Ceolas: The Fiddler's Companion

Result of search for "Air":

A CAILIN OIG NA POR AN SEAN DUME. Irish, Air. G Major. Standard. One part. Roche Collection, 1982; Vol. I, pg. 33.

A' CHUTHAG. AKA and see "The Cuckoo." Scottish, Slow Air (3/4 time).

A CUISLE MO CROIDE. Irish, Air. G Major. Standard. One part. Roche Collection, 1982; Vol. I, pg. 29.

A MHUIRNIN (My Darling). Irish, Air. B Flat Major. Standard. AB. This air seems to be exclusive to Bunting's 1840 edition. Source for notated version: the Irish collector Edward Bunting noted the melody from Denis Hempson, the harper, at Magilligan, County Derry, in 1796.

A MHUIRNIN DILIS (Faithful Darling). Irish, Air. The melody appears in either or both of O'Farrell's "Pocket Companion for the Irish or Union Pipes" and "Collection of National Irish Music for the Union Pipes."

A NOCHD GUR FAOIN MO CHADAL dHOMH (Tonight My Sheep Will be Restless). Scottish, Air. Culburnie CUL101, Alasdair Fraser - "Skye Dance."

A U HINNY BURD. AKA - "A.U.A." English, Air (2/4 time). England, Northumberland. C Major. Standard. AB. Title appears (as "A U A") in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800.
**
Its O but aw ken well
A U hinny burd
The bonny lass o' Benwell,
A U A;
She's lang-legged and mother-like,
A U hinny burd,
See she's rakingup the dyke,
A U A. (Bruce & Stokoe)
**
Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 120.
T:A U Hinny Burd
L:1/8
M:2/4
S: Bruce & Stokoe - Northumbrian Minstrelsy
K:C
G|c2 ec|B2d2|G2 (Bc)|dg BG|cc ec|B2d2|G2 (AB)|c3||c|
(fe) df|ee c2|G2 (Bc)|dg (BG)|fe df|ee c2|G2 (AB)|c3||

ABBEY BOYLE (Mainister an Bhuill). Irish, Slow Air (3/4 time). C Major. Standard. One part. Abbey Boyle is in Roscommon. Joyce (Old Irish Folk Music and Songs), 1909; No. 623, pg. 319.

The Abbots Bromley Horn Dancers. Photographed by Sir Benjamin Stone (1838-1914).
***
Besides the yearly performance at Abbots Bromley, the dance can be seen each year on stage during the revival "Revels" performances in many cities throughout North America. This version of the accompanying tune is known as the "1857 air," presumably because it was collected in that year. Abbots Bromley is a village in Yorkshire, England. Raven (English Country Dance Tunes), 1984; pg. 83.

ABIGAIL JUDGE. Irish, March or Air (4/4 time). G Minor. Standard. AB. Composed by blind Irish harper Turlough O'Carolan (1670-1738). O'Neill (Krassen), 1976; pg. 232. O'Neill (1850), 1979; No. 649, pg. 116.

ABOUT/ABOOT THE BUSH, WILLY. English, Air (6/4 time). England, Northumberland. B Flat Major. Standard. AB. Bruce & Stokoe (1882) print the words, beginning:
***
Aboot the bush Willy, Aboot the beehive,
Aboot the bush Willy, I'll meet the belyve.
Then to my ten shillings, Add you but a groat,
I'll go to Newcastle, And buy a new coat.
***
Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 110.
T:Aboot the Bush, Willy
L:1/8
M:6/4
S: Bruce & Stokoe - Northumbrian Minstrelsy
K:B_
c2|d2B2c2A2F2c2|d2B2c2 A4c2|d2B2c2A2F2f2|e2c2A2 B4||
c2|d2e2f2A2F2c2|d2e2f2A4c2|d2e2f2A2F2f2|e2c2A2 B4||

ABOYNE CASTLE [1]. Scottish, Slow Air (2/4 time). D Major. Standard. AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 83, pg. 29.

ACCURSED KERRYMAN, THE (An Ciarraioch Mallaithe). Irish, Air (3/4 time). G Major. Standard. AAB. The melody appears in Bunting's second collection of Irish tunes (1809). Ó Canainn (1978) bemoans Joyce's cavalier treatment of the text of this famous song in the latter's Ancient Irish Music (1875) wherein he writes:
***
Of the Irish song I retain only a few fragments, which are not
worth preserving. Perhaps the reader will be better pleased if
I give instead a song of my brother's, composed to suit the air.
***
Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 76, pg. 67.

ACHIL AIR. Irish, Slow Air (3/4 time). D Mixolydian (O'Neill): B Flat Minor {?} (O'Sullivan/Bunting). Standard. AB. O'Neill (1850), 1979; No. 274, pg. 48. O'Sullivan/Bunting, 1983; No. 145, pgs. 202-203.

ACHNACARY CASTLE. American, Slow Air (6/8 time). C Major. Standard. AABB&Coda. Composed in Cape Breton Scottish style by piper Heather Cameron, originally from Maryland but now a student at Acadia University in Wolfville, Nova Scotia. Cook (Night in the Kitchen Collection), 1986; pg. 28.

ADAM BUCKHAN, O! English, Air (4/4 time). England, Northumberland. D Major. Standard. AB. Bruce and Stokoe print lyrics, beginning:
***
Its doon the Lang Stairs, And strite alang the Close,
All in Baker's Entry, Adam Buckham knows.
O Adam Buckham, O, O Adam Buckham, O;
O Adam Buckham, O, Wiv his bow legs.
***
Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 124.
T:Adam Buckhan O!
L:1/8
M:C
S: Bruce & Stokoe - Northumbrian Minstrelsy
K:D
G|FA (Ac) (dA) (AF)|GB Bc d3z|ce ef (ge) (ed)|cA Bc d3||
Z|{d/e/}f2 ed cA (Ac)|{B/c/}d2 cB AF (FA)|{G/A/}B2 AG FA (dA)|
Bg (ec) d2||

ADIEU, ADIEU THOU FAITHLESS WORLD. Air. The melody appears in O'Frarrell's, Vol. 1 (1810/20), pg. 25.

ADIEU MY LOVELY PEGGY. Irish, Air (2/4 time). E Flat Major. Standard. AB. Stanford/Petrie (Complete Collection), 1905; No. 430, pg. 108.

ADIEU YE YOUNG MEN OF CLAUDY GREEN. Irish, Air (3/4 time). Ireland, Derry. A Major. Standard. AB. "Set in the County of Derry, 1834." Stanford/Petrie (Complete Collection), 1905; No. 757, pg. 189.

ADMIRAL BENBOW. English, Air (3/4 time). G Major. Standard. AB. Walker (History of Music in England, 1924) dates the tune to about 1700. He points out that the melody is also known as a religious carol {"The Land o' the Leal" (Church of England, English Hymnal, 1906), which is simply "Scots wha hae" sung slowly.} Admiral Benbow was an English admiral who defeated a fleet of French warships in West Indian waters at the turn of the 16th century, the only thing marring the victory was the fact that four of this men-of-war refused to join the fight, instead standing-too to watch. The commanders of those ships did not fare well; two were executed, one imprisoned for life, and the last died before punishment could be meted out. The "Admiral Benbow" is the inn in which we first meet Long John Silver in Robert Louis Stevenson's novel "Kidnapped." See also note for the air "Benbow, the Brother Tar." Chappell collected the ballad from Dale's collection, i. 68. Chappell (Popular Music of the Olden Times), Vol. 2, 1859; pg. 92.
T:Admiral Benbow
L:1/8
M:3/4
K:G
G>D|G2B2d2|d>c B2 G>A|B2 cB A>G|G4:|
F>G|A2E2 A>G|F>E D2 GD|G2 GABG|c4 BA|
G2B2d2|d>c B2 GA|B2 cB A>G|G4||

ADVICE, THE. Irish, Air (2/4 time). G Mixolydian (O'Neill): F Mixolydian (Stanford/Petrie). Standard. AB. O'Neill (1850), 1979; No. 519, pg. 91. Stanford/Petrie (Complete Collection), 1905; no. 764, pg. 191.

AE FOND KISS. AKA and see "Rory Dall's Port." Scottish, Air (3/4 time). G Major. Standard. One part. The melody was originally "Rory Dall's Port," a triple time tune taken from Oswald (and which some say was Oswald's own) and used by Robert Burns for his song of the above name. Rory Dall was an ancient harper, originally from Ulster, who composed and played primarily in Scotland. Emmerson (1971) notes the tune is of the character of the ancient 'ports' of the harp, a slow Gaelic air, rather than the vulgarly termed 'Scottish Waltz.' Burns composed the heartfelt words, which he set to the tune, in 1791, just after the departure of the young and beautiful Calrinda, Mrs. M'Lehose, who was journeying to Jamaica to meet her husband. Clarinda and the poet were warm friends who had met soon after Burns' poems were first published, and the two were "obviously attracted to one another."
**
Glad we never love sae kindly
Had we never loved sae blindly
Never met--or never parted
We had ne'er been broken-hearted.
**
Burns' words were in fact an adaptation or remolding of the poem "One Kind Kiss before we Part" by Robert Dodsley, and English butler who had risen to be a poet, playwright and major literary publisher, and whose lines were set to music by James Oswald (1710-1769). Neil (The Scots Fiddle), 1991; No. 175, pg. 229.

AEDHEAR CHARRAIC MHIC CHROISE. AKA and see "Carrickmacross Air."

AELION NA RUAEN. AKA and see "Aileen Aroon," "Eileen Aroon." Irish, Air. This famous Irish melody was recorded (with this spelling) by the Belfast Northern Star of July 15th, 1792, as played by one of ten Irish harp masters at the last great convocation of ancient Irish harpers, the Belfast Harp Festival, held that week (Flood, 1906).

AER NA MAIDNE. Irish, Air. G Minor. Standard. AB. Roche Collection, 1982; Vol. III, pg. 18.

AFTER THE BALL IS OVER. AKA and see "Life On the Ocean Wave," "Over the Ocean Waves." American; Air, Waltz or Quadrille. USA; Pa., Arizona. C Major (Kartchner): G Major (Bayard). Standard. ABB. Played by Arizona fiddler Kenner C. Kartchner, who said "I remember this back to 1892. Guess it is much older." In fact, the song was not at all older, having been copyrighted in November, 1892, the composition of Poughkeepsie, New York, born composer, banjo player and lyricist Charles K. Harris (Fuld). Numerous parodies were written to this sentimental favorite, reducing it to nonsense. Source for notated version: McCullough (Pa.), 1959 [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 637B, pg. 561. Ruth (Pioneer Western Folk Tunes), 1948; No. 133, pg. 47.

AFTON WATER. Scottish, Air (6/8 time). D Major. Standard. One part. The air used today for this 1786 pastoral song of Robert Burns is not the one he originally set the song tune, but was substituted by a later editor who thought it more agreeable. The later air was composed in 1850 by Alexander Hume, of Edinburgh, a self-taught musician "who enjoyed an excellent reputation as a chorister and composer of psalms" (Neil, 1991). Burns' original setting was to the melody "The Yellow-Haired Laddie", and presented to Johnston, the editor of the "Scots Musical Museum". Neil (1991) reports that it appears to have been part of a collection of 12 songs the poet first presented to an admirerer named Mrs. Stewart of Stair and Afton, and that the Mary named in the song was probably Mary Campbell (Highland Mary), who was courted by Burns at the time the song was written. Neil (The Scots Fiddle), 1991; Nos. 182 & 183, pg. 237 (old and newer melodys).

AH! THE SIGHS THAT COME FRO' THE HEART. English, Air (4/4 time). F Major. Standard. One part. From the appendix to the King's Manuscripts, kept in the British Museum -- the King being Henry VIII, an accomplished musician and composer of airs. William Cornyshe (1480-1524), of whom Gibbon (Fall of the Roman Empire) said was an "admirable poet, musician and occasional jailbird" at the court of Henry VIII, also has a setting of the song. Kines (Songs From Shakespeare's Plays and Popular Songs of Shakespeare's Time), 1964; pg. 70.

AILEEN MAVOOURNEEN. Irish, Air. D Major. Standard. AB. Composed by Alex D. Roche. Roche Collection, 1982; Vol. I, pg. 11.

AIN MAIDINI NDE (Yesterday Morning, and I about to sleep). Irish, Air (6/8 time). F Major. Standard. AB. Source for notated version: "Set from T. MacMahon, 1857" [Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 1076, pg. 273.

AIN'T GONNA RAIN NO MORE. Old-Time, Breakdown. D Major. Standard. ABB. Johnson (The Kitchen Musician's Occasional: Waltz, Air and Misc), Vol. 1, 1991; pg. 7. Sweet (Fifer's Delight), 1964/1981; pg. 11. Marimac 9064D, Lauchlin Stamper & A.C. Overton - "Sally with the Run Down Shoes" (1996).

AIR BHRUACH NA CARRAIGE BAINE. AKA and see "On the Brink of the White Rock."

AIR BY HAYDN. English, Scottish, New England; Jig. Kerr (Merry Melodies), Vol. 3; No. or pg. 44. Laufman, OK, Let's Try a Contra (CDSS).

AIR EN RÉ d'HENRI LANDRY (Tune in D by Henry Landry). French- Canadian, Polka. D Major. Standard. AA'BB'. A 'crooked' tune: the 'A' part has six measures while the 'B' part has eight, though the next to last has an extra beat. Source for notated version: Henri Landry (Pontbriand, near Thetford Mines, Québec) via fiddler Lisa Ornstein [Remon & Bouchard]. Remon & Bouchard (25 Crooked Tunes, Vol. 2: Québec Fiddle Tunes), Vol. 2, 1997; No. 14. Les Têtes de violon - "Le talencourt."

AIR M' FHALLUINN BHEIRINN POG DHI. AKA and see "I'll Kiss the Bonny Lassie, Oh."

AIR MO BHABHAIL DHOM AN M-BOTHAR SHLIGIGH AKA and see "As I Walked On the Road to Sligo."

AIR MO GHABHAIL DHOM TAOIBH BHAILE-ATHA-CLIATH. AKA and see "As I Was Walking Beside Dublin."

AIR RACES. Scottish, Jig. D Major. Standard. AABB. Composed by John Gow. Carlin (The Gow Collection), 1986; No. 319.

AIRDE CUAN. Irish, Air (4/4 time). B Minor. Standard. One part. Ó Canainn (Traditional Slow Airs), 1995; No. 49, pg. 44. Rounder 3067, Alan Stivell - "Renaissance of the Celtic Harp" (1982).

AISLING GHEAL (A Bright Vision). Irish, Air (4/4 time). D Major. Standard. One part. The song was recovered from the Martin Freeman collection by Seán Ó Riada, according to Tomás ÓCanainn (A Lifetime of Notes, 1996), originally collected in the west Cork gaeltacht from the singing of a woman in the late 19th century. Cranitch (Irish Fiddle Book), 1996; pg. 104. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 60, pg. 54

ALAN LERWICK'S LAMENT FOR THE DIVORCE OF HIS WIFE'S PARENTS. Scottish, Slow Air. E Minor. ABCD. A modern composition by Alan Lerwick (1983). Lerwick (The Kilted Fiddler), 1985; pg. 72-73.

ALAS, I CANNOT KEEP MY SHEEP. Irish, Air. This air appears in Luke Wadding's (the Bishop of Ferns) A Pious Garland of Godly Songs for the Solace of his Friends and Neighbors in their Afflictions, 1680.

ALAS, MY LITTLE BAG ("Allilu Mo Vauleen" or "Ullulu mo Mhailin"). Irish, Air (4/4 time). G Major. Standard. AB. Joyce (1873) relates this air is "a kind of mock lament uttered by the person from whom the little bag was stolen," and goes on to say that it would be hard to find a song more universally known in the Munster of his era than this. Bayard identifies this tune as the Irish variant of the tune known in America as "Black-Eyed Susie" (AKA and see), and also thinks the tune is related to "Ally Crocker" in Coles 1001 (pg. 8) and "Stick the Minister" in Roche. Joyce notes that although a distinct melody, it bears some resemblance to "Fag-a-ballagh," the air of Thomas Moore's song "To ladies'eyes a round, boys." Joyce (Ancient Irish Music), 1880; No. 45, pg. 46. O'Neill (1915 ed.), 1987; No. 72, pg. 44. Stanford/Petrie (Complete Collection), 1905; Nos. 1229, 1230.

ALAS THAT I'M NOT A FRE(E)CHAUN ON THE MOUNTAIN SIDE. Irish, Air (3/4 time). A Mixolydian. Standard. One part. Source for notated version: "Set from M. O'Donohoe, Arran-more, 1857" (Stanford/Petrie). Stanford/Petrie (Complete Collection), 1905; No. 336, pg. 85.

ALAS THAT I'M NOT A LITTLE STARLING BIRD. Irish, Air (3/4 time). A Major. Standard. AB. Source for notated version: "From Pat Mullin, Arran More, 10th Sept., 1857" [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 819, pg. 205.

ALE WOMAN, THE (Banalanna). Irish, Air (3/4 time). C Major. Standard. AB. Source for notated version: learned by Joyce from the singing of his father, presumably when a boy in the 1840's in Limerick [Joyce]. Joyce (Ancient Irish Music), 1890; No. 9, pg. 10.

ALEWOMAN, THE. Irish, Air (3/4 time). G Major. Standard. AB. O'Neill (1850), 1903/1979; No. 216, pg. 37.

ALITOR. Irish, Air. Bulmer & Sharpley (Music from Ireland), Vol. 2, No. 84.

ALL ALONE. Irish, Slow Air (4/4 time). F Major. Standard. AB. "This air...from Captain Pratt, C. Cork" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 658, pg. 331.

ALL IN A GARDEN GREEN. AKA and see "Gathering Peascods," "The Maid in the Moon (Morn)." English, Dance Tune (2/2 or 4/4 time). G Major (Karpeles, Merryweather, Raven): D Major (Laufman): F Major (Chappell). Standard. AB (Chappell): AABB (Karpeles, Laufman, Merryweather, Raven). The earliest published version extant can be found in John Playford's first edition of The English Dancing Master (1651), though the tune appears earlier in William Ballet's Lute Book (1594), and therefore is probably older than the seventeenth century. In fact, it was already considered part of the established traditional repertoire in Playford's day (Pulver, 1923), the mid-17th century. A ballad was registered with the Stationers' Company (an early form of copyrighting, and mandatory at the time) in 1566 called "All in a garden green, between two lovers," which may or may not have been sung to the tune that later appeared in Ballet's MS and Playford. A further reference can be found in A Handefull of Pleasant Delites (1584) in which mention is made of "An excellent Song of an outcast Lover, to All in a Garden green." Whether these early references referred to the melody printed in Playford is not known, for the opening line, remarks Kines (1964), is common to many songs of the period. It begins:
***
All in a garden green two lovers sat at ease,
As they could scare be seen among, among the leafy trees.
***
Kines attributes the marrying of the "All in a garden green" poem to the air "Gathering Peascods" in William Ballet's book to the musicologist Chappell in the mid-19th century. Merryweather notes that variants of the tune appeared on the Continent, including the Dutch Unter den Linden Grune by Sweelinck, and Onder de Lindegroene by Vallet. Not only was the tune used for ballads and country dancing, continues Merryweather, but it was also absorbed into church hymnody, set, for example to psalm 47 ("All people clap your hands, Sing laud unto the Lord"). Chappell (1859) also prints a version in 6/4 time from the Fitzwilliam Virginal Book. Chappell (Popular Music of the Olden Times), 1859, Vol. 1; pgs. 79-80. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 21 (appears under the dance title "The Maid in the Moon"). Kines (Songs From Shakespeare's Plays and Popular Songs of Shakespeare's Time), 1964; pg. 74. Laufman (Okay, Let's Try a Contra, Men on the Right, Ladies on the Left, Up and Down the Hall), 1973; pg. 27. Merryweather (Merryweather's Tunes for the English Bagpipe), 1989; pg. 39. Raven (English Country Dance Tunes), 1984; pg. 25. Harmonia Mundi 907101, The King's Delight - "17c. Ballads for Voice & Violin Band" (1992).

ALL IN A GREEN WILLOW. English, Air (3/2 time). D Minor (?). Standard. AAB. The air appears in Thomas Dallis' Pipil's Lute Book, dated 1585. A song of the same title, composed by John Heywood, is in the British Museum. Chappell (Popular Music of the Olden Time), Vol. 1, 1859; pg. 110.

ALL IN/ON A MISTY MORNING. AKA and see "The Friar and the Nun," "Wiltshire Wedding," "London 'prentice," "A Beggar Got a Beadle." English, Air. Chappell (1859) finds early references to a ballad called "Frere and the Nunne" in accounts dating from 1542 and 1592. John Gay prints the tune under the title "Before the barn door crowing," from a song in his Beggar's Opera (1729), but the air also appears in other ballad operas. It appears in Pills to Purge Melancholy as "The Wiltshire Wedding" (and twice with other names); and in Playford's Dancing Master (1650) and Musick's Delight on the Cithren (1666) as "The Friar and the Nun." Raven (English Country Dance Tunes), 1984; pg. 57.

ALL IN THE DOWNS. AKA and see "Sweet Williams Farewell (to Black-ey'd Susan)," "Black Eye'd Susan." English, Air (3/4 time). This ballad appears in John Gay's ballad opera The Beggar's Opera (1729) under the title "Thus when the swallow, seeking prey"; Gay also wrote another set of lyrics to the tune called "Black-ey'd Susan." The words were by Gay, but the music was composed by Richard Leveridge. Kidson (1922), however, says the air is by P.G. Sandoni, a maker of harpsichords and spouse of the singer Cuzzoni. Raven (English Country Dance Tunes), 1984; pg. 60.

ALL 'ROUND MY HAT [1]. AKA and see "Green Willow." Irish, English; Air and Country Dance Tune (4/4 time). D Dorian. Standard. One part. As "Green Willow," the tune is used for an English country dance, fashioned in 1932.
***
All round my hat I will wear the green willow:
All round my hat for a twelvemonth and a day;
And if anyone should ask me the reason that I wear it,
I'll tell him that my true-love is gone far away. (Joyce).
***
Joyce (Old Irish Folk Music and Song), 1909; No. 90, pg. 47. Chrysalis CHR 1091, Steeleye Span - "All Around My Hat."
T:All around my hat
L:1/8
M:C
S:Joyce - Old Irish Folk Music
K:G Dorian
G2 AF G2 f>e|d2 c>A G>F D2|G2 A>F G2 Bc|dcBc d2 d>e|fedc f2 A>G|
GBAG G>F D>E|FEFG F>G A/=B/c|d2 c>A G3z||

ALL THE NIGHT I LAY WI' JACKY IN MY ARMS. AKA - "All the Night I Lay with Jockey." English, Air (3/4 time). England, Northumberland. G Major (A Dorian). Standard. AABBCCDDEEFF (includes variations). The title appears in Henry Robson's list of Northumbrian song and dance tunes, c. 1800. Peacock's Tunes, 1980; No. 42, pg. 19.

ALL THE WAY TO GALWAY [1] ("An Bealach ar fad go Gaillimh" or "An Botar Ar Fad Go Gaillim"). AKA and see "A' the Way to Galloway," "The Sarsfield March," "The Road to Lisdoonvarna," "Slash Away the Pressing Gang," "The March of the Tribes to Galway." Irish (originally), American; Reel or Air. D Mixolydian. Standard. AB (Cole, Stanford/Petrie, Taylor): AAB (O'Neill): AABB (Breathnach). The air was set to a Jacobite era (early 18th century) song and was the precursor to "Yankee Doodle," which it resembles, particularly in the 'B' part. Breathnach (1976) finds the first printing of the tune in Aird's Selections (1780-1803) under the title "The Galway Girls." He quotes Crofton Crocker's The Popular Songs of Ireland (1839) which states "'All the way from Gallaway, early in the morning' is the burden of a popular song descriptive of the march of the Galway militia." See also the Scots relatives "Ciorsdan Mhor", "Big Kirsty", "Miss Stewart Bun Rannoch" and "A' the Way to Galloway." Source for notated version: flute and whistle player Micko Russell (Doolin, Co. Clare, Ireland) [Breathnach]. Breathnach (CRE II), 1976; No. 282, pg. 144. Cole (1001 Fiddle Tunes), 1940; pg. 21. O'Neill (1001 Gems), 1986; No. 999, pg. 172. Stanford/Petrie (Complete Collection), 1905; No. 849, pg. 212. Chieftains - "Chieftains 3." Green Linnet SIF 3005, The Bothy Band - "Old Hag You Have Killed Me" (1981. A reissue of the 1976 Mulligan LP).
T:All the Way to Galway [1]
L:1/8
M:C
S:O'Neill - 1001 Gems (999)
K:D Mix
A|d>efd cAA>c|BGGA/B/ cAA>c|d>efd cAA>c|BGAF|D2D:|
G|A>BAG ABcA|G>AGF EFGE|A>BAG ABcd|cAGE D2 DG|
A>BAG ABcA|G>AGF EFGE|A>BAG AddB|cAGE D2D:|

ALL THROUGH THE NIGHT [1] (Ar Hyd Y Nos). Welsh, Air. The most famous Welsh composition. Flying Fish FF70610, Robin Huw Bowen - "Telyn Berseiniol Fy Bgwlad/The Sweet Harp of My Land" (1996).

ALL YOU THAT LOVE GOOD FELLOWS. AKA and see "Nancy," "Sir Edward Noel's Delight." English, Air (4/4 time). A precursor of the famous march "British Grenediers," this tune appears in Pills to Purge Melancholy set to the ballad "The London Pretice."

ALL YOU THAT MUST TAKE A LEAP (IN THE DARK). English, Air. The tune was published by John Gay in his Beggar's Opera (1729) under the title "Would I might be hanged." The original, according to Kidson (1922), refers to a song "upon the execution of two criminals by Mr. Ramondon." Raven (English Country Dance Tunes), 1984; pg. 70.

ALLAN WATER. Scottish, Air. F Major (Bowie MS): G Major (D. Young's Set). Standard. ABCD (Bowie MS): AABBCCDD (Young). The tune is listed in a collection of Scottish melodies by Playford printed in 1700. Early versions also appear in the Bowie MS., the McFarlane MS. (1740, in a setting by David Young), and in a c. 1705 fiddler's MS. book in the collection of Francis Collinson (one of the earliest fiddler's MS. books extent). Young's variations were written based on the tune that appears in the Bowie MS., and "are to be played rather slower than the simple set of the tune (in Bowie). For the work of a literate composer in 1740 they are extremely old-fashioned, and keep the tune's pentatonic mode almost intact" (Johnson, 1983). The title comes from a song set to the air, the words of which were given in Martha Brown's music-book of 1714. It begins:
***
Allan Water's wide and deep,
And my dear Annie's very bonnie. (Johnson/Brown)
***
The fiddle tune, however, does not fit exactly these lyrics, and needs be simplified and altered to fit. Johnson, 1983; pg. 23 (from the Bowie MS.) and pg. 102 (from the McFarlane MS).

ALLAN'S RETURN. Irish, Air. F Major. Standard. One part. Stanford/Petrie (Complete Collection), 1905; No. 506, pg. 128.

ALLEN A'ROON. See "Aileen Aroon." Scottish (Irish in origin), Air. D Major. Standard. AABB. Carlin (The Gow Collection), 1986; No. 532.

ALLIE CROKER. AKA - "Ally Croaker," "Ally Crocker," "Alley Crocker." AKA and see "Alas My Little Bag," "Stick the Minister," "The Shamrock Cockade." Scottish, Irish, English, American, Canadian; Reel, Country Dance. USA, New England. D Major. Standard. AB (Kerr's, Messer): ABB (Brody): AABB (Miller & Perron, Sloanaker, Sweet). This song, as "Ally Croker," was written and music composed by Lawrence (Larry) Grogan of Johnstown Castle, County Wexford, who was reknowned as a "gentleman piper" and composer of Irish airs (Grogan, by the way, was the first performer on the improved version of the Irish pipes called the uilleann or (archaically) Union pipes). It is his most famous composition. Both the air and song date from 1725, according to Crofton Croker, with single sheet editions of the song from c. 1730 and c. 1740 extent. The lyrics describe the vagarancies of a disappointed suitor of Miss Alicia Croker, the sister of Edward Croker, High Sheriff of County Limerick (for more on Larry Grogan and Alicia Croker see T.C. Croker's Popular Songs of Ireland). It quickly found favor and was adopted by ballad singers, inform Flood (1906) and O'Neill (1913), and was soon introduced into the play Love in a Riddle (1729), Sam Foote's comedy The Englishman in Paris (1753, in which the lyrics were slightly revised and the tune called "Ally Croaker," by which spelling it usually appears after this date), and Kane O'Hara's Midas (1760). The tune was printed by Rutherford c. 1754 in his Choice Collection of 60 Country Dances.
***
In 1803 the air was wedded by George Colman to a song entitled "The Unfortunate Miss Bailey" and Tom Moore used it for his lyric "The Shamrock." The English musicologist Chappell claimed the air was English because of its appearence in "Love in a Riddle," however, Flood asserts Larry Grogan is the author/composer due to a reference to the tune by Pierce Creagh of County Clare in his 1730 "The County of Limerick Buck Hunt." Creagh may have been partisan though, for he and Grogan were great friends (Creagh even named one of his race horses after him-- "Larry Grogan" won at least one purse for its owner). "Allie Crocker/Croaker" continued to be in vogue throughout the century and was the air set to the song "The Shamrock Cockade," popular in Munster with the Irish Volunteers (1774-1784). It is one of the "lost tunes" from William Vicker's 18th century Northumbrian dance tune manuscript. Brody (Fiddler's Fakebook), 1983; pg. 21. Cole (1001 Fiddle Tunes), 1940; pg. 8 (appears as "Ally Croaker"). Kerr (Merry Melodies), Vol. 1; No. 9, pg. 22. Messer (Way Down East), 1948; No. 6. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 26, pg. 26. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 135 (Appears as "Alice Crocker's Reel"). Sweet (Fifer's Delight), 1964; pg. 47. Fretless 119, Rodney and Randy Miller- "Castles in the Air."
T:Allie Crocker
L:1/8
M:C|
K:D
Ad dc d2df|ed cd ef ga|fd dc d2df|ed cB AG FE|
Dd dc d2df|ed cd ef ga|fd dc d2df|ed cd ef ge:|
|:fa a^g a3a|ba gf ef g2|Ag gf g2gb|ag fe de f2|
Ad dd dc cc|cB BB BA AA|Ag gf g3b|ag fe d2d2:|

ALLISTER'S FRIENDSHIP. Canadian, Jig. Canada, Cape Breton. G Major. Standard. AABB. Fiddler Jerry Holland (Inverness, Cape Breton) composed this tune originally as a slow air, "My Cape Breton Home," and set the melody here as a jig. Cranford (Jerry Holland's), 1995; No. 267, pg. 77.

ALLO, QUEBECOISES! (Hello, Quebec Girls). French-Canadian, Air (2/4 time). G Major. Standard. ABB'. Source for notated version: transplanted French-Canadian fiddler Omer Marcoux {1898-1982} (Concord, N.H.), who said, "Everybody sang that, way back" [Miskoe & Paul]. Miskoe & Paul (Omer Marcoux), 1994; pg. 43.

ALLOWAY HOUSE. Scottish, Air. Composed by James Oswald (1710-1769). Alloway House was near Oswald's hometown of Dunfermline.

ALONG THE MOURNE SHORE. Irish, Air 6/8 time). E Flat Mixolydian. Standard. AAB. The melody is a variant of "A Spailpin a Ruin," itself a variant of "The Blackbird." Stanford/Petrie (Complete Collection), 1905; No. 519, pg. 131.

ALONG THE OCEAN SHORE. Irish, Slow Air (4/4 time). F Major. Standard. AB. Joyce (Old Irish Folk Music and Songs), 1909; No. 80, pg. 43.
T:Along the ocean shore
L:1/8
M:C
N:"Slow and tender"
S:Joyce - Old Irish Folk Music
K:F
FG|A2 AG FGAB|c4 A2 fe|d2 cA GAGF|D4 C2 FG|A2 AG FGAB|c4d2 fe|
dcAG AGFE|F6||de|f2 ed dfed|e3c A2 de|d2 cA cdeg|f6 FG|A2 AG FGAB|
c4 A2 fe|dedc AGFE|F6||

ALONG WITH MY LOVE I'LL GO. Irish, Slow Air (3/4 time). D Minor (O'Neill): E Flat Dorian (Stanford/Petrie). Standard. AB. Source for notated version: "From (the Irish collector) Mr. Joyce" [Stanford/Petrie]. O'Neill (1850), 1979; No. 118, pg. 21. Stanford/Petrie (Complete Collection), 1905; Nos. 707 & 708, pgs. 177-178.

AM I THE DOCTOR YOU WISHED FOR TO SEE? Irish, Air (4/4 time). E Flat Major. Standard. One part. Joyce suggests Donegal connections for this song.
"Am I the doctor you wished for to see?
Am I the young man you sent for to me?"
"O, yes dearest Willie, you can kill or you can cure:
For the pain that I feel, my dear, is hard to endure."
Joyce (Old Irish Folk Music and Song), 1909; No. 153, pg. 78.
T:Am I the doctor you wished for to see?
L:1/8
M:C
S:Joyce - Old Irish Folk Music
K:E_
(3EFG|A2 GF GE CE|F2 E>E E2 GA|B2 cd eBGB|c2 BB B2 GA|
BBcd eBGB|cdec BGE F/G/|A2 GF GE CE|F2 EE E2||

AMARILLIS/AMARYLLIS. English, Air or Country Dance Tune (4/4, 2/2 or cut time). E Flat Major (Chappell): G Major (Barnes, Sharp, Watson). Standard. AB (Chappel, Sharp, Watson): AAB (Barnes). The tune appears in many works, including Porter's play The Villain (1663), Merry Drollery Complete (1670), The New Academy of Compliments, and Playford's Dancing Master (1665), Musick's Delight on the Cithern (1666), and Apollo's Banquet (1670). A popular tune, it was used following the convention of the period as the vehicle for numerous 18th century ballads, according to Chappell (1859), including "The Coy Shepherdess; or Phillis and Amintas" (Roxburghe Collection) {from which title the ballad was sometime known as "Phillis (or Amintas) on the new-made hay"}; "'Love in the blossom' or 'Fancy in the bud'" (Roxburghe); "Fancy's Freedom' or 'True Lovers' bliss'" (Roxburghe); "'The True Lovers' Happiness' or 'Nothing venture, nothing have, &c'" (Douce Collection/Roxburghe): "The Cotsall (Cotswold) Shepherds" (Folly in Print, or a Book of Rhymes" {1667}); "'The Virgin's Constancy' or 'The True Lovers' Happiness'" and "'The True Lovers' Happiness' or 'Nothing venture, nothing have'" (Pepys Collection). Barnes (English Country Dance Tunes), 1986. Chappell (Popular Music of the Olden Time), Vol. 2, 1859; pgs. 12-13. Sharp (Country Dance Tunes), 1994; pg. 25. Watson, 1975; No. 8, pg. 9.

AMAZING GRACE. American, English, Scottish; Air. The song was written by one John Newton, an 18th century English slave trader who had a religious conversion and rejected his former trade. In Beyond the Hebrides, edited by Donald Fergusson, it is stated: "Since the melody is that of a bag-pipe tune and is a gapped-scale melody with a distinctly modal, plain-song character, it is very probably that Newton's composition was to an old Scottish melody. If not, early settlers may have adapted the lyrics to an old Scottish melody they brought with them." The words to "Amazing Grace" can be found in Olney Hymns (1779), a collection of Newton's hymns made in collaboration with William Cowper, however, the work contains no music and no tune direction was given. The tune is attributed to J. Carrell and D. Clayton in the American shape-note publication Virginia Harmony, c. 1831. It has also been suggested the original title for the tune was "New Britain."

AMELIA'S WALTZ [1]. AKA - "Amelia." American, Waltz. USA, New Hampshire. D Major. Standard. AA'BB'. This waltz was composed in 1981 by New Hampshire accordionist and composer Bob McQuillen (Peterboro, N.H.) for three-and-a-half year old Amelia Stiles, daughter of Deana Stiles, a flute player friend who played with Dudley Laufman's Canterbury Country Dance Orchestra. McCutcheon relates that "current legend" has it that Amelia was named because of the fact that her family lived in a house built around a shipping crate for Amelia Earhart's plane. Deana Stiles has been a member of Dudley Laufman's Canterbury Country Orchestra and currently plays with McQuillen in the trio "Old New England." The tune has proved quite popular at New England dances, an instant classic. McQuillen apparently prefers the title to be simply "Amelia." Johnson (The Kitchen Musician's Occasional: Waltz, Air and Misc.), Vol. 1, 1991; pg. 12. Matthiesen (Waltz Book I), 1992; pg. 11. McQuillen, Bob's Notebook #5, 1981. Alcazar FR 2204, Rodney and Randy Miller - "New England Chestnuts, Vol. 2" (1981). BM-91, Buddy MacMaster - "Glencoe Hall." Greenhays GR 710, John McCutcheon - "Fine Times at Our House" (1982. Learned from Rodney and Randy Miller). Smithsonian Folkways SFW CD 40126, Bob McQuillen & Old New England - "Choose Your Partners!: Contra Dance & Square Dance Music of New Hampshire" (1999). Whistlers Music, New England Tradition - "Farewell to the Hollow."
T:Amelia's Waltz
M:3/4
L:1/8
S:Gregory Taylor, Ir-trad, april 1997
K:D
"D"D3E3D2|"D"D2F3E|"Bm"D2F2BF|"F#m"A3FA2|\
"G"B2G3B|"D"A2F3E|"Bm"D2B3^A|"G"B4A2|
"D"D3ED2|"D"D2F3E|"Bm"D2F2BF|"G"B3cD2|\
"G"d2e2f2|"A"e2c2A2 :|"A"A3fag|"D"f2a3b|
"D"a2f2df|"A"e3cb2|"A"A3cfe|"Bm"d3cd|\
"Bm"f3ed2|"F#m"c3BA2|"F#m"F3EF2|"G"G2B3G|
"D"F2A2d2|"A"e3ce2|"D"f2d2f2|"G"g3fg2|\
"D"a2f2e2|"A"a2e2c2|"D"d4 |>|

AMERICA LIES FAR AWAY. Irish, Air (6/8 time, "tenderly"). G Mixolydia/A Minor. Standard. AB. O'Neill (1850), 1903/1979; 397, pg. 69.

AMERICAN AIR. AKA and see "Jim Dandy From Caroline," "Chicken Foot and Sparrow Grass." Kerr (Merry Melodies), Vol. 1; pg. 29.

AMHRÁN NA bhFIANN. Irish, Air (2/4 time). D Major. Standard. AB. The Irish national anthem. Tubridy (Irish Traditional Music, Vol. 1), 1999; pgs. 43-44.

AMHRÁN DOCHAIS (Song of Hope). Irish, Air (4/4 time). G Major. Standard. ABB'. Composed by Osborn Ó bAimbeirgin (1872-1950) in the early half of the 20th century, it describes the desire for political and cultural freedom in Ireland. Cranitch (Irish Fiddle Book), 1996; pg. 41. Columbia 35612, "The Chieftains" (1978. Appears as part of the medley "Dochas"). RCA 09026-60916-2, The Chieftains - "An Irish Evening" (1991).

AMHRÁN NA LEABHAR (The Song of the Books). AKA and see "Cuan Bhéil Inse," "Valentia Harbor," "Valentia Lament." Irish, Air (4/4 time). E Dorian. Standard. One part. Cranitch relates that the song to this air was written by Tomás Rua Ó Súilleabháin (1785-1848), a poet and musician from Iveragh. Ó Suilleabhain had been a teacher at Caherdaniel and was being transferred to Portmagee. As he was leaving he placed his treasured and huge library of leather bound books on a boat going from Derrynane to Goleen, while he himself travelled by road. The boat struck a rock and was lost, tragically along with the priceless collection of books, prompting Ó Súlleabháin to song. The air is known in modern times as a slow piper's tune. Tomas Ó Canainn's translation goes:
By Valentia harbour I happened once
Near sweet Goleen Dairbhre
To be the master in Portmagee
Where ships set sail for the ocean deep.
Soon all had the sorrowful story then
Of the sturdy craft, lost at Owen Finn,
Sad was my heart for the ship that failed;
Better this land had it survived the gale.
The melody is very popular as a slow air with pipers, though is usually known by the titles "Valentia Lament" or "Cuan Bhéal Inse."
Cranitch (The Irish Fiddle Book), 1996; pg. 102. Sceilig Records SRCD 002 Tim Dennehy - "Farewell to Miltown Malbay."
T:Amhrán Na Leabhar (The Song of the Books)
M:4/4
L:1/8
Z:transcribed by Paul de Grae
K:Edor
B2|E2 EF G2 A2|Be e5 f|e3 d B3 A|Bc d4 e2|
E3 F G3 F|GA B3 B2 A|G2 E5 D|E5 z B2|
E3 F G2 A2|Be e5 f|e3 d B3 A|Bc d5 z |
E2 EF G3 F|GA B3 B2 A|G2 F E4 D|E5 z e2|
e2 ed e3 d|ef g4 f2|e3 d B3 A|B5 z Bc|
d2 dc d3 c|dd e4 ed|B3 A G3 A|B5 z B2|
E2 EF G2 A2|Be e4 ef|e3 d B3 A|Bc d5 e|
E2 EF G3 F|GA B4 BA|G2 F E4 D|E6 ||

AMHRÁN NA TRA BAINE. Irish, Air (3/4 time). D Major. Standard. One part. Ó Canainn (Traditional Slow Airs of Ireland), 1995; pg. 18.

AMONG THE MEN COQUETS WE FIND. AKA and see "Would fate to me Belinda give." English, Air. The air appears under this title in John Gay's Beggar's Opera (1728).

AN HOUR BEFORE DAY. Irish, Slow Air (4/4 time). G Major. Standard. AAB. O'Neill (1850), 1903/1979; No. 407, pg. 71.

AN IRISH LULLABY. Irish, Air (2/4 time). G Major. Standard. AABB. O'Neill (1850), 1903/1979; No. 346, pg. 60.

AN OLD MAN HE COURTED ME (WILL YOU LOVE, CAN YOU LOVE; AN OLD MAN HE COURTED ME, TAKE ME AS I AM) [1]. Irish, Air (6/8 time). E Flat Major. Standard. AB. Stanford/Petrie (Complete Collection), 1902; No. 526, pg. 133.

AN OLD MAN HE COURTED ME [2]. Irish, Air (3/4 time). F Major/Mixolydian. Standard. One part. Source for notated version: "From (the Irish collector) Mr. Joyce" [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 528, pg. 133.

AN OLD MAN HE COURTED ME [3]. Irish, Air (6/8 time). G Major. Standard. AB. "The setting I gave to Dr. Petrie long ago is in Staford/Petrie with my name: but I think the following version better:
***
An old man he courted me fond and lovingly,
An old man he courted me-believe me if you can,
An old man he courted me-to my sorrow he married me,
So, maids, never while you live wed an old man.
***
Joyce (Old Irish Folk Music and Songs), 1909; No. 228, pg. 111.
T:An old man he courted me
L:1/8
M:6/8
N:"Spirited"
S:Joyce - Old Irish Folk Music
K:G
GF|DGG AGG|de/d/c/A/ cd/c/A/F/|DGG AGG|G/F/G/A/B/c/ d2||B/c/|
dge =fdc|BcA GFD|DdB cd (3c/A/F/|AGG G2||

AN OLD WOMAN CLOTHED IN GRAY. AKA and see "Unconstant Roger," "Let Oliver now be forgotten," "How unhappy is Phillis in love." English, Air (6/8 time). G Minor. Standard. One Part. According to Chappell (1859) the air appears in a manuscript of 1662, and also has appeared in Salter's Genteel Companion for the Recorder (1683), Lady Catherine Boyd's MS. Lyra Viol Book, Henry Carey's Musical Century (vol. ii), John Gay's Beggar's Opera (1728, where it appears as "Through all the employments of life"), Humours of the Court (1732), and Walsh's Dancing Master, among other publications (see Chappell {1859}). A popular tune, state Chappell (1859) and Pulver (1923), to which the number of appearances in period publications attests; it was used for numerous political ballads, especially around the turbulent year 1680, and appears under different titles in many ballad operas of the early 18th century. The original song begins:
***
An old woman clothed in gray
Whose daughter was charming and young,
But chanced to be once led astray
By Roger's false flattering tongue.
***
It appears in Playford's "Dancing Master" under the title "Unconstant Roger" after the Roger in the song. Chappell (Popular Music of the Olden Time), Vol. 2, 1859; pgs. 120-121. Raven (English Country Dance Tunes), 1984; pg. 50.

AN OLD WOMAN POOR AND BLIND. English, Air (6/8 time). C Minor. Standard. AB. Cappell has discovered the earliest printing of the tune to be by W. Thackeray in the reign of Charles II, and later by Playford in "Pills to purge Melacholy" (all editions), "The Village Opera" (1729), and "The Fashionable Lady" (1730). Numerous other ballads were written to the air, including the titles "The Cries of London," "The Crafty Cracks of East Smithfield," "The Toothless Bride," "'The Deptford Plumb Cake' or 'The Four Merry Wives,'" and "Here's a Health to great Eugene." Chappell (Popular Music of the Olden Time), Vol. 2, 1859; pg. 82.

AN OSSIANIC AIR. AKA - "An Air to Which Ossian is Recited," "Fonn gnathaichte do bhriathraibh Oisein." Scottish, Slow Air (6/8 time). A Major. Standard. AAB. The tune "is also a favourite Ossianic measure, to which the editor has heard a great many fragments of the original recited. He had, however, previously acquired the air, as handed form Alexander Fraser of Leadclune, patronimically Alaster Mac Iluistein, who lived during the last century, and was the progenitor of the present Alexander Fraser, Esq. of Lincoln's Inn &c. He was a sterling reciter of Ossian, and a bard, whose genius, sentiments, and principles (as appears from a beautiful poem to this air, and many others), would have done honour to a more advanced stage of society" (Fraser). Fraser, 1874; No. 28, pg. 10.

AN THOU WERE MY AIN THING. AKA and see "Gin thou wert mine awn thing," "A Scotch Song." Scottish, Air. The air appears under this title in "Orpheus Caledonius" (1725-6), and in John Gay's Beggar's Opera (1728) under the title "Oh what pain it is to part." Thomson, in his first edition of Orpheus Caledonius, credits the tune to David Rizzio (who was Queen Mary's secretary and a lutenist and singer of repute), but deletes this credit in his second edition in 1733. Whether or not Rizzio wrote the tune, collected it from popular tradition, or had nothing to do with it is conjecture.

ANACH CUAN [2]. Irish, Slow Air (4/4 time). A Dorian. Standard. One part. Words to the air were written by Blind Rafferty, the poet, born in 1784, and tell of a boating tragedy. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 40, pg. 37. Paul Dooley - "Rip the Calico."

ANACH CUAIN [3]. Irish, Slow Air (3/4 time). E Dorian. Standard.
T:ANACH CUAIN
R:Air
M:3/4
L:1/8
Q:70
K:Edor
Z:transcribed by Paul Keating
E EF|"Em"G2 "Bm"FE3/2 (3F/2E/2D/2|"Bm"d2 "Em"ef ed|

ANCIENT BARONS OF KELRAVOCK, THE (Barain Chulrabhaig). Scottish, Slow Air (4/4 time). E Flat Major. Standard. AB (Hunter): AAB (Fraser). "This is complementary to the family of Colonel Rose of Kilravock, one of the most ancient and respectable in the north; a family who have for ages been celebrated not only as lovers of the science of music, but for uncommon proficiency and polished taste" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 183, pg. 75. Hunter (Fiddle Music of Scotland), 1988; No. 59.
T:Ancient Barons of Kilravock, The
T:Barain Chill-reathaig
L:1/8
M:C
S:Fraser Collection
K:E_
(3E/D/C/|B,>A,G,>A, B,AGe|G>FE>F GCC (3E/D/C/|B,>A,G,>A, B,AGe|
[Ac]>[GB][GB][B,D] [G,3E3] (3E/D/C/|B,>A,G,>A, B,AGe|G>FE>F GCC (B/C/)|
G,EA,F B,AG(e|[Ge]>)([Ac] [Ac]>)([GB] [GB]):|
(3B/c/d/|~e>fg>e B>AGe|G>FE>F GCC (3B/c/d/|~e>fg>e b>geB|
[Ge]>([Ac] [Ac]>)([GB] [G2B2]) (B/c/4d/4 e/4f/4g/4)a/4|
(b/a/)(a/g/) (g/f/)(f/e/) (e/d/)(d/c/) (c/B/)(B/A/)|G>FE>F G>CC>D|
EcDB CAB,G|A,FB,D [G,3E3]||

ANCIENT SPORTS OF THE GLEN, THE (Sealg a's Sùgradh nan gleann). Scottish, Slow Air (3/4 time). D Major. Standard. AB. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1872; pg. 221.
T:Ancient sports of the glen, The
T: Sealg a's Sùgradh nan gleann
L:1/8
M:3/4
S:Fraser Collection
K:D
d>c|(BA) F2A2|(f2 [ce]) z B>c|d2F2A2|B3z d>c|BA F2A2|(f2 [ce])z B>c|
d2F2A2|B3z||d>e|f2d2c2|(e2 [Ac])z d<e|f2d2B2|[A3c3]z a>e|f2B2c2|
([F2A2] B)z d>c|(BA) F2A2|B3 z||

AND LET ME THE CANAKIN CLINK. English, Air (6/8 time). F Major. Standard. One part. The tune is given by Caulfield and is assumed to be the traditional tune to Iago's song in "Othello," Act II, Scene 3, urging Cassio to drink. Kines (Songs From Shakespeare's Plays and Popular Songs of Shakespeare's Time), 1964, pg. 36.

AND WILL HE NOT COME AGAIN. English, Air (6/8 time). A Minor. Standard. One part. The traditional stage melody to which Ophelia sings the last of her "mad songs" in Act IV, Scene 5 of Hamlet. Kines (Songs From Shakespeare's Plays and Popular Songs of Shakespeare's Time), 1964; pg. 34.

ANDREW CAREY [1]. AKA - "Andy Carey," "Andrew Carr." AKA and see "Tipperary Hills," "Scotland," "The Yairds o' Finnigirth." Irish, English, Scottish; Hop Jig (slip jig) and Air. England, Northumberland. D Major (Athole, Cole, Gow, Raven, Roche): G Major (Bruce & Stokoe, Vickers). Standard. AAB (Athole, Gow, Hunter): AABB. The tune's title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800./ Appears as a country dance called "Scotland" in Playford (1709), and as a slower version in "The Yairds o' Finnigirth" from the Shetlands. Bruce & Stokoe print lyrics to the tune, beginning:
***
As I went to Newcastle, My journey was not far,
I met with a sailor lad, His name was Andrew Carr.
And hey for Andrew, Andrew, Ho for Andrew Carr,
And hey for Andrew, Andrew, Ho for Andrew Carr.
***
Bruce & Stokoe, Northumbrian Minstrelsy, 1882; pg. 179 (appears as "Andrew Carr"). Charlton Memorial Tune Book, 1956; pg. 17 (appears as "Andrew Carey"). Cole (1001 Fiddle Tunes), 1940; pg. 78. Gow (Complete Repository), Part 1, 1799; pg. 36. Hunter (Fiddle Music of Scotland), 1988; No. 290. O'Neill (1001 Gems), No. 430 (appears as "Tipperary Hills"). Raven (English Country Dance Tunes), 1984; pg. 130. Roche Collection, 1982; Vol. II, pg. 24. Stewart-Robertson (The Athole Collection), 1884; pg. 138 (appears as "Andrew Carr"). Seattle (William Vickers), 1987, Part 2; No. 306.
T:Andrew Carr
L:1/8
M:9/8
R:Slip Jig
B:The Athole Collection
K:D Major
F2(A A)FA AFD|G2B Bcd c2A|F2A AFA Bcd|A,2 D DEF E2D:|
d2A ABA AGF|E2e efg f2e|d2A AFA Bcd|A,2D DEF E2D|
d2A ABA AGF|E2e efg f2e|d>cB AFA Bcd|A,2D DEF E2D||
T:Andrew Carr
L:1/8
M:9/8
S:Bruce & Stokoe - Northumbrian Minstrelsy
K:G
B2d dBd dBG|B2e efg f2d|B2d dBd def|g2G GAB A2G:|
|:g2e dBG dBG|g2e ege f2d|gfe dBd def|g2G GAB A2G:|

ANGELINE THE BAKER. AKA and see "Angeline," "Angelina Baker," "Rocky Road" (N.C.), "Coon Dog" (Va.), "Georgia Row," "Walk up Georgia Row" (?). Old-Time; Song, Breakdown. USA, Virginia. D Major. Standard or ADAE. AABB. This old time song and tune was derived from a sentimental song by Stephen Foster, called "Angelina Baker," whose lyrics tell about a slave who is parted from her lover when sold. Foster's original song can be heard played by the Critton Hollow Stringband on their album "Sweet Home" (Yodel-Ay-Hee 002). A similar tune, or an alternate title, is the Patrick County, Va., "Coon Dog." The 'revival' version commonly played today by old-time style musicians comes from fiddler J.W. 'Babe' Spangler (1882-1970), of Patrick County, Virginia. See also the related "Little Betty Brown" and "Cousin Sally Brown." The following lyrics can be heard in various recorded versions of the piece:
***
Angeline the Baker, her age is twenty-three (or 'forty-three'),
Feed her candy by the peck but she won't marry me.
***
Tell how I took Angeline down to the county fair,
Her father chased me halfway home and told me to stay there.
***
Angeline the Baker, Angeline I say,
You caused me to weep, caused me to mourn, caused me to wear that (beat on the) old jawbone.
***
Angeline the Baker, She lived on the village green;
And the way that I love her, beats all to be seen.
***
Angeline in handsome, and Angeline is tall,
She broke her little ankle bone from dancing in the hall.
***
She won't do the baking because she is too stout,
She makes cookies by the peck, throws the coffee out.
***
Angeline the Baker, her age is forty-three,
Little children round her feet and a banjo on her knee
***
John J. Sharp knows these lyrics to a melody more like the Foster original:
***
Angeline the baker lived near the village green,
Way I always loved her, beats all you ever seen.
Father was a baker, they called him Uncle Sam,
I never can forget her, no matter where I am.
*** Chorus:
Angeline the baker, age of 43,
Gave her candy by the peck, but she won't marry me.
Angeline the baker, left me here alone,
Left me here to weep a tear, and play on the old jawbone.
***
Said she couldn't do hard work, because she was not stout,
Baked her biscuits every day, before they called me out.
***
Sixteen horses on my team, the old grey went before,
Almost broke Angelines heart to hear the wagons roar.
Angeline the baker, Angeline I know,
Wished I married Angeline twenty years ago.
***
Bought Angeline a brand new dress, neither black nor brown,
It was the color of a stormy cloud, before the rain pours down.
Sixteen horses in my team, the leader he was blind,
Came close to dying, they sold my Angeline.
***
Sources for notated versions: J.W. Spangler (Virginia) [Reiner & Anick]; Wretched Refuse String Band (N.Y.C.) [Brody]; Stuart Duncan [Phillips]. Brody (Fiddler's Fakebook), 1983; pg. 22 (2 versions). Johnson (The Kitchen Musician's Occasional: Waltz, Air and Misc.), Vol. 1, 1991; pg. 2. Krassen (Appalachian Fiddle), 1973; pg. 26-27. Kuntz (Ragged but Right), 1987; pg. 341-342. Phillips (Traditional American Fiddle Tunes), 1994; pg. 15. Reiner & Anick (Old-Time Fiddling Across America), 1989; pg. 88. Bay 727, "Kenny Hall and the Sweet Mills String Band." Beet 7003, "Wretched Refuse." County 201, J.W. Spangler (Va.) - "The Old Virginia Fiddlers." Rounder 0400, "Pickin' Around the Cookstove." Spudchucker Productions, Bert Edwards (N.C.) - "Bert's Bombaree" (appears as "Rocky Road"). Rounder C-11565, Stuart Duncan - "Rounder Fiddle" (1990). Tennvale 002, Roaring Fork Ramblers- "Galax 73."
T:Angeline the Baker
L:1/8
M:2/4
B:Kuntz - Ragged but Right
K:D
(3B/d/B/|AB d>A|B(d d)(3B/d/B/|AB d/B/A|(B2 B)(B/d/B/|
AB d>(e|f)e d/c/d/(e/|f)e (3d/e/d/B|A>B A:|
|:(a|a)g f/g/e|f/g/f/e/ df|{^g}af (3e/f/e/d|B>d B(a|a)g f/g/e|
f/g/f/e/ d/c/d/e/|{=f}^f e (3d/e/d/B|A3:|

ANGEL'S WHISPER, THE. Irish, Air (4/4 time). C Major. Standard. One part. O'Neill (1850), 1979; No. 625, pg. 110.

ANGLER, THE. Irish, Air (4/4 time). G Major. Standard. One part. "There was a song to this air which was well known in Linerick, about a young man who went our fishing, and met with better luck than he expected. I have often heard the Limerick people sing to this air Byron's two-verse poem beginning 'I saw thee weep'" (Joyce). The first verse goes:
***
As I roved out one morning down by a river side,
To catch some trout and salmon where the stream did gently glide;
Down by the brook my way I took and there by chance did spy
A lovely maid all in the shade, who smiled and passed me by.
***
Joyce (Old Irish Folk Music and Song), 1909; No. 10, pg. 8.
T:Angler, The
L:1/8
M:C
S:Joyce - Old Irish Folk Music
K:G
D2|G2F2E2D2|D3f edBA|B2 G>B AGFG|E6F2|G2 F>G E2D2|d3f e3f|
G2f2 ed^ce|d6 B>d|e3f g2B2|g2 fg e>dBA|G3B AGFG|E6 (3DEF|G2F2E2D2|
d3f edBA|G2 A>B G2G2|G6||

ANGUS CAMERON'S COMPLIMENTS TO ALEX WEBSTER. Scottish, Slow Air (6/8 time). D Minor. Standard. AAB. Composed by Angus Cameron. James Hunter relates that composer Cameron was a mathematics teacher in Kirriemuir, and the son of a famous fiddling family, all of whom were pupils of 'Dancie' Reid of Newtyle. The personage he composed the tune for was a gamekeeper at Glenbucket in Strathdon who become "intensely interested" in fiddle making, and who made some excellent instruments, one of which he had presented to Mr. Cameron. Hunter (Fiddle Music of Scotland), 1988; No. 41.

ANGUS G. MACLEOD. Scottish, Pipe March or Slow Air. Composed by Pipe Major Donald MacLeod. Pipe Major Donald MacLeod's Collection. Green Linnet GLCD 1182, The Tannahill Weavers - "Choice Cuts" (1997).

ANNIE LAURIE. Scottish, Air (4/4 time) or Strathspey. D Major. Standard. One part (Bain): AAB (Neil): AABB (Kerr). Neil (1991) writes that the air and a portion words were written by Lady Jane Scott (1810-1890), after an old ballad composed by Douglas of Fingland in honor of Annie, the youngest daughter of Sir Robert Laurie, 1st Baronet of the Maxwelton family, whose seat of Maxwelton was located on the banks of the valley of Bairn in Dumfriesshire, Scotland. Sir Robert and Annie were lovers, though secret ones, who had met at a ball in Edingburgh; they trysted often in the woods around Maxwelton, but Robert, committed to the Jacobite cause, was eventually forced to flee the country. J. Murray Neil (1991) informs us: "It is said the Annie was very slim and graceful. She was a classic beauty with a longish face, large blue eyes and brown hair, which she left unpowdered, contrary to the custom of the day. Her hands and feet were small so that the reference in the ballad ("Like dew on the gowan lying, Is the fa' o;' her fairy feet") would seem to be based in fact." Lady Scott's song enjoyed great poplarity, which only waned after the Second World War. She was the eldest daughter of her generation of the Spottiswoode family and married John Scott, the third son of the Duke of Buccleugh. He died in 1860, but ten years later Lady Jane inherited the estates of her family of origin, near Lauder in Berwickshire, and, in accordance with her father's will, returned to her maiden name, Alicia of Spottiswoode, when she assumed the property. As a parlor song it was popular in the English speaking world in the late Victorian era [Neil]. The great Scots composer William Marshall wrote a strathspey in her honor (see "Lady John Scott"). Bain (50 Fiddle Solos),1989; pg. 41. Kerr (Merry Melodies), Vol. 4; No. 42, pg. 7. Neil (The Scots Fiddle), 1991; No. 35, pg. 45. Rounder 0089, "Oscar & Eugene Wright: Old Time Fiddle and Guitar Music from West Virginia."

ANNIE O'BRIEN. Irish, Slow Air ("A Lament," 6/8 time). A Major. Standard. One part. Joyce (Old Irish Folk Music and Songs), 1909; No. 198, pg. 98.
T:Annie O'Brien
L:1/8
M:6/8
N:"Slow and with feeling"
S:Joyce - Old Irish Folk Music
K:A
E|A2A A<cc|d2e c2A|B2c A2A|(A3 A2)g|f2f ef g2|a2a e2e|B2A Bcd|(e3 e2)g|
f2f efg|a2a e2e|c2A Bcd|(e3 e2)c|A2A ABc|d2f c2A|B2c A2A|(A3 A2)||

ANTI-GALLICAN PRIVATEER, THE. English, Air (6/8 time). England, Northumberland. G Major. Standard. AAB. A ballad tune to which Stokoe (1882) prints the lyrics. He says: "In Sykes' Local Records, under the date 1779, March 6th, appears the following record:--'The Anti-gallican privateer, of Newcastle, sailed from Shields on a six months' cruise against the enemies of Great Britain (i.e. France and America), being the first that ever sailed from that port Completely fitted and manned.' This song and air were popular at the time the privateer sailed, but the great expectations to which they gave utterance were in this instance doomed to disappointment, as the vessel returned at the end of her cruise without a prize of any kind to reimburse the speculators in what has been called 'legalized piracy.'" The title was included in Henry Hobson's list of Northumbrian songs and tunes popular c. 1800. Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pgs. 122-123.
T:Anti-Gallican Privateer
L:1/8
M:6/8
S: Bruce & Stokoe - Northumbrian Minstrelsy
K:G
B|d2B GAB|c2A F2A|d2B G2E|F2A d2:|
B|d2d d2d|e2f g2f/e/|d2B cBA|G2G G3|
A2B c3|B2d g2f/e/|d2B cBA|G2G G2||

ANTRIM HILLS. Irish, March or Air (4/4 time). G Major. Standard. AABB. Source for notated version: Rod Miller (New Hampshire) [Miller & Perron]. Miller & Perron (Irish Traditional Fiddle Music), 1977; Addenda.

ANY PRIVATION BUT THIS (Creach na ciadainn). Scottish, Air (3/4 time). G Major. Standard. AB. "The words to this air are in most collections of Gaelic songs, - and hearing these translated, will explain the occasion and circumstances of 'the privation' to a poet who takes up the subject, better than any recapitulation of the editor, - his first provence being to communicate the airs correctly and intelligibly, in order to establish thier standard, before the poet attempts to attach verses" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 85.
T:Any privation but this
T:Creach na Ciadainn
L:1/8
M:3/4
S:Fraser Collection
K:G
G>=F|E2 Dz c2|B2 dz g>e|d2 Bz d>B|A2 Gz G>=F|E2 Dz c2|B2 dz g>e|
D2 Bz d>B|A2 Gz||G>A B2 Bz c>B|A2 Gz D>G|A2 Gz =f>g|a2 gz g>=f|
e2 dz B>c|d2 Bz B>c|d2 g2 d>B|A2 Gz||

AP HUW. Harp Air. Alan Stivell notes that this ancient sonata for bardic harp was learned from a 17th century manuscript but that it had been transmitted orally since the High Middle Ages. "It was scholarly music, sometimes figurative, showing certain links with Piobaireachd (classical Scottish bagpipe music)." Rounder 3067, Alan Stivell - "Renaissance of the Celtic Harp" (1982).

APPLE PRAITIES. Irish, Slow Air (4/4 time). A Dorian. Standard. AAB. Kerr (Merry Melodies), Vol. 1; pg. 41.

APPRENTICE, THE. Irish, Air (6/8 time, "lively"). A Major. Standard. AB. O'Neill (1850), 1979; No. 421, pg. 73.

AR HYD Y NOS. Welsh, Air. The tune appears in Jones's first edition of Musical and Poetical Relicks of the Welsh Bards (1784).

AR LAOCHRA. Irish, Air (or Jig). D Major. Standard. AB. Composed by Frank Roche. Roche Collection, 1982; Vol. III, pg. 11.

AR THAOIBH NA CARRAIGE BAINE. Irish, Air. The tune printed under this title in Petrie's 1855 collection is, in fact, "Bruach na Carraige Baine" (The Brink of the White Rock), explains Ó Canainn (1978), despite Petrie's protestations in his introduction that it is not "Bruach na Carraige Baine."

ARABY'S DAUGHTER. Irish, Air (6/8 time, "with spirit"). D Major. Standard. AB. O'Neill (1850), 1979; No. 305, pg. 53.

ARCHIBALD MACDONALD OF KEPPOCH. Scottish, Slow Air (6/8 time). D Minor. Standard. AAB. See "Keppoch A Wilderness" for related history of the MacDonalds of Keppoch. The tune was first published by the Scots fiddler, collector and composer Captain Simon Fraser (1773-1852) of Ardachie, near Fort Augustus. Fraser's work The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles contained many works collected from vaious sources during the period 1715-1745. The MacDonalds of Keppoch were a distinguished branch of Clan MacDonald, who supported the Stewart monarchs in the 17th century, culminating with their participation in the Jacobite risings of the 18th century. They fought entry on the side of Bonnie Prince Charlie in the Jacobit Archibald MacDonald lived from 1678 to 1745, dying just prior to the entrance of the MacDonald's of Keppoch on the side of Bonnie Prince Charlie in his ill-fated attempt to gain the crown of Scotland and England. The MacDonalds of Keppoch are a very distinguished branch of the Clan Macdonald who played vital roles in providing support for the Stewart monarchs in the 17th century and then wholeheartedly supported the Jacobite risings in the 18th century. As a result of their support for the Jacobite cause they lost their lands in Lochaber/ Roy Bridge and they are currently without an officially recognised clan chief.
Lerwick (Kilted Fiddler), 1985; pg. 71. Martin (Ceol na Fidhle), Vol. 2, 1988; pg. 20 (includes a harmony part). Matthiesen (Waltz Book II), 1995; pg. 2. Green Linnet SIF 1047, Johnny Cunningham - "Fair Warning" (1985). Elke Baker & Liz Donaldson - "Terpsichore."

ARCHY BOYLAN. Irish, Air (2/4 time). E Flat Major/Mixolydian. Standard. AB. Stanford/Petrie (Complete Collection), 1905; No. 744, pg. 186.

ARDAIDH CUAIN. Irish, Air. D Major. Standard. AB. Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 42.

AREIR AS ME AG MACHTNAMH AIR BHEARTAIBH AN T-SAOGHAIL. AKA and see "Last Night as I was Thinking of the Ways of the World."

AEISAIG MIST. Canadian, Slow Air (4/4 time). D Dorian. Standard. AABCCD. Composed by Cape Breton fiddler Wilfred Gillis, originally set in D Minor. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 230, pg. 92.

ARK AN D'OR HOUSE. Canadian, Slow Air (4/4 time). Canada, Cape Breton. A Major. Standard. AA'B. Composed by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton). Cranford (Brenda Stubbert's), 1994; pg. 1. Brenda Stubbert - "House Sessions" (1992).

ARRAH MY DEAR EVELEEN. AKA and see "Silent O Moyle!" "Song of Finnula." Irish, Air (4/4 time). C Major. Standard. AB. O'Neill (1850), 1979; No. 376, pg. 65.

ARRAN AIR. Irish, Air (2/4 time). D Major. Standard. AB. A tune by this generic title appears in Hoffman's 1877 arrangement of melodies from the George Petrie collection--it is in actuallity "Cill Chais." O'Neill (1850), 1979; No. 541, pg. 94.

ARRAN BOAT, THE. AKA and see "The Highland Boat Song." Scottish, Slow Air (6/8 time). E Dorian. Standard. AAB. The Arran Islands lie off the southwest coast of Scotland, not to be confused with the Isle of Aran, off the west coast of Ireland. Kerr (Merry Melodies), Vol. 1; No. 2, pg. 47. Martin (Ceol na Fidhle), Vol. 1, 1991; pg. 11. Shanachie Records 79017, John & Phil Cunningham - "Against the Storm" (1980).

ARRAN LILT, AN. Scottish, Air (2/4 time). G Major. Standard. AABB. Kerr (Merry Melodies), Vol. 1; No. 8, pg. 47.

ARRANE GHELBY. Scottish, Slow Air or Waltz. Scotland, Isle of Man. B Minor. Standard. AAB. Source for notated version: Scottish style fiddler Elke Baker (Washington, D.C.) [Matthiesen]. Mattheisen (Waltz Book II), 1995; pg. 35.

ARTHUR DARLEY'S. AKA and see "The Bruckless Shore," "The Swedish Jig." Irish, Slow Air. Ireland, County Donegal. Gael-Linn CEF060, "Paddy Glackin."

ART McBRIDE [2]. AKA - "Arthur McBride." Irish, Air or Jig. Ireland; Counties Limerick, Donegal. G Major. Standard. AB. P.W. Joyce's air "Arthur McBride," printed in his Old Irish Folk Music and Songs, is almost identical to Petrie's. Joyce collected his version in Limerick in the 1840's, while Petrie's air comes from County Donegal. John Loesberg (1980) states that several versions of the song have been found variously in Scotland, Suffolk and Devon, though the tunes in most cases differ slightly.
***
I had a first cousin called Arthur McBride, he and I took a stroll down by the seaside,
A-seeking good fortune and what might betide, 'twas just as the day was a dawning.
Then after resting we both took a tramp, we met Sergeant Harper and corporal Cramp,
Besides the wee drummer who beat up for camp, with his rowdy-dow-dow in the morning.
***
Stanford/Petrie (Complete Collection), 1905; No. 846, pg. 211.

AS A SOLDIER AND A SAILOR (WERE WALKING ONE DAY). Irish, Air (3/4 time). A Major. Standard. AB. The melody appears in George Petrie's "Music of Ireland" (Dublin, 1882) with four related tunes collected by Joyce, who referred to them in his "Ancient Irish Music." See also "The Prison of Clonmel" for a related air. Source for notated version: "From Mr. Joyce" [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 771, pg. 193.

AS DOWN IN THE MEADOWS. English, Air (6/8 time). E Flat Major. Standard. AAB. The song appears in The Merry Musician (ii. 129), Watts's Musical Miscellany (i. 62), Polly (1729), "and many other Ballad Operas" according to Chappell. Chappell (Popular Music of the Olden Times), Vol. 2, 1859; pg. 127.

AS I ROVED OUT {One Morning} (Mar Siublais Amac!) [1]. AKA and see "Cold and Rough the North Wind Blows," "The Maid of Timahoe." Irish, Air (4/4 time). A Major/Mixolydian. Standard. AAB. O'Neill (1850), 1979; No. 169, pg. 29.

AS I ROVED OUT. AKA and see "Seventeen on Sunday." Irish, Air. Ireland, Connemara. A Connemara version of a song recorded by sean-nos singer Joe Heaney in 1980, the first part of which is based on the old ballad "The Boyne Water."

AS I ROVED OUT ON A MAYDAY MORNING. Irish, Moderate or Slow Air (4/4 time). F Major/Mixolydian. Standard. One part. "County Wicklow air" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 292, pg. 138.

AS I ROVED OUT ONE MORNING [1] (Mar Siublais Amac Air Maidin). AKA and see "As I walked out one morning, I heard a dismal cry." Irish, Air (2/4 time, "with spirit"). G Major. Standard. AB. Source for notated version: "From Mr. R. A. Fitzgerald" [Stanford/Petrie]. O'Neill (1850), 1979; No. 236, pg. 41. Stanford/Petrie (Complete Collection), 1905; No. 658, pg. 165 (appears as "As I walked out one morning, I heard a dismal cry").

AS I ROVED OUT ONE MORNING [2]. AKA and see "The Maid of Timahoe." Irish, Air (4/4 time). B Flat Major. Standard. One part. Petrie notes this tune is a variant of his "Maid of Timahoe." Source for notated version: "From Mr. Joyce" [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 657, pg. 165.

AS I STRAYED OUT ON A FOGGY MORNING IN HARVEST. Irish, Air (3/4 time). D Major. Standard. AB. Stanford/Petrie (Complete Collection), 1905; No. 664, pg. 166.

AS I WALKED ON THE ROAD TO SLIGO (Air Mo Ghabháil Dhom Air an m-Bóthar Shligigh). Irish, Jig. G Dorian. Standard. AB. Joyce (Old Irish Folk Music and Songs), 1909; No. 123, pg. 62.
T:As I walked on the road to Sligo
L:1/8
M:6/8
N:"Playful"
S:Joyce - Old Irish Folk Music
K:G Dorian
D2|G2A B2c|d2e fef|g2G c2B|AcA F2D|G2A B2c|d2e f2d|gab agf|g3g2||ga|
B2g a2f|g2f d2e|f2d c2B|AcA F2D|G2A B2c|def g2 a/g/|fed c2A|G3G2||

AS I WALKED OUT ONE EVENING. Irish, Air (4/4 time). Ireland, County Wexford. E Flat Major. Standard. One part. Source for notated version: "From Mr. R.A. Ftizgerald" [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 659, pg. 165.

AS I WALKED OUT ONE MORNING IN SPRING. Irish, Air (6/8 time). F Major. Standard. One part. Source for notated version: "(The Irish collector) P.W. Joyce, Esq." [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 666, pg. 167.

AS I WALKED OUT YESTERDAY EVENING. Irish, Air (9/8 time). D Major. Standard. AB. Stanford/Petrie (Complete Collection), 1905; No. 665, pg. 167.

AS I WALKED OVER THE COUNTY CAVAN. Irish, Air (3/4 time). E Flat Major. Standard. ABB. Source for notated version: "From James MacCloskey, Dungiven" [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 661, pg. 166.

AS I WAS BY THE BAY WESTWARDS (Siar Cois Chuain Dom). Irish, Moderate Air (4/4 time). D Minor. Standard. AB. "Compare with 'Cois taoibh a chuain'" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 719, pg. 358-359.

AS I WAS WALKING BESIDE DUBLIN (Air Mo Ghabhail Dhom Taoibh Bhaile-atha-cliath). Irish, Moderate Air (3/4 time). G Major. Standard. One part. "From Lewis O'Brien of Coolfree Co. Limerick: 1845" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 173, pg. 87.
T:As I was walking beside Dublin
T:Air mo ghabhail dhom taoibh Bhile-Atha-Cliath
L:1/8
M:3/4
N:"Moderate time"
S:Joyce - Old Irish Folk Music
K:G
g/f/e|d2 d>cBc|B>AGBdB|A2G2G2|G4G2|Bcdefd|gfedcB|c2d2 e>c|d4 d/e/f|
g2 efg>e|=fedc B2|c2d2 ef|g4 eg|=f>edcBc|BAGBd>B|A2G2G2|G4||

AS I WAS WALKING ONE MORNING IN MAY. Irish, Air (3/4 time). C Mixolydian. Standard. One part. Source for notated version: "From P. Coneely" [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 663, pg. 166.

AS JIMMY AND NANCY ONE EVENING WERE STRAYING. Irish, Air (3/4 time). F Major/Mixolydian. Standard. One part. Stanford/Petrie (Complete Collection), 1905; No. 687, pg. 172.

AS THE SUN WAS SETTING. Scottish, Slow Air. A Minor. Standard. AAB. Composed by John Kirkpatrick (English Button Accordionist), 1972. Lerwick (The Kilted Fiddler), 1985; pg. 74.

AS THROUGH THE WOODS I ROAMED. AKA - "As through the woods I chanced to roam." Irish, Air (4/4 time). G Minor (O'Neill): F Minor (Stanford/Petrie). Standard. AB. Source for notated version: "From (the Irish collector) Mr. Joyce" [Stanford/Petrie]. O'Neill (1850), 1979; No. 487, pg. 85. Stanford/Petrie (Complete Collection), 1905; No. 667, pg. 167 (appears as "As through the woods I chanced to roam").

AS WE GO ABOUT OUR WORK. Irish, Slow Air (4/4 time). G Major. Standard. AB. O'Neill (1915 ed.), 1987; No. 27, pg. 22. O'Neill (1850), 1979; No. 65, pg. 12.

AS WE SAILED FROM THE DOWNS. Irish, Air (3/4 time). E Flat Major. Standard. AB. "The song tells of the wreck of a vessel on the coast of the County Down on its way from London to Belfast."
***
As we sailed from the Downs near fair London town,
It's then we had fine pleasant weather;
For two days or three we'd a very calm sea,
And our good ship she wrought with much pleasure.
Buth then rose a fog, and our vessel did log,
You could scarcely observe our slow motion;
When to our surprise the storm did arise,
And the billows did foam through the ocean
***
Source for notated version: "Mr. J. McKenzie of Newtownards, a great lover of Irish Music and of the corresponding folk songs, sent me the (air) about 30 yeards ago" (i.e. 1875). Joyce (Old Irish Folk Music and Songs), 1909; No. 319, pg. 149.
T:As we sailed from the downs
L:1/8
M:3/4
S:Joyce - Old Irish Folk Music
K:E_
BA|G2G2G2|F4F2|F2E2E2|A4B2|c2B2A2|B2A2F2|F2E2 BA|G2G2G2|
F4F2|F2E2E2|A4B2|c2B2A2|B2A2F2|F2E2||EF|G2A2B2|e4e2|c2B2c2|
E4 EF|G2A2B2|e2_d2c2|c2 B2 zA|B2A2F2|E4 C2|E2E2F2|A4B2|c2B2A2|
B2A2F2|F2E2||

ASH GROVE (Llwyn Onn). AKA - "Ashtree Grove"?? AKA and see "Sir Watkin William Wynn." Welsh (originally), Scottish, New England; Waltz. C Major (Laufman): G Major (Johnson). Standard. AB (Kerr): AAB (Johnson, Laufman). The air is considered by some to be an early 18th century melody from Wales, perhaps because it is attributed to that country in Gow's Strathspey Reels (book 4, pg. 24), where it appears as "Sir Watkin William Wynn." In fact the earliest Welsh printing is not until Jones's Bardic Museum (1802), where it is given that it was named after 'Mr. Jones's mansion near Wrexham'. Robin Huw Bowen says it is played in the form 'theme and variations', a form poular with Welsh harpists of the early 18th century. It appears under different guises in period publications and can be found in Gay's Beggar's Opera (1729) and in the repertoire of Irish harper Turlough O'Carolan (1670-1738). "The Ash Grove" was used as a vehicle for English morris dancing, and various words were set to it, bawdy and otherwise. One set begins:
***
Down yonder green valley, where streamlets meander
Where twilight is fading, I pensively rove--
Or at the bright noontide, in solitude wander
Amid the dark shade of the lonely ash tree.
***
Johnson (The Kitchen Musician's Occasional: Waltz, Air and Misc.), No. 1, 1991; pg. 1. Kerr (Merry Melodies), Vol. 3; No. 309, pg. 33. Laufman (Okay, Let's Try a Contra, Men on the Right, Ladies on the Left, Up and Down the Hall), 1973; pg. 23. Matthiesen (Waltz Book I), 1992; pg. 13. Flying Fish FF70610, Robin Huw Bowen - "Telyn Berseiniol Fy Ngwlad/The Sweet Harp of My Land" (1996). Green Mountain Volunteers - "New England Country Dance Music."
T:Ash Grove
R:Waltz
C:Trad.
M:3/4
L:1/8
K:D
|:"A"A|"D"d2f2ag|f2d2d2|"G"e2gfed|"A"c2A2A2|"D"d2fedc|"G"B2G2B2|"D"A2d2"
A"c2|"D"d4:||:efg||"D"a2fgab|a2g2f2|"A7"g2efga|g2f2e2|"D"f2defg|"Bm"f2e2
d2|"A"c2a2^"E"g2|"A"a4A|"D"d2f2ag|f2d2d2|"G"e2gfed|"A"c2A2A2|"D"d2fedc|"
G"B2G2B2|"D"A2d2"A"c2|"D"d4:||

ASHOKAN FAREWELL. American, Air or Waltz (3/4 time). D Major. Standard. AA'B. The tune was chosen by Ken Burns as the theme for 1992's celebrated PBS series "The Civil War." However, rather than a melody from that era it is a 1983 Grammy winning composition by fiddler Jay Ungar (West Hurley, New York), and the "goodbye" tune composed in 1982 for the music and dance camp run by he and Molly Mason at Ashokan, New York. The name Ashokan first appears in Dutch records from the 17th century and may be a corruption of an Indian word. The town of Ashokan itself was largely inundated by the vast Ashokan Reservoir, one of New York City's watersheds in the Catskill Mountains. The 'folk process' has yielded several titles based on miss-hearings of the word Ashokan, including "The Choking Farewell," and "I'm Choking, Farewell." Various sets of words have been attached to the tune, including ones by Grian MacGregor, written in 1991 and sung by Priscilla Herdman, on her Flying Fish Records CD "Forever & Always." Matthiesen (The Waltz Book), 1992; pg. 14. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 238. Flying Fish, "The Best of Fiddle Fever."
T:Ashokan Farewell
M:3/4
C:Jay Ungar, 1983.
K:D
Ac || d3 c BA | F4 EF | G3 F ED | B,2 D3 B,|A,2 D2 F2 | A2 d2 f2 | f3 g f2 | e4 Ac|
d3 c BA | F4 EF | G3 F ED | B,2 D3 B,|A,2 D2 F2 | A2 d2 f2 | A2 c2 e2 | d4 FG|A3 F D2 |
d4 A2 | B3 c d2 | A F3 E2 | F3 E D2 | B,4 G,2 | A,6 | A4 FE | D2 F2 A2 | =c6 | B3 c d2 |
A2 F2 D2 | A,2 D2 F2 | A2 d2 F2 | E3 D C2 | D4 ||

ASHTREE GROVE, THE. Irish, Slow Air (3/4 time). D Mixolydian. Standard. AB. O'Neill (1850), 1903/1979; No. 420, pg. 73.

ASSIST ME ALL YE MUSES. Irish, Air (4/4 time). Ireland, County Derry. G Major. Standard. AB. Stanford/Petrie (Complete Collection), 1905; No. 840, pg. 210.

AT CLOONE CHURCH GATE THE FIGHT BEGAN. Irish, Air (6/8 time). G Dorian. Standard. One part. "Cloone in County Leitrim, near Mohill. This tune has much in common with Grainne Waile" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 639, pg. 324.

AT LENGTH I CROSSED THE FERRY. Irish, Air (2/4 time). Ireland, "From Bondsglen, County Derry." E Flat Major. Standard. One part. Stanford/Petrie (Complete Collection), 1905; No. 289, pg. 72.

AT THE MID-HOUR OF NIGHT. Irish, Air. The title is from a song by Thomas Moore to the air "O Molly My Dear" (O Maire Dhilis).

AT MIDNIGHT HOUR. AKA and see "On a Dark and Lonely Road." Irish, Slow Air (4/4 time). A Mixolydian. Standard. AB. O'Neill (1850), 1903/1979; No. 41, pg. 8.

AT THE TREE I SHALL SUFFER WITH PLEASURE. AKA and see "When first I laid siege to my Chloris." English, Air. The air appears in D'Urfey's Beggar's Opera of 1729. The original words of the song ("When first I laid siege to my Chloris") are by Sir Charles Sedley. The air appears in D'Urfey's Pills to Purge Melancholy (Vol. VI, 1720).

ATAIREACHT ARD, AN. Scottish, Slow Air or Lament. A relatively rare major-mode lament.

ATHOLE BROSE. AKA and see "Buckingham House," "The Dogs Amongst the Bushes," "Niel Gow's Favorite." Scottish, Canadian; Reel or Strathspey. Canada; Prince Edward Island, Cape Breton. D Mixolydian or D Mixolydian/Major (Dunlay & Greenberg, Perlman). Standard. ABB (Skye): AABB (Gow, Kerr): AA'BB (Athole): AA'BB' (Perlman). "Athole Brose is, according to one recipe, a drink made from the water in which oatmeal has been soaked, mixed with honey and whisky. Stirred with a silver spoon, it is bottled and kept until needed" (Alburger, 1983). Alburger (1983) and Collinson (1966) credit composition to Abraham MacIntosh {b. 1769} (whose father was Robert 'Red Rob' Macintosh, also a fiddler and composer of notable ability), who first published it under the title "Buckingham House," first appearing in his father's Third Book. Glen (1891) and Emmerson (1971) remark that such belief is largely based on an ascription to 'Mackintosh, junior' in his father's third book, though it could refer to Abraham's brother Robert (though the latter did not publish any collection). Since the sub-title was "Niel Gow's Favourite," and it appears in Gow's Third Collection of Strathspey Reels (Edinburgh, 1792), it has often been mistakenly credited to that famous fiddler. The following lines appear in Alexander Whitelaw's Book of Scottish Song (1844):
***
You've surely heard o' the famous Niel,
The man that played the fiddle weel;
I wat he was a canty chiel,
And dearly loved the whisky, O
And aye sin' he wore tartan hose,
He dearly lo'ed the Athole Brose;
And wae was he, yu may suppose,
To bed 'farewell to whisky', O.
***
Cape Breton fiddlers play it as a strathspey in the key of D, where it is often the vehicle for stepdancing. It is also often the practice on the island to play the reel "General Stewart" (AKA "Lady Muir MacKenzie") following it (Dunlay & Greenberg, 1996). Cape Breton fiddler Jackie Dunn, in her thesis "Tha Bals na Gaidhlig air a h-Uile Fidhleir" (The Sound of Gaelic is in the Fiddler's Music), 1991, remarks that there is known to have been Gaelic words to "Athole Brose." In Ireland the melody is known as "The Dogs Amongst the Bushes." Sources for notated versions: Fr. Angus Morris (Cape Breton) [Dunlay & Greenberg]; Peter Chaisson, Jr. (b. 1942, Bear River, North-East Kings County, Prince Edward Island) [Perlman]. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 73, pg. 111. Carlin (The Gow Collection), 1986; No. 5. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pg. 75. Gow (Collection), 1792. Kerr (Merry Melodies), Vol. 2; No. 148, pg. 17. MacDonald (The Skye Collection), 1887; pg. 73 & 74. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 189. Stewart-Robertson (The Athole Collection), 1884; pg. 118. ATL 8835, Dave MacIsaac & Scott MacMillan - "Live" (1993). CAT-WMR004, Wendy MacIsaac - "The 'Reel' Thing" (1994). Decca 14030, CX 005, Angus Allan Gillis (c. 1936). DMP6-27-2-4, Doug MacPhee - "The Reel of Tulloch" (1985). Nimbus NI 5383, Buddy MacMaster - "Traditional Music from Cape Breton Island" (1993). Paddledoo Music PAD 105, Alasdair Fraser - "Scottish Fiddle Rally, Concert Highlights 1985-1995" (1996).
T:Athole Brose
L:1/8
M:C|
R:Strathspey
B:The Athole Collection
K:D
A|:F>D D/D/D A,>DD>G|F>D D/D/D G<B A>G|1 F>D D/D/D A,<D D>=F|
E/=F/G C>E c>GE>G:|2 F>D D/D/D A,<D D>=F|E/=F/G C>E c<G E>C||
|:D<d d>c d>ed>c|A<d d>e =f>de>c|dd=f>d e>df>d|=c>dc>G E<C G>E:|

AU GRAND CAFE. French Canadian, Air or Polka (2/4 time). F Major. Standard. One part. Learned by French-Canadian fiddler Omer Marcoux (Concord, N.H.) after he heard the song sung as a prelude to a movie show. Miskoe & Paul (Omer Marcoux), 1994; pg; 1.

AULD BRIG O' DON, THE. Scottish, Slow Air. E Flat Major. Standard. AAB. Composed by J. Henry (1860-1914), who lived in Aberdeenshire, and who Hunter notes lead the Aberdeen Strathspey and Reel Society from its inception in 1903 until his death. Hunter also reports that the old bridge at Balbownie, which spans the River Don, was built in the 13th and 14th centuries, and features a beautiful gothic arch, anchored on bedrock on either side and spanning sixty-seven feet. Hunter (Fiddle Music of Scotland), 1988; No. 60.

AULD CHAPEL BRAE. Scottish, Air (4/4 time). G Major. Standard. AB. Composed by Bert Murray in memory of his grandfather, Alexander (Sandy) Murray of Banchory, Kincardine-shire. The air takes its name from the hill called Chapel Brae, where Murray's old cottar house was situated. Sandy was a fiddler who played at Lowlands social gatherings, often accompanied by his brother on the cornet and cousin on double bass. J. Murray Neil (1991) relates:
***
Sandy was an acquaintance of James Scott Skinner, who visited
him regularly. On those occasions, the children would sit
under the bed, which had been raised on blocks, while the
two men chatted and perhaps had a 'dram'. Scott Skinner
would often pass a small plug of tobacco through the spars
to the boys, which they would smoke in their clay pipes.
Sandy composed a number of fiddle tunes, which he wrote
out on strips of paper and left on the mantle-piece, and which
occasionally could not be found after such a visit.
***
Neil (The Scots Fiddle), 1991; No. 95, pg. 128.

AULD LANG SYNE. Scottish, Air (2/4 time) or Strathsepy. F Major (Neil): A Major (Stewart-Robertson). Standard. AABB. Robert Burns (1759-1796) had the air to which he wrote his famous lyrics from an old man's singing, and immediately wrote it down upon hearing as he thought it "exceedingly expressive" and which he later remarked "has often thrilled through my soul." The song was sent by him to Johnson for inclusion in the Scots Musical Museum with a note that it was an old song with additions and alterations (Neil, 1991). Fuld (1966) states that the extent of Burns' responsibility for the words and tune has always been controversial, and states that it is "generally agreed that he was not the author of the words of the first verse," which he points out is the only one everyone knows. According to Robert Chambers [Scottish Songs Prior to Burns, 1890], the earliest printing of a song called "Old-Long-Syne" [sic] with the famous opening line is in James Watson's Scots Poems, Part III, pg. 71 (Edingburgh, 1711). Chambers wrote that he song appears "as early as the reign of Chas. I, its associations conveyed in a song of many (10) stanzas", finally "brought together (in Watson's book) in a song of many stanzas." In fact, there were ten stanzas given in Scots Poems. These early printings, including Burns' version, were to melodies other than the air famous in modern times (interestingly, Burns wrote another song to the "Auld Lang Syne" melody that is substantially the one we know today, which he called "O Can Ye Labor Lea, Young Man," also known as "I Fee'd a Man at Martinmas," found in the Scots Musical Museum [Edinburgh, 1792-1793]).
***
Fuld finds identifying motifs for the modern melody for "Auld Lang Syne" in Playford's "The Duke of Bucclugh's Tune" in Appolo's Banquet (1687), and subsequently and more elaborately as "The Miller's Wedding" (in Bremner's Scots Reels, c. 1765), "The Miller's Daughter," "The Lasses of the Ferry," "Sir Alexander Don's Strathspey," "Roger's Farewell," and the "Overture" to William Shield's opera Rosina (London, 1783). The words and the present melody were first printed together in 1799 in George Thompson's A Select Collection of Original Scottish Airs (London), but, Fuld states, "it is not clear whether Thomson or Burns brought the words and melody together," and it is not clear exactly which air Burns heard the aforementioned old man singing.
***
Stewart-Robertson prints a strathspey version of the tune arranged by John MacAlpin of Killin, for dancing. Ludwig van Beethoven arranged a setting of "Auld Lang Syne" early in the 19th century.
***
As a young man Mark Twain thought to learn music and tried first one instrument, then another, before finally settling down with an accordion. After determining its rudiments, he learned the popular air "Auld Land Syne," and for about a week he continued to torture his unwilling listeners with the melody, when he, being of an ingenious turn of mind, endeavored to improve upon the original melody by adding some variations of his own device. Just as he finished the tune with a suitable flourish, his landlady stepped into his room and said, "Do you know any other tune but that, Mr. Twain?" He told her meekly he did not. "Well then," said she, "stick to it just as it is; don't put any variations on it; because it is rough enough on the boarders the way it is now." As it happened, half the boarders left anyway, while the other half would have had not the landlady discharged Twain first. The aspiring musician went from house to house, but none would undertake to keep him after one night's music, so, at least, in sheer desperation he went to board with an Italian lady--Mrs. Murphy, by name. He says:
***
The first time I stuck up the variations, a haggard care-worn,
cadaverous old man walked into my room and stood beaming
upon me a smile of ineffable happiness. Then he placed his hand
upon my head, and looking devoutly aloft, he said with feeling
unction: "God bless you, young man! God bless you! for you
have done that for me which is beyond all praise. For year I
have suffered from an incurable disease, and knowing my doom
was sealed, and that I must die, I have striven with all my power
to resign myself to my fate, but in vain--the love of life was too
strong within me. But heaven bless you, my benefactor! For since
I heard you play that tune and those variations, I do not want to
live any longer--I am willing to die--in fact, I am anxious to die."
And then the old man fell upon my neck and wept a flood of happy
tears. I was surprised at these things, but I could not help giving the
old gentleman a parting blast, in the way of some peculiarly lacerating
variations, as he went out of the door. They doubled him up like a
jackknife, and the next time he left his bed of pain and suffering he
was all right, in a metallic coffin.
***
At last Twain gave up the instrument, and from then on gave amateur musicians a wide berth. Ashman (The Ironbridge Hornpipe), 1991; No. 72b, pg. 30. Neil (The Scots Fiddle), 1991; No. 189, pg. 244. Stewart-Robertson (Athole Collection), 1884; pg. 1.
T:Auld Lang Syne
L:1/8
M:C
N:"As arranged by John McAlpin, Killen"
B:The Athole Collection
S:Strathspey
K:A
E|A2A>c B>AB>c|AAA>a f2f>a|e<cc>A B>AB>c|A>FE>F A2A:|
|:a|e<cc>A B>AB>c|e<cc>e f>ga>f|e>cc>A B>AB>c|A>FE>F A2A:|

AULD NOOST, THE. Shetland, Air. Whirlie Records CD2, Aly Bain - "First Album" (1984).

AULD RESTIN' CHAIR, DA. Shetland, Air. B Minor. Standard. Composed by the late Shetland teacher, collector, composer and fiddler Tom Anderson, in memory of his grandfather, who first taught him the instrument. Cottey Light Industries CLI-903, Dexter et al - "Over the Water" (1993). GN1, Joe Thoma - "Up the Track: Traditional Music from Kenmare." Green Linnet SIF-1051, Jackie Daly, Seamus & Manus McGuire - "Buttons and Bows" (1984). Topic Records, Tom Anderson & Aly Bain - "The Silver Bow" (1976).

AULD ROB MORRIS. AKA and see "Jock the Laird's Brother." Scottish, Air. The tune first appears in the Leyden Manuscript (c. 1690) and subsequently appeared in Orpheus Caledonius (1725) and other manuscripts. It was frequently printed in 19th century Scottish songsters. Under the title "Jock the Laird's Brother" the tune was printed in the Blaikie Manuscript (1692).

AULD ROBIN GRAY [1]. Scottish, Slow Air (4/4 time). G Major (Hunter): F Major (Neil). Standard. One part (Hunter): AB (Neil). The air which superseded the older air was composed by the Englishman Rev. W. Leeves (1748-1828), rector of Wrington in Somerset, to words composed by the Lady Anne Barnard (nee Lindsay, born 1750, the eldest daughter of the 5th Earl of Balcarres in Fife). The melody was set to a song by Lady Barnard, who wrote her lyrics to the favorite tune of one Suphy Johnson of Hilton. Suphy, incidently, became "one of the intelligent eccentrics of Edinburgh society--the girl who, as an experiment, was left to educate herself, who dressed in an oddly masculine manner, who practised blacksmithing as a hobby, and played the fiddle!" (Emmerson, 1971). Lady Barnard had the reputation of being comely, quick witted, and vivacious and has been referred to as 'the daughter of a hunderd earls' (Neil, 1991). She married at the rather advanced age of 43 to one Andrew Barnard, Bishop of Limerick, who died in 1807. Lady Anne apparently preferred her work to remain anonymous and shunned publicity, however, Neil (1991) tells the story that, on one occasion, she sang "Auld Robin Gray" for Lady Jane Scott (the writer of the modern "Annie Laurie"), who remarked "that she had sung it as if it were her own, and if Lady Barnard would give her a copy, she would keep the secret" (Neil, 1991). The following is one verse composed by Lady Anne (who either originally set the words to the Scottish tune "The Bridgroom Grat" or composed the original air herself):
***
I gang like a ghaist and I carena to spin,
I darena think o' Jamie, for that wad be a sin;
But I'll do my best a gude wife to be,
For auld Robin Gray is kind to me.
***
The real Robin Grey was a shepherd on her father's estate of whom the children were rather fond, but the tale related in the song seems to have been fashioned from fantasy. It tells of a young woman, forced by poverty to wed an elderly man, Auld Robin Grey, though she loves young Jamie. She is forced to endure a number of travails, such as Jamie going off to sea, her father breaking his arm, her mother sick, her marriage, but the final sorrow was supplied by Lady Anne's younger sister, Elizabeth, who suggested "steal the cow, sister Anne", and the verse was completed. The melody was a favorite piece de resistance of many Scottish fiddlers, including J.S. Skinner in the latter 1800's. Davie's Caledonian Repository. Hunter (Fiddle Music of Scotland), 1988; No. 8. Neil (The Scots Fiddle), 1991; No. 15, pg. 21.

AULD SWARRA. AKA - "Da Auld Swarra Jupie." Shetland, Air ("Lament"). G Major. Standard. ABB'. The tune is a lament for fishermen who died in the many disasters during the Haff Fishing in the 19th century, when men set out in sixtereens, six-oared open fishing boats. "Superstition forbade any man to be mentioned by name," explain Aly Bain and Tom Anderson, and instead his clothes were lamented; as Purser (1992) says, "probably the only thing he could have been identified by anyway." Swaara refers to the thick woolen undergarment worn by fisherman of that time. Anderson states the melody was played in the North Isles of Shetland for many years, but thinks it might be a variant of a tune from outside the borders of the Islands. Anderson prints Peter Fraser's version, which is "somewhat similar" to John Stickle's published tune. Cooke (1986) says: "...The abrupt pitch changes suggest Norse origins and the name 'Swarra' is Norse." Purser (1992) states: "Its uneven phrases and rough-hewn shape are dignified at the same time, and have echoes of the Norwegian style too." Sources for notated versions: from the playing of "the late" Peter Fraser of Finnigarth, Waas, Shetland [Anderson]; John Stickle (Shetland) [Purser]. Anderson, 1979 (Haand Me Doon Da Fiddle). Purser (Scotland's Music), 1992; Ex. 5, pg. 231. Topic 12TS379, Aly Bain and Tom Anderson - "Shetland Folk Fiddling, Vol. 2" (1978).

AWA' WHIGS AWA'. Scottish, Air. The tune was played by a Highland piper in Claverhouse's army at the Battle of Bothwell Bridge in an attempt to rally his fellow troops. In brave Highland style he paraded along the banks of the Clyde until he finally fell in the river mortally wounded and drowned.

AYE, MARRY, AND THANK YE TOO. English, Air (6/8 time). E Minor. Standard. One part. This air appears in Youth's Delight on the Flagelet (1697) and the ballad operas "Silvia" (1731), and Robin Hood (1730). Chappell could find nothing of the original ballad (the title was the burden), except the first line: "I live in the town of Lynn", though a variation appeared in the 1707 edition of Pills to purge Melacholy. Several other ballads were sung to the tune, including "'The May Morning Ramble' or 'Robin and Kate' (Pepys Collection), "'Nells Humble Petition' or 'The Maiden's kink and courteous Courtship to honest John the Joyner, whose love she earnestly desired'" (Pepys Collection), "'The London Lass's Lamentation' or "Her fear she should never be married'" (Roxburghe Collection/ Evans Collection). Chappell (Popular Music of the Olden Times), Vol. 2, 1859; pg. 70.
T:Aye, Marry, and Thank Ye Too
L:1/8
M:6/8
S:Chappell - Popular Music of the Olden Times
K:E Minor
B,|EFG AGF|(E3 E2)A|Bed c2A|(B3 B2)A|Bed c2B|AGF ^D3|G3 EcB|AGF E2||

BABA, MY BABY (Baba Mo Leanabh). Scottish, Slow Air (6/8 time). F Major. Standard. ABB. "The editor has often listened (to this charming lullaby) with delight to his father singing this air; it is so far preferable to the set of it now bandied over the country, as not to admit of the smallest comparison" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 79, pg. 29.
T:Ba-ba my Baby
T:Babà mo leanabh
L:1/8
M:6/8
S:Fraser Collection
K:D Minor
F/G/|A2d d>ef|A2G F2 z/F/4G/4|AAA fed|c<A~c d2 d/e/|f>ef g2B|
A>BG A<F z/F/4G/4|A>Bc B<Gc|A2F G2||
|:A|f>ef g2^g|a>b/a/^g/ a2 z/A/|
f>ef g2^g|a>b/a/^g/ a2 z/a/4=g/4|f>ef g2 z/B/|A>BA A<F z/F/4G/4|
A>Bc B<Gc|A2F G2:|

BACA(C)H BUIDHE, AN (Lame Yellow Beggar). AKA and see "Bacach Buidhe Na Leige" (The Yellow Beggar of the League), "The Lame Yellow Beggar," "The Wild Geese," "Johnnie Armstrong," "Todlin Hame," "The Meeting of the Waters." Irish, Air (4/4 time). B Flat Major (O'Sullivan/Bunting): G Major (Flood). Standard. AAB (Flood): ABB (O'Sullivan/Bunting). The great Irish collector Edward Bunting's 1840 publication attributes composition of this melody to the famous Ulster harper Rory Dall O'Cahan in the year 1650. Though born in Ulster, O'Cahan performed primarily in Scotland, and this tune is "said to have been composed by him in reference to his own fallen fortunes, towards the end of his career." {See note for "Give Me Your Hand" for more information on O'Cahan). Audiences heard the air in "The Beggar's Wedding" (1728), an opera by Charles Coffey of Dublin, and it was printed in the score in 1729. The title was reported by the Belfast Northern Star of July 15th, 1792, as having been a tune played by one of ten Irish harp masters at the last great convocation of ancient Irish harpers, the Belfast Harp Festival, held that week. Bunting, who was in attendance at the festival, claimed to have noted it from harper Charles Byrne in his manuscript, though he attributes harper Daniel Black in 1792 as the source in his 1840 published work. The melody may also be found in Neales' Celebrated Irish Tunes, pg. 26 and Holden's Old Established Tunes, pg. 36, reports O'Sullivan (1983), and is a variant of the melody known variously as "Johnnie Armstrong," "Todlen Hame," "Rye Whisky," "Jack of Diamonds," "Drunken Hiccups," etc. Flood, 1905; pg. 80. Murphy (A Collection of Irish Airs and Jiggs, 1809 or 1820; pg. 22. O'Sullivan/Bunting, 1983; No. 20, pgs. 34-35.

BACACH BUIDHE NA LEIGE (The Yellow Beggar of the League). AKA and see "Bacah Buide." Irish, Air. O'Sullivan (1983) suggests "The League" is probably a townland of the same name in the parish of Myross, near Skibbereen, County Cork.

BACK SIDE OF ALBANY. AKA - "Backside Albany." AKA and see "Boyne Water," "The Seige of Plattsburg." American, Air and Reel. The melody, an adaptation of that used for a 17th century Irish ballad about the Battle of the Boyne Water (1690) {see "Boyne Water}, was used for a dialect song written by an American, Michael Hankins. Hankins included it as a part of a play called The Battle of Lake Champlain, performed in Albany, New York, in 1815, a patriotic work that described a military event in the recently concluded War of 1812. The tune was widely popular until at least the 1840's (according to William J. Mahar, American Music, Vol. 6, No. 1, Spring 1988). It was learned by 'revival' musician John McCutcheon from fiddler Lotus Dickey (Paoli, Indiana), who learned it from a brother who in turn claimed to have gotten it through a book from a Sears and Roebuck catalogue. The city of Albany, by the way, was originally settled as Willemstadt by the Dutch and renamed Albany by the English when they gained control of the Hudson, in honor of James, Duke of York and Albany. Greenhays GR 710, John McCutcheon - "Fine Times at Our House" (1982).

BAFFLED KNIGHT, THE. English, Country Dance Tune and Air (6/8 time). E Flat Major. Standard. One part (Chappell): AABB (Barnes). The air appears in "Youth's Delight on the Flagelet" (9th and 11th editions, 1697), and, as was common in the period the tune was written, is the vehicle for other songs of the early 17th century.
***
It was a Knight was drunk with wine,
A riding along the way, Sir;
And there he met with a lady fine,
Among the cocks of hay, Sir.
***
Barnes (English Country Dance Tunes), 1986. Chappell (Popular Music of the Olden Times), Vol. 2, 1859; pg. 69.
T:Baffled Knight, The
L:1/8
M:6/8
S:Chappell - Popular Music of the Olden Time
K:E_
E|E2B B>cB|G2F E2d|e2d c>de|d3 c2d|e>dc _B>AG|c2F F>GA|B>AG E2D|E3B2||

BAILIFF'S DAUGHTER, THE. AKA and see "The Jolly Pinder," "The Baily's Daughter of Islington." English, Air (4/4 time). G Minor. Standard. One part. The song appears in the ballad opera "The Jovial Crew" (1731). The air appears to be considerably older, however, and appears in a lute MS found by Dr. Rimbault. Chappell (Popular Music of the Olden Time), Vol. 2, 1859; pg. 159.

BAILIFF'S ONE DAUGHTER, THE. Irish, Air (2/4 time). G Major/E Minor/A Dorian. Standard. One part. No relation to the English "The Baliff's Daughter." Stanford/Petrie (Complete Collection), 1905; No. 595, pg. 150.

BAINIR SEAIN. Irish, Air (3/4 time). G Major. Standard. One part. Stanford/Petrie (Complete Collection), 1905; No. 1081, pg. 274.

BAKASKIE. Scottish. Robin Williamson thinks the title may refer to Sir William Bruce of Balcaskie, the architect of Holyrood Palace, which stands in Edinburgh today (rebuilt between 1671 and 1679). The air appears in the Panmure MS #9454 Seventy-Seven Dances, Songs and Scots Airs for the Violin, c. 1675. Flying Fish, Robin Williamson - "Legacy of the Scottish Harpers, Vol. 2."

BALLINAMONA. AKA and see "Ballinamona Oro," "Balin a mone," "The Wedding of Ballyporeen," "The Wedding of Ballinamona," "You Know I'm Your Priest." Irish, Air (6/8 time). Ireland, Munster. G Major. Standard. One part. Clinto calls it "The Wedding of Ballinamona." Flood (1906) notes the air was mentioned as being popular in a 1665 account by Archbishop Talbot. It appeared later in Brouke's 1748 Jack the Giant Queller (Killer) and O'Keffe's 1783 Poor Soldier operas, and Burke Thumath's Collection. Joyce (1909) says his air was familiarly known all over Munster, and was in often the vehicle for songs (frequently of a satiric and comic character) whose choruses were always something like this:-
***
With my Ballinamona Oro, Ballinamona Oro,
Ballinamona Oro, the girl of sweet Cullen for me.
***
Joyce (Old Irish Folk Music and Song), 1909; No. 49, pg. 27 (appears as "Ballinamona Oro"). O'Neill (1915 ed.), 1987; No. 52, pg. 35.
T:Ballinamona Oro
L:1/8
M:6/8
N:The chorus begins with the pick-up notes at the end of measure eight.
S:Joyce - Old Irish Folk Music
K:G
D|GAG =fef|gag =f2d|gdd dcB|cBc A2F|GBd =fef|gag =f2 e/f/|gdd dcB|cBc A2 B/c/|
ded dBc|d3B2d/B/|cAG FGA/B/|c3 A2 B/c/|dBG GBd|g3 d2c|BGB cAF|(G3 G2)||

BALLINDERRY (AND CRONAN). Irish, Air (6/8 time). B Flat Major (O'Sullivan/Bunting): G Major (Heymann). Standard. AB. Ballinderry, O'Sullivan (1983) remarks, is on the edge of a small lake close to Lough Neagh, the largest lake in Ireland, and Bunting states the words to the tune refer to locations within the region. The tune also appears in Clairseach na nGaedheal, part III, 1903. The air is really a simple folk air with a second part attached (which Bunting termed the "cronan"); this second part is somewhat curious and was explained by Professor Eugene O'Curry in 1862. Curry identified the crónán as "the low murmuring accompaniment or chorus, in which the crowd took part at the end of each verse," and that the sound was produced in the throat "like the purring of a cat" (quoted in Heymann, 1988). George Petrie, writing in Bunting's 1840 volume, states that the peasantry of Counties Down and Antrim sang "many rude and ludicrous verses" to the air, one of which goes:
***
Its purty to be in Ballinderry,
Its purty to be in Aghalee
Its purty to be in George's Island
Sitting under an Ivy tree
***
Source for notated version: air and words were noted by the Irish collector Edward Bunting form Dr. Crawford of Lisburn in 1808. Heymann (Secrets of the Gaelic Harp), 1966; pgs. 75, 77 & 78. O'Sullivan/Bunting, 1983; No. 56, pgs. 86-87.

BALLINDOWN BRAES. Irish, Air (3/4 time). Ireland, Ulster. G Minor. Standard. AB. "I have known this air and part of the song from boyhood days, when I learned them from an Ulster girl. But Mr. McKenzie's setting is better than mine" (Joyce).
***
Being young like myself-O, he said he would be
Both father and mother and all things to me;
He would dress me in silks and in satins so fine,
And the bright gold and silver in my tartan should shine.
Cho:
But false was his heart-O, and false were his ways;
He decoyed me far far from sweet Ballindown Braes.
***
Source for notated version: "Mr. J. McKenzie of Newtownards, a great lover of Irish Music and of the corresponding folk songs, sent me the (air) about 30 years ago" (i.e. 1875). Joyce (Old Irish Folk Music and Songs), 1909; No. 322, pg. 150.
T:Ballindown Braes
L:1/8
M:3/4
S:Joyce - Old Irish Folk Music
K:G Minor
GA|B2B2G2|F2F2G2|B2B2c2|d4 Bc|d2f2c2|d3 cBG|c3B G2|G4 GA|
B2B2G2|F2F2G2|B2B2c2|d4 Bc|d2g2c2|d3 cBG|c3B G2|G4||
GA|B2D2D2|F2D2D2|B2B2c2|d4 Bc|d2f2c2|d3 cBG|c3B G2|G4||

BALLYLEE. AKA and see "The Little Red Lark." Irish, Air. Cowdery (1990) gives this as the title air to a family of Irish airs. The melody is itself an outlining correspondent of the hornpipe "Off to California."

BALLYMOE. Irish, Air (2/4 time). E Flat Major/Mixolydian. Standard. AB. Source for notated version: "From J.E. Pigot, Esq." [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 695, pg. 175.

BALLYPATRICK. Irish, Air (3/4 time, "with spirit"). G Major. Standard. AB. O'Neill (1850), 1979; No. 235, pg. 40.

BALQUHIDDER. AKA - "Bochuidear." Scottish, Slow Air (4/4 time). F Major. Standard. AAB. "As performed by Major Logan." "The dancing set alone of this air has as yet been handed to the public. It was performed with peculiar tatste by Major Logan, whose set of it the editor was at pains to acquire, but scarcely differing from a song to the same air, sung by the editor's father, composed by Mrs. Fraser of Belladrum, expressing her regret at his continuing too long a bachelor, and intimating, that if he waited till she became a widow, she would by at his service" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 77, pg. 28.
T:Balquhidder, As performed by Major Logan
T:Bochuidear
L:1/8
M:C
S:Fraser Collection
K:F
c|d2 F>c A2 A>c|d2 F>c AGG>c|d2 F>c A2 Ac|d>ef>d cA A:|
~c|d>ef>d c<A a>g|f>c d/c/B/A/ AGG~c|d>ef>d c<A a>G|
f<d f>d c>AA~c|d>ef>d c<A a>g|f>c d/c/B/A/ AGG A/G/|
F>ED>E F>GA>c|d>ef>d cAA||

BANARACH DONNACH RHUIDH. Scottish, Air (6/8 time). E Minor. Standard. AB. Gatherer (Gatherer's Musical Museum), 1987; pg. 29.

BANCHNOIC EIREANN O. Irish, Slow Air (4/4 time). A Mixolydian. Standard. One part. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 22, pg. 25.

BAND OF FREEMAN. American, March (4/4 time). USA, Pa. D Major. Standard. AB. From the Pennsylvania fifing tradition. The title comes from a song called "The Old Granite State," popularized in the early 1800's by the Hutchinson family of singers, and which had a repeated chorus-line of "We're a band of freeman." The tune was used for several spirituals and camp-meeting songs, especially by the Millerites. Bayard (1981) "emphatically" disputes Winston Wilkinson's assertion that the tune is the air or the Irish reel "Take Her Out and Air Her." He also thinks that the tune may possibly be a derivative of a Scots march by Oswald, "The Tulip." Source for notated version: fifer Hiram Horner (Western Pa., 1944) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 287, pg. 241.

BANDON BRIDGE [1]. Irish, Air (2/4 time). A Minor. Standard. AB. O'Neill (1850), 1979; No. 580, pg. 102.

BANDON BRIDGE [2]. Irish, Air (2/4 time). D Dorian (Roche): D Major (O'Neill/1915 & 1850). Standard. One part. O'Neill (1915 ed.), 1987; No. 23, pg. 20. O'Neill (1850), 1979; No. 580, pg. 102. Roche Collection, 1982; Vol. III, No. 11, pg. 4.

BANISHED DEFENDER, THE. Irish, Air (2/4 time). E Minor. Standard. AB. "To this air a Ninety-eight song was sung" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 579, pg. 304.

BANKS OF ANNAN, THE. Scottish, Air (3/4 time). G Major. Standard. One part. Neil found this air in Watlen's A Choice Collection of Old Scots Songs, Plain and Simple Without Being Italinised in the Least (1793). Neil (The Scots Fiddle), 1991; No. 38, pg. 49.

BANKS OF AVON, THE. Scottish, Slow Air (2/4 time). D Major. Standard. AAB. Composed by Alexander Walker. According to Paul Stewart Cranford (1991) the tune has currency among modern Cape Breton fiddlers. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1963; No. 96, pg. 33.

BANKS OF BANNA. AKA and see "When Through Life Unblest We Roam," "Molly Asthore," "Shepherds I Have Lost My Love," "Had I a Heart for Falsehood Framed," "Oh! Nevermore." Irish, Air (4/4 time). C Major. Standard. AB. An air very popular in the 18th century, according to George Moffat, to which Thomas Moore set "When thro' life unblest we rove" and George Ogle set "Shepherds I have lost my love." Moffat finds the Banna melody "merely an adaptation" of an older Irish air, "Sin sios agus liom" (Down beside me), published in Daniel Wright's Aria di Camera (c. 1730) {Moore also wrote a song to this latter air, called "Oh where is the slave"}. See also note for "Down Beside Me." O'Neill (1850), 1979; No. 128, pg. 23.

BANKS OF (THE SWEET) BARROW, THE. Irish, Air (3/2 time). Ireland, Derry. D Minor/Dorian: E Flat Major. Standard. AB: AABBCCDD. Sources for notated versions: "From the late T. Davis" and "Set in the County of Derry, 1834" [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; Nos. 337 & 338, pg. 85.

BANKS OF (THE) CLAUDY, THE (Bruach an Chladaigh). AKA and see "An Cailin Donn," "Plain of Boccarough," "The Portaferry Boys." Irish, Air (2/4 or 4/4 time). F Major (O'Sullivan/Bunting): D Dorian (O'Neill, Stanford/Petrie): D Major (Stanford/Petrie). Standard. One part (O'Neill, Stanford/Petrie): AABBC (O'Sullivan/Bunting). Claudy is a village on the right bank of a small stream called the Faughan, which rises in the Sperrin mountains and flows into the River Foyle just before it enters Lough Foyle in County Londonderry. O'Sullivan (1983) notes that old collections record tune was a once popular Irish ballad, known throughout the island and beyond, for, according to A.L. Lloyd, the song has turned up "in Sussex and Scotland, Virginia, USA, and Victoria, Australia, practically word-for-word the same and we have to presume that these versions have probably come from, and been more or less fixed by, some printed original on a broadside or in a popular songster." O'Neill (1913) classifies the melody in a group with "Willy Reilly" et al (see note for "Willy Reilly" [2]). O'Neill relates hearing a memorable rendition by a Chicago piper named John K. Beatty, a native of County Meath who was a genial man and a good musician, though with an inflated opinion of his own abilities ("execution he had-too much of it-but neither time nor rhythm"):
***
An American lady, of wealth and social distinction, proud of her Irish
ancestry, once appealed to us for aid in getting out a suitable programme.
The best Irish talent obtainable was engaged. But how about Mr. Beatty?
It was contended that he could play The Banks of the Claudy with trills
and variations in acceptable style, yet no one could guarantee that he
would confine himself within limits. In any event he was the typical
bard in appearance. His confident air and florid face, adorned with a
heavy white mustache, and a head crowned with an abundance of long
white hair, would naturally appeal to an Irish audience, so his name was
placed on the programme, well towards the end, to minimize the effect
of his possible disregard of instructions.]
When his time came to execute The Banks of Claudy he met all ex-
pectations-and much more. Intoxicated by the applause, all was for-
gotten but the mad desire to get more of it, so he broke loose with
rhapsodical jigs and reels, his head on high, nostrils distended like a
race-horse on the home stretch, while both feet pounded the platform
in unison. He evidently 'had it in' for the regulators, for he clouted the
keys unmercifully, regardless of concord or effect, and when he quit,
from sheer exhaustion, it is safe to say that no such deafening laughter
and handclapping ever greeted an Irish piper before or since. (Irish Folk Music, pg. 26)
***
Sources for notated versions: the Irish collector Edward Bunting noted the melody from the harper Charles Byrne, probably at the end of the 18th century; . O'Neill (1850), 1979; No. 430, pg. 75. O'Sullivan/Bunting, 1983; No. 43, pgs. 67-68. Stanford/Petrie (Complete Collection), 1905; Nos. 422 & 423, pg. 107.

BANKS OF ESK, THE. AKA and see "North Bank of Esk." Irish, Air (2/4 time). A Minor. Standard. AA'B. O'Neill (1915 ed.), 1987; No. 122, pg. 68.

BANKS O' FORTH, THE. Scottish, Air (4/4 time). D Major. Standard. AABB. The air, referring to the Firth of Forth, was composed by Edinburgh dancing master, singer, and composer James Oswald (b. 1711) and published in his Curious Collection of Scots Tunes. Oswald left for London in 1741 where he continued to compose and publish. Neil (The Scots Fiddle), 1991; No. 9, pg. 11.

BANKS OF KILLALOE, THE. Irish, Air ("lively" 6/8 time). F Major. Standard. AB. Joyce (Old Irish Folk Music and Songs), 1909; No. 278, pg. 132.
T:Banks of Killaloe, The
L:1/8
M:6/8
N:"Lively"
S:Joyce - Old Irish Folk Music
K:F
C|F2E F2G|Ad2 c2B|A2F G2F|D3 C2C|F2EF2G|Ad2 c2B|A2F G2E|(F3F2)||c|
d2c d2e|f3 e2e|d2c d2e|d2c A2c|d2c d2e|f3 e2e|d2c d2e|(d3d2)e|f2e d2c|
df2 e2d|c2B A2G|A2D D2E|F2E F2G|Ad2 c2B|A2F G2E|(F3 F2)||

BANKS OF LAGAN, THE. Irish, Air (3/4 time). D Minor. Standard. AB. Joyce (Old Irish Folk Music and Songs), 1909; No. 551, pg. 292.

BANKS OF LOCH NESS (Bruachan Loch Nis). Scottish, Slow Strathspey or Air. G Minor. Standard. AB (Cole): AAB (Athole, Fraser, Hunter). Also a song. "The words and music of the Banks of Loch Ness are the composition of a very obscure individual, whom the editor remembers, and are descriptive of the natural beauties which adorn that part of the country, forming a very interesting subject for the genuine poet or landscape painter" (Fraser). Cole (1001 Fiddle Tunes), 1940; pg. 128. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 16, pg. 6. Hunter (Fiddle Music of Scotland), 1988; No. 164. Stewart-Robertson (The Athole Collection), 1884; pg. 189.
T:Banks of Loch Ness, The
L:1/8
M:C
R:Strathspey
B:The Athole Collection
K:G Minor
F|D<G G>A B>c d2|F<F F>D F2 F>A|G<G G>A B>c d<f|d/c/B/A/ d>^F G2G:|
f|d>Bf>B g>Bd>f|F<F F>D F2 F>f|d>fB>d c>B c<d|G<G G>^F G2 G>f|
d>Bf>B g>Bf>e|d>Bc>A ~B>GF>D|b>ag>f d<b f>B|A>ed>^F G2G||

BANKS OF LOCHEIL, THE (Braigh Loch Iall). AKA and see "Braes of Locheil." Scottish, Slow Air (6/8 time). A Minor. Standard. AABB. MacLeod, Book 1. Martin (Ceol na Fidhle), Vol. 1, 1991; pg. 7.

BANKS OF LOUGH FOYLE, THE. Irish, Air (6/8 time, "Gaily"). C Major. Standard. AAB. O'Neill (1850), 1979; No. 311, pg. 54.

BANKS OF SULLANE. Irish, Slow Air (3/4 time). A Dorian. Standard. One part. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 91, pg. 78.

BANKS OF THE BANN, THE. Irish, Air (3/4 time). F Major. Standard. One part. See also "Slane," "With My Love on the Road." Hilltown, mentioned below in the beginning verse of the song, is in the County Down. The song tells a tale of seduction and abandonment, with a come-all-ye last verse. O Boyle dates the tune to "sometime in the 19th century" by mention of homeweaving prior the the introduction of the power loom in Ulster.
***
As I went a strolling down by the Hilltown
The lovely fresh mountains they did me surround
I spied a pretty fair maid to me she looked grand she
Was gath'ring wild roses on the banks of the Bann.
***
Joyce (Old Irish Folk Music and Song), 1909; No. 556, pg. 295. Ó Boyle (The Irish Song Tradition), 1976; pg. 46.

BANKS OF THE BARROW (Bruacha Na Bearbha). Irish, Air (5/4 time, Roche: 4/4 time, O'Neill/1915: 6/4 time, O'Neill/1850). D Dorian (O'Neill/1850, Roche): D Minor (O'Neill/1915). Standard. AABBCCDD (O'Neill/1850, Roche): AB (O'Neill/1915). O'Neill (1915 ed.), 1987; No. 63, pg. 40. O'Neill (1850), 1903/1979; No. 425, pg. 74. Roche Collection, 1982; Vol. III, pg. 2, #4.

BANKS OF THE BLACKWATER (Bruaca na amne-duba). Irish, Air (3/4 time). G Major. Standard. AB. O'Neill (1850), 1903/1979; No. 50, pg. 9.

BANKS OF THE DUNMORE, THE. Irish, Air (6/8 time). E Minor. Standard. AB. O'Neill (1850), 1797; No. 542, pg. 95.

BANKS OF THE ROSES, THE. AKA - "Banks of the Daisies." Irish, Air (4/4 time). F Major. Standard. One part. "There is a setting in Stanford-Petrie with the name, 'The Banks of the Daisies.' The version I give here is different.
***
If ever I get married it's in the month of May,
When the fields they are green and the meadows they are gay,
When my truelove and I can sit sport and play
All alone on the banks of the roses (Joyce)
***
Joyce (Old Irish Folk Music and Song), 1909; No. 128, pg. 65.
T:Banks of the Roses, The
L:1/8
M:C
S:Joyce - Old Irish Folk Music
K:F
AG|FEFG A2 AG|FEFG A2 (3cde|f2 ge fdcA|FEFA c2 de|
f2 ge fdcA|F2 FG A2 FA|c2 fc dcAF|G4F2||

BANKS OF THE SHANNON, THE [1]. Irish, Slow Air (3/8 time). G Major (O'Neill): A Major (Stanford/Petrie). Standard. AB (O'Neill): ABB (Stanford/Petrie). Source for notated version: "From Father Walsh" [Stanford/Petrie]. O'Neill (1850), 1903/1979; No. 310, pg. 54. Stanford/Petrie (Complete Collection), 1905; No. 805, pg. 201.

BANKS OF THE SUIR [1]. AKA- "Bruaca Na Suir" (From Joyce). Irish, Air (3/4 time). A Major. Standard. AAB. Roche Collection, 1982; Vol. I, pg. 10, #11.

BANKS OF THE SUIR [2]. Irish, Slow Air (3/4 time). E Minor (G Major?). Standard. AB (Ó Canainn, O'Neill, Roche): AAB (Stanford/Petrie). Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 35, pg. 34. O'Neill (1850), 1903/1979; No. 517, pg. 90. Roche Collection, 1982; Vol. I, pg. 10, #12. Stanford/Petrie (Complete Collection), 1905; Nos. 802 & 803, pg. 200.

BANKS OF SULLANE, THE (Bruacha an tSúlán). Irish, Air. An Súlán (The Sullane) is a river in County Cork which flows through Cúl Aodha, in the heart of the Cork Gaeltacht, and is a tributary of the Lee. Globestyle Irish CDORBD 085, Jackie Daly - "The Rushy Mountain" (1994. Reissue of Topic recordings).
T:The Banks of tSulán
S:Noel Hill
D:The Irish Folk Festival - Back to the Future
Z:Juergen.Gier@post.rwth-aachen.de
L:1/8
M:3/4
K:D
E3F G2|d6|d2F4|E3F E2|D6|B2 {cB}AF3|ED3 B,D|\
E3F E2|E6:|E>F G3A|B>c d(e3|e)fe>d (d2|d6)|\
E>F G3A|B>c d(e3|e)fe (e3|e6)|e>fe (d3|d4) EF|\
E3F E2|D6|B2 {cB}AF3|ED3 B,D|E3F E2|E6|]

BANQUET, THE. Irish, Air (3/4 time). G Major. Standard. AB. O'Neill (1850), 1979; No. 548, pg. 96.

BANSHEE'S CRY. AKA and see "How Oft Has the Banshee Cried?" "The Dear Black Maid." Irish, Slow Air (3/4 time). C Major. Standard. One part. O'Neill (1850), 1979; No. 129, pg. 23.

BANTRY LASSES [1]. Irish, Air (3/4 time). G Mixolydian. Standard. AB. The name Bantry is derived from the Gaelic ben, meaning 'horn' and refers to mountains. Thus Bantry is 'the peaks by the sea shore.' O'Neill (1850), 1903/1979; No. 404, pg. 70.

BAPTIST JOHNSON. Irish, Slow Air or Planxty (6/8 time). C Major (Complete Collection): D Major (Ó Canainn). Standard. AABB. Composed by blind Irish harper Turlough O'Carolan (1670-1738). Complete Collection of Carolan's Irish Tunes, 1984; No. 62, pg. 56-57. Ó Canainn (Traditional Slow Airs), 1995; No. 53, pg. 48.

BARBARA. Shetland, Slow Air. A Major. Standard. AABB. Composed by Tom Anderson (1972). Anderson (Ringing Strings), 1983; pg. 93.

BARBARA ALLAN [1]. AKA and see "The Old Woman in the Glen." Scottish, Air. Appears in the McFarlane MS., 1740, in drawing room style. See Charles Seegar's "Versions and Variants of Barbara Allen" (1966) for a thorough ethnomusicological treatise on this tune family.

BARBARA NEEDHAM. Irish, Jig or Air. D Mixolydian. Standard. AB. "A rowing song heard on the passage to Clare Island" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 441, pg. 249.

BARD OF ARMAGH. AKA and see "Phelim Brady." Irish, Air (3/8 time, "plaintive"). D Major. Standard. One part. The air is the same as that of "The unfortuate rake," an 18th century lament which tells of a dying young man. Other songs set to the tune are, in Ireland, "The convict of Clonmel," and in America, "The Streets of Laredo, "The Cowboy's Lament" and "St. James Hospital." English derivations of the song can be be found printed in broadsides from the mid-19th century, including "The unfortunate lad" and "The bad girl's lament."
***
Oh, list to the lay of a poor Irish harper,
And scorn not the strains of his withered old hand,
Remember his fingers, they once could move sharper,
To raise up the mem'ry of his dear native land.
***
O'Neill (1850), 1903/1979; No. 363, pg. 63.

BARKING BARBER, THE. English, Air (4/4 time). F Major. Standard. One part. Chappell (1859) finds various versions of this tune, "caused by the different metres that have been adapted to it" for the purpose of fitting the tune to different lyrics. Songs to this tune include "Guy Fawkes," "Date obolum Belisario," and "O Fortune! how stragely are thy gifts awarded." The town of Barking is in Essex, once the site of a famous abbey, demolished in 1539. Chappell (Popular Music of the Olden Time), Vol. 2, 1859; pg. 183.

BARLEY BREAK. English, Air (3/2 & 6/4 time). G Major. Standard. AABC. The air appears in Lady Neville's Virginal Book. Chappell (1859) relates that barley-break was a very old outdoors game played by six people (three of each sex), who were randomly coupled. A playing field was chosen and divided into three sections with the center section being designated as 'hell'. A couple would each take a division division as 'home', and the center couple tried to capture the others as they dashed from end to end through the middle territory. The game ended when all the players were in 'hell'. There may also have been a dance called the barley-break. Chappell (Popular Music of the Olden Time), Vol. 1, 1859; pg. 270. Island Records AN-700, Kirkpatrick & Hutchings - "The Compleat Dancing Master" (1974).

BARLEY GRAIN [1]. AKA and see "The Frost and Snow Began to Blow." Irish, Air (3/4 time). E Minor. Standard. AB. A version of the English "John Barleycorn." O'Neill learned the song as a boy in Bantry, west Cork. It begins:
***
There were three farmers from the North;
As they were passing by
They swore an oath-a mighty oath-
The barley grain would die
Chorus:
With my right faladidy idy O, etc.
***
O'Neill (1850), 1903/1979; No. 100, pg. 18.

BARLEY MALT, THE. Irish, "Song Air: not a Jig" (6/8 time, "with spirit"). A Dorian. Standard. AB. Joyce (Old Irish Folk Music and Song), 1909; No. 260, pg. 125.
T:Barley Malt, The
L:1/8
M:6/8
N:"With spirit"
S:Joyce - Old Irish Folk Music
K:A Minor
D2|E2A A2A|B2B G2B|c2A B2G|(E3 E2)d|e2e de^f|g2G GAB|c2A B2G|(A3 A2)||
E2A A3|BAB GBd|e2e d2e|(c3 c2)d|e2e de^f|g2G GAB|c2A B2G|(A3 A2)||

BARLEY MOW, THE. English, Jig and Air. D Major. Standard. AABB. Raven (English Country Dance Tunes), 1984; pg. 119.

BARNEY IS IN PRISON. Irish, Air (6/8 time). G Mixolydian. Standard. One part. "There was a Ninety-eight song to this air" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 594, pg. 309.

BARNEY O'FINNIGAN. Irish, Slow Air (6/8 time). G Major. Standard. AB. O'Neill (1850), 1903/1978; No. 46, pg. 8.

BARNYARDS OF DELGATY, THE. Scottish, Air ("Bothy Ballad"). A Major. Standard. AB. The ballad "Barnyards of Delgatie" refers to the home farm of Delgatie Castle

Ceolas > Tunes > Fiddler's Companion

The Fiddler's Companion