Ceolas: The Fiddler's Companion

Result of search for "Always Welcome":

BUY BROOM BUZZEMS. English, Scottish; Country Dance and Song Tune (3/4 time). England, Northumbria. G Major. Standard. AB. "This unique little ballad, quaint and simple alike in music and words, is popularly attributed to William Purvis, commonly called 'Blind Willie', one the the most worthy and famous of the Newcastle eccentrics. He was the son of John Purvis, waterman, and born about the beginning of 1752, having been baptized at All Saints Church on the 16th February of that year. This eccentric character never enjoyed the faculty of sight, and many still living remember the sosy, contented, and sightless face of Willie as he trudged along the streets without a covering on his head. Several attempts were made by presenting him with a hat to induce him to wear one; but after having borne the infliction for a day or two, it was thrown aside, and the 'Minstrel', as he was called, again appeared uncovered, preferring the exposure of his hoary but well-thatched pate to the pelting of the pitiless storm. Blind Willie was perfectly acquainted with all the streets, lanes, and chares of his native town, and made his way everywhere without a guide, only using a long stick. His happy, contented nature made him a universal favourite with all ranks of society; and he had his regular places of call, where he was always welcome and duly served. At the inns and public houses of the town Blind Willie's presence in the taproom was a sure attraction, and his voice and fiddle in harmony, singing some quaint local ditty, gave never failing delight to his appreciative audiences. 'Buy Broom Buzzems' was usually considered to be Willie's chef-d'oeure, and he was in the habit of adding new verses, either made by himself or made for him, having no connection with the original theme. They have, therefore, been omitted here. Blind Willie died in All Saint's Poorhouse on 20th July, 1832, upwards of eighty years of age" (Bruce & Stokoe). Raven (English Country Dance Tunes), 1984; pg. 134. Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 118. Welling (Welling's Hartford Tune Book), 1976; pg. 18.
T:Buy Broom Buzzems
L:1/8
M:3/4
S: Bruce & Stokoe - Northumbrian Minstrelsy
K:G
GB de cA|GB de c2|GB de cA|BG GE c2||
A2A2 FD|GG GB c2|A2 AG FD|GB cA G2||

DARKEY'S/DARKIE'S DREAM. AKA and see "Darkey Dan," "The Wind Blow You Away." Old-Time, Breakdown or Schottische. USA; eastern Tenn., western N.C., West Virginia, Missouri, southwestern Pa., Arizona. D Major (Bayard, Roche): F Major (Phillips). Standard. AAB (Roche): AA'B (Bayard, Phillips). Dischord tuning. One version was in the repertoire of legendary fiddler J. Dedrick Harris, born in Tenn., who played regularly with Bob Taylor when he was running for Governor of the state in the late 1800's. He moved to western North Carolina in the 1920's and influenced a generation of fiddlers there: Osey Helton, Manco Sneed, Bill Hensley, Marcus Martin--in fact, a tune by the title was also in Osey Helton's repertoire. A version of "Darkie's Dream," possibly this one, was identified by John Hartford as a Missouri tune similar to "Essence of Sugar Cane" which is known to have inspired the "Darkie's Dream" by George Lansing. Lansing himself was a white banjo player in Boston in the 1880's. A tune by this title in the key of G Major was in the repertoire of Arizona fiddler Kenner C. Kartchner who identified it as a "clog dance," sometimes played at dances for a schottische. Bayard (1981) noted that Pennsylvania fiddlers played this tune with a variety of tempos and styles, and he too mentions that the schottische style was common. "Darkie's Dream" even appears in an Irish collection (Roche) where it is listed simply as a "barndance." Other tunes that bear a general or part similarity are "Always Welcome," "The Butcher's Row"and "Old Yaller Houn.'" In the repertoire of West Virginia fiddler Burl Hammons, who learned it from African-American musician Grafton Lacey. Sources for notated versions: Samuel Losch (Juniata County, Pa., 1930's), William Shape (elderly fiddler from Greene County, Pa., 1944) [Bayard]; Grant Lamb (Mo.) [Phillips]. Bayard (Hill Country Tunes), 1944. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 38. Roche Collection, 1982; Vol. 3, pg. 53, No. 159. Caney Mountain Records CEP 213 (privately issued extended play LP), Lonnie Robertson (Mo.), c. 1965-66.

DENIS O'CONOR (Donnchadh MacCathal og). AKA and see "Planxty O'Conor," "Planxty Denis O'Conor." Irish, Air or Planxty. B Flat Major. Standard. ABC. Composed by Turlough O'Carolan. O'Conor was a patron of the the Irish harper, at whose house he was always a welcome guest. Tolman (Nelson Music Collection), 1969; pg. 20.

FÁILTE A GCOMNUIGE. AKA and see "Always Welcome."

HAUGHS O' CROMDALE, THE. AKA and see "Barrack Hill," "Lady Catherine Stewart/Stuart," "Merry Maids Meeting," "Merry Maid's Wedding," "New Killiecrankie," "O'Neill's March," "Sid mar chaidh n' Cal a gholaigh" (That is How the Cabbage Was Boiled), "The Spilling of the Kale," "Tralee Gaol." Scottish, Canadian; Strathspey, Air or Polka. Canada; Cape Breton, Prince Edward Island. E Minor/Dorian (Dunlay & Greenberg/MacMaster, Perlman): A Dorian (Dunlay & Greenberg/Campbell): D Minor (Lowe, Surenne). Standard. AAB (Honeyman): AABB (Athole, Dunlay & Greenberg/MacMaster, Emmerson, Kerr, Perlman, Skye): AA'BB' (Dunlay & Greenberg/Campbell). 'Haughs' are the low-lying ground along a river, in this case the Cromdale. The melody is an example of a strathspey of the schottisch structure, states Emmerson (1971); two accents to the bar {on the first and third beats of the measure} instead of one. Dunlay & Greenberg point out there are two main strains of the tune: both have similar 'A' parts, but the 'B' parts differ, one beginning on the tonic/I chord and one beginning on the VII chord. They speculate that the tune originally had only one part, as many ballads did, but that differing second turns were added to it later. John Glen (1891) finds the earliest printing of the tune in Angus Cumming's 1780 Scottish collection (A Collection of Strathspeys or Old Highland Reels, pg. 15), though it also appeared in print the same year in Alexander McGlashan's Collection of Reels as "Merry Maid's Wedding." Creighton and Calum MacLeod (1979) find it earlier in Scotland in the Margaret Sinclair Manuscript (c. 1710) under the title "New Killiecrankie," and Dunlay and Greenberg report it was said to be in an older manuscript under the title "Wat ye how the play began."
***
A Scottish country dance also goes by the name of "Haughs of Cromdale," one of the relatively few that go in strathspey tempo. Flett and Flett (1964) date the dance from somtime after 1855, the date of the introduction of the Highland Schottische, for Haughs incorporates the Highland Schottische's movements. In the Dalbeattie district of Kirkcudbrightshire before 1914 the dance was very popular, according to an informant (Mrs. Margaret Patterson of Auchencairn) who danced it as a young girl. Mrs. Patterson remembered the dance always was accompanied by a briskly played schottische such as "Kafoozalum," "Orange and Blue" or "Wha's a' the steer, kimmer."
***
During the battle of the Haughs of Cromdale in the 17th century a piper in the routed Jacobite army under the inept General Buchan bravely attempted to rally his comrades. Though badly wounded, he clambered atop a rock and continued to play until he expired; the very rock can be seen today and is still named Clach a Phíobair, the Piper's Stone (Collinson, 1975). Perhaps in memory of this feat of bravery, "Haughs of Cromdale" was one of the pipe tunes played by the British 92nd Regiment at the battle of Maya, 1813, which served to so inflame the Highlanders that they charged the French, who became so panic stricken at their audacity that they turned and ran (Winstock, 1970; pg. 139). David Glen (in his bagpipe Tutor) states the tune was the "charge and double post of the Gordon Highlanders." Dunlay & Greenberg find the tune set as both a march and a strathspey in various bagpipe collections, including Logan's Complete Tutor for the Bagpipes and The Scots Guards Collection (set as a four-part march).
***
As with many popular British Isles tunes, there were various sets of words attached to it. "As I came in by Auchindown" is one common ballad sung to the air (which tells of a battle with the English on the haughs) and can be found in James Hogg's Jacobite Relics of Scotland (Vol. 1, 1819). "Birniebouzle" is another song set to "Haughs". In Cape Breton there was a Gaelic song entitled "Sid mar chaidh an cal a dholaigh" (That is How the Kale/Cabbage Was Ruined/Spoiled) that tells the amusing story of a meeting between Scottish Highlanders and Lowlanders at an inn and how the kale broth was ruined while the lady of the house was dancing (Dunlay & Greenberg). Bayard identifies this as one of the tunes from the large "Welcome Home" tune family. See "Cape North Jig" for a 6/8 time setting of "Haughs" and the A Minor Irish variant "Tralee Gaol." Sources for notated versions: John Campbell (Cape Breton) [Dunlay & Greenberg]; Kevin Chaisson (b. 1950, Bear River, North-East Kings County, Prince Edward Island) [Perlman]. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pgs. 36 & 85. Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 65, pg. 153. David Glen (Bagpipe Tutor), 1876-1901 (two settings). Gow (Beauties of Niel Gow), 1819. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 14. Kerr (Merry Melodies), Vol. 1; Set 7, No. 1, pg. 6. Lowe (A Collection of Reels and Strathspeys), 1844. MacDonald (The Skye Collection), 1887; pg. 85. MacDonald (The Gesto Collection). Middleton's, 1870. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 198. Stewart-Robertson (The Athole Collection), 1884; pg. 249. Surenne (Dance Music of Scotland), 1852. ACC-49290, Natalie MacMaster - "Road to the Isle." ACC-4925, Tara Lynne Touesnard - "Heritage." Kicking Mule KM-327, "Scartaglen" (1984. Played as a march). RCC-102, Ian McKinnon & Rawlins Cross - "Crossing the Border" (1991). RMD-CAS1, Rodney MacDonald - "Dancer's Delight" (1995). Rounder 7003, John Campbell - "Cape Breton Violin Music"(1976. Appears as "Traditional Strathspey," side two).
T:Haughs of Cromdale
L:1/8
M:C
R:Strathspey
B:The Athole Collection
K:E Minor
e|B<E E>F B>A F<A|B>E E>F D>EF>A|B<E E>F B>AF>A|
d>BA>F ~E2 E:|
|:F|D<d d>e d/^c/B/A/ d2|F<A A>B A<F A2|B<e e>f g>fe>d|
B<d B/A/G/F/ E2E:|

O'CONNELL'S WELCOME {TO PARLIAMENT}. AKA and see "Billy Patterson," "The Blackthorn Stick," "Boys of Bockhill/Rockhill," "The Humours of Bantry," "The Catholic Boys," "The Coachroad to Sligo," "Daniel O'Connell's Welcome to Parliament," "The Eagle's Nest," "Fire in the Mountain," "The Fire/Hare on the Mountain," "Fire in the Valley," "Maid on the Green," "Night of the Fun," "O'Connell's Welcome," "The Rose on the Mountain," "Welcome home, royal Charlie." Irish, Jig; American, March. G Major (Coles): D Major (Bayard). Standard. AABB. Bayard (1981) regards this piece as a major form of the Irish tune "Slan agus Beannacht le Buaidhreamh an tSaoghail" (Farewell to the Troubles of the World), usually played in the Dorian or Mixolydian mode. Also derived from the original tune, he thinks, is the jig "The Maid(en) on the Green." Source for notated version: Hiram Horner (fifer from Westmoreland and Fayette Counties, Pa., 1944, 1960; who plays it "as always heard from fifers and bagpipers") [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 623, pg. 548. Cole (1001 Fiddle Tunes), 1940; pg. 68. Howe (Diamond School for the Violin), 1861; pg. 66. Jonathan Edwards Memorial Foundation JEMF-105, L.O. Weeks - "New England Traditional Fiddling" (1978).

OLD YALLER HOUN'. Old-Time, Breakdown. A Major. Standard. AABB. The first part of this tune appears to be shared with "Always Welcome" and Bayard's "Darkey's Dream."
***
Old yaller houn's barkin' treed, up the holler,
It's old mister 'possum, I'll bet half a dollar.
Fetch on the ax, boys, we'll see pretty soon,
He's worth half a dollar if it's old zipp coon. (Ford)
***
Ford (Traditional Music in America), 1940; pg. 61.

REEL O'/OF TULLOCH, THE ("Ridhle Thulichun" or "Ruighle Thulaichean"). Scottish; Reel and Strathspey. A Major/A Mixolydian. Standard. AB (Athole): AAB (Hunter, Neil, Skinner, Skye): AABB (Emmerson, Kerr): AABB' (Gow): ABCDEFGHIJKLMNO (Johnson). The tune was originally a very popular 17th century bagpipe piece, probably by an unknown composer (although in MacGregor's collection it is confidently stated that the tune was composed by John Dubh Gear, a MacGregor of Glen Lyon). MacDonald once remarked that this reel was composed at Tulloch in Aberdeenshire, and this assertion has survived in tradition. Legend has it, reports Nigel Gatherer, that the reel was improvised on the spot by a MacGregor who had just emerged victorious from a fight with a Robertson for the hand of the Laird o' Tulloch's daughter. Its earliest appearence is in David Young's 1734 Duke of Perth Manuscript (AKA the Drummond Castle Manuscript, where it appears with 160 bars of variations) and it was later reprinted in his 1740 MacFarlane Manuscript (Volume 2, No. 115). Purser (1992) states that it was adapted for the violin "with superb rhythmic pointing and synchopations, mostly composed by David Young in 1740." The piece subsequently appears in Robert Bremner's 1757 collection, the Gillespie Manuscript of Perth (1768), and Davie's 1829 Caledonain Repository (with some pizzicato variations). Johnson (1984) is of the opinion that Young probably composed the three finest sections of the version given in the former's 1984 volume (parts 'F', 'L', and 'O'). This important melody, which at one time was known as 'Righ na' m Port,' or 'King of Airs', has retained its popularity through the ages and is still part of the pipe repertory today.
***
"The Reel of Tulloch" has for several centuries been used in Scotland for a specific dance for males which is always performed to the tune, and it has been quite dominent at Highland dances for several centuries. Instructions for the popular dance, but not the melody, appear in the Menzies Manuscript (contained in the Atholl Collection of the Sandeman Library, Perth), 1749, which carries the alternate title "The Mighty Pretty Valley." J. Scott Skinner, the celebrated violinist who was also dancing master, routinely taught the dance to his students throughout the latter 19th century. Another "Reel of Tulloch" (Ruidhleadh Thulachain), for two mixed couples, was composed around 1800, and appears in dance literature in 1844 (in The Ballroom Annual), though it was mentioned in accounts of dances from the year 1819 onward. Flett & Flett conclude the dance was originally a 'society' dance which was developed at the Breadalbane Balls. It was a particular favorite of Queen Victoria, states Hunter (1979), who first witnessed its performance at a ball at Taywouth Castle given by the Marquis of Breadalbane (the dancers on the occasion were the Marquis of Abercorn, the Hon. Fox Maule, Cluny Macpherson and Davidson of Tulloch). In most parts of Scotland the dance was performed to the tune "The Reel of Tulloch" but in Roxburghshire and Berwickshire, where the dance was often known as "The Hullachan Jig," a double jig such as "The Irish Washerwoman" was played. For an extensive discussion of the dance and its origins see Flett & Flett (Traditional Dancing in Scotland), 1964, pgs. 132-155.
***
"The 'Reel of Tulloch' should be played first as a Strathspey and then as a Reel followed by 'Stumpie' and 'The Deil Among the Tailors,' a welcome combination to enthusiastic dancers" notes MacDonald in his Skye Collection. Paul Stewart Cranford (1995) remarks that versions of this reel vary in late 20th century Cape Breton, from a simple reel setting to J. Scott Skinner's elaborate strathspey variations. Emmerson (1971) finds that the tune on close examination reveals itself to be a rant. Sources for notated versions: Bremner's Scots Tunes, pg. 4 (Bremner clearly meant that parts were only to be repeated once, stated Johnson) [Johnson]; fiddler Mike MacDougall (Ingonish, Cape Breton, 1928-1982), whose style was greatly influences by the highland pipes [Cranford]. Cranford (Jerry Holland's), 1995; No. 3, pg. 2. Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 42, pg. 136. Gow (Complete Collection), Part 1, 1799; pg. 25. Hunter (Fiddle Music of Scotland), 1988; No. 250. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 30, pgs. 82-83. Kerr (Merry Melodies), Vol. 1; Set 5, No. 4, pg. 5. MacDonald (The Skye Collection), 1887; pg. 3. Neil (The Scots Fiddle), 1991; No. 132, pg. 171. Purser (Scotland's Music), 1992; Ex. 2, pg. 174. Skinner (The Scottish Violinist, with seven variations by the author), pg. 24-25. Skinner (Harp and Claymore), 1904. Stewart-Robertson (The Athole Collection), 1884; pg. 6. Cranford Publications CP-R2, "Jerry Holland Solo" (1988). Green Linnet GLDC 1108, The Tannahill Weavers - "Cullen Bay." "The Caledonian Companion" (1975).
T:Reel of Tulloch
L:1/8
M:C|
S:Reel
B:The Athole Collection
K:A
a/f/|e2 a>c e>cA>a|e2 A>c d>B=G>f|e2 A>c e>Ac>A|B>E c/d/e d>B=G>f|
e2 e>c ecAa|e2 e>c dB=Gf|e2 e>a e>Ac>A|Bece d>B=G>B|]
c>A c/d/e cAAB|c>A c/d/e dB=GB|cA c/d/e cAcA|BEBe dB=GB|
cA c/d/e cAAB|cA c/d/e dB=GB|cA c/d/e c2 c>e|Bece d>B=G>f|]

SEÁN Ó DUIBIR AN GLEANNA [1] (John O'Dwyer of the Glen). AKA - "Seán Ó Duibhir a' Ghleanna." AKA and see "John O'Dwyer of the Glen." Irish, Air (4/4 time) and set dance. Ireland, Munster. A Minor (Roche): A Dorian (Breathnach): G Major (Ó Canainn). Standard. AAB (Ó Cainainn, Roche): AA'BB (Breathnach). John O'Dwyer of Aherlow, County Tipperary, was a soldier during the mid-17th century wars between the native Irish the English forces under Oliver Cromwell. When the Irish were defeated a number fled the country rather than surrender, O'Dwyer among them. He made his way to Flanders where he fought on the side of the Spanish. The melody, a lament for the hero (the song is still a staple of the sean nós repertoire), appears in O'Farrell's c. 1800 Collection of National Irish Music for the Union Pipes and/or his Pocket Companion for the Irish or Union Pipes, and also is given in the 1849 Poets and Poetry of Munster. Joyce included it in his Irish Music and Song. See also the variant "Uair Bheag Roimh A' La" (A little hour before day), which O'Neill (1910) believes is a variant of this tune; as well as the melodies "Farewell to Ardmore" and "A dhochtuir dhilis." O'Neill (1913) quotes a grand story told by the famous 19th century Donegal uilleann piper Turlogh McSweeney (which will make a bit more sense by reading the note for "The Wild Irishman"):
***
...when I was living alone in the little cabin after my mother
died--God rest her soul--there came to the door in the dusk
of the evening a stranger and nothing less than a piper, by
the way, who with a 'God save all here,' introduced
himself as was customary. I invited him in, of course,
and after making himself at aise he says, 'Would you like
to hear a 'chune' on the pipes? 'I would that,' said I, for
you know a piper and his music are always welcome in an
Irish home. Taking his pipes out of the bag, he laid them on
the bed beside him, and what do you think but without anyone
laying a finger on them, they struck up "Toss the Feathers" in
a way that would make a cripple get up and dance. After a
while, when they stopped, he says, 'Will you play a 'chune'
for me now?' I said I would and welcome, pulling the blanket
off my pipes that were hid under the bedclothes, to keep the
reeds from drying out. 'Give us "Seaghan ua Duibhir an Gleanna"
says I to the pipes, and when they commenced to play, the
mysterious stranger, who no doubt was a fairy, remarked 'Ah!
Mac, I see you are one of us.' With that both sets of pipes played
half a dozen 'chunes' together. When they had enough of it, the
fairy picked up his pipes and put them in the green bag again. If I
had any doubts about him before, I had none at all when he said
familiarly, 'Mac, I'm delighted with my visit here this evening,
and as have several other calls to make I'll have to be after bidding
you good night, but if I should happen to be passing by this way
again, I'll be sure to drop in.
***
The first verse of the song goes:
***
An sionnach rua ar a' gcarraig, Míle liú ag marcaigh,
Is bean go dúch sa' mbealach, Ag áireamh a gé.
Anois tá'n choill dá gearra, Triallfaimid thar cala,
'S a Sheáin Uí Dhuibhir a' Ghleanna, Chaill tú do chéim.
(The red fox on the rock, A thousand shouts from the riders,
And a woman on the roadside, sadly counting her geese.
Now the wood is being cut down, We shall cross the seas,
O Seán Ó Duibhir of the Glen, You have lost your lordship.)
***
As usual with Irish airs, different versions have differing tonalities, ranging from those set in minor and modal tonality, to Ó Canainn's, set in a major key. Breathnach (1985) says the set dance is based on the song, and that it is associated with County Clare. Source for notated version: fiddler Bobby Casey (Co. Clare, Ireland) [Breathnach]. Breathnach (CRE III), 1985; No. 60, pg. 30. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 52, pg. 47 (appars as "Seán Ó Duibhir"). Roche Collection, 1982, Vol. 1; No. 32, pg. 16. Mulligan Records LUN 018, Bobby Casey - "Taking Flight" (1979). Green Linnet SIF-1084, Eugene O'Donnell - "The Foggy Dew" (1988). GTD Heritage Trad. HCD 008, Tommy Peoples - "Traditional Irish Music Played on the Fiddle." Piping Pig Records PPPCD 001, Jimmy O'Brien- Moran - "Seán Reid's Favourite" (1996. Learned from Willie Clancy).

TOSS THE FEATHERS [1] ("Craith na Cleití/Cleiteacha," "Umpuig an Clumac" or "Scaipeadh na gCleití"). AKA and see "Geatley's," "The Humours of Ballagh," "The Mountain Lark," "The New Reel," "Piper's Choice," "Thornberry's Reel," "Thresh the Feathers." Irish, Reel. Ireland, Co. Clare. E Aeolian (Breathnach CRE 2, Stanford/Petrie, Taylor/Crack): E Dorian (Bayard, Breathnach Vol. 1, Feldman & O'Doherty). Standard. AB (Breathnach, Feldman & O'Doherty, Stanford/Petrie): AAB (O'Neill/Krassen, Phillips, Taylor/Crack): AA'B (O'Neill/1001): AABB (Brody): AABB' (Bayard). Identified by Stanford/Petrie as a Clare reel. Breathnach (1976) says it is known in County Tipperary as "Thresh the Feathers" and "The Humours of Ballagh." The title supposedly is a euphemism for engaging in sexual intercourse, although Joyce thought the title referred to feathers in a headress or helmet. O'Neill (1913) quotes a grand story in which this tune is mentioned, told by Turlogh McSweeney, 'The Donegal Piper', a famous uilleann piper of the latter 19th century (which will make a bit more sense by reading the note for "The Wild Irishman" first):
***
...when I was living alone in the little cabin after my mother died-
God rest her soul-there came to the door in the dusk of the evening
a stranger and nothing less than a piper, by the way, who with a
'God save all here,' introduced himself as was customary. I invited
him in, of course, and after making himself at aise he says, 'Would
you like to hear a 'chune' on the pipes?' 'I would that,' said I, for
you know a piper and his music are always welcome in an Irish home.
Taking his pipes out of the bag, he laid them on the bed beside him,
and what do you think but without anyone laying a finger on them,
they struck up "Toss the Feathers" in a way that would make a cripple
get up and dance. After a while, when they stopped, he says, 'Will you
play a 'chune' for me now?' I said I would and welcome, pulling the
blanket off my pipes that were hid under the bedclothes, to keep the
reeds from drying out. 'Give us "Seaghan ua Duibhir an Gleanna"
says I to the pipes, and when they commenced to play, the mysterious
stranger, who no doubt was a fairy, remarked 'Ah! Mac, I see you
are one of us.' With that both sets of pipes played half a dozen 'chunes'
together. When they had enough of it, the fairy picked up his pipes and
put them in the green bag again. If I had any doubts about him before,
I had none at all when he said familiarly, 'Mac, I'm delighted with my
visit here this evening, and as I have several other calls to make I'll
have to be after bidding you good night, but if I should happen to be
passing by this way again, I'll be sure to drop in.
***
The title appears in a list of tunes in his repertoire brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997).
***
Sources for notated versions: Kevin Burke (Ireland) [Brody, Phillips]; Samuel Losch (elderly fiddler from Juniata County, Pa., 1930's) [Bayard]; fiddler Jim Mulqueeny (Kilfenora, Co. Clare, Ireland) [Breathnach Vol. 2]; fiddler John Kelly/Sean O'Kelly (Ireland) [Breathnach Vol. 1]; Frank Keane (Stanford/Petrie); fiddles Francie and Mickey Byrne (County Donegal) [Feldman & O'Doherty]. Bayard (Dance to the Fiddle), 1981; No. 38, pgs. 32-33. Breathnach (CRE I), 1963; No. 195, pg. 76 (a Clare setting). Breathnach (CRE II), 1976; No. 291, pg. 148. Brody (Fiddler's Fakebook), 1983; pg. 279. Feldman & O'Doherty (The Northern Fiddler), 1979; pg. 168. Mallinson (Essential), 1995; No. 38, pg. 17. O'Neill (Krassen), 1976; pg. 100. O'Neill (1001 Gems), 1907/1986; No. 502, pg. 95. Phillips (Fiddlecase Tunebook), 1989; pg. 50. Stanford/Petrie (Complete Collection), 1905; No. 462, pg. 116. Taylor (Where's the Crack), 1989; pg. 16. Columbia Legacy CK 48693, "The Best of the Chieftains" (1992). Folkways FW 8876, Kevin Burke- "Sweeney's Dream." Mulligan 004, "Matt Molloy." Gael-Linn CEF 045, "Paddy Keenan" (1975). Green Linnet 1010, "Mick Moloney." Green Linnett GLCD 1119, Cherish the Ladies - "The Back Door" (1992). Green Linnett GLCD 1181, Martin Hayes & Dennis Cahill - "The Lonesome Touch" (1997). Green Linnet GLCD 3009/Mulligan 021, Kevin Burke- "If the Cap Fits" (1978). Green Linnet SIF-3036, Phil & John Cunningham - "Silly Wizard: Live in America" (1986). Green Linnet SIF-104, John & Phil Cunningham - "The Celts Rise Again" (1990). Mulligan 017, "Molloy, Brady and Peoples."
T:Toss the Feathers [1]
M:4/4
L:1/8
K:Em
EB B2 dB B2|EBBA FDFA|BE E2 B2 AB|1 defe dBAF :|2 defe dABA |
Beed e2 de|fede feed|febe febe|fede feed|
Beed e2 de|fede fgaf|b3 g a3 f|egfe dBAF |>|

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The Fiddler's Companion

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