Fisher Lads hornpipe

Also known as Jenny Lind.

Fisher Lads has been added to 11 tunebooks.

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Three settings

X: 1
T: Fisher Lads
R: hornpipe
M: 4/4
L: 1/8
K: Gmaj
|:Bc|d^cdB gfge| d^cdB gfge| d^cdB d=ccB|BAcB A2 Bc|
d^cdB gfge|d^cdB gfge|dBec BGAF|G/A/B/c/ d>B G2:|
|:DC|B,DGB DGBd|GBdg Bdgb|dced dccd|BAA/B/c/B/ A2 Bc|
B,DGB DGBd|GBdg Bdgb|dBec BGAF|G/A/B/c/ d>B G2:|
X: 2
T: Fisher Lads
R: hornpipe
M: 4/4
L: 1/8
K: Gmaj
cd|e^dec agaf|e^dec agaf|e^dfe e=ddc|cBdc B2cd|
e^dec agaf|e^dec agaf|ecfd cABG|A/B/c/d/ e>c A2:|
|:ED|CEAc Eace|Acea ceac’|e^dfe e=ddc|cB/c/ d>c B2ED|
CEAc Eace|Acea ceac’|ecfd cABG|A/B/c/d/ e>c A2:|
Bc|d^cdB gfge|d^cdB gfge|d^ced d=ccB|BAcB A2Bc|
d^cdB gfge|d^cdB gfge|dBec BGAF|G/A/B/c/ d>B G2:|
|:DC|B,DGB DGBd|GBdg Bdgb|d^ced d=ccd|BA/B/ c>B A2DC|
B,DGB DGBd|GBdg Bdgb|dBec BGAF|G/A/B/c/ d>B G2:|
X: 3
T: Fisher Lads
R: hornpipe
M: 4/4
L: 1/8
K: Amaj
cd|e^dec agaf|e^dec agaf|e^dfe e=ddc|cB/c/ ed Bcd^d|
e^dec agaf|e^dec agaf|ecfd cABG|A/B/c/d/ e>c A2:|
|:ED|CEAc Eace|Acea ceac’|e^dfe e=ddc|cB/c/ d>c B2ED|
CEAc Eace|Acea ceac’|ecfd cABG|A/B/c/d/ e>c A2:|

Six comments

Fisher Lads

From the Manuscript of John Robson 1861-1900.
A typical James Hill Hornpipe which when played in its origionl key of A requires some position work on the fiddle.
Not heard much these days but as with all Hills tunes worth regular airings.
The origional details of all Robsons tunes can be found on FARNE (Folk Archive of the North East) at www.asaplive.com
The archive suggests that the mode is Ionian?

Ionian Mode is the Major Scale

and aeolian is the minor.

Posted by .

The semiquaver runs in bars 8, 12 & 16, and the isolated dotted groupings in bars 8 & 16 suggest to me that James Hill might have intended this tune to be played without the ‘dotted’ feel commonly associated with hornpipes nowadays.

Fisher Lads

Alex, I think you misread (or mistyped) some of the abc when you transposed from Amaj to Gmaj.

X: 1
T: Fisher Lads
M: 4/4
L: 1/8
R: hornpipe
K: Amaj
cd|e^dec agaf|e^dec agaf|e^dfe e=ddc|cBdc B2cd|
e^dec agaf|e^dec agaf|ecfd cABG|A/B/c/d/ e>c A2:|
|:ED|CEAc Eace|Acea ceac’|e^dfe e=ddc|cB/c/ d>c B2ED|
CEAc Eace|Acea ceac’|ecfd cABG|A/B/c/d/ e>c A2:|

X: 1
T: Fisher Lads
M: 4/4
L: 1/8
R: hornpipe
K: Gmaj
Bc|d^cdB gfge|d^cdB gfge|d^ced d=ccB|BAcB A2Bc|
d^cdB gfge|d^cdB gfge|dBec BGAF|G/A/B/c/ d>B G2:|
|:DC|B,DGB DGBd|GBdg Bdgb|d^ced d=ccd|BA/B/ c>B A2DC|
B,DGB DGBd|GBdg Bdgb|dBec BGAF|G/A/B/c/ d>B G2:|

I’ll tentatively disagree with spoon, and say that I think JH might have played this swung. I think the isolated dotted groupings are there to show that the bar written |G/A/B/c/ d>B G2| is not meant to be played like a straight polka or march (as you’d assume if the dotted > wasn’t there, but rather to maintain the default swing but "squash" that semiquaver run into the rhythm, rather like the runs of 4 semiquavers you get in strathspeys in place of triplets.

The manuscript is dated Feb 8, 1874. That’s a long time ago!

This tune is called "Jenny Lind" in Pete Loud’s book, but there’s another, more famous tune called Jenny Lind.

Fisher Lads aka Jenny Lind

Just found the same tune going by that title on the FARNE website, altho’ the 2 sources aren’t cross-referenced by title there. The notes say that Jenny Lind made a visit to Newcastle in 1848 to give a recital at the Theatre Royal. The transcription is identical to the one in Pete Loud’s book, and almost the same as the one in the John Robson ms. except for bar 4 of the A-part:

X: 1
T: Jenny Lind
M: 4/4
L: 1/8
R: hornpipe
S: William Hall Lister Ms. (1840-1860)
K: Amaj
cd|e^dec agaf|e^dec agaf|e^dfe e=ddc|cB/c/ ed Bcd^d|
e^dec agaf|e^dec agaf|ecfd cABG|A/B/c/d/ e>c A2:|
|:ED|CEAc Eace|Acea ceac’|e^dfe e=ddc|cB/c/ d>c B2ED|
CEAc Eace|Acea ceac’|ecfd cABG|A/B/c/d/ e>c A2:|