wondered if perhaps the Bears might win. After all, to me, the Bears could have signified Persia (Iran), which is called to defeat Mystery Babylon. It did not seem likely that they would win over the Colts, of course, but still . . . I wondered.
As it turned out, it was a WIN-WIN situation once again. The Bears lost to the Colts, but they scored 17, which is the number of Victory in Scripture. Yes, they won, even in losing! So what does that tell us?? This could be a political prophecy for the near future. Iran could win even in losing to the overcomers.


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I know I've told you all about how I've decided, yet again, to lose weight this year 🙄, but this time is (get out your jazz hands) different. Yep, this time I'm being kind to myself as I diet. No relentless calorie counting, berating myself when I screw up, unrealistic deadlines. Nope. Nope. Nope.
Well I'd started to lose weight, yippee, but then my recurring illness meant that I put nearly all of it back on. So I'm retracing my steps, but not muttering to myself about how useless I am as I go.
Shhhh. Can you hear that? That's the sound of me growing people.
So I started at 11st 6lbs, and I'm now 10st 9lbs; an 11 lbs loss. He's how I've been doing it.
I fast
The title was this, or listen to my body. But believe me the fasting is just listening to my body. Years ago I used to skip breakfast and I oddly didn't feel as much hunger throughout the day. Then when people would lecture me about how that's the worst thing you could do if you want to lose weight I'd go back to eating again, and then feel ravenously hungry throughout the day. Then I'd give up, ignore the people, skip breakfast and find reducing the amount I ate easier again.
This has got a name now. Intermittent fasting. I feel validated.
So I started with a 13 hrs fast, then a 16 and most days now I do an 18hrs fast. It's fine and I'm quite comfortable with it. I had to stop when I was on antibiotics as I had to take them three times a day, with meals. But when I had the opportunity to fast again I started with the 13 hours and built up again. This leads me to my next point.
I'm removing the only tree in the garden
I find the Genesis Adam and Eve story so interesting as it really reflects my life with food.
It's like I have all this lovey food to eat, but as soon as I say to myself that I can't have a particular type of food – chocolate, cake, biscuits, bread… – I want it. It's all I want.
I imbue the food with magical powers too; entertainment, glamour, comfort….
It doesn't give me any of these things and there is so much there to enjoy. Fasting reduces this desire. I'm not thinking I can have x, I'm thinking I can't eat again until y. Then I get busy, go to bed….simple really.
In the times I can eat I'm often full up from eating lunch or dinner, and as my tummy is less used to being full all the time it feels full quicker.
It's not just the sweet stuff this helps with. I noticed that if I start the fast at around six when I'm getting peckish is when I'm going to sleep, so it's easier. This has led to my not drinking alcohol as much because there can be no calories in the evening. So no evening drink, and this means no reduced resistance to having a cheeky, late night snack too. Whoppee.
I do a 36 hour fast
I know this seems counter intuitive to the kind diet mantra, but I just did one to see if I could and I kind of became hooked. On Fridays, which is the day Catholic's fast anyway (it's just normally of meat) I abstain completely from food. Prior to doing this I thought I'd be ravenous, but I wasn't. It was just a dull, vague hunger really. The odd thing is it has kind of liberated me from food.
Normally when trying to lose weight I'm madly calorie counting, constantly thinking about what I'm going to eat next, or I'm regularly stuffing my face expecting it to give me some emotional satisfaction it was never meant to anyway. See the list above.
But if I can go without food completely for 36 hours I can definitely go without that slice of cake. I don't need it, I desire it. It's evident when I do this, and I take that message with me all through the week. Breaking down the stronghold of this thought keeping me captivity is amazing.
The other way this is helping is I'm breaking free of that connection between good food and the weekend. I do this on a Friday, which our culture dictates is the time we let rip. For someone who's let rip too many times in the past this is a good safe guard.
I find this so helpful. Personally I use a Bible study by Barb Ravelling called A Taste for Truth. Each day I get it up on my kindle and journal with it. It helps me examine how I'm thinking and start to unpick it re food. Whatever way you do it I think using time to reflect on what you're thinking and what's working is always beneficial.
Baking cakes
Yes, it's an odd one isn't it? But I've started to make a ritual of baking a cake with my daughters on Saturdays to eat over the weekend. The first time we did it I carried on eating it throughout the week, whenever I fancied it as long as it was in my eating window. But gradually towards the end of last week I started to avoid eating bad food even though I technically could during my eating window. Just little shifts like saving it until after a meal, rather than just randomly tucking in. This is great because I don't want to be controlled by avoiding food instead of eating it, so this is a positive way of limiting what I have.
The lockdown
I can't just go randomly get stuff to eat, so it helps.
So this is what I've done.
Why this is a kind diet though is that each week, having reflected on what has worked the week before, I can also consider what behaviour I can modify to continue to get results. I only lost 1lb this week, it may be a plateau or a one off, but I need to continue to lose if possible. So what can I 'shave off' from my patterns.
Sweet stuff
Always an issue with me, the sweet stuff needs to be reduced. The wonderful thing about fasting is that I found that I taste sugar so much more now. I think I must have been dulling my tastebuds to it before as they were so inundated with it!
I don't want to go back to thoughts of you can't have, so I'm thinking of extending the waiting idea. Yes, but not yet. So when I want some thing sweet and it's during my eating window I'm going to say to myself that I can have it, but I need to wait half an hour first. I'll note the time, then get busy. If I remember I can have it, if I've forgotten, I didn't need it did I?
Also I want to push myself into making it part of a meal. So even better than waiting a half hour will be I can have it, but after lunch or dinner. Not because I've just seen it in the fridge.
Eating slowly
I'm finding myself feeling uncomfortably bloated after I eat. I don't know if this is as a result of my eating more than usual, or it's just that the fasting is making my tummy feel smaller as I mentioned earlier. The difficulty I have in assessing this is I eat too quickly, and I get distracted when I eat. I always sit next to my youngest who's challenging at the dinner table. So my own eating is now haphazard, unconscious and probably, embarassingly, a bit slovenly. Yuk.
I want to start to eat in a more controlled manner and stop as I'm feeling fuller. I did that this evening, it's two hours past dinner and I'm still feeling bloated. Having said that as there where still morsels on my plate I had to stop myself several times from continuing to munch them down as I sat, waiting for my daughter to finish eating. It takes a long, long time most days.
Let's see how conscious eating helps.
My husband has started going for daily walks with my girls and towards the end of the week I started to join him. It's about 4 kilometres and I can definitely feel it in my legs, but it's not too stressful as I recover from being sick so long.
This is really my go to exercise, but I'm going to aim for just the Callanetics stomach as I get my body moving again post bronchitis.
I hope you and your family are well.


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MAT 222 Entire Course
For more course tutorials visit
MAT 222 Week 1 Solving Proportions
MAT 222 Week 1 DQ 1 Can't Cancel Terms
MAT 222 Week 2 DQ 1 One-Variable Compound Inequalities
MAT 222 Week 2 Two-Variable Inequalities
MAT 222 Week 3 DQ 1 Simplifying Radicals
MAT 222 Week 3 Real World Radical Formulas
MAT 222 Week 4 DQ 1 Solving Quadratic Equations
MAT 222 Week 4 Real World Quadratic Functions
MAT 222 Week 5 DQ 1 Relations and Functions
MAT 222 Week 5 Composition and Inverse
MAT 222 Week 5 DQ 1 Relations and Functions
For more course tutorials visit
Relations and Functions. In this discussion, you will be assigned two equations with which you will then do a variety of math work having to do with mathematical functions. Read the following instructions in order and view the example to complete this discussion:
a. Find your two equations in the list below based on the last letter of your last name.
If the last letter of your last name is
On pages 708 – 711, solve the following problems
A or B
22 and 30
C or D
24 and 32
E or F
26 and 34
G or H
28 and 36
I or J
12 and 46
K or L
14 and 48
M or N
16 and 50
O or P
18 and 52
Q or R
20 and 54
S or T
2 and 56
U or V
4 and 58
W or X
6 and 60
Y or Z
8 and 64
There are many ways to go about solving math problems. For this assignment you will be required to do some work that will not be included in the discussion. First, you need to graph your functions so you can clearly describe the graphs in your discussion. Your graph itself is not required in your post, although the discussion of the graph is required. Make sure you have at least five points for each equation to graph. Show all math work for finding the points.
b. Specifically mention any key...


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Stamford Green Man v Hunts County 2
The team arrived early at the club for a team photo for the paper and official handing over of new kit from AWARE Promotional Merchandise in Peterborough. After much pruning and argy bargy in the line up, the photos were taken and dressed in smart new kit we took on Hunts County.
With major pressure not to be the first team player to drop a match and a tub of probably the best ice cream in the world awaiting the player dropping the least amount of points was proving a good incentive to stay focused.
Yet it again it fell to the Barker brothers to kick the match off with Richard to play Peter Dampney. Richard started well, playing controlled squash and keeping the ball away from Peter. A comfortable first game saw Richard through 9-3. The second game went horribly wrong as Rich had the game from hell, finding himself out of position, hitting poor shots and generally playing very muppet like. This cost him the game 9-5 and tied it 1-1. A slightly more invigorated Barker came for the third but was still drifting the ball around the court with no conviction. Some poor finishing from Peter kept Richard in the rallies and remarkably came through to take the third 9-3. The fourth was much the same but Rich kept his head to take it 9-5 and the tie 3-1 to maintain his unbeaten record.
Simon was on the other court against Andy Fuller. Attempting to end his run of, some would say loose (ish) squash, Simon went for plan B which was to up the power a bit more, after all his motto is "if in doubt – hit it harder." This had the following effect: The first was the slightly more erratic nature of the flight of the ball (given that all parts of the racket were used in an effort to gain more power ie frame, handle and occasionally strings). The second was that although not exactly tight, with the ball travelling at light speed Andy did have problems controlling his own shots. This gave Simon plenty of loose balls to put away. Too much pressure for Andy allowed Simon a fairly comfortable win 9-5, 9-6, 9-4. Was the ice cream in the bag?
Mark Smith followed Richard on, to play Paul Godwin. This had the makings of a good match, as both players are good runners. Sure enough the first couple of rallies saw some major running. Paul settled down quickly and made few errors. Although the rallies were tight it seemed Mark made the mistake first and allowed Paul to take the first 9-5. The second saw an immediate improvement in Mark's game as he took control. Tight drives and playing short to move Paul about allowed Mark a convincing 9-1 to level it 1-1. The third was a marathon with both players running and retrieving superbly. A very entertaining and tense third saw Mark under pressure and after one unforced error he just had to check to see if his racket could fly. After retrieving it he got back into it to just steal it 10-8. Disaster for Mark in the fourth as he seemed to switch off and Paul took advantage with a quick and easy 9-3 win to level it 2-2. Pressure was on Mark for the fifth, as the match report for the first to lose (unless it's me) will be harsh! The game started closely with both players chasing everything; then Mark sneaked a couple of points and stretched the lead to 7-3. Excellent battling by Paul saw around seven handouts at 7-3. Would Mark collapse under pressure. Nope. He came through to take the fifth 9-3 and the tie 3-2. Well played.
Jon Oakley was playing next door against Dave Moreau. Dave pulled some tricky shots out of the bag but struggled to match Jon's game which has to be said was somewhat in disarray for most of the tie. Fortunately Jon was able to do enough to keep Dave under pressure and though by far not his best performance, (in fact joining Richard in the muppet club and even managing to look like Fozzy bear) he took the tie 9-5, 9-6, 9-7. A comfortable win but not enough to nick the ice cream from the captain's grasp. Could Yorkie do it?
So here it was the last game; Paul York against John Ford. From the off John looked a threat to Yorkie, picking up his hard drives and well hit cross courts and returning them tight and to a good length. Yorkie struggled to find his own game and made loads of errors. Ears were blocked as Yorkie's shrill cry of disdain was heard after every point as he lost the first 9-3. Encouragement from the captain (as the ice cream was now safely in the bag) during the break and words of wisdom such "hit it harder" had the desired effect. The second saw Yorkie make fewer mistakes and start to work John hard. This gave him the edge as he took it 9-5 to even things up. Much of the same for the next two games, with errors reducing even more and the cut drop shot working again, giving Yorkie them 9-6 and 9-5 to take the tie 3-1.
Another 5-0 win. Home next week to Ely where they have an ex pro playing 1 for them. Best of luck Yorkie. Take no prisoners.


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Petco to host Holiday Wonderland
The Padres continue to beef up their non-baseball activities at Petco Park. On Wednesday, they announced a Holiday Wonderland event for the downtown venue this December.
The text of the release follows:
SAN DIEGO – It was announced today that Holiday Wonderland is coming to Petco Park this December. The inaugural holiday celebration will light up the ballpark in a way that's never been seen before, with walk-through lighting vignettes throughout the concourse, as well as unique holiday activities for all ages in every corner of Petco Park.
Beginning on Friday, December 5, and continuing for three consecutive weekends, Holiday Wonderland will be open from 5:00 p.m. to 10:00 p.m. Friday through Sunday. During the final few nights leading up to Christmas (Monday, December 22 to Wednesday, December 24), Holiday Wonderland will be open from 5:00 p.m. to 10:00 p.m.
"It's a priority for the Padres and the City of San Diego to make Petco Park a year-round facility, delivering on its promise to be more than a ballpark," said Vice President, Petco Park Events Jeremy Horowitz. "Holiday Wonderland will be an extraordinary event for this community, and we can't wait for San Diegans to experience the magic of the holidays at Petco Park."
Holiday Wonderland will offer the opportunity to ride Polar Express trains, explore Candyland, feed live reindeer, discover Santa's workshop and visit with his elves, have a photo taken with Santa, and more.
Adult admission is $15 and child admission is $10. Kids under three will be admitted free of charge. Military, group and event discounts are available. For more information or to purchase tickets, visit www.padres.com/holiday. Tickets are not date-specific. Once a ticket is purchased, it can be used for any date Holiday Wonderland is open.
Go deeper inside the Padres
Get our free Padres Daily newsletter, free to your inbox every day of the season.
You may occasionally receive promotional content from the San Diego Union-Tribune.


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1. Confidentiality
- A. Discussion of students, parents, etc., outside of school or in school, within the hearing of other students or parents is a breach of professional ethics.
- B. Employee may not engage in any private service for any parent or student, including but not limited to tutoring, house sitting, babysitting etc.
- C. Parent's addresses or telephone numbers are not to be given out or used for personal gain or for a staff member's own tutoring service, private practice, or any other services of kind. No information about particular students and/or actions of the school or students is to be divulged to outside sources or another parent without prior approval from the administration.
- D. Receiving gifts or services (other than at holiday time or year-end) from parents without disclosing and receiving permission from administration is a violation of this contract.
- E. Visiting homes, socializing or engaging in any activity with students or parents outside of school (without obtaining permission in writing from the school administrator prior to such activity) is not allowed.
2. There is to be no discussion with students or parents concerning your own personal life, problems, etc.
3. Visiting of student's homes, contacting students and parents after school hours (unless calling parents for scheduled communication feedback), fraternizing with the students, or taking the students on outings is not allowed without clearance from the administration in advance.


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text: Today's parable is great. Jesus talks of a man who throws a big banquet and invites his friends. He goes to a lot of trouble, but everyone has an excuse why he can't come. I imagine the fellow was quite hurt. The same with Jesus. He gives us the ultimate banquet, the Holy Mass. He gives his very self there. Yet people make excuses all the time why they can't go: too busy, too tired, too sick, too whatever. Every time I hear someone give me an excuse why they aren't faithful to Sunday Mass, I want to cry. It is spitting in Jesus' face after he left us the greatest banquet one could ever imagine. It is mortal sin.


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text:
The 6 Principles for Exemplary Teaching of English Learners®
With a Foreword by Jim CumminsTESOL International Association Writing TeamAs the number of English learners around the world soars, so does the need for quality English language instruction. TESOL International Association has furthered its ELT leadership role by defining a core set of principles for the exemplary teaching of English learners. The 6 Principles will help you make informed decisions to improve English language instruction and assessment. These foundational principles are for all educators and are applicable across different educational settings. This book features a detailed explanation of The 6 Principles, practical applications for your classroom, ideas for building a strong community of practice, and more!
The 6 Principles are universal guidelines drawn from decades of research in language pedagogy and language acquisition theory that should undergird any program of English language instruction. These foundational principles are for all educators in any classroom where students are learning English as a new language or learning content through that new language. They are applicable across different educational settings, such as classrooms with children, dual language learners, emerging bilinguals, and multilingual students.
What's Inside?
Plus, gain access to informational videos, book discussion questions, and additional online resources for educators and educational personnel.
Learn more at www.the6principles.org.
"The 6 Principles for exemplary teaching of English learners elaborated in these pages provide an evidence-based foundation for schools to examine their own instructional practice and work collaboratively with colleagues, parents, and policymakers to enable English learners to acquire strong social and academic language proficiency…My expectation is that this lucid and inspirational book will act as a catalyst for a process of collective pedagogical inquiry in schools across the United States and internationally." - Jim Cummins, University of Toronto, Canada
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Project from Stephen Fletcher
2007-08-31 13:56
This project involved completely gutting an early nineteenth century London townhouse and totally re-building and extending the interiors. This included digging a new basement beneath the entire footprint of the house which houses the kitchen, study and ancillary accommodation.
This area is lit via a new structural glass skylight behind the street railings. At ground floor level, the open-plan Living Room occupies features a 'hole-in-the-wall' fireplace, discreet storage, and a sophisticated audio-visual installation. An elegant oak staircase (with glass balustrade) leads up via several bedroom suites to the pièce de resistance – a fabulous double-height Master Bedroom with Dressing Area Mezzanine, Shower Room and a sunny Roof Terrace.
The exterior of the house was completely renovated, and several new windows inserted in the side elevation with plaster mouldings matching the originals.
Stephen Fletcher Architects