Ceolas: The Fiddler's Companion

Result of search for "willie":

A' WILLIE, WE HAVE MISS'D YOU. Scottish, Strathspey. Standard. AB. Cole (1001 Fiddle Tunes), 1940; pg. 126.

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

ANT(H)ONY MURRAY('S REEL). AKA and see "Hills of Cape Mabou" (Cnuic Rudha Mhabou), "Lord Murray Strathspey," "Port 'ic Artair" (MacArthur's Tune), "Tilly Plump" (Shetland). Scottish, Reel; Cape Breton, Strathspey. A Major. AEAE. AB. The tune was commonly played in scordatura tuning in Scotland in the 19th century and earlier, and is currently played on Cape Breton in AEAE tuning. "Anthony Murray's Reel" first appears in McGlashan's collection. On Cape Breton the tune is sometimes known as "Christie's Sister" because it was often played following "Christie Cambpell." John Shaw, in the booklet for Topic 12TS354 writes: "According to tradition in the Inverness-Mabou area (the tune) was associated with the family of MacArtair Mor (Big MacArthur) of Mabou Coal Mines, whose father ws born on the Isle of Canna, Inner Hebrides Scotland." Source for notated version: Buddy MacMaster and Mary MacDonald (Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music from Cape Breton), 1996; pg. 125. McGlashan (Collection of Strathspey Reels), c. 1780/81; pg 15. ACR4-12940, Buddy MacMaster (Appears as "Traditional Strathspey"). EMI E4 80683, John Morris Rankin - "North Country"(1993. Appears as "Lord Murray Strathspey"). Overton 1829-I-LM 88, Dwayne Cote - "Introduction" (1992. Appears as "Cnuic Rudha Mhabou"). RLP 107, Joe MacLean - "And his Old Time Scottish Fiddle" (c. 1967). Rounder 7009, Doug MacPhee - "Cape Breton Piano"(1977. Appears as "Hills of Cape Mabou"). Topic 12TS354, John Willie Campbell - "Cape Breton Scottish Fiddle" (1978. Appears as "Port 'ic Artair"). WRC1-1548, Carl MacKenzie - "And his Sound is Cape Breton"(1981. Appears as "Strathspey").
T:Anthony Murray's Reel
L:1/8
M:C|
S:McGlashan - Strathspey Reels (pg. 15)
K:A
E|C>E A2 C>E A2|AFEB B,/B,/B, B,2|CD/E/AE FEAE|F>AEC A,/A,/A, A2:|
c/d/|e>cAe c<A e>c|d>fe>c B/B/B Bc/d/|e>cAe c<A e>c|d>fe>c A/A/A Ac/d/|
e>cAe c<A e>c|egdf c/c/c c>B|FAEF DFCE|A/G/F/E/ Ac, A,/A,/A, A||

ASHMOLEAN HOUSE (Teach Ashmolean). AKA - "Ash Maley House." Irish, Reel. Ireland, Belfast. D Major. Standard. AABB. Breathnach (1996) attributes the composition to Belfast/Derrylin, County Fermanagh, fiddler Tommy Gunn. The Ashmolean is the university museum of Oxford, University, England. A cousin to the tune "Mullingar Races." Sources for notated version: Martin Mulvihill (Bronx, NY), Joe & Willie Kelly, Jerry O'Sullivan (Yonkers, NY) [Black]; County Fermanagh & Belfast fiddler Tommy Gunn via the mid-20th century Liam Donnolly (County Tyrone & Belfast) collection [Breathnach]. Black (Music's the Very Best Thing), 1996; No. 87, pg. 45. Breathnach (CRE IV), 1996; No. 200, pg. 92. Taylor (Crossroads Dance), 1992; No. 25, pg. 19. Green Linnet GLCD 1175, Cherish the Ladies - "New Day Dawning." Green Linnet SIF-1074, Jerry O'Sullivan - "The Invasion" (1987). Green Linnet SIF-104, Jerry O'Sullivan - "The Celts Rise Again" (1990). Green Linnet GLCD 1187, Cherish the Ladies - "One and All: the Best of Cherish the Ladies" (1998. Appears as "Ashmaleen House"). Shaskeen - "My Love is in America."
X:1
T: Ashmolean House
C: Tommy Gunn
S: J. O'Sullivan / Kelly Bros.
Z: transcribed by B.Black
Q: 350
R: reel
M: 4/4
L: 1/8
K: D
AF F2 EDB,A, | D2 FD FA A2 | defd efdB | AFDE FE E2 |
AF F2 EDB,A, | D2 FD FAAB | ABde dBAF | A,CEG FD D2 :|
defg a3 b | afdf eB (3BAB | defg a3 b | afdf e3 f |
fd (3ddd ad (3ddd | edBd egfe | dBAF A3 F | A,CEG FD D2 :|
X:2
T:Ashmolean, the
C:Tommy Sands
R:reel
S:Mike Rafferty
H:The Ashmolean is a museum in York (UK),
H:named after its founder, a fellow named Ashmole.
N:Ashmolean House title courtesy of Andrew Kuntz.
D:Jerry O'Sullivan
Z:Lesl Harker [lmh@rcons.com]
M:C
L:1/8
K:Dmix
d3B|:AF~F2 EDBA|D2ED FA A2|defd efdB|AFDE FEE2|
AF~F2 EDBA|D2EDFA A2|ABde dBA2|BDEG FDD2:|
|:defg a~a2b|afdf edBA|defg a2ab|afdf e2eg|
fdd2 Addf|edAd e2fe|dBAF A~A3|BDEG FDD2:|
X:3
T:Ashmolean House
R:reel
C:Tommy Gunn (fiddle), Derrylin, Co. Fermanagh
B:Ceol Rince na hÉireann 4, no. 200
M:4/4
L:1/8
K:D
AF (3FFF EDB,A,|D2 (3FED FAAB|defd efdB|AFDE FEEE|
AF (3FFF EDB,A,|D2 (3FED FAAB|ABde dBAF|A,B,DF ED D2:|:
defg a2 ab|afdf eB{c}BA|defg a2 ab|afdf {g}feef|
fd (3ddd ad (3ddd|edBd egfe|dBAF ABAF|A,B,DF ED D2:|
X:4
T:Ashmolean House
R:reel
Z:Transcribed by Bill Reeder
M:4/4
L:1/8
K:D
"D"AF~F2 EDBA|"D"D2 (3FED FAA2|"D"d2 fd efdB|"D"AFDE "A"FEE2|!
"D"AF~F2 EDBA|"D"D2 (3FED FAAB|"D"ABde dBAF|"A"AFEG "D"FDD2:||!
"D"defg a2ab|"D"afdf "Em"eBB2|"D"defg a2ab|"D"afdf "A"e4|!
"D"fd~d2 Ad~d2|"A"ed^cd egfe|"D"dBAF A2AB|"A"AFEG "D"FDD2:||

ASK ME/MY FATHER ("Fiafraigh de m'Athair é" or "Fiafruig Do'm Ataire"). AKA and see "With All My Heart." Irish, Single Jig (6/8 or 12/8 time) or Slide (12/8 time). D Major (O'Neill): D Mixolydian (Breathnach, Mitchell). Standard. AB (Breathnach): AA'B (Mitchell): AABB (O'Neill). See also "Will you come home with me/Tiocfaidh ty Abhaile liom," where the fourth part of Breathnach's version is related to the second part of "Ask My Father." Sources for notated versions: Chicago police patrolman, piper and flute player John Ennis, originally from County Kildare [O'Neill]; piper Seán Potts (Ireland) [Breathnach]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Breathnach (CRE I), 1963; No. 62, pg. 27. Mitchell (Dance Music of Willie Clancy), 1993; No. 143, pg. 113. O'Neill (1850), 1903/1979; No. 941, pg. 175. O'Neill (1001 Gems), 1907/1986; No. 367, pg. 75. Island ILPS9432, The Chieftains - "Bonaparte's Retreat" (1976).
T:Ask My Father
L:1/8
M:6/8
S:O'Neill - 1001 Gems (367)
K:G
A2G|F2D DED|A2D DED|ABA B2G|ABA A2G|F2D DED|A2D DED|G2B A2F|G3:|
|:z2g|f2d efg|f2d cAG|ABA B2G|ABA A2g|f2d efg|f2d cAF|G2B A2F|G3:|

AULD MAID OF FIFE. Scottish, Jig. Bayard (1981) considers this Oswald tune a variant of "Muirland Willie."

AVALON QUICKSTEP. AKA and see "Going to the Free State," "New Charleston No. 1." Old-Time, Breakdown. USA, Mississippi. D Major. Standard or ADAE. AABB (irregular). The melody was first recorded in 1929 by W.T. (Willie) Namour and S.W. Smith, Mississippi musicians, and named for the town of Avalon, Mississippi (the name Avalon is the mythological isle to which King Arthur was borne after his death). The Avalon area was home to a number of influential musicians, including blues guitarist John Hurt and the string band the Mississippi Possum Hunters, who all knew each other (Narmour and Smith helped Hurt to get signed with the OKeh Records). Apparently, the town was so obscure by the latter part of the 20th century that it could only be located with the help of old maps. The alternate title was an attempt by them to cash in on the Charleston dance craze of the 1920's. The 'B' part has ten measures instead of the usual eight. Sources for notated versions: Arm and Hammer String Band (Vermont) [Brody], W.T. Narmour (Miss.) [Phillips]. Brody (Fiddler's Fakebook), 1983; pg. 30. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 16. County 528, Namour and Smith- "Traditional Fiddle Music of Mississippi, Vol. 1." Kicking Mule 216, Arm and Hammer String Band- "New England Conta Dance Music" (1977).

BALLINTORE FANCY, THE. Irish, Single Jig (12/8 time). G Major. Standard. AABB' (Mitchell): AA'BB' (Sullivan). Sources for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; Bothy Band [Sullivan]. Mitchell (Willie Clancy), 1993; No. 79, pg. 74. Sullivan (Session Tunes), Vol. 3; No. 15, pg. 6. Green Linnet SIF 3005, The Bothy Band - "Old Hag You Have Killed Me" (1981. A reissue of the 1976 Mulligan LP).

BALLYGAR HERMITAGE. Irish, Jig. G Minor ('A' and 'B' parts) & G Major/Mixolydian ('C' part). Standard. AABB'CC. Composed by Joe Kelly. Ballygar, explains Bill Black, is in the western part of Roscommon, close to the Galway border. Black (Music's the Very Best Thing), 1996; No. 285, pg. 153.
T: Ballygar Hermitage
S: Joe & Willie Kelly
Q: 325
R: jig
Z:Transcribed by Bill Black
M: 6/8
L: 1/8
K: Gdor
A | BAG FDC | DGG DGG | BAG ABc | d^cd gd=c |
BAG FDC | DGG GAB | AGF DCA,- | A,G,G, G,2 :|
A | BGd BGd | BAB dcB | AFc fcB | AFA cBA |
BGd BGd | BAB dcB |1 AFA cBc | AG^F G2 :|
|2 AGF DCA,- | A,G,G, G,2 ||
K: G
B | dgg dgg | gfg bag | c=ff c=ff | cBc ag=f |
dgg dgg | gfg bag | afd cAF | AGF G2 :|

BANISH MISFORTUNE [1] ("Dibir an Mio-ad" or "Ruaig an Mí-ádh). AKA and see "The (Little) Bag of Meal," "Humours of Mullinafauna," "Máire Ní Eidhinn," "Nancy Hines," "Nancy Hynes," "Parish Girl," "Round the Cart House." Irish, Double Jig. D Mixolydian/Major (Breathnach, Brody, Mitchell, Moylan): D Major (O'Neill/1850 & 1001). Standard. ABC (Moylan, Mitchell): AABBCC (Breathnach, Brody, Mallinson, O'Neill/Krassen): AABB'CC (O'Neill/1850 & 1001): ABBCCDEEFF (Mitchell). O'Neill (1001 Gems) prints the tune under the titles "Banish Misfortune," "The Humours of Mullinafauna" and "Nancy Hines," while Roche has it as "The Humours of Mullinafauna" and "The Little Bag of Meal." P.W. Joyce gives it as "The Bag of Meal" and was the first to print it (in his Ancient Irish Music, 1873), according to Brendan Breathnach. "Máire Ní Eidhinn" is the title in Petrie's 1905 Complete Collection of Irish Music, though O'Neill thought the 3-part version he collected from Cronin to be "much superior." Petrie takes his title from the poem "Máire Ni Éidhin" by Raftery, the blind poet of Connacht, which he wrote in honour of one thought the loveliest girl in Ireland, and which is still sung to this tune. Sources for notated versions: elderly fiddler Edward Cronin, originally from Limerick Junction, County Tipperary [O'Neill]; accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border), who first heard it from fiddler Denis Murphy-- "Himself and (piper) Willie Clancy often played it together" [Moylan]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; piper Seán Potts (Ireland) [Breathnach]. Breathnach (CRE I), 1963; No. 38, pg. 16. Brody (Fiddler's Fakebook), 1983; pg. 33. Mallinson (Essential), 1995; No. 99, pg. 43. Mitchell (Dance Music of Willie Clancy), 1993; No. 137, pg. 108 & No. 148, pgs. 116-117. Moylan (Johnny O'Leary), 1994; No. 286, pg. 165. O'Neill (Krassen), 1903/1976; pg. 22. O'Neill (1850), 1979; No. 776, pg. 145. O'Neill (1001 Gems), 1907/1986; No. 53, pg. 25. Claddagh TA4, "Chieftains #2." Front Hall 009, How To Change a Flat Tire- "A Point of Departure." GR705, Paul Brady, Peter Browne, Andy Irvine, Donal Lunny, Matt Molloy & Tommy Potts - "The Gathering" (1981). GTD Heritage Trad. HCD 008, Tommy Peoples - "Traditional Irish Music Played on the Fiddle." Island ILPS 9501, "The Chieftains Live" (1977). Kells Music KM9505, Tommy Keane & Jacqueline McCarthy - "The Wind Among The Reeds." Rounder 0113, Trapezoid- "Three Forks of Cheat" (1979). Festy Conlan - "Breeze from Erin" (1969). Shanachie 79022, Chieftains - "Chieftains 2" (1969).
T:Banish Misfortune [1]
L:1/8
M:6/8
S:O'Neill - 1001 Gems (53)
K:D
A/G/|F2D DED|DEF GFG|A3 cAG|ABc d/c/AG|
F2D DED|DEF GFG|AdB cde|d3 d2:|
|:d/e/|fdd dcd|dfa agf|e2 c/c/ cBc|e/d/ef gfe|1 f2 d/d/ dcd|
dfa agf|g/f/ed cde|d3 d2:|2 fga fga|afd ecA|fed cde|d3 d2||
|:d/e/|f/e/df e/d/ce|d/c/AB cAG|F2D DED|DEF GFG|
A/G/AB cAG|AdB cde|fed cde|d3 d2:|

BANKS OF LOUGH GOWNA, THE (Bruaca Loca Gamna). AKA and see "The Ball (Humours) of Ballynafeidh," "The Clare Jig," "Delaney's Drummers," "John Naughton's," "The Jug of Brown Ale," "The Kitten and the Frog," "Kitty in the Fog," "The Mug of Brown Ale," "Old Man Dillon," "One Bottle More," "Paddy in London" [2], "Paddy O'Brien's," "The Raffle Jig," "The Rambler From Clare," "Shores of Lough Gowna," "The Slopes of Sliabh Luachra," "The Stonecutter's Jig," "Tom Billy's Jig," "Winter Apples," "Young Tom Ennis." Irish, Double Jig. B Minor (DeMarco & Krassen, O'Neill/Krassen): A Minor (Cranitch, Mitchell, O'Neill/1850 & 1001, Taylor). Standard. AABB (Cranitch, DeMarco & Krassen, O'Neill, Taylor): AA'BB (Mitchell). Sources for notated versions: "a composite based on the old duet recording by Paddy Killoran and Paddy Sweeny and also on the recent recording by John Vesey (DeMarco & Krassen, 1978); piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Cotter, No. 17. Cranitch (Irish Fiddle Book), 1996; No. 8, pg. 127. DeMarco & Krassen (A Trip to Sligo), 1978; pgs. 30,44, 58. Mitchell (Dance Music of Willie Clancy), 1993; No. 113, pg. 96. O'Neill (Krassen), 1976; pg. 63. O'Neill (1850), 1903/1979; No. 1060, pg. 200. O'Neill (1001 Gems), 1907/1986; No. 264, pg. 58. Taylor (Behind the Half-Door), 1992; No. 55, pg. 39. Shaskeen Records OS-360, Andy McGann, Joe Burke, Felix Dolan - "A Tribute to Michael Coleman," c. 1965 (appears as "Banks of Lough Gamhna"). Shaskeen - "The Joys of Life."
T:Banks of Lough Gowna, The
L:1/8
M:6/8
S:O'Neill - 1001 Gems (264)
K:A Minor
ABA AGE|EDE G3|ABA AGE|c2d ecA|ABA AGE|EDE G3|cde ged|cAA A2:|
|:cde g2a|gea ged|cde g2a|geg a3|cde g2a|gea ged|cde fed|ecA A2:|

BATTLE OF AUGHRIM, THE (Cath Eachroma). AKA and see "Lament for the Battle of Aughrim," "Loch Torridon," "The Return from Fingal." Irish, March (2/4 time), Polka or Lament. E Aeolian (Brody): A Dorian (Breathnach, Cowdery, Mallinson, Miller & Perron, Mitchell, O'Neill, Sullivan, Tubridy). Standard. One part (Brody, O'Neill): AABB (Cowdery, Mallinson, Mitchell, Sullivan, Tubridy): AA'BB (Breathnach, Miller & Perron). The piece is descriptive of the last great defeat of the native Gaelic army in Ireland, in 1691, following the Battle of the Boyne. Aughrim itself is located about 30 miles from Galway city and is a small village. Russell (1989) related a bit of folklore which had the battle seeming to go one for days and days. There is a hollow or small valley on the road outside the village which Russell maintained was "filled up with blood from the people that were killed, and ever since then it is known as Bloody Valley."
***
Cowdery (1990) finds the melody another expansion/contraction of the central musical motifs of the old ballad air "The Boyne Water." "Lament for the Battle of Aughrim" was printed in the appendix to Walker's Historical Memoirs of the Irish Bards (1786). In 19th century Ireland the piece was a piper's tour-de-force (along with a programmatic tune called "The Fox Chase"), and notable renditions were played by such famous musicians as County Galway's Martin O'Reilly. Breathnach (1985) says the tune was played for the last figure of the (County Clare polka) set. Sources for notated versions: Chieftains (Ireland) [Brody]; a Clare version from flute and whistle player Micko Russell (Doolin, Co. Clare, Ireland) [Breathnach]; piper Leo Rowsome [Cowdery]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; Martin Byrnes [Sullivan]. Breathnach (CRE II), 1976; No. 188, pg. 64 (appears as "Cath Eachroma"). Brody (Fiddler's Fakebook), 1983; pg. 37. Bulmer & Sharpley (Music from Ireland), 1974, Vol. 2, No. 68. Cowdery (The Melodic Tradition of Ireland), 1990; Ex. 52, pg. 121. Mallinson (100 Polkas), 1997; No. 32, pg. 13. Miller & Perron (Irish Traditional Fiddle Music), 1977; Vol. 1, No. 65. Mitchell (Dance Music of Willie Clancy), 1993; no. 119, pg. 98. O'Neill (1850), 1979; No. 1845, pg. 347. Russell (The Piper's Chair), 1989; pg. 20. Sullivan (Session Tunes), Vol. 3; No. 37, pg. 15. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 4. Claddagh CC 1, Leo Rowsome - "Ri na bPiobairi" (1969). Claddagh CC14, "Chieftains 4" (1974). Leader LEACD 2004, "Martin Byrnes" (1969). Shanachie 79024, "Chieftains 4" (1974/1983).
T:Battle of Aughrim, The
L:1/8
M:4/4
K:A Dorian
G|E2 A2A2 Bd|e2d2c2A2|B2G2 GF GA|BG AG E2D2|E2A2A2 Bd|
e2 ed e2 ag|e2d2 Be dB|A4 A3:|
|:e|a2 ag e2 e/f/g|a2 ag e2 fg|a2 af g2 ge|de dB G4|a2 ag e2 e/f/g|
a2 ag e2d2|B2 e/f/e d2B2|A4 A3:|

BATTLE OF THE SOMME, THE. Scottish, Retreat March (9/8 time). D Major. Standard. AABB. This pipe tune, a retreat from Army Manual (Book 2) and composed by William Laurie (1882-1916) commemorates one of the greatest and most terrible battles of World War I. Jack Campin communicates that Laurie "just lived to see it become an immediate success before dying of his wounds a few months later." Gatherer (Gatherer's Musicial Museum), 1987; pg. 20. Martin (Ceol na Fidhle), Vol. 2, 1988; pg. 39. Front Hall FHR-024, Fennig's All-Star String Band - "Fennigmania" (1981. Learned from the Albion Country Band).
T:The Battle of the Somme
C:Willie Laurie
S:Forgotten
R:march
M:9/8
L:1/8
Z:Nigel Gatherer
K:D
A|f<af d3 d>cd|e>dG B3 A3| B<GB A3 d3|f<af e3 e2 A|f<af d3 d>cd|
e>dG B3 A3|B<GB A3 f3|e>fe d3 d2::z|d>cd e3 A3|e>fg f<af d3|\
f>ef g3 A3|
f<af e3 e2 A|f<af d3 d>cd|e>dG B3 A3|B<GB A3 f3|e>fe d3 d2:|]

BERRYDEN COTTAGE. Scottish, Strathspey. A Major. Standard. One part. Composed by P. Milne (1824-1908), a self-taught fiddler born in Kincardine O'Neil. Milne earned his living playing in theatres about Scotland and was one on J. Scott Skinner's teachers, but later became an opium addict and was reduced to playing on the ferry-boats crossing the Firth of Forth (in the company of blind musician Willie Grant). Hunter (1988) says: "He was a talented composer and a natural fiddler who, in his own words 'was that fond o' my fiddle, I could sit inside it and look oot.'" Hunter (Fiddle Music of Scotland), 1988; No. 23.

BHEAN TINCEARA, AN. Irish, Reel. A Dorian/G Major/D Mixolydian. Standard. AA'BB'C. The tonality shifts greatly in this tune. Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, West Clare) [Mitchell]. Mitchell (Dance Music of Willie Clancy), 1993; No. 6, pg. 32.

BIG WILLIE'S WEDDING. Irish, Hornpipe. D Major. Standard. AABB. Composed by County Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988). Big Willie was a character in Barnagrove, County Cavan, where Reavy grew up. Ed's son Joseph says that Willie was a "sight to behold" and did not marry "in the grand tradition." Reavy (The Collected Compositions of Ed Reavy), No. 111, pg. 124.

BÍMÍD AG ÓL IS AG PÓGADH NA mBAN (Let's be drinking and kissing the Women). AKA - "Bímid ag Ól" [2]. Irish, Double Jig. G Major. Standard. AB (Petrie): AABB (Breathnach, Mitchell). See also "Let us be drinking," "I court the fair Maidens," "My name is O'Sullivan." Breathnach (1963) states that the tune is named after a song written by Eoghan Rua Ó Súilleabháin c. 1780. This jig is melodically related to "Sean Reid's Reel" (AKA "The West Wind") and the hornpipe "An Buachaill Dreoite." In CRE II (1976) Breathnach noted that the reel "Gilibeart Mhac Fhlannchadha" (Gilbert Clancy) was related to this tune. Joyce's and Breathnach's parts are reversed from each other. The song was said to have been sung by Captain Francis O'Neill in 1870 at Bloomington, Illinois, at his wedding to Anna Rogers, also a lover of traditional music. The song was a favorite of his father's (Carolan, 1997). O'Neill (who led an adventurous early life) was a seaman on the Great Lakes at the time, some three years prior to his joining the Chicago police force. O'Neill prints settings in Music of Ireland (No. 479) and in Irish Music (No. 9) under alternate titles. Breathnach finds versions in Petrie's Ancient Music of Ireland (pgs. 130-131) and in the Stanford/Petrie edition pgs. 1063-1064. Sources for notated versions: piper Willie Clancy/Liam Mac Flannchadha (1918-1973, Miltown Malbay, west County Clare, Ireland) [Breathnach, Mitchell]; from Father Walsh, parish priest at Sneem, bordering on Kenmare Bay [Petrie]. Breathnach (CRE I), 1963; No. 17, pg. 8. Mitchell (Dance Music of Willie Clancy), 1993; No. 7, pg. 32. Stanford/Petrie (Complete Collection), 1905; Nos. 1063 & 1064, pgs. 269-270. Columbia 35612, "The Chieftains" (1978. Played as a three-part tune, the third part not normally played by musicians but sung as a chorus by by the singers of Ballyvourney, West Cork).

BLIVEN'S FAVORITE. AKA and see "By your leave, Larry Grogan," "Coppers and Brass," "The County Limerick Buckhunt," "Finerty's Frolic," "Green Sleeves," "Hartigan's Fancy," "The Humours of Ennistymon," "The Humours of Miltown," "Larry Grogan," "The Lasses of Melrose," "Lasses of Melross," "Little Fanny's Fancy," "Lynny's Favourite," "Pingneacha Rua agus Pras," "Queen of the Rushes," "The Waves of Tramore," "Willie Clancy's." Irish, Double Jig. G Major/Mixolydian/Dorian. Standard. AABB. Cole (1001 Fiddle Tunes), 1940; pg. 68.

BLOOMING MEADOWS, THE [2]. Irish, Double Jig. G Major. Standard. AABBCC (O'Neill): AABB'CC (Mulvihill). Source for notated version: the Tulla Ceili Band [Mulvihill. Mulvihill (1st Collection), 1986; No. 48, pg. 75. O'Neill (1850), 1903/1979; No. 918, pg. 171. ." Piping Pig Productions PPPCD001, Jimmy O'Brien-Moran - "Seán Reid's Favourite" (1996. Learned from Clare piper Willie Clancy).

BONNY BUNCH OF FERNS, THE. AKA and see "Maire Bhan's Wedding," "Nellie Donovan," "An Piobaire a' Cheidigh." Irish, Reel. As "Piobaire an Cheidigh" the tune was a favorite of the famous Donegal piper Tarlach Mac Suibhne, claim the Doherty's. Both Donegal fiddling brothers John and Mickie Doherty played the tune in pipe imitation in scordatura tuning. Similar in parts to the Sliabh Luachra tunes "Doon Reel" and "Callaghan's" or "O'Callaghan's Reel." Clare piper Willie Clancy had a setting of the tune called "Nellie Donivan." Shanachie 79093, Paddy Glackin and Robbie Hannon - "Whirlwind" (1995).

BONNIE BUNCH OF ROSES [2]. Irish, Air (4/4 time). D Major. Standard. AAB. The 'bonny bunch of roses' were the prize Napoleon strove for, but could not conquer--England, Wales, Ireland and Scotland. One of the most widespread of Napoleonic songs, it takes the form of a conversation between Marie Louise and her son and gives the highlights of Napoleon's life, though emphasizing the retreat of the Grand Army from Russia. The ambitions of the young Napoleon reflects that of his father. It begins:
***
By the margins of the Ocean, one morning in the month of June,
Where feathered, warbling, songsters, their charming notes did sweetly tune.
There I beheld a female, she seemed to be in great grief and woe,
Conversing with young Bonaparte,
Concerning the bonny bunch of roses, O.
***
Although popular in England, it is considered that the song originally was Irish in origin. See also "Bunch of Roses." See also Joyce's (1909) "The Blackbird." O'Neill (1850), 1903/1979; No. 126, pg. 22. Claddagh 4CC 32, Willie Clancy - "The Pipering of Willie Clancy, Vol. 1" (1980). Island ISLP9432, The Chieftains - "Bonaparte's Retreat" (1976).

BORING THE LEATHER [2] (Tolladh an Leathair). AKA and see "Come with me now," "The Connaughtman," "Down the back Lane," "The Humours of Ayle House," "The Kilfinane Jig," "The Shoemaker's Fancy," "When you go home." Irish, Double Jig. G Major. Standard. AABB. The jig appears in O'Neill's publication fours times under the titles "Come with me now," "The Humours of Ayle House," "The Kilfinane Jig," and "When you go home," though Breathnach says the key signature is wrong in all of them and sometimes the endings are wrong. Three versions are printed with no name by Petrie (No. 964-6). The "Boring the Leather" name comes from the Goodman Manuscripts. Source for notated version: piper Willie Clancy/Liam Mac Flannchadha (Ireland) [Breathnach]. Breathnach (CRE I), 1963; No. 6, pg. 5 (appears as "Tolladh an Leathair"). North Star Records NS0038, "The Village Green: Dance Music of Old Sturbridge Village."

BOYNE HUNT (Seilg na Boinne). AKA and see "Highland Skip," "Molly Maguire" [2], "Molly McGuire's Reel," "The Perth Hunt," "The Perthshire Hunt," "The Sailor's Trip to Liverpool," "Thomas a cartha," "Tom the Blacksmith." Irish, Reel. Ireland, County Donegal. D Major (Cole, Mallinson, O'Neill): D Mixolydian/Major (Mitchell). Standard. AB (Mallinson, Taylor): ABB' (O'Neill/Krassen): AABB (Cole): ABC (O'Neill/1850 & 1001): ABCDEF (Mitchell). The tune was originally a Scottish composition called "The Perthshire Hunt," commissioned for the Perthshire Hunt Ball. An early recording was made by the famous piper Patsy Tuohey on cylinder around 1910. See note also for "Twisting of the Rope" which mentions this tune. See also the related "The Tea Reel." Sources for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; set dance music recorded at Na Píobairí Uilleann, mid-1980's [Taylor]; Joyce remembered the tune from his childhood in Limerick, c. 1840's. Cole (1001 Fiddle Tunes), 1940; pg. 6. Joyce (Old Irish Folk Music and Songs), 1909; No. 85, pg. 45 (appears as untitled reel). Mallinson (Essential), 1995; No. 4, pg. 2. Mitchell (Dance Music of Willie Clancy), 1993; No. 142, pgs. 112-113. O'Neill (Krassen), 1976; pg. 103. O'Neill (1850), 1903/1979; No. 1241, pg. 233. O'Neill (1001 Gems), 1907/1986; No. 514, pg. 97. Taylor (Music for the Sets: Yellow Book), 1995; pg. 30. Comhaltas Ceoltoiri Éireann CL 13, "Tommy Peoples" (1976). Gael-Linn CEF060, "Paddy Glackin." Paddy Keenan & Paddy Glackin - "Doublin'". Michael Cooney & Joe Burke - "Happy to Meet, Sorry to Part."
T:Boyne Hunt
R:Reel
L:1/8
M:C
S:Joyce - Old Irish Folk Music
K:D
BAFA D2 FA|D2 FA BE E2|BAFA D3F|ABde fedB|BAFA D2FA|
D2FA BE E2|BAFA DEFG|ABde fdd||{f}a3f a2 af|gfga be e2|
{f}a3f gedB|ABde fd d2|faaf a2 af|gfga beeg|fgfe dedB|ABde fedB|

BOYS IN THE GAP [1] (An Buachaill sa Bhearna). AKA and see "The Boys of Cappoquin," "Cat in the Hopper," "Laird O' Cockpen," "Lord Doneraile." Irish, Reel. Ireland, Co. Sligo. D Major. Standard. ABB (Breathnach/Vol. 1, Flaherty): AABA (Cole): AABB (Miller & Perron, Songer): AABB' (Breathnach/Vol. 3): ABCD (Mitchell). The Boys of the Lough say this tune is a good flute tune and a great favorite of flute player Paddy Taylor, who has added a third part. Bernard Flaherty (1990) notes that the tune was always played in County Sligo as a two-part tune, until late, when the three-part version (popular throughout Ireland) took hold. Sources for notated versions: accordion player Sonny Brogan (County Sligo/Dublin, Ireland) [Breathnach, Vol. 1] and piper Paddy Moloney (Ireland) [Breathnach, Vol. 3]; flute player Sonny McDonagh (b. 1926, Rinnarogue, Bunninadden, County Sligo, Ireland) [Flaherty]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; George Penk (Portland, Oregon) who learned it from Dennis Rothrock who learned it from the album "Boys of the Lough" [Songer]. Breathnach (CRE I), 1963; No. 132, pg. 53. Breathnach (CRE III), 1985; No. 101, pg. 51. Cole (1001 Fiddle Tunes), 1940; pg. 27. Flaherty (Trip to Sligo), 1990; 121. Miller & Perron (Irish Traditional Fiddle Music), 1977; Vol. 2, No. 31. Mitchell (Dance Music of Willie Clancy), 1993; No. 47, pgs. 56-57. Songer (Portland Collection), 1997; pg. 38 (appears as "Boy in the Gap"). Claddagh Records CC2, Paddy Moloney - "Paddy Moloney, The Chieftains" (1969). GTD Heritage Trad. HCD 008, Tommy Peoples - "Traditional Irish Music Played on the Fiddle" (appears as "Boy in the Gap"). Shanachie 79002, "The Boys of the Lough" (1973).
T:Boy in the Gap, The
M:4/4
L:1/8
S:Baily's Corner session, Tralee Ireland
Z:transcribed by Paul de Grae
K:D
D2 FA d2 cB | A2 GE AFGE | D2 FA d2 cB | ABGE EDDE |
D2 FA d2 cB | A2 GE =cEGE | D2 FA dfed | A2 GE ED D2 ||
f3 g fedf | e2 ef edcB | Abcd edcd | eaag eaag|
f2 fg fedf | e3 f edcB | ABcd e2 dc | ABGE ED D2 ||
df f2 df f2 | ce e2 ce e2 | Addc d2 cd | eaag edde |
f2 ec dcAF | G2 BG EFGE | D2 FA dfed | A2 GE ED D2 ||

BOYS OF BALLYSADARE, THE [2]. AKA and see "The Dublin Lasses," "Douse the Monkey," "(A) Galway Reel," "Miss Roden's Reel," "Miss Roddy's," "Last Night's Work," "The Eve." Irish, Reel. G Major. Standard. ABC (O'Neill, Taylor, Tubridy): ABCDEF (Mitchell). Older publications list the tune generally as "The Dublin Lasses." David Taylor (1992) says the tune has "distinct connotations" with the melody "Last Night's Fun" (as opposed to the alternate title above, "Last Night's Work"). It was recorded by Irish fiddle master Michael Coleman (Co. Sligo and New York) in 1922 as "Miss Roddy's." Sources for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; sessions at the Regent Hotel, Leeds, England [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1974, Vol. 1, No. 13 (appears as "Boys of Ballisodare"). Mallinson (Essential), 1995; No. 46, pg. 20. Mitchell (Dance Music of Willie Clancy), 1993; No. 53, pg. 60. O'Neill (Krassen), 1976; pg. 119. Taylor (Through the Half-Door), 1992; No. 22, pg. 17. Taylor (Music for the Sets: Yellow Book), 1995; pg. 1. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 21. Flying Fish FF 266, Malcolm Dalglish & Grey Larsen - "Thunderhead" (1982). Green Linnett GLCD 1155, Martin Hayes - "Under the Moon" (1995). Nimbus NI 5320, Tommy Peoples - "Irish Traditinal Music from Donegal" (1991). Shanachie 29009, "Andy McGann & Paul Brady" (learned from Tim Fitzpatrick). Shaskeen - "Shaskeen Live." Shanachie 97011, Duck Baker - "Irish Reels, Jigs, Airs and Hornpipes" (1990. Learned from the Topic records anthology "The Breeze of Erin" {where it appears as "The Eve"}).
T:Boys of Ballysadare, The [2]
L:1/8
M:C|
K:G
B|dG G2 dGeG|dGGA BAAB|dG G2 dedB|AcBA GEDB|
dG G2 dGeG|dGGA BA A2|Gddg eBdB|AcBA GE D2||
g3a bgaf|g3 a bgef|g2 ga bgaf|gfed Bdef|g3 a bgaf|gfga bgeg|
bgaf gedB|AcBA GE D2||
Bddd Bdgd|Bdgd BA A2|Bddd eBdB|AcBA GE D2|
Bddd Bdgd|Bdgd BAAB|dBBA B2 BG|AcBA GE D||

BOYS ON THE HILLTOP, THE (Na Buachaillí ar Bharr an Chnoic). AKA - "Boy on the Hilltop." AKA and see "The Hilltop." Irish, Reel. A Dorian. Standard. AB. Sources for notated versions: fiddler Paddy Killoran (Ireland) [Breathnach]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Breathnach (CRE III), 1985; No. 84, pg. 42. Mitchell (Dance Music of Willie Clancy), 1993; No. 25, pg. 43. Piping Pig Productions PPPCD001, Jimmy O'Brien-Moran - "Seán Reid's Favourite" (1996. Learned from piper Seán P. Mac Ciarnáin of Carna, around 1976). Shanachie 33003, Paddy Killoran - "Paddy Killoran's Back in Town" (1977).

BOLD TRAINER O, THE. Irish, Air. Claddagh 4CC 32, Willie Clancy - "The Pipering of Willie Clancy, Vol. 1" (1980).

BRAES OF BUSBY, THE. Irish, Reel. G Major. Standard. ABC. The tune is the Scots' Slow March "Braes of Bushbie" in reel time. There is a Scottish dance called "The Braes of Busby" which is one of the fifteen or so Scottish country dances either wholly or in part in strathspey tempo (Flett, 1964). Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Mitchell (Dance Music of Willie Clancy), 1993; No. 48, pg. 57.

BRAES OF/O' MAR/MARR/MOR, THE [1]. AKA and see "Johnny Will You Marry Me," "Lord McDonald's Strathspey," "Love Won't You Marry Me," "Reel des Noces," "Sir Alexander McDonald," "Sir Alexander McDonald's Reel," "Some Say the Devil's Dead." Scottish, Canadian; Strathspey. Canada; Prince Edward Island, Cape Breton. D Major. Standard. AAB (Gow): AABB (Athole, Kennedy, Kerr, Skye [Old Set version]): AABB' (Perlman, Skye): AABCD (Dunlay & Greenberg/Campbell): AABBCDD (Dunlay and Reich). Attributed to John Coutts of Deeside, and used for the dance the Highland Fling or Highland Schottische. Skinner, in Harp and Claymore, thinks the tune "is almost a parody of "Lord MacDonald's Strathspey." The melody appears in the Drummond Castle Manuscript (also called the Duke of Perth MS), in the possession of the Earl of Ancaster (at Drummond Castle) as a country dance; it is inscribed 'A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734.' In that MS the title is "Sir Alexander McDonald's Reel." Glen (1891) finds the tune earliest in print in Robert Bremner's 1757 collection, Part 3 (pg. 34), where it appears as "Sir Alexander McDonald."
***
Imported by Scottish emigrants to the new world, "Braes of Marr" is considered an old tune in the Cape Breton, Nova Scotia, fiddling repertoire. Dunlay & Greenberg mention that one of Buddy MacMaster's aunts recalled that the strathspey was often played by Domhnull Iain an Taillear (Donald John the Tailor) Beaton (1856-1919). The third turn may be of Cape Breton origins. From there it perhaps entered into French-Canadian fiddling repertoire, for Willie Ringuette recorded the melody as a reel in 1927 under the title "Reel des Noces." Interestingly, Dunaly & Greenberg report that Cape Breton fiddler Jackie Dunn (in her 1991 Master's thesis "The Sound of Gaelic is in the Fiddler's Music") states the strathspey is known to have Gaelic words and is called "'S Math a Dhannsadh" (It is good to dance).
***
In western Ireland the tune is known as "Johnny, Will You Marry Me," and is used for the dance "the Fling;" Irish versions of strathspeys usually are played as reels, without the distinctive dotted rhythm. Set in jig time, an Irish variant is "Kate/Katy Carnery." Sources for notated versions: Dan J. Campbell and Angus Allan Gillis (Cape Breton) [Dunlay & Greenberg, Dunlay and Reich]; Hector MacKenzie (Cape Breton) [Dunlay & Greenberg]; Mary MacDonald (Cape Breton) [Dunlay & Greenberg]; Angus McPhee (b. c. 1929, Mt. Stewart, Queens County, Prince Edward Island) [Perlman]. Carlin (The Gow Collection), 1986; No. 519. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pgs. 68-69 (three versions). Dunlay and Reich (Traditional Celtic Fiddle Music of Cape Breton), 1986; pg. 50. Gow (Complete Repository), Part 2, 1802; pg. 35. Gow (Complete Repository), Part 3, 1806; pg. 10 ("Original Sett"). Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 12. Hunter (Fiddle Music of Scotland), 1988; No. 90. Kennedy (Fiddlers Tune Book), Vol. 2, 1954; pg. 18 (appears as "Some Say the Devil's Dead"). Kerr (Merry Melodies), Vol. 1; No. 4, pg. 19. Lowe (A Collection of Reels and Strathspeys), 1844. MacDonald (The Skye Collection), 1887; pg. 63 & 64 {Old Set}. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 191. Skinner, Harp and Claymore, 1984; pg. 86. Stewart-Robertson (The Athole Collection), 1884; pg. 89 {Old Set}. ACC-49393, Hector MacKenzie- "MacNeil's Highland Ceilidh" (1992). Beltona BL2135 (78 RPM), Edinburgh Highland Strathspey and Reel Society (1936). Celtic 011 (78 RPM), "Dan J. Campbell and Angus Allan Gillis." Culburnie Records CUL 102, Alasdair Fraser & Jody Stecher - "The Driven Bow" (1988. A 4-part setting based on Cape Breton fiddlers). Decca 14026 (78 RPM), "Colin Boyd." Rounder 7009, Doug MacPhee- "Cape Breton Piano" (1977). Rounder 7012, Winnie Chafe - "Highland Melodies of Cape Breton" (1979). SA 93130, Donny LeBlanc - "Roisining Up the Bow" (1993). Silver Apple 7588-90193-4, Tommy Basker - "The Tin Sandwich" (1994). Univ. College of Cape Breton 1007, Dan Joe MacInnis- "Celtic Music of Cape Breton, Vol. I."
X:1
T:Braes of Mar
L:1/8
M:C
R:Strathspey
B:The Athole Collection
K:D
A/G/|F<A A>B d>ef>e|dA B>d BA/G/|F<A A>B d>ef>d|e>dg>f e2d:|
|:A/G/|F<A A>D FD AG/F/|GE G<E BA/G/|1 F<A A>D FD AG/F/|
(3GBG (3FAF E2D:|2 F<A A>G F>A d>e/f/g|f>dg>f e2d||
X:2
T:Braes of Mar (Old Set)
L:1/8
M:C
R:Strathspey
B:The Athole Collection
K:D
A|F<A AB/c/ d>ef>e|dA dB d>ef>d|e<gf<a e2d:|
|:g|f<a a2 f<d a>f|gg|f<a a2 f<d a>f|g<bf<a e2d:|

BRIDGIE CON MATT'S. AKA and see "Johnny Leary's," "Willie Doherty's." Irish, Polka. Ireland, Sliabh Luachra region of the Cork-Kerry border. G Major/E Minor. Standard. AABB. The tune is named for fiddler Bridgie Kelleher. Source for notated version: accordion player Johnny O'Leary (Sliabh Luachra region) [Moylan]. Moylan (Johnny O'Leary), 1994; No. 101, pg. 59. Gael-Linn CEF 132, Johnny O'Leary - "An Calmfhear/The Trooper" (1989).

BRIDGIE CON MATT'S FAVOURITE. AKA and see "Johnny Leary's Polka" [4], "Willie Doherty's." Irish, Polka. D Major. Standard. AB. Source for notated version: accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O'Leary), 1994; No. 293, pgs. 169-170. Globestyle Irish CDORBD 085, Billy Clifford - "The Rushy Mountain" (1994. A reissue CD of Topic recordings from Sliabh Luachra musicians). Topic 12T312, "Billy Clifford" (appears as "Willie Doherty's"). Topic 12T358, "Jackie Daly" (appears as "Johnny Leary's").

BRIGHT LADY, THE. Irish, Slow Air. "Drones and Chanters." Claddagh 4CC 32, Willie Clancy - "The Pipering of Willie Clancy, Vol. 1" (1980).

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:|

BUACHAILL CAOL DUBH, AN. Irish, Air (3/4 time, or 4/4 time with irregular measures). G Major/Mixolydian. Standard. One part (Cranitch): AA'B (Ó Canainn). The phrases of this tune resemble those of the air "Ballylee." Accordion player Brendan Begley, a native of Baile na mBoc, Ballyferriter, County Kerry, remembered hearing this song sung at summer house parties when he was young, the sounds drifting into his bedroom. For his family "singing was the main thing...even milking the cows we might be singing" (Vallely & Piggott, Blooming Meadows, 1998). Cranitch (Irish Fiddle Book), 1996; No. 96, pg. 165. Ó Cannain (Traditional Slow Airs of Ireland), 1995; No. 86, pg. 74. Claddagh CC39, Willie Clancy - "The Pipering of Willie Clancy 2" (1983).

BUACHAILL DREOITE, AN [1]. Irish; Hornpipe or Fling (4/4 time). G Major. Standard. AAB. The tune bears melodic similarities with "Sean Reid's Reel" (AKA "The West Wind") and the jig "Bimid ag ol is a' pogadh na mban." Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Mitchell (Dance Music of Willie Clancy), 1993; No. 135, pg. 107. Columbia 35612, "The Chieftains" (1978).

BUACHAILL DREOITE, AN [2]. Irish, Double Jig. G Major. Standard. AABB. A jig version of "An Buachaill Dreoite" [1]. Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Mitchell (Dance Music of Willie Clancy), 1993; No. 136, pg. 108.

BUCKS OF ORANMORE, THE ("Boic Óráin Mhóir" or "Og-Fir Uaran-Mor"). AKA and see "The Bucks of Cranmore," "The Bucks of Carranmore," "The Hearty Bucks." Irish, Reel. D Major. Standard. AB (Kerr, Roche): ABCD (O'Neill/1850 & 1001): ABCD (Breathnach): ABCDE (Mallinson): AA'BCD (Taylor): AA'BB'CCDD'EE' (O'Neill/Krassen): AA'BB'CC'DD'EE' (Alewine): ABCDEFGH (Mitchell). According to Alun Owen (1973) the tune is a celebrated testing piece for uilleann pipers. O'Neill (1913) relates that the accomplished piper Patrick Flannery (renowned especially for his jigs), a native of Ballinasloe, County Galway, who emigrated to New York about 1845, was playing this tune to a "fascinated audience" on the streets of Brooklyn when he died in the year 1855. Source Kelly told Brendan Breathnach that the old musicians used to play what is now the first part of the reel last, and that was how he played it. Sources for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; fiddler Patrick Kelly (Cree, County Clare) [Breathnach]; set dance music recorded at Na Píobairí Uilleann, mid-1980's [Taylor]; sessions at the Regent Hotel, Leeds, England [Bulmer & Sharpley]. Alewine (Maid that Cut Off the Chicken's Lips), 1987; pg. 11. Breathnach (CRE II), 1976; No. 248, pg. 128. Bulmer & Sharpley (Music from Ireland), 1974, Vol. 1, No. 20. Kerr (Merry Melodies), Vol. 4; No. 167, pg. 19 (appears as "Bucks of Cranmore"). Mallinson (Essential), 1995; No. 23, pg. 10. Mitchell (Dance Music of Willie Clancy), 1993; No. 32, pgs. 46-47. O'Neill (Krassen), 1976; pg. 95. O'Neill (1850), 1903/1979; No. 1199, pg. 226. O'Neill (1001 Gems), 1907/1986; No. 476, pg. 91. Roche Collection, 1982; Vol. I, pg. 59, #149. Taylor (Music for the Sets: Yellow Book), 1995; pg. 32. Green Linnett GLCD 1181, Martin Hayes & Dennis Cahill - "The Lonesome Touch" (1997). Leader LEACD 2004, "Martin Byrnes" (1969). Shanachie 79024, "Chieftains 4" (1972/1983). Paddy Glackin & Paddy Keenan - "Doublin'" (1978).
T:Bucks of Oranmore
M:4/4
L:1/8
S:Oisin MacDiarmada
R:Reel
O:Ireland
K:D
"D"A2FA (3AAA dB|A2FA "Em"BE (3EEE|"D"A2FA (3AAA Bd|egfd "G"ed{e}dB|
"D"A2FA (3AAA dB|A2FA "Em"BE (3EEE|"D"DEFG AFAB|"Bm"defd
"G"efdB|]"D"AD(3DDD ADBD|ADFA "Em"BE (3EEE|
"D"ADFA (3AAA Bd|egfd "G"efdB|"D"AD (3DDD ADBD|ADFA "Em"BE (3EEE|
"D"DEFG AFAB|"Bm"defd "Em"efge|]!
"D"a2fd efdf|a2fd "Bm"edBd|"D"a2 fd edef|"Em"gefd "G"edBd|"D"a2fd
efdf|adfd "Bm"edBd|"D"faaa agfe|"Bm"defd "Em"eaag|]"D"f2df efde|fedf
"G"edBd|"D"fddd edef|"Em"gafg "G"edBd|"D"f2df efde|fedf
"Bm"edBd|"D"faaa agfe|"Bm"defd "G"efdB|]
"D"Adfd edfd|Adfd "G"edBd|"D"Adfd edef|"Em"gefd "G"edBd|"D"Adfd
edfd|Adfd "Bm"edBd|"D"faaa "Em"agfe|"Bm"defd "G"AddB|]

BULLY OF THE TOWN. Old-Time, Country Rag and Song Tune. USA; Georgia, North Carolina, West Virginia, Arkansas, Arizona, Missouri, northeast Tenn. G Major. Standard. AABB. The song "Bully of the Town" was originally written by Charles E. Trevathan (a southern sports writer, horse judge and amateur musician) in 1895 for the stage show "The Widow Jones" which opened at the Bijou Theater, New York City that September. It was sung in the production by Trevathan's girl-friend, May Irwin. "Bully of the Town" is mentioned as one of the frequently played tunes in a 1931 account of a LaFollette, northeast Tennessee fiddlers' contest. It was in the repertoire of Skillet Licker fiddler Clayton McMichen (Ga.) who recorded the tune with that group in a triple fiddle version at their first recording session in 1926. Musicologist/folklorist Vance Randolph recorded the tune from Ozark Mountain fiddlers for the Library of Congress in the early 1940's.
**
John Garst finds that the song "Bully of the Town" was developed from an earlier blues ballad called "Ella Speed," based on a real-life incident in New Orleans in the middle years of the "Gay 90's." Garst relates that in September, 1894, Ella was a twenty-eight year old black or mullato prostitute living in a "sporting house" on what is now Iberville Street in the French Quarter. She was the object of the obsessive attentions of Louis "Bull" Martin or Martini, a bartending white Italian-American whom she had met several months previously at another establishment, and who wanted to set her up in an apartment as his mistress, a not uncommon arrangement at the time. Ella, however was lukewarm to him-she liked his money, but didn't care much for the man-and at any rate, she already had a husband, one Willie Speed. Louis was a bully who had been arrested and tried on three separate occasions on assault and battery charges, and who at the time of the murder was wanted by the constable for yet another brutal beating, that of an elderly black man near his place of work. Louis reportedly became enraged at the thought that she might be fond of another man (whether Willie or not). One night, after a day spent recreating, dining and drinking, they returned late to the bordello in which she was staying and, feeling the effects of their partying, retired at around 2:00 AM. The next time Ella was seen was in the morning when she screamed and emerged from her second story room, saying "Help me, Miss Pauline!, Louis shot me!" She collapsed in the hallway, just as the onrushing Madame spied Louis in the doorway, holding a smoking pistol. Louis disappeared, and soon a deputy arrived followed by an ambulance; but too late, for Ella had been shot through the breast with the bullet piecing her heart, left lung and liver, from which wounds she soon bleed to death.
**
A manhunt was raised to find Louis, who after a day turned himself in at the residence of a police Captain. He was arrested, held and charged with murder. After a trial a jury found him guilty of manslaughter, despite Louis's claim the shooting was an accident, and if Louis had counted on getting off easy with the reduced finding he was mistaken, for Judge John H. Ferguson (originally from Massachusetts) sentenced him to twenty years in prison, which Garst says was a stiff sentence for the time.
**
Garst thinks that the song "Ella Speed" appeared soon after the initial shooting and was based on newspaper accounts. "Ella Speed" appears in the collected papers of John A. Lomax (in a Texas version from 1909) and Carl Sandburg included it in his volume American Songbag (1927). Under the title "Bill Martin and Ella Speed," it was recorded several times by Leadbelly between 1933 and 1950, and in fact was recorded by several blues performers, including Mance Lipscomb, Tom Shaw, Tricky Same, Finious Rockmore, Lightnin' Hopkins and Jewel Long (as researched by John Cowley). Garst bases his hypothesis that "Ella Speed" was the model for "Bully of the Town" on three points: 1) the fact that "Bully" appeared a year or two after the "Ella" song, 2) the fact that Louis was a bully and the subject of a massive police hunt, as intimated in both songs, and 3) the similarity between the melodies of "Ella" and "Bully." He believes Trevathan heard "Ella Speed" from a black musician friend named Cooley, and that Trevathan substantially rewrote it, ending up with "Bully of the Town" (Trevathan gave several accounts of how he came to write the song).
**
Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 26. Ruth (Pioneer Western Folk Tunes), 1948; No. 96, pg. 34. County 526, "The Skillet Lickers, Vol. 1" (1973. Orig. rec. 1926). Gennett 6447 (78 RPM), 1928, Tweedy Brothers (W.Va. brothers Harry, Charles, and George who played twin fiddles and piano). Marimac 9017, Vesta Johnson (Mo.) - "Down Home Rag." Rounder Records, Gid Tanner and His Skillet Lickers - "The Kickapoo Medicine Show" (appears as the 4th tune of the Kickapoo Medecine Show skit). Tradition TLP 1007, Etta Baker - "Instrumental Music of the Southern Appalachians" (1956).
T:Bully of the Town
L:1/8
M:2/4
S:Viola "Mom" Ruth - Pioneer Western Folk Tunes (1948)
K:G
D|D[GB][G>B>][GB]|[GB] [G2B2] [GB]|[GB][GB][G_B][G=B]|
G3F|[CE][C2E2][CE]|[Ge][G2e2][Ge]|cc c/B/A|(F2 F)(F/E/)|
D d3 ^c/=c/|ccBA|(G4|G3)||
|:(B/c/)|(d2 d)(3c/d/^d/|ed AB|c2 cA|F3 (A/B/)|(c2 c)(3B/c/^c/|
dc A_B|=B2 BG|D3G|(B2 B)(3A/B/c/|(d2 d)(3c/d/^d/|eecA|
E3_E|D d3 ^c/=c/|ccBA|(G4|G3:|

BUNG YOUR EYE. AKA and see "Bang Your Eye," "Brisk Young Lads," "High Cauld Cap," "The Jolly Old Man," "Mary the Maid." Scottish, Jig. A Minor. Standard. ABB (Sharp): AABB (Gow, Karpeles, Kennedy, Williamson). This melody was published in the "Bodleian MS" (1740) {named for the library in which it resides--the Bodleian Library, Oxford} and is inscribed A Collection of the Newest Country Dances Performed in Scotland written at Edinburgh by D.A. Young, W.M. 1740. Originally set by Young as a country dance (to which he gives directions), Karpeles notes that this tune is also suitable as an accompaniment to Rapper Sword Dance. Glen (1891) reported he found the tune earliest in print in Robert Ross's 1780 collection (pg. 1), and evidently did not know of the Bodleian MS. Samuel Bayard (1981) believes the piece to be a "recognizable version" of a tune family that includes "Lanigan's Ball," "Lumps of Pudding," "Kittly Alone," "Muirland Willie," and "O As I Was Kist Yestreen." Close variants of the "Bung Your Eye" strain of the family are: "Off to the Hunt", "The Antrim Lasses," "Tatter Jack," "The Boys of Carrigallen," "Mount Your Baggage," and "Bonnie Strathmore."
***
The term 'bung your eye' means to 'shut your eye', a meaning taken from the bung or cork used to stopper a hole in a cask, for example. In the song "The Bold Irishman," an early 19th century broadside sheet ballad which relates the perils of an immigrant in a new land, the phrase 'bung your eye' implies a threat to beat the protagonist until his eyes are shut:
***
A blustering bully with a head like a Turk
Says welcome from Ireland, sweet Paddy from Cork
Arrah turn you round Pat, for I've been a kin
For I never yet see a coat buttoned behind
***
A beef headed butcher was then standing by
Cries Paddy you rogue I'll bung up your eye
Such blustering words made my heart ache
For fear of my eyes not a word dare I speak
***
Paddy prevails in the end, turning the tables on the two bullies:
***
The bully that said he'd bung up my eye,
I tipt him a grinder as I passed by,
I let him to know as he lay in his gore,
That an Irishmans coat was buttoned before
***
See also note to "Lanigan's Ball." Gow (Complete Repository), Part 1, 1799; pg. 21. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 26. Kennedy (Fiddler's Tune Book), Vol. 2, 1954; pg. 42 (appears as "Mary the Maid"). Sharp (Country Dance Tunes), 1909/1994; pg. 58. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976, pg. 50.
T:Bung your Eye
L:1/8
M:6/8
S:Gow - 1st Repository
K:A Minor
E|ABA c2d|e(dc) B2A|GAG B2c|dge dBG|ABA c2d|edc Bcd|e2A AB^G|A3 e2:|
|:B|c>de/f/ g2a|gec gec|G>AB/c/ d2e|dge dBG|c>de/f/ g2a|gec de^g|a2A AB^G|A3 e2:|

BUTCHER'S OF BRISTOL, THE. AKA and see "Bliven's Favorite," "Bobbing for Eels," "The Bottle of Punch," "By your leave, Larry Grogan," "Coppers and Brass," "The County Limerick Buckhunt," "Finerty's Frolic," "Fishing for Eels," "Green Sleeves," "Groom," "Hartigan's Fancy," "The Humours of Ennistymon," "The Humours of Miltown," "Ioc an Reicneail," "Jackson's Bottle/Jug of Punch/Brandy," "The Jug of Punch," "Larry Grogan," "The Lasses of Melrose," "Lasses of Melross," "Little Fanny's Fancy," "Lynn's Favourite," "Lynny's Favourite," "The Old Man's Jig," "Pay the Reckoning," "Pingneacha Rua agus Pras," "Queen of the Rushes," "The Waves of Tramore," "Willie Clancy's."

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

BY YOUR LEAVE, LARRY GROGAN. AKA and see "Bliven's Favorite," "The Butchers of Bristol," "Coppers and Brass," "The County Limerick Buckhunt," "Finerty's Frolic," "Green Sleeves," "Groom," "Hartigan's Fancy," "The Humours of Ennistymon," "The Humours of Miltown," "Larry Grogan," "The Lasses of Melrose," "Lasses of Melross," "Little Fanny's Fancy," "Lynn's Favourite," "Lynny's Favourite," "Pingneacha Rua agus Pras," "Queen of the Rushes," "The Waves of Tramore," "Willie Clancy's." Irish, Jig. A member of a large tune family. O'Neill prints another variant as "Hartigan's Fancy." See note for "Groom." O'Neill (1001 Gems), 1907/1986; No. 132.

CASTLES IN THE AIR. AKA and see "Wee Willie Winkie/Winkle." English, Scottish, Irish; Reel, Schottische or Slow Strathspey. A Major (Roche): G Major (Raven): E Flat Major (Hardie). Standard. AB (Hardie, Kennedy): ABB (Roche): AABB (Cole). The tune is associated with the children's rhyme "Wee Willie Winkie/Winkle." James Dickie transformed the song into a slow strathspey, printed in Hardie's Beauties of the North. Source for notated version: James F. Dickie (Scotland) [Hardie]. Cole (1001 Fiddle Tunes), 1940; pg. 81 (mistakenly listed in the 'Jig' section). Hardie (Caledonian Companion), 1986; pg. 44 (strathspey version). Kennedy (Fiddler's Tune Book), Vol. 1, 1951; No. 44, pg. 22. Raven (English Country Dance Tunes), 1984; pg. 176. Roche Collection, 1982; Vol. 3, pg. 47, No. 145. Fretless Records 119, Rodney and Randy Miller--"Castles in the Air."

CAT RAMBLES TO THE CHILD'S SAUCEPAN. AKA and see "Mary Willie's." Irish, Slide. D Major. Standard. The title, apparently made up in lieu of the correct name, appears on a recording by Kerry fiddler Johnny Cronin and Joe Burke. Green Linnet GLCD 1134, Cherish the Ladies - "Out and About." Green Linnet GLCD 1187, Cherish the Ladies - "One and All: the Best of Cherish the Ladies" (1998).
T:The Cat's Rambles to the Childs Saucepan
L:1/8
M:12/8
K:D
A3|d2e f2e dcd ~B3|{a}g2e cBA {f}e2A cBA|d2e f2e dcd ~B3|g2e cBA d3 dBA| d2e f2e dcd ~B3|{a}g2e cBA {f}e2A cBA| d2e {fg}f2e dcd ~B3|g2e cBA d3 d2A| d2e f2a baf a2f|{f}e2A cBA {f}e2A cBA| d2e f2a baf a2f|{f}e2A cBA d3 dBA|d2e {g}f2a baf a2f|{f}e2A cBA {f}e2A cBA| d2e f2a baf a2f|{f}e2A cBA d3 d3|

CATHOLIC BOY(S), THE [1]. AKA and see "Cathaoir an Phíobáire," "The Piper's Chair." Irish, Air ("spirited") or Double Jig. G Mixolydian/Major. Standard. One part (Petrie): AB (O'Neill): AABB (Breathnach, Roche). The melody is better-known today as "The Piper's Chair." Petrie stated the old Irish name for the tune was lost but that this was the name his source, Clare piper Willie Clancy, used. Sources for notated versions: accordionist Sonny Brogan (County Sligo/Dublin, Ireland), who had the tune from Willie Clancy [Breathnach]; O'Neill credits collaborator and fiddler James O'Neill with the version he prints in his Music of Ireland, though it seems nearly identical with the versions appearing in Petrie's 1855 collection (No. 144) and Roche; the Lord Chief Baron of Ireland on January, 15, 1852 [Petrie]. Breathnach (CRE I), 1963; No. 9, pg. 6. O'Neill (1915 ed.), 1987; No. 44, pg. 29. O'Neill (1850), 1979; No. 18, pg. 4. Petrie (Ancient Music of Ireland), No. 144. Roche Collection, 1982; Vol. 3, pg. 28, No. 91. Stanford-Petrie (Complete Collection), 1905; No. 282. Shanachie 79033, Paddy Maloney & Sean Potts - "Tin Whistles."
T:The Catholic Boys
B:O'Neill's Music of Ireland, no. 18
N:almost identical with the Petrie setting
M:6/8
L:1/8
K:G
D|D<GG GFG|D<BB cBC|d<ed cBA|BGE =F2 {GF}D|
DGG GFG|DBB cBc|d>ed cBA|B<GG G2 ||
d/e//f//| gdB gGg|gdc BAG|F<=ff f>ef|A=FA c_BA|
G<gg g=fe|dcd/e/ =fdc|B/c/dB {cd}cAF|A<GG G2||

CAIRISTIONA CHAIMBEL (Christy Campbell). AKA- "The Miller of Drone" (for which authorship was claimed in 1801 by John Pringle and in 1802 by Nathanial Gow. A tune by the same name but in 6/8 time is listed in the contents of the Bodleian Manuscript (1740)). Cape Breton, Strathspey. A Major. Standard, AEAE, ADAE. AABB'. Source for notated version: Carl MacKenzie (Cape Breton, Nova Scotia) [Dunlay and Reich]. Dunlay and Reich (Traditional Celtic Fiddle Music of Cape Breton), 1986; pg. 29. Topic 12TS354, John Willie Campbell- "Cape Breton Scottish Fiddle" (various artists); WRCI-1548, Carl MacKenzie- "And His Sound is Cape Breton."

CAMERONIAN REEL, THE [1] (Cor Cameronac). AKA and see "Aisling Ui Chiardha," "Carey's Reel," "Carey's Dream," "Roger's Fancy." Irish (Scottish?), Reel. D Major. Standard. AB (Cole, O'Neill/1915 & 1001): AAB (O'Neill/Krassen): AABB (Taylor): ABC (Mitchell). David Taylor (1992) points out that the second part has changed since O'Neill (1001 Gems) was first published and that there are several settings of this tune in common currency. Sources for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; set dance music recorded at Na Píobairí Uilleann in the 1980's [Taylor]. Cole (1001 Fiddle Tunes), 1940; pg. 4. Mitchell (Dance Music of Willie Clancy), 1993; No. 140, pg. 111. O'Neill (1915 ed.), 1987; No. 274, pg. 139. O'Neill (Krassen), 1976; pg. 154. O'Neill (1001 Gems), 1907/1986; No. 731, pg. 128. Taylor (Through the Half-Door), 1992; No. 35, pg. 25. Taylor (Music for the Sets: Yellow Book), 1995; pg. 6. Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 20. Shaskeen - "Atlantic Breeze". Green Linnet SIF 1134, Cherish the Ladies - "Out and About." Green Linnet GLCD 1187, Cherish the Ladies - "One and All: the Best of Cherish the Ladies" (1998).
T:Cameronian Reel, The [1]
L:1/8
M:C|
K:D
B|A2 FA DAFA|GFEF GBdB|A2 FA DAFA|GBAG FDDB|
AF F2 DF F2|GFEF GBdB|A2 AB A2 FA|B/c/d AG FD D:|
|:B|Addc d2 dA|B/c/d ef gfed|c/B/A eA fAeA|B/c/d ef gfeg|
faeg faeg|fdec defg|afge fdec|dBAG FA d:|

CAMPBELLS ARE COMING, THE [1]. AKA and see "The Burnt Old Man," "Campbell's Frolic," "Hob or/A Nob," "I was at a Wedding in Inverara Town," "O Tommy Come Tickle Me" (Pa.), "The Old Man," "An Seanduine." Scottish (originally), American; Jig, March and Air (6/8 time). USA; Arkansas, New York, southwestern Pa. G Major (Ford, Gow, Harding, Kerr, Mitchell, Sweet): F Major (Emmerson). Standard. One part (Ford): AB (Emmerson): AA'B (Gow, Mitchell): ABB (Harding): AABB (Kerr, Sweet). The melody is punctated like a Scotch Measure in jig time--tunes like this are classified by Oswald and others as "Scotch Jigs." Grattan-Flood, typically and without much evidence, claims the tune is Irish. Another claim is that the tune was composed for a song on or about the period of Mary Queen of Scots' imprisonment in Loch Leven Castle. "The Campbells are Coming" was known as a Whig tune and as such was played by the vanguard of the loyalist Scottish troops, many Clan Campbell, as they marched in opposition to the ill-fated Jacobite rebels of 1715 led by the Earl of Mar (knicknamed 'Bobbing John') [Winstock, 1970]. The Robert Wodrow Correspondence records that in 1716 each of three companies of Argyle's Highlanders entered Perth and Dundee led by a piper playing "The Campbells are Coming," "Wilt thou play me fiar play, Highland Laddie," and "Stay and take the breiks with thee."{see also notes for those tunes}. James J. Fuld in The Book of World Famous Music (1966) notes the tune was mentioned in a letter (probably the one by the aforementioned Wodrow) dated 1716, although it was not printed until 1745 when it appeared in a Scottish collection. Despite mention of the existance of a melody by that name early in the 18th century, Glen (1891) finds the first printed version of the melody not to have been until Robert Bremner's 1757 collection Scots Reels (pg. 83), although it also is said to appear in James Oswald's Caledonian Pocket Companion (c. 1750). Another printing with the "Campbell" title appears somewhat later in the 1768 Gillespie Manuscript from Perth. Further to the south in Britain, the title was included in Henry Robson's list of popular Northumbrian songs and tunes, which he published c. 1800.
**
The melody is to be found as a country dance called "Hob or Nob" in collections earlier than Bremner. It can be found, for example, in Walsh's Caledonian County Dances (4th book) of c. 1745, in Johnson's Collection of 200 Favourite Country Dances (1748), and other contemporary dance books.
**
"The Campbells are Coming" was transplanted to American country dance tradition and appears in repertories of dance fiddlers in New York and Pennsylvania (Harry Daddario, Union County, Pa.). Musicologist/folklorist Vance Randolph recorded the tune for the Library of Congress from Ozark Mountain fiddlers in the early 1940's. Samuel Bayard (1981) also collected the tune from Pennsylvania fiddlers. He notes that the cadences of the 'A' parts are different in modern versions from those in the 18th and 19th century where the tune ended on the major third. He sees the American versions, which end on the tonic, as a "rebellion" against the 'circular' or 'endless' tunes from the British Isles. The cognates of the tune family that "The Campbells Are Coming" belongs to include "The Baldooser," "The Burnt Old Man" and "The Field of Hay," but more importantly Bayard speculates that the popular dance tunes "Miss McLeod's Reel" and "The White Cockade" also derive from the same source. Other writers have also noted the connection with "Miss McLeod's Reel;" Breathnach (1977) and O'Neill (in his introduction to The Dance Music of Ireland) both point out that "The Campbells Are Coming" is the same air as "Miss McLeod" only played in jig time. The Pennsylvania version, altered in the 'B' part, takes its alternate title from the ditty sung to it:
**
O Tommy come tickle me, I'll tell you where;
Just under my navel there's a big bunch of hair. (Bayard).
**
Sources for notated versions: Floyd Woodhull, 1976 (New York State) [Bronner]; Amasiah Thomas (Jefferson County, Pa., 1952) [Bayard]; Irvin Yaugher (Fayette County, Pa., 1946) [Bayard]; Hiram White (elderly fiddler from Greene County, Pa., 1930's) [Bayard]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Bayard (Dance to the Fiddle), 1981; No. 539A-C, pgs. 478-480. Bronner (Old Time Music Makers of New York State), 1987; No. 15, pg. 78. Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 81, pg. 160. Ford (Traditional Music in America), 1940; pg. 110. Gow (Complete Repository), Part 1, 1799; pg. 15. Harding's All Round Collection, 1905; No. 189, pg. 60. Jarman (Old Time Fiddlin' Tunes), No. or pg. 17. Johnson (Scots Musical Museum), 1790; No. 299. Kerr (Merry Melodies), Vol. 1; No. 16, pg. 32. Mitchell (Willie Clancy), 1993; No. 90, pg. 80. O'Malley and Atwood (Seventy Good Dances), pg. 11. Sweet (Fifer's Delight), 1964/1981; pg. 18. Tyson (Twenty-Five Old Fashioned Dance Tunes), No. 10. Gennett 6121 (78 RPM), Uncle Steve Hubbard and His Boys, c. 1928. Victor 20537 (78 RPM), Mellie Dunham (appears as last tune of the improbably named "Medley of Reels").

CAPE BRETON FIDDLERS' WELCOME TO THE SHETLAND ISLANDS. Scottish, Reel. Scotland, Shetland Islands. A Major. Standard. AA'BB'. Composed by the late fiddler Willie Hunter of Lerwick, Shetland. Tartan Tapes CDTT1004, Chris Stout - "Heat the Hoose" (1998).
T:Cape Breton Fiddlers Welcome to the Shetland Islands
L:1/8
M:C|
R:Reel
C:Willie Hunter
K:A
AE~E2 dcBc|~A3e fece|fBBA ~B3A|B2fe fBge|acef eA~A2|
cBAF eAce|~f3d eaaf|1 ecdB ~A3B:|2 ecdB ~A3e||
|:aee^d efe=d|ce~e2 fece|bffe f2ef|defd Befe|aee^d efe=d|
ce~e2 fece|1 ~f3e afed|cABc ~A3e:|2 ~f3e afec|Bagf edcB||

CEOL NA gCEARTAN (Music in the Forge). AKA and see "Music in the Forge," "My Sweetheart Jane," "Peigin Leitir Mor," "The Pretty Girls of Mayo," "Sweeney's Reel," "Sweet Biddy of Ballyvourney." Irish, Reel. G Major. Standard. AB. Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Mitchell (Dance Music of Willie Clancy), 1993; No. 50, pg. 58.

CHANTER'S TUNE, THE (Fonn an Ceolraide). AKA - "Song of the Chanter." Irish, Slow Air (2/4 time) or March. G Mixolydian (O'Neill): G Minor (O'Sullivan/Bunting). Standard. AB. Probably a piper's piece, from the title. Source for notated version: the melody was given to the Irish collector Edward Bunting by one "E. Shannon, Esq." in 1839, though no words have been found [O'Sullivan/Bunting]. Source for notated version: Clare piper Willie Clancy (Miltown Malbay) [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1974, Vol. 2, No. 79. O'Neill (1850), 1979; No. 143, pg. 25. O'Sullivan/Bunting, 1983; No. 147, pgs. 204-205. Front Hall FHR-08, Alistair Anderson - "Tradtional Tunes" (1976. Learned from a recording by Irish piper Willy Clancy).
T:Song of the Chanter, The
C:trad
B:H. C Clarke "The New Approach to Uilleann Piping"
Z:Mistakes by Phil Sexton
M:4/4
L:1/8
Q:60
K:G
GF|D2{A}D2A2GF|D2{A}D2c2Bc|d2A2{d}A2GF|c2BcA2GF|!
D2{A}D2A2GF|D2{A}D2c2Bc|d2A2{d}A2GF|D4{A}D2FG|!
A2{d}ABc2Bc|AGABc2c2|d2A2{d}A2GF|c2BcA2GF|!
D2{A}D2A2GF|D2{A}D2c2Bc|d2A2{d}A2GF|D4{A}D2:|

CHARLESTON NO. 1. Old-Time, Breakdown. USA, Mississippi. C Major. Standard. AABB. The melody (which is related to "Done Gone;" similar primarily in the first part) was composed by Willie Narmour (Carroll County, Mississippi), and became a hit in 1929. English authority Tony Russell suggests: "The several 'Charleston's' they (Narmour and Smith) recorded are essentially hornpipes; their roots seem to lie in North Britain." Charles Wolfe explains that this tune had nothing to do with the dance craze of the 1920's, but rather refers to an area in Mississippi. Christeson credits only "old 78's" for his version, which could be Narmour's, Roberts', or another version. In fact, Roberts' version is a cover of Narmour's popular composition, and the story goes that Roberts' recording company, Gennett, gave him a copy of Narmour's recording and told him to learn it for his next recording session. See also related "Done Gone" [2]. Source for notated version: Doc Roberts (Ky.) [Phillips]. Christeson (Old Time Fiddlers Repertory, Vol. 2), 1984; No. 46, pg. 33. Phillips (Traditional American Fiddle Tunes, Vol. 1), 1994; pg. 46. Conqueror 8104 (78 RPM), Doc Roberts (1933). County 412, Fiddling Doc Roberts - "Old Time Tunes" (1983). County 529, Narmour & Smith - "Traditional Fiddle Music of Mississippi, Vol. 2." Gennet GE 16640 (78 RPM) Tweedy Brothers (W.Va.: Harry, George, and Charles played twin fiddles and the piano), 1930.

CHARLESTON NO. 2. Old Time, Breakdown. USA, Mississippi. C Major. Standard. AABB. Composed by Willie Narmour (Carroll County, Mississippi), though Christeson credits only "old 78's." Recorded by Narmour and Smith. Christeson (Old Time Fiddler's Repertory, Vol. 2), 1984; No. 47, pg. 33.

CHERISH THE LADIES (Alltri Na Mna). Irish, Double Jig. Ireland; Munster, Co. Sligo, Sliabh Luachra region of the Cork-Kerry border. D Major. Standard. AABB (Allan, Roche): AABB' (Joyce): ABC (Stanford/Petrie): AABBCA (Cole): AABBCC (Williamson): AABBCD (Mitchell): AABBCDDEE (Brody): AABBCCDDEE (O'Neill/Krassen): ABBCDDEE (Moylan): AABBCCDDEEFF (O'Neill/1850 & 1001). "A popular jig" (Williamson). O'Neill (Irish Folk Music, pg. 94) says: "Dr. Petrie refers to it as a Munster jig, yet none whom the writer heard play it in any style were natives of that province. In its original form of two strains it was one of Jackson's jigs, and Dr. Petrie's opinion receives corroboration by finding a simple version of the tune in Dr. Joyce's Old Irish Folk Airs and Songs, just published." O'Neill remarks again in Irish Minstrels and Musicians (1913, pg. 183) the tune has been ascribed to the famous 18th century County Limerick composer Walker 'Piper' Jackson. Goodman (vol. iv, pg. 2) prints a tune called "Thought" attributed to Jackson which is a version of "Cherish," and this may be the source of attributions to that musician (see note for "Thought" for the several alternate and related titles). County Sligo/New York City fiddler Michael Coleman made a much-admired recording of this tune in the 1930's. Paddy Glackin recorded a three part version, of which the first and last sections correspond to the 'A' and 'B' sections in Joyce. Sources for notated versions: "Taken down from the playing of Ned Goggin the Glenosheen fiddler" [Joyce]; from the manuscript collection of retired businessman and Irish music enthusiast John Gillan, collected from musicians in his home county of Longford and the adjoining Leitrim [O'Neill]; accordion player Johnny O'Leary (Sliabh Luachra region, Kerry), recorded at a recital at Na Píobairí Uilleann, February, 1981 [Moylan]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; "A Munster jig. From Mrs. Close" [Stanford/Petrie]. Allan's Irish Fiddler, No. 24, pg. 6. Brody (Fiddler's Fakebook), 1983; pg. 64. Cole (1001 Fiddle Tunes), 1940; pg. 72. Joyce (Old Irish Folk Music and Song), 1909; No. 25, pg. 15. Mitchell (Dance Music of Willie Clancy), 1993; No. 94, pgs. 82-83. Moylan (Johnny O'Leary), 1994; No. 36, pgs. 21-22. O'Neill (Krassen), 1976; pg. 19. O'Neill (1850), 1979; No. 730, pg. 136. O'Neill (1001 Gems), 1986; No. 29, pg. 21. Roche Collection, 1982; Vol. 1, pg. 39, No. 88. Ryan's Mammoth Collection. Stanford/Petrie (Complete Collection), 1905; No. 921, pg. 234. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 80. Claddagh CC14, Chieftains- "Chieftains 4" (1972). Gael-Linn CEF060, "Paddy Glackin." Shanachie 79024, "Chieftains 4" (1983).
X:1
T:Cherish the Ladies
L:1/8
M:6/8
S:Joyce - Old Irish Folk Music
K:D
dFF AFF|DFA AGF|GEE BEE|GBA GFE|dFF AFF|DFA AGF|ABd efg|fdd d3:|
|:d3 fed|afd fed|c>de/f/ gfg|ece gfe|fga bag|agf edc|dcB AGF|GEF GFE:|
X:2
T:Cherish the Ladies
L:1/8
M:6/8
S:O'Neill - 1001 Gems (29)
K:D
(3A/B/c/|dFF AFF|DFA AGF|BEE GEE|GBA GFE|dFF AFF|DFA AFA|Bcd efg|fdd d2:|
|:(3A/B/c/|dfd cec|dfd AGF|BEE GEE|GBA GFE|dfd cec|dfd AGF|Bcd efg|fdd d2:|
|:A|dfd cec dfd AGF|BzE GzE|GBA GFE|dGd cFc|dGd A2G|A>Bc/d/ efg|fdd d2:|
|:B|Add fdd|add fdd|A/B/cd gfg|ece gfe|agf bge|afd cBA|(3f/g/a/ B2 AGF|GEF GFE:|
|:f2f afd|fed cde|g2g gfg|ece gfe|agf bge|afd cBA|fdB AGF|GEF GFE:|
|:DFA dAF|DFA BGE|DFA dAF|GEF GFE|DFA DGB|DFA d2e|fdB AGF|GEF GFE:|

CHRISTI(E)/CHRISTY CAMPBELL. Canadian, Strathspey or Reel. Canada, Cape Breton. A Major. AEAE or Standard. AB (Dunlay/Hughie and Mary MacDonald): AAB (Dunlay/MacKenzie): AABB' (Dunlay/Campbell). The tune is usually played in 'high bass' (AEAE) tuning on Cape Breton and is a favorite of fiddlers on the island. Dunlay & Greenberg call this the Gaelic version of "The Miller of Drone." Two verses of mouth music for "Cairistiona Chaimbeul" (Christie Campbell) can be found in John Shaw's booklet accompanying Topic 12T354 ("Cape Breton Scottish Fiddle"). Sources for notated versions: Hughie MacDonald, John Willie Campbell, Carl MacKenzie and Mary MacDonald (Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music from Cape Breton), 1996; pgs. 122-123. ACC-49191, Tara Lynne Touesnard - "Fiddle Fingers" (1990). ACC-49398, Brenda Stubbert - "House Sessions" (1992). Atlantica Music 02 77657 50222 26, Kyle & Lucy MacNeil - "Atlantic Fiddles" (1994). Barra Music Co., The Barra MacNeils - "Rock in the Stream" (1989). Celtic CX 22, Donald MacLellan. CLM 1001, Carl MacKenzie - "And His Sound is Cape Breton" (1981). Celtic CX 017, Dan J. Campbell. EMI E4 80683, John Morris Rankin - "North Country" (1993). NMAS 1972, Natalie MacMaster - "Fit as a Fiddle" (1993). NQD-5447, Doug MacPhee - "Cape Breton Master of the Keyboard." Rodeo RLP 107, RBS 1248, Joe MacLean - "And his Old Time Scottish Fiddle" (c. 1967). Rounder 7003, John Campbell - "Cape Breton Violin Music" (1976). Sea-Cape Music ACR4-12940, Buddy MacMaster - Judique on the Floor" (1989). Topic 12T354, John Willie Campbell - "Cape Breton Scottish Fiddle" (1978).

CLANCY'S. Irish, Reel. C Major. Standard. AABB. The title may refer to Willie Clancy, the great County Clare piper. McNulty (Dance Music of Ireland), 1965; pg. 6.

CLANCY'S JIG. Irish, Slip Jig. Claddagh 4CC 32, Willie Clancy - "The Pipering of Willie Clancy, Vol. 1" (1980).

CLARE JIG, THE [1]. AKA and see "The Ball (Humours) of Ballynafeidh," "The Banks of Lough Gowna," "Delaney's Drummers," "John Naughton's," "The Jug of Brown Ale," "The Kitten and the Frog," "Kitty in the Fog," "The Mug of Brown Ale," "Old Man Dillon," "One Bottle More," "Paddy in London" [2], "Paddy O'Brien's," "The Raffle Jig," "The Rambler From Clare," "The Stonecutter's Jig," "Tom Billy's Jig," "Winter Apples," "Young Tom Ennis." Irish, Double Jig. A Dorian. Standard. AABB (Roche, Sullivan): AA'BCC'D (Mitchell). Clare takes its name from the 12th century leader of a Norman conquoring expedition, Gilbert de Clare, nicknamed Strongbow. Sources for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; the Dubliners, piper Leo Rowesome [Sullivan]. Mitchell (Dance Music of Willie Clancy), 1993; No. 40, pg. 52. Roche Collection, 1982; Vol. 1, pg. 52, No. 128. Sullivan (Session Tunes), Vol. 3; No. 7, pgs. 3-4.

CLEVELAND IS ELECTED. Old-Time, Breakdown. G Major. Standard. AAB. Source for notated version: Jim Willie Pruitt [Phillips]. Phillips (Traditional American Fiddle Tunes, Vol. 1), 1994; pg. 54.

COLEMAN'S JIG [1]. AKA and see "Willie Coleman's Jig."

COLLIER'S (REEL), THE ("Seisd An Gualeoir" or "Cor an Gualadoir"). Irish, Reel. Ireland; Counties Sligo, Clare. D Mixolydian/Major. Standard. AB (Flaherty, Mitchell, O'Neill): AABB (Sullivan, Taylor). As with many Irish tunes, various versions have more or less naturalized 'c' notes. The melody was also recorded by the great County Clare piper Leo Rowsome. O'Neill (1913) tells the story of 19th century piper John Morris (also known as Morris Sarsfield) of Clida, Headford, County Galway. It seems that Morris, who spent much time in England, chanced to travel to Wales to ply his art, "and got along swimmingly with the miners until asked to play 'Collier's Reel.'" Unfortunately, poor Morris could not call the tune to mind, if he knew it, and the miners, incensed that a musician would have the temerity to play before them and not know the melody called after their trade, chased him out of town for the deficiency in his repertoire. The tune is similar to "Farewell to Connacht." Sources for notated versions: flute player Sonny McDonagh (b. 1926, Rinnarogue, Bunninadden, County Sligo) [Flaherty]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; Martin Byrne [Sullivan]; set dance music recorded at Na Píobairí Uilleann in the 1980's [Taylor]. Flaherty (Trip to Sligo), 1990; pg. 122. Mitchell (Dance Music of Willie Clancy), 1993; No. 37, pg. 50. O'Neill (1915 ed.), 1987; No. 246, pg. 129. O'Neill (Krassen), 1976; pg. 132. O'Neill (1850), 1903/1979; No. 1404, pg. 261. O'Neill (1001 Gems), 1907/1986; No. 646, pg. 116. Sullivan (Session Tunes), Vol. 3; No. 57, pg. 23. Taylor (Music for the Sets: Yellow Book), 1995; pg. 9. Green Linnett GLCD 1087, Seamus Connolly - "Notes From My Mind" (1988). Green Linnet GLCD 1127, "Martin Hayes" (1993). Leader LEACD 2004, "Martin Byrnes" (1969).
T:Collier's Reel, The
L:1/8
M:C|
R:Reel
S:O'Neill - 1001 Gems (646)
K:D Mix
G|(3FED FG A2 AB|cAdB cAGc|Addc d2 de|fdec dcAG|FEFG A2 AB|
cAdB cAGc|Addc A2 AG|EFGE FDD||g|fdeg fdec|Addc Addg|fdeg fdec|
ABcd e2 fg|agfa gfeg|fded cAGc|Addc A2 AG|EFGE FDD||

COLONEL FRASER (An Ardtaoiseac Fraser). AKA - "Colonel Frazer." AKA and see "The Donaghmore," "Malloy's Favourite," "Molloy's Favourite" [2], "The Green Fields of Ireland," "Molly Brallaghan." Irish, Reel. G Major ('B' and 'D' parts) and G Mixolydian ('A' and 'C' parts) [O'Neill/Krassen & 1915]: G Major (Mitchell, O'Neill/1850 & 1001). Standard. ABCDE (Mitchell): ABCC'DE (O'Neill/Krassen): AA'BCD (O'Neill/1915, 1001 & 1850): AABBCCDDEE (Taylor). Breathnach (1985) says this tune is related to "Malloy's Favourite." 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: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; set dance music recorded at Na Píobairí Uilleann, late 1980's [Taylor]. Mitchell (The Dance Music of Willie Clancy), 1993; No. 87, pgs. 78-79. O'Neill (Krassen), 1976; pg. 104. O'Neill (1850), 1903/1979; No. 1246, pg. 234. O'Neill (1001 Gems), 1907/1986; No. 520, pg. 98. Taylor (Music for the Sets: Blue Book), 1995; pg. 28. Gael-Linn CEF 045, "Paddy Keenan" (1975). Shaskeen Records OS-360, Joe Burke, Andy McGann, Felix Dolan - "A Tribute to Michael Coleman" (c. 1965). Conal O'Grada - "The Top of Coom."
T:Colonel Fraser
L:1/8
M:C|
S:O'Neill - 1001 Gems (520)
R:Reel
K:G
dc|:BGAF D>G (A}(3GFG|AFcF dFcF|BGAF DGGg|1 fdcA d2 cA:|2 (3fed cA BG G2||
dggf g2 bg|fdcB ABcA|Gg{a}gf gbag|fdcA BG G2|gfge d2 dc|(3Bcd BG ABcA|
GBAc (3Bcd eg|fdcA BG G2||B>d (3ddd BGdG|AFcF (3ABc AF|B>c (3ddd BGdG|
cAFG AG G2|B>d (3ddd BGdG|AFcF (3ABc AF|(3GAB (3ABc (3Bcd eg|fdcA BG G2||
(3BcB GB (3BdB GB|(3ABA FA (3AcA FA|(3BcB GB (3BdB GB|{d}cAFG AG G2|
(3BcB GB GBGB|(3ABA FA FAFA|GBAc (3Bcd eg|fdcA D2 cA||

COME OPEN THE DOOR, SWEET BETTY. AKA and see "Rantin' Roarin' Willie," "The Mitford Galloway," "Tom Noke's Jig." English, Country Dance Tune and Air (6/8 time). A Minor. Standard. AB. This melody, notes Chappell (1859), appears in both the Pepys Collection and the Roxburghe, entitled "John's Earnest Request; or, Betty's compassionate love extended to him in a time of distress" which also records it as "a pleasant new tune, much in request." The strain appears in the first part of "Tom Nokes' Jig" (Apollo's Banquet, 1669), though in the Nokes tune the time has been altered to a quick 9/8; it is either derived from "Come Open the Door" or else both are from some earlier common ancestor, states Chappell. Chappell (Popular Music of the Olden Time), Vol. 2, 1859; pg. 147.

CONCERT REEL, THE [2]. Irish, Reel. A Dorian. Standard. AABB. Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, West Clare) [Mitchell]. Mitchell (Dance Music of Willie Clancy), 1993; No. 9, pg. 33. Wild Asparagus 003, Wild Asparagus - "Tone Roads" (1990).

CONNACHT HEIFERS (Budógaí Chonnacht). AKA and see "The Silver Mines." Irish, Reel. D Mixolydian/G Major. Standard. AB. Connaught was one of the five old provinces of Ireland (along with Ulster, Leinster, Meath, and Munster), named for the ancient tribe who lived there, the Connachta. The alternate title, "The Silver Mines," is found in Petrie's Complete Collection (1905); a faulty version, thinks Breathnach. Source for notated version: pipers Seán Potts (Ireland) [Breathnach]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Breathnach (CRE I), 1963; No. 89, pg. 39. Mitchell (Willie Clancy), 1993; No. 62, pg. 65.

CONNERYS, NA. AKA - "Conneries." Irish, Slow Air (3/4 time). G Major. Standard. One part. Ó Canainn (Traditional Slow Airs), 1995; No. 32, pg. 32. Gael-Linn CE 12 (78 RPM), Liam (Willie) Clancy. Gael-Linn CEF 075, Liam (Willie) Clancy - "Na Ceirnini 78 (1957-1960)."

CONSTITUTION MARCH. AKA and see "Willie was a Wanton Wag."

COOK IN THE KITCHEN, THE [1] (An Cocaire Annsa Cistean) Irish, Double Jig. G Major. Standard. AABBCC (O'Neill, Russell): AA'BB'CC' (Mitchell). A Cape Breton jig titled "Northside Kitchen" shares a closely related 'A' part. Sources for notated versions: the playing partners of Chicago police Sergeant James Early and John McFadden, a piper and fiddler from adjoining counties in the province of Connaght [O'Neill]; piper Willie Clancy (1918-1993, Miltown Malbay, west Clare) [Mitchell]; Terry Lane (Co. Clare) [Russell]. Mitchell (Willie Clancy), 1993; No. 105, pg. 91. O'Neill (1915 ed.), 1987; No. 133, pg. 77. O'Neill (Krassen), 1976; pg. 59. O'Neill (1850), 1979; No. 1042, pg. 195. O'Neill (1001Gems), 1986; No. 252, pg. 56. Russell (The Piper's Chair), 1989; pg. 9. GTD Heritage Trad. HCD 008, Tommy Peoples - "Traditional Irish Music Played on the Fiddle." Shanachie 79093, Paddy Glackin & Robbie Hannan - "The Whirlwind" (1995).
T:Cook in the Kitchen, The [1]
L:1/8
M:6/8
S:O'Neill - 1001 Gems (252)
K:G
D|G>DG GAG|FDE F2A|G>DG GFG|Add cAG|G>DG GAG|FDE F2d|cAG FGA|AGG G2:|
|:A|B>cB BAG|ABA AGF|GAG GFG|Add cAG|B>cB BAG|ABA A2d|cAG FGA|AGG G2:|
|:B|d2e f2g|a2g f2d|cAG FGA|Add cAG|d2e f2g|a2g f2d|cAG FGA|AGG G2:|

COPPERPLATE, THE [1]. AKA and see "The New Copperplate." Irish, Reel. Ireland, County Sligo. G Major. Standard. AB (Mitchell, Mulvihill): AABB (Allan's): AA'BB' (Flaherty, Tubridy). The title "Copperplate" is a corruption of the Scots Gaelic title "Caber Feigh," sometimes rendered "Caper Fey." There is a tune called "The Old Copperplate" which appears to be no relation. Sources for notated versions: fiddler Fred Finn {1919-1986} (Kiltycreen Kilavil, County Sligo) [Flaherty]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; Liam Greenall (Liverpool, England) [Mulvihill]. Allan's Irish Fiddler, No. 55, pg. 14. Flaherty (Trip to Sligo), 1990; pg. 74. Mitchell (Dance Music of Willie Clancy), 1993; No. 65, pg. 68. Mulvihill (1st Collection), 1986; No. 196, pg. 53. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 20.
T:Copperplate, The [1]
L:1/8
M:C|
K:G
G2 dG BGdG|G2 dG BGGB|A2 eA cAeA|A2 ed cAFA|G2 dG BGdG|
G2 dG BGGB|ABcd efge|1 aged cAFA:|2 aged Bdef||
|:g3a g3 ef|gedc BGBd|eaag agea|aged Bdef|g2 ga g2 de|
gedc BGGB|ABcd efge|1 aged Bdef:|2 aged cAFA||

COPPERS AND BRASS [2] (Pinginí is prás). AKA and see "Bliven's Favorite," "The Butchers of Bristol," "By your leave, Larry Grogan," "The County Limerick Buckhunt," "Finerty's Frolic," "Green Sleeves," "Groom," "Hartigan's Fancy," "The Humours of Ennistymon," "The Humours of Miltown," "Larry Grogan," "The Lasses of Melrose," "Lasses of Melross," "Little Fanny's Fancy," "Lynn's Favourite," "Lynny's Favourite," "Pingneacha Rua agus Prás," "Queen of the Rushes," "The Waves of Tramore," "Willie Clancy's." Irish, Double Jig. G Major. Standard. AABBCC (Breathnach): AABBCDD (Mitchell). The melody is known by most traditional musicians now-a-days by the title "Humours of Ennistymon," however, pipers seem to know it better as "Coppers and Brass." Breathnach remarks that the tune was originally printed (by John Walsh before 1736 in Country Dances Book the Second) under the title "Larry Grogan," named for the County Wexford gentleman piper of the early-mid 1700's. Aird's (Selections, vol. II, c. 1790) "The Lasses of Melross" has the same first part. O'Neill prints versions of the tune as "Hartigan's Fancy" (a poor version, states Breathnach), "By your leave, Larry Grogan," "Little Fanny's Fancy," and "The County Limerick Buckhunt." In a later O'Neill publication (Waifs and Strays) it appears as "The Limerick Buckhunt" and "The Waves of Tramore." Joyce (1909) gives it as "Green Sleeves." See also note for "Groom." Sources for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; piper Sean Potts (Ireland) [Breathnach]. Breathnach (CRE I), 1963; No. 4, pg. 4 (appears as "Pingneacha Rua agus Prás"). Mitchell (Dance Music of Willie Clancy), 1993; No. 41, pg. 53. Gael-Linn CEF 045, "Paddy Keenan" (1975).
T:Coppers and Brass [2]
R:6/8
K:G Major
BGB BGB|AFA AFA|~B3 BAB|GBd gdc|BGB BGB|~A3 ABc|ded cAF|1 AGF G2A:|2 AGF G2e||
|:~f3 fed|cAG FGA|Ggg gfg|afd d2e|~f3 fed|cAG FGA|~B3 cAF|1 AGF G2e:|2 AGF G2A||

CORNEY IS COMING ("Tá Crotuir Ag Teacd" or "Tá Cornaí ag Teacht). AKA and see "The Barrack St. Boys," "The Bride to Bed," "Brides to Bed," "Brides Away," "The British Naggon," "Cheese It," "Crawford's Reel," "The Honeymoon," "I Saw Her," "Kelly's Reel," "Knit the Pocky," "Merry Bits of Timber," "Miss Wilson," "My Love is in America," "My Love is in the House," "Shannon Breeze," "Six Mile Bridge," "Tom Fitzmaurice's Reel." Irish, Reel. D Major. Standard. AB (O'Neill): AA'B (Breathnach, Mitchell). Goodman gives the tune as "The Bride to Bed," "Brides to Bed" and "My Love is in America." Joyce has it as "Brides Away" and "My Love is in the House." Breathnach (1985) says the tune was first printed by Bremner as "Knit the Pocky" in his Collection of Scots Reels (1751-61). Source for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, West Clare, Ireland) [Breathnach, Mitchell]. Breathnach (CRE III), 1985; No. 173, pg. 79. Mitchell (Dance Music of Willie Clancy), 1993; No. 8, pg. 33. O'Neill (1850), 1903/1979; No. 1548, pg. 286. O'Neill (1001 Gems), 1907/1986; No. 762, pg. 133. Claddagh 4CC 32, Willie Clancy - "The Pipering of Willie Clancy, Vol. 1" (1980).
T:Corney is Coming
L:1/8
M:C|
R:Reel
S:O'Neill - 1001 Gems (762)
K:D
c|Addc defd|cAGF EFGE|Dddc defa|gece fdec|Addc defd|
cAGF EFGE|Dddc defa|gecd edd||c|defg afdB|cdef gecA|
defg agfa|gecd eddf|afdf afdf|gece gfge|defg abaf|gecd edd||

CROOKED ROAD TO DUBLIN. AKA and see "Lady's Panteletts." Irish, Reel. G Major. Standard. AB (Mitchell, Mulvihill): AABB (Phillips). Daniel Michael Collins, in liner notes to Shanachie 29009, says this is a fairly common session tune which stresses triplets in the 'A' part and rolls in the 'B' part. It is not either of the "Crooked Way to Dublin" versions in Roche. Sources for notated versions: fiddler Andy McGann (New York) [Phillips]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; (Jr.) Cronin [Mulvihill]. Mitchell (Dance Music of Willie Clancy), 1993; No. 81, pg. 76. Mulvihill (1st Collection), 1986; No. 27, pg. 7. Phillips (Fiddlecase Tunebook), 1989; pg. 13. Shanachie 29009, "Andy McGann & Paul Brady" (learned by fiddler McGann from Michael Coleman. Liner notes to the album say McGann "remembers Coleman writing the Crooked Road for him").

CRUEL WILLIE. Old-Time, Breakdown. D Major. DDAD tuning. Learned from Arthur Smith (Tenn.) by Nashville session fiddler Howdy Forrester, to whom it is sometimes attributed. It was also recorded by the Bing Brothers, Howdy Forrester and Junior Daugherty. Briar 4204, Earl Collins - "That's Earl" (1975). Rounder SS-0145, J.P. Fraley (Rush, Ky.) - "Traditional Music on Rounder: A Sampler" (1981. The tune was learned by Fraley from Howdy Forrester).

CUP OF TEA, THE [1] (An Cupán Tae). AKA and see "The Unfortunate Cup of Tea," "The Green Cup of Tea," "Mayobridge." Irish, Reel. E Dorian ('A' part) & D Major ('B' and 'C' parts). Standard. ABB (Breathnach, Feldman & O'Doherty): ABC (O'Neill): ABBCC (Mitchell): AABBCC (Alewine, Mallinson, Miller & Perron). As "The Unfortunate Cup of Tea," the melody appears in Haverty's Three Hundred Irish Airs, though in modern times the title is usually simply "Cup of Tea." In northern Ireland parts of the tune are played AABBC. Sources for notated versions: fiddler Sean McGuire (Ireland) [Miller & Perron], piper Andy Conroy (Co. Roscommon, Ireland) [Breathnach]; accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border), recorded in recital at Na Píobairí Uilleann, February, 1981 [Moylan]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; "from the playing of James Kennedy, one of the famous fiddlers of the Irish Music Club of Chicago"-Kennedy learned the tune from his father, a celebrated local fiddler from Ballinamore, County Leitrim [O'Neill]; fiddler Simon Doherty (County Donegal) [Feldman & O'Doherty]. Alewine (Maid that Cut Off the Chicken's Lips), 1987; pg. 14. Breathnach (CRE II), 1976; No. 278, pg. 142. Feldman & O'Doherty (The Northern Fiddler), 1979; pg. 104 (appears as "Untitled Reel"). Mallinson (Essential), 1995; No. 73, pg. 31. Miller & Perron (Irish Traditional Fiddle Music), 1977; Vol. 1, No. 36. Mitchell (Dance Music of Willie Clancy), 1993; No. 107, pg. 92. Moylan (Johnny O'Leary), 1994; No. 68, pg. 38. O'Neill (1915 ed.), 1987; No. 262, pg. 135. O'Neill (1001 Gems), 1907/1986; No. 792, pg. 137. O'Neill (1913), pg. 135.
T:Cup of Tea, The
S:Tommy Peoples
D:The Quiet Glen
Z:Juergen.Gier@post.rwth-aachen.de
L:1/8
R:Reel
M:4/4
K:D
BAGF GE~E2|E2zB GEE2|FGBF GBEG|~F2DF ADFA|\
BEBA GE~E2|EGBE G2zA|~B2BA GABc|d2AG FDD2|\
BAGF GE~E2|FGBE G2zA|~B2BA GE~E2|D2AG FADG|\
~B2BA GE~E2|E2BE GBEG|~B2BA GABc|d2AG FDD2|:\
d2zg fded|Bdeg fBB2|dgge ~f3e|dBAG FDD2|\
d2zg fd~d2|Adfa g2fg|(3agf (3gfe faed|dBAG FDD2::\
F2dA FABA|FAdA FE~E2|F2dA FABc|d2AG FDD2|\
~F3E ~F3A|FAde feea|~f3e dBAF|GBAG FDD2:|

CURRAGH RACES, THE ("Coimleanga'n Curraig" or "Reata An Curaig"). AKA and see "An Bearrchaile sa gCrann Silini," "Coleman's Fancy," "The Hare in the Corn," "The Humours of Old Knockaney," "The Maid in the Cherry Tree." Irish, Reel. A Dorian (most versions): E Minor (O'Neill/Waifs and Strays): G Minor (Breathnach). Standard. AB (Mulvivhill, O'Neill): AA'BB (Mitchell). Sources for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; Pipers Club Ceile Band [Mulvihill]. Breathnach (CRE V), No. 154. Mitchell (Dance Music of Willie Clancy), 1993; No. 116, pg. 97. Mulvihill (1st Collection), 1986; No. 15, pg. 4. O'Neill (1915 ed.), 1987; No. 271, pg. 138. O'Neill (Krassen), 1976; pg. 110. O'Neill (1850), 1903/1979; No. 1276, pg. 240. O'Neill (1001 Gems), 1907/1986; No. 544, pg. 101. O'Neill (Waifs and Strays of Gaelic Melody), No. 285.
T:Curragh Races, The
L:1/8
M:C|
R:Reel
S:O'Neill - 1001 Gems (544)
K:A Minor
a|e2 (3cBA eA (3cBA|G2 Bc dBGg|eA (3cBA e^fge|dBGB cAAa|eA (3cBA eA (3cBA|
G2 Bc dBGB|cBcA B2 ge|dBGB cA A||B|(3cdc ec gcec|(3cdc ge dBGB|(3cdc ec gcec|
dBGB {d}cAAB|(3cdc ec gcef|(3gag ge dBGB|cBcA B2 ge|dBGB cA A||

DAFT WILLIE DAWSON. Scottish, Strathspey and Reel. D Major. Standard. AB. Kerr (Merry Melodies), Vol. 3; Nos. 19 & 20, pg. 5.

DARK LOUGH NA GAR (Loc Dorca Na Gar). AKA - "Dark Loch na gCaor," "Dark Lochnagar." Irish, Air (6/8 time). D Major. Standard. AABB. Gearoid O' hAllmhurain believe this tune may have been learned in County Clare from Scottish sappers in the 1830's who were sent to the region as part of the British survey of the country. Whatever its origins, it became the melody of a popular 19th century song circulated on ballad sheets (the ballad gives reference to the Scottish battle of Culloden, in 1746). Recorded by Clare piper Robbie Hannon. Piper Jimmy O'Brien-Moran says it was a favorite of Willie Clancy's. O'Neill (1850), 1903/1979; No. 477, pg. 83. Piping Pig Productions PPPCD001, Jimmy O'Brien-Moran - "Seán Reid's Favourite" (1996).

DAVID D. MACKENZIE OF SALLACHY. Shetland, Slow Air. Composed by I. Sinclair. Greentrax, Willie Hunter - "Leaving Lerwick Harbour" (1995).

DEAR IRISH BOY, THE [2] (An Buacaill Dileas Ua Eirinn). AKA and see "Dear Irish Maid," "The Wild Irish Boy." Irish, Slow Air (3/4 time). E Aeolian (O'Neill, Roche): D Minor (Joyce). Standard. AB. "This was universally known, sung, and played in my early days (c. 1845). The words smack of the classical schoolmaster, and there are a few strained expressions. Nevertheless, taken as a whole it is very pleasing: and its under-current of tenderness more than compenstes for the spice of pedantry. The pathetic beauty of the air renders praise from me unnecessary. I give it here just as I learned it. My versions of air and words differ from those alreaky published. There is another song to this air, 'O, Weary's on Money, and Weary's on Wealth,' which will be found in the collections of Duffy, Williams, Lover, Barry, and others" (Joyce). John Moulden finds the first publication of the song to be in the Dublin Monthly Magazine of March, 1842, as gives two sets of words (calling the 'My Connor' set the older). The magazine records that the air was contributed by a Mr James Barton and was believed to be the composition of his brother, John Barton, who had other compositions to his credit. The lyrics below are found in H. Halliday Sparling's Irish Minstrelsy (1887).
***
My Connor, his cheeks are as ruddy as morning,
The brightest of pearls do but mimic his teeth,
While nature with ringlets his mild brows adorning,
His hair Cupid's bow-strings, and roses his breath.
Smiling, beguiling, cheering, endearing,
Together how oft o'er the mountains we strayed,
By each other delighted and fondly united,
I have listened all day to my dear Irish Boy.
***
No roebuck more swift could fly over the mountain,
No veteran bolder meet danger or scars;
He's sightly, he's sprightly, he's clear as the fountain,
His eyes twinkle love - oh! He's gone to the wars.
Smiling, beguiling, etc.
***
The soft tuneful lark, his notes changed to mourning,
The dark screaming owl impedes my night's sleep,
While lonely I walk in the shade of the evening,
Till my Connor's return I will ne'er cease to weep.
Smiling, beguiling, etc.
***
The war being over, and he not returned,
I fear that some dark, envious plot has been laid,
Or that some cruel goddess has him captivated,
And left here to mourn his dear Irish maid.
Smiling, beguiling, etc.
***
In the recent past it was a favorite slow air of pipers, with versions renditions on record by Willie Clancy, Tommy Reck, Leo Rowsome and Felix Doran.
***
Joyce (Old Irish Folk Music and Songs), 1909; No. 398, pg. 207. O'Neill (1915 ed.), 1987; No. 68, pg. 42 (appears as "The Wild Irish Boy"). O'Neill (1850), 1903/1979; No. 73, pg. 13. Roche Collection, 1982; Vol. 1, pg. 25, No. 50. CC11, Leo Rowsome - "The Drones and Chanters, Vol. 1." Ossian OSS 53, Fintan Vallely - "Totally Traditional Tin Whistles." Danny O'Donnell - "The Donegal Fiddler."

DERRY HORNPIPE, THE. Irish, Hornpipe. D Major. Standard. AA'BB'CC'DD'EE. The name Derry is Gaelic in origin and means an oak-wood. "The Derry Hornpipe" is heard in four, five and six part versions. It was a favorite of uilleann piper John Cash, born in Wexford in 1832 and taught piping by an uncle, James Hanrahan from Tipperary. His wife, Polly Connors, had a reputation as a renowned step-dancer. Unlike many pipers of his time Cash did not have to depend solely on his music for his livelihood, and made a comfortable living tinsmithing and dealing in horses. The turn-of-the-century revival in Irish music helped sustain him, and he took first prize at the Feis Ceoil in 1900. "The Derry Hornpipe" was so associated with him that it was locally known as "Cash's Hornpipe" (Breathnach, 1997). Cathal McConnell thinks the tune originally came from the great County Offaly piper Barney Delaney. See "The Streams of Poulaphouca." Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Mitchell (Dance Music of Willie Clancy), 1993; No. 131, pg. 105. Compass 7 4287 2, Cathal McConnell - "Long Expectant Comes at Last" (2000. Learned as a four-part tune from his first teacher, Kinawley, County Fermenagh, fiddle and flute player Peter Flanagan).
T:Derry Hornpipe, The
R:hornpipe
H:Played with 2, 3 or 5 parts. Parts 4 and 5: see also "The Elks' Festival", #89
D:Seamus Ennis: The Fox Chase
Z:id:hn-hornpipe-24
M:C|
K:D
AG|:F2Ad fdAF|G2Bd gdBG|F2Ad fdAF|E2Ac ecAG|
F2Ad fdAF|G2Bd g2ag|(3faf df eAce|1 dfec dBAG:|2 dfec defg||
|:a2fd Adfa|g2ec Aceg|a2fd Adfd|(3efe (3dcB A2fg|
a2fd Adfa|gfef g2ag|(3faf df eAce|1 dfec defg:|2 dfec dBAG||
|:(3FED AD BDAD|dcdf ecAG|(3FED AD BDAD|(3EFG FA G2AG|
(3FED AD BDAD|dcdf ecAg|(3faf df eAce|1 dfec dBAG:|2 dfec defg||
~a3b afdf|~g3a gece|~a3b afdf|(3efe (3dcB A2fg|
~a3b afdf|gfef gbag|(3faf df eAce|dfec defg||
~a3b afdf|~g3a gece|fdge afbg|(3gfe (3dcB A2fg|
afbf afdf|gfef gbag|fAdf eAce|dfec d2FG||
|:AFAd fedc|BGBd gfed|cAce (3agf ge|cedB A2FG|
AFAd fedc|BGBd g2ag|fAdf eAce|1 dfec d2FG:|2 dfec dBAG||

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:||

DONALD WILLIE AND HIS DOG. Scottish, Pipe Tune. Scotland, Shetland Isles. Composed by D. Morrison inspired while helping Willie Morrison, South Uist, Shetland, to round up sheep on a hill with his dog. Culburnie COL 113D, Aladair Fraser & Tony McManus - "Return to Kintail" (1999.

DOWN THE BACK LANE. AKA and see "Boring the Leather," "Come with me now," "The Connaughtman," "The Humours of Ayle House," "The Kilfinane Jig," "The Shoemaker's Fancy," "Tolladh an Leathair," "When you go home." Irish, Slide (12/8 time) or Double Jig (6/8 time). G Major. Standard. ABB' (Moylan): AABB (Mitchell). This was Willie Clancy's title for the jig ususally known as "Boring the Leather." Sources for notated versions: accordion player Johnny O'Leary (Slaibh Luachra region of the Cork-Kerry border), recorded at Na Piobairi Uilleann, October, 1984 [Moylan]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Mitchell (Dance Music of Willie Clancy), 1993; No. 103, pg. 90. Moylan (Johnny O'Leary), 1994; No. 147, pg. 86. Claddagh 4CC 32, Willie Clancy - "The Pipering of Willie Clancy, Vol. 1" (1980).

DOWN THE BROOM. AKA and see "The Crosses of Annagh," "Old Peter's Reel," "Paddy Cronin's," "Sligo Maid." Irish, Reel. A Dorian. Standard. AABB (Brody, Carlin, Miller & Perron, Taylor): AA'BB (Mitchell). Sources for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; Paddy Killoran [Bulmer & Sharpley]; set dance music recorded at Na Píobairí Uilleann, late 1980's [Taylor]. Brody (Fiddler's Fakebook), 1983; pg. 90. Bulmer & Sharpley (Music from Ireland), 1974, Vol. 1, No. 1. Carlin (Master Collection), 1984; pg. 73, No. 113. Miller & Perron (Irish Traditional Fiddle Music), 1977; Vol. 1, No. 28. Mitchell (Dance Music of Willie Clancy), 1993; No. 77, pg. 73. Taylor (Music for the Sets, Blue Book), 1995; pg. 17. Green Linnet 1016, The Irish Tradition- "The Corner House." Green Linnet GLCD 1128, Brendan Mulvihill & Donna Long - "The Morning Dew" (1993). Philo 1051, Boys of the Lough - "Good Friends, Good Music" (1977). Rounder 7006, Theresa and Marie MacLellan (Cape Breton) - "A Trip to Mabou Ridge."

DILLON'S FANCY [1] (Roga Uí Dillon). AKA - "Dillon's Reel." Irish, Reel. Ireland; Counties Roscommon, Sligo, Clare, Kerry. A Major (O'Neill): G Major (Flaherty, Mulvihill). Standard. AB (O'Neill/1915): AA'B (O'Neill/1850): AABB (Flaherty, Mulvihill). Sources for notated versions: Source for notated version: Chicago policeman and fiddler Timothy Dillon [O'Neill]; piper and flute player Charlie Lavin (b. 1940, Cloonshanville, near Frenchpart, County Roscommon) [Flaherty]; George Ross via accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; piper Willie Clancy/Liam Mac Flannchadha (Miltown Malbay, west Clare) [Breathnach]; Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Breathnach (CRE I); No. 85, pg. 38 (appears as "Ríl Uí Dhioluin"). Flaherty (Trip to Sligo), 1990; pg. 151 (appears as "Dillon's Reel"). Moylan (Johnny O'Leary), 1994; No. 307, pgs. 176-177. Mulvihill (1st Collection), 1986; No. 180, pg. 49 (appears as "Dillon's Reel"). O'Neill (1915 ed.), 1987; No. 270, pg. 138. O'Neill (1850), 1903/1979; No. 1272, pg. 239. O'Neill (1001 Gems), 1907/1986; No. 540, pg. 101.
T:Dillon's Fancy
L:1/8
M:C|
R:Reel
S:O'Neill - 1001 Gems (540)
K:A
EAAc eA (3cBA|ceae (3fga ed|1 cdef edcA|(3Bcd cA BF {G}(3FEF:|2 cefg agaf|
edcB Aceg||{b}aece {b}aece|agbg aece|{b}aece {b}aecA|GABc defg|
{b}aece {b}aece|agbg aece|A/B/c/d/ e/f/g agaf|edcB ABAF||

DINNY O'BRIEN'S REEL [1] (Ríl Dhonncha Uí Bhriain). AKA and see "The Last House of Connacht" [2]. Irish, Reel. D Mixolydian. Standard. AABB. Dinny O'Brien was the father of fiddler Paddy O'Brien, who composed the tune is his honor. Sources for notated versions: fiddler Joe Ryan and harmonica player Eddie Clarke (Ireland) [Breathnach]; Frank McCollam (Ballycastle, County Antrim) [Mulvihill]. Breathnach (CRE III), 1985; No. 145, pg. 68. Carlin (Master Collection), 1984; pg. 123, No. 208. Cranitch (Irish Fiddle Book), 1996; No. 55, pg. 146. Miller & Perron (Irish Traditional Fiddle Music), 1977; Vol. 3, No. 56. Mulvihill (1st Collection), 1986; No. 126, pg. 34. Everest Tradition, The Kilfenora Ceili Band (with Tommy Peoples, recorded by Mick Moloney, 1974). Green Linnet SIF 1030, Joe Ryan & Eddie Clark - "Crossroads" (1981). Green Linnet SIF 1165, Joe Burke - "The Bucks of Oranmore." Outlet 1010, Na Fili. Eileen O'Brien - "The Compositions of Paddy O'Brien" (with accordion player Willie Fogarty). Shanachie 34016, Joe Burke, Andy McGann & Felix Dolan - "The Funny Reel." Seamus Thompson - "The Long Mile." John Rea - "Traditional Music on the Hammered Dulcimer." Paddy O'Brien - "Paddy O'Brien Collection." Brogue - "At Boolavogue." Brendan Mulhaire Ceili Band - "Ceili Time in Ireland #2."
T:Dinny O'Brien's Reel
L:1/8
M:C
K:Dmix
fd (3ed^c dcAB|c2 (3dcB cAGE|D2AD EGAB|c3d efge|\
fd (3ed^c dcAB|c3c cAGE|D2AD DGAB|cAGE EDD2::\
fd (3ed^c defg|add2 adfd|ec (3dcB cdef|gcc2 gcag|\
fd (3ed^c dcAB|c2 (3dcB cAGE|D2AD EGAB|cAGE EDD2:|

DUBLIN LADS, THE. Irish, Reel. G Major. Standard. ABC.The name Dublin is derived from the Gaelic dubh linne, or 'the black pool'. Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Mitchell (Willie Clancy), 1993; No. 67, pg. 69.

DUBLIN REEL, THE ("Seisd Baile-Ata-Cliat" or "Cor Baile-Ata-Cliat"). AKA and see "Athens," "Blodgett's," "The Clogher Reel," "The Cock's Tail," "The Dublin Lasses," "Jackson's Reel," "Miss Daly," "The Shuffle Reel," "The Twelve Locks," "The Twister," "The Union Reel," "Victor Wild," "The Westmeath Hunt." Irish, Single Reel. G Major (O'Neill/Krassen): D Major (Mitchell, O'Neill/1850, Sullivan): C Major (Mitchell). Standard. AB (Mitchell): AA'B (O'Neill/1850): ABC (Mitchell): AA'BC (O'Neill/1001, Sullivan): ABB'CC' (O'Neill/Krassen): ABCA'BC (Moylan): AABBCD (Miller & Perron). Known as a piping tune. The first part is similar to that of "Knocknagow." The G Major form of the tune is known as "Jackson's", from County Sligo/New York fiddler Michael Coleman's recording of it. The name Dublin is derived from the Gaelic dubh linne, or 'the black pool'. The alternate titles "Blodgett's" and "Miss Daly" are found in Ryan's Mammoth Collection/Cole's 1001 Fiddle Tunes. According to Caoimhin Mac Aoidh, the tune is known as "The Cock's Tail Reel" in County Donegal where it is associated with the playing of Mickey Mór Doherty, the father of fiddlers Mickey, John and Simon Doherty. Sources for notated versions: Paddy Cronin [Miller & Perron]; accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; Delaney [O'Neill]; fiddler Jimmy McHugh [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1974, Vol. 1, No. 33. Miller & Perron (Irish Traditional Fiddle Music), 1977; Vol. 3, No. 28. Mitchell (Dance Music of Willie Clancy), 1993; Nos. 51 & 52, pgs. 58-59 (two settings). Moylan (Johnny O'Leary), 1994; No. 218, pg. 125. O'Neill (Krassen), 1976; pg. 90. O'Neill (1850), 1903/1979; No. 1374, pg. 256. O'Neill (1001 Gems), 1907/1986; No. 624, pg. 113. Sullivan (Session Tunes), Vol. 3; No. 56, pg. 23. A & M Records 79602 2000-2, Ashley MacIsaac - "Close to the Floor" (1992). Noel Hill - "The Irish Concertina" (1988). Paddy Glackin & Paddy Keenan - "Doublin'" (1978). Shanachie 79093, Paddy Glackin & Robbie Hannan - "The Whirlwind" (1995. Learned from piper Séamus Ennis).
T:Dublin Reel, The
M:C
L:1/8
Q:250
K:D Major
dF ~F2 dF eF | dF ~F2 A2 Bc | dF ~F2 df ed | cd Bc A2 Bc |
dF ~F2 dF eF | dF ~F2 A2 Bc | dF ~F2 df ed | cd Bc A2 cd |
eA (3cBA eA fA | eA (3cBA BA FA | eA (3cBA eg fe | dB {c}BA BA FA |
eA (3cBA eA fA | eA (3cBA BA FA | eA (3cBA eg fe | dB {c}BA BA FA |
d3c dA FA | dc dB AD FA | d3c df ed | cd Bc A2 Bc |
d3c dA FA | dc dB AD FA | d3f e3g | fd Bc d4 :||

EDDIE KELLY'S REEL. AKA and see "Eleanor Kane's." Irish, Reel. D Minor. Standard. AABB. Source for notated version: fiddler Willie Coleman (County Sligo) [Breathnach]. Breathnach (CRE II), 1976; No. 181, pg. 94 (appears as "Gan anim/Untitled"). Carlin (Master Collection), 1984; No. 203, pg. 120. Wild Asparagus 003, Wild Asparagus - "Tone Roads" (1990).
T:Eddie Kelly's
S:Séamus Mac Conaonaigh
M:4/4
L:1/8
R:reel
Z:transcribed by Paul de Grae
K:Dm
B | AGEC D3 C | A,D (3DDD A,D (3DDD | EFFE F3 G | (3A=Bc fe d3 c |
AGEC A,3 =B | C3 D EGc=B | dfef cG (3A=Bc | BGFE FDD :||
||: e | fddc d3 e | fA (3def eAce | fddc defd | eg (3ggg edce |
fddc defd | egaf gedf | edc=B cG (3ABc | BGFE FDD :||

EFFIE GLASGOW OF LONGMORN. Scottish, Strathpspey. D Major. Standard. AAB. Composed by William 'Willie' MacPherson (1920-1974) of Elgin, who was a teacher and in the first violin section of the Scottish National Orchestra for many years. Hunter (1979) explains that Effie Glasgow was the wife of Harry Galsgow, the former excise officer at the Longmorn Distillery. Hunter (Fiddle Music of Scotland), 1988; No. 100.

ELSIE MARLEY. AKA and see "Alcy Marly." AKA - "Elsie Marly." Scottish, English; Jig and Song Tune. England, Northumberland. G Mixolydian (Raven, Vickers, Williamson): E Flat Mixolydian (Stokoe). Standard. AB (Raven, Stokoe): AABBCC (Gow): One part (Williamson). "This ballad had come down to us with a double claim for preservation from oblivion in the merit of the lively tune itself and the frolicsome spirit of the song, which, whilst gently satirising, at the same time preseves the memory of one who, in her day, had attained some noteriety as a general public entertainer. Elsie (or Alice) Marley was the wife of an innkeeper at the Barley Mow Inn, Pictree, near Chester-le-Street, where her buxom presence and lively humour were doubtless the means of attracting all ranks of society, from the pitman to the viewer, and from keelmen and sailors to tradesmen and gentlemen. The ballad was founded upon a true incident in the life of our heroine, and speedily became to popular all over the district that when Joseph Ritson published his 'Bishopric Garland' in 1784, he considered it of sufficient importance to be included in that collection. A happy temperment, a comfortable life, and an extensive circle of friends did not, however, suffice to save poor Elsie from a share of the 'ills that flesh is heir to,' for in Sykes Local Records, under date 1768, August 5 we read:--'The well-known Alice Marley, who kept a public house at Pictree, near Chester-le-Street, being in a fever, got out of her house and went into a field, where there was an old coal pit full of water, which she fell into and was drowned" (Stokoe & Bruce, 1882). The tune was still quite popular in Northumberland in 1800, when it appeared in a list of popular Northumbrian song and dance tunes published by Henry Robson. Glen finds the earliest appearance of the tune in print in Robert Bremner's 1751 or 1757 First Collection (pg. 26), though it was also printed by others, including Robert Petrie in his 1796 Fourth Collection (and who characterized the title as describing a 'bumpkin' (Williamson, 1976). Gow (1817) also gives "Country Bumpkin" as either a note or an alternate title.
***
Di' ye ken Elsie Marley, honey,
The wife that sells the barley, honey;
She lost her pocket and all her money,
Aback o' the bush i' the garden, honey.
Elsie Marley's grown se fine,
She won't get up to serve her swine,
But lies in bed till eight or nine,
And surely she does take her time. (Bruce & Stokoe)
***
Philippe Varlet sees similarities in parts to Willie Clancy's "The Rolling Wave" and O'Neill's "The Humors of Trim."
***
Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 112-114. Gow (Complete Repository), Part 4, 1817; pg. 38. Northumbrian Pipers Tunebook (2nd ed. 1970). Raven (English Country Dance Tunes), 1984; pg. 116. Seattle (William Vickers), 1987, Part 2; No. 269 (appears as "Alcy Marly"). Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 48.
T:Elsie Marley
M:6/8
L:1/8
S:Gow - 4th Repository
K:G
(B>AB) G2G|G2(g g)dc|(B>AB) G2G|=F2(f f)cA|
(B>AB) G2G|G2(g g)dB|cac BgB|A2(=f f)cA:|]
|:Bcd ded|d2(g g)dB|Bcd dcB|A2(=f f)cA|Bcd ded|d2(g g)dB|
cAc BgB|A2(=f f)cA:|
|:G2(g g)dB|gdB gdB|=F2 (f f)cA|fcA fcA|G2(g g)dB|gdB gdB|
cac BgB|A2(=f f)cA:|
T:Elsie Marley
L:1/8
M:6/8
S: Bruce & Stokoe - Northumbrian Minstrelsy
K:E_
GFG E2E|E2e eBA|GFG E2E|F_d dAF|GFG EEE|efe eBA|
AfA GeG|F2_d dAF||G2A B2B|Bcd eBA|G2A B2B|FGF _dAF|
G2A B2B|Bcd eBG|AfA GeG|F2_d dAF||

EWE REEL, THE ("Seisd An Aisg," "Cor An Foisc" or "Ril na Foisce"). AKA and see "Ewe Wi' the Crooked Horn," "The Foe," "Bob with the one Horn," "Miss Huntley's," "Go see the Fun," "Sweet Roslea and the Sky over it," "The Pretty Girl in Danger," "The Red Blanket," "The Ram with the Crooked Horn," "The Kerry Lasses," "The Merry Lasses," "My Love is Far Away," "The Lowlands of Scotland," "Peter Street." Irish, Reel. Ireland; County Sligo, west Clare. G Major (Breathnach, Mitchell, O'Neill/1850): G Mixolydian/Major {'A' part} & G Major {'B' part} (Flaherty, O'Neill/1001). Standard. AB (Mitchell): AAB (Flaherty): AA'B (O'Neill): AABB (Breathnach). The Irish version of the Scots "Ewe Wi' the Crooked Horn." Breathnach (1985) found the tune under the title "Sweet Roaslea and the Sky over it" in County Monaghan, "Miss Huntly's" in Fermanagh, "Go see the fun" in Kerry, "The Red Blanket" in Clare and "The Ewe with the Crooked Horn" in Armagh. "The Pretty Girl in Danger" was the title printed by Goodman and Kerr gives it as "The Foe" and "The Bob with one horn." Sources for notated versions: piper Pat Mitchell (Dublin, Ireland) [Breathnach]; fiddler Fred Finn, 1919-1986 (Kiltycreen, Kilavil, County Sligo, Ireland) [Flaherty]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; Chicago fiddler James Kennedy who had the tune from his father, a celebrated local fiddler from Ballinamore, County Leitrim [O'Neill]. Breathnach (CRE II), 1976; No. 145, pg. 77. Flaherty (Trip to Sligo), 1990; pg. 74. Mitchell (Dance Music of Willie Clancy), 1993; No. 106, pg. 91. O'Neill (1915 ed.), 1987; No. 261, pg. 134. O'Neill (1850), 1903/1979; No. 1229, pg. 231. O'Neill (1001 Gems), 1907/1986; No. 504, pg. 95.
T:Ewe Reel, The
L:1/8
M:C|
R:Reel
S:O'Neill - 1001 Gems (504)
K:G
DGGF DGGE|=F2 AF cFAF|DGGF DGGg|1 fdcA BGAF:|2
fdcA BG G2||g2 bg dgbg|f2 af dfaf|g2 bg dgbg|agfa g2 ga|
bgaf gdde|fefd cAGF|dggf (3gab ag|fdcA BGAF||

FASTEN THE LEGGIN'. AKA - "Daingnig An Cos Orrti," "Fasten the Leg in Her," "Fasten the Wig on Her," "Johnny is so long at the fair." Irish, Double Jig. G Major. Standard. AAB (Tubridy): AABB (Allan, Mallinson, Mulvihill, O'Neill): AA'BB' (Mitchell). Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Allan's Irish Fiddler, No. 6, pg. 3. Mallinson (Enduring), 1995; No. 40, pg. 17. Mitchell (Willie Clancy), 1993; No. 73, pg. 71. Mulvihill (1st Collection), 1986; No. 63, pg. 78 (appears as "Fasten the Leg"). O'Neill (Krassen), 1976; pg. 35 (appears as "Fasten the Leg in Her"). O'Neill (1850), 1979; No. 860, pg. 160 (appears as "Fasten the Leg in Her"). O'Neill (1001 Gems), 1907/1986; No. 120, pg. 35 (appears as "Fasten the Leg in Her"). Tubridy (Irish Traditional Music, Book Two), 1999; pg. 33. Claddagh Records, Paddy Taylor - "Boy in the Gap" (an unusual, old West Limerick, setting). Maire O'Keeffe - "Coisir/House Party."
T:Fasten the leg in her
S:Marie O'Keeffe - "Coisir/House Party" (based on fluteplayer Paddy Taylor's old Limerick version).
M:6/8
L:1/8
Z:Barbara Rubenstein
K:G
~B3 GDD|GBd edB |ABA DFA |DFA cBA|
~B3 GDD|GBd edB |ABA DFA |1 AGF G2A:|2 AGF GBd
|:~f3 def|~g3 efg|fAA AFA |BAF Ade|
~f3 def |~g3 efg|fed ^cBc|1 dfe dfa:|2 dfe d2c||
X:2
T:Fastne the Leg in Her
L:1/8
M:6/8
S:O'Neill - 1001 Gems (120)
K:G
d/c/|B2B BAB|GBd gdB|A2A AGA|Bee dBA|B2B BAB|GBd gfg|efg f<ag|fdd d2:|
|:e/f/|gag fgf|ede fdB|ABA AGA|Bee dBA|gag fgf|ede fdB|def e<ag|fdd d2:|

FATHER O'FLYNN. AKA and see "Cork Road," "Bonny Green Garters," "The Rollicking Irishman," "To Drink With the Devil," "The Top of Cork Road," "Trample Our Enemies," "Yorkshire Lasses." Irish (originally), English, American, Jig. USA, southwestern Pa. D Major. Standard. AABB. The title comes from popular lyrics written to the tune "The Top of Cork Road" by Alfred Perceval Graves, first published in 1874. The original for the priest in Graves song was Father Michael Walsh, a native of Buttevant, County Cork, who was a parish priest in Sneem, County Kerry, for over thirty-seven years until his death in 1866 (he is buried in the parish church). Walsh was said to have been a good violinist by one source, but Graves himself identified the clergyman as a piper "who played delightfully" and who had a love for Irish music. This last statement is borne out by the fact that twenty-seven pieces are credited to him in the Stanford/Petrie collection (1906). The words go:
***
Of priests we can offer a charmin' variety,
Far renown'd for learnin' and piety;
Still, I'd advance ye widout impropriety,
Father O'Flynn as the flow'r of them all.
Chorus:
Here's a health to you, Father O'Flynn,
Slainte and slainte and slainte agin;
Pow'rfulest preacher, and tenderest teacher,
And kindliest creature in ould Donegal.
***
Don't talk of your Provost and Fellows of Trinity,
Famous forever at Greek and Latinity,
Dad and the divils and all at Divinity
Father O'Flynn 'd make hares of them all!
***
Come, I venture to give ye my word,
Never the likes of his logic was heard,
Down from mythology into thayology,
Truth! and conchology if he'd the call.
***
Och Father O'Flynn, you've a wonderful way wid you,
All ould sinners are wishful to pray wid you,
All the young childer are wild for to play wid you,
You've such a way wid you, Father avick.
***
Still for all you've so gentle a soul,
Gad, you've your flock in the grandest control,
Checking the crazy ones, coaxin' onaisy ones,
Lifting the lazy ones on wid the stick.
***
And tho quite avoidin' all foolish frivolity;
Still at all seasons of innocent jollity,
Where was the playboy could claim an equality,
At comicality, Father, wid you?
***
Once the Bishop looked grave at your jest,
Till this remark set him off wid the rest:
"Is it lave gaiety all to the laity?
Cannot the clergy be Irishmen, too?"
***
Bayard (1981), in tracing the tune, thinks that it is perhaps not Irish in origin but English, as English (1778) published versions predate the Irish (1798). This was the first tune learned by piper Willie Clancy (1909-1973, Miltown Malbay, west Clare), taught to him at age five by his flute-playing father, Gilbert Clancy. Source for notated version: Hoge MS and Hiram Horner (fifer from Westmoreland and Fayette Counties, Pa., 1960) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 450B-C, pg. 430. Cranitch (The Fiddle Book), 1996; pg. 125. Kerr (Merry Melodies), Vol. 4; No. 189, pg. 22. Sweet (Fifer's Delight), 1964/1981; pg. 22. Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 32. Pibroch MacKenzie - "The Mull Fiddler" (1969). Shanachie 79093, Paddy Galckin & Robbie Hannan - "Whirlwind" (1995. Learned from piper Leo Rowsome).
T:Father O'Flynn
T:The Top of Cork Road
T:The Yorkshire Lasses
B:Traditional Irish Guitar, Paul de Grae (Ossian)
D:ditto
N:extended transcription to show variations
Z:Transcribed by Paul de Grae
R:jig
M:6/8
L:1/8
K:D
dAF DFA|Bed cBA|Bcd efg|fed edc|dAF DFA|Bed cBA|Bcd efg|fdd d2 c||
dAF DFA|Bed cBA|Bdd efg|fed edc|dAF DFA|Bed cBA|Bcd efg|fdd d2 e||
fed fga|ecA ABc|dzd Bcd|cAA AB=c|B2 G Bcd|AFF DFA|Bcd efg|fdd d2 e||
~fed fga|ecA ABc|dcd Bcd|cAA A2 =c|BGG Bcd|AFF DFA|Bcd efg|agf gfe||
dAF D2 A|Bed cBA|Bcd efg|agf gfe|dAF D2 A|Bed cBA|Bcd efg|fdd d2 c||
dAF DFA|d2 B cBA|Bcd efg|fed edc|dAF DFA|Bed cBA|Bcd efg|fdd d2 e||
fde fga|ecA ABc|dcd Bcd|cde A2 =c|B2 G Bcd|AFF DFA|Bcd efg|fdd d2 e||
~fed fga|ecA ABc|dcd Bcd|cee A2 =c|BGG Bcd|AFF DFA|Bcd efg|fdd d2 c||
dAF DFA|d2 B cBA|Bcd efg|faa eaa|dAF DFA|Bed cBA|Bcd efg|ABc d2 c||
dAF DFA|Bed cBA|Add Aee|Aff gfe|dAF DFA|Bed cBA|Bcd efg|fdd d2 e||
fde fga|ecA ABc|dzd Bcd|cAA AB=c|B2 G Bcd|AFF DFA|Bcd efg|fdd d2 e||
~fed fga|ecA ABc|dcd Bcd|cAA A2 =c|BGG D2 B|AFF D2 A|Bcd efg|fdd d3||

FERMOY LASSES, THE (Na Cailinide Ua Feara-Muige). AKA and see "The Connaght Ranger(s)," "The Humors of Mackin." Irish, Reel. Ireland; County Roscommon, west Kerry, west Clare. E Minor ('A' part) & G Major ('B' part). Standard. AB (Mitchell): AA'B (O'Neill): AABB (Flaherty, Mallinson, Perlman): AA'BB (Moylan). Fermoy is in County Cork. The reel was remembered by Kilmaley, County Clare, fiddler, flute player and uilleann piper Peader O'Loughlin as one of the tunes he listened to his father, a flute player, play in the 1930's. "'Twas a very simple, beautiful version of it, you know. Some of the tunes that are played today, you'd hear the difference, they're not the same. And d'you know, the more that you hear you might say they're not improved either" (Blooming Meadows, 1998, pg.170). Sources for notated versions: piper and flute player Charlie Lavin (b. 1940, Cloonshanville, near Frenchpart, County Roscommon) [Flaherty]; accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border), recorded at Na Piobairi Uilleann, October, 1984 [Moylan]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; Louise Arsenault (b. 1956, East Prince County, Prince Edward Island; now resides in Wellington) [Perlman]. Flaherty (Trip to Sligo), 1990; pg. 150. Mallinson (Enduring), 1995; No. 7, pg. 3. Mitchell (Dance Music of Willie Clancy), 1993; No. 16, pg. 38. Moylan (Johnny O'Leary), 1994; No. 142, pg. 83. O'Neill (Krassen), 1976; pg. 116. O'Neill (1850), 1903/1979; No. 1310, pg. 246. O'Neill (1001 Gems), 1907/1986; No. 573, pg. 105. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 112. Globestyle Irish CDORBD 085, Billy Clifford - "The Rushy Mountain" (1994. A reissue CD of Topic recordings from Sliabh Luachra musicians). Wild Asparagus WA 003, Wild Asparagus - "Tone Roads" (1990).
T:Fermoy Lasses
M:4/4
L:1/8
K:E Minor
BA|GE~E2 BE~E2|GE~E2 B2BA|GE~E2 BE~E2|AFDF ACBA|
GE~E2 BE~E2|GE~E2 B2BA|~G2GB d2dB|AFDF A2BA:|
|:G2BG dGBA|
G2 Bd efg2| G2BG dGBG|AFDF A2BA|
G2BG dGBA|G2 Bd efg2|gage dedB|AFDF A2BA:|

FERRIE REEL (Fairy Reel). Shetland, Reel. Shetland, Island of Yell. D Major. Standard. AABB. According to Tom Anderson (1978) the tune was one of the Yell tunes that were revived and played by Bobbie Jamieson and Willie Barclay Henderson. He identifies it as a trowie (troll) tune which tradition has it as heard emanating from a hole in the ground by a fiddler returning from performing at a wedding. Carlin (Master Collection), 1984; No. 112, pg. 73. Topic 12TS379, Aly Bain & Tom Anderson - "Shetland Folk Fiddling, Vol. 2" (1978).

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||

FALLEN CHIEF, THE. Scottish, Slow Air or Lament (6/4 time). A Major. Standard. One part. Composed by J. Scott Skinner as a dirge in memorial of dancer and piper Willie MacLennan who died tragically in Canada while touring with Skinner in 1893. Hunter (Fiddle Music of Scotland), 1988; No. 30.

FAREWELL TO ERIN/EIREANN [2] (Slán le hÉireann). AKA and see "Barrel O'Rafferty," "Master McDermott's" [1]. Irish, Reel. Ireland; County Sligo, west Clare. D Major. Standard. AABB. A variation of the tune given in version #1. Michael Coleman recorded this tune for Columbia in 1921 under the title "Farewell to Ireland" in a medley with "Austin Tierney's" (although the label reads only "Farewell to Ireland"). County Sligo/New York fiddler James Morrison also recorded the tune for Columbia in 1935 under the title "Farewell to Ireland." Sources for notated versions: flute player Éamonn de Stabaltún (Ireland) [Breathnach]; flute player Peter Horan (b. 1926, Kilavil, County Sligo) [Flaherty]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; fiddler John McKeown [Feldman & O'Doherty]. Breathnach (CRE I), 1963; No. 139, pg. 56. Feldman & O'Doherty (The Northern Fiddler), 1979; pg. 242 (appears as last "Untitled Reel" on page). Flaherty (Trip to Sligo), 1990' pg. 67. Mitchell (Willie Clancy), 1993; No. 27, pg. 44. Gael-Linn CEF 045, "Paddy Keenan" (1975).

FAREWELL TO THE DENE. English. England, Northumberland. A modern compostion by fiddler Willie Taylor, well-known among Northumbrian musicians.

FINERTY'S FROLIC (Cleasa Uí Finnactaig). AKA and see "Bliven's Favourite," "By your leave, Larry Grogan," "Coppers and Brass," "The County Limerick Buckhunt," "Green Sleeves," "Hartigan's Fancy," "The Humours of Ennistymon," "The Humours of Miltown," "Larry Grogan," "The Lasses of Melrose," "Lasses of Melross," "Little Fanny's Fancy," "Lynny's Favourite," "Pingneacha Rua agus Pras," "Queen of the Rushes," "The Waves of Tramore," "Willie Clancy's." Irish, Double Jig. G Mixolydian. Standard. AABB. O'Neill (1850), 1903/1979; No. 1016, pg. 189. O'Neill (1001 Gems), 1907/1986; No. 231, pg. 52.
T:Finerty's Frolic
L:1/8
M:6/8
S:O'Neill - 1001 Gems (231)
K:G
G/F/|DGG GAB|cAG FGA|BAB cAF|AGG G2F|
DGG GAB|cAG FGA|d/e/fd cAF|AGG G2:|
|:d|def g2g|fed cAF|Ggf gag|fdd d2e|f/g/ag fed|cAG FGA|d/e/fd cAF|AGG G2:|

FINNEGAN'S WAKE [1] (Torran UíFinnguine). AKA - "Tim Finnegan's Wake." AKA and see "(An) Bhean Spáinneach," "Doran's Ass," "The French Musician," "Paddy Doyle," "The Spanish Lady." Irish, New England; Air (cut time), Polka or March (2/4). D Major (Mallinson, Miller & Perron, Taylor): C Major (O'Neill): G Major (Tubridy). Standard. AB (O'Neill): AABB (Mallinson, Miller & Perron, Taylor. Tubridy). A tune derived from a comic "stage-Irish" song, which Bayard (1981) says was known in Pennsylvania as a folk song called "Dolan's Ass." The first part of the tune, he observes, is perhaps older than the second. Cazden (et al, 1982) report that Edwin Ford Piper gives 1884 as the date for the first appearance of the song "Finnegan's Wake," while Charles Kennedy uses the date of about 1870 for the piece he identifies as an "Irish-American vaudeville" work. The sheet music was listed as published in New York by Wm. A. Pond Co. in 1864, while a different reference from the same year names the air to the song as "The French Musician." The Journal of the Folk Song Society, Vol. IV, pg. 294, gives three sets of the air, two from the early 18th century and one from camp meeting spirituals known in Britain and the U.S. (all sets resemble the first strain of "Finnegan's Wake"). The song "Willie Taylor" is sometimes sung to this tune in Ireland. Sources for notated versions: Hiram Horner (Westmoreland and Fayette Counties, Pa., 1960), Henry Yeager (Centre County, Pa., 1930's), Fred Miller and Glen Gelnette (Jefferson County, Pa., 1949) [Bayard]; set dance music recorded at Na Píobairí Uilleann, late 1980's [Taylor]. American Veteran Fifer, No. 62. Bayard (Dance to the Fiddle), 1981; No. 184A-C, pgs. 140-141. Mallinson (100 Polkas), 1997; No. 93, pg. 36. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 57. O'Neill (1850), 1903/1979; No. 265, pg. 46. Ostling, pg. 23. Roche Collection, Vol 2; No 298 (4th figure and 1st tune of a quadrille). Taylor (Music for the Sets: Blue Book), 1995; pg. 21. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 6.
T:Finnegan's Wake
L:1/8
M:C|
K:D
|:F3F F2E2|F2A2B2A2|d3d d2A2|B2A2E4|F3F F2E2|F2A2B2A2|d3d d2A2|B2c2d4:|
|:d3d d2e2|d2c2B2A2|d3d d2e2|d2e2f4|d3d d2e2|d2c2B2A2|B3c B2A2|B2c2d4:|

FIRST OF MAY, THE [3]. AKA and see "Gilderoy," "The Little Beggarman," "Red Haired Boy," "The Red-Headed Irishman." Irish, Reel. G Major/Mixolydian. Standard. AABB. The tune is "The Red Haired Boy." Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Mitchell (Dance Music of Willie Clancy), 1993; No. 115, pgs. 96-97.

FIRST SLIP, THE. Irish, Slip Jig. G Major. Standard. AAB (Mitchell): AABB (Sullivan). Named by Willie Clancy because it was the first slip jig he learned, taught to him by his father, flute player Gilbert Clancy. Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Mitchell (Dance Music of Willie Clancy), 1993; No. 30, pg. 45. Sullivan (Session Tunes), Vol. 2; No. 41, pg. 17.

FISHERMAN'S LILT [1] (Streancán an Iascaire). AKA and see "Banks of the Inverness," "Cunningham's Fancy," "Funny Eye," "Kerryman's Daughter," "Molly what ails you?" "The Pretty Girls of the Village," "The Siege of Ennis," "You're right my love." Irish, Reel. E Minor. Standard. AB. Breathnach finds the 'B' part of "Fisherman's Lilt" to be the same as that of "Old John's Jig" (Port Shean tSeáin), and thinks the reel was derived from the jig. The 'A' part of "Fisherman's Lilt" is similar to the 'B' part of "Lady Mary Lindsay" printed by Glen, who reprinted it from John Riddle's collection of 1766. The "Funny Eye" title is from a music broadsheet published by Hime in Dublin about 1810, whle "The Pretty Girls of the Village" title comes from O'Brien's Irish Folk Dance Music (178). Sources for notated versions: fiddler George Rowley/Seoirse Ó Roghallaigh (Ireland) [Breathnach]; piper Willie Clancy (1918-1973, Miltown Malbay, West Clare) [Mitchell].. Breathnach (CRE I), 1963; No. 126, pg. 51. Mitchell (Dance Music of Willie Clancy), 1993; No. 10, pg. 34. Shanachie 97011, Dan Ar Bras - "Irish Reels, Jigs, Airs and Hornpipes" (1990).

FLOGGIN', THE ("An Seisd Buailteac" or "Ríl na Lasctha"). AKA - "The Flogging Reel." AKA and see "The Flaggon" (Scottish), "Flogging Reel" (Ire.), "Humours of Bantry Bay," "The Newry Lass," "The Slashing Reel." Irish, Reel. G Major ('A' and 'B' parts) & G Mixolydian ('C' part). Standard. ABC (Breathnach, Mallinson, Mitchell): AABC (O'Neill/1915 & 1001, Taylor): AABCC (Allan's, Gow): AABBC (O'Neill/1850): AABB'CC (O'Neill/Krassen). As "The Flogging Reel" the tune is a popular reel in County Donegal. Breathnach (1976) says it is related to "The Fife Reel." O'Neill (1913) mentions this tune in an anecdote about uilleann piper Patrick Ward, a 19th century farmer-piper of Blackbull, Drogheda. Ward was an accomplished fiddler before he picked up the pipes, but learned, as most did, by ear. His first lesson in writing music was not without difficulty; "having neither pen nor ink, he was told by his teacher, 'a dark man', to burn a furze stick and write with its calcined end. This expedient served fairly well. From that day to this he says that whenever he takes a pen in his hand to write music his mind reverts to "the Flogging Reel," which was the first tune set down in the manner mentioned." The reel was remembered by Kilmaley, County Clare, fiddler, flute player and uilleann piper Peader O'Loughlin as one of the tunes he listened to his father, a flute player, play in the 1930's (Blooming Meadows, 1998). 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). The melody was cited as having commonly been played for country dances in Orange County, New York, in the 1930's (under the title "Flogging Reel") {Lettie Osborn, New York Folklore Quarterly}. Sources for notated versions: concertina player Paddy Murphy, 1969 (Béal an Chreaga, Co. Clare, Ireland) [Breathnach/CRE II]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; set dance music recorded live at Na Píobairí Uilleann, mid-1980's [Taylor]; piper Liam Ó Floinn (Kildare) [Breathnach/Man & his Music]. Allan's Irish Fiddler, No. 58, pg. 14. Breathnach (CRE II), 1976; No. 184, pg. 96 ("Ril an Lasctha" {The Flogging Reel}). Breathnach (The Man & his Music), 1996; No. 7, pg. 104. Carlin (The Gow Collection), 1986; No. 254 (appears as "The Flaggon"). Mallinson (Essential), 1995; No. 26, pg. 12. Mitchell (Dance Music of Willie Clancy), 1993; No. 118, pg. 98. O'Neill (1915 ed.), 1987; No. 263, pg. 135 (appears as "The Flogging Reel"). O'Neill (Krassen), 1976; pg. 97 (appears as "Flogging Reel"). O'Neill (1850), 1903/1979; No. 1206, pg. 227 (appears as "Flogging Reel"). O'Neill (1001 Gems), 1907/1986; No. 482, pg. 92 (appears as "The Flogging Reel"). Taylor (Music for the Sets: Yellow Book), 1995; pg. 28. Edison 52499 (78 RPM), John H. "Dutch" Kimmel (accordion player from New York City), 1929. Island ILPS 9501, "The Chieftains Live" (1977). Rounder 7004, Joe Cormier - "The Dances Down Home" (1977. Appears as "The Flaggon").
T:Flogging Reel, The
L:1/8
M:C
S:Breathnach (1996)
K:G
A|BG G2 (3BAG cA|BG G2 (3Bcd gd|BG G2 (3BAG dB|AD F2 AB (3cBA|
BG G2 (3BAG cA|BG G2 (3Bcd gd|(3BcB BG BdcB|AF F2 ABcA||
g3 d BGBd|g2 dg faaf|g3d BG G2|AD F2 AB (3cBA|g3d BGBd|g2 dg faaa|
bgaf (3gfe dB|AGFG AB (3cBA||
(3Bcd gd (3Bcd gd|(3Bcd gd BG G2|(3AcA fc (3AcA fc|(3AcA fc BG G2|
(3Bcd gd edgd|(3Bcd ef g3a|bgaf (3gfe dB|AGFG AB (3cBA||

FLOWERS OF EDINBURGH [1] (Blata Duin-Eudain). AKA - "Flooers o' Edinburgh." AKA and see "Cois Lasadh/Leasa" (Beside a Rath), "Flowers of Donnybrook," "My Love's Bonny When She Smiles On Me," "My Love was Once a Bonny Lad," "Rossaviel," "To the Battle Men of Erin," "Old Virginia." Scottish (originally), Shetland, Canadian, American; Scots Measure, Country Dance Tune or Reel: English, Reel, Country or Morris Dance Tune (4/4, cut or 2/2 time); Irish, Reel or Hornpipe. Originally from Scotland, Lowlands region. USA; New England, southwestern Pa., Missouri, New York, Arizona. Canada; Prince Edward Island, Cape Breton. G Major (most versions): Morris version in D Major (Mallinson). Standard. AB (Bacon, Kerr): AAB (Bain, Mitchell): AABB (most versions): AA'BB (Phillips). Gow and others credit composition of the melody to James Oswald (Gow). Its earliest appearance in print is in Oswald's c. 1742 collection of Curious Collection of Scots Tunes (II), which appeared in London and contained the "Flowers" tune as a "crude" song entitled "My Love's bonny when she smiles on me." He printed the melody again in 1750 with the words "My love was once a bonny lad." The first version of the song and tune with the title "The Flower of Edinburgh" appeared in The Universal Magazine, April, 1749. That same year it was printed in John Johnson's Twelve Country Dances for the Harpsichord. Oswald himself republished it in 1751 in his volume Caledonian Pocket Companion under the title "The Flower of Edinburgh."
***
As regards the title, the convention "Flower of..." usually referenced a woman, although in the case of "Edinburgh" the plural form was appended at some point and stuck. The plural title appears in Herd's Scots Songs (without music) and in The Scots Musical Museum (1787, No. 13). Gow notes parenthetically in his Complete Repository (Part 4, 1817) that the 'flowers' of Edinburgh did not refer to comely females but in fact referenced the magistrates of the town. Some say the 'flowers' were female, although the females in question were prostitutes. It has also been suggested that the title refers to the stench of the old, overcrowded urban Edinburgh-a city fondly referred to as "Auld Reekie", which does not bespeak of a putrid, reeking smell, but rather comes from the Norwegian word røyk, meaning smoke. Thus 'Auld Reekie' refers to the pall of smoke that once hovered over the city, having been constantly spewed forth by its hearths. Finally, the 'flowers of Edinburgh' has been taken to refer to the contents of chamber pots which were, in the days before modern sewage systems, once disposed of by being thrown into the city streets (with or without the shouted warning "Gardez l'eau!" or "Mind yourself!"). Paul de Grae finds this latter interpretation in modern times incorporated by novelist Ian Rankin in one of his Inspector Rebus crime novels. Rebus, an Edinburgh detective, is being addressed by an "hard man" whose warning narrowly averted the Inspector's stepping in canine excrement. It will help to know human waste is called keech or keach in Ulster and Scotland (similar to the French caca, Italian cacca, Finnish and Icelandic kakku, and German kaka):
:***
"Know what 'flowers of Edinburgh' are?"
"A rock band?"
"Keech. They used to chuck all their keech out of the
windows and onto the street. There was so much of it
lying around, the locals called it the flowers of Edinburgh.
I read that in a book."
***
The renowned County Donegal fiddler, John Doherty (1895-1980) had his own idiosyncratic take on the title. In the notes for the album "The Floating Bow," Alun Evans writes of Doherty:
***
I can only say that I never found him to be other than exhilarating
company. Yet he was hard to pin down on detail, for in his mind fact and
fantasy were so tightly interwoven as to be indivisible - at least he led
you to believe so. He would tell how James Scott Skinner had composed the
tune 'The Flowers of Edinburgh' after a Miss Flowers with whom he was
besotted at the time. John must have known that this didn't ring true but a
story was a story, perhaps an example of the 'true Celtic madness' which is
said to be 'not psychotic but merely a poetic confusion of the real and the
imagined.'
***
English morris versions are from the Bampton area of England's Cotswolds and the North-West (England) tradition (where it is used as the tune for a polka step). Editor Seattle remarks of William Vickers' Northumbrian country dance version that it is "A fine setting with some distinctive 18th century touches."
***
In America the melody has also been used for country dances for over two hundred and twenty years. It was included by Greenland, New Hampshire, dancer Clement Weeks in his MS dance collection of 1783, and by Giles Gibbs (East Windsor, Ellington Parish, Connecticut) in his 1777 fife manuscript (Van Cleef & Keller, 1980). In the latter MS it is also called "Darling Swain." As "Old Virginia (Reel)" it was printed by George P. Knauff in Virginia Reels, volume II (Baltimore, 1839). Much later it was cited as having commonly been played for country dances in Orange County, New York, in the 1930's (Lettie Osborn, New York Folklore Quarterly), and was in the repertoire of Arizona dance fiddler Kenner C. Kartchner in the early twentieth century. The title also appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Howard Marshall writes that Art Galbraith (d. 1992) of Springfield, Missouri, "had the most famous version in his area which was handed down through his family from at least 1840. Art's version is distinctive for its retention of the old 'extra beat' that has been lost in other versions." This famous Scottish reel is as well known to Pennsylvania fiddlers as it is to country players everywhere in the area of British folk music tradition, says Bayard (1944), and is one tune to which a single title has been transmitted intact through the generations of folk process.
***
In Ireland "Flowers of Edinburgh" is most common rendered as a hornpipe. The Irish "Cois Leasa" (Beside a Rath) is a version of this tune, maintains O'Neill (Dance Music of Ireland), who perhaps found it in Haverty's 100 Irish Airs, 2nd series, 1859, where "The Flowers of Edinburgh" is given in parenthesis as an alternate title for the "Rath" tune. Bayard (1981) agrees with O'Neill, though Sullivan (Bunting Collection) and Alfred Moffat do not, and the connection is not addressed in the Fleischmann index (Sources of Irish Traditional Music, 1998). Stanford/Petrie notes his Arranmore-collected Irish tune "Rossaveel" is "the old form of 'Flowers of Edinburgh.'" Finally, a version is played under the title of "The Flower of Donneybrook" in Ireland.
***
Sources for notated versions: Fennigs All Stars (New York) [Brody]; John Kubina, (near) Davistown, Pennsylvania, September 3, 1943 (learned from traditional players in Pittsburgh) [Bayard]; Gilpin, Yaugher, Hall, Wright, Shape (all southwestern Pa. fiddlers whose versions were collected in the 1940's) [Bayard]; Arnold Woodley (Bampton, England) via Roy Dommett [Bacon]; Art Stamper (Mo.) [Phillips]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; Elliot Wright (b. 1935, North River, Queens County, Prince Edward Island) [Perlman]; fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]. Bacon (The Morris Ring), 1974; pgs. 46, 57, 81. Bain (50 Fiddle Solos), 1989; pg. 33. Bayard (Hill Country Tunes), 1944; No. 54. Bayard (Dance to the Fiddle), 1981; No. 340A=E, pgs. 326-327. Begin (Fiddle Music from the Ottawa Valley: Dawson Girdwood), 1985; No. 46, pg. 55. Brody (Fiddler's Fakebook), 1983; pg. 109. Burchenal (Rinnce na h-Eireann), p. 24. Calliope, pg. 28. Carlin (The Gow Collection), 1986; No. 256. Gow (Complete Repository), Part 4, 1817; pg. 16. Hardie (Caledonian Companion), 1992; pg. 32 (includes variations by Bill Hardie). Harding's Orig. Coll., No. 177. Hogg (Jacobite Relics), II, p. 129. Henderson (Flowers of Scottish Melody), 1935 (includes sets of variations). Howe's School for the Violin, p. 34. Howe's Diamond School for the Violin (1861); pg. 44. Hunter (Fiddle Music of Scotland), 1988; No. 310. Jarman (Old Time Fiddlin' Tunes); No. or pg. 6. JEFDSS, I, 82, second half of 'Birds-a-Building' equals the second half of No. 54. Jigs and Reels, p. 12. Johnson (Scots Musical Museum, edition of 1853), Vol. I, No. 13. Johnson, S.L. (Twenty-Eight Country Dances as Done at the New Boston Fair), Vol. 8, 1988; pg. 5. Kerr (Merry Melodies), Vol. 1; No. 1, pg. 23. Lerwick (Kilted Fiddler), 1985; pg. 19. Levey, No. 4. Mallinson (Mally's Cotswold Morris Book), 1988, Vol. 2; No. 30, pg. 16. Mallinson (Enduring), 1995; No. 19, pg. 8. Miller & Perron (New England Fiddlers Repertorie), 1983; No. 122. Mitchell (Dance Music of Willie Clancy), 1993; No. 88, pg. 79. Neal (Esperance Morris Book), pt. II, p. 29. O'Neill (1915 ed.), 1987; No. 350, pg. 171. O'Neill (Krassen), 1976; pg. 208. O'Neill (1001 Gems), 1907/1986; No. 920, pg. 157. O'Neill (1850), 1903/1979; No. 1746, pg. 325. Perlman (The Fiddle Music of Prince Edward Island) 1996; pg. 61. Petrie, No. 372. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 90. Reavy (The Collected Compositions of Ed Reavy), No. 86. Reiner (Anthology of Fiddle Styles), 1979; pg. 52. Robbins, Nos. 28 & 152. Saar, No. 29. Seattle (William Vickers), 1770/1987, Part 2; No. 384. Sharp and Macilwaine (Morris Dance Tunes), Set V, pp. 2,3 (same version printed in other Sharp folk dance books). Sharp (Country Dance Tunes), 1909/1994; pg. 6. Smith (Scottish Minstrel), III, 25. Calliope (4th edition, 1788), p. 28. Stewart-Robertson (The Athole Collection), 1884; pg. 146. Sweet (Fifer's Delight), 1964/1981; pg. 59. Tolman (Nelson Music Collection), 1969; pg. 12. Wade (Mally's North West Morris Book), 1988; pg. 22. White's Unique Coll., No. 71. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 53. Breakwater 1002, Rufus Guinchard- "Newfoundland Fiddler." Edison 52313 (78 RPM), John Baltzell (Mt. Vernon, Ohio), 1928 {appears as "Flowers at Edingurgh"} [Baltzell was taught to play the fiddle by minstrel Dan Emmett]. Front Hall 01, Fennigs All Stars- "The Hammered Dulcimer." Glencoe 001, Cape Breton Symphony- "Fiddle." Kicking Mule 209, Ken Perlman- "Melodic Clawhammer Banjo." North Star NS0038, "The Village Green: Dance Music of Old Sturbridge Village." Olympic 6151, The Scottish Festival Orchestra- "Scottish Traditional Fiddle Music" (1978). Philo 1008, "Kenny Hall." Sonet 764, Dave Swarbrick and Friends- "The Ceiledh Album." Voyager VRCD 344, Howard Marshall & John Williams - "Fiddling Missouri" (1999. Learned from the playing of Missouri fiddler Art Galbraith).
X:1
T:Flowers of Edinburgh
L:1/8
M:C|
R:Country Dance
B:The Athole Collection
K:G
GE|D3E G3A|BGdG cBAG|FGFE DEFG|AFdF E3F|
D3E G3A|BGBd efge|dcBA GFGA|B2G G2:|
|:d|gfga gbag|fdfg fagf|edef gfed|B2 e>f efge|dBGB B/c/d cB|
egfa g2fe|dcBA GFGA|B2G2G2:|
X:2
T:Flowers of Edinburgggg
M:2/4
L:1/8
S:Bruce Molskey
R:Old-time
Z:M. Reid 27-Jan-199
K:G
D2|G3 D|ED B,D|G2 G2|BA Bd|cB AG|FG FE|DE FG|A4|A,4|ED EF|G3 A| BA Bc|d2
ef|ga ge|dB GB|A2 Ac|B2 F2 |1 G4-|G2:|2 G4-|G4 |:g3 a|b2 ag|fe fg|a2
A2|e3 f|gf ed|B2 e2|e2 ef|g2 e2|dB GB| Bd- dB|d2 ef|gf ef|ga ge|dB GB|A2
Ac|B2 F2|1 G4-|G4:|2 G4-|G2|]
X:3
T:Flower of Edinburgh
S:Twelve Country Dances for the Harpsichord, 1749.
Q:60
Z:Transcribed by Bruce Olson
L:1/4
M:C|
K:G
(3 G/F/E/|D3/2E/G3/2A/|B/G/ B/d/{c/}BA/G/|{G/}F3/2E/ D/E/ F/G/|\
A/F/ d/F/EF/E/|D/E/ F/D/G3/2A/|(3B/A/G/ (3 B/c/d/ e3/2g/|\
d/B/ A/G/EG/A/|BG/A/G||d|g/f/ g3/4a/4 f/4a/4b/ a/g/|\
f/e/ f3/4g/4 f/4g/4a/ g/f/|e/d/ e/f/ g/f/ e/d/|\
Bee3/2 g/8f/8e/4|d/B/ A/G/dc/B/|e/d/ e/f/ g3/2g/8a/8b/4|\
c/B/ A/G/ EG/A/|BGG|]
X:4
T:Flowers of Edinburgh
S:Scots Musical Museum, #13 (1787)
Q:60
Z:Transcribed by Bruce Olson
L:1/4
M:C
K:F
C/|C3/2 D/F3/2G/|(A/F/) (c/F/) {B/}AG/F/|\
~E3/2D/ C3/4D/4 E3/4F/4|G/E/ c/E/ ~D3/2E/|\
C3/2D/F3/2G/|~(A3/4G/4A/) c/d (d/4e/4f/)|\
(B/A/) (G/F/) {A}/G (F/G/)|A~G3/4F/4F||(c/4d/4e/)|\
(f3/4e/4f/) g/ (f/4g/4a/) ~(g/f/)|\
~(e3/4d/4e/) f/ (e/4f/4g/) ~(f/e/)|\
(d3/4c/4d/) e/ (f/e/) (d/c/)|Ad3/4e/4 d(d/4e/4) f/|\
{c/}A G/F/c(B/A/)|d/c/d/e/ .g3/2 {g/a/} A/|\
(B/A/) G/ F/ GF/G/|A~G3/4F/4F|]
X:5
T:Flowers of Edinburgh
S:from the playing of Dave Swarbrick,
S:from "The Ceilidh Album" (?)
Z:Transcribed by Nigel Gatherer
N:An English morris version?
M:2/4
K:G
L:1/8
D|GG BG/B/|dB g>e|dB B/A/G/A/|BG ED|
GG BG/B/|dB g>e|dB B/A/G/A/|BG G:|]
d|g2 f>e|Be e>f|g2 f/g/f/e/|Be eg/e/|
d/B/G/B/ dd|e/d/e/f/ gg/e/|dB B/A/G/A/|BG G:|]

FOLLOW ME DOWN TO CARLOW [2] ("Lean Me Sios Go Ceatair-Loc" or "Lean go Ceatharlach sios me"). AKA - "Follow Me Down," "Follow Me Up to Carlow." AKA and see "An Ril Cam," "Miss Murphy," "Bonnie Annie." Irish, Single Jig, Slide, March (6/8 or 4/4 time) or Reel; New England, Jig or Polka. A Dorian. Standard. AB (Breathnach, Joyce): AAB (Darley & McCall, Mitchell, O'Neill, Tubridy): AABBC (Moylan). Breathnach (1977) states the tune is a 6/8 version of a Scottish reel by Donald Dow (Glen Collection, pg. 23 {4th tune}, and Gow's Complete Repository, Vol. 1, pg. 22 {3rd tune}). Darley & McCall state that the air is called "Follow Me Up to Carlow" and that there is a tradition that this air was the Clan March of the O'Byrne family. Its first public airing was supposedly when it was played by the Irish war-pipers of Feagh MacHugh (Fiach Mc Hugh O' Byrne) at the fight of Glenmalure (1580) when he attacked the English of the Pale (the environs surrounding Dublin), defended by the troops of Lord Deputy Grey. Sources for notated versions: Mrs. Anastasia Corkery (Irish-American from Co. Cork and Cambridge, Mass., 1930's) [Bayard]: "...copied from (a) very old well-written manuscript lent to me in 1873 by Mr. J. O'Sullivan, of Bruff, Co. Limerick" [Joyce]; "received from the Rev. Father Gaynor, C.M., Cork" [Darley & McCall]; piper Felix Doran, 1969 (Co. Kilmany, Ireland) [Breathnach]; west Kerry fiddler Padraig O'Keeffe via accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Bayard (Dance to the Fiddle), 1981; Appendix No. 35, pg. 586. Breathnach (CRE I), 1963; No. 107. Breathnach (CRE II), 1976; No. 84, pg. 45. Darley & McCall (The Darley & McCall Collection of Traditional Irish Music), 1914; No. 65, pg. 29. Henebry, 1928; No. 75, pg. 255. Joyce (Old Irish Folk Music and Songs), 1909; No. 243, pgs. 117-118. Miller & Perron (101 Polkas), 1978; No. 10. Mitchell (Dance Music of Willie Clancy), 1993; No. 129, pg. 103 (appears as "Follow Me Up to Carlow"). Moylan (Johnny O'Leary), 1994; No. 325, pg. 185 (slide version). O'Neill (1850), 1903/1979; No. 1282, pg. 241. O'Neill (1001 Gems), 1907/1986; No. 988, pg. 170. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 5.
X:1
T:Follow Me Down to Carlow
L:1/8
M:6/8
S:Joyce - Old Irish Folk Music
K:A Dorian
ABA A2G|E2F G2B|ABA A2B|c2d e2d|c2A B2G|E2F G2B|ABA B2G|A3A3||
e2g g3|e2a a3|BcB B2A|G2A B3|e2g g3|e2a a3|BcB B2G|A3A3|e2g g3|e2a a3|
BcB B2A|G2A B2d|e2f g2e|a2f ged|BcB B2G|A3A3||
X:2
T:Follow Me Down to Carlow
L:1/8
M:C
S:O'Neill - 1001 Gems (988)
K:A Minor
(3ABA A>G E>^F G2|(3ABA A>B c>de>d|c>bc>G E>^FG>B|(3ABc B>G A2A2:|
||e>aa>g e>^f g2|(3BcB B>A G>A (3Bcd|e>aa>g e>^f g2|(3BcB B>B A2 A2|
e>aa>g e>^f g2|(3BcB B>A G>A (3Bcd|e>g^f>a g>ag>e|d>BG>B g>dB>G||

FORTY MILES. American, March (irregular time but generally in 6/8). D Major. Standard. AB. Bayard (1981) considers it a version of the Scottish "Muirland Willie". Source for notated version: Irvin Yaugher Jr., Mt. Independence, Pennsylvania, October 19, 1943 (learned from hearing 'martial bands' {fife and drum corps} play it) [Bayard]. Bayard (Hill Country Tunes), 1944; No. 92.

FOUR HUNDERD YEARS OLD. American, Jig. USA, southwestern Pa. G Major. Standard. AB. Bayard (1981) asserts that the tune is similar to both "Kenmuir's Up and Awa" and "Up and Waur Them A', Willie," Scottish tunes popular in the 18th and early 19th centuries. Source for notated version: Henry Yeager (fiddler from Centre County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 494, pg. 456.

FOWLER ON THE MOOR, THE. Irish, Single Jig (12/8 time). G Major. Standard. AA'BB'. Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Mitchell (Dance Music of Willie Clancy), 1993; No. 74, pg. 72.

FRAHER'S JIG. Irish, Single Jig (12/8 or 6/8 time). D Mixolydian. Standard. AB (Mitchell): AA'BB' (Taylor). The tune is sometimes paired with double jigs, with which it fits. According to piper Jimmy O'Brien-Moran, the tune can be traced to Edward Fraher, a Tipperary piper whose hey-day was the first half of the 19th century. Fraher's neighbor and pupil, James Bourke of Kilfrush, Knocklong, County Limerick, learned the tune and in turn passed it along before he died in the 1920's. Brother Gildas (1883-1960, AKA Patrick O'Shea, a piper and De La Salle brother) learned the tune from Bourke and Willie Clancy had the melody from Gildas. Sources for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; set dance music recorded live at Na Píobairí Uilleann, mid-1980's [Taylor]. Bulmer & Sharpley (Music from Ireland), 1974; Vol. 3, No. 59. Mitchell (Dance Music of Willie Clancy), 1993; No. 86, pg. 78. Taylor (Music for the Sets: Yellow Book), 1995; pg. 25. Paddy Glackin & Paddy Keenan - "Doublin'" (1978). Piping Pig Records PPPCD 001, Jimmy O'Brien- Moran - "Seán Reid's Favourite" (1996).
T:Fraher's Jig
M:6/8
L:1/8
R:Jig
K:G
A3 GEA | DED GEG | ABA GEA | ~D3 DFG |
A3 GEA | DED GEG | (3ABc A GEA | ~D3 D3 |
A3 GEA | DED GEG | ABA GEA | ~D3 DFG |
A3 GEA | DED GEG | (3ABc A GEA | ~D3 D3 |
(3ABcA d2A | d2A AGE | GAB c2c | BGE EDD |
Add def | dcA AGE | (3ABc A GEA | D2~D D3 |
(3ABcA d2A | d2A AGE | GAB c2c | BGE EDD |
Add def | dcA AGE | (3ABc A GEA | D2~D D3 |

FRED/FREDDY FINN'S (Ríl Fhrederic Uí Fhinn). AKA and see "Berkshire Heights," "Molly What Ails You?" "You're Right My Love." Irish, Reel. Ireland, County Sligo. D Major. Standard. AABB (Mulvihill, Taylor): AABB' (Breathnach): AA'BB' (Flaherty). Fred Finn (1919-1986) was a noted fiddler from the Kilavil, County Sligo, region, called Coleman Country because it was also the birthplace of famous fiddler Michael Coleman. Finn was a member of the Glenview Céilí Band with fiddlers Peter Horan, Willie Coleman, Dick Brennan, among others. Both Breandan Breathnach and Bernard Flaherty (Trip to Sligo) maintain in their respective publications that the original name for this tune was "Berkshire Heights." Sean Ryan recorded a version of the tune in 1969. Sources for notated versions: fiddler Fred Finn {1919-1986} (Kiltycreen, Kilavil, Co. Sligo) [Flaherty]; fiddler and flute player Peter Horan & fiddler Freddy Finn (Ireland) [Breathnach]; Brendan Mulvihill (Baltimore, Md.) [Mulvihill]; set dance music recorded at Na Píobairí Uilleann in the 1980's [Taylor]. Breathnach (CRE III), 1985; No. 199, pg. 88. Bulmer & Sharpley (Music from Ireland), 1974, Vol. 3, No. 30. Flaherty (Trip to Sligo), 1990; pg. 77. Mulvihill (1st Collection), 1986; No. 84, pg. 22. Taylor (Crossroads), 1992; No. 14, pg. 12. Taylor (Music for the Sets: Yellow Book), 1995; pg. 10. Treoir, iv, 6. Mulligan Records, Freddy Finn & Peter Horan. Shaskeen - "The Mouse Behind the Dresser." "Music at Matt Molloy's."

FRENCH FOUR [1]. New England, Reel. C Major. Standard. One part. The tune for the dance of the same name. The origin of the tune is unknown, but the dance may have been derived from old English country dances called "Trenchmore Galliard" or "Westcountry Jigg" (Linscott). Source for notated version: Willie Woodward (Bristol, N.H.) [Linscott]. Linscott (Folk Songs of Old New England), 1939; pg. 78.

FRIENDLY VISIT, THE (An Tiomcuairt). AKA and see "The Smith's Hornpipe," "Tamony's Hornpipe." Irish, English; Hornpipe. G Major (Mitchell, O'Neill, Raven): A Major (Mulvihill). Standard. AABB. The tune is played in A Major in County Donegal where it is very popular. Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Mitchell (Willie Clancy), 1993; No. 114, pg. 96. Mulvihill (1st Collection), 1986; No. 16, pg. 92. O'Neill (1915 ed.), 1987; No. 352, pg. 172. O'Neill (Krassen), 1976; pg. 196. O'Neill (1850), 1903/1979; No. 1696, pg. 315. O'Neill (1001 Gems), 1907/1986; No. 894, pg. 154. Raven (English Country Dance Tunes), 1984; pg. 171. Piping Pig Productions PPPCD001, Jimmy O'Brien-Moran - "Seán Reid's Favourite" (1996. Learned from a casual recording of pipe and fiddle duet Bill Kelly and Bill {Willie} Clancy).
T:Friendly Visit, The
S:Paul O'Shaughnessy
Z:Juergen.Gier@post.rwth-aachen.de
M:C|
L:1/8
K:A
cB|(3AcA EG Acec|dfBa (3gfe (3bag|aeca fdBA|GEBE dBGB|(3AcA EG Acec|\
dfBa (3gfe (3bag|aecA GBed|1(3cec AG Ad:|2(3cec AG ABcd|]
|:(3efe ce Aaga|(3faf df Bdfg|agbg aecA|GEBE dBGB|(3AcA EG Acec|\
dfBa (3gfe (3bag|aecA GBed|1(3cec AG A2 (3Bcd:|2(3cec AG Ad|]

FRIEZE BREECHES/BRITCHES [1] ("An Briste Breidin" or "An Brístín Mire"). AKA and see "(An) Bristin Mire," "Cunla," "Friar's Breeches," "Friar's Britches," "Gallagher's," "Gallagher's Frolics," "Gallagher's Lament," "I Buried My Wife (and Danced On Top of Her)," "O'Gallagher's Frolics," "On St. Patrick's Day I was Gay," "The Trumlo." Irish, Double Jig or Single Jig (Breathnach). D Mixolydian (Breathnach): D Major/Mixolydian. Standard. AB (Breathnach): AABB (Russell): AA'BB' (Mitchell): AABBCCDDEE (Brody, Mitchell): AABBCCDDEE' (Mallinson): AABB'CCDDEE' (O'Neill/Krassen): AABCCDDEEF (O'Neill/1850 & 1001). Frieze is a coarse woollen cloth with a shappy nap. The melody was known in the Sliabh Luachra region of the Cork-Kerry border as "Gallagher's," and accordion player Johnny O'Leary identified the title "Frieze Breeches" as coming from "the Galway crowd." North Clare tin whistle player Micho Russell remembered that "long ago" the tune was only in two parts and was known as "La San Sean, ba chraite an mhaidin i'," and that it was later used for the song "Cunla" (popularized in the 1970's by the band Planxty):
***
Who comes there tickling the toes of me?
There is nobody here but Cunla.
***
Breathnach (1963) prints these words:
"Cé hé sin thiós ag briseadh na gclaiocha?" (x3)
"Mise féin" a deir Connla.
"Chonnla chroí ná teara níos goire dhom" (x3)
"Mhaisce, tiocfad", a deir Connla.
Translated by Paul de Grae:
"Who is that down there breaking the fences?
"Myself says Connla.'
"Connla dear don't come any nearer to me"
"Wisha, I will," says Connla.
***
O'Neill (Irish Folk Music, pg. 97) states this jig was "in some form known all throughout Munster. A strain remembered by from my mother's singing of it was added to Delaney's version, making a total of six in our printed setting. A ridiculous, although typical folk song, called 'I Buried My Wife and Danced on Top of Her' used to be sung to this air, which bears a close resemblance to our version of 'O'Gallagher's Frolics'." Russell said "Frieze Britches" was a very popular tune around Ennistymon, County Clare, and related that his father had been to the fair in that city and met with one Paddy Cearnuf, who lilted the melody and, obviously enamored, called it "the first tune that was ever played in heaven" (Russell, 1989). Breathnach (1963) maintains Joyce's third part does not belong to this jig. Sources for notated versions: Chicago piper Bernard Delaney [O'Neill]; Planxty (Ireland) [Brody]; piper Willie Clancy (1918-1973, Miltown Malbay, West Clare) [Mitchell]; piper Seán Potts (Ireland) [Breathnach]; sessions at the Regent Hotel, Leeds, England [Bulmer & Sharpley]. Breathnach (CRE I), 1963; No. 62, pg. 27. Brody (Fiddler's Fakebook), 1983; pg. 113. Bulmer & Sharpley (Music from Ireland), 1974, Vol. 1, No. 65. Joyce (Old Irish Folk Music and Song), 1909; No. 287. Mallinson (Enduring), 1995; No. 42, pg. 18. Mitchell (Dance Music of Willie Clancy), 1993; Nos. 11 & 12, pgs. 34-35 (two versions) and Nos. 101 & 102, pgs. 87-89. O'Neill (Krassen), 1976; pg. 61. O'Neill (1850), 1979; No. 1051, pg. 198. O'Neill (1001 Gems), 1986; No. 260, pg. 58. Russell (The Piper's Chair), 1989; pg. 11. Bay 203, Jody Stecher- "Snake Baked a Hoecake." Copley DWL-9-617, Jack Wade- "Ceili Music From Ireland." Green Linnet 1009, Glinside Ceili Band- "Irish Music: The Living Tradition." Green Linnet SIF 3005, The Bothy Band - "Old Hag You Have Killed Me" (1981. A reissue of the 1976 Mulligan LP). Outlet 3002, Paddy Cronin- "Kerry's Own Paddy Cronin" (1977). Polydor 2383 397, Planxty- "Planxty Collection." Topic 12T309, Padraig O'Keeffe, Denis Murphy & Julia Clifford - "Kerry Fiddles." Transatlantic 341, Dave Swarbrick- "Swarbrick 2" (appears as "Friar's Breeches").
T:Frieze Breeches, The [1]
L:1/8
M:6/8
S:O'Neill - 1001 Gems (260)
K:D
A/G/|FEF DED|A2d cAG|ABA GAG|F2A GEC|FEF DED|A2d cAG|FEF GEC|DED D2:|
||G|A2d d2e|fed cAG|ABA GAG|F2A GEC|A2d d2e|fed cAG|FEF GEC|DED D2G|
A2d d2e|fed cAG|ABA B<cd|ded cAG|fef efe|ded cAG|FEF GEC|DED D2||
|:F|DED cBc|AdB cAG|ABc d2e|fed cAF|DED cBc|AdB cAG|FEF GEC|DED D2:|
|:A|d2e f2g|a2f ged|c2d efg|fdf ecA|d2e f2g|a2f ged|faf gec|ded d2:|
|:d|fdf ece|ded cAG|ABA A2G|F2A GEC|fdf ece|ded cAG|FDF GEC|DED D2:|
||F/G/|A2B cBA|c2e cAG|A2d d2e|fed cAG|A2B cBA|dcB cAG|FEF GEC|DED D2G|
A2B c2B2d cAG|A2d d2e|fed cAG|faf gec|ded cAG|FEF GEC|DED D2||

GALBALLY FARMER, THE. AKA and see "The (Old) Barndoor Jig," "An Caitin Ban," "Cranbally Farmer," "Darby O'Leary," "Fagamaoid Sud Mar Ata Se" (Let Us Leave That As It Is), "Get Up Early," "Let Us Leave That As It Is," "The Limerick Rake," "Rakes of Kildare," "'Twas On the First of May Brave Boys." Irish, Jig. G Major. Standard. AA'B (Mitchell): AABB (Joyce, Roche): AABB' (Mulvihill). Martin Mulvihill gives that this tune was used as a accompaniment for the dance The Haymakers' Jig. Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Henebry, 1928; pgs. 187-189, Nos. 42 & 44. Joyce (Old Irish Folk Music and Song), 1909; No. 406 ("The Spalpeen's Complaint of the Cranbally Farmer"). Mitchell (Dance Music of Willie Clancy), 1993; No. 141, pg. 112. Mulvihill (1st Collection), 1986; No. 44, pg. 128. Roche Collection, 1983, Vol. 1; No. 87, pg. 39 and Vol. 3, No. 103.
T:Galbally Farmer, The
T:Rakes of Kildare
R:Jig
M:6/8
L:1/8
K:C
C|ADD DCD|EGG A2B|cBc AcA|GED C2A,|\
D3 DCD|EGG A2B|cBA GEC|1 D3 D2C:|2 D3 D2G||\
Add dcd|dcd e2d|cBc AcA|GED CEG|\
Add dcd|dcd e2d|cBA GEC|D3 D2G:||

GALLANT SIXTY-NINTH, THE. AKA and see "The Gals of Sixty-Nine," "The Irishman's Shanty," "The Old Tenth." American, March (6/8 time). USA, southwestern Pa. A Mixolydian. Standard. AABB. Bayard (1981) identifies this as yet another of the extensive "Welcome Home" family of tunes. The first alternate title is obviously a risqué corruption of the given title. Sources for notated versions: Hiram Horner (Westmoreland and Fayette Counties, Pa., 1944 & 1960), Wilbur Neal (Jefferson County, Pa., 1948) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 606A-D, pgs. 535-536. Feldman, (The Northern Fiddler), 1979; pg. 231 (3rd tune). Mitchell (The Dance Music of Willie Clancy), 1976; No. 40. O'Neill (Dance Music of Ireland {1001 Gems}), 1907; No. 305.

GALLOP TO GEORGIA. Old-Time, Breakdown. C Major. Recorded by Carroll County, Mississippi, fiddle/guitar duo Willie Narmour (b. 1889) and Shell Smith (b. 1895). Allin Cottrell points out that fast accurate playing in the key of C is one of the hallmarks of Narmour's fiddling. Musical Traditions MT 104, Narmour and Smith - "Where the Southern Crosses the Dog: Mississippi Fiddle Music 1928-35."

GALTEE REEL, THE. Irish, Reel. A Dorian. Standard. AABB (McNulty): AA'BB' (Mitchell). Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. McNulty (Dance Music of Ireland), 1965; pg. 7. Mitchell (Willie Clancy), 1993; No. 132, pg. 106.
T:Galtee Reel, The
R:Reel
M:4/4
L:1/8
K:G
a2ed ceAG|EAAE A2ce|a2ed ceAc|ABBA gdeg|\
a2ed ceAG|EAA2 a2ga|b2ag egg2|gedB BAA2:||\
c2Ec d2ed|ceA^c dBGB|c2Ec d2ed|cABG DE (3GAB|\
c2Ec d2ed|cAA2 a2ga|b2ag egg2|gedB BAA2:||

GANDER IN THE PRATIE HOLE, THE (An Gandal i bPoll na bhFataí). AKA and see "The Gander at the Pit of Spuds," "The Monk." Irish, Double Jig. D Major ('A' part) & D Mixolydian ('B' part) {Breathnach, Carlin, Mallinson}: D Mixolydian {Mitchell}. Standard. AAB (Carlin): AABB (Breathnach, Mallinson): AA'BB (Mitchell). Sources for notated versions: piper Seán Potts (Ireland) [Breathnach]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Breathnach (CRE I), 1963; No. 30, pg. 13. Carlin (Master Collection), 1984; No. 263, pg. 150. Mallinson (Enduring), 1995; No. 41, pg. 17. Mitchell (Dance Music of Willie Clancy), 1993; No. 117, pg. 97. Shanachie 79011, Planxty - "Cold Blow and the Rainy Night." Shanachie 79012, Planxty - "The Planxty Collection" (1974).

GARRAÍ NA SAILEOG (The Garden of Willows). Irish, Fling (Reel). G Major. Standard. AB. Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Mitchell (Dance Music of Willy Clancy), 1993; No. 85, pg. 78. Piping Pig Records PPPCD001, Jimmy O'Brien- Moran - "Seán Reid's Favourite" (1996).

GARRETT BARRY{'S JIG} (Gearóid de Barra). AKA and see "Cailleach an Tuirne," "Cailin A' Tuirna," "Is Maith Le Nora Ciste" (Nora Likes Cake), "Kiss Me, darling," "The Ladies' Fancy," "The Maid at/of the Spinning Wheel," "Maire an Phortair," "Noran Kista," "Nora's Purse," "Norickystie," "Port an Achréidh," "The Road to Lurgan," "Sergeant Early's Jig," "The Spinning Wheel,""Tune the Fiddle," "The Wild Irishman," "Wreathe the Bowl." Irish, Double Jig. D Mixolydian/Major (Flaherty, Sullivan): D Mixolydian (Mallinson, Mitchell). Standard. AABB (Flaherty, Mallinson, Sullivan): AA'BB (Mitchell): AABB' (Mitchell). Garrett Barry was an influential blind piper from Inagh, County Clare, who died in the Ennistymon Poor House around the year 1900, "whose memory is very much alive in the locality to the present day" (Mitchell). Sources for notated versions: flute player Sonny McDonagh (b. 1926, Rinnarogue, Bunninadden, Co. Sligo) [Flaherty]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare), who had the tune from his father who had learned it from Garrett Barry himself [Breathnach, Mitchell]; Chieftains [Sullivan]. Breathnach (CRE I), 1963; No. 46, pg. 19. Flaherty (Trip to Sligo), 1990; pg. 123. Mallinson (Enduring), 1995; No. 48, pg. 21. Mitchell (Willie Clancy), 1993; No. 36, pg. 49 & No. 59, pg. 64 (two versions). Sullivan (Session Tunes), Vol. 3; No. 9, pg. 4. Columbia CAL505-1 (78 RPM), Paddy O'Brien (195?. Appears as "Garret Barry's Favorite").

GARRET BARRY'S MAZURKA. AKA and see "Sonny's Mazurka." Claddagh 4CC 32, Willie Clancy - "The Pipering of Willie Clancy, Vol. 1" (1980).

GARRETT BARRY'S REEL. Irish, Reel. G Major. Standard. AABB. Garrett Barry was a blind piper from Inagh, County Clare, who died in the Ennistymon Poor House around the year 1900, "whose memory is very much alive in the locality to the present day" (Mitchell). It is said that it was Barry's habit to pair this tune with the "Virginia Reel." Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Mitchell (Dance Music of Willie Clancy), 1993; No. 23, pg. 42. Green Linnet SIF 1157, "John Williams." Music at Matt Molloy's. Green Linnet SIF 3111, The Bothy Band - "Live at the BBC, '76, '78." GlobeStyle: CDORBD 084, Pat Mitchell - "Gentlemen Pipers" (1994). Topic: 12TS294 (Ossian 71), Pat Mitchell - "Uilleann Pipes" (1976).

GHAOTH ANIAR ANDEAS, AN (The South-West Wind). AKA and see "Aineen's Double," "Bacach na Cleithe," "The Cherry Groves," "Coffee and Tea," "Connie the Soldier," "Jimmy the Tailor," "Maire Ni Eidhinn." Irish, Jig. D Dorian ('A' part) & D Dorian/Major ('B' part). Standard. AABB. Petrie said the song "Máire Inis Toirc" was sung to this air, though Breathnach states it was not sung to it in Cois Fhairrge at the time he was writing. Petrie also published two setting of the tune, a jig called "Bacach na Cleithe" (obtained from Patrick Coneelly, a piper, in 1840) and a song called "Banish Misfortune." Source for notated version: piper Seán Potts [Breathnach]. Breathnach (CRE I), 1963; No. 29, pg. 13. Claddagh 4CC 32, Willie Clancy - "The Pipering of Willie Clancy, Vol. 1" (1980).

GILBERT CLANCY'S REEL (Gilibeart Mhac Fhlannchadha). AKA and see "Bímid ag Ól," "John Reid's Favourite," "The West Wind." Irish, Reel. G Major. Standard. AB. O'Sullivan (1983) sees motivic connections between this tune and Bunting's "Whish, Cat from under the Table." Gilbert Clancy (died c. 1957) was a flute and concertina player from Islandbawn, County Clare, father of piper Willie Clancy (1918-1973) and friend to blind piper Garrett Barry, an influential musician of the region who died around 1900. Source for notated version: piper Willie Clancy/Liam Mac Flannchedha (Miltown Malbay, County Clare, [Breathnach]. Breathnach (CRE I); No. 83, pg. 37. Tara 2002, Christy Moore - "The Iron Behind the Velvet" (1978. Learned from the late Willie Clancy). Piping Pig Productions PPPCD001, Jimmy O'Brien-Moran - "Seán Reid's Favourite" (1996. Appears as "Seán Reid's Favourite").

GIVE US A DRINK OF WATER [1] (Tabair Duinn Deoc Uisge). AKA and see "Drown Drowth," "Jackson's Jig" [5], "There is No Milk in the House." Irish, Slip Jig. G Major. Standard. AAB. Sources for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; piper and flute player Tommy Hunt (b. 1908, Lissananny, Ballymote) [Flaherty]; set dance music recorded at Na Píobairí Uilleann, late 1980's [Taylor]. Cranitch (Irish Fiddle Book), 1996; pg. 59. Flaherty (Trip to Sligo), 1990; pg. 132 (appears as "Unknown"). Mitchell (Dance Music of Willie Clancy), 1993; No. 123, pg. 100. O'Neill (1915 ed.), 1987; No. 222, pg. 118. O'Neill (1850), 1903/1979; No. 1131, pg. 214. O'Neill (1001 Gems), 1907/1986; No. 420, pg. 83. Taylor (Music for the Sets: Blue Book), 1995; pg. 18. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 41.
T:Give Us a Drink of Water [1]
L:1/8
M:9/8
K:G
D|GBd gdc BAG|BdB cAA A2B|GBd gdc BAG|BcA BGG G2:|
d|g2g efg fed|g2g efg a2d|g2g bag fed|efg agf g2d|g2g efg fed|
g2g efg a2a|bag agf ged|efg agf g2||

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||

GREEN GROVES OF ERIN [1] ("Tor-Coillte Glais N-Eirinn," "Doiri Glasa na h-Éireann" or "Garráin Ghlasa na hÉireann"). AKA and see "The Castlecomer Lasses," "Down the Groves," "Erin's Groves," "The Gay Fellow's Favourite," "The Good Fluter," "The Green Fields of Erin," "The Groves of Erin," "The Heather Breeze," "The Low Highland," "Mary in the Mall," "Miss Shaw's Reel," "Miss Stewart of Grantully," "Padaí Bhill na Rópaí's Highland," "The Queenstown Lasses." Irish, Reel or Highland. A Major (Cole, O'Neill/1850): A Mixolydian (Kerr/Vol. 2, Moylan, O'Neill/1915 & 1001): A Dorian (Breathnach, Kerr/Vol. 1, Mallinson, Mitchell, O'Neill/Krassen, Tubridy). Standard. AB (Mitchell, O'Neill/1915 & 1001, Tubridy): AAB (Cole, Kerr. Moylan): AA'B (O'Neill/Krassen): ABB' (Breathnach): AA'BB' (Mallinson). A highland version of this tune was associated with Padai Bhilli na Ropai of Kiltyfanad, southwest Donegal. Breathnach (1976) says the tune was known as "Erin's Groves" and "Down the Groves" in Kerry. "The Green Fields of Erin" is Levey's title and it appears as "The Groves of Erin" in Giblin's collection. Sources for notated versions: piper Felix Doran, 1968 (Co. Kilmanny, Ireland) [Breathnach]; Tom Fleming via accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Breathnach (CRE II), 1976; No. 234, pg. 122. Cole (1001 Fiddle Tunes), 1940; pg. 48. Kerr (Merry Melodies), Vol. 1; No. 13, pg. 35. Kerr (Merry Melodies), Vol. 2; No. 222, pg. 25. Mallinson (Enduring), 1995; No. 4, pg. 2. Mitchell (Dance Music of Willie Clancy), 1993; No. 71, pgs. 70-71. Moylan (Johnny O'Leary), 1994; No. 303, pgs. 174-175. O'Neill (1915 ed.), 1987; No. 256, pg. 133. O'Neill (Krassen), 1976; pg. 136. O'Neill (1850), 1903/1979; No. 1429, pg. 265. O'Neill (1001 Gems), 1907/1986; No. 666, pg. 119. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 18. Intrepid Records, Michael Coleman - "The Heyday of Michael Coleman" (1973).
T:Green Groves of Erin, The
L:1/8
M:C|
K:A Dorian
A2 BA eABA|G2 Bd gedB|A2 BA eABA|BGEF GABG|
A2 BA eABA|G2 Bd gedB|A2 Bd edBA|BGEF GABd||
eaag eaag|eg g2 eg g2|eaag eaag|edef ge d2|ea a2 bgag|
egfa g3e|dega bgag|egfa gedB||

GREEN ISLE, DA. Shetland, Reel. G Major. Standard. AABB. Composed by Shetland fiddler Willie Hunter, Sr. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 33.

GREENFIELDS OF AMERICA [1] ("Garranta Glasa Mheiriceá," "Na Paircib Glais America" or "Pairci Glasa America"). AKA and see "Greenfields of Virginia" (Pa.), "Greenfields of Canada," "Charming/Pretty/Purty Molly/Judy/Miss Branigan/Brannagan," "Judy/Molly Brallaghan," "Miss Wedderburn," "Cossey's Jig," "Jimmy O'Brien's Jig," "Garranta Glasa Mheiricea." See also the related tune "Old Mother Flanagan." Irish, New England; Reel. USA; New England, southwestern Pa. A Major (Brody): G Major (Bayard, Breathnach, Cole, Miller & Perron, Mitchell, O'Neill, Phillips, Tolman). Standard. AB (Bayard, O'Neill/1915 & 1850): AAB (Mitchell): AABB (Miller & Perron, Phillips): AABB' (O'Neill/Krassen): AABC (Breathnach): AABBCC (Brody, Cole, Tolman). Samuel Bayard (1981) sees the tune as having two separate versions, a song air which is the elder and an instrumental air deriving from it. The song, says Paddy Moloney of the Chieftains, "is surely one of the finest songs of emigration in our tradition and many versions of it abound." It is generally thought to have Ulster origins, though at least one early version of the song has the emigrant bidding farewell to County Wicklow. The earliest published version is to be found in a 19th century collection by S.A. Such, London. John Hartford believes the tune is a cousin to "Speed the Plow." Breathnach (1963) says the tune is similar to "Cossey's Jig," first published in Jackson's Celebrated Tunes (1774) and a version of this jig appears as "Jimmy O'Brien's Jig" printed by O'Neill. Sources for notated versions: Andy Cahan (North Carolina) [Brody]; Frank King (Westmoreland County, Pa., 1960), Irvin Yaugher (Fayette County, Pa., 1944),;Issac Morris (Greene County, Pa., 1930's) [Bayard]; April Limber [Phillips]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; fiddler Tommy Potts [Breathnach]. Bayard (Dance to the Fiddle), 1981; No. 312A-C, pgs. 264-266. Breathnach (CRE I), 1963; No. 79, pg. 36. Brody (Fiddler's Fakebook), 1983; pg. 126. Cole (1001 Fiddle Tunes), 1940; pg. 17. Galwey, 1910; No. 30. Harding's Original Collection, 1928; No. 193. Howe (Diamond School for the Violin), 1861; pg. 65. Jarman (Old Time Fiddlin' Tunes), No. or pg. 29. Kerr (Merry Melodies), Vol. 1; pg. 41 and Vol. 3, No. 384. Miller & Perron (Irish Traditional Fiddle Music), 1983; No. 111. Mitchell (Dance Music of Willie Clancy), 1993; No. 95, pg. 83. O'Neill (1915 ed.), 1987; No. 269, pg. 137. O'Neill (Krassen), 1976; pg. 103. O'Neill (1850), 1903/1979; No. 1240, pg. 233. O'Neill (1001 Gems), 1907/1986; No. 513, pg. 97. Phillips (Traditional American Fiddle Tunes), 1994; pg. 104. Robbins, 1933; No. 148. Roche Collection, Vol. 1; Nos. 121 (6/8 time) and 157. Tolman (Nelson Music Collection), 1969; pg. 11. Claddagh 4CC 32, Willie Clancy - "The Pipering of Willie Clancy, Vol. 1" (1980). Edison 50604 (78 RPM), John H. Kimmel (accordionist from New York City), 1918 (appears as next to last tune in "Bonnie Kate Medley Reels"). Edison 51041 (78 RPM), John H. Kimmel, 1922 (appears as last tune of "Stack o' Barley Medley"). F&W Records, "F&W String Band 2." Front Hall 05, Fennigs All Stars- "Saturday Night in the Provinces." Kicking Mule 206, Tom Gilfellon- "Kicking Mule's Flat Picking Guitar Festival." Kicking Mule 208, Art Rosenbaum- "Five String Banjo" (appears as "Charming Molly Brannigan"). Kicking Mule 209, Andy Cahan- "Melodic Clawhammer Banjo." RCA 09026-61490-2, The Chieftains - "The Celtic Harp" (1993). Shanachie 33002, Michael Coleman- "The Legacy of Michael Coleman."
T:Green Fields of America
L:1/8
M:C
K:G
|:AB|c2ec B2dB|AGAB AGEF|GAGE DEGB|AGAB AGEB|
cdec BcdB|AGAB AGEF|GAGE DEGA|BGAF G2:|
|:D2|GABc d2ef|gfge dBGB|c2ec B2dB|AGAB AGE2:|
|:gfge dBGB|(3cBA BG AGEF|GAGE DEGA|BGAF G2:|

GREENLAND MAN'S TUNE, DA. Shetland, "Listening Tune" or Shetland Reel (4/4 time). A Mixolydian. Standard. AABB. A tune from the days when Shetland islanders would go whaling off the coast of Greenland. Robin Morton (1976) notes a Scandinavian influence in the tune, while Anderson & Georgeson (1970) state that this "best known of all the Sheltland Reels" bears a strong resemblance to a country dance tune from Jutland, Denmark. There are many variants to the tune. Source for notated version: Willie Hunter (Shetland) [Anderson & Georgeson]. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 16. Boys of the Lough, 1977; pg. 20. Philo 1042, Boys of the Lough - "The Piper's Broken Finger" (1976). Transatlantic TRA 311, Boys of the Lough - "The Piper's Broken Finger."

GREEN SLEEVES [3]. AKA and see "Bliven's Favorite," "The Butchers of Bristol," "By your leave, Larry Grogan," "Coppers and Brass," "The County Limerick Buckhunt," "Finerty's Frolic," "Groom," "Hartigan's Fancy," "The Humours of Ennistymon," "The Humours of Miltown," "Larry Grogan," "The Lasses of Melrose," "Lasses of Melross," "Little Fanny's Fancy," "Lynn's Favourite," "Lynny's Favourite," "Pingneacha Rua agus Pras," "Queen of the Rushes," "The Waves of Tramore," "Willie Clancy's." Irish, Jig. G Major. Standard. AABBC. The tune is obviously a member of a large tune family that is more commonly known by the titles "Humours of Ennistymon" or "Larry Grogan." See note for "Groom." Source for notated version: "James Buckley, a Limerick piper, about 1852" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 142, pgs. 72-73.
T:Green Sleeves
L:1/8
M:6/8
S:Joyce - Old Irish Folk Music
K:G
dc|B3 GBd|c3 A ABc|BAG GBd|cAG FGA|B3 GBd|c2A ABc|ded cAF|G3 G2:|
|:e|=f3 ege|=f3 d de^f|gag gfg|afd dfa|gba g/f/ed|cAG FGA|BGd cAF|G3G2:|
(3d/e/f/|gdB BGB|c2A ABc|BAB GBd|cAG FGA|gdc BGB|c2A ABc|ded cAF|G3G2||

GROCER, DA. Shetland, Reel. D Major. Standard. AABB'. Composed by Shetland fiddler and composer Tom Anderson in June, 1952, and dedicated to Mr. Willie Birnie, an accomplished piper and traditional music enthusiast. Hardie (Caledonian Companion), 1992; pg. 76.

GROOM. AKA and see "Bliven's Favorite," "The Butchers of Bristol," "By your leave, Larry Grogan," "Coppers and Brass," "The County Limerick Buckhunt," "Finerty's Frolic," "Green Sleeves," "Hartigan's Fancy," "The Humours of Ennistymon," "The Humours of Miltown," "Larry Grogan," "The Lasses of Melrose," "Lasses of Melross," "Little Fanny's Fancy," "Lynn's Favourite," "Lynny's Favourite," "Pingneacha Rua agus Pras," "Queen of the Rushes," "The Waves of Tramore," "Willie Clancy's." Irish, Jig. The tune is attributed by Goodman to the 18th century gentleman-piper Walker 'Piper' Jackson, of the townland of Lisdaun, parish of Ballingarry, Aughrim, County Limerick. Breathnach remarks that a version was originally printed (by John Walsh before 1736 in Country Dances Book the Second) under the title "Larry Grogan," named for the County Wexford gentleman piper of the early-mid 1700's. Another early printing of a variant of this melody is in Aird's Selections (1780-1803, volume II, 92) where it appears as "The Lasses of Melross." Joyce (Old Irish Folk Music and Songs, 1909) gives the tune as "Green Sleeves." O'Neill prints several variants: in 1001 Gems (1907) he has it as "Hartigan's Fancy/Little Fanny's Fancy" and "By your leave Larry Grogan"; in Waifs and Strays of Gaelic Melody (1922) he gives it as "The Limerick Buckhunt" and "Waves of Tramore." Breathnach (1996) finds the titles "Linn's Favourite" in County Longford, "Beamish and Crawford" in Cork, "The Boys of Drumreilly" and "Murphy's Jig" in Leitrim, and "The Humours of Newtown," "The Mooneen Jig," "The Humours of Bruff," and "The Slips/Paddy's the Boy" in Kerry. "Coopers and Brass" is a title Breathnach uses in Ceol Rince na hÉirreann (4), by which name it was usually known in the uilleann pipe repertoire. Goodman, Volume IV, pg. 11.

GROVES (HORNPIPE), THE (Crannciuil na Tor-Coillte). AKA and see "The Drunken Sailor," "Jackson's Hornpipe" [2]. Irish, Hornpipe. G Major. Standard. ABCDE (O'Neill/1850 & 1001): AABBCCDD'EE (Mitchell): AABB'CC'DDEE (O'Neill/Krassen). Bayard (1981) believes the tune may be an elaborated dance form "based on the simple, fundamental strain of 'Johnnie Cope', and may perhaps be descended from that rather old air. While generally in the major tonality, accidentals and a naturalized 'f' are more or less frequent in the tune, depending on the version. O'Neill obtained his setting from the great piper Patrick Tuohey, though earlier (c.1880) had been impressed with a version of the tune by piper John Hicks. The tune is almost identical with "The Drunken Sailor," save that the latter is set in the dorian mode. Breathnach (1985) remarks it is similar to "The Bank of Turf." 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: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; piper Patrick Touhey (Chicago) [O'Neill]. Mitchell (Dance Music of Willie Clancy), 1993; No. 97, pgs. 84-85. O'Neill (Krassen), 1976; pg. 173. O'Neill (1850), 1903/1979; No. 1598, pg. 296, and No. 1703. O'Neill (1001 Gems), 1907/1986; No. 843, pg. 146. Petrie Stanford (Complete Collection), 1903-06; Nos. 318 & 319.
T:Groves Hornpipe
L:1/8
M:C|
R:Hornpipe
S:O'Neill - 1001 Gems (843)
K:G
D|G2GF GABc|dBGB AGFD|=FFE FGAB|cdfe dcBA|G2GF GABc|
dBGB AGFD|dfeg fdcA|AG{A}GF G2||A2|B2BA Bcde|fdcB AF (3FEF|
CF (3FEF AF (3FEF|ABcA BG (3GFG|B2 BA Bcde|fdcA dBcA|\dfeg fdcA|
AG{A}GF G2||c2|d2g2 g2fg|abag f2af|d^cde fefg|abag f2fe|d2g2 g2fg|
abag f2fe|d^cde fd=cA|AG{A}GF G2||D2|G>d (3Bcd G>d (3Bcd|
=F>c (3ABc A2A^F|G>d (3Bcd G2 Bc|d^cde fdcA|G>d (3Bcd G>d (3Bcd|
=F>c (3ABc F2 Bc|d^cde fd=cA|AG{A}GF G2||d2|g>d (3Bcd g>d (3Bcd|
f>c (3ABc f>c (3ABc|g>d (3Bcd g>d (3Bcd|A>G (3ABc A>G (3ABc|
dedB cdcA|(3Bcd BG AcBc|dfeg fdcA|AG{A}GF G2||

HARDIMAN THE FIDDLER (Fear-Tailce An Fidileir). AKA - "Hardy Man the Fiddler." Irish, Slip Jig. D Major (O'Neill/1850 & 1001): D Mixolydian (Cranitch, Mallinson, Mitchell, O'Neill/Krassen, Tubridy): D Mixolydian ('A' part) & D Major ('B' part) {Feldman & O'Doherty}: D Minor (Tolman). Standard. One part (Mitchell): AAB (Cranitch, O'Neill, Taylor, Tolman, Tubridy): ABB (Feldman & O'Doherty): AABB (Mallinson). David Taylor (1992) suggests that these several tunes with the name "Hardiman" (of which "Hardiman the Fiddler" is probably the most famous) honor the historian James Hardiman, author of Irish Minstrelsy (1831). Sources for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; set dance music recorded at Na Píobairí Uilleann, late 1980's [Taylor]; fiddlers Francie and Mickey Byrne (County Donegal) [Feldman & O'Doherty]. Cranitch (Irish Fiddle Book), 1996; No. 31, pg. 137. Feldman & O'Doherty (The Northern Fiddler), 1979; pg. 160 (appears as 2nd "Untitled Slip Jig"). Mallinson (Enduring), 1995; No. 87, pg. 37. Mitchell (Dance Music of Willie Clancy), 1993; No. 127, pg. 102. O'Neill (Krassen), 1976; pg. 79. O'Neill (1850), 1903/1979; No. 1117, pg. 211 (appears as "Hardy Man the Fiddler"). O'Neill (1001 Gems), 1907/1986; No. 412, pg. 82 (appears as "Hardy Man the Fiddler"). Taylor (Music for the Sets: Blue Book), 1995; pg. 19. Tolman (Nelson Music Collection), 1980; pg. 4 (appears as "Hardy Man the Fiddler"). Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 37.
T:Hardiman the Fiddler
L:1/8
M:9/8
K:D Mixolydian
A2G FDE F2G|A3 AGA cAG|A2G FDE F2G|Add ded cAG:|
||Add d2e f3|Add ded cAG|Add d2e f2g|agf ged cAG|
Add d2e f3|Add ded cAG|dcA B/c/de f2g|agf ged cAG||

HARTIGAN'S FANCY (Roga Uí {h-}Artagain). AKA and see "Bliven's Favorite," "The Butchers of Bristol," "By your leave, Larry Grogan," "Coppers and Brass," "The County Limerick Buckhunt," "Finerty's Frolic," "Green Sleeves," "Groom," "The Humours of Ennistymon," "The Humours of Miltown," "Larry Grogan," "The Lasses of Melrose," "Lasses of Melross," "Little Fanny's Fancy," "Lynn's Favourite," "Lynny's Favourite," "Paddy's the Boy," "Pingneacha Rua agus Pras," "Queen of the Rushes," "The Waves of Tramore," "Willie Clancy's." Irish, Double Jig. G Major. Standard. AABB. Francis O'Neill says this jig was unpublished and "new to us," at least in the "Hartigan" form, prior to obtaining it from source Carey, and listed an alternate title as "Little Fanny's Fancy." Despite O'Neill's assertion that it was new, he printed in the same publication another variant called "By your leave, Larry Grogan." Joyce's jig "Green Sleeves," printed in Old Irish Folk Music and Songs (1909), and Goodman's "Humours of Ennistymon" (volume III, 152) are two of many variants of this large tune family. Breathnach remarks that a version was originally printed (by John Walsh before 1736 in Country Dances Book the Second) under the title "Larry Grogan," named for the County Wexford gentleman piper of the early-mid 1700's. See note for "Groom." Source for notated version: John Carey, a native of Limerick [O'Neill]. O'Neill (1915 ed.), 1987; No. 148, pg. 85. O'Neill (1850), 1903/1979; No. 816, pg. 152. O'Neill (1001 Gems), 1979/1986; No. 3, pg. 17.
T:Hartigan's Fancy
L:1/8
M:6/8
S:O'Neill - 1001 Gems (3)
K:G
D|B2B GBd|cBc ABc|B2B GBd|cAG FGA|B2B GBd|cBc ABc|d/e/fd cAF|AGG G2:|
|:d|f2f fed|cAG FGA|g2g gfg|afd d2 f/g/|fag fed|cAG FGA|B/c/dB cAF|AGG G2:|

HARVEST HOME [1] (Deire An Fogmair). AKA and see "Cincinnati Hornpipe," "Cliff Hornpipe," "Cork Hornpipe," "Dundee Hornpipe," "Fred Wilson's Clog/Hornpipe," "Granny Will Your Dog Bite?" (Pa., floating title), "Higgin's Hornpipe," "Kephart's Clog" (Pa.), "Kildare Fancy," "Ruby Lip," "Snyder's Jig" (Pa.), "Standard Hornpipe," "Wilson's Hornpipe," "Zig Zag Clog." British Isles, America; Hornpipe. USA; New England, Ohio. D Major. Standard. AAB (Martin): AA'B (Mitchell): AABB (most versions): AABB' (Hardie): AABC (Kerr). In Ohio this many-titled tune goes under the name "Cincinnati Hornpipe." "Harvest Home" is usually played paired with "The Boys of Bluehill" by Irish musicians. Ciaran Carson, in his book Last Night's Fun (1996), describes a late-summer's night playing out-of-doors with a group in Garrison, on the Leitrim/Fermanagh border. They are rather quietly and politely listened to until someone calls for "Harvest Home," and when the tune is played two old souls emerge from different parts of the crowd into the space before the stage and begin to dance:
***
Their hands accompany the dance in little wristy arcane movements,
thumbs alternating with their digits. Their feet are hardly off the
ground as they hell and toe and tap, till it seems there is a skim of
twilight shimmering between their boots-soles and the black wet
tarmac. Loose change jingles in their pockets as they waver gravely
in the pre-determined and formal quarter-bows, catching one another's
little fingers on occasions, sometimes going for a full hand-clasp, instantly
and rhythmically released. They doppelgänger one another. Nods and winks
are witnessed as they undergo the subtle dramas of the ceili house. They
reinvent the past and all their past encounters; then the pattern comes
to its conclusion. Four feet stand on terra firma for one instant, then they
break apart and take the gait of normal human beings. Everyone's relaxed
now... (pg. 111).
***
Sources for notated versions: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Allan's Irish Fiddler, No. 85, pg. 22. Ashman (Ironbridge Hornpipe), 1991; No. 113, pg. 47. Brody (Fiddler's Fakebook), 1983; pg. 131. Cazden, 1955; pg. 41. Carlin (English Concertina), 1977; pg. 50. Hardie (Caledonian Companion), 1986; pg. 21. Hardings Original Collection; No. 1. Honeyman (Strathespey, Reela and Hornpipe Tutor), 1898; pg. 46. Hunter (Fiddle Music of Scotland), 1988; No. 329 (arranged for string quintet by James Hunter). Jarman (Old Time Fiddlin' Tunes); No. or pg. 23. Kennedy (Fiddlers Tune Book), Vol. 1, 1951; No. 6, pg. 3. Kerr (Merry Melodies), Vol. 1; No. 2, pg. 42. Kerr (Merry Melodies for the Piano), pg. 27. Lerwick (Kilted Fiddler), 1985; pg. 50. MacDonald (The Skye Collection), 1887; pg. 171. Martin (Ceol na Fidhle), Vol. 2, 1988; pg. 41. Mitchell (Dance Music of Willie Clancy), 1993; No. 44, pg. 55. O'Neill (1915 ed.), 1987; No. 353, pg. 172. O'Neill (Krassen), 1976; pg. 207. O'Neill (1850), 1979; No. 1603, pg. 297. O'Neill (1001 Gems), 1986; No. 847, pg. 146. Phillips (Fiddlecase Tunebook), 1989; pg. 24. Raven (English Country Dance Tunes), 1984; pg. 168. Skinner (The Scottish Violinist), pg. 44. Stewart-Robertson (The Athole Collection), 1884; pg. 298. Sweet (Fifer's Delight); No. or pg. 73. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 11. Copeley DWL-9-617, Jack Wade- "Ceili Music From Ireland." Front Hall 01, Fennigs All Stars- "The Hammered Dulcimer." Sonet 1031, Sean McGuire- "Ireland's Champion Traditonal Fiddler." Sonet 764, Dave Swarbrick and Friends- "The Ceilidh Album." "Pibroch MacKenzie, The Mull Fiddler" (1969).
T:Harvest Home
L:1/8
M:C|
R:Hornpipe
B:The Athole Colletion
K:D
FE|DAFA DAFA|dfed dcBA|eAfA gAfA|edcB AGFE|DAFA DAFA|
dfed dcBA|Aceg fedc|d2 d2 d2:||:cd|eA A/A/A fA A/A/A|gA A/A/A fA A/A/A|
eAfA gAfA|edcB AGFE|DAFA DAFA|dfed dcBA|Aceg fedc|d2 d2 d2:|

HENCHEY'S DELIGHT. AKA and see "Hinchy's Delight." Irish, Double Jig. G Major. Standard. AABB. Mitchell (The Dance Music of Willie Clancy), No. 104. Taylor (Crossroads), 1992; No. 39, pg. 28. Shaskeen - "The Mouse Behind the Dresser."

HER MANTLE SO GREEN. AKA and see "George Reilly," "The Plains of Waterloo," "Young Willie of Famed Waterloo." Irish, Slow Air. This melody is published in Colm O'Lochlainn's Irish Street Ballads (No. 7), and was taken from early twentieth century broadsides. The ballad tells of a young woman visited in the meadows by a young man; he tests her to see if her love is true; she passes, having remained faithful to her William Reilly, whom she believed killed at the battle of Waterloo. He reveals himself and they are wed. A similar situation occurs in Homer's Oddessy, when Ulysses returns home after his voyages of twenty years. The melody also belongs to the 18th century song "George Reilly."
**
When I was a-roving one morning in spring,
To view the sweet flowers and the meadows so queen,
I met a young damsel, she appeared like a queen
With her costly fine robes and her mantle so green.
**
Green Linnet GLCD 1151, Seamus McGuire - "The Wishing Tree" (1995).

HIGH PART OF THE ROAD (Ard an Bhóthair). AKA and see "The Hill on the Road," "Top of the Road." Irish, Double Jig. G Major. Standard. AB (Mitchell): AABB (Taylor): AA'BB (Breathnach): AA'BB' (Cranitch, Songer). Brendan Breathnach gave the tune it's title. Sources for notated versions: piper Willie Clancy/ Liam Mac Flannehadha (1918-1973, Miltown Malbay, west Clare) [Breathnach, Mitchell]; Jimmy McGettrick (b. 1909, Aughris, Rathmullen, Ballymote) [Flaherty]; set dance music recorded at Na Píobairí Uilleann in the late 1980's [Taylor]. Breathnach (CRE I), 1963; No. 18, pg. 9. Cranitch (The Irish Fiddle Book), 1996; pg. 58. Flaherty (Trip to Sligo), 1990; pg. 139 (appears as "Unknown"). Mitchell (Dance Music of Willie Clancy), 1993; No. 133, pg. 106. Songer (Portland Collection), 1997; pg. 95. Taylor (Music for the Sets: Blue Book), 1995; pg. 3. Wild Asparagus WA 003, Wild Asparagus - "Tone Roads" (1990).
T:High Part of the Road
M:6/8
L:1/8
R:Jig
K:G
~B3 ~c3|ded cAG|^E-FD D=ED|DGG FGA|BAB cBc|ded d (3Bcd|
fed cAF|1 AGF G2 A:|2 AGF G (3Bcd||
~g3 def|g2 a bag|~f3 d (3efg|afd cAF|~g3 def|g2 a bag|fed cAF|AGF G3:|

HOUSE IN THE GLEN [1] (An Teac Annsa Feoran/Gleann). AKA and see "The Absent-minded Man," "The Hare in the Corn(er)," "The House in the Corner," "The Hunt of the Hound and the Hare," "Little House in the Glen," "Little House (A-)Round the Corner," "O, as I was kissed Yestreen," "The Royal Irish Jig." Irish, Double Jig. D Major/Mixolydian (O'Neill): A Major (Moylan). Standard. AABB. The tune is called "Lark in the Morning" in Dance Music of Willie Clancy. Source for notated version: Dan O'Leary via jis nephew, accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O'Leary), 1994; No. 253, pg. 145. O'Neill (Krassen), 1976; pg. 39. O'Neill (1850), 1903/1979; No. 897, pg. 167. O'Neill (1001 Gems), 1907/1986; No. 144, pg. 39.
T:House in the Glen, The [1]
L:1/8
M:6/8
S:O'Neill - 1001 Gems (144)
K:D
AFA DED|AGF A2=c|BGG dGG|BAG Bcd|AFA DED|AGF A2c|def gfe|fdB B2A:|
|:Add fdd|ede fdB|Add fdd|edB B2A|Add fdd|ede efg|f<af gfe|fdB B2A:|

I'LL MEND YOUR POTS AND KETTLES [1]. Irish, Hornpipe or Air (4/4 time). G Major. Standard. One part (Williamson): ABB (Mitchell). Sources for notated versions: piper Séamus Ennis (Ireland) [Williamson]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Mitchell (Dance Music of Willie Clancy), 1993; No. 92, pg. 81. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 74. ." Piping Pig Productions PPPCD001, Jimmy O'Brien-Moran - "Seán Reid's Favourite" (1996. Learned from Séamus Ennis). Topic Records 12T159, Séamus Ennis - "Jack of All Trades."

I AM ASLEEP AND DON'T WAKEN ME [2] ("Taim I Mo Chodhladh Is Na Duisigh Me," "Taimse im/mo Chodladh" or "Ta me mo chodladh"). AKA and see "Cold, frosty morning," "Past one o'clock," "Thamama Hulla" (an Englished version of the Irish title), "Lament of a Druid." Irish, Air (3/4 time). F Major (O'Sullivan/Bunting): F Mixolydian (Stanford/Petrie). Standard. AB (O'Sullivan/Bunting): AAB (Stanford/Petrie). A variant of version #1. Cowdery (1990) identifies this tune as a member of "The Blackbird" family. The first printing of the tune was apparently in Neales' Collection of the Most Celebrated Irish Tunes (Dublin, 1726), the first collection of Irish melodies (Ó Canainn, 1978), though the Scots were quick to take it up as it appear in Stuart's Music for TTM, c.1725/6 (where it appears as "Chami ma chattle"). It was used in ballad operas of the 18th century and is still quite common in the tradition.
**
A wonderful story is told by O'Neill regarding this tune, quoted in O'Sullivan (1983):
**
When at Mr. Macdonnell's of Knochranty in the county of
Roscommon, he met a young nobleman from Germany who
had come to Ireland to look after some property to which
he had a claim through his mother. "He was one of the most
finished and accomplished young gentlemen," says O'Neill,
"that I ever met. When on one occasion Hugh O'Neill and I
played our last tunes for him, he wished to call for 'Past one
o'clock,' or 'Tha me mo chodladh, naar dhoesk a me,' which
he had heard played somewhere before, but for the name he
was at a loss. Perceiving me going towards the door, he followed
me, and said that the name of his bootmaker was Tommy
McCullagh, and that the tune he wanted was like saying
'Tommy McCullagh made boots for me;' and in the broad
way he pronounced it, it was not unlike the Irish name. I
went in with him and played it, on which he seemed
uncommonly happy.
**
Source for notated version: Bunting noted the melody from Hempson the harper at Magilligan in 1792. Holden (Collection of Old-Established Irish slow and quick tunes), volume II, Nos. 15 & 35. Mulholland (Ancient Irish Airs), No. 32. Neal (Collection of most Celebrated Irish Tunes), 1726; pg. 12. O'Farrell (Pocket Companion for the Irish or Union Pipes), No. 168. O'Neill (1850), No. 599. O'Sullivan/Bunting, 1983; No. 100, pgs. 144-146. Stanford/Petrie (Complete Collection), 1905; No. 488, pg. 123. Burke Thumoth (Twelve Scotch and Twelve Irish Airs), pg. 15. Walker (Historical Memoirs of the Irish Bards), No. 32. RCA 09026-61490-2, The Chieftains - "The Celtic Harp" (1993). Topic 12T184, Willie Clancy - "The Breeze From Erin" (1969).

I BURIED MY WIFE (AND DANCED ON HER GRAVE). AKA - "I Buried My Wife and Danced on Top of Her." AKA and see "(An) Bristin Mire," "Cunla," "Friar's Breeches," "Friar's Britches," "Frieze Britches/Breeches," "Gallagher's," "O'Gallagher's Frolics," "On St. Patrick's Day I was Gay," "The Trumlo." Irish, Air (6/8 time). The air is the vehicle for the song of the title. O'Neill (Irish Folk Music) thinks it "closely resembles" his "Frieze Breeches" and "O'Gallagher's Frolics." Gael-Linn CEFCD 153, Paddy Glackin - "In Full Spate" (1991). Green Linnet GLCD 1127, "Martin Hayes" (1993). Kells Music 9501, Dervish - "Playing with Fire." Piping Pig Productions PPPCD001, Jimmy O'Brien-Moran - "Seán Reid's Favourite" (1996. Learned from Clare piper Willie Clancy).

"Constitution vs. Guerriere" by Thomas Birch. United States Naval Academy Museum
***
The melody is similar to an old English drinking song and a Scottish dance tune, according to Bronner (1987), and started life as a ballad, though soon entered enduring popular tradition as a dance tune, which he maintains is one of the earliest contra dance melodies composed in America. Paul Wells, of the Center for Popular Music/Middle Tennessee State University, has found an untitled version in a fife manuscript begun in 1807 (which may or may not date the tune, which may have been entered later). It can be found in Elias Howe's 1842 Musician's Companion, Part 1. Burchenal (1918) prints a New England contra dance of the same name as the tune, and Linscott (1939) confirms both the tune and dance's popularity in the region. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. The title appears in a list of Maine fiddler Mellie Dunham's repertoire and was recorded by him in the 1920's or early 1930's. The elderly Dunham was Henry Ford's champion fiddler in the late 1920's.
***
There is a New England dance of the same name, to which this tune was the accompaniment, that travelled far beyond the orders of the region. Lloyd Shaw, in his book Cowboy Dances (1943), writes:
***
It would shock my New England friends to hear an old Colorado
Rancher ask me if I ever danced Hell's Victory. From his description
I was sure of the dance and told him it was Hull's Victory, not Hell's-
Hull's Victory with his famous ship The Constitution. "No, no!" he
says, "it's Hell's Victory! Called it that ever since I was a boy!"
***
Source for notated version: Willie Woodward (Bristol, N.H.) [Linscott, 1939]. Brody (Fiddler's Fakebook), 1983; pg. 137. Bronner (Old Time Music Makers of New York State), 1987. Burchenal (American Country Dances, Vol. 1), 1918; pg. 30. Cole (1001 Fiddle Tunes), 1940; pg. 103. Ford (Traditional Music of America), 1940; pg. 74. Linscott (Folk Songs of Old New England), 1939; pg. 97. Miller & Perron (New England Fiddler's Repertoire), 1983; No. 140. O'Neill (Krassen), 1976; pg. 198. O'Neill (1850), 1979; No. 1702, pg. 316. Phillips (Traditional American Fiddle Tunes, Vol. 1), 1994; pg. 115. Shaw (Cowboy Dances), 1943; pg. 388. Sweet (Fifer's Delight), 1964/1981; pg. 80 (two versions). Alcazar Dance Series FR 203, Rodney and Randy Miller- "New England Chestnuts, Vol. I" (1980). Jonathan Edwards Memorial Foundation JEMF-105, Mellie Dunham's Orchestra - "New England Traditional Fiddling" (1978). Kicking Mule 216, Strathspey- "New England Contra Dance Music."
T:Hull's Victory
L:1/8
M:C|
K:F
fc fa fc fg|ag fe f2AB|c2cd c2cB|AB GA F2c2|
fc fa fc fa|g2g2g2ag|fe dc =Bc dB|c2e2c2c2:|
|:fe fg ag fe|d2B2B2ef|g^f ga ba g=f|e2c2c2 (3cde|
fc fa fc fa|gc gb gc gb|ag fa gf eg|f2a2f2c2:|

HUMOURS OF CARRIGAHOLT (Pléaraca Charraig an Chabhaltaigh). Irish, Reel. D Major. Standard. AB (Breathnach, Cranitch): AABB (Miller & Perron). Carrigaholt is near the southwestern tip of County Clare. The original Irish name is "Carraig an Chabhaltaigh," which translates as "rock of the fleet", and is probably a reference to a nearby place on the Shannon River that was once used as an anchorage. Source for notated version: fiddler John Kelly (Co. Clare/Dublin, Ireland) [Breathnach]. Breathanach (CRE III), 1985; No. 133, pg. 63. Comhaltas Ceotoiri (Ag Deanamh Ceoil). Cranitch (Irish Fiddle Book), 1996; pg. 90. Miller & Perron (Irish Traditional Fiddle Music), 1977; Vol. 1, No. 17. Gael-Linn Records CEF 018, John Kelly & Willie Clancy - "Seoda Ceoil I" (1968). Any Old Time - "The Crossing." Ossian Records, Matt Cranitch - "The Irish Fiddle Book" (companion tape to the tutor). Shanachie 79024, "Chieftains 4" (played on tin whistle by Sean Potts in the middle of the "Drowsy Maggie" track).
T:The Humours of Carrigaholt
S:Séan Potts, Chieftains 4, A 1
Z:Jerome Colburn
M:C|
K:D
dAGA G2 AG | FD d2 FGAB | =cAGF G2 FG |1 Addc d2 fe :|2 Addc d2 z2 ||\
f2 df f2 gf | edcd efge | fdde f2 gf | edcd ~e3 e |\
f2 df f2 gf | edcd efge | agfa gfec | Addc d2 z2 |]**

HUMOURS OF DERRYCROSANE/DERRYKISSANE (Pléaraca Dhoire an Chreasáin). Irish, Slip Jig. G Major. Standard. AB. Breathnach (1963) says the tune is related to "The Foxhunter's Jig" and "Nead na Lachan sa mButa" (The Duck's Nest in the Boot). Source for notated versions: piper Willie Clancy/Liam Mac Lannchadha (1918-1973, Miltown Malbay, west Clare, Ireland) [Breathnach, Mitchell]. Breathnach (CRE I), 1963; No. 64, pg. 28. Mitchell (Dance Music of Willie Clancy), 1993; No. 22, pg. 42.

HUMORS OF ENNISTYMON, THE [1]. AKA and see "Bliven's Favorite," "By your leave, Larry Grogan," "Coppers and Brass," "The County Limerick Buckhunt," "Finerty's Frolic," "Green Sleeves," "Groom," "Hartigan's Fancy," "The Humours of Miltown," "Larry Grogan," "The Lasses of Melrose," "Lasses of Melross," "Linn's Favourite," "Little Fanny's Fancy," "Lynny's Favourite," "Paddy's the Boy," "Pingneacha Rua agus Pras," "Queen of the Rushes," "The Waves of Tramore," "Willie Clancy's." Irish, Jig. Ireland, Counties Roscommon, Sligo. G Major. Standard. AABBCC (Flaherty, Mallinson, O'Neill): AABBCC' (Mulvihill). A member of a large tune family whose most famous member is perhaps "Larry Grogan." In the liner notes for the album "Clare Concertinas: Bernard O'Sullivan and Tommy McMahon," Muiris Ó Rochain writes that County Sligo/New York fiddler Michael Coleman adapted the tune "Coppers and Brass" by adding a third part, the whole of which he renamed "The Humours of Ennistymon." Ó Rochain thinks this was in honor of Martin Clancy, a native of Ennistymon. Micho Russell (1915-1944), tin-whistle player and a storehouse of folk tales and traditions, had his own fanciful thoughts and associations about the tune, which he would relate by way of introduction of the music. "There's a jig called 'The Humours of Ennistymon' and Captain O'Neill in Chicago, the music collector, had only two parts got in his collection. So he met a man from Ennistymon and the man from Ennistymon had the third part. So I think that was one of the reasons that it was called 'The Humours of Ennistymon'" (Piggott, Blooming Meadows, 1998). In fact, the tune and title "The Humours of Ennistymon" appears in the Goodman manuscripts (volume III, 152), collected by James Goodman from the playing Munster musicians in the mid-1800's, which predates all the above references. Aird (c. 1790) published a variant as "The Lasses of Melross." Breathnach remarks that the first printed version was by John Walsh before 1736 in Country Dances Book the Second under the title "Larry Grogan," named for the County Wexford gentleman piper of the early-mid 1700's. See also note for "Groom." Source for notated version: fiddler Michael Lennihan (b. 1917, Kilnamanagh, in the Frenchpart area of County Roscommon) [Flaherty]. Bulmer & Sharpley (Music from Ireland), 1974, Vol. 3, No. 49. Flaherty (Trip to Sligo), 1990; pg. 88. Mallinson (Enduring), 1995; No. 54, pg. 24. Mulvihill (1st Collection), 1986; No. 43, pg. 74. O'Neill (Krassen), 1976; pg. 28. Green Linnet SIF1122, Kevin Burke - "Open House" (1992). Philo 1051, Boys of the Lough - "Good Friends, Good Music" (1977).

HUMORS OF GLYNN/GLIN [1] (Sugra/Plearaca na Gleanna). AKA and see "The Cullen Jig," "Humor of Glen," "Jackson's Hornpipe," "Tho' Lexlip is Proud," "Thomas Leixlip, the Proud," "A Virgin Wife and Widow." Irish, Air (6/8 time, "cheerfully"). B Minor. Standard. AB (Mitchell, O'Neill): AABB (Tolman): AABCCDDEEF (Roche). This air was composed by the blind Irish harper Turlough O'Carolan (1670-1738), according to Irish musicologist Grattan Flood, with words by Pierce Power, of Glynn, County Waterford. O'Neill (1913), however, credits composition of the entire song to Powers, whom he identifies as a "gentleman piper" from Glynn, and who he maintains composed the piece in the first quarter of the 18th century. Glynn, explains O'Neill, was at one time a small romantic country village which straddled the border between Counties Waterford and Tipperary on either side of the Suir, not far from Clonmel. It was anciently the seat of the influential Powers family. The song was an especial favorite with the Scots national poet Robert Burns, who used the air for his song "Their groves of sweet myrtle let foreign lands reckon." "Humors of Glen" appears in R.A. Smith's The Irish Minstrel (Edinburgh, 1825) and McGoun's Repository of Scots and Irish Airs (Glasgow, 1803); in the latter publication it is published with eight sets of variations. Flood (1906) notes that O'Keefe, previous to this, had also set this air to a song he called "Though Leixlip is proud" (corrupted by O'Neill into "Thomas Leixlip the Proud"). Under the Leixlip title it appeared in William Sheild's opera Poor Soldier (1783). The tune is known as a piping "piece," a showcase tune for the uilleann piper (see also "Nora Criona/Wise Nora"). O'Neill (1913) records it was played by piper Peter Cunningham (who lived in the 19th century in County Kildare) on his deathbed. Cork piper Daniel O'Leary, known as the Duhallow Piper, famously played the tune, which at one hearing so impressed a correspondent for the Dublin Penny Journal of October 1834, that he declared O'Leary's rendering in his estimation the ne plus ultra of bagpipe music (Breathnach, 1997). Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Ceol, Vol. IV, No. 22. Mitchell (Dance Music of Willie Clancy), 1993; No. 54, pg. 61. O'Neill (1850), 1903/1979; No. 176, pg. 31. Roche Collection, 1983, Vol. 1; No. 36, pg. 18. Tolman (Nelson Music Collection), 1969; pg. 6 (appears as "Humours of Glen").

HUMOURS OF MILLTOWN [2]. AKA - "Humours of Miltown." AKA and see "Bliven's Favorite," "By your leave, Larry Grogan," "Coppers and Brass," "The County Limerick Buckhunt," "Finerty's Frolic," "Green Sleeves," "Hartigan's Fancy," "The Humours of Ennistymon," "Larry Grogan," "The Lasses of Melrose," "Lasses of Melross," "Little Fanny's Fancy," "Lynny's Favourite," "Pingneacha Rua agus Pras," "Queen of the Rushes," "The Waves of Tramore," "Willie Clancy's."

HUNT, THE [1] ("An Seilg" or "An Fiadac"). AKA and see "Galtee Hunt," "The Mountfamous Hunt." Irish, Set Dance (cut time). G Major/Mixolydian. Standard. AB (Stanford/Petrie): AABB (most versions). The 'B' part, at twelve measures, is longer than the eight-measure 'A' part. Sources for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; "From John Dolan--Glensheen--(via the Irish collector) Mr. Joyce" [Stanford/Petrie]. Mallinson (Enduring), 1995; No. 99, pg. 42. Mitchell (Dance Music of Willie Clancy), 1993; No. 84, pg. 77. O'Neill (Krassen), 1976; pg. 224. O'Neill (1850), 1903/1979; No. 1799, pg. 337. O'Neill (1001 Gems), 1907/1986; No. 976, pg. 168. Roche Collection, 1983, Vol. 2; No. 276, pg. 31. Stanford/Petrie (Complete Collection), 1905; No. 879, pg. 220. Eugene O'Donnel.
T:Hunt, The [1]
L:1/8
M:C|
R:Set Dance
S:O'Neill - 1001 Gems (976)
K:G
D2|GABG AGEG|c2 ce dcBA|GABA GEDG|EAAG AcBA|
GABG AGEG|c2 ce dcBA|GABA GEDE|G2 GG G2:|
|:D2|GABc d2 de|=f2 f2 f2 ed|e2e2 efge|d2 de d2 cB|
cBcd edcB|A2 AB A2G2|g2 g2 gedB|A2 AB A2 GE|
GABG AGEG|c2 ce dcBA|GABA GEDE|G2 GG G2:|

HURLER'S MARCH, THE [4]. AKA and see "Humours of Ballyloughlin." Irish, Double Jig. D Mixolydian. Standard. AABBCC (Breathnach): AABBCD (Mitchell). The melody bears no resemblance to version #2. Source for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) who learned it from his father who had this title for it [Breathnach, Mitchell]. Breathnach (CRE I); No. 31, pg. 13 (appears as "Banrion na Luachra"). Mitchell (Dance Music of Willie Clancy), 1993; No. 145, pg. 114.

IVY LEAF, THE [2] (Duille An T-Aignean). AKA and see "Autumn Leaves," "The Day I Met Tom Moylan," "Ginley's Fancy," "Handsome Sally," "The Man of the House," "The Merry Thatcher," "Mind My Border," "Mind My Brother," "Miss Kelly's Favorite," "Old Tom," "The New Potatoes," "Paddy Carthy's Reel," "Sally Grant," "Through the Heather." Irish, Reel. Ireland, County Sligo. A Dorian (Mitchell) or A Mixolydian (Flaherty, O'Neill/1001): E Dorian (Taylor). Standard. AAB (O'Neill/1001, Taylor): AA'B (Flaherty, O'Neill/1915 & 1850): AABB' (Alewine, O'Neill/Krassen): ABCD (Mitchell). 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: tenor banjo player Tommy Finn (b. 1964, Marlow, Ballymote, Co. Sligo) [Flaherty]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; set dance music recorded at Na Píobairí Uilleann, in the 1980's [Taylor]; fiddler Simon Doherty (County Donegal) [Feldman & O'Doherty]. Alewine (Maid that Cut Off the Chicken's Lips), 1987; pg. 21. Feldman & O'Doherty (The Northern Fiddler), 1979; pg. 103. Flaherty (Trip to Sligo), 1990; pg. 54. Mitchell (Dance Music of Willie Clancy), 1993; No. 96, pg. 84. Mulvihill (1st Collection), 1986; No. 136, pg. 36 (appears as untitled reel). O'Neill (Krassen), 1976; pg. 127. O'Neill (1915 ed.), 1987; No. 278, pg. 141. O'Neill (1850), 1903/1979; Nos. 1370 & 1371, pg. 255. O'Neill (1001 Gems), 1907/1986; No. 622, pg. 112. Taylor (Music for the Sets: Yellow Book), 1995; pg. 15. Shanachie 79095, Arcady - "Many Happy Returns" (1995).
X:1
T:Ivy Leaf [2]
R:Reel
D:Milltown Session
Z:Adrian Scahill
M:4/4
L:1/8
K:A
E3B GEBG|EBGB AFDF|E3B GEBE|EDB,C D3B|\ EBB2 GBB2|
eBGB AFDF|E3B GEBG|EDB,C DEFA||\
Beed BABc|d3B AFDA|Beed BAFE|FDB,C DEFA|\
Beed BABc|dcdB AFDF|E3F =G3A|(3Bcd ef dBAF||
X:2
T:Ivy Leaf, The [2]
L:1/8
M:C|
S:Mulvihill - 1st Collection (136)
K:A Dorian
A2 Ae cAec|ABce dBGB|A2 Ae cAec|BGEF G2 fg|ae (3efe ce (3efe|
Aece dBGB|AGAB cAec|BGEF GABd||ea {b}(3aga ea{b}af|g2 ge dBGB|
A2 ag edBA|BGEF GABd|ea {b}(3aga ea{b}af|g2 ge dBGB|A2 AB {d}cBcd|
eaaf gedB||

JAKE LEG RAG. Old-Time, Breakdown. C Major. Standard. Recorded by the Carroll County, Mississippi, fiddle/guitar duo Willie Narmour (b. 1889) and Shell Smith (b. 1895). Allin Cottrell points out that fast accurate playing in the key of C was one of the hallmarks of Narmour's fiddling. Musical Traditions MT 104, Narmour and Smith - "Where the Southern Crosses the Dog: Mississippi Fiddle Music 1928-35."

JEFFERSON AND LIBERTY. AKA and see "The Gobby-O." New England, Jig A Minor. Standard. One part (Buarchenal): AABB (Miller & Perron, Welling). The melody is "The Gobby O," an English song used as a campaign song for Thomas Jefferson, and thence its title. "Jefferson and Liberty" was published under that name in Howe's Musician's Companion, Part 2 (1843). Paul F. Wells reports that the poem was written by ornithologist/painter Alexander Wilson, who originally intended it to be sung to the Scots tune "Willie was a Wanton Wag" (which sometimes appears in early 19th century American tune books as "Constitution March").
**
Jefferson began his first term as president in 1801, though Wilson did not publish his song until 1804. Paul Gifford remarks that Edgerton, Michigan, hammered dulcimer player Chet Parker (1891-1975), played the tune in A minor on his dulcimer at a local gig about 1969. When Gifford asked him the name of the tune Parker replied there were
two names, of which he could only remember one, "The Old Lady, She Shit in the Haymow," and said it was a song the Civil War soldiers sang:
**
A rippety shit and away she went
Her ass stuck out like a Canada cent
With every jump she took, she spent
The old lady, she shit in the haymow.
(These lyrics have also been set to "The Raw Recruit").
**
Welling's version has both 'A' and 'B' parts with 9/8 measures interposed in the regular 6/8 measures. Burchenal prints a New England contra dance of the same title with the tune. Burchenal (American Country Dances, Vol. 1), 1918; pg. 29. Kerr (Merry Melodies), Vol. 1; pg. 33. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 12. Sweet (Fifer's Delight), 1964/1981; pg 18. Welling (Hartford Tune Book), 1976; pg. 9. North Star NS0038, "The Village Green: Dance Music of Old Sturbridge Village."
T:Jefferson and Liberty
L:1/8
M:6/8
K:A Minor
|:B|c2A A^GA|E2A ABc|B2G GBc|dBG GAB|c2A A^GA|E2A A2e|edc BAB|E2A A2:|
|:c|A2B c2d|e2f g3|e2f g2e|dBG G2E|A2B c2d|efg a3|edc BAB|cAA A2:|

JENNY NETTLES [2]. AKA - "Jinny Nettle," "Johnny Nittle." Old-Time, Breakdown. USA; Oklahoma, Missouri. A Major. AEAC#. AABB. No relation to the Scottish tune "Jenny Nettles" [1]. This is perhaps the version whose title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Source for notated version: Willie Collins (Pottawatomie County, Oklahoma) [Thede]. Thede (The Fiddle Book), 1967; pg. 96. Missouri State Old Time Fiddlers' Association, George Helton - "Old Time Fiddler's Repertory" (1976. Originally recorded 1956). Rounder CD-0435, Cecil Goforth - "Traditional Fiddle Music of the Ozarks, Vol. 1."

JENNY PICKING COCKLES (Sineidin Ag Togad Brubanide). AKA and see "Maggie Picking Cockles," "Take Her Out and Air Her." Irish, Reel. Ireland, County Sligo, Donegal. D Major (O'Neill/1850): D Mixolydian (Flaherty, Mitchell, O'Neill/Krassen): D Dorian (Roche): G Major (Tubridy). Standard. AB (O'Neill, Roche, Tubridy): AABB (Flaherty): AA'BB'CC'DD' (Mitchell). See also similarly structured tunes "P.J. Conlon's," "Kitty in the Lane," "The Ballinafad Reel," "The Sailor's Jacket," "Come to your Tay." Breathnach (1985) says it is closely related to "Johnny's Gone to France." Caoimhin Mac Aoidh points out this tune is a variation of two parts of "Jenny's Welcome to Charlie" and has relationships to some strains of "College Groves." The great compiler Francis O'Neill learned this tune from County Mayo piper James O'Brien, who visited Chicago (where O'Neill worked in the police department) in 1876. O'Neill describes him as "a neat, tasty Irish piper of the Connacht school of close players, and though his Union pipes were small, they were sweet and musical...One of his peculiarities-and an unpleasant one, occasionally-was a habit of stopping the music in order to indulge in conversation. He could not be induced to play a tune in full, when under the influence of stimulants, as his loquacity was uncontrollable, and he never hesitated under such conditions to express a passing sentiment. Amiable and harmless at all times, he died at a comparatively early age in Chicago, a victim to conviviality, his only weakness." Sources for notated versions: piper and flute player Tommy Hunt (b. 1908, Lissananny, Ballymote, County Sligo) [Flaherty]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; piper Jimmy O'Brien (County Mayo) [O'Neill]. Flaherty (Trip to Sligo), 1990; pg. 130. Mitchell (The Dance Music of Willie Clancy), 1993; No. 124, pgs. 100-101. O'Neill (Krassen), 1976; pg. 123. O'Neill (1850), 1903/1979; No. 1347, pg. 252. Roche Collection, 1983, Vol. 1; No. 180, pg. 69. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 16. Claddagh 4CC 32, Willie Clancy - "The Pipering of Willie Clancy, Vol. 1" (1980). Gael-Linn CEF 114, Noel Hill & Tony MacMahon - "I gCnoc na Graí."
T:Jenny Picking Cockles
C:Traditional
R:Reel
M:C|
S:Neillidh Boyle
A:Dungloe, Co. Donegal, Ireland
Z:Transcribed by Larry Sanger from a tape of the old 78 rpm record of N.
Boyle.
K:C
~g2||fagf dc~c2|Bcde {a}fe{a}+A2.f2+|~g2fg dc~c2|Acfc AG~G2|+G,G+B~g2
dc~c2|Bcde {a}fe{a}+A2.f2+|~g2fg dc~c2|Acfc AG~G2|+G,G+B~g2 dc~c2|Bcde
{a}fe{a}+A2.f2+|~g2fg dc~c2|Acfc AG~G2|+G,G+B~g2 dc~c2|Bcde
{a}fe{a}+A2.f2+|~g2fg dc~c2|Acfc AG~G2||:\
K:G
|:dg~g2 bgag|fd~d2 +df+d+dg++df+|+d2g2++dg++df+ gbag|fdcd BG~G2|dg~g2
bgag|~f2ga fddg|bg~a2 gfga|fdcA +G,G+B~g2:|

JENNY TIE YOUR BONNET (Cuir Snaidhm ar do Chaipín, a Shinéad). AKA and see "The Cavan Reel," "The Cottage in the Grove," "Down with the Mail," "The Faraway Wedding," "The Gravel Walks," "The Gravelled Walks to Granny," "The Highland Man who Kissed his Grannie," "In and Out the Harbour," "The Jolly Seven," "Lassie/Lassies tie your Bonnet(s)," "Lizzie's Bonnet," "The Rambler's Rest," "Stenson's No. 1," "The Tailor's Thimble," "Tie the Bonnet," "Upstairs in a Tent." Irish, Reel. A Dorian. Standard. AB (Breathnach): ABCD (Mitchell). O'Neill gives the tune under the titles "Tie the Bonnet," "Down with the Mail," and "The Rambler's Rest." Breathnach finds it in County Clare as "In and Out the Harbour" and in Fermanagh as "Jenny Lace your Tight." Source for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare, Ireland) [Breathnach, Mitchell]. Breathnach (CRE III), 1985; No. 96, pg. 50. Mitchell (Dance Music of Willie Clancy), 1993; No. 20, pgs. 40-41. Claddagh Records CC32, Willie Clancy - "The Pipering of Willie Clancy" (1980). The Piper's Assistant (1877). LOCH 1233, Old Blind Dogs - "Legacy."

JENNY'S WELCOME TO CHARLIE ("Fáilte Sineid Roim Catal" or "Fáilte Shinéad roimh Chathal"). AKA and see "Jennie and the Weazel," "Jennie and the Weaver," "Jenny Picking Cockles," "The Highway to Holburn." Irish, Reel. Ireland; Counties Donegal, Meath, west Clare, Limerick. D Aeolian (Dm): D Dorian (Cowdery): D Mixolydian (O'Neill/1001): D Mixolydian/Major (Breathnach, Mitchell): D Mixolydian/Dorian (Cranitch): D Major (Mulvihill, O'Neill/1850). Standard. ABC (Breathnach): ABCD (Mitchell, O'Neill): ABB (Williamson): AABBCCDD (Brody, Cowdery, Cranitch): AABB'CCDD'EEFF (Mulvihill). The title of this Jacobite reel refers to the Scottish pretender Bonnie Prince Charlie, also for a time an Irish hope. Cowdery (1990) identifies the melody as a "further development" of the identifying phrases of the old ballad "The Boyne Water." Caoimhin Mac Aoidh maintains the tune (in four parts) was associated with County Donegal in the past, though it has been disseminated to most of Ireland in the present. "The Long Note" is a related tune. Sources for notated versions: Kathleen Collins [Brody]; Nicholas Markey (County Meath, Ireland) via piper Seamus Ennis [Williamson]; piper Seamus Ennis, 1959 (Dublin, Ireland) [Breathnach]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; Tommy O'Connor (Ballyhahill, County Limerick) [Mulvihill]. Breathnach (CRE II), 1976; No. 261, pg. 135. Brody (Fiddler's Fakebook), 1983; pg. 146. Cowdery, 1990; Ex. 45, pg. 118. Cranitch (Irish Fiddle Book), 1996; No. 81, pg. 156. Mitchell (Dance Music of Willie Clancy), 1993; No. 144, pg. 114. Mulvihill (1st Collection), 1986; No. 144, pg. 39. O'Neill (Krassen), 1976; pg. 142. O'Neill (1850), 1903/1979; No. 1456, pg. 270. O'Neill (1001 Gems), 1907/1986; No. 687, pg. 122. Williamson (English, Welsh, Scotch and Irish Fiddle Tunes), 1976; pg. 89. Claddagh CC53CD, Robbie Hannan - "Traditional Music played on the Uilleann Pipes." Claddagh CC39, Willie Clancy - "The Pipering of Willie Clancy, Vol. 2." Cló Iar-Chonnachta CICD098, Tola Custy and Cyril O'Donoghue - "Setting Free." Comhaltas Ceoltoiri CL13, Tommy Peoples. Front Hall 09, How To Change a Flat Tire- "A Point of Departure." Gael-Linn, Paul O'Shaughnessy - "Slogadh 78." "Gael-Linn CEF 022, Sean Keane - "Seoda Ceoil 2" (1969). Green Linnet SIF 1075, Eileen Ivers - "John Whelen & Eileen Ivers: Fresh Takes" (1987). Green Linnet SIF 1101, Eileen Ivers - "Playing with Fire: The Celtic Fiddle Collection" (1989). Outlet 3002, Paddy Cronin- "Kerry's Own Paddy Cronin" (1977). Shanachie 29002, "Kathleen Collins". Shanachie 79001, De Danann- "Selected Jigs, Reels, and Songs." Shanachie 78012, "The Best of Joe and Antionette McKenna." Tara Records, Paddy Glackin - "Doublin'".
T:Jenny's Welcome to Charlie
M:4/4
L:1/8
R:reel
Z:Barney
K:Ddor
D3 B AG E^F|GE cE dE cE|D2 DB AG E^F|GE cE ED DC|
(3DDD DB AG E^F|GE cE d2 cd|ec dB cA GE|1 GE cE ED DC:|
2 GE cE ED D2||:
=f2 fd ef ed|cA (3AAA GA EA|=f2 fd ed cd|ea ag (3ege de|
~=f3 d ef ed|cA (3AAA G2 cd|ec dB cA GE|1 GE cE ED DC:||:
(3aaa ab ag e^f|~g3 a ge dg|ea (3aaa ag ed|ea ag (3ege dg|
a2 ab ag e^f|~g3 a ge dB|A2 (3Bcd ed dg|(3AcA GE ED D2:||:
Ad dc de =fz|Ac (3ccc cA Gc|Ad dc d2 cd|ea ag (3ege dc|
d2 de dc AB|~c3 d cA GE|D2 (3E^FG Ad dc|1 (3AcA GE ED D2:|
2 (3AcA GE ED DC||

JOHN DOHERTY'S REEL [1] (Ríl Sheáin Uí Dhochartaigh). AKA and see "All Around the World," "Cooley's," "The Connemara Rake," "Doherty's," "Grehan's," "John Doherty's," "Johnny Doherty's," "Jolly Beggar," "The Knotted Chord" [2], "Maids of Mullaghmore," "Matt Molloy's," "The Mistress," "Mot Malloy," "Tinker Doherty's," "The Wise Maid" [1]. Irish, Reel. Ireland, County Donegal. D Major. Standard. AB. John Doherty was a famous fiddler from County Donegal, born into a family of hereditary musicians and travelling tinsmiths in 1900. The family travelled extensively throughout Donegal plying their trade and sharing music with the community; they were said to have had a vast repertoire. Only three brothers, Simey, Mickey and John, were ever recorded, with John the best known. Source for notated version: fiddler Paddy Glackin (Ireland) [Breathnach]. Breathnach (CRE III), 1985; No. 149, pg. 70. Gael-Linn Records CEF 018, John Kelly & Willie Clancy - "Seoda Ceoil I" (1968). Gael-Linn CEF060, "Paddy Glackin." Green Linnett GLCD 1137, Altan - "Island Angel" (1993).

JOHN KELLY'S SLIDE [1] (Sleamhnán Sheáin Uí Cheallaigh). AKA and see "Tim Griffin's Slide," "Danny Ab's Slide." Irish, Jig (6/8 time) or Slide (12/8 time). Ireland, Kerry? D Major. Standard. AA'B (Breathnach): AABB (Black, Brody, Mallinson, Taylor, Tubridy): AA'BB' (Moylan). Fiddle and concertina player John Kelly was born in the district of Rehy West, County Clare, in 1912. Cowdery (1990) remarks he was strongly influenced by other Clare musicians including piper Willie Clancy, and by the traveling piper Johnny Doran. Kelly made Dublin his home in 1945 and by 1959 he had become one of the founding memberrs of Sean O' Riada's group "Ceoltoiri Chualann." After that group broke up in 1969 he and fellow "Ceoltoiri Chualann" alumnus Eamonn de Buitlear formed a similar group, called "Ceoloiri Laighean." The tune is recognizably based on the identifying strain of the ballad "Boyne Water." Sources for notated versions: fiddler John Kelly (Dublin, Ireland) [Breathnach]; accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; set dance music recorded at Na Píobairí Uilleann, mid-1980's [Taylor]. Black (Music's the Very Best Thing), 1996; No. 246, pg. 131. Breathnach (CRE III), 1985; No. 47, pg. 22. Brody (Fiddler's Fakebook), 1983; pg. 148. Bulmer & Sharpley (Music from Ireland), 1974, Vol. 2, No. 58. Mallinson (Enduring), 1995; No. 71, pg. 29. Moylan (Johnny O'Leary), 1994; No. 287, pg. 166. Taylor (Music for the Sets: Yellow Book), 1995; pg. 35. Treoir, Vol. VII, No. 2. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 28 (appears as "John Kelly's Jig," set as a single jig). Gael-Linn Records CEF 018, John Kelly & Willie Clancy - "Seoda Ceoil I" (1968). Island 9379, Chieftains- "Chieftains 3." Shanachie 79023, "Chieftains 3" (1982. Learned from Denis Murphy).
X:1
T:John Kelly's Slide
L:1/8
M:12/8
K:D
e|f2A ABA B2A ded|c2B BAB g3 f2e|f2A ABA B2A ded|c2c cBc d3 d2:|
|:f|g2g gfe f2 f fed|B2e efe d2B BAB|g2g gfe f2f fed|Bee efa b3a2:|
X:2
T: John Kelly's
Q: 375
R: slide
Z:Transcribed by Bill Black
M: 12/8
L: 1/8
K: D
g | f2 A ABA B2 A d2 d | cdc cBA g3 f2 e |
f2 A ABA B2 A d2 d | cdc cBc d3-d2 :|
f | g3 gfe f3 fed | Bee efe d2 B BAB |
g3 gfe f3 fed | Bee efa b3 a2 :|

JOHN O'DWYER OF THE GLENS [3] (Seagan/Seán Ua Duibir an Gleanna). Irish, Set Dance (4/4 time). D Major. Standard. AABB (O'Neill): AA'BB (Mitchell). The 'B' part is twice as long as the 'A'. Each strain is only six bars long in O'Neill's setting. The melody is listed in O'Keeffe and O'Brien's Handbook of Irish Dances among favorite set dances (O'Neill). Sources for notated versions: fiddler Edward Cronin, a Tipperary man from Limerick Junction "who alone knew it in this style" [O'Neill]. piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Mitchell (Dance Music of Willie Clancy) 1993; No. 89, pg. 80. O'Neill (1001 Gems), 1907/1986; No. 967, pg. 166.
T:John O'Dwyer of the Glens [3]
L:1/8
M:C
R:Set Dance
S:O'Neill - 1001 Gems (967)
K:D
de|fefg abag|fgec dcde|fded cBAB|cBcd edce|dcAF G2 GB|A2A2A2:|
|:AB|cBAB cdef|g2 fg a2 ag|abag f2 ed|fefg abag|fgec dedc|A2A2A2 de|
fefg abag|fgec dedc|ABAG A2 AB|cBcd edce|dcAF G2 GB|A2A2A2:|

JOHNNY LEARY'S (POLKA) [4]. AKA and see "Bridgie Con Matt's Favourite," "Willie Doherty's." Irish, Polka. D Major. Standard. AA'BB. Mallinson (100 Polkas), 1997; No. 87, pg. 34.

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).

KELLY'S HORNPIPE [3]. AKA and see "Fisher's Hornpipe." Irish, Hornpipe. D Major. Standard. AABB. Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Mitchell (Dance Music of Willie Clancy), 1993; No. 98, pg. 85.

KENMURE'S/KENMUIR'S ON/UP AND AWA' (WILLIE). AKA and see "The Boys From the West," "Graham's Brook Jig," "Hexham Races," "I Will If I Can," "Kenmore Lads." Scottish (orig.), Canadian, American; Jig. Canada, Prince Edward Island. USA, New England. G Major (Cole, Kerr): A Major (Miller & Perron, Sweet): E Flat Major (Gow). Standard. AABB. Glen (pg. 174) cannot find this once-popular tune published earlier than 1792, though it is supposed to have been taken from the Jacobite song "The Fairhaired Lad." The Scots national poet Robert Burns wrote the lyrics to the air from which the song takes its name. The 1st Battalion of the Cameronians (the Scottish Rifles), even after the British army reorganization of 1881, continued to play this tune for their parades-in-review. Source for notated version: Peter Chaisson, Sr. (b. 1929, Bear River, North-East Kings County, Prince Edward Island) [Perlman]. Cole (1001 Fiddle Tunes), 1940; pg. 73. Gow (Vocal Melodies of Scotland), 1822, 2nd ed.; pg. 25. Gow (Complete Repository), Vol. 4, 1817; pg. 4. JEFDSS, Vol. 1; pg 103 (collected in Vermont). Johnson (Scots Musical Museum), Vol. 4, 1787-1803; No. 359. Kerr (Merry Melodies), Vol. 1; No. 22, pg. 32. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 39. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 128. Smith (Scottish Minstrel), Vol. 3, 1820-24; pg. 81. Sweet (Fifer's Delight), 1964/1981; pg. 23. White's Excelsior Collection, 1907; pg. 9. "The Caledonian Companion" (1975).
X:1
T:Kenmure's Up and Awa'
T:Kenmure's On an' Awa' Willie
L:1/8
M:6/8
K:A
Ace aec|efe e2c|Ace aec|BcB B2c|Ace aec|efg agf|edc dcB|ABA A3:|
|:a2e fec|efe e2g|a2e fec|BcB B2e|A2e fec|efg agf|edc dcB|ABA A3:|
X:2
T:Kenmure's on an' awa' Willie
L:1/8
M:6/8
N:"Slow"
K:E_
S:Gow - 4th Repository
G/F/|~E>FA (eB)G|B2B B2c|~E>FG (eB)G|{G}(F3 F2)G|E>FG (eB)G|
Bcd {G}e2 d/c/|{c}B>AG {B}A>GF E3 z2:|
d|e2B (cB)G|B2B B2~d|e2B (cB)G|(F3 F2)d|e2B (cB)G|Bcd e2 d/c/|
{c}B>AG {B}A>GF|E3 E2 ~d|e2B (cB)G|B2B (Bcd)|e2B (cB)G|
(F3 F2)~d|e2B (cB)G|Bcd e2 d/c/|{c}BA>G {B}A>GF|(E3 E2)||

KILLIECRANKIE [1]. AKA and see "Planxty Davis." Scottish, Air and Slow March (cut time). C Major. Standard. One part (Sharp): AB (Johnson, Perlman). The title commemorates the famous Battle of Killiecrankie, Perthshire, in 1689. The name Killiecrankie is derived from the Gaelic root word coille, meaning a wood, coupled with 'crankie' referring to aspens; thus the phrase means 'wood of the aspens' (Matthews, 1972). Johnson (1983) states it was later renamed after another (different) battle called Tranent Muir, East Lothian, fought in 1745 {which battle is usually known as the Battle of Prestonpans}. He suggests on stylistic reasons that the tune may be the surviving opening for a battle pibroch (see "Highland Battle, A"), though no other parts have come down. A tune by the name of "Keel Cranke" was published by Henry Playford in his 1700 collection of Scottish tunes (Original Scots Tunes), however, the earliest printing of the song appears to be in the Leyden Manuscript of c. 1692. The words to the air go:
***
Whaur hae ye been sae braw, lad?
Whaur hae ye been sae brankie-o?
Whaur hae ye been sae braw, lad?
Come 'ye by Killiecrankie-o?
***
An' ye had been whaur I hae been
Ye wadna been sae cantie-o
An' ye had seen what I hae seen
On the braes o' Killiecrankie-o
***
I fought at land, I fought at sea
At hame I fought my auntie-o
But I met the Devil and Dundee
On the braes o' Killiecrankie-o
***
The bauld pitcur fell in a furr
And Clavers gat a crankie-o
Or I had fed an Athol gled
On the braes o' Killiecrankie-o
***
Oh fie, MacKay, What gart ye lie
I' the brush ayont the brankie-o?
Ye'd better kiss'd King Willie's loff
Than come tae Killiecrankie-o
***
It's nae shame, it's nae shame
It's nae shame to shank ye-o
There's sour slaes on Athol braes
And the de'ils at Killiecrankie-o
***
'Clavers', in verse four, refers to the Earl of Claverhouse, Viscount Dundee, John Graham, who in 1689 led the first Jacobite Rebellion against the forces of William of Orange. Essentially, it was a battle between Clavers' Highland allies (mostly from Clan Cameron, Donald, Stuart and MacLean), pitted against a largely lowland Scots army (though the Williamite forces did include some professional Highland soldiers with the result that close relatives fought on opposite sides) commanded by Major-General Mackay. They met at Killiecrankie in the southern Highlands in July, 1689, with the result that the supporters of James II won a significant but bloody battle, with a phyric conclusion, for Claverhouse himself was slain. Having no leader to replace him the clans disbanded and the rebellion quickly petered out. The Gow printing is a version of "Planxty Davis," and is labelled "very slow." Sources for notated versions: James Thomson Manuscript, pg. 20 [Johnson]; Peter Chaisson (b. 1942, Bear River, North-East Kings County, Prince Edward Island) [Perlman]. Gow (Complete Repository), Part First, 1799; pg. 7 (appears as "The Original Sett of Killecrankie"). Gow (Collection). Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 6, pg. 24. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 210. Sharp (Country Dance Tunes), 1909/1994; pg. 62.
T:The Original Sett of Killecrankie
L:1/8
M:C
S:Gow - 1st Repository
K:C
E/F/|G>A{A}GE (G/E/)G/A/ G>E|(G/F/)(E/D/) (C/D/)E/F/ G2 GE/G/|
~AcAG/A/ cAA G/A/2B/2|c>e {cd}ed/c/ A2 Ae/g/|ag/e/ ge/d/ ed/c/ de|
c>A (G/A/)c/E/ {E}G2 Gc/B/|AG/A/ cA/c/ (dd) {d}e>d|{B}c>A (G/A/)c/E/ D2C:|
|:e/f/|g>age (g/e/)g/a/ {a}g>e|(g/f/)e/d/ (c/B/)e/f/ g2 (ge/g/)|a>c' ag (a/g/)a/c'/ {b}ag|
ag/e/ de/g/ a2 ae/g/|(a/g/)e/a/ (g/e/)d/g/ (f/e/)(d/c/) de|~c>A (G/A/)c/E/ {E}G2 Gc/B/|
AG/A/ cA/c/ (dd) {d}e>d|{B}c>A (G/A/)c/E/ D2C:|

KILLIMER JIG. AKA and see "Port Ui Cheallaigh," "Kelly's Jig," "The Killimore Jig." Irish, Double Jig. G Major. Standard. AABB. Source for notated version: piper Willie Clancy (1918-1993, Miltown Malbay, west Clare) [Mitchell]. Mitchell (Dance Music of Willie Clancy), 1993; No. 109, pg. 93.

KISS HER AND CLAP HER. Shetland, Wedding Tune (noted both in 6/8 and duple time versions). A Mixolydian. Standard. AABB. The title means 'kiss her and pet her'. This was the second tune usually played for the wedding party in a traditional Shetland wedding of the last century; it "was a cue for the groom's party to kiss the bridesmaids ceremonially" (Cooke, 1986). Cooke (1986) prints the following text for this tune:
***
Here awa, there awa, wandering Willie
Here awa, there awa, wandering Willie
Lang have I sought thee,
Dear have I bought thee
Now I have gotten my Willie again.
***
Source for notated version: Peter Fraser (Finnigirth, Walls, Shetland) [Anderson & Georgeson, Cooke]. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 11. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex. 29, pg. 83. Shetland Folk Book. Front Hall 018, How to Change a Flat Tire - "Traditional Music of Ireland and Shetland" (1978).

KITTY GOT A CLINKING (COMING FROM THE RACES) [1] {Caitin Ag Teact O'n Reata}. AKA and see "Boil the Kettle Early," "The Brown Red Girl," "Coming From the Races," "The Connachtman's Rambles," "Dunguaire Castle," "The Kilfinane Reel," "The Ladies Tight Dress," "The Ladies Top Dress," "The Lady on the Railroad," "The Listowel Lasses," "Love Among the Roses," "Maureen Playboy," "McCaffrey's Reel," "Old Molly Ahern," "The Piper's Lass," "Punch for the Ladies," "The Railway Station," "The Rathkeale Hunt," "Rolling on the Ryegrass," "Roll her on the banks," "The Telegraph," "The Shannon Breeze," "What the Devil ails you/him?" Irish, Reel and Fling. D Major. Standard. AB. Related to the Lowland Scots tune "High Road to Linton." Regarding the title, Seamus Ennis was once asked what it meant, and supposedly replied that clinking was "an intimate act of warm affection." Philippe Varlet finds that as a fling the melody was recorded by the Philadelphia group Four Provinces Orchestra in the 1920's (under the title "Coming From the Races"). Sometimes the parts are reversed from O'Neill's printing, especially in fling versions. Mitchell (Dance Music of Willie Clancy), 1976/1993; No. 146, pg. 115 (appears as "Fling No. 1"). O'Neill (1915 ed.), 1987; No. 299, pg. 149. O'Neill (1001 Gems), 1907/1986; No. 605, pg. 110. Claddagh CC 11, Willie Clancy - "The Drones and the Chanter." Claddagh CC 32 & CC 39, Willie Clancy - "The Pipering of Willie Clancy" (two versions, a single jig and a fling). Lochshore CDLDL 1215, Craob Rua - "The More That's Said the Less the Better" (1992).
T:Kitty Got a Clinking Coming from the Races
L:1/8
M:C|
R:Reel
S:O'Neill - 1001 Gems (605)
K:D
AG|FDFA d2 dc|BABc d2d2|FAAB d2 dB|ABAF E2D2|FDFA d2 dc|BABc d2d2|
FAAd BcdB|AFDF E2D2|FAAd BGGB AFFA GE E2|FAAd BGGB|AFDF E2D2|
FAAd BGGB|AFFA GE E2|FAAd BcdB|AFDF E2D2||

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||

KITTY'S GONE A-MILKING. AKA - "Kitty Goes a-Milking." Irish, Reel. G Major. Standard. AB (Tubridy): AAB (Stanford/Petrie): AABB (Mulvihill): AABB' (Mitchell). The tune was included in a three-tune medley famously recorded on a 78 RPM disk by County Meath fiddler Frank O'Higgins, featured on early Irish radio broadcasts. Sources for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; Frank McCollam (Ballycastle, County Antrim) [Mulvihill]; Frank O'Higgins [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1974, Vol. 1, No. 25. Mitchell (Dance Music of Willie Clancy), 1976/1993; No. 31, pg. 45. Mulvihill (1st Collection), 1986; No. 99, pg. 26. Stanford/Petrie (Complete Collection), 1905; No. 444, pg. 112. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 26. Philo 1051, Boys of the Lough - "Good Friends, Good Music" (1977). "The Chieftains #1." Shanachie 79093, Paddy Glackin & Robbie Hannan - "The Whirlwind" (1995).
T:Kitty gone a milking?
M:4/4
L:1/8
R:reel
K:G
dG(3GGG d2cA|dG(3GGG FGAc|dG(3GGG d2eg|fdcA GABc|dG(3GGG d2cA|
dG(3GGG FGAc|dG(3GGG d2eg|fdcA GABc||dg-~g2 ag-~g2|dg-~g2 d2cA|dg-~g2 ag-~g2|dcAB c2 Bc|dg-~g2 ag-~g2|dg-~g2d2Bc|defg abag|fdcA GABc||

LADIES' PANTALETTES, THE ("Bristide na M-Ban" or "Drairini na Mna Uaisle"). AKA and see "Crooked Road to Dublin," "The Duke of Leinster's Wife," "Pat the Fowler," "The Green Pantaloons," "The Grey Frieze Breeches," "The Boatman's Reel," "Leonard's Reel," "Ladies Pantaloons/Pantaloos." Irish, Reel. G Minor (Cole): G Major (Mitchell, O'Neill {all versions}). Standard. AB (Mitchell, O'Neill/1001): AAB (Breathnach, O'Neill/Krassen). O'Neill's titles are "Ladies' Pantalettes" and "Pat the Fowler." Goodman gives it as "The Green Pantaloons" and it appears as an untitled reel from County Clare in Stanford/Petrie (Complete Collection, 1905; No. 906). The alternate title "The Duke of Leinster's Wife" supposedly came about because of its being paired in a medley with the tune "The Duke of Leinster." The story goes that naming a tune after women's underwear was thought in some circles to be indelicate or otherwise unacceptable, so the "Wife" title was devised so as to emphasize the routine pairing of the two melodies (while retaining the gender of the original title). O'Neill (Irish Folk Music, 1910) relates that he first heard this tune while on duty as Desk Sergeant at the Deering Street police station:
***
The strains of a slashing but unfamiliar reel floating out on the night
air from the lowered windows of Finucane's Hall caught my eager
ear one Saturday night, when Tommy Owens was playing for a
party...as the police station was just across the street, I had little
difficulty in memorizing the tune. Although it had never been printed
it soon gained wide circulation among experts, and it had become such
a favorite with Inspector John D. Shea (the Chief of Detectives), that
it has since been identified with his name.
***
The tune was the first reel learned by Willie Clancy, taught to him by his flute playing father, Gilbert Clancy. One of the earliest recordings of the tune under this title was by piper Eddie Mullaney and fiddler Patrick Stack in Chicago, 1926. Sources for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Breathnach, Mitchell]; set dance music recorded at Na Píobairí Uilleann, late 1980's [Taylor]. Breathnach (CRE III), 1985; No. 161, pg. 74. Cole (1001 Fiddle Tunes), 1940; pg. 50 (appears as "Ladies' Pandeletts"). Mitchell (Willie Clancy), 1993; No. 82, pg. 76. O'Neill (1915 ed.), 1987; No. 259, pg. 134. O'Neill (Krassen), 1976; pg. 102. O'Neill (1850), 1903/1979; No. 1235, pg. 232. O'Neill (1001 Gems), 1907/1986; No. 509, pg. 96. Taylor (Music for the Sets: Blue Book), 1995; pg. 18. Claddagh 4CC 32, Willie Clancy - "The Pipering of Willie Clancy, Vol. 1" (1980).
T:Ladies' Pantalettes, The
L:1/8
M:C|
R:Reel
S:O'Neill - 1001 Gems (509)
K:G
BdcA G2G2|ABcA d2cA|BdcA G2g2|fdcA dBcA|
BdcA G2G2|ABcA d2cA|BdcA G2g2|fdcA BG G2||
fgaf g2 af|gbag fd d2|fgaf gbag|fdcA BG G2|fgaf g2 af|
gbag fd d2|defg abag|fdcA BGAc||

LADIES/LADYS PANTALOO(N)S. AKA and see "Limerick Lasses," "The Humours of Appletown," "The Dublin Lasses," "The Green Fields of Erin," "The Heather Breeze," "The Heather Bloom," "The Heathery Braes," "The Heathery Braes of Ballyhealy," "Coppers and/of Brass," "Crossing the Fields," "McNamara's Reel," "Ladies Pantalettes." Claddagh Records CC32, Willie Clancy - "The Pipering of Willie Clancy" (1980).

LADY'S BONNET, THE. Irish, Reel. E Dorian. Standard. AB. Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Mitchell (Dance Music of Willie Clancy), 1993; No. 28, pg. 44.

LAKE OF COOLFINN, THE. AKA - "Lakes of Col Flynn." AKA and see "Willie Leonard." Irish, Air (3/4 time). D Major. Standard. One part. "I took down this very characteristic air and one verse of the ballad, from Peggy Cudmore of Glenosheen Co. Linerick. The ballad is well known in both the south and the west; and it appears obvious that it relates a real event--the accidental drowning of poor young Willie Leonard. There are many places in Ireland called Coolfin; but in which of them 'The Lake of Coolfin' is situated I cannot tell. The ballad, as I received it, is a singular mixture of vigour and imbecility; in some parts vivid and true to nature; in others, vulgar, feeble and prosy. I have retrenched, added something of my own, changed many of the lines, and restored the rhythm where it was necessary. But I have retained as much of the old ballad as possible" (Joyce). Cazden (et al, 1982) remarks that this tune shows contour and focal points matching his Catskill Mountain (New York) collected 6/8 time "The Bounty Jumper" and relatives. He also prints the title as "Lakes of Col Flynn." Joyce (Old Irish Folk Music and Songs), 1909; No. 417, pgs. 227-228.

LANGSTROM'S PONY (Capaillín Langstern). AKA - "The Langstern Pony," "Lostrum Ponia," "Lanstrum Poney," "Lastrum Pone," "Lanxtrum Pony." AKA and see "(A) Draught of Ale," "Farrell's Pipes," "The Fourpenny Girl," "Grania's Welcome Home," "Highway to Dublin," "The Priest's Leap," "The Right Way to Dublin," "Saddle the Pony," "Sweet Tibby Dubar." Irish, Double Jig. A Mixolydian. Standard. AABB (Breathnach): AABBCCDD (Brody, Flaherty, Mallinson, Mulvihill): AABCCDDE (Mitchell). The tune may possibly be of Scots origin, as has been noted in several sources. "It's very well known and is probably a very old tune. A setting is to be found in Oswald's Caledonian Pocket Companion which was published in the late 18th century" (Boys of the Lough). Other early versions appear in John and William Neal (A Choice Collection of Country Dances with their Proper Tunes, Dublin, 1726) as "Lastrum Pone," a seven-part tune, in Hibernian Muse (lxxxvi, c. 1780) as "Lostrum Ponia" and under the titles "Lastrum Pony" and "Farrell's Pipes" in O'Farrell's Pocket Companion (1806-11) and National Music for the Union Pipes (c. 1800) respectively. It has been a favorite of Irish pipers. Breathnach (1976) says his version is "more or less" the version found in O'Neill's as "Saddle the Pony," and also finds it in another, unknown, manuscript as "The Fourpenny Girl." He finds the tune similar in parts to "Paddy O'Rafferty." Sources for notated versions: How to Change a Flat Tire [Brody]; piper Seamus Ennis, 1959 (Dublin, Ireland) [Breathnach]; fiddler Philip Duffy (b. 1966, London, now residing in Dublin) [Flaherty]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; fiddler John Doherty (1895-1980, Donegal) [Feldman & O'Doherty]; fiddler Pat Neilly [Bulmer & Sharpley]. Breathanch (CRE II), 1976; No. 46, pg. 26 (appears as "Capaillín Langstern" {Langstern Pony}). Brody (Fiddler's Fakebook), 1983; pg. 163. Boys of the Lough, 1977; pg. 6. Bulmer & Sharpley (Music from Ireland), 1974, Vol. 2; No. 44. Feldman & O'Doherty (The Northern Fiddler), 1979; pg. 61 (appears as "Untitled Slip Jig"). Flaherty (Trip to Sligo), 1990; pg. 31. Mallinson (Essential), 1995; No. 78, pg. 34. Mitchell (Dance Music of Willie Clancy), 1993; No. 80, pgs. 74-75. Mulvihill (1st Collection), 1986; No. 55, pg. 77. Sullivan (Session Tunes), Vol. 2; No. 26, pg. 11 (appears as "The Langstern Pony"). Front Hall 018, How To Change a Flat Tire- "Traditional Music of Ireland and Shetland." Gael-Linn CEF 069, Paddy Glackin- "An Fhidil Straith II" (1980). Island ILPS9432, The Chieftains - "Bonaparte's Retreat" (1976). Shanachie 79006, Mary Bergin- "Traditional Irish Music."

LAN(N)IGAN'S BALL (Feis-Rince Ui Lannagain). AKA and see "At the Side of the Road," "Flannigan" (Pa.), "When I Was a Young Man." Irish (originally), American; Double Jig. USA; New England, Maine, southwestern Pa. E Minor/Dorian (most versions): D Minor (Welling). Standard. AABB. The title comes from the comic song by one George or D.K. Gavan set to music by John Candy, according to a note in J. Diprose's songster of 1865 (Cazden, et al, 1982). The song appears in several publication of the 1860's and later decades and appears to be the most wide-spread of this tune genre. Bayard (1981) gives extensive notes on this tune, which he asserts is part of "a British traditional tune-family of widely varying developments and of probable considerable antiquity." He likens this tune family to a family of languages and their cross-currents of relationships of elements, forms, and structures. This family may or may not have developed from a single air. He divides many of the variant airs in this family into groups of related versions, of which the "Lannigan's Ball" tunes resemble all the others in one or more ways. The tune groups are 1) "Lannigan's Ball" (including "Dribbles of Brandy," "Young Francis Mooney," and two untitled jigs in Joyce's 1909 collection {Nos. 824 & 837}). 2) "Lumps of Pudding," which dates from the 17th century (including "Contentment is Wealth," "I'm Content With My Lot" {Ta Me Sasta lem' Staid}, and "The Day After the Fair"). 3) "Bung Your Eye" (including "Off to the Hunt," "The Antrim Lasses," "Tatter Jack," "The Boys of Carrigallen," "Mount Your Baggage," and "Bonnie Strathmore"). 4) "Kitty Alone". 5) "O As I Was Kist Yestreen" (including "House o' Duncan," "My Love is Lost to Me"). 6) Muirland Willie (including "The Northern Lass," "The Auld Maid of Fife," "The Shepherd's Wife," "My Boy Tammy" and "Forty Miles" {In Bayard's 1944 collection he thought "Forty Miles" was similar to "Lannigan's Ball," but in his 1981 collection he reconsidered it as a version of "Muirland Willie"}). The title appears in a list of Maine fiddler Mellie Dunham. The elderly Dunham was Henry Ford's champion fiddler in the mid-1920's. "At the Side of the Road" is given as an alternate title in O'Neill's 1001 Gems, while a set dance, "Hurry the Jug," appears to be an earlier form. Mulvihill (1986) gives the tune as an alternate for the dance The Bridge of Athlone. There was a céilí dance called Lannigan's Ball which was once quite popular. Sources for notated versions: Eben Patterson (elderly fiddler from Allegheny County, Pa., 1930's); Walter Neal (Armstrong County, Pa., 1952); Fred Miller & Glenn Gelnette (Jefferson County, Pa., 1949); Hoge MS (Pa., 1944) [Bayard]; Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Bayard (Dance to the Fiddle), 1981; No. 541A-D, pgs. 481-484. Cole (1001 Fiddle Tunes), 1940; pg. 68. Cranford (Winston Fitzgerald), 1997; No. 194, pg. 76. Jarman (Old Time Fiddlin' Tunes); No. or pg. 17. Kennedy (Fiddlers Tune Book), Vol. 2, 1954; pg. 43. Kerr (Merry Melodies), Vol. 1; No. 9, pg. 36. Mallinson (Essential), 1995; No. 88, pg. 38. Miller & Perron (New England Fiddler's Repertoire), 1983; No. 45. Mulvihill (1st Collection), 1986; No. 20, pg. 123. O'Lochlainn, 1939; No. 52. O'Neill (Krassen), 1976; pg. 34. O'Neill (1850), 1979; No. 858, pg. 159. O'Neill (1001 Gems), 1986; No. 118, pg. 35. Raven (English Country Dance Tunes), 1984; pg. 104. Roche Collection, 1983, Vol. 1; No. 105, pg. 45. Ryan's Mammoth Collection. Spaeth (Weep Some More, My Lady), 1927; pg. 222. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 29. Welling (Welling's Hartford Tunebook), 1976; pg. 22. White's Excesior Collection, 1907; pg. 10. White's Unique Collection, 1896; No. 16. Folkways 8826, Per's Four--"Jigs and Reels." Victor 20537 (78 RPM), Mellie Dunham (appears as one of tunes in "Medley of Reels"), 1926.
T:Lanigan's Ball
L:1/8
M:6/8
K:E Minor
E2F G2A|B2A B^cd|DED F2G|AdB AFD|E2F G2A|B2A B^cd|edB cBA|BGE E3:|
|:e2f g2e|fag fed|e2f g2e|fdB B2B|e2f g2e|fag fed|edB cBA|BGE E3:|

LARK IN THE MORNING [1]. AKA and see "House in the Glen." Irish, Double Jig. D Major (Brody, Mallinson, Miller & Perron, Moylan, Phillips, Spandaro, Tubridy): D Mixolydian (Mitchell). Standard. AAB (Mitchell): AABB (Mitchell, Phillips, Spandaro): ABCC'D (Moylan): AABBCCDD (Brody, Mallinson, Miller & Perron, Mulvihill, Tubridy): AABB'CC'D (Mitchell). See also "An Buachaillín Buí," "Come in the Evening," "Galloway Tom," "Galway Tom," "Galway Town," "The Goat's Horn," "The Kelso Races," "The Little Yellow Boy," "The Spotted Cow," "The Thrush's Nest," "The Welcome," "A Western Lilt," "The Yellow Little Boy." Largely due to the influence of Co. Sligo/New York fiddler James Morrison, this tune has been associated with "The Wandering Minstrel" and the two are often played together, as they were by source O'Leary. Willie Clancy declared he had the tune from his mother, Ellen Killeen, a singer and concertina player from Ennistymon. Martin Mulvihill gives this tune for the longdance The Seige of Ennis. The tune has been identified as a variant of "Hills of Glenorchy." "Lark in the Morning" can be heard in the mid-1990's film "The Devil's Own" during the house-party scene in honor of Harrison Ford's film daughter's Confirmation. The fiddler is none other than New York's famous Paddy Reynolds, shown for an instant. Sources for notated versions: accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Brody (Fiddler's Fakebook), 1983; pg. 164. Mallinson (Essential), 1995; No. 76, pg. 33. Miller & Perron (Irish Traditional Fiddle Music), 1977; Vol. 1, No. 41. Mitchell (Dance Music of Willie Clancy), 1993; No. 78, pg. 74; No. 111, pgs. 94-95 & No. 112, pg. 95. Moylan (Johnny O'Leary), 1994; No. 186, pg. 107-108. Mulvihill (1st Collection), 1986; No. 23, pg. 123. Phillips (Where's the Crack?), 1989; pg. 34. Spandaro (10 Cents a Dance), 1980; pg. 23. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 35. Canadian Broadcasting Corp. NMAS 1972, Natalie MacMaster - "Fit as a Fiddle" (1993). Copely DWL-9-617, Jack Wade- "Ceili Music From Ireland." Living Folk
T:Lark in the Morning [1]
L:1/8
M:6/8
K:D
dB|AFA AFA|BGB BdB|AFA AFA|fed BdB|A2A AFA|BGB BAB|def afe|fdB B:|
|:AB|def a2a|baf afe|def afe|fdB BAB|def a2a baf a2f|~g3 ~f3|edB B:|
|:AB|d2f fef|fef fef|d2f fef|edB BAB|d2f fef|fef fed|faf gfe|fdB B:|
|:AB|Add fdd|ede fdB|Add fdd|edB BAF|Add fdd|ede fed|faf gfe|fdB B:|

LARRY GROGAN('S) [1] (Lamrais Ua Grugain). AKA - "Larry O'Grogan." AKA and see also "Bliven's Favorite," "Bobbing for Eels," "The Bottle of Punch," "The Butchers of Bristol," "By your leave, Larry Grogan," "Coppers and Brass," "The County Limerick Buckhunt," "Finerty's Frolic," "Fishing for Eels," "Green Sleeves," "Groom," "Hartigan's Fancy," "The Humours of Ennistymon," "The Humours of Miltown," "Ioc an Reicneail," "Jackson's Bottle/Jug of Punch/Brandy," "The Lasses of Melrose," "Lasses of Melross," "Little Fanny's Fancy," "Lynn's Favourite," "Lynny's Favourite," "The Old Man's Jig," "Pay the Reckoning," "Pingneacha Rua agus Pras," "Queen of the Rushes," "The Waves of Tramore," "Willie Clancy's." Irish, Double Jig. G Major (Cole, Roche): G Major/Mixolydian (O'Neill, Seattle/Vickers): C Major (Hardings). Standard. AABB (Cole, Hardings, O'Neill, Roche): AAB (Seattle/Vickers). A two-part version of a melody belonging to a large tune family, perhaps ancestrally derived from "Greensleeves." Lawrence Grogan was an 18th century "gentleman piper" and composer, to whom is attributed the tunes "Ally Crocker" (c. 1725) and "Girl I Love." Grogan was from Johnstown Castle, County Wexford, and was the first performer on the improved Irish pipes called Uilleann or (archaicly) Union of whom there is historical record (O'Neill, 1913). Like many country gentlemen of his day, he was supposed to have been devoted to hunting and horseracing. See also note for "Ally Croker" for more on Grogan. Aird (Selection of English, Scotch, Irish and Foreign Airs), 1778, Vol 1; No. 155. Breathnach (CRE I), 1963; No. 4. Cole, 1940; pg. 61. Harding's All-Round Collection, 1905; No. 126, pg. 40. O'Neill (Krassen), 1976; pg. 37. O'Neill (1850), 1903/1979; No. 879, pg. 163. O'Neill (1001 Gems), 1907/1986; No. 132, pg. 37. O'Neill (1913), pg. 182. Oswald (Caledonian Pocket Companion), 1780?, Vol. 2, pg. 98. Roche Collection, 1983, Vol. 1; No. 111, pg. 47. Seattle (William Vickers), 1987, Part 2; No. 297. Walsh (Caledonian Country Dances), 1737, Vol. 2; pg. 23.
T:Larry Grogan [1]
L:1/8
M:6/8
S:O'Neill - 1001 Gems (132)
K:G
d/c/|BGB BGB|AFA ABc|ded cAF|GBd g2d/c/|
BGB BGB|AFA ABc|d/e/fd cAF|GAG G2:|
|:d/e/|=f3 edc|Bcd dBG|=f3 e^fg|A>BA A2 d/e/|
=f3 edc|Bcd dBG|B/c/dB cAF|GAG G2:|

LASSES OF MELROSS, THE. AKA and see "Bliven's Favorite," "The Butchers of Bristol," "By your leave, Larry Grogan," "Coppers and Brass," "The County Limerick Buckhunt," "Finerty's Frolic," "Green Sleeves," "Groom," "Hartigan's Fancy," "The Humours of Ennistymon," "The Humours of Miltown," "Larry Grogan," "Lasses of Melross," "Little Fanny's Fancy," "Lynn's Favourite," "Lynny's Favourite," "Pingneacha Rua agus Pras," "Queen of the Rushes," "The Waves of Tramore," "Willie Clancy's." Irish, Jig. The tune belongs to the large tune family known usually as "Larry Grogan." As "Groom" the tune is attributed by Goodman to the 18th century gentleman-piper Walker 'Piper' Jackson, of the townland of Lisdaun, parish of Ballingarry, Aughrim, County Limerick. Breathnach remarks that a version was originally printed (by John Walsh before 1736 in Country Dances Book the Second) under the title "Larry Grogan," named for the County Wexford gentleman piper of the early-mid 1700's. See note for "Groom." Aird (Selection of Scotch, English, Irish and Foreign Airs), Volume II, 1780-1803; 92.

LEAVING LERWICK HARBOUR. Shetland, Slow Air (4/4 time). A modern air in the Scottish style composed in 1970 by Lerwick, Shetland, fiddler William "Willie" Hunter (1933-1994), on the occasion of his sister Lorna's emigrating from Shetland to New Zealand. It is considered to be the finest composition of a fiddler who was considered to be the best of his generation, of whom it was said he could move an audience to tears through his sensitive rendering of slow airs. Green Linnet GLCD 1151, Seamus McGuire - "The Wishing Tree" (1995). Greentrax, Willie Hunter - "Leaving Lerwick Harbour" (1995).

LEG OF (A) DUCK, THE (Leis Lacha). AKA and see "The Bonny Highlander," "Bucky Highlander," "Bully for You," "Daniel of the Sun," "Donall na Greine," "From the Court to the Cottage," "Girls of the West," "I gave to my Nelly," "Nelly's Jig," "O my Dear Judy," "Thady/Teddy you Gander," "'Tis sweet to think," "O My Dear Father Pity your Daughter," "The Western Jig," "She is the Girl that can do it," "Petticoat Loose." Irish, Jig. G Major. Standard. AABB. The title comes from a song set to the tune. James Joyce gives a few lines in Ulysses:
***
I gave it to Kitty because she was pretty,
The leg of the duck, the leg of the duck.
I gave it to Molly because she was jolly,
The leg of the duck, the leg of the duck.
***
Irish uilleann piper and music editor Terry Moylan (Johnny O'Leary) shared a car journey in 1970 with Sean Reid and Willie Clancy, who were entertaining each other with similar rhymes. Clancy gave the one above and also had:
***
I gave it to Nelly to stick in her belly
The leg of the duck, the leg of the duck.
She has it, she's got it, wherever she put it,
The leg of the duck, the leg of the duck.
***
Moylan says: "According to Johnny O'Leary, Denis Murphy had scores of these things. Willie could have got them from Denis, as they were close friends." Simple rhymes were helpful in the days of intinerant musicians when people would employ them to describe the tune they wanted to dance to when a visiting musician did not know the local name.
***
Source for notated version: fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia) [Cranford]. Cranford (Brenda Stubbert's), 1994; No. 131, pg. 45. Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 33. "Johnny Wilmot: Another Side of Cape Breton" (learned from his uncle, Northside Cape Breton fiddler Joe Confiant, it appear as second tune of "Cape Breton Favorites"). Brenda Stubbert - "House Sessions" (1992). Gael Linn Records, Maire O'Keeffe - "House Party (An Coisir)." Gael Linn Records, Declan Masterson - "Deireadh an Fhómhair (End of the Harvest)"
T:Leg of the Duck, The
L:1/8
M:6/8
K:G
A|BGG AGA|BAB GED|EAA AGA|EAA AGA|
BGG AGA|BAB GED|EGG GED|EGG G2:|
|:A|Bdd ABc|BAB GED|EAA AGA|EAA AGA|
Bdd ABc|BAB GED|EGG GED|EGG G2:|

LEITRIM FANCY, THE [1]. AKA and see "Gallagher's Fancy," "Michael Gallagher's Reel," "Moran's Hornpipe." Irish, Hornpipe. D Major. Standard. AAB (Mitchell): AABB' (Allan, Tubridy). See note for "Michael Gallagher's Reel." Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, West Clare) [Mitchell]. Allan's Irish Fiddler, No. 76, pg. 19. Mitchell (Dance Music of Willie Clancy), 1993; No. 4, pgs. 30-31. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 13.
T:Leitrim Fancy, The [1]
L:1/8
M:4/4
K:D
AG|F/G/F EF DEFG|A/B/A GB A2 de|fefg agec|dcAF GBAG|
F/G/F EF DEFG|A/B/A GB A2 de|fdge agec|d2 dc d2:|
de|fefg ageg|fefg a2 e/f/g|agec dfec|dcAF|G2 eg|fefg ageg|
fefg a2 e/f/g|agec dfec|Addc d3e||fefg ageg|fefg a2 e/f/g|
agec dfec|dcAF GBAG|F/G/F EF DEFG|A/B/A GB A2 de|
fdge agec|d2 dc d2||

LIMBER NECK BLUES. AKA and see "Parkersburg Landing." Old-Time, Schottische (brisk). USA, Mississippi. C Major. Standard. AABB. The melody, which is obviously not a blues tune but a schottische, was recorded in 1930 (OKeh 45548) under this title by Mississippi musicians Willie Narmour (b. 1889) and Shell Smith (b. 1895), though it was known as "Parkersburg Landing" to east Kentucky fiddler Ed Hayley. Allin Cottrell points out that fast accurate playing in the key of C was one of the hallmarks of Narmour's fiddling. The 'A' part, at eight measures is twice as long as the 'B'. Old Time Herald, Vol. 5, No. 3 (Spring, 1996); pg. 49. Musical Traditions MT 104, Narmour and Smith - "Where the Southern Crosses the Dog: Mississippi Fiddle Music 1928-35."

LITTLE FANNY'S FANCY. AKA and see "Bliven's Favorite," "The Butchers of Bristol," "By your leave, Larry Grogan," "Coppers and Brass," "The County Limerick Buckhunt," "Finerty's Frolic," "Green Sleeves," "Groom," "Hartigan's Fancy," "The Humours of Ennistymon," "The Humours of Miltown," "Larry Grogan," "The Lasses of Melrose," "Lasses of Melross," "Little Fanny's Fancy," "Lynn's Favourite," "Lynny's Favourite," "Pingneacha Rua agus Pras," "Queen of the Rushes," "The Waves of Tramore," "Willie Clancy's." Irish, Jig. O'Neill gives this title as an alternate for "Hartigan's Fancy" in his Dance Music of Ireland (1907), obviously part of a rather large tune family. See note for "Groom."

LITTLE RED LARK (OF THE MOUNTAIN), THE [1]. AKA - "An Fuiseogin Dearg." Irish, Air (6/8 time, "gracefully"). Ireland, County Armagh. G Major (O'Neill): F Major (Stanford/Petrie). Standard. AB. The tune is a version of the Irish air "Ballylee," and is also similar to "Caitlin Triall" (Kitty Tyrell). The Irish collector Petrie obtained his version in Armagh. O'Neill (1850), 1979; No. 72, pg. 13. Stanford/Petrie (Complete Collection), 1905; No. 384, pg. 97. Folkways FW 6819, Willie Clancy - "Irish Jigs, Reels and Hornpipes" (1959).

LITTLE STAR. Old-Time. In the repertoire of fiddler Willie Narmour, Mississippi. "Twinkle, Little Star"??

LITTLE WILLIE. Old-Time, Breakdown. USA, Mississippi. A Major. The melody was recorded in 1939 for the Library of Congress by Herbert Halpert from the playing of Choctaw County, Mississippi, fiddler Charles Long.

LOCH LEVEN/LAVAN CASTLE. AKA and see "The Gill Can," "Miss Lyle's Reel," "Shores of Lough Greaney," "Silver Street Lasses," "Tomgraney Castle." Scottish, Canadian, Old-Time; Reel, Hornpipe, Breakdown. USA, West Virginia. A Dorian (Brody, Perlman, Spandaro): A Minor (Hunter, Kerr). Standard. AAB (Hunter, Kerr): AABB' (Brody, Perlman, Spandaro): AA'BB' (Spandaro). Lochleven Castle, surrounded by a loch, served as the site of an exciting 16th century drama involving Mary, Queen of Scots, who was imprisoned there for several months by Sir William Douglas, at the behest of the Earl of Moray, Regent of Scotland. The Douglas family was divided in their loyalty, however, and Sir William's younger brother George Douglas was a supporter of Mary (and for this had been banned from the castle), and himself had the support of many of the Scottish nobility. Mary had other sympathizers among the local populace and even in the castle itself, notably a sixteen year old boy named Willie Douglas who had become quite enamored of the Queen and became the hero of this story. Willie was a bold, adventurous and resourceful lad who had charge of the castle's boats. Word was brought to Mary by Sir William's unsuspecting wife, who innocently returned a token, an earing, and mentioned that her son George 'would ride to Glasgow the next evening;' this was the signal that Mary's escape had been planned for the next evening. Willie had planned a celebration for that day to include feasting and revelry, and even served Sir William at his table (he had the cunning to have planned the banquet in the hall whose window faced away from the loch and the escape route). He managed to slip the keys to the castle away from Sir William while he was distracted and went straight to Mary, who had evaded her chaperones and hid in an upstairs chamber. They stealthily made their way through the castle and out the great doors of the castle (which Willie locked behind him with Sir William's keys) to a boat waiting below and Mary and Willie were rowed to shore, but not before Willie disabled the rest of the boats and threw the castle keys into the loch's dark waters. Mary swiftly made her way to West Middrie Castle in Fife and safety.
***
The reel has been popular in County Donegal under the original title, and is played elsewhere on the island as a hornpipe, variously titled "Humours of Tuamgraney," "Humours of Tuamgreine," "Tuamgraney Castle," and "Tomgraney Castle."
***
Sources for notated versions: Fuzzy Mountain String Band (Durham, North Carolina), who learned the tune from Franklin George (W.Va.), and old-time fiddler who also plays the Scottish bagpipes [Brody]; Laurie Brownescombe (Spandaro); Joseph Doucette (b. 1910, Deblois Road, West Prince County, Prince Edward Island) [Perlman]. Brody (Fiddler's Fakebook), 1983; pg. 172. Hunter (Fiddle Music of Scotland), 1988; No. 327. Kaufman, 1977; pg. 94. Kerr (Merry Melodies), Vol. 1; Set 17, No. 2, pg. 11. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 85. Spandaro (10 Cents a Dance), 1980; pg. 49. Revonah RS-924, "The West Orrtanna String Band" (1976). Rounder 7008, "Jerry Holland." Rounder 0035, Fuzzy Mountain String Band- "Summer Oaks and Porch" (1973). Takoma D-1064, Norman Blake- "Directions." Ron Gonella - "Scottish Violin Music" (1966).
T:Loch Lavin Castle
L:1/8
M:C
KA Dorian
cB|AGAB AGEG|AGAB cBcd|efga gfed|1 B2G2G2:|2 c2A2A2||
|:e2|e2ag a2eg|agab a2gf|e2ga gfed|1 B2G2G2:|2 c2A2A2||

LONDONDERRY HORNPIPE, THE (Crannciuil Doire-Calgaic). AKA and see "Delaney's Favorite," "Ladies' Hornpipe," "Londonderry Clog," "Showman's Clog." Irish, Hornpipe. D Major. Standard. AABB (Allan, Perlman, Phillips): AACC (Perlman): AABBCC (Kerr): AA'BBCC'DD (Moylan): AABBCCDDEEFF (O'Neill). O'Neill states:
***
No. 1753 has a history. Bernard Delaney introduced the tune consisting
of the 1st and 2nd parts on the Irish pipes in a masterly manner, being a
great favourite with dancers. Turlough McSwiney, the Donegal piper,
added the 3rd part which was improved by Miss Gillan. Later Delaney
added the fourth part. In a MS collection I discovered the 5th and 6th
parts. It was an old strain closely resembling the others so its two parts
were joined to the former making altogether a hornpipe of great style
and variety.
***
Breathnach states (in Ennis, 1977) that O'Neill's setting was played by Leo Rowsome, Willie Clancy and most other pipers. Perlman (1996) states that while this is a three part tune in Allan's Irish Fiddler, on Prince Edward Island the tune is two part, though sometimes with the second part being the regular 'B' part, and sometimes the 'C' part. Derry was renamed Londonderry as a result of its being granted to the Corporation of London after the confiscation of the O'Neill estates in 1609. It was 'planted' as a colony by the twelve City Corporations (Matthews, 1972). Sources for notated versions: Clem Myers (Vt.) [Phillips]; accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; George MacPhee (b. 1941, Monticello, North-East Kings County) and Eddy Arsenault (b. 1921, Chrysostom, East Prince County, Prince Edward Island) [Perlman]. Allan's Irish Fiddler, No. 96, pg. 24 (appears as "The Londonderry"). Jarman (Old Time Fiddlin' Tunes); No. or pg. 21. Kerr (Merry Melodies), Vol. 3; No. 340, pg. 36. Moylan (Johnny O'Leary), 1994; No. 227, pgs. 130-131. O'Neill (Krassen), 1976; pg. 210. O'Neill (1850), 1903/1979; No. 1753, pg. 326. O'Neill (1001 Gems), 1907/1986; No. 925, pg. 158. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 79. Phillips (The Fiddlecase Tunebook), 1989; pg. 35. Phillips (Traditional American Fiddle Tunes, Vol. 2), 1995; pg. 206. Condor 977-1489, "Graham & Eleanor Townsend Live at Barre, Vermont."
T:Londonderry Hornpipe, The
L:1/8
M:C|
R:Hornpipe
S:O'Neill - 1001 Gems (925)
K:D
A>G|F2 A>d f>dA>F|G2 G>B d>dB>G|F2 A>d f>dA>F|E2 G>B e>cA>G|
F2 A>d f>dA>F|G2 B>d g2 a>g|f>af>d B>ge>c|d2f2d2:|
|:f>g|a2 f>d A>df>a|g2 e>c A>ce>g|a2 f>d A>dg>f|(3efd (3cdB A2 f>g|
a2 f>d A>df>a|g>fe>f g2 a>g|f>af>d B>ge>c|d2f2d2:|
|:A>G|(3FED A>D B>DA>D|d>cd>f e>cA>G|(3FED A>D B>DA>D|
E>GF>A G>BA>G|(3FED A>D B>DA>D|d>cd>f e>ce>g|
(3fgf d>f {a}g>ec>e|d>f (3edc d2:|
|:(3efg|a>^ga>b a>fd>f|g>fg>a g>ec>e|a>^ga>b a>fd>f|(3efd (3cdB A2 (3efg|
a>^ga>b a>fd>f|g>fe>f g>ba>g|(3fgf d>f {a}g>ec>e|d>f (3edc d2:|
|:f>g|(3aaa f>d A>df>a|(3ggg e>c A>ce>g|f>dg>e a>fb>g|e>cd>B A2 f>g|
(3aaa f>d A>df>a|(3ggg e>c A2 a>g|f>dA>F E>ge>c|d2f2d2:|
|:F>G|A>FA>d f>ed>c|B>GB>e g>fe>d|c>Ac>e a>gf>e|f>cd>B A2 F>G|
A>FA>d f>ed>c|B>GB>d g2 a>g|f>af>d B>ge>c|d2g2d2:|

LORD FROG (AND LADY MOUSE). AKA and see "The Northern Lass," "Muirland Willie" "Cocky mi Chari, She." English, Air and Country Dance Tune (6/8 time). A Minor. Standard. AABB. The title, which appears in several ballad operas (such as Gay's "Achilles" {1733}), comes from a song written by D'Urfey for his Pills to Purge Melancholy (vol. 1) beginning "Great Lord Frog to Lady Mouse." The alternate title "Cocky mi Chari, She" is from the chorus of D'Urfey's song. The title is a variant of the long-lived frog/mouse family of songs which survived even into 20th century American folksong as "Froggie went a-courtin'" (Doc Watson) {see also "The Frog and Mouse"}. The melody, which also appears in Walsh's Dances for 1713, is said to be the original of "Muirland Willie." Kidson (Old English Country Dances), 1890; pg. 3.

LUCY CAMPBELL'S [1] (Luighseach Chaimbhéal). AKA and see "Miss Louisa Campbell's Delight," "The Bridal O'T." Irish, Scottish; Reel. D Major. Standard. ABC (Cole): ABCD (Breathnach, Cranitch, Mitchell): AABB'CC'DD (Miller). Breathnach (1963) identifies this tune as originally the Scottish reel "Miss Louisa Campbell's Delight," first published in 1780 (according to Glen). "The Bridal O'T" is the name of a song written to the tune. Sources for notated versions: fiddler Tommy Potts (Ireland) [Breathnach]; piper Willie Clancy (1918-1973, Miltown Malbay, West Clare) [Mitchell]; set dance music recorded at Na Píobairí Uilleann in the 1980's (Taylor/Yellow). Breathnach (CRE I), 1963; No. 154, pg. 61. Cole (1001 Fiddle Tunes), 1940; pg. 36. Crantich (Irish Fiddle Book), 1996; pg. 121.Miller & Perron (Irish Traditional Fiddle Music), 1977; Vol. 3, No. 22. Mitchell (Willie Clancy), 1993; No. 13, pg. 36. Taylor (Music for the Sets: Yellow Book), 1995; pg. 1. Columbia 35612, "The Chieftains" (1978). Comhaltas Ceoltoiri CL13, Tommy Peoples. Decca Records, Michael Coleman.
T:Lucy Campbell [1]
L:1/8
M:4/4
R:Reel
K:D
AD (3FED D2 dB|ADFA B~E3|ADFA defe|dBAF AD D2:|
||dBAB dgfe|dBAd B~E3|dBAB df{a}fe|dBAF AD D2|
dBAB defe|d~B3 g~B3|dBAB defe|dBAF ADDg||fa{b}af defg|
adfa bgeg|fa{b}af defe|dBAF AD D2|fa{b}af defg|adfa bgef|
~g3e fgfe|dBAF AD D2||d~f3 dfef|d~f3 afef|df{g}fe ~f3e|
dBAF AD D2|d~f3 dfef|d~f3 afef|g3e fgfe|dBAF ADDB||

LYNN'S FAVORITE. AKA and see "Bliven's Favorite," "Bobbing for Eels," "The Bottle of Punch," "The Butchers of Bristol," "By your leave, Larry Grogan," "Coppers and Brass," "The County Limerick Buckhunt," "Finerty's Frolic," "Fishing for Eels," "Green Sleeves," "Groom," "Hartigan's Fancy," "The Humours of Ennistymon," "The Humours of Miltown," "Ioc an Reicneail," "Jackson's Bottle/Jug of Punch/Brandy," "Larry Grogan," "The Lasses of Melrose," "Lasses of Melross," "Little Fanny's Fancy," "Lynny's Favourite," "The Old Man's Jig," "Pay the Reckoning," "Pingneacha Rua agus Pras," "Queen of the Rushes," "The Waves of Tramore," "Willie Clancy's."

MACALISDRUM'S MARCH ("Máirseáil Alasdroin" or "Máirseáil Alasdruim"). AKA and see "Alastrum's March," "Alasdruim's March," "The Church Hill," "Kitty the Rag, I'm in Love with You," "MacDonnell's March," "Ollistrum Jig" (O'Neill). Irish, Scottish; March (6/8 time). Ireland, Munster. D Major. Standard. AABBCC (Bunting): ABCD (O'Neill).
***
Alaster or Alexander MacDonnell, also known as Alasdair Mac Allisdrum/MacAllistrum or Colkittu (Colkitto), was a commander who was killed at the battle of Knockinoss (Cnoc na nDos, or Shrub Hill), near Mallow, County Cork, in the south of Ireland, in September, 1647. The famous martial hero was a Scotsman, a brave and skilful warrior who commanded Lord Antrim's Irish in Scotland under Montrose, and when Montrose's army was broken up he and his Irish returned to Ireland, joining the confederation of Catholics under Lord Taaffe in Munster. At the battle of Cnoc na nDos (Knockinoss) one account (quoted by Flood, 1906) gives that he was assassinated while parlaying with the English Parliamentary forces under Lord Inchiquinn, while Bunting (1840) states that "after the rout of the main body of the Irish, Macdonnell and his people held their ground till they were cut to pieces by the English. It is said that none escaped." MacDonnell's sword, which had a steel apple running in a groove on the back supposedly to increase the striking force, was in Bunting's time said to still have been preserved in Loghan Castle, County Tipperary. Bunting (1840) states Allisdrum was the son of Coll Kittogh (Ciotach) or Left-handed Coll, also a famous warrior whose name has been preserved by Milton in the lines:
***
Why, it is harder, Sirs, than Gordon,
Colkittor, or MacDonnall, or Galasp.
***
Flood (1906) states: "We may form some idea of the desperate courage which inspired these men from the impetuous energy and wild shrilly fervour of this strain, which is undoubtedly the same pibroach (pipe tune) that they marched to on the morning of their last battle...This march was played at his funeral by war-pipers when his remains were interred in the ancestral tomb of the O'Callaghans at Clonmeen (near Kanturk), County Cork, and ever since has been called "Máirseáil Alasdroim." Breathnach (1966) believes that Flood's statement that the piece was a death-march especially composed by the Irish warpipers at the time is almost certainly untrue, and notes Flood now has a reputation for repeating some extremely questionable facts.
***
In 1750 Dr. Charles Smith (in his History of Cork, volume II, pg. 159) noted the tune was "well-known in Munster...a wild rhapsody...much esteemed by the Irish and played at all their feasts" (Flood, 1906; Bunting, 1840). Despite its supposed age, however, the oldest appearance of the noted music is to be found in a MS collection from Lisronagh (near Clonmel), County Tipperary, dating from 1784, and Crofton Croker's 1824 Researches in the South of Ireland also contains a printing of the piece. According to O'Neill (1913), Croker acknowledged its popularity in the south of Ireland but thought that "Ollistrum's March" (as he called it) should not be considered an Irish air, but rather Scottish due to its stylistic similarity to the pibroch of that country. Again, Breathnach (1966) demures, saying that there is no good grounds for Croker's assertion that "Allasdrum's March" is not Irish. Paddy Moloney of the Chieftains seems to split the difference when he states the tune reflects the "rich fertilisation between Irish and Scottish harpers and pipers."
***
Croker goes on to say: "The estimation in which it is held in Ireland is wonderful. I have heard this march, as it is called, sung by hundreds of the Irish peasantry who imitate the drone of the bagpipe in their manner of singing it. On that instrument I have also heard it played and occasionally with much pleasure from the peculiar and powerful expression given by the performer." O'Sullivan (1983) notes the piece is printed by Bunting (1840) but that his version is only a section of a longer descriptive piece for pipers called "Máriseáil Alasdruim." It is a relatively complicated programmatic tune, in its entirety. Goodman, writing in 1861, described the piece as he heard it from Kerry pipers:
***
...(It) contains in addition to the March, the Gathering, the Battle,
the shouts on the fall of Allisdrum, and the cries, first of the mother,
the Munsterwoman, then that of his nurse, a Leinsterwoman, with
the lament of his wife, the Ulsterwoman, and the piece concludes
with the old jig 'Cnocán an Teampuill' which she is said to have
struck up so soon as she ascertained that her husband was really dead.
***
A variant of the piece is called "Sarsfield's Quickstep" and appears in Haverty's Three Hundred Irish Airs (1858-1859). Sources for notated versions: Bunting noted the piece from "a piper at Westport (Co. Mayo), 1802"; Willie Clancy (Miltown Malbay, County Clare), who had his version from an old piper, Mickey McMahon, who lived at Kilcororan (County Clare) and called it "Alexander's March" [Breathnach]. O'Neill (1913), pg. 124 (appears as "Allistrum's March"). Breathnach (Ceol II, 3), 1966. Breathnach (The Man and His Music), 1997; pg. 18. O'Sullivan/Bunting, 1983; No. 112, pgs. 161-162. Claddagh CC17, Sean Keane - "Gusty's Frolics." Island ILPS9432, The Chieftains - "Bonaparte's Retreat" (1976). RCA 09026-61490-2, The Chieftains - "The Celtic Harp" (1993).
X:1
T:MacAllistrum's March
R:march
D:Chieftain's - Celtic Harp
Z:Michael Hogan
M:6/8
L:1/8
K:D
|:Fdd fee|fdd dBA|Fdd fee|fdd B2A:|
|:~F2E FDD|Fdd dBA|~F2E FDD|Fdd B2A:|
|:d2f e2f|ded dBA|d2f e2f|ded B2A:|
|~B2A B2E|~B2A BAF|(3Bcd B c2F|(3Bcd B cAF|
~B2A B2E|~B2A BAF|BdB c2F|Bdc BAG||
X:2
T:Máirseáil Alasdruim
L:1/8
M:6/8
S:Breathnach (Man and His Music, 1997)
K:G
c|ABG AGF|G2g fdc|ABG AGF|Ggf d2c|
ABG AGF|Ggg fdc|ABB cBc|dgf d2c:|
|:Aff Agg|age fdc|Aff Agg|age (3dedc|
Aff Agg|bag fde|fef g3|age d2:|

MAGGIE CAMERON. Scottish, Strathspey. A Major. Standard. AB. A fiddle arrangement of a pipe tune. Jack Campin finds that it was earlier called "Willie Roy's
Loomhouse," and that a related reel goes by the title "The Old Men at the Loom." The latter is quite a bit simpler and, presumably, he says, is a still earlier version. Pipe settings appear in the Scots Guards Standard Settings of Pipe Tunes and Donald McPhedran's collection (pg. 6), but it is an often-printed tune appearing in at least a dozen other pipe collections. Source for notated version: Arthur S. Robertson (Shetland) [Hunter]. Hunter (Fiddle Music of Scotland), 1988; No. 139. Olympic 6151, Arthur S. Robertson - "Scottish Traditional Fiffle Music" (1978).

MAID OF MOUNT KISCO (Gearrchaile Shliabh Cisco). Irish, Reel. A Dorian. Standard. AABCC (Tubridy): AA'BCC: AA'BB'CC' (Alewine). The tune is named after a woman who resided in Mount Kisco, a town of approximately 10,000 souls in Westchester County, north of New York City. Paddy Killoran has generally been credited with the composition of the tune, although there is some doubt about this. 'Tune lore' has it that Killoran either named or renamed an existing tune when playing near Mount Kisco when he was asked the name of the piece by either a young lady or a barmaid (depending on the version of the tale). Not knowing the correct title, on the spot he made up "Maid of Mount Kisco" in her honor. However, New York accordion player Jim Coogan says that Killoran wrote it for a friend, Ann Mulligan, who resided in Mount Kisco. Killoran recorded the tune for Decca in 1937, and Philippe Varlet could find no recorded version of the tune which predated it. He did find subsequent versions by another Decca Irish artist, Joe Maguire (1945), Leo Rowsome (London, 1947), and the Kincora Céilí Band, led by Kathleen Harrington (Dublin, 1952). Two relatively early versions can be found by older groups on the RTE compilation video "Come West Along The Road". The title is sometimes irritatingly misspelled "Mt. Cisco," perhaps from its appearance in Brendan Breathnach's Ceol Rince na hErineann where Kisco is spelled Cisco because in the Irish language there is no letter 'K'. In Ireland the name is pronounced as "Sisco" although name of the Westchester town in pronounced with a hard 'K'. Sources for notated versions: piper Mattthew Tiernan/Maitiu Mac Tighearnain (Ireland) [Breathnach]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Alewine (Maid that Cut Off the Chicken's Lips), 1987; pg. 23 (appears as "Maid of Mt. Cisco"). Breathnach (CRE I), 1963; No. 118, pg. 49. Mitchell (Dance Music of Willie Clancy), 1993; No. 93, pg. 82. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 21. Shanachie 79095, Arcady - "Many Happy Returns" (1995). Tommy Keane - "The Piper's Apron." Michael McGoldrick - "Morning Rory."
T:Maid of Mount Kisco, The
L:1/8
M:C|
K:A Dorian
AG|EA (3AAA BGAG|EA (3AAA BGAG|EG (3GGG BGAG|EG (3GGG EG D2|
EA (3AAA BGAG|EA (3AAA BABd|edef ~g3e|1 dBGB A2 AG:|2 dBGB A2 z2||
|:A3B dBAB|G2 BG EG B2|A3B d2 (3Bcd|1 efge dBGB:|2 efge d2 (3Bcd||
|:ea (3aaa bgag|{a}gedB GA (3Bcd|ea (3aaa bgag|{a}gede ~g3 z|
a3e ~g3e|dedB GA (3Bcd|eA (3AAA efge|1 dBGB A2 (3Bcd:|2 dBGB A2 z2||

MAIDEN THAT JIGS IT IN STYLE, THE. Irish, Double Jig. G Major. Standard. AB. Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Mitchell (1st Collection), 1993; No. 66, pg. 68.

MAIRSEAIL ALASDRUIM. Irish, Double Jig. D Mixolydian. Standard. AABB. Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Mitchell (Willie Clancy), 1993; No. 26, pg. 43.

MAJOR LOGAN'S FROLIC, A STRATHSPEY. Scottish, Strathspey. Tune written by John French (1753-1803), but the first part is similar to the second half of the well-known "Mrs. Macleod's Reel." Major W. Logan, who lived near Ayr, was himself a fiddler and several of his pieces appear in Gow collections, and one in Fraser's (1816) collection. Robert Burns wrote his "Epistle to Major W. Logan" to the man, beginning:
***
Hail, thairm (fiddle-string)-inspirin rattlin Willie...
Hale be your heart! Hale be your fiddle!
Lang may your elbuck (elbow) jink and diddle...
***
(Alburger, Scottish Fiddlers and Their Music, 1983).

MARGAREE REEL. Canadian, Reel. Canada; Cape Breton, Prince Edward Island. A Mixolydian. Standard. AB (more common) or ABCDDC (Dunlay & Reich): AA'BB' (Perlman): ABB'CDC (Dunlay & Greenberg). The tune is usually played as a two-part reel on Prince Edward Island and Cape Breton, though the Beaton (Mabou, Cape Breton) version is longer. Dunlay & Greenberg (1996) believe the tune to be related to the strathspey "Donalbane," in Kerr's Fourth Collection. There are several towns in Cape Breton, Nova Scotia, with the name Margaree, including Margaree, Margaree Harbour, Margaree Forks, Southwest Margaree and Margaree Valley. The tune is often associated with Cape Breton fiddler Buddy MacMaster. Sources for notated versions: Donald Angus Beaton & The Beaton family (Mabou, Cape Breton, Nova Scotia) [Dunlay and Reich, Dunlay & Greenberg]; Buddy MacMaster (Cape Breton) [Dunlay & Greenberg]; Paul MacDonald (b. 1974, Charlottetown, Queens County, Prince Edward Island) [Perlman]. Dunlay & Greenberg (Traditional Celtic Violin Music from Cape Breton), 1996; pg. 56. Dunlay & Reich (Traditional Celtic Fiddle Music from Cape Breton), 1986; pg. 39. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 101. Shears (Gathering of the Clans Collection), 1991. CAT-WMR004, Wendy MacIssac - "The 'Reel' Thing"(1994. Appears as "Donalbane"). Culburnie Records CUL 102, Alasdair Fraser & Jody Stecher - "The Driven Bow" (1988. From the playing of Buddy MacMaster). Green Linnett GLCD 1117, Altan - "Harvest Storm" (1992. Learned from Alasdair Fraser). Rounder 7011, "The Beatons of Mabou" (1978. Appears as 2nd of "Two Traditional Reels"). Rodeo (Banff) RBS 1066, Dan Joe MacInnis- "The Cape Breton Fiddle Of ..." (1962. The first two turns only). Topic 12TS354, John Willie Campbell - "Cape Breton Scottish Fiddle" (1978. Appears as "Untitled" after "Fear nan Casan Caola").

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 |]**

MARTIN YULE. Shetland, Reel. F Major. Standard. AAB. "Marin Yule is a young Surgeon who visited Tom (Anderson) in 1972. He is a brilliant fiddler and is the son of Dr. Bobbie Yule from Shetland who used to play guitar with Willie Johnson, and who was Tom's Doctor for some years in Lerwick" (Anderson). Composed by the late Shetland fiddler, composer, teacher and collector Tom Anderson in 1972. Anderson (Ringing Strings), 1983; pg. 69.

MARY WILLIE'S. AKA and see "The Cat Rambles to the Child's Saucepan." Irish, Slide. Recorded by the Bothy Band.

McFARLANE O' THE STROATS O' BURNIEBOOZIE. Scottish, "Bothy Ballad" (2/4 time). G Major. Standard. AB. Composed by Willie Kemp. It is the melody for a bothy ballad, or a song composed and sung by laborers at the end of the 19th century. These laborers were itinerent workers who lived for an agricultural season in small rooms, called bothies, which were sparse and bare with only the simplist of furnishings. Hunter (The Fiddle Music of Scotland), 1988; No. 364. Neil (The Scots Fiddle), 1991; No. 72, pg. 96.

MERRILY DANCED/KISSED THE QUAKER('S WIFE). AKA - "Quaker's Wife." AKA and see "The Legacy," "The Humours of Last Night," "Blithe Have I Been," "Wilkes's Wrigle." Scottish, English; Jig. Irish, Slide. England, Northumberland. G Major (Gow, Mitchell): D Major (Hardie, Johnson, Kerr, Sweet). Standard. AB (Hardie): AABB (most versions): AABBCC (Mitchell, Taylor). A variant of "Merrily Kissed the Quaker('s Wife)." Phillips Barry, FSSNE, No. 11, pg. 13, traces the tune back to the 14th century plain-chant, "on the authority of Wilhelm Tappert's curious little book Wandernde Melodien' (Bayard, 1981). Bayard thinks that "Merrily Danced" is either devolved from "The Mill Mill O" or that both tunes evolved from a single tune; thus, to him if Barry is right and one tune stemmed from the late Middle Ages, then logically so does the other. John Glen (1891) finds the earliest appearance of the melody in print in Robert Bremner's 1757 collection (pg. 53), and it also early appears in the 1768 Gillespie Manuscript of Perth. 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. Merrily Danced the Quaker's Wife is also the name of a rather uncommon Scottish country dance.
***
The Quaker's wife sat down to bake
With all her bairns about her.
She made them all a sugar cake,
And the miller he wants his mouter (i.e. a fee for grinding flour).
Sugar and spice and all things nice,
And all things very good in it,
And then the Quaker sat down to play
A tune upon the spinet.
Merrily danced the Quaker's wife,
And merrily danced the Quaker
Merrily danced the Quaker's wife,
And merrily danced the Quaker.
***
Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Carlin (The Gow Collection), 1986; No. 460. Crosby (The English Musical Repository), 1811; pg. 121. Hardie (Caledonian Companion), 1992; pg. 40. Gale, pg. 21. Gow (Complete Repository), Part 2, 1802, pg. 17. Jarman, 1951; pg. 65. Johnson (Airs & Melodies of Scotland's Past), Vol. 10, 1992; pg. 14 (appears as "The Quaker"). Kerr (Merry Melodies), Vol. 1; No. 18, pg. 32. Mitchell (Dance Music of Willie Clancy), 1993; No. 91, pg. 81. Saar, 1932; No. 48. Smith (Scottish Minstrel), 1820-24, Vol. 4, pg. 30. Sweet (Fifer's Delight), 1965/1981; pg. 25. Taylor (Music for the Sets: Blue Book), 1995; pg. 6. Flying Fish 299, The Battlefield Band - "There's a Buzz." Shanachie 79023, "Chieftains 3" (1971/1982). "The Fiddler's Companion" (1980).
X:1
T:Merrily danced the quaker's wife
M:6/8
Q:1/4=200
K:G
D|GAB D2B|c2B A2D|GAB D2D|E2F G2D|GAB D2B|dcB A2D|
GAB D2D|E2F G2D|GAB D17/8B3/4z/8|c2B A2D|GAB D2D|
E2FG2D|GAB D2B|dcB A2D|GAB D2D|E2F G2D|G2B d2B|
e2cd2B|GAB dcB|A2d d2d|e2c ABc|d2B G2D|GAB D2D|
E2F G2D|G2B d2B|e2c d2B|GAB dcB|A2d d2d|e2c ABc|
d2B G2D|GAB D2D|E2F G2||
X:2
T:Merrily Danced the Quaker's Wife
L:1/8
M:6/8
S:Gow - 2nd Repository
K:G
~G>AB D3B|{B}A2G E2D|G>AB D2D|E3G3|~G>AB D2B|
{B}A2 GED|G>AB D2D|E3G3:|
|:dcB edc|dcB ABc|dcB efg|B3 (d3|d)cB gfe|dcB {B}A2G|G>AB D2D|E3G3:|

MICHAEL CARNEY'S REEL (Ril Mhichil Ui Cheithearnaigh). Irish, Reel. Carney was an Uilleann piper. Gael-Linn CE 14 (78 RPM), Liam (Willie) Clancy.

MICHAEL GALLAGHER'S REEL (Ríl Mhichil Uí Ghallchobhair). AKA and see "Gallagher's Fancy," "Leitrim Fancy," "Moran's Hornpipe." Irish, Hornpipe. Despite the title the tune was recorded as a hornpipe by west Clare piper Willie Clancy (1918-1973). Gallagher was a piper with a staccato style of playing. Gael-Linn CE 18 (78 RPM), Liam (Willie) Clancy. Gael-Linn CEF 075, Liam (Willie) Clancy - "Na Ceirnini 78, 1957-1960" (appears as "Gallagher's Fancy").

MICK O'CONNOR'S (REEL). AKA and see "Lansdowne Lass," "Rafferty's Mustache." Irish, Reel. Mike Rafferty had no name for the tune (which he found as an untitled tune obtained from Willie Kelly) so invented one. Actually, the tune was composed by County Roscommon flute player Josie McDermott as "The Lansdowne Lass." Source for notated version: London banjo player Mick O'Connor [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), Vol. 4, No. 20. Kells Music 9509, Mike and Mary Rafftery - "The Dangerous Reel" (appears as "Rafferty's Mustache"). Green Linnet SIF 1095, Altan - "Horse with a Heart" (appears as untitled last tune of first track, referred to as "another northern reel"). Shanachie SHA 65005, Seamus Egan - "A Week in January."
T:Lansdowne Lass, The
T:Mick O'Connor's
T:"Rafferty's Mustache"
M:4/4
L:1/8
B:Bulmer & Sharpley Vol 4 No. 20
B:Willie Kelly, source for Mike Rafferty, who found the tune in a collection
R:reel
D:Altan, Horse With a Heart, 1st track, 4th reel (not named)
D: Mike and Mary Rafferty, The Dangerous Reel, 2nd track, 2nd reel
Z:Lorna LaVerne
K:G
|: DEFA G2AG | FDFA d2fa | g2ge fddc | ABcA EFGE |
DEFA G2AG | FDFA defa | g2ge fddB | cAGE FDD2 :|
|: defa g2ag | fdfa egag | fdcA G2FG | ABcA dcAd |
defa g2ag | fdfa egag | fddc ABcA | EFGE FDD2 :|

MILLINER'S DAUGHTER, THE (Ingean an Boineadoir/Maintimeire). Irish, Reel. G Major/Mixolydian. Standard. AB (Mitchell): AAB (O'Neill). Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Mitchell (Dance Music of Willie Clancy), 1993; No. 55, pg. 61. O'Neill (1915 ed.), 1987; No. 265, pg. 136. O'Neill (Krassen), 1976; pg. 92. O'Neill (1850), 1903/1979; No. 1180, pg. 223. O'Neill (1001 Gems), 1907/1986; No. 460, pg. 89. Green Linnet SIF 1135, Martin Mulhaire (with J. Coen & S. Connolly) - "Warming Up." Kells Music KM 9509, Mike and Mary Rafferty - "The Dangerous Reel."
T:Milliner's Daugher, The
L:1/8
M:C|
R:Reel
S:O'Neill - 1001 Gems (460)
K:G
G2 BG EGBG|A2 eg fdcA|G2 BG EGBd|cAFG AG G2:|
||dg {a}(3gfg dg {a}(3gfg|d=f {g}(3fef df {g}(3fef| dg {a}(3gfg dg {a}(3gfg|
dcde fdcA|dg {a}(3gfg bgaf|dcde fefg|afge fdec|dcde =fdcA||

MIRRIE BOYS O' GREENLAND, DA. Shetland, Shetland Reel. D Major. Standard. AABB. A traditional Shetland reel known throughout the islands, said to have originated from Shetland whalers. It is the best known of the Shetland reels and is to be found in many variants. Anderson & Georgeson (1970) say it bears a strong resemblance to a country dance tune from Jutland, Denmark. Purser (1992) notes that the reel as a dance, and with a tune similar to "Mirrie Boys", seems to have spread from Shetland to the Netherlands. Sources for notated versions: Willie Hunter (Shetland) [Anderson & Georgeson]; fiddler Gilbert Gray [Purser]. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 16. Bain (50 Fiddle Solos), 1989; pg. 21. Hunter (Fiddle Music of Scotland), 1988; No. 217. Purser (Scotland's Music), 1992; Ex. 2, pg. 229.

MOATE HUNT, THE. AKA and see "Willie Coleman's Jig."

MOLLY BRALLAGHAN [1]. AKA and see "The Bold Sportsman," "Captain Rock," "The Carpenter's March," "Charming Molly Brannigan," "Cossey's Jig," "Copey's Jig," "The Grand Conversation of Napoleon," "The Greenfields of America," "Jimmy O'Brien's Jig," "Maid in the Meadow," "McKenna's Dream," "Miss Wedderburn's Reel," "Napoleon's Farewell to Paris," "Old Mother Flanagan" (Pa.), "Pretty Molly/Judy/Miss Brallaghan/Brannigan," "Purtie Molly Brannigan," "Pratie Apples," "Under the Rose." Irish, Reel. G Major. Standard. AB. A large tune family which apparently began with a jig, first printed in Jackson's Celebrated Tunes (1774) under the title "Cossey's Jig." Reel time settings seem to stem from earlier jig versions. The famous Irish tenor John McCormack recorded the song "Charming Molly Brannigan" on January 3, 1913, at the Victor studios in Camden, New Jersey, with Spencer Clay at the piano. The original 78 RPM was reissued by Murray Hill, 920344). Words to the tune begin:
***
Man did you ever hear of purty Molly Brannigan?
She stole away my heart and I'll never be a man again.
There's not a spot on my hide will another summer tan again,
Since Molly's gone and left me all alone for to die.
Dee idle diddley dootle [etc]
***
There's a hole in my heart you could easy round a turnip in,
As big as any pavin' stone from Dublin to the Divil's lin.
If she chose to take another sure she might have left mine back again,
And not to leave me here all alone for to die.
Dee howdle duddley dootle [etc]
***
Roche Collection, 1982, Vol. 1; No. 157, pg. 62. Claddagh 4CC 32, Willie Clancy - "The Pipering of Willie Clancy, Vol. 1" (1980. Appears as "Pretty Molly Brannigan").

MISS STEWART'S STRATHSPEY (PITTYVAICH). Scottish, Strathspey. G Major. Standard. AAB. Composed by William Marshall (1748-1833). Moyra Cowie (The Life and Times of William Marshall, 1999) finds that Katherine Stewart was born to Ludovick and Margaret Stewart of Pittyvaich. MacDonald (Skye Collection), 1887; pg. 68. Marshall (Fiddlecase Edition), 1978; 1822 Collection, pg. 40. Rounder RO7023, Natalie MacMaster - "No Boundaries" (1996. Learned from the playing of Willie Kennedy).
T:Miss Stewart's Strathspey-Pittyvaich
L:1/8
M:C
S:Marshall -1822 Collection
K:G
G>D GB,G,>B|c>AB>G E<(A A>)B|G>D GB,G,~g|dG DG G2:|
G<g g2 d>gb>g|a>gb>g A(a ~a2)|d<g g2 d>gb>a|g<e~d>B D(G G2)| G<g g2 d>gb>g|
a>gb>g A(a ~a2)|g<d b>a g<d e<g|dG DG G2||

MOUNTIAN LARK, THE [4] ("An Fuiseog On Sliab" or "Fuiseog an tSléibhe"). AKA and see "The Connacht Rangers," "An Colamór Súgach," "Fuiseog an tSleibhe," "Father Henebry's Reel," "The Frieze Kneebreeches," "The Gauger," "Lady O'Brien's Reel," "O'Connell's Reel," "The Steam Packet." Irish, Reel. G Major (Breathnach) or A Dorian ('A' part) & G Major ('B' part). Standard. AB (Breathnach, Mitchell): AAB (O'Neill). The 'A' part tonality is fluid. Breathnach (1963) thinks Roche's setting (called "An Colamór Súgach") to be poor. Source for noated versions: piper Willie Clancy/Liam Mac Flannchadha ((1918-1973, Miltown Malbay, west Clare, Ireland) [Breathnach, Mitchell]. Breathnach (CRE I), 1963; No. 84, pg. 37. Mitchell (Dance Music of Willie Clancy), 1993; No. 45, pg. 55. O'Neill (1850), 1903/1979; No. 1244, pg. 234.
T:Mountain Lark, The
R:reel
Z:Jeff Myers
M:C|
L:1/8
K:Ador
dc||A~G3 AGFD|A~G3 Addc|A~G3 AGFD|FEFG Addc|
A~G3 AGFD|A~G3 Addc|(3AcA GB AGFD|FEFG ABcA||
d~g3 a~g3|d~g3 fdcA|d~g3 a~g3|dcde fdcA|
d~g3 ag (3efg|abag ~f3 g|af (3gfe fdec|dfeg fdcA||

MOUNTAIN ROAD, THE [1]. Irish, Reel. D Major. Standard. AB (Mallinson, Mitchell, Mulvihill): AABB (Williamson): AA'BB (Phillips). The single-reel "The Mountain Road" was composed by fiddler Michael Gorman, originally as a six-part piece, although it is standard now to play it as a two-part tune (a single reel is one in which each part generally repeated only once). There is an actual 'Mountain Road' in Tubbercurry (or Tobercurry), Sligo, the location of the Old Boys school and the house were Gorman's family still lives. The road leads to a place called Moylough, the original home of fiddler John Vesey (who emigrated to America). It is rumored that Gorman was inspired by the fact that the mountain road was actually the back road out of town and a better smuggling route for poitín since it wasn't as well traveled, and because the main road had a gardai station on it. The contraband was supposedly carried in fiddle cases held on the handlebars of bicycles. Piper Thomas Johnson writes: "Michael's son used to take his dad's fiddle down the pub to sessions. He didn't play himself but thought his dad would like the idea of his fiddle at least, going down the pub for the session." Sources for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; fiddler Michael Gorman (Ireland) [Williamson]; Anne Ferguson [Phillips]; Denis Murphy (Sliabh Luachra region, Co. Kerry) [Mulvihill]. Bulmer & Sharpley (Music from Ireland), Vol. 1, No. 14. Mallinson (Essential), 1995; No. 20, pg. 9. Mitchell (Dance Music of Willie Clancy), 1993; No. 38, pgs. 50-51. Mulvihill (1st Collection), 1986; No. 8, pg. 2. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 159. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 71 (with two variations). Globestyle Irish CDORBD 085, Denis Murphy & Julia Clifford - "The Rushy Mountain" (1994. Reissue of Topic recordings). Paddy Glackin & Paddy Keenan - "Doublin'".
T:Mountain Road
R:Reel
C:Michael Gorman
Z:John Donovan, from a recording by Jimmy Power.
M:C|
K:D
F2AF BFAF|(3FFFAF EFDE|F2AF BFAF|(3GAGFG EDB,D|
F2AF BFAF|(3FFFAF EFDE|FA(3AAA BAFB|ABde f~d3||
dcdB ADFA|~d3e fgfe|~d3B ADFA|(3GFEFD EDB,D|
~d3B ADFA|dcde ~f3e|~d3B ADFA|(3GAGFG EDB,D||
dcde fgfe|d2fd eB(3BBB|d2fd ABdB|AFEG FDD2|
~d3e fgfe|d2fd e~B3|(3gagfg efdB|ABde fdd2||
DFAF BFAF|DFAF EA,A,2|D3A BAFB|ABde f~d3|
DFAF BFAF|DFAF E~A,3|DA(3AAA BAFB|ABde fdd2||
dcBA BAFB|AFEG FDDE|F2AF BFA2|ABde f~d3|
dcBA BAFB|AF(3FFF EFDE|F2AF BFA2|ABde fdd2||
fa(3aaa abaf|g2fg edBd|f~a3 afdB|ABde fdd2|
f~a3 abaf|g2fg edBd|F2AF G2BG|ABde fdd2||

MR. ROBERTSON OF LADYKIRK'S DELIGHT. AKA and see "Rattling Roaring Willie."

MRS. H. L. MACDONALD OF DUNACH. Scottish, March (2/4 time). D Major. Standard. AABBCCD. Composed by Willie Lawrie. Martin (Ceol na Fidhle), Vol. 1, 1991; pg. 30.

MUDDY ROADS. Old-Time, Breakdown. USA, North Carolina. G Major ('A' part) & D Major ('B' part). Standard. AB (Frets, Phillips): ABB (Johnson): AABB (Brody, Kaufman, Spandaro). Kaufman (1977) credits "the late" Gaither Carlton (Deep Gap, N.C.) with popularizing the melody.
***
Got Uncle Joe, got Uncle Willie,
Went out hunting for the wild willy-nilly.
Didn't get one; got ten or twenty,
Take 'em into town and make lots'a money.
Muddy roads, muddy roads! (Johnson)
***
Doc Watson remembers his father singing the following verses to it:
***
The way is dark and the road is muddy
Girls so drunk they can't stand steady.
Beans in the pot and the hoecake a-bakin',
Pickin' the banjo and the strings all a-breakin'. (Frets)
***
Sources for notated versions: The Watson Family (North Carolina) [Brody]; Plank Road String Band (Virginia) [Spandaro]; Gaither Carlton (North Carolina) [Frets]; Ken Kosek [Phillips]. Brody (Fiddler's Fakebook), 1983; pg. 198. Frets Magazine, "Mike Seeger: Traditional Music," July 1987; pg. 66. Johnson (The Kitchen Musician: Occasional Collection of Old-Timey Fiddle Tunes for Hammer Dulcimer, Fiddle, etc.), No. 2, 1982/1988; pg. 8. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 160. Spandaro (10 Cents a Dance), 1980; pg. 7. Folkways FA 2366, "The Watson Family." Folkways FTS 31036, Roger Sprung- "Grassy Licks." Rounder CD 0371, Mac Bendord and the Woodshed All-Stars - "Willow" (1996. Learned from Gaither Carleton).

MUG OF BROWN ALE [2]. AKA and see "John Naughton's," "Jug of Brown Ale," "Old Man Dillon," "One Bottle More." Irish, Jig. The tune is sometimes credited to County Antrim piper Robert Thompson (as, for example, his granddaughter, Margaret Barry, asserts). The Levey collection would appear to be the earliest printing of the tune (hence the claim to original title) which appears in O'Neill as "Old Man Dillon" and Ryan/Cole as "One Bottle More." Levey notes that the fiddlers he heard resolved the last chord to A Major at the end of the tune. Compare also to the Scotch jig "O As I Was Kissed Yestreen," published by James Oswald in his "Caledonian Pocket Companion." Levey (Vol. 1). Clannad - "Dúlamán" (1976. Appears as "The Jug of Brown Ale). Smithsonian Folkways (06819, cassette), Michael Gorman & Willie Clancy - "Irish Jigs, Reels and Hornpipes" (originally released in 1956).
T:Old Man Dillon
T:Jug of Brown Ale, The
S:Clannad, Dúlamán
N:O'Neill's has it in major.
Z:Jerome Colburn
M:6/8
K:Ador
G | EAA Acd | edB c2 A | BGG ~GFG | BdB BAG |\
EAA Acd | ede ~gfg | edc Bcd | eAA A2 ::\
g | gef g2 b | gef gdc | BGG ~GFG | BdB BAG |1\
gef g2 b | gef g2 d | edc Bcd | eAA A2 g :|2\
EAA Acd | ede ~g3 | edc Bcd | eAA A2 |]**

MUIRLAND WILLIE. AKA and see "The Northern Lass." Scottish, English; Jig. England, Northumberland. G Minor (Seattle/Vickers): E Minor (Kerr). Standard. AABB. Kidson (1890) remarks the original for "Muirland Willie" is said to be a country dance tune by the name of "Lord Frog and Lady Mouse," also known as "Cocky mi Chari, She," popular in several ballad operas of the 18th century. Earlier, the tune appears in Playford's 1669 and 1687 editions of Apollo's Banquet under the title "The Northern Lass." Variants include "The Auld Maid of Fife," "The Shepherd's Wife," "My Boy Tammy," and "Forty Miles." Emmerson (1972) groups this ballad with other anonymous lyrics from the 17th century (such as "My Jo Janet," ""The Barrin' o the Door," and "The Wowing of Jok and Jynny") which "add considerably to our knowledge of the habits and outlook of these times." See also Bayard's (1981) note for "Lannigan's Ball" in which he places this tune family in a larger context of interconnected tune families. Gow (Vocal Melodies of Scotland), 1822, pg. 27. Graham, 1908, pg. 69. Johnson (Scots Musical Museum), 1787-1803, Vol. 4, No. 369. Kerr (Merry Melodies), Vol. 3; No. 297, pg. 32. McGibbon (Collection of Scots Tunes), c. 1768, pg. 54. McGibbon (Collection of Scots Tunes), c. 1795, Vol. 3, pg. 17. Oswald (Caledonian Pocket Companion), c. 1780, Vol. 2, pg. 11. Seattle (William Vickers), 1987, Part 2; No. 393. Thomson (Orpheus Caledonius), 1725, No. 28 and 1733, Vol. 1, pg. 57. Walsh (Caledonian Country Dances), 1736, Vol. 1, pg. 58.

MY BOY TAMMIE/TAMMY. Scottish, Strathspey or Highland Schottische. D Dorian (Hardings, Johnson): E Dorian/Minor (Kerr). Standard. AA (Harding, Johnson): AABB (Kerr). First published in 1791. Bayard states this tune is a variation of "Muirland Willie" (and suggests that it should also be compared with "Kitty Alone"), while Glen asserts "My Boy Tammie" is derivative of that same tune. Hardings All-Round Collection, 1905; No. 139, pg. 44. Johnson, Vol. Vi, No. 502. Kerr (Merry Melodies), Vol. 3; No. 205, pg. 24.

MY JO JANET. Scottish, Air. The earliest form of the tune (with an anonymous lyric) appears in old lute manuscripts such as the Skene (c. 1615-20) and Rowallan (c. 1612-28). Emmerson (1972) groups this ballad with other anonymous lyrics from the 17th century (such as "Muirland Willie," "The Barrin' o the Door," and "The Wowing of Jok and Jynny") which "add considerably to our knowledge of the habits and outlook of these times."

MY LADY BALCLUGHE'S (BUCCLEUCH'S) AYRE. Scottish. From the Panmure Manuscript, #9454, Seventy Seven Dances, Songs and Scots Airs for Violin, c. 1675. Williamson relates in his notes to the tune that the most famous exploit of the Buccleuch's, a prominent Border family, was the daring rescue of Kinmont Willie from Carlisle Castle by Walter Scott of Branxholme, Laird of Buccleuch, in 1596. This latter bold man, later captured and sent to England, appeared before Queen Elizabeth, who asked him, "How dared you undertake such a dangerous and presumptuous venture?" Whereupon Buccleuch replied, "What does a man not dare to do?" Finding merit in this response Elizabeth is reported to have said, "With ten thousand such men, our brother of Scotland might shake the firmest throne of Europe." She followed up by soon returning him unharmed to Scotland. Flying Fish, Robin Williamson - "Legacy of the Scottish Harpers, Vol. 2."

MY LOVE IS IN AMERICA ("Tá Mo Gradsa Ann America," "Tá mo Ghrá I Meiriceá," "Tá Mo Muirnin in America" or "I Meiriceá atá mo Ghrá-sa"). AKA and see "Dandy Apron," "Jenny Lind's Reel," "Corney is Coming," "The Bride to Bed," "Brides to Bed," "My Love is in the House," "The Honeymoon," "Six Mile Bridge," "Crawford's Reel," "Kelly's Reel," "Miss Wilson," "The Barrack St. Boys," "I Saw Her," "Cheese It," "Shannon Breeze," "Merry Bits of Timber," "Knit the Pocky," "The British Naggon." Irish, Reel. D Major (Allan, Cole, Kerr, Roche): D Mixolydian (O'Neill): D Mixolydian {'A' part} & D Major {'B' part} (Breathnach, Mitchell, Taylor). Standard. AB (Allan, Mitchell, O'Neill, Roche): AAB (Kerr): AABB (Breathnach, Cole, Taylor). Philippe Varlet finds the earliest printing of the tune to be in Levey's 2nd collection (1873), set as a hornpipe. A similar melody is "The Colliers' Reel." O'Sullivan (1983) notes a curious relationship with another reel called "The Dunmore Lasses;" they are nearly mirror images of each other, save one is transposed down one step though in the same key signature. The tune is popular among uilleann pipers who like to slide up to the beginning f sharp note. Sources for notated versions: piper Seamus Ennis, 1959 (Dublin, Ireland) [Breathnach]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Allan's Irish Fiddler, No. 48, pg. 12. Breathnach (CRE II), 1976; No. 271, pg. 140. Cole (1001 Fiddle Tunes), 1940; pg. 10. Kerr (Merry Melodies), Vol. 1; No. 10, pg. 35. Levey (The Dance Music of Ireland), 2nd Collection (listed as a hornpipe). Mitchell (Dance Music of Willie Clancy), 1993; No. 83, pgs. 76-77. O'Neill (Krassen), 1976; pg. 119. O'Neill (1850), 1903/1979; No. 1327, pg. 248. O'Neill (1001 Gems), 1907/1986; No. 586, pg. 107. Roche Collection, 1982, Vol. 1; No. 160, pg. 63. Taylor (Crossroads Dance), 1992; No. 22, pg. 17. Claddagh 4CC 32, Willie Clancy - "The Pipering of Willie Clancy, Vol. 1" (1980). Gael-Linn CEF 045, "Paddy Keenan" (1975). Green Linnet SIF-1110, "My Love is in America: The Boston College Irish Fiddle Festival" (1991). Shaskeen - "My Love is in America." Green Linnett GLCD 1181, Martin Hayes & Dennis Cahill - "The Lonesome Touch" (1997).
T:My Love is in America
S:Paul O'Shaughnessy
Z:Juergen.Gier@post.rwth-aachen.de
M:C|
L:1/8
K:DDor
A,DDE|FEFG (3AcA Gc|Addc AddE|FEFG ABcA|GcAG FDEC|\
A,DDE ^FGAB|Add^c de^fg|(3ag^f ge fdAF|1GcAG FDEC:|2GcAG ^FDDg|:\
K:D
fd (3efg faec|Addc Adda|fd (3efg fdAF|G=cAG FDDg|\
fd (3efg faec|Addc defg|(3agf ge fdAF|1G=cAG FDDg:|2G=cAG =FDEC|]

NELLIE DONOVAN. AKA and see "The Doon Reel," "Kate Kelly's Fancy," "Killoran's (Reel)" [2]. Irish, Reel. G Major. Standard. AB (O'Neill/1850): AA'BB' (O'Neill/Krassen): ABCD (Mitchell). Breathnach (1976) finds the first part of "The Doon Reel" related to this tune and to "Kate Kelly's Fancy" and "The Ravelled Hank of Yarn." A Donegal setting was played by John and Mickey Doherty under the title "Bonnie Bunch of Ferns." Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Mitchell (Dance Music of Willie Clancy), 1993; No. 19, pg. 40. O'Neill (Krassen), 1976; pg. 131. O'Neill (1850), 1903/1979; No. 1394, pg. 259. O'Neill (1001 Gems), 1907/1986; No. 638, pg. 115 (appears as "Nellie O'Donovan"). Piping Pig Productions PPPCD001, Jimmy O'Brien-Moran - "Seán Reid's Favourite" (1996).
T:Nellie Donovan
T:Nellie O'Donovan
L:1/8
M:C|
R:Reel
S:O'Neill - 1001 Gems (638)
K:G
B2 Bd dcAc|BGGB d2 cA|B2 Bd dcAc|d2 cA BGGA|B2 Bd dcAc|BGGB d2 cA|
BABc dcAc|dBcA BGGe||fgaf gfeg|fdcA Adde|fgaf gfeg|fdcA AGGe|fgaf gfeg|
fdcA Adde|fefg abag|fdcA AGGA||

NEW CARROLL COUNTY BLUES #2. Old-Time. A tune named after, and riding on the commercial coattails of, the successful "Carroll County Blues" by Mississippi fiddler Willie Namour.

NÓRA CRÍONA (Wise Nora). AKA - "Nora Chreena," Nóra Críonna," "Nora(h) Creina." AKA and see "Hushed be sorrow's sigh," "Lesbia hath a beaming eye," "The Metal Bridge," "Norah Jig." Irish; Single Jig, Double Jig or Slide (12/8 time). G Major. Standard. AB (Mitchell): ABB (Moylan): AABB (Mitchell, Tubridy): AABBCD (Mitchell): AABBCCDDEEFF (O'Neill). The melody was first published in O'Farrell's Pocket Companion for the Irish or Union Pipes (1804-1816). The tune, when played as a "piece," or listening tune, is known as a showcase tune for uilleann pipers; it is also rendered as a jig. The late Donegal fiddlers, brothers Mickey and Johnny Doherty, played this as the middle tune in a set with "Enniskillen Dragoons" and "Miss McLeod's" (though sometimes "The Piper of Keadue" was substituted for the latter), in a rare AAAE tuning, which required playing the set in position. Bulmer & Sharpley's "Metal Bridge" Clancy's setting of "Nóra Chríonna" that he obtained from Patsy Tuohey. Clancy prints three settings: No. 151 is a close variant of the O'Neill's version; No. 152 a bit more distanced, and No. 150 could be a separate variant category altogether. The title "Lesbia hath a beaming eye" comes from a song by Thomas Moore adapted to tune. Philippe Varlet finds early versions recorded in the 78 RPM era under the titles "Nora Greena" (a 1929 recording by piper Tom Ennis) and "Sullivan's Jig" (a 1924 recording by piper Jimmie McLaughlin). Sources for notated versions: accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Cole (1001 Fiddle Tunes), 1940; pg. 76. Kerr (Merry Melodies), Vol. 2; No. 228, pg. 26. Mitchell (Dance Music of Willie Clancy), 1993; No. 150, pg. 118; No. 151, pgs. 118-119 & No. 152, pg. 119 (the latter Clancy identified as "Patsy Tuohey's version"). Moylan (Johnny O'Leary), 1994; No. 347, pgs. 195-196. O'Neill (Krassen), 1976; pg. 36. O'Neill (1001 Gems), 1907/1986; No. 126, pg. 36. Roche Collection, Vol. 2; No. 312. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 29. Spin CD1001, Eoghan O'Sullivan, Gerry Harrington, Paul De Grae - "The Smoky Chimney" (1996. Slide setting). Mickey Doherty - "The Gravel Walks." Bob Smith's Ideal Band - "Better than an Orchestra" (1977).
X:1
T:Nóra Chríonna
M:12/8
L:1/8
R:slide
D:The Smoky Chimney, track 1(c)
K:D
DED D2 E F2 D A2 F|DED D2 F E2 F G2 E|
DED D2 E F2 D A2 F|1E2 c cBc E2 F G2 E:|2E2 c cBc E2 F G2 F||
E2 A A2 G F2 D D2 F|ABA A2 G E2 F G2 F|
E2 A A2 G F2 D DEF|1E2 c cBc E2 F G2 F:|2E2 c cBc E2 F GFE|D3-D3 z6||
X:2
T:Wise Nora
L:1/8
M:6/8
S:O'Neill - 1001 Gems (126)
K:G
D|GAG G2A|B2G d2B|GAG G2B|A2B dcA|GAG G2A|BAG ABc|d2e fef|A2B cBA:|
|:ded d2c|B2G d2B|ded d2B|A2B cBA|ded d2c|BAG ABc|d2e fef|A2B cBA:|
|:BGG dGG|BAG dBG|AFF cFF|AFA cBA|BGG dGG|BAG ABc|d2e fef|A2B cBA:|
|:GBd GBd|GBd dcB|GBd GBd|A2B cBA|GBd GBd|GBd dcB|GBd fef|A2B cBA:|
|:GBd gfg|agf g2|GBd g2B|A2B cBA|GBd gfg|agf g2 g/a/|bag agf|A2B cBA:|
|:dBG GDG|BGB d2B|dBG GDG|A2B cBA|dBG GDG|BGB dcB|GBdd fef|A2B cBA:|
X:3
T:Nora Creina [1]
T:Nora Críona [1]
L:1/8
M:6/8
S:Kerr/Cole
K:G Mix
g2G G2A|B2G d2B|g2G G2B|A2B cBA|g2G G2A|B2G d2B|A2=f fef|A2B cBA:|
|:ddd d2c|B2G d2B|ddd d2B|A2B cBA|ddd d2c|B2G d2B|A2=f fef|A2B cBA:|

NORT RODD, DA (The North Road). Shetland, Reel. D Major. Standard. AA'B. Composed by Shetland fiddler Willie Hunter, Jr. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 33. Olympic 6151, The Shetland Fiddlers' Society - "Scottish Traditional Fiddle Music" (1978).

NORTHERN LASS, THE [1]. AKA and see "Muirland Willie," "Lord Frog." English, Country Dance Tune (6/8 time). G Minor. Standard. AB. The tune is found in Apollo's Banquet (1669), The Pleasant Companion, or New Instructions for the Flageolet (1680), Pills to Purge Melancholy," Walsh's New Country Dances (1713) {where it appears as "Lord Frog"}, Wright's Country Dances {where it appears as "Muirland Willie"}, and The Merry Musician. Chappell (1859) states it appears in several ballad operas, though in altered form. Chappell (Popular Music of the Olden Time), Vol. 2, 1859; pgs. 21-22.

O AS I WAS KISS'D YESTREEN. AKA and see "The Hare in the Corn(er)," "The House in the Corner," "The Little House around the Corner," "The Royal Irish Jig," "The Absent-minded Man," "Fhiach an Mhada Rua." Scottish, Medley (Jig). A Minor. Standard. AABB. Bayard (1981) identifies this as the signature melody of a group of tunes that belongs to a very large extended family of tunes, which he likens to a language and its dialects. Other signature tunes in this family are "Lan(n)igan's Ball," "Muirland Willie," "Bung Your Eye," "Kitty Alone," and "Lumps of Pudding." "O As I Was Kiss'd Yestreen" variants are close to the "Bung Your Eye" group and include "Sae Braley As I Was," "House o' Duncan," "My Love is Lost to Me," and others. See also the Irish family of tunes of the "Old Man Dillon" family. John Glen (1891) finds the earliest appearance of the tune in print in Robert Bremner's 1757 collection (pg. 75). Aird's (Selection...), 1778, Vol. 1, No. 200. Carlin (The Gow Collection), 1986; No. 476. Gow (Complete Repository), Part 2, 1802; pg. 22. Johnson (Scots Musical Museum, 1787-1803, Vol. 4, No. 319). Kerr (Merry Melodies), Vol. 1; pg. 31). Oswald's Caledonian Pocket Companion (1780?, Vol. 1, pg. 137). Scottish Country Dance Book (1930-57, Book 13, No. 6 {pt. 2 of 1st air}).
T:O as I was kiss'd yestreen
L:1/8
M:6/8
S:Gow - 2nd Repository
K:A minor
E|A>BA ABd|(e/^f/g)B A2c|(BAB) GAG|(BAB) GAB|~cBc dcd|
ede a2g|edB ABd|e2A A2:|
|:^g|a2A ABA|a2A A2^f|g2G GAG|BAB GAB|~cBc dcd|
ede a2g|edB ABd|e2A A2:|

OH! HAG YOU HAVE KILLED ME [2] (Chailleach, do Mhairís Me). Irish, Double Jig. D Mixolydian. Standard. AA'BB'. See also a related tune in Breathnach's Ceol Rince na hEireann IV (1996), No. 56, an untitled slide from the manuscript of David Collins, Abbeyfeale, County Limerick. Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Mitchell (Dance Music of Willie Clancy), 1993; No. 49, pg. 58.

OLD BUSH (REEL), THE (An tSean-Sceach). AKA and see "The Bush Reel," "Captain Rock," "Cnoic Fhada Mhughdhorna," "The Long Hills of Mourne." Irish, Reel. A Mixolydian/Dorian. Standard. AB. Eamonn O'Doherty (1979) remarks that the title to this tune supposedly derives from the Irish custom of planting a special tree as a gathering place, quoting John Dunton (1674): "hither all the people resort with a piper on Sundays and Holydays in the afternoon, where the young folks dance till the cows come home." Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, West Clare) [Mitchell]. Mitchell (Dance Music of Willie Clancy), 1993; No. 3, pg. 30. Claddagh 4CC 32, Willie Clancy - "The Pipering of Willie Clancy, Vol. 1" (1980). Gael-Linn CE 14 (78 RPM), Liam (Willie) Clancy. Green Linnett GLCD 1181, Martin Hayes & Dennis Cahill - "The Lonesome Touch" (1997).

OLD MAN ROCKING THE CRADLE, THE. Irish, Air (3/4 time). G Major. Standard. AABC. This is a song tune related to the song "An Seanduine." Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Mitchell (Dance Music of Willie Clancy), 1993; No. 130, pg. 104.
T:The Old Man Rocking the Cradle
B:Waifs and Strays of Gaelic Melody, F. O'Neill, no. 4
S:Rice-Walsh Mss.
N:arranged for piano in O'Neill; melody only shown here
N:slow
Z:Transcribed by Paul de Grae
M:6/8
L:1/8
K:D
FAA GAA|FAA GFD|FAA GAA|GFD FED|
FAA GAA|FAA GFE|DD/E/F/D/ EAG|EDD EDD||
dFF AFF|dFF GFD|dFF AFF|GFD FED|
dFF AFF|dFF GFD|DD/E/F/D/ EAG|EDD EDD||
faa gaa|faa gfd|faa gaa|gfd fed|
faa gaa|faa gfd|dd/e/f/d/ eag|edd edd|

OLD MAN'S JIG, THE. AKA and see "Bliven's Favorite," "Bobbing for Eels," "The Bottle of Punch," "The Butchers of Bristol," "By your leave, Larry Grogan," "Coppers and Brass," "The County Limerick Buckhunt," "Finerty's Frolic," "Fishing for Eels," "Green Sleeves," "Groom," "Hartigan's Fancy," "The Humours of Ennistymon," "The Humours of Miltown," "Ioc an Reicneail," "Jackson's Bottle/Jug of Punch/Brandy," "The Jug of Punch," "Larry Grogan," "The Lasses of Melrose," "Lasses of Melross," "Little Fanny's Fancy," "Lynn's Favourite," "Lynny's Favourite," "Pay the Reckoning," "Pingneacha Rua agus Pras," "Queen of the Rushes," "The Waves of Tramore," "Willie Clancy's."

OLD MEN AT THE LOOM. AKA and see "Maggie Cameron," "Willie Roy's Loomhouse."

OLD STEWART'S BACK AGAIN, THE. Scottish, English; Reel. England, Northumberland. G Major. Standard. AABB. John GLen (1891) finds the earliest printing of the tune in Robert Bremner's 1757 collection (pg. 88). See note for "Up and Waur Them A', Willie." Seattle (William Vickers), 1770/1987, Part 3; No. 516.

OLD WHEELS OF THE WORLD, THE. Irish, Reel. Standard. A Dorian. AB. No relation to "Wheels of the World" [1]. Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Mitchell (Dance Music of Willie Clancy), 1993; No. 56, pg. 62.

OLD WILLIE HUNTER. Shetlands. Composed by Shetlander Ronny Cooper (d. 1982), and picked up by Scottish dance bands and popularized with fiddlers in Britain.

OLD ZIP COON. AKA and see "Turkey in the Straw," "Natchez Under the Hill," "The Old Bog Hole." American; Minstrel Tune, Breakdown, Reel. USA, Widely Known. G Major: D Major (Phillips). Standard. One part: AABB (Phillips). The title of this popular tune comes from lyrics of a widely known minstrel song of the 1800's. In the early history of blackface minstrels, Colonel T. Allston Brown stated, "the tune of 'Zip Coon' was taken from a rough jig dance called 'Natchez Under the Hill,' where the boatmen, river pirates, gamblers and courtesans congregated for the enjoyment of a regular hoe-down, in the old time." Mark Wilson says that "Old Zip Coon" was mentioned in chronicles before 1830, and indeed, it appeared in five publications accredited to different composers before 1834 (Bronner, 1987) {The titles "Natchez Under the Hill" and "Old Zip Coon" for the melody appear to have appeared almost simultaneous, for the former appears in George P. Knauff's 1839 Virginia Reels, volume I, while the latter appeared in 1834}. The melody is described as variously derived from the ballad tune "My Grandmother Lived On Yonder Little Green," according to Linscott (1939), while Bayard (1981) sees the tune as a composite of two Scots tunes, "The Rose Tree (or "Maureen ni Cullenaun") and "The (Bonny) Black Eagle"--the 'A' and 'B' parts respectively of "Old Zip Coon." Jabbour concurs, at least with "The Rose Tree" being the origin of this family of American tunes. There is a contra dance of the same name from New England which Linscott and Burchenal both print. The tune was in the repertoire of Maine fiddler Mellie Dunham. The elderly Dunham was Henry Ford's champion fiddler in the late 1920's. Sources for notated versions: Willie Woodward (Bristol, N.H.) [Linscott]; W. Franklin George (W.Va.) [Phillips]. Burchenal, 1918; pg. 20. Linscott (Folk Songs of Old New England), 1939; pg. 102-103. Phillips (Traditional American Fiddle Tunes, Vol. 1), 1994; pg. 176. In the repertoire of Uncle Jimmy Thompson (1848-1931). Edison 50653 (78 RPM), Joseph Samuels, 1919 (appears as last tune of "Devil's Dream Medley"). Gennett 6495 (78 RPM), Doc Roberts (Ky.). Recorded Anthology of American Music, 1978 - "Traditional Southern Instrumental Styles."

OVER THE MOOR TO MAGGIE [2] (Treasna an Riasc Go Mairgreadin). AKA and see "The Ballina Lass," "Gearrchailiu Chontae Mhuigheo," "The Green Meadows," "The Hag's," "Johnny When You Die," "The Mayo Lasses," "The Old Maids of Galway," "Paddy's Gone to France," "Waynesboro," "West Mabou Reel," "The Willow Tree." Irish, Reel. G Major. Standard. AAB (Mitchell): ABC (O'Neill): AABBCC (Mallinson, Taylor). Not Breathnach's "Over the Moor to Peggy." Sources for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; set dance music recorded at Na Píobairí Uilleann, late 1980's [Taylor]. Mallinson (Essential), 1995; No. 56, pg. 25. Mitchell (Dance Music of Willie Clancy), 1993; No. 120, pg. 99. O'Neill (1001 Gems), 1907/1986; No. 786, pg. 136. Ruth (Pioneer Western Folk Tunes), 1948; No. 88, pg. 32. Taylor (Music for the Sets: Blue Book), 1995; pg. 24. Laurie Andres - "Fantastic Hornpipe: Fiddle Tunes on Accordion and Piano" (1991). "Music at Matt Molloy's."
T:Over the Moor to Maggie [2]
L:1/8
M:C
K:G
BA|G3 A BA (3Bcd|efge dBAG|EAAG ABAG|EAAG AcBA|G3A BA (3Bcd|
Efge dBAG|EG G2 BGAG|EGGFG:|
|:ga|bg g2 agef|g2 fg edBd|eaag abag|eaag a2 ga|bg g2 agef|g2 fg edBd|
eg g2 bgag|eggf g2:|
|:(3Bcd|efge dedB|cdcA B2 AG|EAAG ABAG|EAAG A2 (3Bcd|efge dedB|
cdcA B2 AG|EG G2 BGAG|EGGF G2:|

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Ceolas > Tunes > Fiddler's Companion

The Fiddler's Companion

Ceolas > Tunes > Fiddler's Companion