The Jaunting Car hornpipe

There are 5 recordings of a tune by this name.

The Jaunting Car has been added to 7 tunebooks.

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One setting

X: 1
T: The Jaunting Car
R: hornpipe
M: 4/4
L: 1/8
K: Dmaj
|: (3ABc |d>c (3def e>c A2 | d>B (3GAB A>F D2 | G>FG>A B>cd>B | e>dc>B A2 B>c |
d>cd>f e>cA>c | d>B G2 A>F (3DEF | G>ec>A [Gg]>e (3ABc | d2 A2 D2 :|
|: c>e |g>ec>A^G>AE>A | [CF]>[EA][A,D]>[CF] [Dd]>FA>[Ff] | [^Gg]>Be>d c>dB>c | A2 ^G2 A2 (3EF=G |
A>fd>A B>g e2 | d>A (3FGA d>f a2 | [cc']>ba<^g =g>eB>c | d>A (3gfe d2 :|

Nineteen comments

“Jaunting Car” / “The Jaunting Car” ~ Ryan’s Mammoth Collection, 1883

X: 2
T: Jaunting Car
B: Ryan’s Mammoth Collection, Boston, 1883, page 190
C: attributed to J. Hand
N: Can also be used as a clog
S: As a PDF - http://violinsheetmusic.org/collections/ryans-mammoth-collection.pdf
S: http://www.itma.ie/digitallibrary/score/ryans-mammoth-collection-3/
S: http://www.itma.ie/digitallibrary/scorch_file/ryans-mammoth-collection-3/3261/600
N: http://www.ibiblio.org/fiddlers/Ryan’sIII.htm
M: 4/4
L: 1/8
R: hornpipe
K: DMaj
|: ((3ABc) |\
({e/}d)>cd>f e>cA>c | ({e/}d)>BG>B A>FD>F | ({A/}G)>FG>A B>cd>B | e>dc>B A>AB>c |
({e/}d)>cd>f e>cA>c | ({e/}d)>BG>B A>FD>F | G>ec>A g>eB>c | d2 f2 d2 :|
|: uf2 |\
g>ec>A (^GA)(EA) | (CE)(A,C) D>FA>F | ^G>Be>d c>dB>c | A2 A2 A>GF>G |
A>fd>A B>ge>c | d>AF>A d>fe>d | c>ba>g f>gB>c | d2 f2 d2 :|

Thanks GW… I was sure I’d heard it many places before… It’s another one that Winston ‘Scotty’ Firzgeral played too. I’ve been thinking about adding that transcription as well, but I’ve several more. I mustn’t overdo it. ;-)

“The Back Of The Haggard” / “Woodcock Hill”

Wild, two more of that. I’ll have to see how the B-parts compare with each other too.

Winston ‘Scotty’ Fitzgerald ~ my fingers are being all twisty again… :-P

“Jaunting Car” ~ Winston ‘Scotty’ Fitzgerald

X: 3
T: Jaunting Car, The
S: Winston ‘Scotty’ Fitzgerald
M: 4/4
L: 1/8
R: hornpipe
K: DMaj
|: A/B/c |\
dcdf ecAc | dBGB AFDF | GFGA Bcdf | edcB A2 Bc |
dcdf ecAe | dBGB AFDF | Gece gece | d2 f2 f2 :|
|: f2 |\
gece ^GAEA | CEA,C DFAF | [^GBed cdBc | A2 AB AGFG |
AfdA Bgec | dAFA dfed | cbag fgBc |[1 d2 f2 f2 :|[2 d2 f2 d2 |]

Need for a change to that,
from | [^GBed cdBc | ~ to ~ | ^GBed cdBc |
~ removing that wayward ‘[’ - - - ;-/

:-/ ~ it is 1:30 a.m. ;-)

Nice tune, but I must admit if I see double stops in a transcription like that, I lose interest pretty quickly. I prefer a bare bones version so you can get a sense of where the tune’s going.

In fact, those double stops don’t make sense to me at all. Seem impossible to do on a fiddle. What was your reason for including them?

They’re obviously not double stops… ;-)

D-limited instruments, and as variations - - - 8-)

Where and when possible, I’ll offer some alternate move for those that are confined to a lowest note of D below the treble staff, such as winds ~ whistles, flutes, pipes… Sometimes they are obviously double stops, especially where I’ve given a fiddler as the source, as the one given in the comments, though that is without double stops. But the version given is in consideration of those D-limited instruments, and in one case for the c’ shy ~ [c’c].

Here are some of the possibilities for those bars, first as given ~ the B-part ~

|: c>e |\
g>ec>A^G>AE>A | [CF]>[EA][A,D]>[CF] [Dd]>FA>[Ff] | [^Gg]>Be>d c>dB>c | A2 ^G2 A2 (3EF=G |

~ either ~
g>ec>A^G>AE>A | C>AA,C D>FA>F | ^G>Be>d c>dB>c | A2 ^G2 A2 (3EF=G |
~ or ~
g>ec>A^G>AE>A | F>AD>F d>FA>f | ^g>Be>d c>dB>c | A2 ^G2 A2 (3EF=G |

Which can also be a choice taken by a fiddler as well, or as variations of each other…

Sorry I didn’t make that clear… And yes, I do and have played it both ways and variation in between…

Alternate versions for flute and fiddle, I’d guess.

That makes sense I guess, but it’s much easier to follow if you’re the one who’s transcribed it. I’d suggest choosing one to post and then put the other setting in the comments. That way you don’t have too much info cluttering up one place. Just an idea…

Two notes, one on top of the other, is hardly confusing… :-/

As well, with such limited choice, one ‘can’ go either way, whatever instrument you’re playing. It’s not something I do often, and when I do it is usually only a very small section that receives such treatment in the notation. The dots are easy enough to deal with, up or down, but in the ABC notation it is not such an easy read, worse if one throws in ornamentation and chords too…