CUAIRT GO h-EIRINN. AKA and see "(A) Visit to Ireland."
FATHER GRADY'S VISIT TO BOCKAGH. Irish, Reel. Ireland, County Sligo. D Major. Standard. AABB. Source for notated version: flute player Colm O'Donnell (b. 1962, Aclare, Co. Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 11.
GARRYOWEN (Garad-Eogan Le Atrugad). AKA - "Garry/Gary Owen." AKA and see "Auld Bessy," "Battle of Limerick," "The Bivouac (of the Dead)," "Bosom that Beats," "Daughters of Erin," "Finnegan's Dream," "Hurrah for the Women of Limerick," "Let Bacchus' sons not be dismayed," "O! Friendship will smile," "The Scotch Laddie," "We May Roam Thro' This World." Irish (originally), Scottish, English; Jig and (in England) North-West Morris Dance Tune. G Major (Cole, Ford, O'Neill, Phillips, Trim, Sweet, Wade): F Major (Gow, Harding): A Major (Kerr): D Major (Russell). Standard. One part (Russell): AAB (Gow): AABB (Cole, Ford, Harding, Kerr, O'Neill, Sweet, Wade): AABB' (Phillips). "Garryowen," the name of a suburb of Limerick, was written c. 1770-1780 supposedly in honor of the moneyed young hooligans who ran riot in the Irish county at the time. Garryowen translates as "Owen's garden." Samuel Bayard, however, finds the first printed appearance of the tune in Aird's 1787 Collection under the title "Auld Bessy." Another early Irish printing is in O'Farrell's Pocket Companion. After its use in a pantomime called Harlequin Amulet, produced in 1800, the jig gained great popularity as a fife and fiddle tune. It is sometimes (mistakenly) attributed to 'Jackson of Cork', a reference to the famous 18th century uilleann piper and composer Walter "Piper" Jackson. Doolin, north County Clare, tin whistle player Micho Russell described it as a "very old jig," often played for the dance called the 'plain set' in Clare and surrounding Irish counties.
***
In the United States it was adopted as a favorite marching air by General George Custer's 7th Cavalry, an association which helped to popularize the jig throughout country following Custer's demise. "It had been said that the 7th acquired the song through Captain Miles Keogh, an Irishman and a former member of the Papal Guard, but it seems unlikely that (its American use) can be ascribed to a particular person, since 'Garryowen' appeared in a number of Civil War songsters, and was therefore presumably well known to any number of American soldiers in 1861-1865 -- dates preceding Keogh's association with the 7th" (Winstock, 1970; pgs. 102-104).
***
The melody was cited as having commonly been played at Orange County, New York country dances in the 1930's (Lettie Osborn, New York Folklore Quarterly) and it was used as a tune for a single step in the English North-West morris dance tradition. Queen Victoria requested the tune of piper Thomas Mahon (along with "St. Patrick's Day" and "Royal Irish Quadrilles") during her first visit to Ireland in 1849, and the piper was thus "surprised when he learned that not only the Queen, but the Prince Consort was familiar with the best gems of Irish music" (O'Neill, 1913). His performance pleased the Queen and she directed that he might thenceforth bear the title "Professor of the Irish Union Bagpipes to Her Most Gracious Majesty, Queen Victoria."
***
Words were set to the jig melody at some point, and go:
***
Let Bacchus' sons be not dismayed
But join with me, each jovial blade
Come, drink and sing and lend your aid
To help me with the chorus:
***
Chorus:
Instead of spa, we'll drink brown ale
And pay the reckoning on the nail;
No man for debt shall go to jail
From Garryowen in glory.
***
We'll beat the bailiffs out of fun,
We'll make the mayor and sheriffs run
We are the boys no man dares dun
If he regards a whole skin.
***
Our hearts so stout have got no fame
For soon 'tis known from whence we came
Where'er we go they fear the name
Of Garryowen in glory.
***
Adam, 1928; No. 26. Aird (Selections), Vol. 3, 1788; No. 600 (appears as "Auld Bessy"). American Veteran Fifer, 1927; No. 59. Carlin (The Gow Collection), 1986; No. 502 (appears as "Gary Owen"). Cole (1001 Fiddle Tunes), 1940; pg. 63. Ford (Traditional Music in America), 1940; pg. 118. Gow (Complete Repository), Part 2, 1802; pg. 30. Harding's Original Collection, 1928; No. 7. Harding's All-Round, 1905; No. 187, pg. 59. Howe (Diamond School for the Violin), 1861; pg. 49. Jarman (Old Time Fiddlin' Tunes), No. or pg. 16. Kerr (Merry Melodies), Vol. 1; No. 17, pg. 37. Old Fort Snelling Instruction Book for the Fife, 1974; pg. 61.O'Neill (1850), 1903/1979; No. 971, pg. 180. O'Neill (1001 Gems), 1907/1986; No. 1001, pg. 172 (includes variations). Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 365 (appears as "Gary Owens"). Robbins, 1933; No. 69. Russell (The Piper's Chair), 1989; pg. 23. Saar, 1932; No. 5. Sweet (Fifer's Delight), 1964/1981; pg. 22. Trim (Thomas Hardy), 1990; No. 52. Wade (Mally's North West Morris Book), 1988; pg. 4. Winstock (Music of the Redcoats), 1970; pg. 103. Edison 50870 (78 RPM), Joseph Samuels, 1919 (appears as 1st tune of "St. Patrick's Day Medley").
X:1
T:Cary Owen (sic)
L:1/8
M:6/8
S:Gow - 2nd Repository
K:F
f|~fcB ~AGF|A>BA A2f|~fcB ~AGF|GAG G2f|~fcB ~AGF|
ABA A2d|c>de f2A|GAG G2:|
A/B/|(A/B/c)A ~c2A|c2A c2f|d2B d2B|d2B d2e|f2g {fg}a2g|f2d c2A|
cde f2A|GAG G2 A/B/|{AB}c2A {AB}c2A|{AB}c2A c2f|d2B d2B|
d2B d2e|f2g {fg}a2g|f2d c2A|cde f2A GAG G2||
X:2
T:Garryowen
L:1/8
M:6/8
S:O'Neill - 1001 Gems (1001)
K:G
g/f/|edc BAG|B>cB Bgf|edc BAG|ABA Agf|edc BAG|B>cB B2 B/c/|def gdB|A>BA A2:|
|:B/c/|d2B d2B|dec dgf|e2c e2c|efd e2f|g2a b2a|gfe edB|def gdB|A>BA A2:|
|:g|e/f/ge dBG|BGB Bgf|e/f/ge dBG|AFA Agf|e/f/ge dBG|BGB BAB|def gdB|ABA A2:|
|:B/c/|dBg dBg|dBg d2g|ecg dcg|ecg e2f|g2a b2a|gfe dcB|def gdB|ABA A2:|
|:B/c/|d2B g2B|b3 bag|f2g a2b|c'ba gfe|d2B g2B|b3 bag|def gdB|ABA A2:|
|:c/B/|A2B c2c|B2c d2d|e/f/gd gbd|e/f/gd e2f|g2d b2d|gfe dcB|def gdB|ABA A2:|
GIVE ME YOUR HAND (Tabhair domh do Lámh). AKA - "Mihi Manum." Irish, Air (6/8 time) {"boldly"} or Waltz (i.e. Bulmer & Sharpley). G Major/Mixolydian (Brody, Matthiesen): G Mixolydian (Mallinson, O'Neill, O'Sullivan/Bunting, Tubridy). Standard. One part (Brody, Mallinson, Ó Canainn, O'Neill): AB (Tubridy): ABC (Matthiesen). The index of the Irish collector Edward Bunting's 1840 collection gives that the piece was composed in 1603 by Ruainn Dall O'Catháin (d. 1653), or familiarly Rory Dall (Ó Cahan), originally an Ulster harper who performed and composed primarily in Scotland (the Gaelic appelation 'dall' means 'blind'). Rory Dall is said to also have been an accomplished performer on the bagpipes and was much respected by the Highland gentry. There is some indication that O'Catháin changed his name to Morrison while in Scotland. The O'Catháin/O'Cahans were a powerfull clan in parts of Antrim and Derry, which lands were called the O'Cahan country, and were loyal pledges to Hugh O'Neill, whose harper Rory Dall was said to be (O'Neill, 1913). A legendary account, related by Francis O'Neill (1913), gives some idea of the lasting loyalty of fuedal obligation. It seems that "Give Me Your Hand" (or, in Latin, "Mihi Manum") became renowned in Rory Dall's lifetime, and that both tune and the story of its composition (related below) reached the ear of King James the Sixth, who bade the harper appear at the Scottish court. He performed the tune and so delighted the king that James familiarly laid his royal hand on the musician's shoulder. When he was asked by a courtier if he realized the honor the king had shown him by the action, Rory is said to have replied: "A greater than King James has laid his hand on my shoulder." Who was that man? cried the King. "O'Neill, Sire," proudly said the harper, standing up. Rory's branch of the family came into conflict with the powerful O'Donnell clan of
***
An account of the occasion of Rory Dall's composing this tune is included in O'Neill's Memoirs (MS 46, pg. 27), and goes:
***
(Rory Dall) took a fancy to visit Scotland where there were
great harpers. He took his retinue (or suit) with him. Amongst
other visits in the style of an Irish chieftain he paid one to a
Lady Eglinton, and she not knowing his rank in a peremptory
manner demanded a tune which he declined, as he only came
to play to amuse her, and in an irritable manner left the house.
However, when she was informed of his consequence she
eagerly contrived a reconciliation and make an apology, and
the result was that he composed a tune for her ladyship, the
handsome tune of "Da Mihi Manum" (Give Me Your Hand)
on which his fame spread thro' Scotland.
***
The melody's popularity was long-lived, as attested by its appearance in many collections througout the 18th century, including Wright's Aria di Camera (1730), Neal's Celebrated Irish Tunes (c. 1726), Burk Thumoth's Twelve English and Irish Airs (c. 1745-50), Thompson's Hibernian Muse (c. 1786), Brysson's Curious Selection of Favourite Tunes (c. 1790, and Mulholland's Ancient Irish Airs (1810). The Latin title first appears in the Wemyss manuscript of 1644 and in the Balcarres manuscript of 1692, though the English or Gaelic translations were not given until Bunting's 1840 edition (Sanger & Kinnaird, 1992). In modern times this ancient harp air has entered modern Irish playing tradition, and is a favorite in County Donegal, for one. Sources for notated verisons: Bunting noted the tune in 1806 from the elderly harper Arthur O'Neill [O'Sullivan/Bunting]; Planxty (Ireland) [Brody]; Jay Ungar (West Hurley, New York) [Matthiesen]; O'Neill credits himself with the version in his Music of Ireland, though it seems nearly identical to Bunting's versions. Brody (Fiddler's Fakebook), 1983; pg. 120. Bulmer & Sharpley (Music from Ireland), 1974, Vol. 1, No. 83. Mallinson (Enduring), 1995; No. 97, pg. 41. Matthiesen (Waltz Book II), 1995; pgs. 20 & 21. Ó Canainn (Traditional Slow Airs of Ireland), 1995; pgs. 20-21. O'Neill (1850), 1979; No. 406, pg. 71. O'Neill, 1913; pg. 60. O'Sullivan/Bunting, 1983; No. 63, pgs. 97-98. Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 40. Bay 203, Jody Stecher- "Snake Baked a Hoecake." Polydor 2383 397, Planxty- "Planxty Collection" (appears as "Tabhair Dom Do Lamh"). RCA 5798-2-RC, "James Galway and the Chieftains in Ireland" (1986). Shanachie 79009, "Planxty" (appears as "Tabhair Dom Do Lamh"). Shanachie 79012, Planxty - "The Planxty Collection" (1974).
T:Tabhair Dom Do La/mh
T:Give Me Your Hand
C:Rory Dall O'Cathain
B:Robin Williamson "The Pennywhistle Book p 60
Z:By Phillip L. Sexton
M:6/4
L:1/4
Q:55
K:G
D|EGG G2D|EG>A G2D|EGG GAB|B"tr"ed/2e/2 B2A/2G/2|
AAe/2d/2 BBd/2B/2|AA/2B/2 A/2G/2 "tr"E2D|EGG G2D|EGG G2||
D|"sm"EGG GAB|d/2e/2 d/2B/2 A/2B/2 G2D|EGG GAB|Bed B2A/2G/2|
AAe/2d/2 BBd/2B/2|AA/2B/2 c/2d/2e2d/2B/2|dde "sm"g2e/2d/2|
ee (3g/2e/2g/2 a2 d/2e/2|gg d/2e/2 gg d/2e/2|gg (3a/2g/2a/2 b3|bbb b2a/2g/2|
aa/2g/2 a/2b/2 a2g/2f/2|~e3/2f/2(3g/2f/2e/2 ddg|~B3/2d/2 c/2B/2 A2(3c/2B/2A/2|
GG/2A/2 B/2d/2 "sm"=f2e/2d/2|eeg e2d/2B/2|ddg BBd/2B/2|AA/2B/2 (3c/2B/2A/2 G2||
HARE IN/AMONG THE CORN [1] ("An Gearrgiad Annsa Arbar" or "Gearrfhiadh 'San Arbhar"). AKA and see "The Absent-Minded Man." English, Scottish, Irish, American; Jig. England, Northumberland; USA, Massachusetts. G Major/Mixolydian (O'Neill, O'Sullivan/Bunting, Vickers): A Major (Johnson, Kerr). Standard or AEAE. AB (O'Sullivan/Bunting): AA'B (Kerr): AABB (O'Neill, Vickers): AABBCCDDEEFGGHHIIJJ. Another double-entendre title. Johnson (1983) believes "Hare in the Corn," which was often played in scordatura tuning, to be very old, and says there is a short set of it in the Scottish Skene Manuscript of c.1630-1640. It also appears in Riddell's Scotch, Galwegian and Border Tunes (1794). In America, the somewhat simplified version of the melody was copied into Whittier Perkin's violin MS (Masschusetts, 1790). The variations in Johnson are from the Trotter Manuscript and were probably composed later than 1760, based on his stylistic analysis. Flood (1906) indicates it was a dance tune popular in Ireland at least as far back as 1779, as its playing is mentioned by Beringer in an account of a "cake" dance (where the prize was a cake) he participated in while on a visit to Connacht. Bunting (1840) identified the piece as "an ancient tune for the pipes, in which there is an imitation of a hunt, including the sound of the huntsmen's horns, the crying of dogs, and finally the distress and death of the hare." The pipes, he thought, were the only instrument which could musically render all these elements, particularly the dying cry of the hare. 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'Farrell (Pocket Companion for the Union Pipers), volume I, pg. 77. O'Neill (1850), 1903/1979; No. 766, pg. 143. O'Neill's (Dance Music of Ireland), 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.
JOHN ANDERSON MY JO. Scottish, Air and Country Dance Tune (4/4 time). A Minor. Standard. AABB'. Kidson (1915) asserts the tune comes from "remote antiquity," meaning in the case the 16th or 17th century. Alburger (1983) finds "John Anderson" in the Agnes Hume MS (1704), which includes "the earliest Scottish descriptions of a country dance with music, (in which the tune) in the original is written out completely four times," but Emmerson and others find earlier, prototype, versions in lute manuscripts such as the Rowallan (c. 1612-28) and Skene (1615-20).
***
Mary W. Stuart dates the words and tune to about 1560, and relates that the hero of the ditty was traditionally supposed to "have been the town-piper of Kelso and a very gay dog." "John Anderson" is called for twice as the vehicle for songs in Allan Ramsay's Tea-Table Miscellany (1724), however, many different sets of lyrics were set to it including some famously bawdy songs as well as Robert Burns' famous lyrics, contributed to James Johnson's Scots Musical Museum (vol. iii, 1790). The melody retained its popularity and became a favorite song of the early 19th century, at least in Lowland Scots centers, records Emmerson (1971), who notes it (probably with the Burns lyrics attached) was among those selected by Queen Victoria for John Wilson's recital during her 1842 visit to Taymouth Castle (Wilson was the foremost professional singer of Scots songs of the time). There are reportedly some forty variants of the tune, which can be found in England (e.g. "Pauls' Steeple," "I am the Duke of Norfolk"), in Wales to Welsh words ("Yn Nyfrfryn Clwyd" {The Vale of Clyde}), in Ireland and Scotland with Gaelic and English lyrics ("Cruiskeen Lawn"), in Sweden (see Macfarlane), and in America as "When Johnnie Comes Marching Home Again." Cazden (et al, 1982) points out that writers differ greatly on which tunes should be considered related to each other and which should be considered as separate and distinct melodies. Lyrics to the tune generally depict attempts to entice or a frustrated complaint with the protagonist:
***
John Anderson, my jo, cum in as ze gae by,
And ze sall get a sheip's heid well baken in a pye;
Well baken in a pye, and the haggis in a pat;
John Anderson, my jo, cum in, and ze's get that.
***
From the Merry Muses:
***
John Anderson, my jo John, I wonder what you mean,
Ye're goin' on the spree John, and stayin' oot at e'en.
***
Ye're going to Lucky Fill the Stoups, ye meet wi' Cooper Will,
Ye sit and booze like silly gowks, and aye the other gill.
***
David Herd's collection of Scottish Songs and Heroic Ballads (1776) gives the verse:
***
When I was a wee thing, and just like an elf,
All the meat that e'er I gat, I laid upon the shelf.
The rottens and the mice, they fell into a strife,
They wadnae let my meat alane till I gat a wife.
***
Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 13, pg. 34.
KERRYMAN'S VISIT TO DUBLIN, THE. Irish, Jig. D Minor. Standard. AB. Peter Kennedy states that this melody is popular as a fiddle tune, as a march and as a Highland Schottische. Lucy Broadwood (JFSS 5) comments that this tune family is widely known in Ireland and Scotland, and can be found (in either long or short forms) as the melody for the songs "The Crafty Wee Bony," "Lucy's Flitting," and a fife-dance version of "The Lass O'Glenshee," while Cazden (et al, 1982) adds Ord's "The Road to Dundee," and his Catskill Mountain (New York) collected song "The Hills of Glenshee." Source for notated version: Mr. Flattely of Mayo, via Forde (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 489, pg. 270.
KING OF THE PIPERS [1] ("Rig na Piobairide" or "Rí na bPíobairí"). AKA and see "The Farting Badger," "The Kilraine Jig," "McSweeney's Jig." Irish, Double Jig. Ireland, County Donegal. D Major/Mixolydian. Standard. AABCC' (Breathnach): AABBCCDD (Alewine, Brody, Carlin, Feldman & O'Doherty/Doherty): AABBCCDDE (O'Neill): AABBCCDDEE (Taylor): AABBCCDDEEFF (Feldman & O'Doherty/Byrne). A popular jig in County Donegal, where there are two different versions (See version #2). Francis O'Neill (Irish Folk Music) says that the multi-part tune "created a sensation" when introduced to Chicago traditional musicians and dancers ("who had never heard" it before) by the elderly fiddler Edward Cronin, originally from Limerick Junction, County Tipperary. O'Neill thinks it "quite probable" it had originally been a clan march. Caoimhin Mac Aoidh (1994) states that the tunes "clearly have piping origins" and remarks on the melody/drone rendition of the piece by Teelin, Donegal, fiddlers Francie Dearg and Mickey Ban Byrne--a style imitative of the pipes. Feldman & O'Doherty (1979) believe the brothers probably obtained their version from piper Mickey Gallagher, a travelling cousin of John Doherty's. Alternate titles are "The Kilraine Jig," named after a townland outside Glenties in the central mountain district of County Donegal, "McSweeney's Jig," named for the famous Donegal uilleann piper and fiddler Tarlach McSweeney, and "The Farting Badger." Caoimhin Mac Aoidh maintains that the "King of the Pipers" title references McSweeney, although because of McSweeney's fame a number of tunes he played were simply titled "King of the Pipers." "The Farting Badger" title Mac Aoidh indicates was specific to the Teelin region of County Donegal (which had an abundance of good fiddlers in the 1920-30s). Sources for notated versions: Edward Cronin [O'Neill]; Sean Keane (Ireland) [Brody]: fiddler John Doherty, 1966 (1895-1980, Co. Donegal, Ireland) [Breathnach, Feldman & O'Doherty]; fiddlers Francie and Mickey Byrne (County Donegal) [Feldman & O'Doherty]; set dance music recorded live at Na Píobairí Uilleann, mid-1980's [Taylor]. Alewine (Maid that Cut Off the Chicken's Lips), 1987; pg. 22. Breathnach (CRE II), 1976; No. 45, pg. 25. Brody (Fiddler's Fakebook), 1983; pg. 159. Carlin (Master Collection), 1984; No. 234, pg. 136. Feldman & O'Doherty (Northern Fiddler), 1979; pg. 57 & pg. 177. O'Neill (1850), 1979; No. 702, pg. 130. Taylor (Music for the Sets: Yellow Book), 1995; pg. 26. Gael-Linn 068, Seamus Glackin- "An Fhidil." Claddagh CC17 Sean Keane- "Gusty's Frolics." Green Linnett, "Mick Moloney." Green Linnett GLCD 1117, Altan - "Harvest Storm" (1992. A five-part version learned "many years ago on a visit to the house of the late Mickey and Francie Byrne of Kilcar, Co. Donegal"). GTD Heritage Trad. HCD 008, Tommy Peoples - "Traditional Irish Music Played on the Fiddle." Nimbus NI 5320, Ciaran Tourish, Dermot McLaughlin, Seamus Glackin, Kevin Glackin - "Fiddle Sticks: Irish Traditional Music from Donegal" (1991).
T:King of the Pipers [1]
L:1/8
M:6/8
K:E Minor
A (3A/A/A/ D B (3B/B/B/ D|ABG FED|A (3A/A/A/ D BAF|GAG FED|
A (3A/A/A/ D B (3B/B/B/ D|ABG FED|CEG cGE|GAG FED:|
|:fga afd|ded {c/d/}cAG|~F2D (3c/B/A/ GF|GAG FED|fga afa|geg fdA|
GFG (3c/B/A/ GF|GAG FED:|
|:def def|def dFA|def dAF|GEF GFE|~d3 ^cdc|B^cB AFD|CEG cGE|
GAG FED:|
|:d (3D/D/D/ D c (3D/D/D/ D|B (3D/D/D/ D A (3D/D/D/ D|
d (3D/D/D/ D cAF|GAG FED|d (3D/D/D/ D c (3D/D/D/ D|
B (3D/D/D/ D AFD|CEG cGE|GAG FED:|
LARK'S MARCH, THE. AKA and see "The Green Meadow." Irish, Jig. "The Lark's March" was Seamus Ennis' name for the melody, which also goes (along with other tunes) by the title of "Geese in the Bog." Ennis told a story about the tune to fiddler Caoimhin Mac Aoidh once during a visit in Galway. It seems that two pipers were in a competition, with the first piper to run out of tunes being the looser. Both musicians played through the night and as the sun was dawning both had played their entire repertoires, with the result that the one who played first had to concede, though only if the second could discharge one more tune. The second struggled to come up with just one more and was feigning thought to buy time when he spied a lark wading through the dewy grass looking for a morsel. It began its morning song which inspired the piper played to play an imitation, and with that he won the competition. Source for notated version: flute player Matt Molloy [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1976, Vol. 4; No. 62. Green Linnet GLCD 1155, Martin Hayes - "Under the Moon" (1995).
LOCHABER NO MORE (Cha Till Mor Mo Bhean). AKA and see "Lament for Limerick," "Limerick's Lamentation," "King James's March to Ireland," "Sarsfield's Lamentation." Scottish, Slow Air or Lament (3/4 time). A Mixolydian (Boys of the Lough): F Mixolydian (Neil): A Dorian (Kerr). Standard. One part (Neil): AAB (Martin): AABB (Boys/Lough, Kerr). "Lochaber No More" has been a favorite tune of Scottish pipers who use it as a funeral march or lament, though its origins may or may not have have been Irish. O'Neill (1913) reports that the last of the ancient Irish harpers at the Belfast Harp Festival of 1792 universally referred to one Myles O'Reilly as the composer of original "Lochaber." O'Reilly was born about 1636 in Killincarra, County Cavan. An air called "The Irish Tune," an early version of the melody, was printed in Thomas Duffet's New Poems, Songs, Prologues, and Epilogues, etc, published in 1676 (a copy of which O'Neill states can be found in the British Museum). It subsequently appeared in the Leyden Manuscript written for lyra-viol c. 1692 under the title "King James March to Ireland" and in the Atkinson Manuscript (1694) as "King James March to Dublin" (Sanger & Kinnaird, in their 1992 book Tree of Strings, say that the denotation 'march' is likely a commemorative title as the piece is in 3/4 time in these publications, even though organized marching to a 4/4 or 6/8 beat was not part of Scottish military usage until after this period). As an untitled piece it appears in the c. 1712 Skene Fiddle Manuscript. Sanger & Kinnaird believe that the military event the King James titles refer to is the expedition of James II from Kinsale to Dublin in March, 1689, which ties the melody to the titles by which it is known in Ireland, "Limerick's Lament" and "Sarsfield's Lamentation;" Limerick having been laid siege to and captured in 1691 later in the conflict, and Sarsfield having been the commander of the Irish forces in the city. Neil (1991) relates: "It is on record that, in the old days, the playing of this nostalgic Gaelic air to the Highland regiments on active service abroad had such a profound adverse effect on the morale of the men, that eventually it had to be banned." A pipe setting of the tune appears in the Boys of the Lough book. Another setting was used as a vehicle for words by the Lowland Scots poet Allan Ramsay entitled "Lochaber No More," which relates the feelings of a Highland soldier's leavetaking for active service abroad and the sense he will not return.
***
Farewell to Lochaber, farewell to my Jean
Where heartsome wi' her I ha'e many day days been
For Lochaber no more, we'll maybe return
We'll maybe return to Lochaber no more.
These tears that I shed, they are a' for my dear,
An' no' for the dangers attending on weir,
Tho' bourne on rough seas to a far distant shore,
May be return to Lochaber no more.
***
Actually, the poem appeared in Ramsey's Tea Table Miscellany of 1724, though the tune was not actually printed with the words until Thompson's Orpheus Caledonius in 1733. Sanger & Kinnaird point out that variants of the melody as a song tune seem to have been current in Scotland prior to 1724, "to an extent which makes it unlikely that they were drived from an Irish tune imported only around 1700" (1992, pg. 109). Poet Robert Burns used a one-strain variant for his ballad "Lord Ronald, my son" which he said was "a favourite one in Ayrshire...evidently the original of 'Lochaber.'" "Locaber No More" was requested by Queen Victoria during her 1842 visit to Taymouth Castle for a recital by one of the most celebrated singers of Scots songs of the time, John Wilson. In the 1970's the song became a hit after it was recorded by the British group The Proclaimers. Boys of the Lough, 1977; pg. 22. Kerr (Merry Melodies), Vol. 3; No. 421, pg. 47. Martin (Ceol na Fidhle), Vol. 2, 1988; pg. 21 (includes a harmony part). Neil (The Scots Fiddle), 1991; No. 166, pg. 215. Tartan Tapes CDTT1004, Alasdair Fraser - "Heat the Hoose" (1998). Transatlantic TRA 311, Boys of the Lough - "Lochaber No More."
LOVER'S GHOST, THE. Irish, Air (4/4 time). C Minor. Standard. One part. "I learned both air and words at home when I was a boy. The subjict is the visit of a young woman's ghost at night to her living lover: but she has to depart at cockcrow. The words are well suited to the sad air: words and air are now published for the first time. For Mr. A.P. Graves's adaptation see his Irish Song Book', p. 21. The air given there, however, is quite different than mine" (Joyce). Sean O Boyle (1976) remarks that "The Lover's Ghost," similar to "Barbara Allen," "The Ploughboy" and other songs, is an English or Scottish transplant to Ireland, where it was often sung to a native melody. Joyce (Old Irish Folk Music and Songs), 1909; No. 408, pg. 219.
PET IN THE KITCHEN, THE (An Peata sa Chistineach). Irish, Double Jig. Ireland, County Donegal. The title comes from County Donegal fiddler John Doherty's name for a particularly fine fiddle that was hung on a kitchen wall in a house that he used to visit. A popular jig in County Donegal. The 'B' part of the tune is the same as that of "Sweet Biddly Daly" and similar to that of "Saddle the Pony." Green Linnett BLCD 3090, Mairead Ni Nhaonaigh and Frankie Kennedy - "Ceol Aduaidh" (1983/1994).
RETURN TO CAMDEN TOWN. Irish, Reel. A Minor. Standard. AABB. Caoimhin Mac Aoidh associates this tune with the playing of Brendan McGlinchey in London in the 1970's, although it was popularized by Joe Burke who recorded the tune in the 1960's after a visit to that city. Camden Town is in the north of London and was a hotbed of Irish music driven by Irish émigrés in the mid-20th century. The tune has been attributed to Bobby Casey by older musicians in the area. Return to Camden Town is also now the name of a famous week-long Irish music and heritage festival sponsored by the London Irish Center at Camden Square. Source for notated version: fiddler Jim McHugh [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), Vol. 3, No. 41. Mulvihill (1st Collection), 1986; No. 224 (appears as unknown reel). "Josephine Marsh." Joe Burke - "Galway's Own Joe Burke." Gerald Trimble - "First Flight." Green Linnet SIF 3075, Martin Carthy & Dave Swarbrick - "Skin & Bones." Shanachie 78015, James Keane - "With Friends Like These" (1998).
X:1
T:Return to Camden Town
L:1/8
M:C
S:Mulvihill - 1st Collection (224)
R:Reel
K:A Minor
E2 DE CA, (3A,G,A,|EDCD EGAB|cBcd edeg|aged cABG|E2 DE CA, (3A,G,A,|
EDCD EGAB|cBcd edeg|1 aged cA A2:|2 aged cAAB||
|:c2 gc acgc|c2 gc BAGB|cBcd edeg|aged cAAB|c2 gc acgc|
c2 gc BAGB|A^GAB cdea|gedB cABG:|
X:2
T:Return to Camden Town
M:4/4
L:1/8
R:reel
K:Am
E2 DE CA,A,F|EDCD EGAB|cBcd edeg|aged (3cBA BG|
DEGE CA,A,D|EDCD EGAB|cBcd edeg|aged cA A2:|
~c2 gc acge|cdec dBGB|cBcd edeg|aged cAAB|
c2 gc acge|cagc dBGB|A2 AB cdea|gedB cA A2:|
"variation, bar 1 or 5 of 2nd part"
|c2 Gc EcGB|
RÓISÍN DUBH ("The Small/Little Black Rose" or "The Dear Dark Rose") [1]. AKA and see "Little Black Rose" [3], "Black Rose Bud," "Little Black(-haired) Rose Bud," "Rois/Ros Bheag Dubh," "(An) Rois Gheal Dubh," "Mo Rois Bheag Dhubh," "My Dark Rosaleen." Irish, Air (3/4 time). D Minor. Standard. One part. A harp tune of the Jacobite period (late 16th century) written and composed, some have said, in praise of Hugh Roe O'Donnell (Red Hugh O'Donnell) and in support of the Stuart kings. The title is widely reported to have been an allegorical name for Ireland (Flood, 1906), at least at one time in history, but whether the song was political allegory or an ode to love, it was probably the most widespread of Gaelic Irish folk songs in the 18th century with words collected from all four provinces of the country. O'Daly (1851) remarks that the original song was supposed to have been composed in the reign of Elizabeth for the celebrated Aodh Ua Domhnaill, Prince of Tir Chonaill (Tirconnell), and, while the allegorical allusions to Ireland under the name of 'Roison' had long been forgotten, "Róisín Dubh" by the time he wrote was known by the populace as "merely a love song." O'Sullivan (1983) begs to differ, saying there is no reason to believe the "original" song was composed in the Elizabethan era for Red Hugh O'Donnell (who was Chief of Tirconnell, not Prince), and finds that only three verses out of all those in a large number of variants have a possible "political bearing." Parenthetically, as alluded to, O'Donnell was one of the leaders of the native Irish in the war against the Elizabethan English. In his struggle he was assisted by troops from Catholic Spain, and on a visit to that country in 1602 to recruit further troops, he died and was buried in the Franciscan Church at Valladolid.
***
Edward Bunting (1840) thought the melody to have been "undoubtedly very ancient." His source sang the tune and "played chords in the Arpeggion style with excellent effect. The key note at the end of the strain, accompanied by the fifth and eighth, without the third, has a wailing, melancholy expression, which imparts a very peculiar effect on the melody." Cowdery (1990) finds the tune a member of "The Blackbird" family, and analyzes it in his work "The Melodic Tradition of Ireland." Actually, there are two melodies extent which carry the "Roisin Dubh" text. Sean nos singer Joe Heaney identified that the Blackbird-family version is "the Connemara version" while the "Roisin Dubh" melody more often heard is "the Munster version" (as, for example, sung by another sean nos singer, Paddy Tunney).
***
A Róisín, ná bíodh brón ort na cás anois,
Tá do phardún ón Róimh is ón bPápa 'gat,
Tá na bráithre 'teacht thar sáile is a' triall thar muir,
Is ní cheilfear fion Spáinneach ar mo Róisín Dubh.
***
Tá grá 'gam i m'lár duit le bliain anois
Grá cráite, grá cásmhar, grá ciap(a)tha,
Grá 'd'fhág mé gan sláinte, gan rian, gan rith,
'S go brách, brách, gan aon fháil agam ar mo Róisín Dubh.
***
Do shiúlfainnse an Mhumhain leat is ciumhais na gcnoc,
Mar shúil go bhfaighinn rún uait nó páirt le cion;
A chraobh chumhra, tuigtear dúinne go bhfuil grá agat dom,
'S gurb í plúrscoth na mban múinte mo Róisín Dubh.
***
Beidh an fharraige 'na tuilte dearga 's an spéir 'na fuil,
Beidh an saol 'na chogadh craorac de dhroim na gcnoc
Beidh gach gleann sléibhe ar fud Eireann is móinte ar crith,
Lá éigin sula n-éagfaidh mo Róisín Dubh.
***
O'Sullivan finds either lyrics or melody and lyric in the following publications: Hardiman (Irish Minstrelsy), 1831, volume I, pg. 254; Hudson (The Citizen of Native Music of Ireland), 1842, Nos. 12 & 25 (appears as "Ros Bheag Dubh"); O'Daly (Poets and Poetry of Munster), 3rd edition, 1851, pgs. 210-217 (appears as "Rois Gheal Dubh--Little Black-haired Rose"); Petrie (Ancient Music of Ireland), 1855, pgs. 93-95; Walsh (Irish Popular Songs), 2nd edition, 1888, pgs. 60-65 (appears as "An Ros Gheal Dubh"); Joyce (Irish Music and Song), 1888, pgs. 13-14 (appears as "An Ros Gheal Dubh"); Stanford/Petrie (Petrie Collection of Irish Music), Nos. 1240 & 1241; Source for notated version: the melody was noted by the Irish collector Edward Bunting in 1796 (or 1792) from the playing of Irish harper Daniel Black. O'Sullivan/Bunting, 1983; No. 18, pgs. 27-31. Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 42.
T:Mo Róisín Dubh
L:1/8
M:
K:D
A>F|A D3 FA|(e2 f/e/d/e/ f2) e d A>F|(E3 F/E/D/E/ F2) E|D6 d>e|
(ff/) g3 (f g/f/e/)|((dd/) e/f/) ((ee/) f/e/)d/ c A3 FA|(ee/) f/e/d/e/ f3 (e/f/e/)|d6 d>e|
(ff/) g3 (f g/f/)e/|((dd/) e/f/ e/3 f/e/d/ c) A3 FA|(e3 f/e/d/e/ f3 (e/f/e/)|d6|
B A>F|A D3 FA|(e2 f/e/d/e/ f2) e d B2 A>F|(E3 F/E/D/E/ F2) (E/F/E/)|D6||
ROYAL IRISH QUADRILLES. Irish. A tune(s) requested by Queen Victoria of piper Thomas Mahon during her first visit to Ireland in 1849, who "was surprised
SEÁN Ó DUIBIR AN GLEANNA [1] (John O'Dwyer of the Glen). AKA - "Seán Ó Duibhir a' Ghleanna." AKA and see "John O'Dwyer of the Glen." Irish, Air (4/4 time) and set dance. Ireland, Munster. A Minor (Roche): A Dorian (Breathnach): G Major (Ó Canainn). Standard. AAB (Ó Cainainn, Roche): AA'BB (Breathnach). John O'Dwyer of Aherlow, County Tipperary, was a soldier during the mid-17th century wars between the native Irish the English forces under Oliver Cromwell. When the Irish were defeated a number fled the country rather than surrender, O'Dwyer among them. He made his way to Flanders where he fought on the side of the Spanish. The melody, a lament for the hero (the song is still a staple of the sean nós repertoire), appears in O'Farrell's c. 1800 Collection of National Irish Music for the Union Pipes and/or his Pocket Companion for the Irish or Union Pipes, and also is given in the 1849 Poets and Poetry of Munster. Joyce included it in his Irish Music and Song. See also the variant "Uair Bheag Roimh A' La" (A little hour before day), which O'Neill (1910) believes is a variant of this tune; as well as the melodies "Farewell to Ardmore" and "A dhochtuir dhilis." O'Neill (1913) quotes a grand story told by the famous 19th century Donegal uilleann piper Turlogh McSweeney (which will make a bit more sense by reading the note for "The Wild Irishman"):
***
...when I was living alone in the little cabin after my mother
died--God rest her soul--there came to the door in the dusk
of the evening a stranger and nothing less than a piper, by
the way, who with a 'God save all here,' introduced
himself as was customary. I invited him in, of course,
and after making himself at aise he says, 'Would you like
to hear a 'chune' on the pipes? 'I would that,' said I, for
you know a piper and his music are always welcome in an
Irish home. Taking his pipes out of the bag, he laid them on
the bed beside him, and what do you think but without anyone
laying a finger on them, they struck up "Toss the Feathers" in
a way that would make a cripple get up and dance. After a
while, when they stopped, he says, 'Will you play a 'chune'
for me now?' I said I would and welcome, pulling the blanket
off my pipes that were hid under the bedclothes, to keep the
reeds from drying out. 'Give us "Seaghan ua Duibhir an Gleanna"
says I to the pipes, and when they commenced to play, the
mysterious stranger, who no doubt was a fairy, remarked 'Ah!
Mac, I see you are one of us.' With that both sets of pipes played
half a dozen 'chunes' together. When they had enough of it, the
fairy picked up his pipes and put them in the green bag again. If I
had any doubts about him before, I had none at all when he said
familiarly, 'Mac, I'm delighted with my visit here this evening,
and as have several other calls to make I'll have to be after bidding
you good night, but if I should happen to be passing by this way
again, I'll be sure to drop in.
***
The first verse of the song goes:
***
An sionnach rua ar a' gcarraig, Míle liú ag marcaigh,
Is bean go dúch sa' mbealach, Ag áireamh a gé.
Anois tá'n choill dá gearra, Triallfaimid thar cala,
'S a Sheáin Uí Dhuibhir a' Ghleanna, Chaill tú do chéim.
(The red fox on the rock, A thousand shouts from the riders,
And a woman on the roadside, sadly counting her geese.
Now the wood is being cut down, We shall cross the seas,
O Seán Ó Duibhir of the Glen, You have lost your lordship.)
***
As usual with Irish airs, different versions have differing tonalities, ranging from those set in minor and modal tonality, to Ó Canainn's, set in a major key. Breathnach (1985) says the set dance is based on the song, and that it is associated with County Clare. Source for notated version: fiddler Bobby Casey (Co. Clare, Ireland) [Breathnach]. Breathnach (CRE III), 1985; No. 60, pg. 30. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 52, pg. 47 (appars as "Seán Ó Duibhir"). Roche Collection, 1982, Vol. 1; No. 32, pg. 16. Mulligan Records LUN 018, Bobby Casey - "Taking Flight" (1979). Green Linnet SIF-1084, Eugene O'Donnell - "The Foggy Dew" (1988). GTD Heritage Trad. HCD 008, Tommy Peoples - "Traditional Irish Music Played on the Fiddle." Piping Pig Records PPPCD 001, Jimmy O'Brien- Moran - "Seán Reid's Favourite" (1996. Learned from Willie Clancy).
TOSS THE FEATHERS [1] ("Craith na Cleití/Cleiteacha," "Umpuig an Clumac" or "Scaipeadh na gCleití"). AKA and see "Geatley's," "The Humours of Ballagh," "The Mountain Lark," "The New Reel," "Piper's Choice," "Thornberry's Reel," "Thresh the Feathers." Irish, Reel. Ireland, Co. Clare. E Aeolian (Breathnach CRE 2, Stanford/Petrie, Taylor/Crack): E Dorian (Bayard, Breathnach Vol. 1, Feldman & O'Doherty). Standard. AB (Breathnach, Feldman & O'Doherty, Stanford/Petrie): AAB (O'Neill/Krassen, Phillips, Taylor/Crack): AA'B (O'Neill/1001): AABB (Brody): AABB' (Bayard). Identified by Stanford/Petrie as a Clare reel. Breathnach (1976) says it is known in County Tipperary as "Thresh the Feathers" and "The Humours of Ballagh." The title supposedly is a euphemism for engaging in sexual intercourse, although Joyce thought the title referred to feathers in a headress or helmet. O'Neill (1913) quotes a grand story in which this tune is mentioned, told by Turlogh McSweeney, 'The Donegal Piper', a famous uilleann piper of the latter 19th century (which will make a bit more sense by reading the note for "The Wild Irishman" first):
***
...when I was living alone in the little cabin after my mother died-
God rest her soul-there came to the door in the dusk of the evening
a stranger and nothing less than a piper, by the way, who with a
'God save all here,' introduced himself as was customary. I invited
him in, of course, and after making himself at aise he says, 'Would
you like to hear a 'chune' on the pipes?' 'I would that,' said I, for
you know a piper and his music are always welcome in an Irish home.
Taking his pipes out of the bag, he laid them on the bed beside him,
and what do you think but without anyone laying a finger on them,
they struck up "Toss the Feathers" in a way that would make a cripple
get up and dance. After a while, when they stopped, he says, 'Will you
play a 'chune' for me now?' I said I would and welcome, pulling the
blanket off my pipes that were hid under the bedclothes, to keep the
reeds from drying out. 'Give us "Seaghan ua Duibhir an Gleanna"
says I to the pipes, and when they commenced to play, the mysterious
stranger, who no doubt was a fairy, remarked 'Ah! Mac, I see you
are one of us.' With that both sets of pipes played half a dozen 'chunes'
together. When they had enough of it, the fairy picked up his pipes and
put them in the green bag again. If I had any doubts about him before,
I had none at all when he said familiarly, 'Mac, I'm delighted with my
visit here this evening, and as I have several other calls to make I'll
have to be after bidding you good night, but if I should happen to be
passing by this way again, I'll be sure to drop in.
***
The title appears in a list of tunes in his repertoire brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997).
***
Sources for notated versions: Kevin Burke (Ireland) [Brody, Phillips]; Samuel Losch (elderly fiddler from Juniata County, Pa., 1930's) [Bayard]; fiddler Jim Mulqueeny (Kilfenora, Co. Clare, Ireland) [Breathnach Vol. 2]; fiddler John Kelly/Sean O'Kelly (Ireland) [Breathnach Vol. 1]; Frank Keane (Stanford/Petrie); fiddles Francie and Mickey Byrne (County Donegal) [Feldman & O'Doherty]. Bayard (Dance to the Fiddle), 1981; No. 38, pgs. 32-33. Breathnach (CRE I), 1963; No. 195, pg. 76 (a Clare setting). Breathnach (CRE II), 1976; No. 291, pg. 148. Brody (Fiddler's Fakebook), 1983; pg. 279. Feldman & O'Doherty (The Northern Fiddler), 1979; pg. 168. Mallinson (Essential), 1995; No. 38, pg. 17. O'Neill (Krassen), 1976; pg. 100. O'Neill (1001 Gems), 1907/1986; No. 502, pg. 95. Phillips (Fiddlecase Tunebook), 1989; pg. 50. Stanford/Petrie (Complete Collection), 1905; No. 462, pg. 116. Taylor (Where's the Crack), 1989; pg. 16. Columbia Legacy CK 48693, "The Best of the Chieftains" (1992). Folkways FW 8876, Kevin Burke- "Sweeney's Dream." Mulligan 004, "Matt Molloy." Gael-Linn CEF 045, "Paddy Keenan" (1975). Green Linnet 1010, "Mick Moloney." Green Linnett GLCD 1119, Cherish the Ladies - "The Back Door" (1992). Green Linnett GLCD 1181, Martin Hayes & Dennis Cahill - "The Lonesome Touch" (1997). Green Linnet GLCD 3009/Mulligan 021, Kevin Burke- "If the Cap Fits" (1978). Green Linnet SIF-3036, Phil & John Cunningham - "Silly Wizard: Live in America" (1986). Green Linnet SIF-104, John & Phil Cunningham - "The Celts Rise Again" (1990). Mulligan 017, "Molloy, Brady and Peoples."
T:Toss the Feathers [1]
M:4/4
L:1/8
K:Em
EB B2 dB B2|EBBA FDFA|BE E2 B2 AB|1 defe dBAF :|2 defe dABA |
Beed e2 de|fede feed|febe febe|fede feed|
Beed e2 de|fede fgaf|b3 g a3 f|egfe dBAF |>|
VISIT TO IRELAND, A (Cuairt Go h-Eirinn). Irish, Jig. G Major. Standard. AA'BB. O'Neill (Krassen), 1976; pg. 21. O'Neill (1001 Gems), 1907/1986; No. 39, pg. 23.
T:Visit to Ireland, A
L:1/8
M:6/8
S:O'Neill - 1001 Gems (39)
K:G
B|ded dBG|Bdd def|gfe dcB|cAA A2 B/c/|ded dBG|Bdd def|gfg ABc|BGG G2:|
|:d|gfg aga|bag fed|gfe dcB|cAA A2d|gfg aga|bag fed|gfg ABc|BGG G2:|
WILD IRISHMAN [3]. AKA and see "The Daisy Field," "The Field of Daisies," "The Irish Girl," "Boil the Breakfast Early." Irish, Reel. Ireland, Counties Roscommon, Sligo, Donegal. D Major. Standard. AB (Cranitch, Flaherty, Miller & Perron): AABB (Huntington): AABB' (Sullivan). A version of the tune is a popular reel in County Donegal. An Uilleann piper by the name of Turlogh McSweeney, known as 'The Donegal Piper', made a reputation for himself as one of the best pipers of the latter 19th century. Though known as a taciturn and reserved individual, he relaxed enough on a visit to Chicago (to perform at the World's Columbian Exposition in Chicago in 1893) to tell two musician friends of Francis O'Neill the story of how he came by his talent. McSweeney put forth that he was not much of a player in his younger days, but that he was anxious to improve. Despairing of other means of attaining his goal, he thought to appeal to the fairies who lived at a hill-top rath nearby. On a moonlight night, he summoned his courage, buckled on his pipes and made his way to the fort. O'Neill (1913) quotes him:
***
Well, as I was saying, when I got to the center of the Plasog,
as near as I could tell, you may be sure I wasn't any too
comfortable. Anyhow, I addressed myself to the king of
the fairies saying: 'I'm Turlogh McSweeney, the piper of
Gwedore, and I hope you will pardon my boldness for coming
to ask your majesty to play a 'chune' on the pipes for me, and
I'll return the compliment and play for you.' Yerra man, like
a shot out of a gun, the words were hardly out of my mouth
when the grandest music of many pipers, let alone one, playing
all together, filled my ears; and that wasn't all for lo and behold
you, what should I see but scores of little fairies or luricauns,
wearing red caps, neatly footing it, as if for a wager. Believe
me, I was so overcome with fright at such a strange and
unexpected sight that I ran for the bare life, my pipes
hanging to me and dropping off piece and joint along
the way; and by the time I reached home, the dickens
a bit of my whole set of pipes was left to me but the
bellows and bag, and they couldn't let go, as they were
strapped round my waist. Picture to yourselves the kind
of a night I spent after what happened. Anyway, by sun-up
in the morning I ventured out and started to try and pick up
the disjointed sections of my pipes, as I knew well enough
the route I ran. My luck relieved my misgivings when I found
the last missing part, which had dropped off at the very entrance
to the rath or fort when I ran away. I lost no time in putting the
now complete instrument in order, and to keep my word and fulfil
my promise made to the king of the fairies the night before, I struck
up "The Wild Irishman," my favorite reel. Words can't express my
astonishment and delight when I found I could play as well as the
best of them. And that, gentlemen, is how I came to be the best
Union piper of my day in that part of the country.
***
Source for notated version: fiddler Michael Lennihan (b. 1917, Kilnamanagh, in the Frenchpark area of County Roscommon) [Flaherty]. Bulmer & Sharpley (Music from Ireland), Vol. 3, No. 36. Cranitch (Irish Fiddle Book), 1996; No. 64, pg. 150. Flaherty (Trip to Sligo), 1990; pg. 90. Huntington (William Litten's), 1977; pg. 21. Miller & Perron (Irish Traditional Fiddle Music), 1977; Vol. 3, No. 49. Sullivan (Session Tunes), Vol. 2; No. 6, pg. 3. Intrepid Records, Michael Coleman. Philo 1051, Boys of the Lough - "Good Friends, Good Music" (1976). Shanachie Shan-79017, John & Phil Cunningham - "Against the Storm" (1980). Shaskeen Records OS-360, Andy McGann, Felix Dolan, Joe Burke - "A Tribute to Michael Coleman" (c. 1965).