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:|
C(H)OR NA SIOG. AKA and see "The Jolly Banger," "The Fairy Reel," "Largo's Fairy Dance."
DAUNSE NY FARISHYN. AKA and see "The Jolly Banger," "Largo's Fairy Dance," "The Fairy Reel."
DEVIL/DIVEL/DE'IL AMONG THE TAYLORS/TAILORS [1]. AKA and see "Devil's Dream" (New). Scottish, English, Irish, Canadian, Scotland, American; Reel. Canada, Prince Edward Island. England, Northumberland. A Major (Bain, Cole, Emmerson, Hardie, Honeyman, Hunter, Johnson, Kennedy, Kerr, MacDonald, Skinner, Stwart-Robertson & Raven): D Major (Huntington). Standard. AB (Hardie, Honeyman, Hunter, Johnson, Kerr, Skinner): ABB' (MacDonald, Emmerson): AABB (Bain, Cole, Huntington, Kennedy, Raven): ABCB (Skye). A popular tune throughout the present and former English commonweatlh. It was performed on the concert stage as part of a set romantically entitled "Spey's Fury's" by J. Scott Skinner in 1921. "De'il Among the Tailors" is the name of a skittles game, according to Nigel Gatherer. Title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he published c. 1800./ Johnson (1983), whose version is from Macgoun's Five fashionable Reels (c. 1800), states the tune was written c. 1790./ Bayard collected a version resembling the "Devil's Dream" forms of the tune from a source raised on Prince Edward Island, Canada (Bayard, 1981; Appendix No. 2B, pg. 572). See also "Devil's Dream" for another PEI collected version. In America the tune is almost invariably known by the Dream title, while in the British Isles it appears under the De'il/Devil title. Emmerson (1971) suggests the melody can be identified as belonging to a class of melodies with phrases based on a quarter note followed by two eighth notes; tunes in this class also include "Largo's Fairy Dance," "Rachel Rae," and "The Wind that Shakes the Barley."
***
The English novelist Thomas Hardy mentions the tune in Absent Mindedness in a Parish Choir, a passage which bears repeating:
***
"...Twas a very dark afternoon, and by the end of the sermon all you
could see of the inside of the church were the pa'son's two candles
alongside of him in the pulpit, and his spaking face behind 'em. The
sermon being ended at last, the pa'son gi'ed out the Evening Hymn.
But no quire set about sounding up the tune, and the people began
to turn their heads to learn the reason why, and then Levi Limpet, a
boy who sat in the gallery, nudged Timothy and Nicholas, and said,
"Begin! Begin!" "Hey? what?" says Nicholas, starting up; and the
church being so dark and his head so muddled he thought he was at
the party they had played at all the night before, and away he went,
bow and fiddle, at "The Devil among the Tailors," the favourite jig
of the neighborhood at that time. The rest of the band, being in the
same state of mind and nothing doubting, followed their leader with
all their strength, according to custom. They poured out that there
tune till the lower bass notes of "The Devil among the Tailors" made
the cobwebs in the roof shiver like ghosts; then Nicholas, seeing
nobody moved, shouted out as he scraped (in his usual commanding
way at dances when the folks didn't know the figures), "Top couples
cross hands! And when I make the fiddle squeak at the end every man
kiss his pardner under the mistletoe!"
***
"...Then the unfortunate church band came to their senses, and
remembered where they were; and 'twas a sight to see Nicholas
Puddingcome and Timothy Thomas and John Biles creep down
the gallery stairs with their fiddles under arms, and poor Dan'l
Hornhead with his serpent, and Robert Dowdle with his claionet,
all looking as little as ninepins; and out they went. The pa'son
might have forgi'ed 'em when he learned the truth o't, but the
squire would not. That very week he sent for a barrel-organ
that would play two-and-twenty new psalm-tunes, so exact
and particular that, however sinful inclined you was, you could
play nothing but psalm-tunes whatsomever. He had a really
respectable man to turn the winch, as I said, and the old players
played no more..."
***
Bain (50 Fiddle Solos), 1989; pg. 8. Carlin (English Concertina), 1977; pg. 36. Cole (1001 Fiddle Tunes), 1940; pg. 18. Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 49, pg. 140. Gow (Beauties), 1819. Hardie (Caledonian Companion), 1992; pg. 36. Honeyman (Stathspey, Reel and Hornpipe Tutor), 1898; pg. 7. Hunter (Fiddle Music of Scotland), 1988; No. 229. Huntington (William Litten's), 1977; pg. 14. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 75, pg. 225. Kennedy (Fiddler's Tune Book), Vol. 1, 1951; No. 18, pg. 9. Kerr (Merry Melodies), Vol. 1; Set 6, No. 2, pg. 6. Lowe (A Collection of Reels and Strathspeys), 1844. MacDonald (The Skye Collection), 1887; pg. 4. Raven (English Country Dance Tunes), 1984; pg. 170. Skinner (The Scottish Violinist, with variations), pg. 29. Skinner - Harp and Claymore. Stewart-Robertson (The Athole Collection), 1884; pg. 11. Antilles (Island) AN-7003, Kirkpatrick and Hutchings - "The Compleat Dancing Master" (1973). Beltona BL2128 (78 RPM), The Edinburgh Highland Strathspey and Reel Society (1936). Tradition 2118, Jim MacLeod & His Band - "Scottish Dances: Jigs, Waltzes and Reels" (1979). "The Caledonian Companion" (1975). "Bob Smith's Ideal Band, Ideal Music" (1977).
T:De'il Among the Tailors
M:C
L:1/8
Z:Andrew Kuntz
K:A
|: e2 | a2eg a2eg | a2eg fedc| dfBf dfBf | dfba gefg | a2eg a2eg | a2ea
fedc | defe dcBA| E2G2 2A2 :|
|: ed| ceAe ceAe | ceAa fedc| dfBf dfBf | dfBb gfed | ceAe ceAe | ceAa f
edc | defe dcBA| E2G2 A2 :|
FAERY REEL. Shetland, Reel. D Major. Standard. AABB. Traditional. Some few similarities to "The Fairy Dance." Bain (50 Fiddle Solos), 1989; pg. 26.
FAIRIE DANCE. See "Fairy Dance."
FAIRY DANCE (Rinnce Na Sideoga/Sideog). AKA and see "Fisher Laddie," "The Haymaker," "La Ronde des Vieux," "Largos Fairy Dance," "The Merry Dance" (New England), "Old Molly Hare" (Old-Time). Irish, English, Scottish, Shetlands, American, Canadian; Reel. D Major (most versions): G Major (Merryweather): A Major (O'Neill/1001). Standard. AB (Honeyman, Raven): AAB (O'Neill/1001): AABB (Ashman, Brody, Ford, Sweet, Taylor, Trim): AABB' (Kerr): AA'BB' (Athole, Merryweather): AABCCD (Roche): AABBCCDDEEF (Cranford/Fitzgerald). Often this tune is a "beginning tune" for fiddlers, and though simple, it seems to have retained its popularity through the years. It was one of 197 compositions claimed and published (in Fifth Collection,"1809) by Nathaniel Gow under the title "Largo's Fairy Dance," which dates it to the latter eighteenth or early nineteenth century. Breandan Breathnach states that it was composed by Niel Gow for the Fife Hunt Ball held in 1802, but this is only partly true, according to Nigel Gatherer, for it was actually a pair of tunes Gow wrote, the second being "The Fairies Advance." Both tunes together make up "Largo's Fairy Dance." Emmerson identifies this tune in a class of tunes defined by the rhythm 'quarter note-two eighths-quarter note-two eigths,' which includes "De'il Among the Tailors," "Rachel Rae," and "The Wind that Shakes the Barley" (which Emmerson {1971} says is substantially a set of "Fairy Dance").
***
In Ireland, it was learned by Joyce in his boyhood in County Limerick, c. 1840. He (1909) says a Donegal setting of this will be found in the 'Journal of the Irish Folk Song Society.' O'Neill (1913) records that a special dance was performed to the tune in that country. Under the title "The Fairy Reel" the tune features in stories of enchantment by the wee folk. A tale is told by Padraig Mac Aodh-O'Neillin in his 1904 book Songs of Uladh (Songs of Ulster) of the origins of the tune which stem from a fiddler of the Mac Fhionnlachs from Flacarragh:
***
There was a gathering of Bel-Taine on St. John's Day (23rd of June), around
the bonfire in Caislean-na-dThuath in northern Dun-na-nGall about 150-160
years ago (~1850).
***
"...the fire was wearing low, the dancing nearly over, and the sturdiest
steppers getting tired, a stranger came among the people, announcing himself
in the words: "Sonas, sonas--luck on all here! The music called me, and I
going to bed." He said no more.
***
He was attired only in his night-garments. Much consternation was
caused by his curious appearance and behaviour, the more so as he was quite
unknown to the festive-maker. He went around asking the young girls to
dance with him; but out of fifty or more assembled there, he found but one
(and she, happily, was not a native of the district) who expressed herself
willing to accept his invitation. There were three or four fidilers there
and one piper, and he called on them to turn on the "Fairy Reel." But not
one of them knew it; every man of them declared that the air and the name
was new to him. Whereupon the mysterious stranger snatched the fidil out of
the hands of mac Fhionnlaoich, the Falcarrach man, who was nearest him, and
flourishing his bow with the grace of a master, turned on the tune himself,
the people standing around with their mouths wide open in wonderment.
***
"Now," he said to mac Fhionnlaoich, when he had finished the wonderful
tune, "there's your fidil for you. Turn on the 'Reel.' Play it after me;
for you're the only man in the Five Kingdoms can do that same!"
***
So mac Fhionnlaoich complied--somewhat reluctantly, it must be said-and played the 'Fairy Reel: through from beginning to end without a break, while the weird stranger and his fair partner danced, all the people looking on. When he had finished dancing with the girl he slipped a gold peiece into her hand, and turning solemnly towards the people, said: "Remove the fire seven paces to the North, and enjoy yourselves till daybreak. A Sonas, sonas--luck with all here!"
***
And so saying, he strode off into the darkness, disappearing as
mysteriously as he had come.
***
I give this story pretty much as I got it from my friend Padraig mac
Aodh o Neill, who got it from Proinseas mac Suibhne, the schoolmaster of
Losaid, in Gartan
***
Another fairy tale collected (by Seamus Ennis) on Tory Island mentions the tune, is again related by Mac Aoidh, and has parallels in other cultures. It seems that an islander, while going to collect his sheep at Port Glas, overheard wonderful music emanating nearby and investigated. The fairy folk were playing the "Fairy Reel" and the man, being an avid and accomplished dancer, felt compelled to join in. The music and dancing lasted and lasted, and he danced and danced, unable to stop until by chance another islander came upon him. This second man heard no music, and saw nothing of the fairy celebration, and asked the first what he was doing. He got the reply that the dancer was enchanted and would not be able to stop until a mortal laid hand on him. This was done, and the dancer saved from his fate. Mac Aoidh translates: "The soles of his shoes and his socks were worn through and his feet were sore to the bone from the roughness of the place he was dancing on." A similar tale is told by Canadian storyteller Alan Mills (to the accompanying fiddling of Montreal musician Jean Carignan) collected from French-Canadian tradition, which he calls "Ti-Jean and the Devil" (with the Devil substituting for Fairies).
***
A Pennsylvania collected version appears in Bayard (1981) as "Rustic Dance" (No. 52, pg. 38), and, as "La Ronde des Vieux" it was recorded in the latter 1920's by French-Canadian fiddler Willie Ringuette.
***
The tune is associated with a traditional dance in the village of Askham Richard, which lies a few miles from York, England. The famous Dorset novelist Thomas Hardy, himself an accordion player and fiddler, mentioned the tune in The Fiddler of the Reels:
***
Then another dancer fell out - one of the men - and went into
the passage in a frantic search for liquor. To turn the figure into
a three-handed reel was the work of a second, Mop modulating
at the same time into 'The Fairy Dance,' as best suited to the
contracted movement, and no less one of those foods of
love which, as manufactured by his bow, had always intoxicated her.
***
Sources for notated versions: Dave Swarbrick (England) [Brody]; a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]; Winston Fitzgerald (1914-1987, Cape Breton), who adapted J. Scott Skinner's variations [Cranford]. Ashman (The Ironbridge Hornpipe), 1991; NO. 30b, pg. 9. Bain (50 Fiddle Solos), 1989; pg. 7. Brody (Fiddler's Fakebook), 1983; pg. 100. Cranford (Fitzgerald), 1997; No. 129, pg. 53. Ford (Traditional Music in America), 1940; pg. 71. Honeyman (Secrets of the Gaelic Harp), 1898; pg. 8. Jarman (Old Time Fiddlin Tunes); No. or pg. 24. Joyce (Old Irish Folk Music and Song), 1909; No. 129, pgs. 65-66. Kerr (Merry Melodies), Vol. 1; Set 14, No. 2, pg. 10. Merryweather (Merryweather's Tunes for the English Bagpipe), 1989; pg. 53. O'Neill (1001 Gems), 1986; No. 986, pg. 170. Raven (English Country Dance Tunes), 1984; pg. 162. Roche Collection, 1982, Vol. 3; No. 138, pg. 43 (listed as a Long Dance). Skinner, Harp and Claymore, 1903. Stewart-Robertson (The Athole Collection), 1884; pg. 113. Sweet (Fifer's Delight), 1964/1981; pg. 61. Taylor (Where's the Crack), 1989; pg. 13 (appears as "Fairy Reel"). Trim (Thomas Hardy), 1990; No. 24. Edison 50653 (78 RPM), Joseph Samuels (appears as 4th tune of "Devil's Dream Medley"). Glencoe 001, Cape Breton Symphony- "Fiddle." Transatlantic 341, Dave Swarbrick- "Swarbrick 2." Fife Strathspey and Reel Society - "The Fiddle Sounds of Fife" (1980). "Bob Smith's Ideal Band, Ideal Music" (1977). "Fiddlers Three Plus Two." Ron Gonella- "A Tribute to Niel Gow."
X:1
T:Fairy Dance
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:D
f2fd f2fd|f2fd cAeA|f2fd gfed|1 cABc d2de:|2 cABc defg||
|:a2af b2ba|gfge a2ag|1 fefd B2 e>d|cABc defg:|2 fefd Bged|
cABc d2D2||
X:2
T:Fairy Dance, The
L:1/8
M:C
S:Joyce - Old Irish Folk Music
K:D
f2fd f2fd|gfed cdeg|f2fd gfed|cABc d2d2|f2fd f2fd|gfed cdeg|fafd gfed|cABc defg||
a2af b2bf|g2ge a2 ag|f2fd gfed|cABc defg|a2af b2bf|g2ge a2 ag|fagf gfed|cABc d2d2||
X:3
T:Fairy Reel, The (Irish)
R:reel
Z:Transcribed by Philippe Varlet
M:C
L:1/8
K:G
~B3 A GBdB|{d}cBAG FGAc| BG~G2 cBAg|fdaf {a}gedc|
~B3 A GBdB|{d}cBAG FGAc| BG~G2 cBAG|1 FDEF G3 A :|2 FDEF GABc||
~d3 g e3 d|cA A/A/A d3 c|BG~G2 cBAg|fdaf {a}gfge|
~d3 g e3 d|cA A/A/A d3 c|BG~G2 cBAG|1 FDEF GABc :|2 FDEF G4||
FAIRY REEL, THE [1]. AKA and see "Daunse ny farishyn," "Fairey Reel," "Fairy Dance," "Fisher Laddie," "Haymakers," "Largo's Fairy Dance," "The Jolly Banger," "Old Molly Hare," "Quick Scotch." Irish, Reel. D Major. Standard. AB. See note for "Largo's Fairy Dance." "The Fairy Reel" is the name by which the tune is commonly known in Ireland. Treoir (II, 5 p. 11 and VII, 4). 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). Source for notated version: set dance music recorded at Na Píobairí Uilleann, late 1980's [Taylor]. Taylor (Music for the Sets: Blue Book), 1995; pg. 28. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 22. Flying Fish FF70610, Robin Huw Bowen - "Telyn Berseiniol fy Ngwlad/Welsh Music on the Welsh Triple Harp" (1996. "From the playing of Nansi Richards 'Telynores Maldwyn', the person primarily responsible for the survival of the Triple Harp tradition to the present day").
T:Fairy Reel [1]
L:1/8
M:C|
K:D
f2fd f2 fd|f2 fd cdeg|f2 fd gfed|cABc d3e|f2 fd f2fd|f2 fd cdeg|f2 fd gfed|cABc defg||
a2af b2 ba|g2 ge a2ag|f2fa gfed|cABc defg|a2af b2ba|g2ge a2ag|f2fa gfed|cABc d3||
FIDDLER BEHIND THE FAIRY TREE, THE. Irish, Set Dance. Bulmer & Sharpley (Music from Ireland), Vol. 2, No. 85.
FISHER LADDIE. AKA and see "The Fairy Dance." English, Country Dance Tune (2/2 time). England, northern England. A version of the Scottish reel "Fairy Dance." Sharp (The Sword Dances of Northern England), iii, 11.
T:Fisher Laddie
T:Fairy Dance
B:Sharp - Sword Dances of Northern England
N:Transposed
L:1/8
M:2/2
K:D
F2fd f2fd|f2fe dcde|f2fd gfed|cdec d2d2|:
|:a2af b2b2|gefg a2a2|f2fd gfed|cdec d2d2:|
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||
HAYMAKER, THE. AKA and see "The Fairy Dance."
IF LOVE'S (A) SWEET PASSION (HOW CAN IT TORMENT). AKA and see "When young at the bar you first taught me to score." English, Air. The air appears in John Gay's "The Beggar's Opera" (1729), but originally was by Henry Purcell and used in his "Fairy Queen." It appears also in Pills to Purge Melancholy, Vol. III and on half-sheets. Kidson (1922) says there was a later setting of the song by Joseph Baildon. Raven (English Country Dance Tunes), 1984; pg. 62.
HYLTA DANCE. Shetland, Dance Tune (4/4 time). Shetland, Fetlar. A Major. Standard. One part. Anderson & Georgeson (1970) identify this tune as a 'trowie', or fairy, tune supposedly over 350 years old. The story goes that it was learned by a man coming home via a short cut one night just before dawn, when he stumbled upon a circle of trows dancing with a fiddler and his wife in the middle. They were obviously caught up in the dance and oblivious to their peril, for, just as the sun's first rays struck they turned to stone. The man, who had been hiding lest the trows spy him, thus only was able to learn half the tune. There is a ring of stones on Fetlar, with two standing in the middle, which can be seen today. Anderson & Georgeson say a similar tale is told about a stone ring in the Faroe islands, involving trolls performing a round dance with the caller and his partner in the middle. Source for notated version: the singing of J.J. Laurenson via Pat Shuldham-Shaw. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 15.
JACKSON'S MORNING BRUSH ("Sgaile Micseoin" or "Muisguilt Mhicseoin"). AKA and see "Fairy Haunts," "Morning Brush," "My Mountain Home." Irish, Double Jig. Ireland; Co. Monaghan, Sliabh Luachra region of the Cork-Kerry border. D Major. Standard. AABB (Roche, Songer): AABBC (Cole, Miller & Perron): AABBCC (Kerr): ABCD (O'Sullivan/Bunting): AABBCDD (O'Neill/1850, 1001 & 1913): AABBCCDD (Moylan): AABBCCDD' (O'Neill/Krassen). "Jackson's Morning Brush" is the most famous composition by the Irish gentleman musician and composer Walker "Piper" Jackson, who fashioned it in the middle of the last half of the 18th century ("1775," states Bunting). The title refers to the tail of an unfortunate fox, believes Breathnach (1996). His home has been cited as either Creeve, Ballibay, County Monaghan (by Bunting), or Ballingarry, County Limerick, although Breathnach (1996) finds sound evidence that the townland of Lisduan in the parish of Ballingarry is correct. Jackson (d. 1798) was a man of some wealth and land who lived in a residence known as the Turret that commanded a magnificent view of the countryside, although by 1826 it was in ruins having been struck by lightening some years previously. Jackson's name appears as president in notices of a convivial society in Limerick called Cuideachda gan Cúram (company or companionship without care). Grattan Flood says that upon his death he willed sixty pounds a year to the Ballingarry parish, half to go to the Catholic pastor and half to the Protestent rector; Breathnach finds this to be in error, as are many of Flood's assertions, and that the bequestor was actually Miles 'Hero' Jackson, a Sheriff of the city of Limerick and the piper's brother.
***
A volume of his original melodies plus older airs was published in Dublin by Sam Lee c. 1774 (as Jackson's Celebrated Irish Tunes, reprinted in 1790), and is probably the manuscript O'Neill (1913) refers to as containing the oldest setting of "Jackson's Morning Brush" (which he finds republished in Grattan Flood's The Story of the Bagpipe, a version which consists of only the first and third strains of O'Neill's setting). Soon after Lee's publication a version with dance directions appeared in Exshaw's Magazine and Walker's Hibernian Magazine in 1778; the same dance instructions appear in the Dublin publication The Charms of Melody, 1776. "Jackson's Morning Brush" was introduced, according to O'Neill (1913) in John O'Keefe's opera The Agreeable Surprise in 1781, and thereafter was included in almost every collection of Irish music. The melody retains some currency among traditional musicians today.
***
Sources for notated versions: the Irish collector Edward Bunting noted the tune "from a piper in 1797"; accordion player Johnny O'Leary (Sliabh Luachra region, Kerry), recorded in recital at Na Piobairi Uilleann, February, 1981 [Moylan]; "from Bernard Delaney and others of our best traditional musicians in Chicago" [O'Neill/1913]; Kerry Elkin (Massachusetts) [Songer]. Aird (Selection of Scotch, English and Irish Airs), c. 1795; No. 22. Cole (1001 Fiddle Tunes), 1940; pg. 58. Holden (Old Established Tunes), volume I, 1806-7; pg. 5. Kerr (Merry Melodies), Vol. 4; No. 194, pg. 22. Miller & Perron (Irish Traditional Fiddle Music), 1977; Vol. 1, No. 48. Moylan (Johnny O'Leary), 1994; No. 37, pgs. 22-23. Murphy (Irish Airs), 1809; pg. 5. O'Farrell (Pocket Companion), volume II, 1801-10; pg. 88. O'Neill (Krassen), 1976; pg. 77. O'Neill (1850), 1903/1979; No. 899, pg. 167. O'Neill (1001 Gems), 1907/1986; No. 146, pg. 39. O'Neill (1913), pg. 135. O'Sullivan/Bunting, 1983; No. 124, pgs. 179-180. Roche Collection, 1983, Vol. 1; No. 104, pg. 45. Songer (Portland Collection), 1997; pg. 109.
X:1
T:Jackson's Morning Brush
L:1/8
M:6/8
S:Jackson's Celebrated Irish Tunes (Dublin, 1790)
K:D
D|DFE EFD|DFA AFA|BAB d2f|gee e2D|DFE EFD|DFA AFA|BAB d2e|fdd d2:|
g|fed f/g/af|fda fdB|AFA dfa|gfg e2g|fed f/g/af|g/a/bg f/g/af|fed e/f/ge|fdd d2:|
g|fdf ece|dBd AGF|EFG dfa|gfg e2g|fdf edc|dB/c/d/B/ AFA|DFA d2e|fdd d2:||
X:2
T:Jackson's Morning Brush
N:"Collected by Delaney"
B:O'Neill's 899
Z:Transcribed by Dan G. Petersen, dangp@post6.tele.dk
M:6/8
L:1/8
K:D
D|DFE EFD|DFA AFA|BAB def|gfg e2D|
DFE EFD|DFA AFA|BAB d2e|fdd d2:|
g|fed faf|ede fdB|AFA def|gfg e2g|
fed faf|ede fdB|AFA d2e|fdd d2:|
g|fdf ece|dBd AFA|DFA def|gfg e2g|
fdf ece|dBd AFA|DFA d2e|fdd d2g|
fdf ece|dBd AFA|DFA def|gfg e2g|
afd gec|dcB AFA|DFA d2e|fdd d2||
g|fed faf|gbg faf|fed faf|gfg e2g|
fed faf|gbg faf|fed eag|fdd d2:|
JOLLY BANGER, THE (An Buailteoir Meidhreach). AKA and see "Largo's Fairy Dance," "The Fairy Reel," "Daunse ny Farishyn." G Major. Standard. AA'BB'. A version of "The Fairy Reel" which Breathnach thought was "far better than the basic form."
Source for notated version: piper Willie Clancy (Miltown Malbay, County Clare, Ireland), who had the tune from his father, who had it from legendary piper Garret Barry [Breathnach]. Breathnach (CRE III), 1985; No. 156, pg. 73. Gael-Linn Records CEF 018, John Kelly & Willie Clancy - "Seoda Ceoil I" (1968).
LARGO'S FAIRY DANCE. AKA and see "Daunse ny Farishyn," "Fairy Dance," "The Jolly Banger," "La Ronde des Vieux." Scottish, Reel. C Major (Emmerson, Gow): D Major (Hardie, Hunter, Skinner). Standard. AB (Hardie): AAB (most versions). A piece for the eightsome reel composed by Nathaniel Gow (1763-1831) for the Fife Hunt in 1802, by which organization he was employed for their balls. Largo is a small parish in Fife containing two villages, Upper Largo and Lower Largo, and a hill, Largo Law. The original "Largo's Fairy Dance" was a medley consisting of two Gow-composed tunes, "The Fairy Dance" and "The Fairies Advance," according to Nigel Gatherer. According to David Johnson, Gow seems to have then set the melody as an introduction and march for keyboard in D Major, which was published on a single sheet about 1805 (such sheets often contained sets for dancing). It was again published in reel form in C Major in the Gow's Fifth Collection of Strathspey Reels of 1809. A tune "as popular today as the day it was written" (Collinson, 1966), it is Nathaniel's most famous reel (though modern fiddlers invariably play it in D Major, rather than the C Major of the 1809 printing). A famous set of variations were composed by J. Scott Skinner, appearing first in his Harp and Claymore collection. Emmerson (1971) identifies a sub-group of Scots reels with the characteristic quarter note/two eighths notes/quarter note/two eighths notes per measure rhythm, including this tune as well as "De'il Among the Tailors," "Rachel Rae," and "The Wind that Shakes the Barley" (he says this last tune is "substanitally" a set of "Fairy Dance." The Hardie family, notes Bill Hardie, "have traditionally played this reel as a follow-lup to 'The Smith's.'" The melody entered North American tradition and can be found in America under the title "Old Molly Hare" and similar variants, and in Canada as "La Ronde des Vieux." On the Isle of Man it is called "Daunse ny Farishyn." Breathnach (1985) believes it was composed "under the influence of " "The Wind that Shakes the Barley." Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 83, pgs. 133-134 (original tune), and Ex. 108, pg. 185 (Skinner variations). Carlin (The Gow Collection), 1986; No. 268. Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 51, pg. 141. Gow, 5th Collection, 1809. Hardie (Caledonian Companion), 1986; pgs. 16-17 (includes J. Scott Skinner's variations). Hunter (Fiddle Music of Scotland), 1988; No. 219 (includes variations arranged by James Hunter, based on Scott Skinner's). Green Linnet GLCD 3105, Aly Bain - "Lonely Bird" (1996. Variations by the late Ronald Cooper and others by Scott Skinner).
T:Fairy Dance, The
C:Nathaniel Gow
S:Peter Hardie's MSS, via Scottish Country Dance Book 3
Z:Nigel Gatherer
M:4/4
L:1/8
K:D
f2 fd f2 fd|f2 fd cAec|f2 fd gfed|1cABc d2 de:|]2cABc defg|]
a2 af b2 ba|gfge a2 ag|fefd B2 ge|cABc defg|
a2 af b2 ba|gfge a2 ag|fefd B2 ge|cABc d2 z2|]
MAIRE BHAN'S WEDDING REEL. AKA and see "The Bonnie Bunch of Ferns," "An Piobaire a' Cheidigh." Irish, Reel. Ireland, County Donegal. AEAE tuning. Donegal fiddler Mickey Doherty told the story of the wedding of a Teelin, Donegal, girl, one Maire Bhan, who received an unexpected visitor, presumably a fairy, during her wedding supper and dance. A small red-haired piper intruded, and neither ate nor drank, but played the whole day and night for the dancing, but especially is remembered for his introducing this reel. Finished, the piper left the cottage, and though followed by the menfolk present he had disappeared as mysteriously as he came.
MERRY DANCE, THE. AKA and see "Come Up the Back Stairs." New England, Reel. G Major. Standard. One part (Burchenal): ABB (Linscott). "The tune closely resembles an old Irish air, 'The Fairy Dance', from which it probably is derived" (Linscott, 1939). Source for notated version: Smith Paine (Wolfeboro, N.H.) [Linscott]. Burchenal (American Country Dances, Vol. 1), 1918; pg. 27 (appears as "Twin Sisters"). Linscott (Folk Songs of Old New England), 1939; pg. 96.
OLD MOLLY HARE. AKA and see "Fisher Laddie," "Grandma Blair," "Molly Hare," "(Largo's) Fairy Dance," "Rustic Dance," "Fairy Reel" (Ire.). Old-Time, Breakdown. USA; Widely known. G Major (Brody): D Major (Ford, Krassen, Phillips, Reiner & Anick). ADAE (Clayton McMichen) or Standard. AABB (Brody, Ford, Krassen, Phillips): ABBA'BCA''B' (Reiner & Anick). "Old Molly Hare" is directly evolved from the Scottish melody "Largo's Fairy Dance," claimed by Nathaniel Gow (1763-1831). It is known as "The Fisher Laddie" in northern England (where it appears in a collection of Northern English sword dance tunes by Cecil Sharp). The "Old Molly Hare" song and title appears to be strictly American in origin-Charles Wolfe (1991) thinks it a minstrel piece that went into oral tradition among both blacks and whites-and various ditties or rhymes have been sung to it:
***
(You) country coon, you come here soon;
The girls won't be here till tomorrow afternoon (John Powell, quoted by Wilkinson)
***
Old Molly Hare, what you doin' there,
Diggin' out a post hole and scratchin' out yore hair? (Ford)
***
Old Molly Hare, whatcha doin' thar,
Running through the cotton patch, as far as I can tear.
***
Old Molly Hare, whatcha doin' thar,
Sittin' in the corner, smoking a cigar.
***
Old Molly Hare, watcha doin' there,
Run through the country, run like a hare. (Riley Puckett/Reiner & Anick)
***
African-American collector Thomas Talley, writing in his book Negro Folk Rhymes (reprinted in 1991, edited by Charles Wolfe), prints the following lyric:
***
Ole Molly har', whats you doin' thar?
"I'se settin' in de fence corner, smokin' seegyar."
***
Ole Molly har', what's you doin' thar?
"I'se pickin' out a br'or, settin' on a Pricky-p'ar."
***
Ole Molly har', what's you doin' thar?
"I'se gwine cross de Cotton Patch, hard as I can t'ar."
***
Molly har' today, so dey all say,
Got her pipe o' clay, jis to moke de time 'way.
***
"de dogs say 'boo!' An' dey barks too,
I hain't got no time fer to talk to you.
***
Ford (1940) relates an improbable story he had from a man who had been a noted caller of old-time dances when he was younger, around the 1870's or 1880's. According to him the settlers of the Missouri/Kansas prarie region plagued by rodent holes, especillay rabbits, which were a hazard to cattle or horses. There was a boon to the burrows, however, as they could by used for fence posts, saving the homesteader the arduous labor of digging another hole to set his post. Usually, says Ford, the settlers as a matter of pride took great pains to set their posts in a straight line. There was however, one character in the community, "whose ingenious efforts to avoid over-exertion were a constant source of amusement to his friends and neighbors."
***
When he built his fence he was not particular about a straight line.
He selected rows of rabbit holes, set his posts, strung the wire and
had his fencing done in no time at all. But the result was even more
erratic than he had anticipated. He was surveying the completed work
one day when several neighbors, coming in from the range, rode up.
They took one look at the fence and then had their usual laugh, to
poor old John's embarrassment. 'John', said one, in a voice of
suppressed amusement, 'how much liquor does it take to the mile,
to build a fence like that?' 'Well,' said John, scratching his head,
'I hadn't calculated fer it to be a worm fence. Reckon though, if I
had a still hitched to it and the neighbors pourin' cold water along,
like they do on all my honest endeavors, you fellers 'ud be down at
t'other end of the fence holdin' yer cups to ketch the whiskey!' As
soon as the laughter had subsided over John's turning the tables, the
neighbor added: 'Anyhow, you certainly did get your fencing done
in a hurry, John. Did you have any help?' 'Yes and no,' was the reply.
'I sort of took advantage of Mother Nature on part of the work. Old
Molly Hare dug the post holes -- but me and the mules had to set the
posts and string the wire!' It was shortly after this episode that the
above-mentioned verse appeared, and began to be used by callers
when the tune 'Old Molly Hare' was played.
***
The tune was recorded for the Library of Congress by musicologist/folklorist Vance Randolph from Ozark Mountain fiddlers in the early 1940's; also recorded for the Library of Congress in 1939 by Herbert Halpert from the playing of Tishomingo County, Mississippi, fiddler W.E. Claunch and Meridian, Mississippi, fiddler W.A. Bledsoe (who was originally from Tennessee). The tune/song appears in several older collections: Brown (3:211-13), collected mostly from black informants; Richardson (American Mountain Songs) and Randolph (2:359) contain versions from white sources, the latter from the Ozark Mountains. Sources for notated versions: New Lost City Ramblers [Brody]: Clayton McMichen (Atlanta, Ga) [Phillips]. Also in the repertoire of Uncle Eck Dunford (Galax, Va.) {See Library of Congress recording}. Brody (Fiddler's Fakebook), 1983; pg. 207. Kaufman (Beginning Old Time Fiddle), 1977; pg. 47. Krassen (Appalachian Fiddle), 1973; pg. 31. Phillips (Fiddlecase Tunebook), 1989; pg. 31. Reiner & Anick (Old Time Fiddling Across America), 1989; pgs. 110-111. Brunswick 291 (78 RPM), The Crockett Family (1928. A Kentucky group). Columbia 15295 (78 RPM), Riley Puckett & Clayton McMichen (1927). County 507, Clayton McMichen. County 527, Clayton McMichen- "Old Time Fiddle Classics, Vol. II." Folkways FA 2395, New Lost City Ramblers- "Vol. 5." Okeh 45268 (78 RPM), Fiddlin' Cowan Powers (1928. Powers, 1877-1952? was from Russell County, Va., and learned the tune from family tradition). Rounder 0058, Haywood Blevins- "Old Originals, Vol. II." Recorded for the Library of Congress, 1939, by W.A. Bledsoe (Meridian, Mississippi). Also in repertoire of the Kimble Family from Patrick County, S.W. Va.
T:Old Molly Hare
L:1/8
M:2/2
B:Winston Wilkinson, Southern Folklore Quarterly, Vol. VI, no. 1, pg. 5.
S:James H. "Uncle Jim" Chisholm (Greenwood, Albermarle County, Va.)
K:D
abaf b2b2|gage a4|fdfa gfed|1 cABc d2fg:|2 cABc d4||
|:fdfa g2eg|fafd B4|fdfa gfed|cABc d4|Ad2d d2a2|
gfed cdec|defa gfed|1 cdef d2d2:|2 cdef d4||
PORT NA bPÚCAÍ (The Fairy Lament). AKA and see "Port na Hinise." Irish, Air (6/8 or 3/4 time). Ireland, West Kerry. The tonality shifts between A Mixolydian/Dorian and G Major. Standard. AAB (Mac Amhlaoibh): AA'B (Ó Canainn). There is a story that this tune was heard by travelers or fisherman who stayed overnight on Inis Mhic Fhaolain in the Blasket Islands and heard this tune coming from the mists.
**
Is bean on slua si me do tainig tar toinn;
Is do toidead san oice me tamall tar lear;
Is Go bFuilim sa rioct so fe geasa mna si,
Is ni bead ar an saol so go nGlaofaid an coileac.
**
Source for notated version: Tom Daly/O Dalaig (1907-1989) [Mac Amhlaoibh & Durham]. Mac Amhlaoibh & Durham (An Pota Stóir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), No. 93, pg. 53. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 68, pg. 60. CCE CL13, Tommy Peoples. Claddagh Records, Sean 'Cheist' Ó Cathain - "Beauty an oilean" (Ó Cathain was a resident of Blasket Island until it was cleared in the 1950's). Gael-linn CEFCD 114, Tony MacMahon & Noel Hill - " "I gCnoc na Graí." Ronan Browne - "Drones and Chanters, Vol. 2." Ovation, Tommy Peoples - "Master Irish Fiddle Player."
T:Port na bPúcaí.
M:3/2
L:1/4
Q:1/2=60
K:D
d>c A3 B | A{BA} G/E/ F2 G2 |
A>B =c3{dc} B | A3/2{BA} G/ {AB}A4 |
d>c {AB}A3 B | A{BA} G/E/ {A}F2 {A}G2 |
A{BA} G/F/ G4- | G{AG} F G4 :|
|: A>B c2 d2 | e f/g/ {fg}f2 g2 |
{b}a{ba} g/f/ g2 e>f | {ef}e{fe} d/B/ c4 |
[1 {AB}A>B c2 d2 | {ef}e f/g/ {fg}f2 g2 |
{b}a{ba} g/f/ g2 e>f | e{fe} d/c/ d4 :|
[2 d>c {AB}A3 B | {c}A{BA} G/E/ F2 G2 |
A{BA} G/F/ G4- | G{AG} F G4 ||
QUICK SCOTCH. AKA and see "The Fairy Reel," "Fairy Dance," "Largo's Fairy Dance."
RACHEL RAE. AKA and see "The Bashful Bachelor Hornpipe," "Courting Them All," "Don't Bother Me," "Jimmy Holmes' Favorite," "The Moving Bogs (of Allen)," "Miss Rae's Reel," "Obelisk Hornpipe," "Shaw's Reel," "Where Did You Find Her?" "The Wily Old Bachelor." Scottish, Reel. D Major. Standard. AB (Honeyman): AAB (Athole, Kennedy, Kerr, Raven, Skye): ABB' (Hardie). Attributed often to John Lowe and appearing in his Collection, Book 1, though with the footnote: "This favourite reel has been published in many collections, but none have subscribed the Author's name; it was composed by Mr. Lowe's father, many years ago, when he was teaching Dancing in Marykirk, Kincardineshire." MacDonald, in his Skye Collection opines "This excellent reel is in Mr. (John) Lowe's best style and very popular." Lowe was a dancing master in Marykirk whose famous reel first appeared in Archibald Duff's Collection of 1794 as "Raecheal Rea's Rant." His son was the Joseph Lowe who published a collection of melodies in the 1840's. Emmerson (1971) poses a class of Scottish reels defined by the rhythm quarter note-two eight notes-quarter note-two eight notes per measure. Tunes in this catagory include "Rachel Rae," "The Wind that Shakes the Barley," "Largo's Fairy Dance," and "De'il amang the Tailors." It has been suggested that the melody of "Rachel Rae" is the basis for the American old-time tune "Forked Deer." Bill Hardie (1986) thinks it is a "particulary suitable" tune to follow the triplet close of "Stirling Castle." See also "Archie Menzies" and "Sir David Davidson of Cantry" for other famous John Lowe compositions. Cameron's Selection of Violin Music (Glasgow), 1859; pg. 15. Hardie (Caledonian Companion), 1986; pg. 23. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 7. Hunter (Fiddle Music of Scotland), 1988; No. 215. Kennedy (Fiddler's Tune Book), Vol 2, 1954; pg. 13. Kerr (Merry Melodies), Vol. 1; Set 2, No. 2, pg. 4. MacDonald (The Skye Collection), 1887; pg. 32. Raven (English Country Dance Tunes), 1984; pg. 178. Stewart-Robertson (The Athole Collection), 1884; pg. 89. Beltona 2103 (78 RPM), Edinburgh Highland Strathspey and Reel Society (1936). Fife Strathspey and Reel Society - "The Fiddle Sounds of Fife" (1980).
T:Rachel Rae
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:D
A,|D2FA d2Ac|d2fd fedc|d2Ad BAGF|E2AE FDD:|
A|defg a2fd|g2bg e2cA|defg a2fd|Agfe fddA|defg fafd|g2bg eecA|
D2Ad BAGF|E2 AD FDD||
RED HAIRED BOY, THE (An Giolla Ruad). AKA and see "The Duck Chews Tobacco," "The First of May" [3], "Gilderoy" (Ire.), "Giolla Rua" (Ire.), "Johnny Dhu," "The Little Beggarman" (Ire.), "The Little Beggar Boy," "An Maidrin Ruadh" (The Little Red Fox)," "The Old Soldier with a Wooden Leg" (W.Va.), "Old Soldier," "The Red Haired Lad," "The Red Headed/Haired Irishman" (Ky.), "Wooden Leg" (W.Va.). Irish (originally), Scottish, English; Air or Hornpipe: American, Canadian; Reel or Breakdown. A Mixolydian. Standard. AABB (most versions): AA'BB' (Moylan). 'Red Haired Boy' is the English translation of the Gaelic title "Giolla Rua" (or, Englished, "Gilderoy"), and is generally thought to commemorate a real-life rogue and bandit, however, Baring-Gould remarks that in Scotland the "Beggar" of the title is also identified with King James V. The song was quite common under the Gaelic and the alternate title "The Little Beggarman" (or "The Beggarman," "The Beggar") throughout the British Isles. For example, it appears in Baring-Gould's 1895 London publication Garland of Country Song and in The Forsaken Lover's Garland, and in the original Scots in The Scots Musical Museum. A similarly titled song, "Beggar's Meal Poke's," was composed by James VI of Scotland (who in course became James the I of England), an ascription confused often with his ancestor James I, who was the reputed author of the verses of a song called "The Jolly Beggar." The tune is printed in Bunting's 1840 A Collection of the Ancient Music of Ireland as "An Maidrin Ruadh" (The Little Red Fox). The melody is one of the relatively few common to fiddlers throughout Scotland and Ireland, and was transferred nearly intact to the American fiddle tradition (both North and South) where it has been a favorite of bluegrass fiddlers in recent times.
***
Bandits, fairies and the tune all come together in an Irish tale, representing the capricious results of humans coming in contact with fairy-induced music. In the tale "The Red Haired Boy" was played somewhat under duress by uilleann piper Donnchadh Ó Sé from Lóthar, one of the best pipers in the parish of Priory. Donnchadh came by some of his music from contact with the supernatural, a not uncommon claim, but this time with a twist. It seems that he and his brother were gathering seaweed at Faill an Mhada Rua when they heard beautiful ethereal music nearby; Dónall stood by, afraid, but Donnchadh followed the sounds up the cliff and was able to commit them to memory. Returning home he strapped himself into his pipes and played the melody he heard, but afterwards was stuck down ill, becoming bedridden for three months before recuperating. Each time he played the tune the same would happen-he would suffer, for illness always followed. One day Donnchadh had the ill fortune to meet with a ruffian, who evidently knew of the circumstance and demanded at the point of a pistol that the piper play the fairy tune. Donnchadh obligingly reached for his pipes, and soon found that the brute was ignorant of the music and so was able to placate him with "An Giolla Rua" (Breathnach, The Man and His Music, 1997, pg. 38.
***
Sources for notated versions: J.P. Fraley (Rush, Ky.) [Phillips]; learned from fiddler Padraig O'Keeffe by accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]. Begin (Fiddle Music in the Ottawa Valley: Dawson Girdwood), 1985; No. 27, pg. 40. Krassen (Appalachian Fiddle), 1973; pg. 81. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 69, pg. 44. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 132. Moylan (Johnny O'Leary), 1994; No. 300, pg. 173. O'Neill (1915 ed.), 1987; No. 356, pg. 173 (appears as "The Redhaired Lad"). O'Neill (Krassen), 1976; pg. 209. O'Neill (1850), 1903/1979; No. 1748, pg. 325. O'Neill (1001 Gems), 1907/1986; No. 921, pg. 157. Phillips (Traditional American Fiddle Tunes), 1994. pg. 196. Spandaro (10 Cents a Dance), 1980; pg. 34. Sweet (Fifer's Delight), 1965/1981; pg. 77. Columbia C 33397, Dave Bromberg Band - "Midnight on the Water" (1975). Smithsonian Folkways SFW CD 40126, Northern Spy - "Choose Your Partners!: Contra Dance & Square Dance Music of New Hampshire" (1999).
T:Red Haired Boy
L:1/8
M:C|
S:Jay Ungar
K:A
A>G|E2A2 (A>B) c>d|e>f ec d2cd|e2A2 (A>B)c>A|(B>A) E>F =G2 G>F|
E2A2 (A>B) c>d|(e>f) e>c d2c>d|e a2 b a>=g e>d|c2A2A2:|
|:e>f|(=g>f g>a (g>f) e>f|(=g>)f e>c d2c>d|e2A2 (A>B) c>A|(B>A) E>F =G3F|
E2A2 (A>B) cd|(e>f) e>c d2cd|e a2 b a>=g e>d|(3cdc A2A2:|
RINNCE NA SIDEOG. AKA and see "The Fairy Dance."
RONDE DES VIEUX, LA. AKA and see "Fairy Dance," "Largo's Fairy Dance." French-Canadian, Reel. D Major. Standard. AA'BAA'CC'. The main phrases are reversed in Ringuette's version from the Scots original versions, and he adds a third strain. Source for notated verison: fiddler Willie Ringuette (Trois-Rivieres, Quebec) [Joyal]. Joyal (Danses d'ici: Musique Traditionnelle du Québec), 1994; pgs. 57 & 106-107. Columbia 34278-F (78 RPM), Willie Ringuette (1927).
RUSTIC DANCE [1]. AKA and see "Old Molly Hare," "Fairy Dance/Reel," "Largo's Fairy Dance." American, Reel. USA, southwestern Pa. D Major. Standard. AB. Sources for notated versions: Walter Neal (fiddler from Armstrong County, Pa., 1952) and Hiram Horner (fifer from Westmoreland and Fayette Counties, Pa., 1963) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 52A-B, pg. 38.
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).
SHUTTER'S HUMOURS. English, Reel. England, Northumberland. D Major. Standard. AAB. See note for "Shuter's Hornpipe." Seattle (William Vickers), 1987, Part 2; No. 359.
SI BHEAG, SI MHOR. AKA - "Sidh Beag Agus Sidh Mor," "Sheebag, Sheemore," "Sheebeg and Sheemore," "Shebeg, Shemore," "Shi Bheag, She Mhor." AKA and see "The Hills of Haversham," "The Bonny Cuckoo." Irish, Air (3/4 time). D Major. Standard. One part (Ó Canainn): AB (Cranitch): AABB (most versions). The air, according to O'Sullivan (1958) and tradition, was probably the first composed by blind Irish harper Turlough O'Carolan (1670-1738). The title of the air often appears as "Sheebag, Sheemore," an Englished version of the original Gaelic "Si Bheag, Si Mhor" which means "so big, so little," but it has been suggested that "Si" is derived from the medieval Irish "Siod," meaning "fairy hill" or "fairy mound;" thus the title may also refer to "big fairy hill, little fairy hill." It seems that the young Carolan first found favor at the house of his first patron, George Reynolds at Letterfain, Co. Leitrim (himself a harper and poet), who told the harper the legend of the two nearby hills and the fairy bands who lived inside. These fairies had a great battle with much shooting, and Reynolds encouraged Carolan to write a song about the event. Some versions of the legend have the mounds being topped by ancient ruins, with fairy castles underneath in which were entombed heros from the battle between the two rivals. O'Sullivan believes the air to be an adaptation of an older piece called "An chuaichin Mhaiseach" ("The Bonny Cuckoo" or "The Cuckoo"), which can be found in O'Neill, Bunting (1796) and Mulholland's Collection of Ancient Irish Airs (1810). A dance by Gail Tickner appeared in CDSS news #69, March/April 1986 by the title "The Bonny Cuckoo" to the melody.
***
The following set of words for Si Bheag, Si Mhor was published by the Irish Text Society in The Poems of Carolan (Amhrain Chearbhallain):
***
Imreas mór tháinig eidir na ríoghna,
Mar fhíoch a d'fhás ón dá chnoc sí,
Mar dúirt an tSídh Mór go mb'fhearr í féin,
Faoi dhó go mór ná 'n tSídh Bheag.
***
"Ní raibh tú ariamh chomh uasal linn,
I gcéim dár ordaíoch i dtuath ná i gcill;
Beir uainn do chaint, níl suairceas ann,
Coinnigh do chos is do lámh uainn!"
***
An tráth chruinnigh na sluaite bhí an bualadh teann,
Ar feadh na machaireacha anonn 's anall;
'S níl aon ariamh dár ghluais ón mbinn
Nár chaill a cheann san ár sin.
***
"Parlaidh! Parlaidh! agus fáiltím daoibh,
Sin agaibh an námhaid Charn Chlann Aoidh,
Ó bhinn Áth Chluain na sluaite díobh,
'S a cháirde grá dhach, bí páirteach!"
***
Source for notated version: Shetland fiddler Aly Bain via Fred Breunig (Putney, Vt.) [Miller]. Brody (Fiddler's Fakebook), 1983; pg. 253. Bunting, 1796; No. 63. Cranitch (Irish Fiddle Book), 1996; pg. 98, Matthiesen (Waltz Book I), 1992; pg. 42. Miller & Perron (Irish Traditional Fiddle Music), 1977; Vol. 1, No. 58. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 24, pg. 27. Phillips (Fiddle Case Tunebook: British Isles), 1989 {B}; pg. 43. Reiner (Anthology of Fiddle Styles), 1979; pg. 55. Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 41. Acorn Music, Tony Elman - "Shakkin' Down the Acorns." CBS MK 42665, Pierre Bensusan - "Spices" (1988). Claddagh CC18, Derek Bell- "Carolan's Receipt" (appears as "Sidh Beag Agus Sidh Mor"). June Appal 014, John McCutcheon- "The Wind That Shakes The Barley" (1977. Appears as "Si Bheag, Si Mhor"). Kicking Mule 206, Tom Gilfellon- "Kicking Mule's Flat Picking Guitar Festival." Kicking Mule 301, Happy Traum - "American Stranger" (1977. Learned from Boys of the Lough). North Star NS0031, "Dance Across the Sea: Dances and Airs from the Celtic Highlands" (1990). Rooster Records, "Swallowtail." Rounder 0113, Trapezoid - "Three Forks of Cheat" (1979). Rounder 3038, Pierre Bensusan - "Musiques" (1979). Shanachie 79002, "Boys of the Lough" (1973). Shanachie 79009, "Planxty" (appears as "Si Bheag, Si Mhor"). Shanachie 79013, Derek Bell - "Carolan's Receipt" (1987). Shanachie 97011, Dave Evans - "Irish Reels, Jigs, Airs and Hornpipes" (1990). Trailer 2086, "Boys of the Lough" (1973). Transatlantic 341, Dave Swarbrick- "Swarbrick 2." Warner Brothers, Dave Bromberg- "My Own House" (appears as "Si Bheag, Si Mhor").
T:Si Bheag, Si Mhor
M:3/4
L:1/8
Q:225
K:D Major
de|f3ed2|d3ed2|B4 A2|F4 A2|BA Bc d2|e4 de|f4 e2|d4 f2|\
B4 e2|A4 d2|F4 E2|D4 f2|B4 e2|A4 dc|d6-|d4:|*
de|f3 e d2|ed ef a2|b4a2|f4 ed|e4 a2|f4 e2|d4 B2|B4 BA|\
F4 E2|D4 f2|B4 e2|A4 a2|ba gf ed|e4 dc|d6-|d4:|**
SPANISH GIPSY, THE. AKA and see "Fairy Queen," "Come Follow, Follow Me." English, Country Dance Air (6/4 time). D Major (Raven): C Major (Chappell). Standard. One part. The air appears in Playford's Dancing Master (1650), Musick's Delight on the Cithren (1666), The Musical Miscellany (1729), Walsh's Dancing Master (as "Fairy Queen"), and several ballad operas, such as The Bay's Opera (1727), and "The Fashionable Lady" (1730) {where is appears as "Come, follow, follow me"}. Chappell (1859) states the title is from a ballad appearing in a play by Middleton and Rowley, called "The Spanish Gipsie," sung by the gipsies before giving an exhibition of the various arts. It became better known as "Fairy Queen" and "Come, follow, follow me" from other ballads written to the air. Chappell (Popular Music of the Olden Time), Vol. 1, 1859; pg. 186. Raven (English Country Dance Tunes), 1984; pg. 16.
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 |>|
TWISTING OF THE ROPE, THE [1] (Casadh an tSúgáin). AKA - "Twisting the Hayrope." AKA and see "The White Blanket." Irish, Air (4/4 time, "moderate time, spirited"). G Major (Joyce): G Mixolydian (Boys of the Lough). Standard. One part (Boys of the Lough): AABB (Joyce). A tune in the "Ballyhee" family of tunes (see Cowdery, 1990, pg 97). Joyce (1909) notes that his version "is different from the splendid air, 'The Twisting of the Rope,' to which Moore has written his song 'How Dear To Me the Hour.'" A hayrope is made from twisting strands of hay into a rope and is made to be draped over a stack of hay, weighted at both ends with stones to hold the stack (called a reek) down. The song, based on a folktale, relates an incident with a suitor and either his less-than-enchanted lady or her parents, who, to get rid of him, cunningly enlist his help in twisting a hay rope, which as it grows longer compels him to retreat through the door, which they promptly slam. Modern modern literary versions are very well known in Ireland, especially that by Yeats, who published a short-story called "The Twisting of the Rope" which often appears in anthologies. Ben Forker (Modern Irish Short Stories, p. 75) gives that it provided the basis for the first modern Gaelic play, Douglas Hyde's Casadh an tSugain, performed in Dublin in 1901. Caoimhin Mac Aoidh (1994) relates a similar story-variant from Mickey and John Doherty of Donegal. In that version a wandering fiddler insists on accommodations from two sisters living alone. The younger sister tricks him in the manner of the first tale, and the elder sister slams the door when he has retreated outside, severing the rope. The Doherty's version ends with the fiddler seeing the humor in the situation and he composes a reel which he calls "The Girl That Was Too Smart for the Fiddler" (the tune the Dohertys usually played with this story, however, was "The Boyne Hunt," called "The Perthshire Hunt" in Scotland). The melody should be compared with "An Suisin Ban" (The White Blanket) as noted by the Irish collector Edward Bunting, who collected the tune in 1792 from Irish harper Rose Mooney. In fact, "The Twisting of the Rope" appears in Bunting's Ancient Irish Music (1796) in a form not too different from that sung today. Junior Crehan's neice maintains the County Clare fiddler was the first to play "Casadh an tSugain" and the set dance "An Suisin Ban" together, and made an influential recording for RTE radio of the pair during a session at Mrs. Crotty's house in Kilrush. Jack Campin adds that Scottish poet James Hogg called for "The Twisting of the Rope" as the tune to one of his songs, "How dear to me the hour," implying that the melody was known in Scotland in the early 19th century.
**
The Irish words go:
**
A Rí na bhfeart cad do chas ins a' dúthaigh seo mé?
'S gur mó cailín deas a gheobhainn im' dhúthaigín beag féin;
Gur casadh mé isteach mar a raibh searc agus grá geal mo chléibh,
'S chuir an tseanbhean amach mé ag casadh an tsúgáinín féir.
**
cúrfa (chorus):
Má bhíonn tú liúm [liom], a stóirín mo chroí,
Má bhíonn tú liúm [liom], bí liúm ós comhair an tsaoil;
Má bhíonn tú liúm [liom], bí liúm gach orlach de d'chroí,
Sé mo lom go fann nach liúm Dé Domhnaigh thu mar mhnaoi.
[Sé mo lom nach fán leat thu Dé Domhnaigh mar mnaoi]
**
Tá mo cheannsa liath le bliain is ní le críonnacht é,
Ní bheathaíd na bréithre na bráithre pé sa domhan scéal é;
Is táim i d' dhiaidh le bliain is gan fáil agam ort féin,
'S gur geall le fia mé' 'r sliabh go mbeadh gáir con 'na dhiaidh.
**
Do threabfainn, d'fhuirsinn, chuirfinn síol ins a' chré,
'S do dhéanfainn obair shocair, álainn, mhín, réidh,
Do chuirfinn crú fén each is mire shiúil riamh ar féar,
Is ná héalódh bean le fear ná déanfadh san féin.
**
See also the note for "An Suisin Buidhe." Source for notated version: noted in 1850 from the playing of piper Paddy Walsh (County Mayo) [Joyce]. Boys of the Lough, 1977; pg. 5. Joyce (Old Irish Folk Music and Song), 1909; No. 825, pg. 400. Folktracks Cassette, John and Mickey Doherty - "The Fiddler and the Fairy." HOS 11060, Joanie Madden - "Song of the Irish Whistle." Island ILPS9432, The Chieftains - "Bonaparte's Retreat" (1976). Ossian: OSS 22, Joe Heaney - "Irish Traditional Songs in Gaelic and English" (1983). OSS CD 22, Joe Heaney - "Joe Heaney sings Irish traditional songs in Gaelic and English" (1989). Shanachie: 34019, "The Best of Joe Heaney" (1997). Topic: 12T91, Joe Heaney - "Irish Traditional Songs in Gaelic and English" (1963).
T:Twisting of the Rope
T:Casadh an tSúgáin
L:1/8
M:C
S:Joyce - Old Irish Folk Music
N:"Moderate time: spirited"
K:G
Bd|cBAG EDEG|AGAB c2 Bd|cBAG E2 DE|A2A2A2 GB|cBAG E2 DE|G2G2G2:|
|:Bd|e2 ef gf~ed|edcB c2 Bd|cBAG E2 D/E/F/G/|A2 Ac Bded|cBAG E2 DE|G2G2G2:|
WEARY MAID, THE (An Cailin Tuirseac). AKA and see "Buain Na Rainich." Irish, Air (4/4 time). A Minor. Standard. AABB. Martin Burns finds "The Weary Maid" in pipe repertoire, perhaps derived from a Gaelic air called "Tha mi sgith." The tune also appears in bluegrass repertoire as "Misty Morn" and was adapted by the Iona Community as a hymn entitled "Dance and Sing." Another song (performed as both a fast tune and a lullaby) which employs the melody is "Buain na Rainich" (Cutting/Reaping the Bracken), which tells the story of a fairy who fell in love with a human woman. The two met regualry in the forest while she was gathering bracken for the hearth. Hearing of the affair, her father and brothers disapproved and locked the woman up to prevent her trysting, but the fairy kept going to the wood, singing. "Buain na Rainich" can also be sung to "Ca' the Yowes to the Knowes." Words to the tune go:
chorus:
Tha mi sgith, 's mi leam fhin
Buain na rainich, buain na rainich;
Tha mi sgith, 's mi leam fhin
Buain na rainich daonnan.
***
Cul an tomain, braigh an tomain,
Cul an tomain bhoidhich;
Cul an tomain, braigh an tomain,
H-uile latha 'm onar.
***
'S tric a bha mi fhin 's mo leannan
Anns a' ghleannan cheothar,
'G eisdeachd coisir bhinn an doire
Seinn 'sa choille dhomhail.
***
Anns an t-sithean, O gur sgith mi,
'S tric mo chridh' 'ga leonadh;
Nuair bhios cach a' seinn nan luinneag,
Cha dean mis' ach cronan.
***
Ciod am feum dhomh bhi ri tuireadh,
De ni tuireadh dhomhsa,
'S mi cho fada o gach duine
B'urrain tighinn g'am chomhnadh
***
O'Neill (1850), 1903/1979; No. 348, pg. 60.
WIND THAT SHAKES/SHOOK THE BARLEY, THE [1] ("An Ghaoth a Bhogann," "An Ghaoth/Gaot a Chroitheann/Corruideann an Eorna" or "An Gaot A Biodgeas An T-Orna"). AKA and see "Duncan Davidson," "(An) Gaoth A Chroitheanna an Eorna," "I Sat (with)in the Valley Green," "The Kerry Lasses," "Rolling Down the Hill." Irish, Scottish, Shetland, American, New England; Reel. D Major (most versions): G Major (Hardings): D Mixolydian (Carlin). Standard. AB (Allan's, Breathnach, Cole, Honeyman, Mallinson, O'Neill/1850, Stanford/Petrie, Sweet, Tubridy): AAB (Athole): AA'B (O'Neill/Krassen, 1915): AAB (Brody, Carlin, Flaherty, Hunter, Kerr, Neil, Skye): ABB (Phillips): AABB (Hardings, Miller & Perron). The Irish musicologist Father Henebry considered this tune originally Scottish (as did Breathnach), but Bayard (1981) finds almost no Scottish traditional forms; he found numerous versions in Irish and Irish-American currency. Emmerson (1971), however, states the tune is "substantially a set of the 'Fairy Dance,'" which is definately Scottish and whose full title is "Largo's Fairy Dance," composed by Nathaniel Gow.
***
"The Wind that Shakes the Barley" was cited as having commonly been played for Orange County, New York, country dances in the 1930's (Lettie Osborn, New York Folklore Quarterly)./ "The (Provance) version...contains a feature common enough in old-country reels, but seldom encountered in American variants: namely, the 'circular' construction, which provides for the tune's going on indefinitely without coming to a complete cadence. F.P. Provance stated that he learned this set 'among the Dutch' in eastern Fayette and western Somerset Counties--an interesting evidence of how the German settlers have adopted the tradition of the Irish whom they encountered on their arrival in Pennyslvania" (Bayard, 1944).
***
The title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800.
***
The tune was the vehicle for the Donegal house-dance the Barnas Mór Reel, writes Fintan Vallely in his book Blooming Meadows (1998), interviewing Donegal fiddler Vincent Broderick of the townland of Tangaveane in the Croaghs (Blue Stack Mountains). Broderick remembered: "They would let hands to, d'you see, every other bar or so...and they done this step dance every one of them on their own and then they would join hands again, go around again."
***
A romantic song to the tune with words by Robert Dwyer Joyce (1830-1883) commemorating the uprising of 1798 led by the Society of United Irishmen was originally published c.1880 in Ballads of Irish Chivalry. It is also called "The Wind That Shakes the Barley" and goes:
***
I sat within a valley green
I sat there with my true love
My sad heart strove the two between
The old love and the new love
The old for her, the new
That made me think on Ireland dearly
When soft the wind blew down the glen
And shook the golden barley.
***
'Twas hard the woeful words to frame
'Twas worse the tide that bound us
But harder still to bear the shame
Of foreign chains around us
And so I said "The Mountain glen
I'll seek it morning early
And join the bold United Men
While soft wind shakes the barley"
***
While sad I kissed away her tears
My fond arms 'round her flinging
The foeman's shot burst on our ears
From out the wild wood ringing
The bullet pierced my true love's side
In life's young spring so early
And on my breast in blood she died
While soft wind shakes the barley.
***
I bore her to some mountain stream
And many's the summer blossom
I placed with branches soft and green
About her gore-stained bosom
I wept and kissed her clay-cold corpse
Then rushed o'er vale and valley
My vengeance on the foe to wreak
While soft wind shook the barley
***
Then blood for blood without remorse
I've taken to Oulard Hollow
I've laid my true love's clay cold corpse
Where I full soon will follow
And 'round her grave I wander here
Now night and morning early
With a breaking heart when e'er I hear
The wind that shakes the barley.
***
Oulart Hill, referred to in the song as "Oulard Hollow," is located in County Wexford and was the site of the United Irish rebels' first significant success. On Whit Sunday, the 27th of May, 1798, they ambushed and annihilated a body of Government troops-the infamous North Cork Militia-numbering around one hundred. There are said to have been but three survivors, despite the fact that the militia was Irish to a man. Another song set to the tune is called "The Little Bag of Tailors." O'Neill prints the tune as "Wind that Shakes the Barley" and "I sat in the Valley Green."
***
Sources for notated versions: Kevin Burke (Co. Clare) [Phillips]; Michael Kennedy (Ireland) [Carlin]; F.P. Provance (Point Marion, Pa., 1943; learned from fiddlers playing it in eastern Fayette and western Somerset Counties, Pa.) [Bayard, 1944]: J Bryner (Pa., 1946), F King (Pa., 1960), and Shape (fiddler from Pa., 1944) [Bayard, 1981]; fiddler Sean Keane (Ireland) [Breathnach]; fiddler Michael Lennihan (b. 1917, Kilnamanagh, in the Frenchpark area of County Roscommon) [Flaherty]; S. O'Daly [Stanford/Petrie]. Allan's Irish Fiddler, No. 68, pg. 17. Bayard (Hill Country Tunes), 1944; No. 23. Bayard (Dance to the Fiddle), 1981; No. 162A-C, pgs. 99-100. Breathnach (CRE III), 1985; No. 202, pg. 90. Brody (Fiddler's Fakebook), 1983; pg. 293. Burchenal (Rinnce na h-Eireann), pg. 120. Carlin (Master Collection), 1984; No. 195, pg. 116. Cole (1001 Fiddle Tunes), 1940; pg. 22. DeVille, 1905; No. 74. Flaherty (Trip to Sligo), 1990; pg. 91. Greenleaf, No. 186. Hardings All-Round Collection, 1905; No. 129, pgs. 40-41. Harding's Original Collection, 1928; No. 130. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 9. Hunter (Fiddle Music of Scotland), 1988; No. 223. Jarman (Old Time Fiddlin' Tunes); No. or pg. 15. JFSS, VII, 172 (a Manx vocal set, "Crag Willee Syl"). Kerr, Vol. 1; Set 3, No. 2, pg. 4. Levey, No. 49. MacDonald (The Skye Collection), 1887; pg. 35. Mallinson (Essential), 1995; No. 24, pg. 11. Miller & Perron (New England Fiddler's Repertoire), 1983; No. 92. Neil (The Scots Fiddle), 1991; No. 188, pg. 243. O'Neill (Krassen), 1976; pg. 155. O'Neill (1915 ed.), 1987; No. 257, pg. 133. O'Neill (1850), 1903/1979; No. 1518, pg. 280. O'Neill (1001 Gems), 1907/1986; No. 737, pg. 129. Phillips (Fiddlecase Tunebook), 1989; pg. 52. Robbins, 1933; No. 25. Roche Collection, 1982, Vol. 1; No. 199, pg. 75. Stanford/Petrie (Complete Collection), 1905; Nos. 320 & 321, pgs. 80-81. Stewart-Robertson (The Athole Collection), 1884; pg. 89. Surenne, 1852; pg. 41. Sweet (Fifer's Delight), 1965/1981; pg. 64. Sym's Old Time Dances, pg. 27. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 24. Welling (Hartford Tunebook), 1976; pg. 26. White's Excelsior Collection, pg. 35. Columbia C 33397, Dave Bromberg Band - "Midnight on the Water" (1975). Columbia Legacy CK 48693, "The Best of the Chieftains" (1992). Front Hall 014, John McCutcheon - "The Wind that Shakes the Barley" (1977. Learned from the Smathers Family). Front Hall 015, Jake Walton and Roger Nicholson- "Bygone Days." Gael-Linn Records CEF 022, Seamus Ennis, John Joe Gannon, Sean Keane - "Seoda Ceoil II" (1969). Ghe Records GR1001, Mike Cross - "Child Prodigy" (1979). Green Linnet SIF1110, Tony DeMarco - "My Love is in America: The Boston College Irish Fiddle Festival" (1991). Homespun Tapes, Kevin Burke. Shanachie 79006, Mary Bergin- "Traditional Irish Music." Shanachie 79011, Planxty- "Cold Blow the Rainy Night." Shanachie 78010, Solas - "Sunny Spells and Scattered Showers." Bob Smith's Ideal Band - "Ideal Music" (1977). "Fiddlers Three Plus Two."
X:1
T:Wind that Shakes the Barley
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:D
A|F(AA)B AFED|B2BA B2d2|F(AA)B AFED|gfed B2d:|
e|f2fd g2ge|f2fd Bcde|f2fd g2gb|afed B2 d>e|f2fd g2ge|
f2fd Bcde|fafd gbge|afed B2d||
X:2
T:Wind that Shakes the Barley
L:1/8
M:C|
K:D
A2 AB AF ED| B BA Bc d2|A2 AB AF ED|gf ed Bc dB|
A2 AB AF ED|B2 BA Bc dB|A2 AB AF ED|gf ed B2 d2:|
|:f2 fd g2 ge|f2 fd ed BA|f2 fd g2 ge|af ed B2 de|f2 df g2 eg|
f2 fd ed BA|de fg af ba|gf ed B2 d2:|