Ceolas: The Fiddler's Companion

Result of search for " M Brian":

APPLES IN WINTER [1] (Uballa I Geimread). AKA and see "General White's Jig," "Kennedy's Jig," "Joe Kennedy's Jig,""The Misfortunate Rake," "Next Sunday is My Wedding Day," "Rattle the Quilt (to Pieces)," "Reice an Mhi-adha," "The Shamrock," "The Squint-Eyed Piper," "Sunday is My Wedding Day," "The Unfortunate Rake." Irish, Double Jig. E Minor (O'Neill, Taylor, Williamson): E Dorian (Moylan, Mulvihill). Standard. AA'B (Taylor): AABB (O'Neill): AABB' (Taylor, Williamson): AA'BCDD' (Moylan). David Taylor (1992) remarks that this tune follows a basic structure found in many minor key Irish tunes: two bars of melody built around the tonic, followed by two in the dominant chord, two more tonic, and finally a bar each of the dominant and tonic. He advances that this is why many tunes that follow this structure can sometimes be confused or mixed up, pointing out similarly sounding, though different tunes, such as "Over the Hills" are frequent. The melody is at least as old as the latter 19th century, for O'Neill (1913) records it was the first jig learned as a boy by Callinafercy, Kilcoleman, County Kerry fiddler and Uilleann piper William F. Hanafin, born in 1875 (who later, as an adolescent, emigrated to Massachusetts). Williamson (1976) states annecdotally that the apple was anciently known as 'the salvation of the poet', and relates the tale of a Welsh bard named Sion Kent who was about to be taken by the Devil. Just in time he managed to catch hold of an apple tree, thwarting the evil one, though at the same time insuring fate, for though untouchable to hell he is unsuitable for heaven and is thus doomed to wander the winds of the world evermore. See also the different, though similar in some respects tune "Old Apples in Winter." Source for notated version: accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O'Leary), 1994; No. 233, pgs. 134-135. Mulvihill (1st Collection), 1986; No. 81, pg. 82. O'Farrell, c. 1800, Collection of National Irish Music for the Union Pipes. O'Farrell, "Pocket Companion for the Irish or Union Pipes. O'Neill (Krassen), 1976; pg. 75. O'Neill (1850), 1903/1979; No. 1111, pg. 209. O'Neill (1001 Gems), 1907/1986; No. 300, pg. 64. Taylor (Where's the Crack?), Vol. 1, 1989; pg. 21. Taylor (Where's the Crack?), 1992; No. 58, pg. 41. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 77. Green Linnett SIF1035, Brian Conway & Tony De Marco - "The Apple in Winter" (1981). Kicking Mule KM216, Arm and Hammer String Band - "New England Contra Dance Music" (1977). Outlet 3002, Paddy Cronin- "Kerry's Own Paddy Cronin" (1977). Shaskeen Records OS-360, Joe Burke, Andy McGann, Felix Dolan - "A Tribute to Michael Coleman" c. 1965. Shaskeen - "Atlantic Breeze."
T:Apples in Winter
S:Gearóid Ó hAllmhuráin, Traditional Music from Clare and Beyond 11b
Z:Jerome Colburn
M:6/8
K:DDor
c | ADD cDD | AGF EFD | C3 ECE | GAB cdc |\
ADD ~AGA | cde fed | ecA GFE | FDD D2 :: A |\
~d3 dcA | f2 d ecA | ~cdc cGE | CEG cde |1\
~ded dcA | cde f2 g | afa geg | fdc d2 A :|2\
dcA cde | fag fed | ecA GFE | FDD D2 |]**

BELLADRUM HOUSE (Taigh Bhelladrum). Scottish, Strathspey. D Major. Standard. One part (Hunter): AB (Hardie): AAB (Athole, Fraser, Kerr). Belladrum House is near Kiltarlity, Inverness. This tune "celebrates the line or race of an ancient and most respectable family in Inverness-shire, that of Mr. Fraser of Belladrum, and not his mansion. It is, however, no compliment to say, that the magnificence of the mansion, the hospitality displayed there, and the useful ornamental improvements effected around it by the present and last proprietors, are not exceeded by that of any private gentleman north of the Tay" (Fraser). There is another tradtional Scottish tune connection with this estate through William Marshall-see note for "Mr. John Stewart of Bombay." This melody first appeared in print in Captain Simon Fraser's (1773-1852) Airs and Melodies peculiar the the Highlands of Scotland and the Isles, originally published in 1816. Source for notated version: Angus Cameron (Scotland) [Hunter]; J. Murdoch Henderson, 1902-1972 (Aberdeen, Scotland) [Hardie]. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 158, pg. 64. Hardie (Caledonian Companion), 1986; pg. 25. Hunter (Fiddle Music of Scotland), 1988; No. 103. Kerr (Merry Melodies), Vol. 3; Set 28, No. 1, pg. 17. Stewart-Robertson (The Athole Collection), 1884; pg. 102. Lismore Recordings LILP5044, Ron Gonella - "Fiddle Gems" (1976). Brian McNeill - "Monksgate" (1977).
T:Belladrum House
L:1/8
M:C|
R:Strathspey
B:The Athole Collection
K:D
F|D/E/F F<B A>F F<B|A<F F>D E2 E<F|D/E/F F<B A>F F>G|F<A A>C D2D:|
f|d>Af>A g>Af>A|d<A f>d e2 e>f|d>Af>A g>Af>A|(3fga (3gfe (3dAF D>f|
d>fA>f d<f A>f|d/e/f A>f e2 e>f|d>f (3efd (3cdB (3ABG|F<A A>C D2D||

BRIAN BORU'S MARCH. AKA and see "Brian Borouhme." Irish, March (6/8 time). B Aeolian (Roche): A Minor (Mallinson, O'Neill, Sullivan): A Dorian (Tubridy). Standard. AA'B (Feldman & O'Doherty): AABB (Roche): AABBCC (Mallinson, Sullivan, Tubridy): ABCD (O'Neill). This piece was thought by Dr. Sigerson (writing in The Bards of the Gael and Gall) to evidence Scandinavian musical influence stemming from the Norse invasions of Ireland c. 800-1050, though Grattan Flood (1905) believes him erroneous and asserts the tune hardly dates from the Norse period or even, for that matter, from mediaeval days. It was in the repertoire of the man whom O'Neill calls the "last of the great Irish harpers," Patrick Byrne (c. 1784-1863). O'Neill never heard Byrne play, but an account of a Byrne concert which appeared in The Emerald of New York in 1870 caught his eye. Byrne played for an assemblage in the household of a Dublin gentleman in 1860, and O'Neill quotes from the article:
***
Byrne's command of the harp was complete, the writer tells us. His
touch was singularly delicate yet equally firm. He could make the
strings whisper like the sigh of the rising wind on a summer eve,
or clang with a martial fierceness that made your pulses beat quicker.
After quaffing a generous tumbler of punch, he would say, "Now,
ladies and gentlemen, I am going to play you the celebrated march
of the great King Brian to the field of Clontarf, when he gave the
Danes such a drubbing. The Irish army is far off, but if you listen
Attentively you will hear the faint sound of their music." Then his
fingers would wander over the upper range of strings with so delicate
a touch that you might fancy it was fairy music heard from a distance.
Anything more fine, more soft and delicate than this performance, it is
impossible to conceive. "They are coming nearer!" And the sound
increased in volume. "Now here they are!" And the music rolled
loud and full. Thus the march went on; the fingers of the minstrel's
right hand wandering farther down the bass range. You find it hard
to keep your feet quiet, and feel inclined to take part in the march
music assumes a merry, lightsome character, as if it were played for
dancers. "Rejoicing for the victory!" But this abruptly ceases; there
is another shriek and dischord, jangling and confusion in the upper
bass stings. The harper explains as usual, "They have found the old
King murdered in his tent." Then the air becomes much slower and
singularly plaintive. "Mourning for Brian's death." There is a firmer
and louder touch now, with occasional plaintive effects with the left
hand. "They are marching now with the brave old King's body to
Drogheda." The music now assumes a slow and steady tone, the tone
is lowered, and grows momentarily louder and louder, till finally it
dies away...And all these marvellous effects are produced upon what
is used as a simple dance tune in the south of Ireland (pgs. 81-82).
***
O'Neill (1913) also prints an appreciation of the tune from a German gentleman named Kohl, who heard it played on harp at Drogheda in 1843:
***
The music of this march is wildly powerful and at the same time
melancholy. It is at one the music of victory and of mourning.
The rapid modulations and wild beauty of the air was such that
I think this march deserves full to obtain a celebrity equal to that
of the 'Marseillaise' and the 'Ragotsky.'
***
In Drogheda there at one time was performed a dance to this and similar stately music, called the "Droghedy March" or "Dancing Drogheda," reports O'Neill, though the practice had died out by the time of his writing. It was danced by six men or boys, each wielding a stick or shillelagh. They kept time to the music, he states, "with feet, arms and weapons with their bodies swaying right and left." As the dance progressed the movements became more complicated, mimicking the appearance of a rhythmic fencing or battle. "Brian Boru's March" was identified as a pipe tune in the repertoire of Teelin, Donegal, fiddlers Francie and Mickey Byrne, who, according to Feldman & O'Doherty (1979), probably had the tune from travelling piper Mickey Gallagher (a cousin of Donegal fiddler John Doherty's). See also "Dan Sullivan's Reel," "General McBean," "Colonel McBain," "Sean Frank," "The Devonshire Reel," "The Duke of Clarence Reel," "Sporting Molly." Source for notated version: Francie and Mickey Byrne (County Donegal) [Feldman & O'Doherty]. Feldman & O'Doherty (The Northern Fiddler), 1979; pg. 175. Mallinson (Enduring), 1995; No. 96, pg. 40. O'Neill (1850), 1979; No. 1801, pg. 338. Roche Collection, 1982; Vol. II, pg. 58, No. 334. Sullivan (Session Tunes), Vol. 2; No. 50, pg. 21. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 5. Flying Fish FF 355, Critton Hollow Stringband - "By and By" (1985). Front Hall FHR-024, Fennig's All-Star String Band - "Fennigmania" (1981. Learned from the Gallowglass Ceili Band). Green Linnet SIF-104, Joe Burke, Michael Cooney & Terry Corcoran - "The Celts Rise Again" (1990). Green Linnet SIF-1069, Joe Burke , Michael Cooney & Terry Corcoran - "Happy to Meet & Sorry to Part" (1986).
T:Brian Boru's March
L:1/8
M:6/8
K:A Dorian
ed||:cAA Aed|cAA Adc|BGG Gdc|BGG Ged|cAA Aed|cAA A3E|Acd e2d|cAA A:|
|:Acd e2d|e2d edB|GBc d2B|d2B dBG|Acd e2d|e2d e2d|cBA e2d|cAA A3:|
|:cBA a2A|cBA a2A|BAG g2G|BAG g2G|cBA a2A|cBA a2a|efe e2d|cAA A3:|

BRYAN O'LYNN (Briain Ua Rloinn). AKA and see "Brian O'Lynn," "Eamonn a' Chnoic," "Emon Acnuck," "Hitler's Downfall," "The Planting Stick." Irish, Double Jig. A Dorian (Mitchell, O'Neill/Krassen): A Minor (O'Neill/1850). Standard. ABB (Mitchell): AABB (O'Neill). The alternate title "The Planting Stick" comes from a dance performed to the melody in the Province of Connacht in olden times which pantomimed the process of planting cabbages or potatoes with a stick. English morris dance tradition has a similar dance in "Bean Setting." Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Mitchell (Dance Music of Willie Clancy), 1993; No. 125, pg. 101 (Appears as "Brian O'Lynn"). O'Neill (Krassen), 1976; pg. 37. O'Neill (1850), 1979; No. 881, pg. 163. O'Neill (1001 Gems), 1986; No. 221, pg. 50. O'Neill (1913), pg. 429. Green Linnet SIF-1105, Patrick Street - "Irish Times" (1989).
T:Bryan O'Lynn'
L:1/8
M:6/8
S:O'Neill - 1001 Gems (221)
K:A Minor
B|cAd cAG|EGE GAB|cAd cAG|EAA A2B|cAd cAG|EGE GAB|cde fed|cAA A2:|
|:e/^f/|gag ged|cAB cde|eaa age|edd d2 e/^f/|gag ged|cAB cde|fed cAG|EAA A2:|

CHRISTMAS EVE [2]. AKA and see "Tommy Coen's Reel." Irish, Reel. G Major. Standard. AABB: AABBCC (Mallinson, Taylor, Tubridy). A popular session tune composed by Urrachree, Aughrim, East County Galway, fiddler Tommy Coen (1910-1974). Coen, who later lived in Salthill, was a conductor for Connemara buses during the day. A story about the title that has been circulating is that Coen's tune was called "Christmas Eve" by the leader of a ceilidh band from Coen's area who had been having a fight or dispute with the fiddler. He was invited with his band to play for a radio show in Dublin just before the Yule, and when introducing the tune names they were to play he choose not to mention Coen, but said the name of the reel was "Christmas Eve" because of the proximity of the holiday and to irk Coen. No one seems to know if the composer himself had a title for it. Bulmer & Sharpley (Music from Ireland), Vol. 2, No. 10. Mallinson (Essential), 1995; No. 52, pg. 23. Taylor (Music for the Sets: Blue Book), 1995; pg. 14. Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 24. Flying Fish FF-409, Robin Williamson - "Winter's Turning" (1986).
T:Christmas Eve
R:reel
N:From Brian Conway
M:C
K:G
DB,DE ~G3A|B2dB ABGA|BAGE DB,DE|G2BG ABGE|
DB,DE ~G3A|B2dB ABGA|BAGE G2BG|1 ABGE ~G3E:|2 ABGE ~G3A||
|:BABd edeg|a2ge g2eg|a2ge ~g3e|dedB A2GA|
BABd edeg|bage g2eg|a2ge dBGB|ABGE ~G3A:|
|:BG~G2 DGBd|eg~g2 egdc|BG~G2 DGBG|EA (3AAA EAAc|
BG~G2 DGBd|eg~g2 dega|bgaf gedB|1 ABGE ~G3A:|2 ABGE ~G3E||

COLONEL McBAIN'S (An Ardtaoiseac Mic Baeitine). AKA and see "Boston Rattlers," "Brian Boru," "Col McBain," "Dan Sullivan's Reel," "The Devonshire Reel," "The Duke of Clarence Reel," "General McBean," "Hobb's Favorite," "Johnny's Wedding," "Miss Abercrombie's Reel," "Mother's Delight," "Sean Frank," "Sporting Molly." Scottish (originally), Irish; Reel. G Minor (Cole, Gow, Honeyman, Hunter): E Minor (O'Neill). Standard. AB (O'Neill): AAB (Gow, Honeyman, Hunter, McGlashan): AABB (Cole). Glen (1891) finds the earliest publication of the tune in Robert Bremner's 1768 2nd collection (pg. 101). The tune was first recorded by Galway melodeon player Peter Conlon in 1921, under the title "McBan's Reel" (thought the different spelling may be due to an error by the record company). Irish versions are in E Minor, Scottish in G Minor. Paul Cranford (1997) remarks that he has heard a strathspey setting (in G) of "Colonel McBain's" played by Jonny Wilmot who learned it from his uncle Joe Confiant. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cole (1001 Fiddle Tunes), 1940; pg. 31. Cranford (Winston Fitzgerald), 1997; No. 162, pg. 64. Gow (Complete Repository), Part 1, 1799; pg. 8. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 29. Hunter (Fiddle Music of Scotland), 1988; No. 265. McGlashan (A Collection of Reels), c. 1786; pg. 18 (appears as "Colonel Macbean's Reel"). O'Neill (1850), 1903/1979; No. 1403, pg. 261. O'Neill (1001 Gems), 1907/1986; No. 645, pg. 116. Stewart-Robertson (The Athole Collection), 1884; pg. 185 (appears as "Colonel MacBean"). Gael-Linn Records CEF 165, Máire O'Keeffe - "An Coisir."
T:Colonel MacBean
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:G Minor
c|B/c/d Gd BGdG|A/B/c Fc AFcA|B/c/d Gd BGdG|^F/G/A DF G2G:|
A|~(B2 B)f B/B/B fd|cdcB ABcA|G(gg)a bag^f|g/a/b a^f ~g2 ga|
g/a/b fd ~Bdfd|cdcB ABcA|Bdg^f gdce|dBcA G2G||
T:Colonel McBain
L:1/8
M:C|
R:Reel
B:O'Neill - 1001 Gems (645)
K:E Minor
EF|GBEF GEBE|FADE FDAD|GBEF GEBE|FADF E2 EF|
GBEF GEBE|FADE FDAD|G2 GF GBdB|AFDF E2||EF|
G2 GF GBdB|ABAG FAAF|Eee^d ef|gefd Beef|gfge dedB|
ABAG FGAF|Beed BcdB|AFDF E2||

CRESTED HENS, THE (Les Poules Huppées). French, Bourrée à 3 temps (3/8 time). E Minor. Composed by French (Breton?) national and hurdy-gurdy (vielle a roue) player, Gilles Chabenat, who remarks that some bars of a Debussy composition served as inspiration for the germ of the tune. It is of a type from central France, where it is also a folk dance, and is usually played at a medium tempo though this tune is often heard played slower, a la Solas. Karen Ashbrook - "Knock on the Door" (learned at the Victoria Pub, London). Shanachie 78002, "Solas."
X:1
T:Les poules huppées
M:3/8
L:1/16
C:Gilles Chabenat
R:Bourrée
A:France
K:d dor
D2DFED|A4 AB|cBAdcB|cBABAG|D2DFED|A4 AB|cBAdcd|1A6 :|2A4 de
|:f2AfAe|_B4 de|fdgfed|^c2d2e2|f2AfAe|_B4 de|fdgfe^c|1d4 de:|2d6 ||
X:2
T:Crested Hens
C:from the playing of Solas
R:Air
Z:Brian Duffy, corrected by Henrik Norbeck
M:3/4
L:1/8
Q:130
K:Edor
E3GFE|B4Bc|dc Be dc|dc BA GF|E3GFE|B4Bc|dc BA GA|B3G FD|
E3GFE|B4Bc|dc Be dc|dc BA GF|E3GFE|B4Bc|dc BA GA|B4 ef|
gB Bg gB|=c4ef|gf ag fe|^d2e2f2|gB Bg gB|=c4ef|gf ag fd|e3e ef|
gB Bg gB|=c4ef|gf ag fe|^d2e2f2|gB Bg gB|=c4ef|gf ag fd|e3G FA|

DOCTOR GILBERT (An Dochtúir Gilibeart). AKA - "Dr. Gilbert's Fancy Concert Reel." AKA and see "The Dispute at the Crossroads," "The Loughros Point Reel." Irish, Reel. Ireland; County Sligo, Donegal. E Minor. Standard. AABB. "A well known reel of (Sligo/New York fiddler) Michael Coleman's" (Daniel Michael Collins). Caoimhin Mac Aoidh gives that it is most likely that the Dr. Gilbert referred to in the title was a scholar who in 1717 became Vice-Provost and Professor of Divinity at Trinity College, Dublin. His bust is still displayed in the Long room of the Library of the college that houses the Book of Kells. Source for notated version: accordion player Sonny Brogan (County Sligo/Dublin, Ireland) [Breathnach]. Breathnach (CRE I), 1963; No. 180, pg. 71. Cranitch (Irish Fiddle Book), 1996; pg. 118. Miller & Perron (Irish Traditional Fiddle Music), 1977; Vol. 2, No. 52. Blarney Castle Records BC-509, "Best of Irish Dance Music." Claddagh CC17, Seane Keane - "Gusty's Frolics." CEF 153, Paddy Glackin - "In Full Spate." Comhaltas LP, John Doherty. FFS 002, Pete Cooper - "The Wounded Hussar." Folkways Records, Michael Gorman & Willie Clancy. Green Linnet SIF-104, Seamus Connolly - "The Celts Rise Again" (1990). Green Linnet SIF1035, Brian Conway & Tony De Marco - "The Apple in Winter" (1981). Green Linnet SIF-1098, Seamus Connolly - "Here & There" (1989). Green Linnet SIF 1163, Joe Derrane - "Return to Inis Mor." Green Linnet GLCD 1200, Lunasa - "Otherworld" (1999). Green Linnet SIF 3077, John Doherty - "Bundle and Go." IRC Records, Michael Coleman - "The Musical Glory of Old Sligo" (1967). Shanachie 29009, "Andy McGann & Paul Brady." Shanachie 79093, Paddy Glackin & Robbie Hannan - "The Whirlwind" (1995. Appears as "Dispute at the Crossroads").
T:Dr. Gilbert's
M:4/4
L:1/8
R:reel
Z:Barney
K:G
gf|:eB BA ~B3 ^c|dB Ac BA GF|ED B,D (3GGG FG|ED B,D DB, A,B,|
DE ED ED B,D|(3GFE (3FED EF GA|(3B^cd ed (3Bcd gb|ag ed e2 gf:||
e ~B3 g ~B3|de fg af df|~g3 e ~f3 d|eg fd ed Bd|
af df ed B^c|dB AG FA DF|(3B^cd ed (3Bcd gb|ag ed e2 gf:||

DONEGAL LASS. Irish, Jig. D Major. Standard. AABB.
T:The Donegal Lass
R:Jig
C:Brian Finnegan
D:Brian Finnegan: When The Party's Over
M:6/8
L:1/8
K:D
Ace aed|cdBA3|GBdG3|FAdF3|Ace aed|cdBA2a|aed cdB|ABGA3:|!
|:GBdG3|FAdF3|e2e ecA|e2e ecA|GBdG3|FAdF2a|aed cdB|ABGA3:||

FAIRY QUEEN, THE [1] ("An Beanriog Sige" or "Banrion na Siog"). AKA and see "Before the Battle," "Ciste No Stor." Irish, Air (3/4 time). G Major. Standard. ABC (Complete Collection): ABCD (O'Neill {both versions}). Both words and air are one of the early compositions by the Irish harper Turlough O'Carolan (1670-1738), from the time he lived with one of his first patrons, George Reynolds Esq., whose seat was Letterfyan, County Leitrim. The year was 1693 and O'Carolan was then age 23. The lyrics were founded on a supposed battle between the fairies at Sidhe Beag and Sidhe Mor; the words are poor, critiques Kohl, but the tune is exquisite. The Irish collector Edward Bunting (1840) believes the air "Ciste No Stor" (Save Me from Death) is the original of "Fairy Queen," "the only difference being that Carolan added two parts to it, in which it was generally played the the harpers." It was recorded by the Belfast Northern Star of July 15th, 1792, as having been played in competition by one of ten Irish harp masters at the last great convocation of ancient Irish harpers, the Belfast Harp Festival, held that week. That the melody continued to be played on the harp after that time is attested to by a German traveller named Kohl, who published a work on Ireland in 1844. While visiting a residence in Drogheda an unknown harper was brought in to entertain the assembled guests. O'Neill (1913) quotes:
***
The march of 'Brian Boru' was followed by an air called 'The Fairy
Queen,' which I was told was a very old melody. Old or not I can
Testify that it is a charming piece of music, so tender, so fairy like
and at the same time so wild and sweetly playful that it can represent
nothing but the dancing and singing of the elves and fairies by moonlight.
I afterwards heard the piece on the pianoforte, but it did not sound
half so soft and sweet as from the instrument of the blind young harper (pg. 99).
***
The tune is discussed in DOSC, volume II, pgs. 116-117 and in Willis' edition of Neales Celebrated Irish Tunes, No. 17. Complete Collection of Carolan's Irish Tunes, 1984; No. 195, pg. 133. O'Neill (Krassen), 1976; pg. 229. O'Neill (1850), 1903/1979; No. 637, pg. 114. O'Neill (1913), pg. 72.
T:Fairy Queen
L:1/8
M:3/4
K:G
G2G2 ED|G4 ED|G2G2 ED|B2A2B2|G2G2DE|B,4 GF|E2C2 GF|G3 c BA|

FAREWELL TO ERIN [1] (Slan Le N-Eirinn/H-Eirinn). AKA and see "Austin Tierney's," "The Cherry Tree," "Down with the Tea Tacklings," "The Flags of Dublin," "The Flying Column" [2]. Irish, Reel. D Major or Mixolydian. Standard. AB. In O'Neill's Music of Ireland (1850) the tune is printed with one sharp, though this may be a misprint instead of the mixolydian mode, as O'Neill's Dance Music of Ireland (1001 Gems), a later edition, has the melody in two sharps. O'Neill (1850), 1903/1979; No. 1472, pg. 272. O'Neill (1001 Gems), 1907/1986; No. 701, pg. 124. Green Linnet SIF-1110, Brian Conway - "My Love is in America: The Boston College Irish Fiddle Festival" (1991).
T:Farewell to Erin [1]
L:1/8
M:C|
R:Reel
S:O'Neill - 1001 Gems (701)
K:D
D2 (3FED ADFD|Addc defd|D2 (3FED ADFD|(3Bcd AF FEEF|D2 (3FED ADFD|
Addc defg|(3agf (3gfe fded|(3Bcd AF FEEc||(3ddd dB A~F3|D~F3 ADFA|
dcdB ADFA|(3Bcd AF FEEc|(3ded (3cdc (3BcB (3ABc|BAGA Bcde|
(3fga ec dcBA|GFED CEA,C||

FLOWERS OF SPRING, THE [1] ("Blata na N-Earraig" or "Blata an Earraig"). Irish, Hornpipe. D Major. Standard. AABB (Breathnach, O'Neill): AABB' (Moylan). O'Neill (1915 ed.), 1987; No. 347, pg. 170. Source for notated version: accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O'Leary), 1994; No. 266, pg. 152. Mulvihill (1st Collection), 1986; No. 32, pg. 98. O'Neill (Krassen), 1976; pg. 195. O'Neill (1850), 1903/1979; No. 1692, pg. 315. O'Neill (1001 Gems), 1907/1986; No. 891, pg. 153. Green Linnett SIF1035, Brian Conway & Tony De Marco - "The Apple in Winter" (1981. Learned from New York fiddler Andy McGann).
T:Flowers of Spring [1]
L:1/8
M:C|
R:Hornpipe
S:O'Neill - 1001 Gems (891)
K:D
dB|(3ABA FA DFA,E|(3DED FA dfab|afdf gfec|dcBA GFEd|
AdFA DFA,E|(3DED FA dfab|afdA CEAG|F2D2D2:|
|:F>G|A>d {e}(3dcd f>d {e}(3dcd|baga f>d {e}(3dcd|(3Acd F>A dAFA|
GFED CE A,2|A>d (3ddd f>d (3ddd|baga f>d {e}(3dcd|(3Acd FD CEAG|F2D2D2:|

FLY BY NIGHT. AKA - "Fly in the Night." Irish, Hornpipe. G Major (Black): A Major (Taylor). Standard. AABB (Taylor): AA'BB' (Black). The tune is also in New York accordion player Luke O'Malley's collection in the key of E Flat Major. Source for notated version: accordion player John Ferguson [Bulmer & Sharpley]. Black (Music's the Very Best Thing), 1996; No. 131, pg. 68. Bulmer & Sharpley (Music from Ireland), 1974, Vol. 2, No. 50 (appears as "Fly in the Night"). Taylor (Music for the Sets: Blue Book), 1995; pg. 8. Green Linnet SIF1035, Brian Conway & Tony De Marco - "The Apple in Winter" (1981. Learned from a 78 RPM recording of Louis Quinn and Lad O'Beirne).
T: Fly By Night
S: Brian Conway
Q: 300
R: Hornpipe
M: 4/4
L: 1/8
K: G
(3def|gd d2 BGDC|B,D (3GBd gd^cd|=cdBd Ad (3GAG|FAEA D2 (3def|
gd d2 BGDC|B,D (3GBd gd^cd|ecGE CGfe|1 (3ded (3cBA G2 :|
|2 (3ded (3cBA G3 ||
B|(3ege BA (3GBG (3EGE|B,EGB egfe|d2 AG (3FAF (3DFD|^CDFA d2 ef |
gd d2 BGDC|B,D (3GBd gd^cd|ecGE CGfe |1 (3ded (3cBA G2 :|
|2 (3ded (3cBA G3 ||

GIRLS OF BAINBRIDGE/BANBRIDGE, THE (Cailinide/Cailini Ua Droiciod-Na-Banna). Irish, Double Jig. D Major. Standard. AABB. Source for notated version: fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]. Begin (Fiddle Music from the Ottawa Valley), 1985; No. 70, pg. 80 (appears as "The Girls of Baine Bridge"). O'Neill (Krassen), 1976; pg. 27. O'Neill (1850), 1903/1979; No. 812, pg. 151. O'Neill (1001 Gems), 1907/1986; No. 83, pg. 30. Green Linnett SIF1035, Brian Conway & Tony De Marco - "The Apple in Winter" (1981. Learned from "a rare non-commercial" recording by Sligo/N.Y. fiddler Michael Coleman).
T:Girls of Banbridge, The
L:1/8
M:6/8
K:D
B|AFA dcB|BAG FED|FAD FED|CDE EFG|AFA dcB|BAG FED|(f<a)f gec|ded d2:|
|:B|AFA dfa|agf efg|(f<a)g fed|cde e2A|AFA dfa|agf efg|(f<a)f gec|ded d2:|

GLEN OF AHERLOW, THE [2]. AKA and see "The Crane's Leg," "Lafferty's," "Reddigan's," "The Woman I Ne'er Forgot." The tune was composed by Sean Ryan as "Lafferty's" and although it is sometimes called "The Glen of Aherlow" the latter is the title of another composition of his. Bulmer & Sharpley (Music from Ireland), 1974, Vol. 3; No. 3 (appears as "Reddigan's"). Sean Ryan (The Hidden Ireland), No. 28 (appears as "Lafferty's").
T:Glen of Aherlow, The
T:Lafferty's
T:The woman I ne'er forgot
C:Sean Ryan
B:The Hidden Ireland, compiled by Brian Ryan
R:reel
M:4/4
Z:transcribed by Paul de Grae
L:1/8
K:Edor
B2 AF BFAF|~E3 F EDB,D|B2 AF BFAF|DFAF GE E2|
B2 AF BFAF|~E3 F EDB,A,|B,E (3EDE B,EGB|dBAF GE E2:|
|:eB (3BAB efge|fd (3dcd Adfd|eB (3BAB egfe|dBAF GE E2|
eB (3BAB efge|fd (3dcd Adfd|~B3 d (3efg fe|dBAF GE E2:|

GLEN ROAD TO CARRICK, THE (Bóthair an Ghleanna go dtí an Charraig). AKA and see "The Chorus Reel," "On the Road," "On the Road from Glen to Carrick." Irish, Reel. Ireland, Donegal. D Mixolydian/Major. Standard. ABCCDE (Breathnach): ABB'CDEE' (Feldman & O'Doherty). A popular reel in County Donegal. According to Caoimhin Mac Aoidh (1994) lore has it that Donegal fiddler John Doherty associated the naming of the tune to his uncles from the McConnell family who were travelling tinkers. The tune is based on the "Chorus Reel" and is said to have had additional parts added by John Mhosai Mac Fionnlaigh. Elsewhere in his work Mac Aoidh states that composition has been credited to John Mhosai (Mac Fhionnlaioch), born c. 1840's. The alternate title is said to commemorate the location of his family home. Paddy Cronin recorded the tune on a 78 RPM under the title "Doon Reel No. 2." See the related "Doon Reel" [3]. Sources for notated versions: fiddler John Doherty (County Donegal, Ireland) [Breathnach, Bulmer & Sharpley transcribed from the Comhaltas LP]; fiddlers Francie and Mickey Byrne (County Donegal) [Feldman & O'Doherty]. Breathnach (CRE III), 1985; No. 182, pg. 82. Bulmer & Sharpley (Music from Ireland), 1974, Vol. 3, No. 28. Feldman & O'Doherty (The Northern Fiddler), 1979; pg. 167 (appears as "On the Road"). Comhaltas Ceoltoiri Eireann CL10, "Johnny Doherty" (1975). Nimbus NI 5320, Seamus Glackin - "Fiddle Sticks: Irish Traditional Music from Donegal" (1991). Claddagh CC 44, Francie Byrne - "The Brass Fiddle." Gael-Linn CEF 140, Seamus & Kevin Glackin - " Na Saighneáin/Northern Lights." Ossian OSS 90, Seamus Creagh - "Came the Dawn." Shanachie 79093, Paddy Glackin & Robbie Hannan - "The Whirlwind" (1995). Seamus Glackin - "An Fhidil, Vol. 1." X:1
T:Glen Road to Carrick, The
B:Play 50 Reels, Armagh Pipers Club 1982, Brian and Eithne Vallely
R:reel
Z:transcribed by Paul de Grae
M:4/4
L:1/8
K:D
AD (3DDD AGFG|AD (3DDD BGBd|AD (3DDD AGFA|
1 GE=CE G2 Bd :|2 GE=CE G2 FE ||
D2 dA F2 AF|D2 dF AdAF|D2 dA F2 AF|GE=CE GBGE|
D2 dA F2 AF|Ddcd A2 Bc|(3dcB cA BGAF|GE=CE G2 eg ||
fd (3ddd Adcd|fdfg abag|fddf Adfd|edef g2 ag|
fddf Addg|fdfg abag|fddf Adfd|edef gbag ||
(3fgf ec dABG|FADF A2 Bc|(3dcB cA BGAF|GE=CE G2 gb|
fdec dABG|FADF A2 Bc|(3dcB cA BGAF|GE=CE GABc ||
dD (3DDD AD (3DDD|dD (3DDD A2 Bc|
dD (3DDD ADEF|GE=CE G2 Bc|
dD (3DDD AD (3DDD|dD (3DDD A2 Bc|
(3dcB (3cBA BGAF|GE=CE G4 ||
X:2
T:Glen Road to Carrick, The
S:Paul O'Shaughnessy
Z:Juergen.Gier@post.rwth-aachen.de
M:C|
L:1/8
K:DMix
FD (3DDD FDGD|FD (3DDD EFGE|FD (3DDD FDEF|G2BG EFGE:|\
A3d (3BdB AF|DFAF EFGE|A3d (3BdB AF|GABG EFGE|\
A3d (3BdB AF|DFAF EFGB|Ad^cd AdAF|ED^CD EFDg|]
|:fd (3ddd fdgd|fd (3ddd ^cdeg|fd (3ddd fdef|1gfgb efga:|2g2bg egfe:|\
d2ad bdad|dfaf egfe|d2ad bdad|gabg egfe|\
d2ad bdad|dfaf egfe|dfa^g bgaf|gabg egfe|]\
d2AG FD (3DDD|FDAD FA (3AAA|A3d (3BdB AF|1ED^CD EFGA:|2ED^CD EFDG|]

GOLD RING, THE [1] ("Fáinne N-Oir" or "Fáinne Óir {Ort}"). AKA and see "The Pharroh," "Tá Fáinne Air." Irish, Jig. D Mixolydian ('A' and 'B' parts) & G Major ('C', 'D', and 'E' parts) {Brody, O'Neill}. Standard. AABBCCDDEEFF (Boys/Lough): AABBCCDDEE (Brody): AABBCCDDEEFFGG (Mallinson, O'Neill): AABCC'DD'EEFG (Mitchell): AABB'CCDD'EEFFGG (Taylor). Known as an uilleann piper's tune (O'Neill says it was a favorite of piper Pat Touhey's). Caoimhin Mac Aoidh relates Seamus Ennis's story of a piper who had the courage to spend a night hiding near a fairy rath to listen to the wonderful music of the little folk. As usual they returned to the rath at sunrise to sleep, the nights' festivity over, and the piper crept out from hiding. On close investigation of the site he found a tiny gold ring on the ground, dropped by a fairy reveller. The very next evening he returned to the rath and hid in the same place to listen again to the music of the wee folk but this time he also overheard the lamenting of a fairy piper over the loss of the ring. The fairy cried that he would grant any wish to get it back, upon which he man stepped from hiding and offered to return the ring, explaining how he found it lost. True to his word the fairy granted the human one wish, and asked the piper to name it. 'The jig I heard the other night,' said the man, who added he could not quite remember it (due to the fairies blocking the memory of their tunes), and the fairy piper granted the wish on the spot-the tune that has ever since been called in memory of the incident "The Gold Ring." The Boys of the Lough relate a very similar story concerning a farmer who surprised a fairy gathering on returning home late one night. It seems the fairies were dancing to the music of a fairy piper, but ran off after being startled by the intruder. The farmer was about to continue his journey home when found a gold fairy ring, left behind after the flight of the fey folk. He managed to return it to the fairies and in exchange they gave him the tune that the fairy piper had been playing when he first surprised them. O'Neill (1913) maintains that pipers converted this jig from a nine-part melody called "The Pharroh or War March," which was obtained from Dr. Petrie in 1835 and printed in Bunting's Ancient Music of Ireland, published in 1840 (the word pharroh seems to Paul de Grae to have been derived from the Irish work faire {pronounced 'far-eh'} meaning watch or wake). Bunting thought the tune to be "very ancient." The Fleischmann index links this tune to "Scots Hall," published by Thompson in his Compleat Collection of 200 Favourite Country Dances, c. 1755, though some think the connection weak. Sources for notated versions: flute player and piper John Ennis, originally from County Kildare [O'Neill]. piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Boys of the Lough, 1977; pg. 16. Brody (Fiddler's Fakebook), 1983; pg. 123. Mallinson (Enduring), 1995; No. 51, pg. 22. Mitchell (Dance Music of Willie Clancy), 1993; No. 139, pgs. 110-111. O'Neill (Krassen), 1976; pg. 72. O'Neill (1850), 1903/1979; No. 708, pg. 132. O'Neill (1001 Gems), 1907/1986; No. 12, pg. 19. Taylor (Music for the Sets: Blue Book), 1995; pg. 12. Claddagh CC17, Sean Keane - "Gusty's Frolics." Claddagh CC39CD, "The Pipering of Willie Clancy, Vol. 2" (1993). Claddagh: CCF 27 CD, Conal O'Grada - "Top of the Croom" (1990). Gael-linn CEFCD 114, Tony MacMahon & Noel Hill - " "I gCnoc na Graí" ('In Knocknagree'). Mulligan 004, "Matt Molloy." Seamus Creagh & Aidan Coffey - "Traditional Music from Ireland." Chieftains - "Cotton Eyed Joe." POSCD0001, Paul O'Shaughnessy - "Stay Another While" (1999). Trailer LER 2090 (or Rounder 3006), Boys of the Lough, "Second Album" (1974). Liam O'Flynn - "The Piper's Call." Brian Mac Aodha - "Throw Away the Keys." Seamus Ennis - "Masters of Irish Music."
T:Gold Ring, The
L:1/8
M:6/8
R:Jig
K:G
d|cAG GFG|cAF GBd|cAG GFG|cAG FAd|cAG GFG|cAF G2E|FAd fed|cAF GB:|
|:d|cAd cAd|cAF GBd|cAd cAd|cAG F2d|cAd cAd|cAF G2E|FAd fed|cAF GBd:||
|:~g3 gdc|BGG GBd|~f3 fcB|AFF FGA|~g3 gdc|BGG GBd|fag fed|cAF GBd:|
|:gdd fdd|gdd fdd|gdd fdd|cAF GBd|gdd fdd|gdd fdd|fag fed|1 cAF GBd:|2 cAF G2A||
B2G ABG|d2G G2A|B2G ABG|cAG FGA|BAG AGF|GFD FGA|f/g/ag fed|cAF G2A|
B2G A2G|d2G G2A|B2G A2G|cAG FED|~B3 c2A|GFD FGA|fag fed|cAF G2||

GRAF SPEE, THE. AKA - "The Grand Spey." AKA and see "The Grants of Strathspey," "Winnie Green's Reel," "The Western Lasses." Irish, Reel. Ireland, County Sligo, Derry. C Major (Flaherty, O'Neill): D Major (Alewine, Black). Standard. AABBCC (Flaherty): AABCCD (Black): AABBCCD (Alewine): AABB'CCD (O'Neill): AABCCDDE (Mulvihill). Seattle (1987) believes the name to be a curious corruption of the title "Grants of Strathspey" transformed into the name of the famous World War I German battleship (itself named after a famous German admiral). Flaherty's version is somewhat distanced from O'Neill's. "The Western Lasses" as a variant is more noticeable in the second and third parts of the tune rather than the first. Philippe Varlet finds an early recording of the tune on a 78 RPM disc by an American Irish piper named Martin Beirne (who led the Blackbird Orchestra) on which it is called "The Grand Spy." Sources for notated versions: fiddler Fred Finn {1919-1986} (Kiltycreen, Kilavil, County Sligo) [Flaherty]; Jim McElhone (County Derry) [Mulvihill]; New York fiddlers Andy McGann and Brian Conway [Black]; Tony Smith [Bulmer & Sharpley]. Alewine (Maid that Cut Off the Chicken's Lips), 1987; pg. 20. Black (Music's the Very Best Thing), 1996; No. 189, pg. 100 (appears as "The Grand Spey"). Bulmer & Sharpley (Music from Ireland), 1974, Vol. 3, No. 44. Flaherty (Trip to Sligo), 1990; pg. 83. Mulvihill (1st Collection), 1986; No. 137, pg. 37. O'Neill (Krassen), 1976; pg. 162. Green Linnett GLCD 1155, Martin Hayes - "Under the Moon" (1995). SIF 3002, Kevin Burke & Jackie Daly - "Eavesdropper" (1981). Green Linnet SIF 3018, "Molloy/Peoples/Brady" (1978).
X:1
T:The Graf Spee
S:Paul O'Shaughnessy
Z:Juergen.Gier@post.rwth-aachen.de
M:C|
L:1/8
K:C
EDCD EG (3GGG|AGcG AGcG|EDCD EG (3GGG|AGcG ED (3DDD:|\
efed cBcA|GE (3EEE GAcd|efed cBcA|GECE EDD2|\
efed cBcA|GE (3EEE GAcd|eaag eged|cAGE EDD2|]\
eg~g2 gedg|eaa^g ~a3=g|eged cBcd|eaag egdg:|\
eccB cAGE|GAcd cAGE|GAcd {e}dcdc|AGcG EDDg|\
ec~c2 cGAG|~c3d cAGE|GAcd {e}dcdc|AGcG EDDg|:\
egcg egcg|fada fada|egcg ec~c2|ABcd ed~d2|\
e~a3 gedg|eccB cAGE|GAcd {e}dcdc|1AGcG EDDg:|2AGcG EDDF|]
X:2
T: The Grand Spey (sic)
S: McGann - Conway
Q: 350
R: reel
Z:Transcribed by Bill Black
M: 4/4
L: 1/8
K: D
FEDE FA A2 | BAdA BAdA | FEDE FA A2 | BAdF FE E2 |
FEDE FA A2 | BAdA BAdA | FEDE FA A2 | BAdF FE E2 ||
fedc dcAF | Adfe dBAB | dB B2 fB B2 | BAdF FE E2 |
fedc dcAF | Adfe dBAB | (3fga ba fded | BAdF FE E2 ||
faa^g a3 e | (3fga ba b3 a | fafe dcde | fbba feeg |
faa^g a3 e | (3fga ba b3 a | fafe dcde | fbba feeg ||
fcdg fcdg | gbef gbeg | fAde fedB | ABde feeg |
faa^g a3 e | egfe dcdB | AFAB defe | dBAd FE E2 ||

HAMISH HENDERSON'S REFUSAL. Scottish, Reel. A modern composition by ex-Battlefield Band fiddler Brian MacNeill, commemorating the refusal for political reasons by Henderson to accept the award of "Scot of the year" from then English Prime Minister Margaret Thatcher. He declined the honor due to his opposition to his government's participation in the nuclear arms race. Henderson is regarded by many as the father of the Scottish folk revival, much as Pete Seegar is in the United States.
T:Hamish Henderson's Refusal
M:4/4
L:1/8
K:F
A,2|:D2 C>D A,2 A,>G,| A,<D E>F D3 E| F>C F<A (3GAB A>G| A<d d>e ^c3 A|!
d>e f<a e<c c>A| (3Bcd A>F E3 F| D2 C>D A,2 A,>G,| A,<D E>F D4:|!
E2 E>D E<c c2| (3BAG A>B A<d d>e| f>e (3fga a>g g<f| f>e e<d e3 A|!
B>A (3GAB A<d d2| F<d d<F E3 F| D2 C>D A,2 A,>G,| A,<D E>F D4:||

The High Level Bridge, Tyneside, c. 1890 (Gateshead Library)
***
There is a pub at one end of the structure is called The Bridge, and has long been home to The Bridge Folk Club, where the band The High Level Ranters started. It remains a desirable venue for traditional and folk performers.
***
Williamson (1976) says: "The tune is a very popular one in the North of England, and many players have evolved their own elaborations of it." It also became popular in the American mid-west (especially in Missouri), largely through the playing of fiddlers who could sight-read and had a copy of Ryan's Mammoth Collection, in which it appeared (see note for "Thunder Hornpipe" for more information). R.P. Christeson (1973) believes the melody was derived from the "Highland Hornpipe," which is commonly published (e.g. in Cole's 1001). "High Level Hornpipe" was a signature tune of American fiddler Howdy Forrester. Phillips swing version adds a fourth part in the key of G Minor. In county Donegal it is a popular hornpipe (the title contrasts with another popular Donegal hornpipe, "The Low Level Hornpipe"). Sources for notated versions: Bob Walters (Burt County, Nebraska) [Christeson]; Howard Forrester and Jeff Guernsey [Phillips]; Ervan Sonnier (1920-1994) & Toussaint Arsenault (b. 1916) {Summerside, East Prince County, Prince Edward Island} [Perlman]. Bain (50 Fiddle Solos), 1989; pg. 8. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 1), 1973; pg. 32-33. Hardie (Caledonian Companion), 1986; pg. 39. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 53 (appears as "High Level Bridge Hornpipe"). Hunter (Fiddle Music of Scotland), 1988; No. 338. Jarman (Old Time Fiddlin' Tunes); No or pg. 21. Kerr (Merry Melodies), Vol. 2; pg. 44. Koehler's Violin Repository. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 111, pg. 70. Miller & Perron (New England Fiddlers Repertorire), 1983; No. 75. Mulvihill (1st Collection), 1986; No. 4, pg. 88. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 114. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 198. Skinner (The Scottish Violinist), pg. 44. White's Excelsior Collection. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 37. Condor 977-1489, "Graham & Eleanor Townsend Live at Barre, Vermont." Fiddler FRLP001, Tom Doucet (Nova Scotia/eastern Mass.) - "The Down East Star." Gael-Linn CEF 045, "Paddy Keenan" (1975). Green Linnet SIF1035, Brian Conway & Tony De Marco - "The Apple in Winter" (1981. Learned from a 78 RPM recording of fiddler Lad O'Beirne with Louis Quinn). Leader Records LEA 4006, "Billy Pigg, The Border Minstrel." Rounder 1123, Lad O'Beirne & Louis Quinn - "Milestone at the Garden." Rounder CD7014, Alton Silliker - "Fiddlers of Western Prince Edward Island" (1997).
X:1
T:High Level Hornpipe
L:1/8
M:C|
K:B_
|:dc|Bd FB DF Bd|fb df Bd cB|ce Ac FA cf|ag f=e gf _ec|
Bd FB DF Bd|fb df Bd cB|GA Bc de =ef|gf ec B2:|
|:cB|Af cf Af cf|AF Ac fc Ac|df Bf df Bf|dB df bf df|=eg cg eg cg|
=ec eg bg eg|f=e fa gb eg|1 f=e fg f2:|2 f=e ag fe _ec|]
X:2
T:High Level Hornpipe
M:4/4
L:1/8
Z:transcribed by Cari Fuchs
K:Bb
(3FGA|Bd FB DF Bd|fb df Bd cB|ce Ac FA cf|ag f=e gf _ec|
Bd FB DF Bd|~f2 df Bd cB|GA Bc de =ef|gf (3edc B2:|
|:cB|Af cf Af cf|AF Ac fc Ac|df Bf df Bf|dB df bf df|
=eg cg =eg cg|=ec =eg bg =eg|f=e fa gb ag|f=e fg f2:|
|: (3^fga|bf df ge cA|Bf dB F2 BA|Ge Ge Fd Fd|Ec ~c2 dc AF|
G^F GA Be cA|Bf dB F2 BA|~G2 eG ~F2 dF|~E2 cA B2:|

HURRY THE JUG [1] (Cuir Tart an Cruiscin). AKA and see "Once on a morning of sweet recreation." Irish, Set Dance (6/8 time). E Minor. Standard. AB (Joyce): AAB (Roche): AABB (O'Neill). Learned be Joyce as a boy in Limerick in the 1840's. A later form of the tune is the song/tune "Lanigan's Ball." The 'B' part is twice the length of the 'A'. Joyce (Old Irish Folk Music and Songs), 1909; No. 82, pg. 43. O'Neill (1001 Gems), 1986; No. 971, pg. 167. Roche Collection, 1983, Vol. 3; No. 95, pg. 29. Eugene O'Donnoll. Green Linnet SIF1035, Brian Conway & Tony De Marco - "The Apple in Winter" (1981. Learned from a recording of New York fiddler and banjo player Larry Redican).
T:Hurry the Jug
L:1/8
M:6/8
S:Joyce - Old Irish Folk Music
K:E Minor
EFE G2A|BAG FEF|DED FEF|A2d AFD|EFE G2A|BAG FGA|BdB AGF|E3B3||
AFA d3|d/e/fe d2B|AFA d2A|BAG FED|E2e efg|fed e3|E2e e2f|g2e fdB|AFA d3|
d/e/fe d2B|AFA d2A|BAG FED|EFE G2A|BAG FGA|BdB AGF|E3B3||

JIM CONWAY'S FLING. Irish, Fling. G Major. Standard. AABB. Source for notated version: the late Jim Conway (father of Brian and Rose), of County Tyrone and the Bronx [Black]. Black (Music's the Very Best Thing), 1996; No. 199, pg. 106.
T: Jim Conway's Fling
S: B. Conway
Q: 300
R: hornpipe
M: 4/4
L: 1/8
K: G
G2 GD EDGD | GBdB A2 A2 | G2 GD EDGD | EGDB, A,2 G,2 :|
gabg d2 d2 | gabg e4 | gbeg dgBg | AGAB G2 G2 :|

KITTY GOT A CLINKING COMING TO/FROM THE FAIR. AKA and see "Munster Bacon." Irish, Single Jig. D Major. Standard. AA'BB'. Claddagh 4CC 32, Willie Clancy - "The Pipering of Willie Clancy, Vol. 1" (1980).
T:Kitty Got a Clinking Coming to the Fair
M:6/8
L:1/8
R:jig
D:Brian Finnegan: When the Party's Over
K:D
~A3 DFA|dfe d2A|~B3 dAF|~G3 EFG|~A3 dcA|~B3 efg|
faf gfe|1 dfe d2B:|2 dfe d2a||
|:afd dfa|bag a2g|~f3 fed|cAA A2G|Fdd cee|dff efg|
faf gfe|1 dfe d2a:|2 dfe d2B||

LAD O'BEIRNE'S/O'BYRNE'S (REEL) [1]. AKA - "A Kilfen Reel." Irish, American, Canadian; Reel. Ireland, County Sligo. USA, New York. Canada; Cape Breton, Prince Edward Island. G Major. Standard. AABB (Cranford/Holland, Mallinson, Mulvihill): AA'BB' (Perlman). James 'Lad' O'Beirne, who either composed this tune or else it was learned from him, was an influential County Sligo raised New York City fiddler whose hey-day was the mid-20th century. Bill Black (1996) relates the story that this reel supposedly was the last tune composed by O'Beirne prior to his death, while Philippe Varlet relates that he was told by O'Beirne's son Jim that Lad had composed the tune on the subway coming home from work. He was a younger contemporary of Michael Coleman and far outlived him, passing away in 1980, although unlike Coleman he unfortunatley never commercially recorded, though there are a few tracks of informal recordings available (see the album "Milestone at the Garden"). In fact, O'Beirne and Coleman are quite intertwined musically and personally. They came from the same village in County Sligo, Killavil, and O'Beirne married Coleman's neice. O'Beirne's father Phillip was one of Coleman's early mentors, according to collector and fiddler Philippe Varlet. David Taylor (1992), however, believes the reel is traceable to the great Co. Mayo/New York fiddler John McGrath (1900-1955). Sources for notated versions: tenor banjo player Tommy Finn (b. 1964, Marlow, Ballymote, Co. Sligo) [Flaherty]; learned from a recording of tenor banjo player Kevin Griffin (Doolin, County Clare) by fiddler Jerry Holland (Inverness, Cape Breton) [Cranford]; Liam Donnelly (Lisburn, County Antrim) [Mulvihill]; Kenny Chaisson (b. 1947, Rollo Bay, North-East Kings County, Prince Edward Island) [Perlman]; fiddler Brian Conway (Queens, New York) [Black]. Black (Music's the Very Best Thing), 1996; No. 8, pg. 4. Cooper (The Complete Irish Fiddle Player). Cranford (Jerry Holland's), 1995; No. 177, pg. 50. Darsie (Traditional Tune Sourcebook). Flaherty (Trip to Sligo), 1990; pg. 50. Mallinson (Enduring), 1995; No. 15, pg. 6. Mulvihill (1st Collection), 1986; No. 151, pg. 41. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 50. Claddagh Records, Mary MacNamara - "Traditional Music from East Clare." Fiddlesticks cass., Jerry Holland - "A Session with Jerry Holland (1990). Green Linnet, Jerry Holland - "The Fiddlesticks Collection" (1995). GIFT 10007, Arty McGlynn & Nollaig Casey - "Lead the Knave." Green Linnet SIF 1063, The Irish Tradition - "The Times We've Had." Green Linnet SIF-1110, Brian Conway, Tony DeMarco & Marin Wynne - "My Love is in America: The Boston College Irish Fiddle Festival" (1991). Green Linnet GLCD 3127, Sharon Shannon - "The Best of Sharon Shannon: Spellbound" (1999. Appears as first tune of "Mouth of the Tobique" set, learned from Mirella Murrey, Clifden, Co. Galway). Tulla Ceili Band - "A Celebration of 50 Years." Dervish - "The Boys of Sligo."
X:1
T:Lad O'Beirne's
M:4/4
L:1/8
K:G
DG~G2 DGBG|(3ABc BG AGEG|DG~G2 DGBd|(3efe dg eagf|\
dB~B2 dBGB|1cE~E2 GEDB,|DEGA ~B2eB|dBAc BGGE:|2\
cE~E2 GEDB,|DEGA (3Bcd eB|dBAc BGGB|:\
(3ded Be dGBd|egdg eage|dB ~B2 dBGB|cE~E2 GED2|\
BddB d2ef|~g3 a bgdB|DEGA B2Bc|dBAc BGG:|
X:2
T: Lad O'Beirne's
S: Brian Conway
Z: transcribed by B.Black
Q: 300
R: reel
M: 4/4
L: 1/8
K: G
DG G2 DGBG | AcBG AE E2 | DG G2 DGBd | egfg e2 ge |
dB B2 AGEG | cE E2 GEDB | DEGA B2 eB | dBAc BG G2 :|
d2 ce d2 Bd | egdg e2 ge | dB B2 AGEG | cE E2 GEDc |
Bd d2 Bdef | gfga gedB | DEGA B2 eB | dBAc BG G2 :|

LAD'S FAVORITE. Irish, Reel. B Minor. Standard. AB. Lad = Lad O'Bierne? Source for notated version: Brian Conway & Tony DeMarco (New York) [Black]. Black (Music's the Very Best Thing), 1996; No. 63, pg. 33. Green Linnet SIF1035, Brian Conway & Tony De Marco - "The Apple in Winter" (1981. Learned by Brian Conway from his father, Jim Conway).
T: Lad's Favorite
S: Conway - DeMarco
Q: 350
Z: transcribed by B.Black
R: reel
M: 4/4
L: 1/8
K: D
Bc | dF F2 AFEF | dF F2 A2 Bc | dF F2 BFAF | DBBA B2 AB |
dF F2 AFEF | dF F2 A2 Bc | (3dcB (3cBA BFAF | DBBA B2 ||
zc | d2 fd edfd | d2 fd faaf | d2 fd edfd | BdcA BAFA |
d2 fd edfd | d2 fd faaf | bgaf gfed | BdcA B2 ||

LARRY REDIGANS/REDICAN'S (REEL) [1]. AKA - "Rattigan's." AKA and see "The Early Breakfast," "Miss Lyons," "Over the Hill," "Up Against the Boughalauns." Irish(-American); Reel. USA, New York. Ireland, Counties Roscommon, Sligo, Donegal. G Major (Flahery, Mulvihill/Mulvihill): F Major (Mulvihill/Greenall). Standard. AB. A c. 1960 composition of Irish-American fiddler and banjo player, Larry Redican (1908-1975). Though he was born in Dublin, Redican's parents hailed from Boyle, Co. Sligo, and were both flute players. Redican, however, chose the fiddle and studied with Frank O'Higgins in Dublin before he emigrated to the United States in 1928. He worked for much of his life for the cosmetics company Estee Lauder in New York. Redican was a member of the New York Céili Band. Sources for notated versions: flute player and piper Charlie Lavin (b. 1940, Cloonshanville, near Frenchpart, County Roscommon) [Flaherty]; Brendan Mulvihill (Baltimore, Md.) [Mulvihill]; Liam Greenall (Liverpool, England)[Mulvihill]. Bulmer & Sharpley (Music from Ireland), Vol. 1; No. 45 (appears as "Rattigan's"). Flaherty (Trip to Sligo), 1990; pg. 151 (appears as "Rhattigan's"). Mulvihill (1st Collection), 1986; No. 91, pg. 24 and No. 234, pg. 63. Green Linnett SIF1035, Brian Conway & Tony De Marco - "The Apple in Winter" (1981. Learned by Brian Conway from Donegal fiddler Denny McLoughlin, "while on a bus ride to Listowel, County Kerry for the 1973 Fleadh Cheoil").
T:Larry Redican's # 1
C:Larry Redican
R:reel
M:4/4
L:1/8
Z:Philippe Varlet
K:G
D|G2BG DGBd|g2fg edBA|G2BG DGBG|ABAG FDEF|
(3GFE (3FED EDB,A,|G,gfg edBA|G2BG DGBd|cAFA G3 :||
B|dggf gfed|eaag ~a3 g|fd~d2 ad~d2|faaf gedc|
BG~G2 EGDF|Ggfg edBA|G2BG DGBd|cAFA G3 :||

LEINSTER BUTTERMILK. Irish, Reel. Ireland, County Sligo. B Minor ('A' part) & D Major ('B' part). Standard. AB. Leinster was one of the five old provinces, once rival kingdoms, of Ireland, named after an ancient tribe of people called the Laigin. Black (Music's the Very Best Thing), 1996; No. 35, pg. 18. Green Linnet SIF1035, Brian Conway & Tony De Marco - "The Apple in Winter" (1981. Learned from Martin Wynne). Green Linnet SIF-1110, Brian Conway, Tony DeMarco & Martin Wynne - "My Love is in America: The Boston College Irish Fiddle Festival" (1991).
T: Leinster Buttermilk
S: B.Conway
Z: transcribed by B.Black
Q: 350
R: reel
M: 4/4
L: 1/8
K: D
B2 AB dBAd | BFAF DEFA | B2 AB dBAd | abag fddc |
B2 AB dBAd | BFAF DEFA | B2 AB dBAd | abag fddf ||
a2 fd ad (3dcd | adfd Be (3efe | a2 fd adfd | abag fddf |
a2 fd ad (3dcd | adfd Be (3efe | abaf efdB | ABde fedc ||

LITTLE BROWN JUG. American; Jig, Schottische (2/4 time) and Song Tune. D Major ('A' part) & D Mixolydian ('B' part) [Cole]: D Major [Bayard, Ruth, Sweet]: C Major [Ford]: G Major [Phillips]. Standard. AB (Ruth): AA'B (Bayard): AABB (Phillips): AA'BB' (Sweet). The tune goes to a once-popular college song, but it appears to have originally been composed for the minstrel stage by one 'Eastburn', believed to be a pseudonym for Joseph E(astburn) Winner (1837-1918). He copyrighted the melody in 1869. J.E. Winner, as the name on the copyright goes, of Philadelphia, was the younger brother of the composer and publisher Septimus Winner. "Little Brown Jug" is credited to one Jas. Hand in Cole's 1001, although this is considered unreliable. It has been suggested that the second strain of the "Jug" tune is a variant of the first strain of Irish melody "Tatter Jack Walsh."
***
Me and my wife, little black dog,
Crossed the creek on a hickory log;
She fell in, got stuck in the mud,
But I still hung to my little brown jug.
***
Despite its stage origins, the tune quickly entered traditional repertoire and appears to have been widely disseminated. "Little Brown Jug" was cited as having commonly been played at Orange County, New York, country dances in the 1930's (Lettie Osborn, New York Folklore Quarterly), and it was known at the same time at the other end of the country by Arizona fiddler Kenner C. Kartchner, who said, "many an amateur plays this simple old song" (Shumway). The tune was recorded for the Library of Congress by musicologist/folklorist Vance Randolph from Ozark Mountain fiddlers in the early 1940's. Mt. Airy, North Carolina, fiddler Tommy Jarrell learned the tune from his father, because the lyric "tickled" him. African-American fiddler Cuje Bertram (Ky.) recorded the tune in 1970 on a home recording made for his family. Another African-American fiddler, North Carolinian Joe Thompson, played the tune in FCGD tuning. It was recorded on a 78 RPM by Kanawha County, West Virginia fiddler Clark Kessinger (1896-1975).
***
"Little Brown Jug" was the second tune that Missouri fiddler Art Galbraith learned as a boy, who received instruction from his Uncle Mark (a three-fingered fiddler, the result of an accident chopping corncobs), his cousin and others. Art's father, no musician, was proud of his son's budding talent and was constantly prodding him to play for anyone who would listen, and this was well-known in the family. One day the young Galbraith attended a Fourth of July picnic on the James River that featured a square dance:
***
So most of the time while they were dancing, all I was doing was
listening to the music. Dancing didn't interest me much. Then (his
cousin) said, "Come here a minute. Take this fiddle and play. I want
to dance one." And, oh, it just scared me to death to get up before
all those hundreds of people. I knew nearly every one of them and
they knew me, but that was the worst thing that could happen.
But he kept on. He said, "Why, you can do it. I showed you how
to play it. Play Little Brown Jug." So I got up there and the
guitar player says, "Well, I'll play with you!" So I played for
a square dance set. It scared me. I was just miserable. But I got
through it and they danced, so I guess it was all right. And later
on I played with him and others for dancing after I got to
learning more tunes. (Bittersweet Magazine, 1981)
***
Phillip's version is only loosely based on the familiar song tune. Sources for notated versions: Wilbur Neal (elderly fiddler from Jefferson County, Pa., 1948) [Bayard]; Brian Hubbard [Phillips]; caller George Van Kleeck (Woodland Valley, Catskill Mtns., New York) [Cazden].
***
Adam, No. 7. Bayard (Dance to the Fiddle), 1981; No. 428, pg. 406. Cazden (Dances from Woodland), 1945; pg. 6. Cole (1001 Fiddle Tunes), 1940; pg. 54. Ford (Traditional Music in America), 1940; pg. 33. Jarman (Square Dance Tunes), No. or pg. 20. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 142. Ruth (Pioneer Western Folk Tunes), 1948; No. 12, pg. 6. Sweet (Fifer's Delight), 1965/1981; pg. 10. County 778, Tommy Jarrell - "Pickin' on Tommy's Porch" (1984).
T:Little Brown Jug
L:1/8
M:2/4
S:Ruth - Pioneer Western Folk Tunes (1948)
K:D
F[F/A/][F/A/] [F/A/][F/A/][F/A/][F/A/]|G[GB][G2B2]|
A[E/c/][E/c/] [E/c/][E/c/][E/c/][E/c/]|A[Fd] [d2f2]|
F[F/A/][F/A/] [F/A/][F/A/][F/A/][F/A/]|G[GB][G2B2]|
A[Ec] c/B/c/d/|e[Fd] [F2d2]||f/g/a/f/ d2|fe g2|gc c/d/e/f/|
ed f2|f/g/a/f/ d2|fe g2|{a/}bc c/d/e/f/|ed d2||

MACKENNA'S DREAM. AKA and see "Captain Rock," "John Doe," "The Grand Conversation," "Greenfields of America," "Pretty Molly Bralligan," "Charming Molly Brannigan." Irish, Air (4/4 time). D Mixolydian. Standard. AB. "The air of this song, which I remember from my childhood, was otherwise called 'John Doe,' and also 'The Grand Conversation', from a song about Napoleon, of which every verse ended in this, which is the only verse I remember:--
***
As Mars and Apollo were viewing some implements,
Bellona stepped forward and asked them what news;
Or were they preparing those warlike fine instruments
That had been got rusty for the want of being used.
The actions of Napoleon that made the money fly about,
Until the powers of Europe they did him depose;
But the All-Seeing Eye would not let him run through the world:
This grand conversation was under the rose.
***
The air may be compared with two others:-- 'The Greenfields of America' and 'Purty (Pretty) Molly Brallagan.' All are evidently varied forms of the same original; but this--which has not been printed until now--is by far the finest of the group. The words of MacKenn'a Dream, in their original form, as they came from MacKenna's own brain, and as I give them here, have not been hitherto published. But a version is given in 'Ballads, Popular Poetry and Household Songs,' by 'Duncathail,' with much literary polishing up; and this, with some further literary alterations, is published by Mr. Halliday Sparling in his 'Irish Minstrelsy'. But somehow when these simple old peasant songs are altered in this manner, they are seldom inproved; and they always lose the fresh racy flavour. I have taken my version, partly from memory, and partly from a ballad-sheet copy in my collection, printed in Cork some seventy years ago. But I have other and later printed ballad-sheet copies with some differences, and all much corrupted. MacKenna, in his vision, sees advance many historical Irish varriors and patriots, from Brian Boru down to the heroes of Ninety-eight" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 373, pgs. 176-178.
T:MacKenna's Dream
T:Captain Rock
L:1/8
M:C
S:Joyce - Old Irish Folk Music
K:D
AG|FD FG AG E C2|D2 DD GE =CD|FE FG A2 GE|E2 DD D3E|FE FG AG EC|
D2 DD GE =C2 D|FE FG A2 GE|E2 DD D3||D|DE FG AG AB|=cB cA GE D>C|
DE FG AB =cA|dB GB A2 (3ABc|d2 ec dc AG|FE FD E D2 =C>D|
FE FG A2 GE|E2 DD D2||

MARTIN WYNNE'S NO. 1 REEL (Ríl Mhairtin Uí Ghaoithin {Uimh. 1}). Irish, Reel. Ireland, County Sligo. D Major. Standard. AB (Breathnach): AAB (Flaherty): AABB (Mallinson, McNulty, Mulvihill). Composed by Sligo/New York fiddler Martin Wynne, this tune can frequently be heard in modern sessions. Sources for notated versions: fiddler Frankie Gavin of the band De Dannan (Ireland) [Breathnach]; fiddler Peter Horan (b. 1926, Kilavil, County Sligo) [Flaherty]. Breathnach (CRE III), 1985; No. 206, pg. 91. Flaherty (Trip to Sligo), 1990; pg. 71. Mallinson (Essential), 1995; No. 53, pg. 23. McNulty (Dance Music of Ireland), 1965; pg. 11. Mulvihill (1st Collection), 1986; No. 141, pg. 38. Green Linnet SIF1035, Brian Conway and Tony De Marco - "The Apple in Winter (1981. Learned from Martin Wynne). Green Linnett SIF3031, The Bothy Band - "Out of the Wind Into the Sun." Shanachie Records SH29008, Frankie Gavin - "Traditional Music of Ireland" (1977). Shanachie Records SH29005, Johnny Cronin & Joe (Banjo) Burke.
T:Martin Wynne's #1
M:4/4
L:1/8
Q:200
C:Martin Wynne
S:Martin Mulvihill, First Collection
Z:transcribed by Jeffrey Erickson
R:reel
K:D
dB|:AF {G}(3FEF GE {F}(3EDE|F2 AF EFDB,|A,B,DE FEFG|ABde {g}fedB|
AF {G}(3FEF GE {F}(3EDE|F2 AF EFDB,|A,B,DE FEFG|ABde fdd2:|
|:dfaf gbeg|fgdf edBd|(3dcB AF DEFA|ABde fe e2|dfaf (3gfg ag|fgdf edBd|
(3dcB AF DEFA|ABde fd d2:

MARTIN WYNNE'S NO. 3. AKA and see "Willie Coleman's." Irish, Reel. Ireland, County Sligo. G Major. Standard. AABB. Composed by fiddler Bronx, New York, fiddler Martin Wynne, originally from County Sligo. A untitled reel in Brendan Breathnach's Ceol Rince na hÉirreann II, No. 143 (pg. 76), from the playing of Sligo fiddler Willie Coleman, is probably a setting of "Martin Wynne's No. 3." Source for notated version: tenor banjo player Tommy Finn (b. 1964, Marlow, Ballymote, Co. Sligo) [Flaherty]; fiddlers Martin Wynne via Brian Conway (Queens, N.Y.) via Seamus Connolly (Massachusetts) [Black]. Black (Music's the Very Best Thing), 1996; No. 144, pg. 76. Flaherty (Trip to Sligo), 1990; pg. 53.
X:1
T:Martin Wynne's #3
M:4/4
L:1/8
Q:200
C:Martin Wynne
S:unknown, via Brian Conway
Z:transcribed by Jeffrey Erickson
R:reel
K:G
|:Bc|dged BdAc|BG {A}(3GFG DEGA|BG {A}(3GFG Bdef|gbaf gfec|
dged BdAc|BG {A}(3GFG DEGA|BG {A}(3GFG Bdef|gbaf g2:|
|:(3Bcd|g2 gf gfec|dged BGBd|g2 fa gfec|dega bg {a}(3gfg|
gbaf gfec|dged BGBd|g2 fa gfed|ceaf g2:|
X:2
T: Martin Wynne's #3
C: M. Wynne
Z: transcribed by B.Black
Q: 350
R: reel
M: 4/4
L: 1/8
K: G
dged B2 Ac | BGdG EAAc | BGdB cdeg | fgaf gfge |
dged B2 Ac | BGdG EAAc | BGdB cdeg | fgaf g4 :|
gfga gfeB | dged BGBc | dggf gfeB | dega bgaf |
gfga gfeB | dged BGBc | dggf gfeg | fgaf g4 :|
X:3
T:Martin Wynne's No. 3
S:Dervish, Midsummer's Night 1a
L:1/8
M:C|
Z:Transcribed by Jerome S. Colburn
K:G
dged BdAd | BGAG EA~A2 | B2 dB cdeg | fgaf ge~e2 |\
dged BdAd | BGAG EA~A2 | B2 dB cdeg |1 fdcA G2 Bc :|2 fgaf g2 ef |:\
g2 af gfeB | dged BGBc | dggf gfeB | dega bgaf |\
gbaf gfeB | dged BGBc | dggf gfed |1 fgaf ~g3 d :|2 fgaf gfeB |]**

MOLL HALFPENNY/HA'PENNY. AKA and see "Molly MacAlpin," "Paul/Poll Ha'penny," "Maili Nic Ailpin," "O'Carolan's Farewell to Music," "Carolan's Dream," "(Remember the Glories of) Brian the Brave." Irish, Air (4/4 time). A Minor/A Dorian. Standard. AB. "This name is the same as 'Molly MacAlpin,' and the air is a dance setting, and also a song setting--a very good one too--of the fine air (Molly MacAlpin) to which Moore wrote his song, 'Remember the glories of Brian the Brave'" (Joyce). See also hornpipe versions under the titles of "Poll Ha'Penny." Joyce (Old Irish Folk Music and Song), 1909; No. 134, pgs. 68-69. Green Linnett GLCD 1181, Martin Hayes & Dennis Cahill - "The Lonesome Touch" (1997).
T:Moll Halfpenny
L:1/8
M:C
S:Joyce - Old Irish Folk Music
K:A Minor
ed|c2A2A2Bc|dcAF G2cd|edce dcAG|A2A2A2de|f2gf e2fe|dcde g2 (3e^fg|
aged cAdc|A2A2A2||e^f|g2ga gede|g^fga gede|a2 ab c'bag|e2aa a2ag|
fagf egfe|dcde eaaf|gfed cAdc|A2A2A2||

MISS LYALL [1]. AKA - "Miss Lyle." AKA and see "The Cat that Kittled in Jamie's Wig" (Donegal), "Faill na Mban Hornpipe," "Panmure House." Scottish (originally), Canadian; Strathspey. Canada; Cape Breton, Prince Edward Island. A Minor. Standard. One part (Hunter): AB (Athole, Honeyman, Kerr, Perlman, Skye). Hunter (1988) states Cameron's version is a development of a "fine old strathspey named after Mrs. Grant of Laggan (1775-1838)." In County Donegal, Ireland, the tune is set as a highland and known as "The Cat the Kittled in Jamie's Wig." Cape Breton fiddlers often play this tune as the first of a set with "King George IV" and "The King's Reel." Sources for notated versions: Angus Cameron (Scotland) [Hunter]; Peter Chaisson Jr. (b. 1942, Bear River, North-East Kings County, Prince Edward Island) [Perlman]. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 17 (appears as "Miss Lyle"). Hunter (Fiddle Music of Scotland), 1988; No. 67. Kerr (Merry Melodies), Vol. 1; Set 5, No. 1, pg. 5. MacDonald (The Skye Collection), 1887; pg. 103. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 192. Stewart-Robertson (The Athole Collection), 1884; pg. 41. AMI 92 EMI 94, Ashley MacIssac - "Close to the Floor" (1992). Atlantica Music 02 77657 50222 26, Ashley MacIssac - "Atlantic Fiddles" (1994). Green Linnet SIF 1035, Brian Conway & Tony DeMarco - "The Apple in Winter" (1981. Learned from the Rounder recording of Cape Breton fiddler Joe Cormier, though "substantially adapted" by De Marco). Green Linnet SIF-1101, Brian Conway & Tony DeMarco - "Playing with Fire: the Celtic Fiddle Collection" (1989). Rounder 7001, Joe Cormier - "Scottish Violin Music from Cape Breton Island" (1974). Shanachie 14001, "The Early Recordings of Angus Chisholm" (Cape Breton).
T:Miss Lyall
L:1/8
M:C
R:Strathspey
B:The Athole Collection
K:Aminor
c/B/|A<A, A,>B, C>DE>^F|G2 B>A G2 Gc/B/|A<A, A,>B, C>DE>A|
c>AB>^G A2 Ac/B/| A<A, A,>B, C>DE>^F|G2 B>A G2 Gc/d/|e>cd>B c>AB>G|
E<A c/B/A/^G/ A2A||c/B/|A<a a>b g>g a/g/^f/g/|e<a a>^f g2 f>g|
e<a a>b g>g a/g/^f/g/|e>cd>B A2 Ac/B/|A<a a>b g>g a/g/^f/g/|e<a a>^f g2 f>g|
(3ag^f (3gab (3edc (3Bcd|e>cd>B A2A||

MOTHER'S DELIGHT (Aoibhneas na Máthar). AKA and see "Brian Boru," "Dan the Cobbler," "Sean Frank." Irish, Reel. Ireland, County Donegal. D Dorian. Standard. AAB (Breathnach): AABB (Taylor). A popular reel in County Donegal. The tune was recorded under this title by Paddy Glackin on his first LP, played on the viola. See also related "Colonel McBain" (upon which this tune may have been based). Sources for notated versions: flute player and fiddler Peter O'Loughlin, 1966 (Kilmaley, Co. Clare, Ireland) [Breathnach]; Jim Donoghue (b. 1910, Drimacoo, Monasteraden, County Sligo) [Flaherty]. Breathnach (CRE II), 1976; No. 240, pgs. 124-125. Flaherty (Trip to Sligo), 1990; pg. 180 (appears as "Unknown"). Taylor (Where's the Crack), 1989; pg. 6. Gael-Linn CEF060, "Paddy Glackin."
T:Mother's Delight
T:Colonel McBain
M:4/4
L:1/8
S:Philippe Varlet
Q:240
R:reel
K:Ddor
DE |~F3 E ~F2DE | ~F3 D GECE | Dd{e}dc defe | d2cd ABcA |
~d3 c AGAB | ~c3 G ECCE | Ad{e}dc AGAB | cAGE {G}ED :||
DE | FAdA FDDF | (3EFG cG ECCE | FAdA FDDF | EDCE DA,DE |
FAdA FDDF | (3EFG cG ECCE | F2{G}FE FEDC | A,CEF D2 :||
T:Mother's Delight
S:Paul O'Shaughnessy
Z:Juergen.Gier@post.rwth-aachen.de
M:C|
L:1/8
K:DDor
DE|F2FD ~G3E|FEFA GECE|Ddd^c defe|(3ded cd ABcA|\
Addc AGAB|cBcG ECCE|Dddc A^GAB|cAGE ED::DE|\
FAdA FDDF|EGcG ECCE|FAdA FDDF|EDCE D^CDE|\
FAdA FDDF|EGcG ECCE|FAGE FEDC|A,FEF D^C:|

POLL HA'PENNY (Maire Na Leat-Pingin/Pingean). AKA and see "The Boys of Ballysimon," "Brian the Brave," "Carolan's Dream," "Garraí na bhFéileóig," "Holey Ha'Penny," "Molly Ha'penny," "Molly Mac Alpin," "O'Carolan's Farewell to Music," "Paul Ha'Penny," "Remember the Glories of Brian the Brave," "The Stranger Hornpipe." Irish, Hornpipe, Long or Set Dance (4/4 time). A Mixolydian (Mitchell) or Dorian (Mulvihill). Standard. AB (O'Neill/1915 & 1001): AAB (O'Neill/1850): AABB (Mitchell, Mulvihill, O'Neill/Krassen). The dance version of the air "Molly MacAlpin," by the ancient harper Laurence O'Connellan, born at Cloonmahon, County Sligo, in the mid-17th century (c. 1645). Donal O'Sullivan in his Carolan biography (vol. 1, p. 18) reported that the Irish harper and composer O'Carolan (1670-1738) thought so highly of this tune that he was supposed to have said he would rather have been its composer than any of his own melodies. Ciaran Carson, in his book Last Night's Fun (1996) thinks it may be possible that the title "Poll Ha'penny" may have derived from the English title "Holey Ha'penny," since the word poll in Irish means 'hole'. See "Molly Macalpin" for more on the history of this tune. Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Mitchell (Dance Music of Wille Clancy), 1993; No. 99, pg. 86 (appears as "Poll Halpenny"). Mulvihill (1st Collection), 1986; No. 7, pg. 120 (appears as "Pol Ha'penny"). O'Neill (1915 ed.), 1987; No. 397, pg. 190. O'Neill (Krassen), 1976; pg. 208. O'Neill (1850), 1903/1979; No. 1783, pg. 333. O'Neill (1001 Gems), 1907/1986; No. 983, pg. 169. Mulligan MUL 027, Martin O'Connor - "A Connaughtman's Rambles." Piping Pig Records PPPCD 001, Jimmy O'Brien- Moran - "Seán Reid's Favourite" (1996).
X:1
T:Poll Ha'Penny
T:Paul Halfpenny
T:Garraí na bhFéileóig
R:Hornpipe
H:The Irish title means "The Garden of Honeysuckles"
D:Mary Bergin: Feadoga Stain
D:Noel Hill agus Tony McMahon: I gCnoc na Grai
Z:id:hn-hornpipe-26
M:C|
K:Amix
(3GAB|=cAAG A2 (3AB=c|(3d=cB (3AGF G2 (3B^cd|ed^cA d^cAG|~A3G A2de|
~f3d ~e3c|d2 (3Bcd efge|aged (3=cBA GB|~A3G A2:|
|:ef|~g3f gfef|g2ga gedg|eaag ~a3g|eaag a2ag|
~f3d ~e3c|d2 (3Bcd efge|aged (3=cBA GB|~A3G A2:|
"Version 2:"
AB|=cAAG A2GA|dcAF G2 (3Bcd|edcA dcAG|A2 (3AAA A2ag|
~f3d efec|d2 (3Bcd efge|agfd =cAGE|A2AG A2:|
|:ef|gfga gedB|=cdef gafg|e2a2 abag|e2a2 abag|
~f3d efec|d2 (3Bcd efge|agfd =cAGE|A2AG A2:|
X:2
T:Poll Ha'penny
L:1/8
M:C
R:Set Dance
S:O'Neill - 1001 Gems (983)
K:A Dorian
ed|cAAB AG (3ABc|dcAF G2 cd|edce dcAF|G2 GF G2 ed|
cAAB AGEG|cAGE G2 cd|edce dcAG|A2 AA A2:|
||de|f2 fd e2 ed|cdef g3b|aged cAdc|A2 AA A2 (3def|gfga gfef|
gfga g2 ed|eaab aged|eaaba2 ag|f2 fd e2 ed|cdef g3b|aged cAdc|A2 AA A2||

POPPY LEAF HORNPIPE. American, Canadian, Irish; Hornpipe. USA, New England. Canada; Prince Edward Island, Cape Breton. G Major. Standard. AABB (Cole, McNulty, Miller & Perron, Mulvihill): AA'BB' (Cranford). "Can be used as a Clog" (Cole). Apparently the tune first appeared in Cole's 1001 or its progenitor, Ryan's Mammoth Collection, and was picked up by both Irish and Canadian fiddlers from those sources. Sources for notated versions: fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia) [Cranford]; Peter Chaisson, Jr., b. 1942 (Bear River, North-East Kings County, Prince Edward Island) [Perlman]. Cole (1001 Fiddle Tunes), 1940; pg. 97. Cranford (Brenda Stubbert's), 1994; No. 80, pg. 29. McNulty (Dance Music of Ireland), 1965; pg. 26. Miller & Perron, 1983; No. 78. Mulvihill (1st Collection), 1986; No. 14, pg. 92. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 60. Brenda Stubbert - "House Sessions" (1992). Green Linnett SIF1035, Brian Conway & Tony De Marco - "The Apple in Winter" (1981. Learned from Paddy Reynolds).
T:Poppy Leaf Hornpipe
L:1/8
M:C|
K:G
|:(3CB,A,|G,B, DG B,D GB|DG Bd GB dg|ed cB cB AG|Fd AF DC B,A,|
G,B, DG B,D GB|DG Bd GB dg|ed cB cD EF|G2B2G2:|
|:Bc|dB GB dB gd|ba gf ed cB|dA FA cA fd|ag fe dc BA|
(3BcB GB (3cdc Ac|(3ded Bd e2 dc|Bg dB dc AF|G2B2G2:|

PRETTY GIRLS OF ABBEYFEALE, THE. Irish, Air (6/8 time). G Mixolydian. Standard. One part. Abbeyfeale is a town in County Limerick on the Kerry border. It was named after a Cistercian abbey founded here in the twelfth century by Brian O'Brian. Only a few ruins are still extent as the old abbey was incorporated into the present Catholic Church. "From memory, as I learned it from my father: a good setting is given in Chappell; but I believe it is Irish. (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 55, pg. 30.
T:Pretty Girls of Abbeyfeale, The
L:1/8
M:6/8
S:Joyce - Old Irish Folk Music
K:G
G|B2B B2d|c2A F2G|A<BA G2G|(G3 G2)G|B2c d2e|=f2d c2B|c2d e2c|(d3 d2)G|
B2c d2e|=f2d c2B|c2d e2c|(d3 d2)c|B2B B2d|c2A F2G|A<BA G2G|(G3 G2)||

PRINCESS ROYAL, THE [1] ("Bean-Priunsa Riogda" or "Beanphrionsa Rioghamhuil"). AKA and see "The Arethusa," "Brian the Brave," "The Gaelic League March," "Miss MacDermott" (Inion Nic Diarmada), "Port Shean tSeain," "Rodney's Glory." Irish, Air or Planxty (2/4 time, "lively"); English, Morris Dance Tune (4/4 time). England; Northumberland, Cotswolds. A Minor (Carlin): A Dorian (Mulvihill, Sullivan): B Minor (Ó Canainn): G Minor (Gow, McGlashan, O'Neill): D Minor (Bacon, Raven): E Minor (Mallinson): F Minor (Complete Collection). Standard. One part (Ó Canainn): AB (Complete Collection, O'Neill): AABB (Carlin, Gow, Mulvihill, Raven, Sullivan): ABB, x4 (Mallinson). One of the most celebrated compositions attributed to the blind Irish harper Turlough O'Carolan (1670-1738). The air under the title "Princess Royal" or "Miss MacDermott" is attributed to O'Carolan by Bunting (1840), Donal O'Sullivan (1983), Flood (1906) and other sources, although apparently earliest by O'Farrell (c. 1810) in his work Pocket Companion, book IV, and by Bunting in his MS collection of c. 1800, which O'Sullivan notes "has the tradition of the harpers behind it." Flood says the tune was composed by the harper in 1725, and published in 1727, 1730 (in Walsh's Complete Dancing Master where it appears as "The Princess Royal, the new way") and 1731 (by Daniel Wright), and republished several times between 1735 and 1745, though no words have survived.
***
The English writer Frank Kidson disagrees with the attribution to O'Carolan and Irish provenance. He says that the air was commonly known in the early part of the 18th century as an English country dance tune named "The Princess Royal, the new way," and that about 1730-35 it appeared in several London publications (presumably the Walsh and Wright publications cited by Flood). It appears in Wright's Compleat Collection of Celebrated Country Dances, vol. I, c. 1730-35 as "New Princess Royal."
***
No matter what its origins, it was admired by William Shield (who arranged the song with words set by Prince Hoare) who retitled it "The Arethusa," and published it in his 1796 small opera or musical entertainment "Lock and Key" (Arethusa was name of an Engish ship which fought an engagement with a French frigate La Belle Poule in the English Channel in June, 1778). Shield never claimed composition of the melody, only maintaining he had added the bass, but it became tremendously popular. Through publication and subsequent republication, maintain Irish advocates, it became popularly but erroneously considered an English air. Editor Gordon Ashman states the tune later became one of Hamilton Harty's sea song settings, called "On Board the Arethusa," which is often heard at the Last Night of the Proms.
***
The 'princess royal' of the title, states Flood, was an honor for Mary MacDermot, daughter of the Princess of Coolavin and Princess Royal of the MacDermot Family, or, as Bunting says, "daughter of MacDermott Roe, the representative of the old princes of Coolavin (County Sligo)." O'Sullivan, however, notes there were two branches of the County Roscommon family; the MacDermotts of Alderford, usually known by the title MacDermott Roe, and the MacDermotts of Coolavin. The head of the latter branch was known in O'Carolan's time as the Prince of Coolavin, and O'Sullivan believes it probable that the Princess Royal was his eldest daughter and not of the MacDermott Roes. O'Carolan may also composed another song for her called "Maire an Cuilfhin" (Fair-Haired Mary), according to Flood. Princess Royal also is the title reserved for the eldest daughter of the British royal family, if the sovereign sees fit to award it. Kidson (Groves) maintains the princes royal referred to is Anne, daughter of George II, who married William, Prince of Orange, in 1734.
***
Bayard (1981) begs comparison of the tune with James Oswald's "My Love is Lost to Me" and questions whether Oswald's composition was derivative from "The Princess Royal" (it could not be ancestral to, as he also speculates for O'Carolan's composition preceded his, published c. 1780, by some sixty years). Further, he wonders if O'Carolan based his tune on "some form" of the widely known tunes "Bung Your Eye" and "O As I Was Kist Yestreen." The Mallinson/Raven/Bacon morris dance version of the tune is from the village of Adderbury, Oxfordshire, in England's Cotwolds (Carlin's similar version is listed as "Scottish" in origin). In Cape Breton a twelve-step solo dance (also called Princess Royal) was performed to the tune, handed down from Donald 'The Tailor' Beaton, an itinerant tailor from South West Margaree. As a vehicle for folk songs the tune has proved popular and can be heard as "Lord Nelson" and "Raggle Taggle Gypsy O," among others. A Cape Breton hornpipe derivative goes by the title "Jenny's Dream." Another Turlough O'Carolan composition titled "Mrs. MacDermott Roe" has some melodic similarities. Sources for notated versions: the Irish collector Edward Bunting noted the melody from harper Arthur O'Neill in 1800; from the Bridge Céilí Band [Mulvihill]. Bacon (The Morris Ring), 1974; pg. 15. Carlin (Master Collection), 1984; No. 185, pg. 107. Complete Collection of Carolan's Irish Tunes, 1984; No. 87, pg. 70. Gow (Complete Repository), Book 2, 1802; pg. 7. Mallinson (Mally's Cotswold Morris Book), 1988, Vol. 1; No. 32, pg. 22. McGlashan (Collection of Scots Measures), 17__; pg. 13. Mulvihill (1st Collection), 1986; No. 1, pg. 118. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 33, pg. 33. O'Neill (Krassen), 1976; pg. 231. O'Neill (1850), 1979; No. 641, pg. 115. Raven (English Country Dance Tunes), 1984; pg. 79. Sullivan (Session Tunes), Vol. 3; No. 28, pg. 11. Carthage CGLP 4406, Hutchings et al - "Morris On" (1983/1972). Flying Fish FF70572, Frank Ferrel - "Yankee Dreams: Wicked Good Fiddling from New England" (1991). Island ILPS9432, The Chieftains - "Bonaparte's Retreat" (1976).
X:1
T:Miss MacDermott or The Princess Royal
C:Turlough Carolan
B:Carolan, by Donal O'Sullivan
N:transposed from Fm
M:2/4
L:1/16
Q:110
K:Dm
AG|F2E2 D2AG|F2E2 D2A2|B2A2 G2cB|ABAG F2A2|
GAGF EFED|C2B,2 A,2AG|F2ED FED^C|D4 D2||A2|
d3^c d2e2|f2F2 F2f2|fedc BAGF|EFGE C2DE|
F2EF G2FG|A2A2 d4|c4 B2cB|A4 G2AG|
GFFE DFED|CDCB, A,2AG|F2ED FED^C|D4 D2||
X:2
T:Princess Royal, The
L:1/8
M:C|
R:Scottish Measure
B:McGlashan - Collection of Scots Measures
K:G Minor
GA|B2AB G2dc|B2A2G2d2|e3d c2f2|edcd B4|B2gB A2fA|FGFE D2 dc|BABG DG^FA|
GDB,D G,2 GA|B2 AB G2dc|BcAB G2 d2|e3d cgfe|decd B4|B2gB A2fA|FGAF A2 dc| BAGB D2^F2|G2D2G,2||d2|g^fga gfga|b2B2B2 ba|gfed edcB|ABcA F4|B2AB c2Bc|d2d2 g4|f2B2 e4|d2B2c4|B3A GABG|FGFE D2dc|BAGB D2^F2|G6 d2|
g^fga gfga|b2B2B2 ga|bagf edcB|ABcA F4|B2AB c2Bc|d2d2g3a|f2B2e2dc|
d2B2c3d|B3A GABG|FGFE Dedc|BABG DG^FA|GDB,D G,2||

SOURGRASS AND GRANITE. Canadian, Waltz. D Major. Standard. Composed by guitarist Brian Pickell, named in honor of Canadian fiddler Pierre Schryer's older sister Julie, the piano-player in Pierre's band. When not touring with the band, she lives with her family on a farm whose principal features are "Sourgrass and Granite." New Canadian Records NCCD_9612-8, Pierre Schryer & Dermot Byrne - "2 Worlds | United" (1999).
T: Sour Grass and Granite
C: Brian Pickell
D: Pierre Schryer & Dermot Byrne, "Two Worlds|United"
Z: Michael Reid
M: 3/4
L: 1/8
R: Waltz
K: D
FE|:DA, DF Ad|c3d eg|f2 d2 A2|B3 G D2|
B2 Bc d2|F2 FG A2|[1 Bc d2 F2|E3 G FE:|[2 Bc dF E2|D3 cde||
|:fB Bc df|eA AB ce|d2 c2 B2|A3 F D2|
B2 BA FA|DA, DF Ad|[1f2 fe df|e3 c de:|[2 f2 fe dc|d4|]

STUMP TAIL DOG. Old-Time, Breakdown. G Major. Standard. AA'BB. Source for notated version: Brian Hubbard [Phillips]. Phillips (Traditional American Fiddle Tunes, Vol. 1), 1994; pg. 232.
T:Stump Tailed Dog
L:1/8
M:2/4
S:Howdy Forrester, learned from his Uncle Bob, transcribed by John Hartford
K:E
bg/e/ f/e/f/g/|bg/e/ f>f|f/f/g/f/ ec|e/ee/ ee|bg/e/ f/e/f/g/|bg/e/ fe/g/|a/g/a/f/ e/c/B/c/|1
A/AB/ A2:|
L:1/8
M:2/8
|2 A>A||
K:A
L:1/8
M:2/4
A,A c>B|c/B/(3c/B/A/ FA|B/A/B/A/ cB|
L:1/8
M:2/8
AF/E/|
L:1/8
M:2/4
A,A c>A|c/B/(3c/B/A/ FA|B/A/B/A/ cB|
L:1/8
M:2/8
|1 A>A:|
L:1/8
M:2/4
|2 A4||

TELL HER I AM [1] ("Inneos/Innis Di Go B-Fuilim," or "Abair Lei go bhFuil Me"). AKA and see "Jackson's Dasey." Irish, Double Jig. G Major/E Minor. Standard. AABB (Cole, Laufman, O'Neill/1850 & 1001): AA'BBC (Breathnach): AA'BBCC' (Cranitch, O'Neill/Krassen). Charlie Piggott, in his book Blooming Meadows (1998, written with Fintan Vallely), relates the story regarding a remark by the famous County Sligo fiddler Michael Coleman, then living in New York. Coleman was performing when a female admirer asked her companion to find out from the fiddler whether or not he was married. "Tell her I am," he replied. Coleman's version of the tune was in three parts and most similar to O'Neill's original two-part version in the first part. Piggott further says that Galway accordion player Joe Cooley (who also lived for some time in America) also fancied the jig, which he learned in the 1940's in Dublin from the playing of Kilkenny fiddler John Kelly. A bemused Cooley often, tongue in cheek, asked his flatmate for the name of the tune, anticipating the reply. Invariable it came in a tortured, garbled, improperly understood variation, "Tell Her Who Am I." Breathnach finds the alternate title "Jackson's Dasey" (sic) in a manuscript from Castleisland, County Kerry. There is an internet report that the tune, differently interpreted, is popular with Orange marching bands. Sourcex for notated versionx: fiddler Michael Coleman (Ireland/N.Y.C.) [Breathnach]; piper Bernard Delaney, originally from Tullamore, County Kerry [O'Neill]. Breathnach (CRE III), 1985; No. 33, pg. 15. Cole (1001 Fiddle Tunes), 1940; pg. 55. Cranitch (Irish Fiddle Book), 1996; No. 15, pg. 130. Laufman (Okay, Let's Try a Contra, Men on the Right, Ladies on the Left, Up and Down the Hall), 1973; pg. 23. O'Neill (Krassen), 1976; pg. 20. O'Neill (1850), 1903/1979. 749, pg. 140. O'Neill (1001 Gems), 1907/1986; No. 37, pg. 23. Green Linnet SIF1035, Brian Conway & Tony De Marco - "The Apples in Winter" (1981). Green Linnett GLCD 1181, Martin Hayes & Dennis Cahill - "The Lonesome Touch" (1997). Intrepid Records, Michael Coleman - "The Heyday of Michael Coleman" (1973). Shanachie Records, "The Classic Recordings of Michael Coleman."
T:Tell Her I Am [1]
L:1/8
M:6/8
S:O'Neill - 1001 Gems (37)
K:G
D|edB GAB|DED GAB|DED cBA|BGE E2d|edB GAB|DED GAB|AGE cBA|BGG G2:|
|:d|B/c/dB def|gfe dBG|ABA AGA|BGE E2d|Bcd def|gfe dBG|AGE cBA|BGG G2:|

TENPENNY BIT, THE [2] ("Cuin/Bonn Deic-Pingine," or "An Píosa Deich bPingine"). AKA and see "The new Tenpenny," "Are You Shot?" "Joe Conway's," "The Ducks and The Oats." Irish, Double Jig. A Dorian. Standard. AABB. Petrie prints the tune under the title "The new Tenpenny." 'B' part nearly the same as version #. "The Ducks and the Oats" title is sometimes heard in the Sliabh Luachra region of Cork/Kerry. A version was recorded by Paddy Killoran in 1934. Sources for notated versions: flutist Peter Horan & fiddler Freddy Finn (Co. Sligo, Ireland) [Breathnach]; Abram S. Beamish (County Cork) [O'Neill]; flute player Colm O'Donnell (b. 1962, Aclare, County Sligo) [Flaherty]. Breathnach (CRE III), 1985; No. 32, pg. 15. Flaherty (Trip to Sligo), 1990; pg. 19 (appears as "Unknown"). O'Neill (1850), 1903/1979; No. 929, pg. 173. O'Neill (1001 Gems), 1907/1986; No. 162, pg. 41. Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 32. Green Linnet SIF1035, Brian Conway & Tony De Marco - "The Apple in Winter" (1981. Learned from the 1934 Paddy Killoran 78 RPM recording). Mulligan Records, Freddy Finn & Peter Horan. Matt Molloy - "Music at Matt Molloy's."
X:1
T:Tenpenny Bit, The [2]
L:1/8
M:6/8
S:O'Neill - 1001 Gems (162)
K:A Dorian
A/G/|EAA G2A|Bed Bcd|edB G2A|B2A GED|DED G2A|Bed Bcd|ede gdB|BAG A2:|
|:d|e2f gfg|eag fed|e2f gfg|efg a2 a|bgb afa|gfe def|gfe fdB|BAG A2:|
X:2
T:Tenpenny Bit, The [2]
R:Jig
Z:Transcribed by Mike Hogan
M:6/8
L:1/8
K:G
|:edB G2A |Bed Bcd|edB G2A|BAF GFE|
DED G2A|Bed Bcd|ede gdB|BAG A2d:||
|:e2f g2f|eag fed|e2f ~g3|efg ~a3|
bag agf|gfe def|g2e fdB|ABG ABd:||

TIM FITZPATRICK'S. Irish, Reel. Ireland, County Sligo. D Major. Standard. AABB'. Composed by Tim Fitzpatrick, a New York accordion player and contemporary of the great Sligo fiddler Michael Coleman, who often accompanied New York fiddler Lad O'Beirne. Black (Music's the Very Best Thing), 1996; No. 69, pg. 36. Green Linnet SIF1035, Brian Conway & Tony De Marco - "The Apple in Winter" (1981. The 'B' part of Fitzpatrick's setting was changed by O'Beirne, which appears on this recording).
T: Tim Fitzpatrick's
S: Conway - DeMarco
Q: 350
Z: transcribed by B.Black
R: reel
M: 4/4
L: 1/8
K: D
d2 (3DDD EDB,D | d2 ef gbag | fedc dgfe | dB B2 AFFA |
d2 (3DDD EDB,D | d2 ef gbag | fedc dBAF | AFEG FD D2 :|
df (3fff gfeg | fdad bdad | g2 fg efge | dB B2 AFFA |
|1 df (3fff gfeg | fdad bdad | gfec dBAF | AFEG FD D2 :|
|2 d2 (3DDD EDB,D | d2 ef gbag | fedc dBAF | AFEG FD D2 ||

Ceolas > Tunes > Fiddler's Companion

The Fiddler's Companion

Ceolas > Tunes > Fiddler's Companion