I learned this from Pat Hutchinson who got it from the Northern Fiddler collection. It’s one of the three unnamed hornpipes provided by Peter Turbit in that collection.
The B part is interesting since you have the opportunity of choosing ornamentation and variations to break up the repetitiveness of the “A BcdA BcdA …” bars. I put in three staccato Bs or a BcA triplet on the third instance of that particular motif (for rhythmic reasons) as an example, but you can use anything that works. Also try experimenting with cuts on the B notes in that pattern.
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