X:1 T:Planxty Toby Peyton M:6/8 L:1/8 C:Turlough O'Carolan S:Sergt. James O'Neill R:Air K:Bb "Moderato con expressivo"c>AG GAG|FD=E F2 d|c>AG GAc|d=eg f2 c| d>gg g^f/2g/2a|g=e/2^f/2g =fd/2e/2f| e/2f/2e/2d/2c d/2_e/2d/2c/2A|c/2d/2c/2B/2A/2G/2 ^FDC| D>GG GAG|^FGA A<=fd|cAG ^FDF|G3-G2|| E|F>ED CB,A,|G,>GG G,>GG|Gcc c/2d/2c/2B/2A/2G/2|Add d2 =e| fcA fcA|Ggg g^fg| a/2b/2a/2g/2^f/2a/2 g/2a/2g/2=f/2e/2g/2| f/2g/2f/2=e/2d/2c/2 d/2_e/2d/2c/2B/2A/2| fAG ^FGA|fAG ^FGA|dGG ^FDF|G3-G3|| % % Noted down by Edward Bunting at the Belfast Harp Festival % in 1792, as played by Hugh Higgins. This setting differs from % the three setting in O'Neill's Music of Ireland, and was known to % John McFadden from County Mayo and Sergt. James O'Neill of % County Down. X:2 T:Young Terence McDonough T:McDonogh's Lamentation M:3/4 L:1/8 C:Turlough O'Carolan R:Air K:Bb "Andante"G>F|D2 G2 A>^F|G4 GA|B2 d2 cB|c4 c2| d2 g2 gf|d2 f2 dA| B2 A2 G2|g4 fg|a2 f2 fg|f4 dc| B2 A2 G2|^F2 A2 Bc|d2 D2 GA|G4|| G>F|D2 G2 G2|G4 GF|D2 B2 B2|B4 AG| F2 f2 f2|gf ed cB|db ag fe|d4 dc| B2 B2 cB|A2 A2 A2|BA Bc d=e|f4 dc| B2 B2 B2|A4 Bc|d2 D2 GA|G4|| % % composed on the death of a famous young % Catholic lawyer of Sligo. First printed in The % Hibernian Muse, London 1787. The melody was % used with Sir Walter Scott's poem "The Return to Ulster" % and also with "The Moon Dimmed Her Beams". X:3 T:Rocking the Cradle M:6/8 L:1/8 S:Sergt. James O'Neill R:Air K:D "Andante"D/2E/2|FFF GGA/2G/2|FFD EDD/2E/2|FFF GAG|FED D2:|| A/2B/2|=c>dc B>^cd|AA/2B/2A/2G/2 FDD|=c>dc BAF|A>B^c d2 d| d>ef d>ef|AA/2B/2A/2G/2 FDD/2E/2|F/2G/2F/2E/2D/2F/2 EAG|FDD D2|| X:4 T:Old Man Rocking the Cradle M:6/8 L:1/8 S:Rice-Walsh manuscript R:Air K:D "Andante"FAA GAA|FAA GFD|FAA GAA|GFD FED| FAA GAA|FAA GFE|DD/2E/2F/2D/2 EAG|EDD EDD|| dFF AFF|dFF GFD|dFF AFF|GFD FED| dFF AFF|dFF GFD|DD/2E/2F/2D/2 EAG|EDD EDD|| faa gaa|faa gfd|faa gaa|gfd fed| faa gaa|faa gfd|dd/2e/2f/2d/2 eag|edd edd|| % % a descriptive piece wherein an old man gives voice % to his woes, punctuated by the wailing of a peevish child % and its calls for its Ma-ma. Skillful fiddlers and pipers would % imitate those cries.The fiddle was lowered in pitch and the % fiddler would lightly touch the bridge with a large door key % held in his teeth to simulate the tones of human expression. X:5 T:One Bottle More M:3/8 L:1/8 S:Sergt. James O'Neill R:Air K:G "Moderato"G|GBd|d>BG|cee|e2 d/2c/2|Bdg|dBG|A>FD|D2|| D|G>FG|EFG|A/2B/2c/2d/2e/2f/2|g2 f/2e/2| dfg|a/2g/2f/2e/2d/2c/2|BAG|GB/2d/2c| A>FD|D2 E/2F/2|A/2B/2c/2d/2e/2f/2|g2 f/2e/2| dg f/2g/2|a/2g/2f/2e/2d/2c/2|BGG|G2|| % % slightly different from the setting in O'Farrell's % Pocket Companion 1804-1810. X:6 T:Teddy O'Neill M:6/8 L:1/8 S:Rice-Walsh manuscript R:Air K:D "Andante"F/2G/2|Aff f2 e/2f/2|gBe dcB|Add dcd|fee e2 F/2G/2| Aff f2 e/2f/2|gBe dcB|Adf a2 g/2f/2|eG G2 (6F/2G/2F/2E/2F/2A/2|G2 (3FDC D2 (3D^CD| B/2>c/2B/2A/2 B>d c/2d/2c/2=B/2 c>_e|d6 G/2A/2B/2c/2| d>=e (3f/2g/2f/2e d>c A>G|G2 A>G F2 G>A|B2 (3AGA G2 (3FDC| D6 (3DEF|G2 A>G G2 (6F/2G/2F/2E/2F/2A/2|G2 (3FDC D2 (3D^CD| B/2>c/2B/2A/2 Bd c/2d/2c/2=B/2 c_e|d6 (3d=ef| g/2a/2g/2f/2 g/2a/2g/2f/2 d>c A>G|G2 A>G F2 d>c| B2 (3cAG G/2A/2G/2F/2 (3DE^F|G6|| X:11 T:Irish Widow's Lament on the Death of her Only Son M:3/4 L:1/8 S:James Whiteside manuscript R:Air K:C "Andante"c4 d2|B4 c2|A2 AG ED|E4 z2|c4 d2|B4 c2|A3 B cd|e4 d2| c4 d2|B4 c2|A2 AG ED|E4 D2|C4 D2|B,4 C2|A,6-|A,4 z2|| e4 d2|c6|d4 c2|B6|c3 B AG|A3 G ED|C4 D2|E6| e4 d2|c6|d4 c2|B6|c3 B AG|A3 G ED|E3 F GB|A6|| e a2 g ed|e4 d2|c3 d Bc|A6|d g2 ^f ge|d4 c2|B3 A BA|G4 AB| c4 d2|B4 c2|A3 B cd|e a2 g ed|c4 d2|B4 c2|A6-|A6|| X:12 T:Limerick's Lamentation M:3/4 L:1/8 S:Bunting's Arrangement 1809 R:Air K:Eb "Adagio"E>F|G2 BF|G2 BF| GB, C2 E>F|G2 E2 E>F|E4:| E>F|G2 B2 B>c|B2 AG F>G|E2 e2 e>f|e4 E>F| G2 B2 Bc|B2 AG F>G|E2 e2 e>f|e4 Bc| d>c d>e f>d|c>B c>d e>c|B>c eG FE|F4 EF| GB, C2 E>F|G2 E2 E2|E4|| % % As far back as 1676, this melody was referred to as % "The Irish Tune". Earliest printed setting with title of % Limerick's Lamentation was Daniel Wright's collection % published about 1730. Compare this setting with that % published by McCullough (tune #13). X:13 T:Limerick's Lamentation M:3/4 L:1/8 S:McCullough's Collection of Irish Airs 1821 R:Air K:G "Moderato"G>A|B2 B2 B>c|B2 A2 Bd|e2 A2 A>B|A4 G>A| B2 cBAG|E2 D2 G>A|B2 G2 A>G|G4:| G2|B>c d3 d|de dc BA|G2 g2 g2|{ba}g4 G>A| B>c d3 d|ed cB AG|G2 g3 g|g4 d>e| =f3 g f2|e2 d2 eg|d2 ed cB|B2 A2 G>A| B2 cB AG|E2 D2 G>A|B2 G2 A>G|G4|| X:14 T:Lochaber No More T:Farewell to Lochaber, Farewell to My Jean M:3/4 L:1/8 S:Caledonian Muse, London 1785 R:Air K:G "Andante moderato"G>A|B2 B2 B3/2c/4d/4|B3 A (3BAG|{^d}e2 A2 A3/2B/4c/4|{B}A4 G>A| B2 cB AG|D3 E GA|B2 AG A>B|G4:| G>A|B>c d2 e3/2f/4g/4|{e}d3 c B>A|G2 g2 g>a|g4 G>A| B>c d2 e2|d>e dc BA|G2 B2 d3/2e/4f/4|g4 d>e| =fe fa gf|e3 d B/4d/4g|ed cB AG|A4 G>A| Bc de A>G|D3 e dc|B2 A>G A>B|G4|| % % Using various printed references, O'Neill asserts that Limerick's % Lamentation is Irish, rather than Scottish, because it appeared % in print as "An Irish Tune" fifty years prior to the first printing % of Lochaber No More. See Note to Tune #12. X:15 T:Slainte Righ Pilib T:Health to King Phillip M:3/4 L:1/8 S:Burk Thumoth's Scotch & Irish Airs 1743 R:Air K:Bb "Moderato"G4 ^F2|G2 A2 c2|d4 c2|{B}A4 d2|c4 AG|^F2 A3 G|^F3 E F2|D6| G4 ^F2|G2 A2 c2|d4 A2|c4 de|f2 =e2 d2|c2 A2 G^F|G6-|G6:| g4 ^f2|g2 a2 b2|a4 gf|d4 d=e|f3 g fg|f2 d2 f2|c4 {B}A2|^F4 {E}D2| G3 A G^F|G2 A2 c2|d4 A2|c4 d=e|f2 =e2 d2|c2 A2 G^F|G6-|G6:|| % % Song refers to King Phillip IV of Spain, who died in 1665. % This setting and the two that follow illustrate the tendency to % create variants of popular compositions. X:16 T:Slainte Righ Pilib T:Health to King Phillip M:3/4 L:1/8 S:O'Farrell's Pocket Companion, 1804-1810 R:Air K:C "Moderato"A2|G2 A2 A2|A2 B2 AG|A2 B2 d2|e2 ^f2 g2|d2 B2 BA|G4 ed| B2 A2 A2|A2 B2 AG|A2 B 2d2|e2 ^f2 g2|B4 A2|A4:| |:ed|e2 a2 a2|a2 b2 ag|a4 ba|g2 e2 g2|d2 B2 BA|G4 ed| B2 A2 A2|A2 B2 AG|A2 B2 d2|e2 ^f2 g2|B4 A2|A4:|| X:17 T:Slainte Righ Pilib T:Health to King Phillip M:3/4 L:1/8 S:Thomson's Original Irish Airs, 1814-1816 R:Air K:Bb "moderato"F4 =E2|F2 G2 B2|c4 B2|G4 c2|B4 GF|=E4 C2|C4 C2|C2 D2 =E2| F4 =E2|F2 G2 B2|c4 G2|B2 c2 d2|e2 d2 c2|B2 G2 =E2|F6-|F6| f4 =e2|f4 g2|f4 _e2|c4 d2|e4 e2|e2 c2 e2|B4 G2|=E4 C2| F4 =E2|F2 G2 B2|c4 G2|B2 c2 d2|e2 d2 c2|B2 G2 =E2|F6-|F6|| X:18 T:Kate Kearney T:Beardless Boy, The T:Dissipated Youth, The M:3/4 L:1/8 S:Capt. F. O'Neill R:Waltz K:G "Temp di Valse"GE|D2 B,2 D2|G3 A BG|A2 G2 G2|G4 D2|G2 B2 d2|ed cB AG|B2 A2 A2|A4 Bd| e2 g2 ge|d4 c2|B2 d2 c2|B4 GA|B2 A2 B2|G2 E2 D2|E4 F2|G2 z2|| GE|D2 B,2 D2|D2 B,2 D2|G4 G2|G4 E2|D2 B,2 D2|D2 B,2 D2|A4 A2|A4 d2| e2 c2 e2|d2 B2 d2|c2 A2 c2|B4 GA|B2 A2 B2|G2 E2 D2|E4 F2|G2 z2|| Bd|g2 d2 d2|e2 d2 BA|GA Bc df|e2 d2 d2|g2 d2 d2|e2 d2 BA|G2 B2 d2|e4 de| g2 d2 d2|e2 d2 BA|GA Bc df|e2 d2 d2|g2 d2 d2|e2 d2 BA|G2 B2 A2|G2 z2|| % % Long before the song "Kate Kearney" was written by Lady Morgan, % the melody appeared as "The Beardless Boy" in Bunting (1796) and % again in Bunting (1809) as "The Dissipated Youth". Also appeared as % "Kate Martin" in Murphy's Irish Airs and Jigs. X:19 T:Drimen Duff T:Druim Fionn Dubh M:3/4 L:1/8 S:Burk Thumoth Scotch & Irish Airs 1742 R:Air K:G "Andantino expressivo"AB|c4 B2|A2 G2 AB|{d}c4 B2|A4 GA|B4 A2|G2 E>D E>G| g2 dB cA|G4 AB|c4 B2|A2 G2 AB|c4B2|A4 B2|cB cd eg| a4 g2|ed B2 dB|A4||AB c4 B2|A2 G2 AB|c2 Be dc|A4 GA| B4 A2|(3GFD (3EFG (3gfe|(3dBg (3dcB (3cBA|G4 AB|c4 (3dcB| A4 (3GAB|c4 B2|A4 B2|(3cBc (3cde (3efg|a4 g2| (3egf (3gfe (3dcB|A4|| % % in former times it was much more common to find a white stripe % along the spine of brown or black cows, and this coloration was % called "Druim-fionn", or white-black. which became "Drimmin" or % "Drimen". Thus we have "Drimmin-fionn-dubh" or White-back % black cow, etc. In poetical literature those titles are allegorical. % "Drimmin Dhu" was a political password among the Irish Jacobites, % and all "Drimmin" songs breathe a spirit of fealty to the Jacobite % cause. X:20 T:Drimmin Dhoun Oge T:Druim-fionn Donn Og M:3/4 L:1/8 S:O'Farrell's Pocket Companion 1804-1810 R:Air K:Bb "Andantino"GF|D2 G2 GF|G2 A2 c2|d=e fe dc|A4 dB|A2 G2 GF|G3 A B2|A2 G2 FD|D6| D2 G2 GF|G2 A2 c2|d=e fe dc|A4 fg|a2 gf =ed/4c/4|d3 =e f2|G2 G2 AG/4^F/4 |G4|| d2 g2 gf|g3 a b2|a2 g2 fd|d4 =e2|f3 g fd|f2 g2 a>g|fd cB AG|F4 dc| A2 G2 GF|G2 A2 c2|d=e fe dc|A4 fg|a2 gf =ed/4c/4|d3 =e f>A|G4 {B}AG/4^F/4|G4|| X:21 T:Lament of the Aran Fisherman M:3/4 L:1/8 S:Seamus Moriarty, San Francisco R:Air K:G "Andante con Expression"GA|B2 e2 (3fe^d|e E3 GA|B3 {cB}A AG|G4 Bc| d2 Bd ef|g2|fe f>^d|e2 =dB A>G|E4|| Bc|d2 Bd ef|g2 fe f>^d|e>=d BA BG|E4 (3EGA| B2 e2 f^d|e E3 GA|B2 {cB}AG A>G|G4|| % % Mr. Francis E. Walsh of San Francisco noted this air % from the singing of Seamus Moriarty, a native of Kerry. % The verses bewailed the drowning of a fisherman. X:22 T:Father Tom O'Neill M:6/8 L:1/8 S:Capt. F. O'Neill R:Air K:D "Con spirito"(3B/2c/2d/2|e2 e f2 e|d2 B BAF|A2 F E2 E|E3-E2 F/2G/2| A2 F A2 c|B2 A F2 A|B2 d cBA|B3-B2|| F/2G/2|A2 F A2 c|B2 A F2 A|B2 d cBA|B3-B2 c/2d/2| e2 e f2 e|d2 B BAF|A2 F E2 E|E3-E2|| % % A ballad of 19 verses sung to this air recited the conspiracy of an % infatuated wealthy heiress in County Armagh to inveigle or coerce a % young clergyman, the son of a widow, into matrimony; and the % frustration of her designs by the confession of an accomplice. X:23 T:Graine Uaile T:Grace O'Malley M:6/8 L:1/8 S:O'Farrell's Pocket Companion 1804-1810 R:Air K:F "Slow and with feeling"B/2c/2|d>ed cAG/2F/2| DGG G2 A/2B/2|cAc/2d/2 cAG|FDE F2 d/2g/2| fed c/2B/2A/2B/2c/2A/2|d/2c/2d/2e/2f/2d/2 g2 a/2g/2| f/2e/2d/2e/2f/2d/2 d/2c/2B/2A/2G/2F/2|G2 G G2|| (3d/2e/2f/2|gdB gdB|G2 G G2 (3c/2d/2e/2|fcA fcA|F2 F F2 G/2A/2| B2 D D3|c2 D D3|d/2c/2d/2e/2f/2d/2 g2 a/2g/2| f/2e/2d/2e/2f/2d/2 d/2c/2B/2A/2G/2F/2|G2 G G2|| % % This was the earliest setting of this famous old air which the editor % could trace. A florid version entitled "Granu Weal or ma-ma-ma" % obtained from McDonnell a renowned piper in 1797 is to be found %in Bunting's 3rd collection. The sub-title represents certain passages % wherein a repeated note reinforced by concords on the regulators % produced tones like ma-ma-ma. % Grainne ni Mhaille who flourished in the reign of Queen Elizabeth was % the most forceful character of her day. Her Irish maiden name became %one of the allegorical titles by which Ireland is poetically known, and % eclipses totally those of her two husbands, O'Flaherty and Sir Richard % Bourke. In the course of time, the original Irish name became % corrupted to "Granu Weal", "Graina Uaile" ,"Grainu Mhaol, and % other forms. X:24 T:Did You See My Man Looking for Me M:6/8 L:1/8 S:Capt. F. O'Neill R:Air K:G "Moderato spiritoso"G/2F/2|D>GG A2 d|c>Ad c>AG|D>GG A2 d|c>AF G2:| e/2f/2|g>fe f>dd|e>ce d>BG|g>fe f>dd|ece d2 e/2f/2| g>fe f>dd|e>dg d>BG|F>GA B2 d|c>AF G2|| % % Of this old folk song, I remember the following verse: % Did you see my man, He was a fine man ? % Did you see my man looking for me ? % He wore a green jacket, a pair of white stockings, % A hump on his back and he's blind in one eye; % a corduroy breeches; his brogues full of stitches % Did you see my man looking for me ? X:25 T:Sweet Castle Hill M:3/4 L:1/8 S:P.J.Healy, San Francisco R:Air K:G "Andante"G/2D/2E|G3 A B2|AG G3 A|B2 AG E2|G4 B2| cd/2e/2 d2 BA|G2 EG A2|d2 e2 de| B2 AG A2|B2 AG E2| D4 DE|G3 F E2|D2 d3 B|A3 G A2|G4|| DE|G3 A B2|GA B2 AG|E G3 DE|G2 A B3| AG E A3|B A3 z2|d2 e2 de|B2 A2 GA|B2 AG E2| D4 DE|G3 F E2|D2 d3 B|A3 G A2|G4|| X:26 T:Go My Own Darling Boy M:3/4 L:1/8 S:Hudson manuscript 1841 R:Air K:Eb "Andante"e>d|c2 B2 G>F|E4 E>E|F2 F2 AB/2c/2|B>A G2 e>d| c2 B2 (3GAF|E4 E>F|Gc/2B/2 GE F>G|E4|| B>B|e2 ed c>f|B4 e>e|fe cB (3GEB|B>A F2 e>d| c2 B2 (3GAF|E4 E>F|Ge/2d/2 G>E F>G|E4|| X:27 T:I Found My Love in the Morning M:6/8 L:1/8 S:Rice-Walsh manuscript R:Air K:G "Andante moderato"D|EFE EDB,|G3 G2 A|BcB BAB|d3 dge| dBG BdB|AFD DFA|BGE DB,D|E3 E2:| |:d|efe edB|g3 f2 e|dBG GAB|d3 d2 B| G/2A/2Bc d2 B|AFD DFA|BGE DB,D|E3 E2:| X:28 T:Connacht Mother's Slumber Song, The M:4/4 L:1/8 S:Francis E. Walsh, San Francisco R:Air K:G "Moderato cantabile"B,D|E2 E2 E2 DE|G2 G2 A3 G/2A/2| B2 {cB}AG E2 DC|D6 B,D| E2 E2 E2 DE|G3 B A2 GA|B2 AG E2 E2|E6:| |:Bc|d2 B2 B2 AG|A2 A2 A2 GA|B2 AG E2 DB,|D6 B,D| E2 E2 E2 DE|G3 B A2 GA|B2 AG E2 E2|E6:|| % % Not the least charming of the many airs and dance tunes, for which % we are indebted to our liberal San Francisco contributor, Francis E. % Walsh, is the fines Slumber Song above printed. It is an old strain % of which variants under divers names gained wide circulation. % Who hasn't heard the one time popular ballad about "my Love Nell % from the Cove of Cork" and her inconstancy. "Mary of Blackwater Side" % one of the numbers in Joyce's Old Irish Folk Music and Songs, Dublin %1909, betrays a similar origin. X:29 T:Battle of Aughrim, The M:2/4 L:1/16 S:Walker's Historical Memoirs of the Irish Bards, London 1786 R:March K:G "Moderato"ABAG ABAE|ABAG ABAE|ABAG ABAE|ABAG ABAE| (3AGA (3AGA (3AGA A>E|(3AGA (3AGA (3AGA A>E| (3AGA (3AGA (3AGA A>E|{CDEGA}B3c d3e| d2e2 d2f2|d2e2 d2f2|d2e2 d2e2|d8| cBAG E4|ABAG ABAE|ABAG ABAE|ABAG A3E| (3AGA (3AGA (3AGA A>E|(3AGA (3AGA (3AGA A>E| GABc d3e|d2e2 d2f2|d2e2 d4|BAGF E4|| % % To the musical antiquary war cries and battle pieces may not be % without interest. To the modern ear they possess but little % attraction; yet when Martin O'Reilly, the blind piper from Galway, % at the Dublin feis in 1901 played a descriptive selection entitled % "The Battle of Aughrim 1691" in which the blare of trumpets, battle % onslaught, and wailing of the women were imitated, his performance % was rapturously applauded. X:30 T:Lamentation of Aughrim, The M:3/4 L:1/8 S:McCullough's Collection of Irish Airs, Dublin 1821 R:Air K:D "Andantino"DE|F2 A2 B>A|d2 d2 (3def|e2 d2 f>d|c>B B2 AF|A2 A2 FA|B4 AF| D3 D ED|D4 D>E|F2 d3 c|B2 A2 F>E|E2 D2 E>D|D4|| fg|f2 e2 ga|g2 f2 ba|gf ed cd|d2 c2 A2| Bc de fg|a2 f2 g2|f2 d'2 c'2|d'4|| % % At the battle of Aughrim, July 12th 1691, fought near Ballinasloe, % County Galway, General St. Ruth in command of the Irish forces, % and 7,000 of his troops were killed. X:31 T:Cuckoo, The M:3/4 L:1/8 S:Miss Lucy Ray R:Air K:A "Moderato"C2|F2 F2 EC|FF F2 G2|B2 B2 GF|E4 C2| F2 F2 EC|F2 F2 EC|F2 A2 B2|c4|| cB|A2 A2 ec|B2 B2 cB|A2 A2 GF|E4 C2|F2 F2 EC|F2 F2 c2|cB A2 G2|F2-F2|| X:32 T:Sarsfield's Lamentation M:3/4 L:1/8 S:The Hibernian Muse, London 1787 R:Air K:F "Andante sostenuto"Ac|d2 d2 cA|f2 f2 e>d|c>d c>A G>A|F2 G2 A/2G/2F D2 de c>A|f>g gf/2g/2 a2|F3 G Ac|G4:| |:AB|d2 d2 c>A|f2 f3 E/2F/2|g2 g3 f/2g/2|a2 ba ge| d>e d>c d/2c/2A|f2 g/2f/2g a2|F>E F>f d/2c/2A|G4:|| % % This lamentation derives its importance from the historical prominence % of General Sarsfield as the Irish Commander at the Siege of Limeriick. % That circumstance obviously accounts for its being confounded in later % times with "Limerick's Lamentation". This composition bears no % resemblance except in name to the "Lament for Sarsfield" No. 433 in % O'Neill's Music of Ireland, Chicago, 1903. X:33 T:Dark-eyed Gypsy, The M:4/4 L:1/8 S:P.J.Healey, San Francisco R:Air K:G "Andante"d2|B2 {d}cA G3 g|B2 {d}cA G3 d/2e/2| =f2 g2 A2 _B2|=B2 c2 d3 B/2c/2| d2 ga b3 a/2g/2|{a}gf dB c3 B/2c/2|B g2 f d2 cA|A2 G2 G2| |:Bc|d2 ga b3 a/2g/2|{a}gf dB c3 B/2c/2|de =fe d2 cA|A2 G2 G2:|| % % Although suggestive of an English origin, "The Dark-eyed Gypsy" was % the name of a popular song in Tipperary, Mr. Healey's native county. X:34 T:Cnoic Uisnach T:Hill of Uisnach M:4/4 L:1/8 S:P.J. O'Donohue, San Francisco R:Air K:G "Maestoso"e>d|B2 AF E2 F2|D3 E F2 A2|B2 AF E2 E2|E4 (3BAF| E2 EF A2 B2|e4 d2 e2|f2 ed B2 e2|d6|| AF|E2 EF A2 B2|e4 d2 e2|f2 ed B2 e2|d4 e3 d| B2 AF E2 F2|D3 E F2 A2|B2 AF E2 E2|E6|| % % I am informed by our liberal contributor, Mr. Francis E. Walsh of % San Francisco, that variants of the above air are known to several % of his musical acquaintances but by different names such as % "Knuck Usnach Gathering"; "Knuck Costhnach"; "The Coming % of Lugh"; and "The Poor Man's Friend". Mr. O'Donohue, whose % setting is presented, insists that it is the true air of "Willy % Reilly", the old time favorite of an earlier generation. The melody % is the real thing however. X:35 T:Molly of Lough Erne Shore M:3/4 L:1/8 S:James Whiteside manuscript R:Air K:G "Andante"AB|c2 B2 c2|A2 G2 G2|A2 B2 c2|d4 fg| a2 g2 a2|=f2 e2 d2|d2 e2 A2|A4 f2| a2 g2 a2|f2 e2 d2|d2 c2 A2|^f4 ge| d2 A2 B2|c2 A2 G2|A2 B2 c2|d4|| X:36 T:Gay Young Fireman, The M:4/4 L:1/8 S:Capt. F. O'Neill R:Air K:G "Moderato" ED|E2 A2 A2 GA|B2 AG E2 D2|G3 A G2 D2|EDEG A2 z2| D2 DD d3 B|A2 G2 G2 AB|c3 A B2 AG|E2 D2 D2|| % % Some fifty years ago I heard a ballad sung to this air by a young lady % from Brooklyn, NY. It recited the fascinations of A Gay Young Fireman % of that city. The strain, unmistakably of Irish origin, displays % marked individuality. X:37 T:My Dear Irish Girl M:4/4 L:1/8 S:Capt. F. O'Neill R:Air K:G "Con spirito"(3DEF|GFGB edBG|AGEE E3 d|efgf eede|ccBA B3 d| efgf efde|ccBA e2 dB|GFGB edBG|AGEE E3|| M:6/8 L:1/8 D|GAG GAG|BAG Bcd|GAG GFG|FAG FED| GAG G2 G|BAG Bcd|efg edB|AGF G2|| % % Not a few songs or ballads have been sung to a variant of this old % air, one of them being named "The Hat My Father Wore". Where % the second part came from the Editor is unable to say, except that % it has lodged in his memory for many years. X:38 T:Dawning of the Day, The M:4/4 L:1/8 S:Aird's Selections 1782-97 R:Air K:G "Moderato"DE/2F/2|G>AGF E2 D2|dd g/2f/2e/2d/2 B2 c/2B/2A/2G/2| GFGA B2 g/2f/2e/2d/2|B>c A2 {GF}G2:| e>def g2 ga/2b/2|agfe d2 B2|ed e/2g/2f/2a/2 ggab| agf>e e4|edef gg g/2f/2e/2d/2|Bg B/2g/2B/2g/2 A2 B/2A/2G/2F/2| GFGA B2 g/2f/2e/2d/2|Bc A2 GF G2|| % % This fine air, the best known of the compositons of the great harper % Thomas O'Connellan, was taken from "Aird's Selection of Scotch, % English, Irish and Foreign Airs, Vol.3", published in 1788. % O'Connellan flourished in a period when the renown of Irish harpers % became a matter of history. After a sojourn of 20 years in Scotland, % he returned to his native land in 1689, and died nine years later. % As the above setting differs materially from that of Bunting in his % second collection issued in 1809, and others much more recent, % its introduction among Waifs and Strays may be not without interest % to students of Irish musical history. X:39 T:Lamentation of Owen Roe O'Neill, The M:4/4 L:1/8 Q:90 R:Air K:Bb "Andante"GABc d3 c|Bcd=e f2 ef|gddc B2 AG|A2 GF D2 z2| GABc d2 cB|cBAG F2 Ac|B2 AG AGAc|B2 A>G G2 z2|| GABc d3 c|Bcd=e f2 ef|g2 d2 edcB|A2 G>F F2 z2| d>edB cccA|B>cBG AGFD|B3 G A3 F|G>FD^F G2 z2|| % % This fine composition is attributed to Carolan in Bunting's General % Collection of the Ancient Irish Music, Dublin 1796; Hardiman's Irish % Minstrelsy, London 1831; and Clinton's Gems of Ireland, London 1841. % Grattan Flood, an eminent authority, states in his A History of Irish % Music, Dublin 1905, that this "glorious lament was composed on the % death of Owen Roe O'Neill in 1649", a date preceding Carolan's birth % by twenty-one years. Owen Roe O'Neill, prince of Ulster, was a % gallant military leader who vanquished the British forces at the % battle of Benburb in 1646. X:40 T:Jesse the Flower of Dunblane M:6/8 L:1/8 S:Wood's Songs of Scotland, Edinburgh, 1848 R:Air K:G "Andante con moto"G/2A/2|B>cB A>dB|G>FG AEC B,cB AEC B,F G2|| B|B>GA BE D2 D| G>BA BG>A|BdB cA>B|c>de dB>G|A>EF G2 G/2E/2| D>EC B,de dF G2|| % % Early in the nineteenth centtury, this song was composed by a % modest weaver, Robert Tannahill of Paisley, and was set to an % alleged ancient Scottish melody by Robert A. Smith author of the % Irish Minstrel, and the Scottish Minstrel. According to Farquhar % Graham, editor of Woods Songs of Scotland, not a few of the airs % in the latter work were composed by Smith himself. % Whatever the origin of the above melody may have been it has a % decidedly Gaelic tonality. X:41 T:O'Connell's Lamentation M:6/6 L:1/8 S:Sergt. James O'Neill R:Air K:C "Andante"E|A2 d/2c/2 AGE|Gcd ea^f|gec dcA|GE^F G2 E| Adc AGE|c3/2d/2e/2^f/2 gea|gec dcA|A3-A2|| e/2^f/2|g3/2^f/2a/2f/2 g3/2b/2a/2g/2|f/2e/2d/2e/2f/2d/2 e2 A| c/2B/2c/2d/2e/2^f/2 ge/2c/2A/2| GEc/2A/2 GEG| AA/2B/2c/2A/2 BB/2c/2d/2B/2|cc/2d/2e/2^f/2 gea| gec dcA|A3-A2|| A/2B/2|cE^F G2 A/2B/2|c/2B/2c/2d/2e/2^f/2 gea| g/2f/2e/2g/2f/2e/2 d/2f/2e/2d/2c/2B/2|cE^F G2 A/2B/2| cE^F G2 A/2B/2|c/2B/2c/2d/2e/2^f/2 gea| gec dcA|A3-A2|| % % Comparing very favorably with compositions of this class, "O'Connell's % Lamentation" is presented as the production of two members of the once % famous Irish Music Club of Chicago which flourished in the early years % of the twentieth century. The first and second parts were outline by % John McFadden, an untutored fiddler of fertile fancy and dextrous % execution. The third part as well as the whole arrangement is the % work of Sergt. James O'Neill, the club's worthy scribe. X:42 T:All I Want is a Decent Boy M:3/4 L:1/8 S:O'Farrell's Pocket Companion 1804-1810 R:Air K:G "Andantino"D>E|G>A G>A Bd|e>f e>d B>e|dB/2A/2 G>A BA|AG E2 D>E| G>A G>A B>d|e>f ed B>e|dB/2A/2 G>A BA|AG G2 z A|BB g2 B2|gfed B2| dB/2A/2 G>A BA|AG E2 D>E|G>A GA Bd|e3/2f/2e/2d/2 B3 e| dB/2A/2 GA BA|AG G2|| % % The name of a ballad sung to this air has been substituted for % "The Young Man's Dream" an obviously wrong title - as printed % in O'Farrell's work. X:43 T:Captain O'Kane T:Wounded Hussar, The M:6/8 L:1/8 S:McGoun's Repository 1803 R:Air K:G "Moderato"E/2D/2|B,EF G2 F/2E/2|F/2G/2A/2G/2F/2E/2 DEF| GBG B/2A/2G/2F/2E/2D/2|B,EE E2 E/2D/2|B,EF G2 F/2E/2| F/2G/2A/2G/2F/2E/2 DEF|GBB B/2A/2G/2F/2E/2D/2| B,EE E2||E/2F/2|GBB B2 A/2G/2|FAA A2 d/2c/2| Be^d e>fg|Be^d e2 e/2f/2|g>fe d>cB|AFd DEF| GBG B/2A/2G/2F/2E/2D/2|B,EE E2|| % % The earliest setting of this rare composition which the compiler can % trace is that found in Vol.3 of Aird's Selections of Scotch, English, % Irish and Foreign Airs, printed in 1788. Slightlly disguised as % "Captain Oakhain: A Favorite Irish Tune", it appears in McGoun's % Repository of Scots and Irish Airs, Strathspeys, Reels, etc. Glasgow % 1803", but it is not numbered among the Bunting or Petrie % Collections. "The Wounded Hussar" we learn from Alexander % Campbell's song of that name printed with the music in Smith's Irish % Minstrel, Edinburgh 1825" was Captain Henry O'Kain who died of % his wounds on "the banks fo the dark rolling Danube". % Included as one of Carolan's compositions in Hardiman's Irish % Minstrelsy, 1831" the author adds: "Capt. O'Kane or O'Cahan of a % distinguished family, a sporting Irishman well know in Antrim in his % day as "Slasher O'Kane'". There can be no doubt that he was % the hero of Campbell's song. The Wounded Hussar is also included in % Serenne's "Songs of Ireland without words, Edinburgh 1854". X:44 T:Young Ellen of My Heart M:4/4 L:1/8 S:Rice-Walsh manuscript R:Air K:G "Andante"g|edcB AGFE|G2 AA A3 E|ABcd e2 ec|d2 ed c2 BA| ABcd e^fge|d2 ed c2 g^f|edcB AGEF|G2 AA A3 E| ABcd e^fge|d2 ed c2 g^f|edcB AGEF|G2 AA A2|| X:45 T:Irish Lassie, The M:6/8 L:1/8 S:Aird's Selections 1782-97 R:Air K:G "Andante cantabile"G/2A/2|B2 A B2 g|dBG A2 B|E2 D EFG|AFD D2 G/2A/2| B2 A B2 g|^ceg f2 e|f>ed ed^c|d3-d2 d=c|B>cB cA>f| g3 d2 c|B>GB c2 d|ede gfe|d2 (3e/2f/2g/2 f2 e|d2 c B/2c/2dD| EcB ADF|G3-G2|| X:46 T:My True Love Has Gone From Me M:4/4 L:1/8 S:Capt. F. O'Neill R:Air K:G "Moderato con expressivo"Bd|e3 d g2 B2|c4 edBA|B2 AB G2 G2|G4-G2 ga| b2 bc' b2 ag|a3 c' b2 ab|g3 g f3 e|d4-d2||ga|b2 bc' b2 ag|a3 c' b2 ab| g3 g f3 e|d4-d2 Bd|e3 d g2 B2|c4 edBA|B2 AB G2 G2|G4-G2|| % % This air like scores of others was unconsciously memorized in my % boyhood days at Tralibane some three miles southeast of Bantry, % West Cork. All that I can remember now of the ballad sung to it is the % distich: % "My true love he has gone from me, and I can't tell how far % Eighteen hundred thousand miles , on board of a man of war" % It is not likely that the poetaster in equalizing his meter realized % the absurdity of a voyage equal to seventy-two times the % circumference of the earth. X:47 T:My Only Joe and Deary O M:4/4 L:1/8 S:Wilson's Companion to the Ballroom, London 1816 R:Air K:G "Maestoso"B|e3 f gfed|e2 B2 B3 G|A3 c BAGF|G2 E2 E3 G| e3 f gfed|e2 B2 B3 G|A3 c BAGF|G2 E2 E2 z|| B|e3 f g2 e2|f2 ^d2 B2 z B|e3 f g2 fe|f2 d2 d2 ef| g2 e2 gfe^d|e2 B2 B2 G2|A3 c BAGF|G2 E2 E2 z|| % % Classed as a Scotch tune among the "figure" dances in % Wilson's Companion to the Ballroom, "My Only Joe and Deary O" % is not listed in the Analytical Table of the Glen Collection of % Scottish Dance Music, Strathspeys, Reels and Jigs, Edinburgh, % 1891. It is quite distinct however from "My Ain Kind Dearie"first % printed in the 12th Number of Robert Bremner's Collection of Scots % Reels or Country Dances issued in Edinburgh in 1761. An elaborite % arrangement of the latter, with 12 bars in each part appears in % McGoun's Repository of Scots and Irish Airs, Strathspeys, Reels, etc., % published in Glasgow about 1803. X:48 T:My Charmer from Clare M:3/4 L:1/8 S:Whiteside manuscript R:Air K:G "Andante con Sentimente" (3EFG|A2 A2 dc|B2 G2 (3AGE|(3DEF G2 G2| G4 (3Bcd|e2 ef ge|f2 d2 ed|c2 BA B2|E4||(3Bcd|e2 ef ge|f2 d2 ed| c2 BA B2|E4 (3EFG|A2 A2 dc|B2 G2 (3AGE|(3DEF G2 G2|G4|| % % James Whiteside, the "Bard of Bray", County Wicklow, was a genius - % scholar, poet, musician, composer. Born in County Monaghan in 1844, % he retired after 40 years service as a schoolteacher at Bray. His % playing of the violin won two first honors at two Feiseanna. An % interesting sketch of his life appears on pages 384-7, Irish % Minstrels and Musicians. X:49 T:Banished to America M:4/4 L:1/8 S:Rice-Walsh manuscript R:Air K:D "Moderato"(3ABc|d2 de dcAF|G2 GF GBAG|F2 GFD2 D2|D4-D2 DE| F2 FE FGAF|G2 GF G2 Ac|d2 dc ABce|d4-d2|| DE|F2 FE FGAF|G2 GF G2 Ac|d2 dc ABce|d4-d2 fe| d2 de dcAF|G2 GF GBAG|F2 GF D2 D2|D4-D2|| X:50 T:Valley Near Sliavnamon, The M:2/4 L:1/8 S:M. Flanagan, Dublin R:Air K:G "Andantino Calamato" d|d2 ed|G2 DG|B2 cd|E2 AG|F2 DE| F B2 A|G3 d|d2 ed|G2 DG|B2 cd|E2 AG|F2 DE| F B2 A|G2-G||G|A2 AB|c3 c|BGGA|B2 BB|^c2 AB|^c f2 e| d3 d/2d/2|ed ^cd|G2 EG|B2 cd|E2 AG|F2 DE|F B2 A|G2-G|| % % This fine air which runs to the unusual number of 14 bars in each part % was sent me by a Dublin friend, Mr. M. Flanagan, a distinguished % linguist and scholar. In his leisure moments, he enjoys the music of % his fiddle, and union pipes, being a skillful perfomer on both % instruments. A brief sketch of his eventful life appears in Irish % Minstrels and Musicians. % Whether suitable to the meter of the melody or not, Mr. Flanagan's % charming verses will be no less appreciated than his music: % Alone, all alone by the wave-washed strand, % All alone in the crowded hall; % The Hall is gay and the waves are grand % But my heart is not here at all; % It flies far away, by night and by day, % To the times and the joys that are gone; % And I ne'er can forget the sweet maiden I met % in the valley near Sliavnamon. % % It was not the grace of her queenly air, % Nor her cheek of the roses glow, % Nor her soft black eyes, nor her flowing hair, % Nor was it her lily-white brow; % 'Twas the soul of truth, and melting ruth, % And the smile like a summer dawn % That stole my heart away, one mild autumn day % In the valley near Sliavnamon. % Output from ABC2Win Version 2.1 k pre2 on 9/7/2000 X:51 T:Paddy Will You Now (#51) M:2/4 L:1/16 S:Capt. F. O'Neill R:Air K:G (3def|g2B2 B2AG|F2A2 A2BA|G2g2 gfga|b2g2 g2(3def| g2B2 B2AG|F2A2 A2BA|B2g2 gfga|b2g2 g2:| |:Bc|d2B2 d2ef|g2f2 e2d2|d2B2 d2ef|g2f2 e2d2| eeee e2d2|g2B2 B2A2|GGGF G2A2| B2G2 E2D2|GGGF G2B2|AAAB A2B2|B2g2 f2e2| d2c2 B2A2|GGGG G2B2|AAAA A2B2|B2g2 f2a2|g4 g2:|| % % The above setting differs not materially from that in % Clinton's 200 Irish Melodies for Flute, Dublin 1840. % Under the same name a much simpler version appears % in Haverty's 300 Irish Airs, New York 1858, having but % the exceptional number of 13 bars altogether. To the % editor this strain was known in boyhood days as "Tow % Row Row" both names being taken from the first line % of the song "Tow Row Row, Paddy, will you now", % which song by the way cannot be found in any Irish % collection at present available. "Ta na la" or "It is day" % one of three tunes of that name in Stanford-Petrie % Collection is obviously the same strain. The arrangement % however is quite different; the melody and chorus together % consisting of but 17 bars. % To add to the diversity, we find that the arrangement of % "Paddy will you now" to which is set Gavan Duffy's poem % "Watch and Wait" in Ballads and Songs by the Writers of % "The Nation" Dublin 1845 is limited to 14 bars. X:52 T:Girl I Left Behind Me, The (#52) M:2/4 L:1/16 S:Rice_Walsh manuscript R:March K:G gf|edB^c dBA=c|BAGF EDEF|GFGA GABc|dedc B2gf| (3efg de (3Bcd Ac|BAGF EDEF|GFED EGFA|G4 G2:| |:BA|Bdef gfgb|agfe d2Bd|edef gfed|(3efg af g2fg| (3efg de (3Bcd Ac|BAGF EDEF|GFED EGFA|G4 G2:| |:gf|(3efg dB (3cde cA|(3Bcd BG FDEF|GBdB cdec|(3efg (3fga gfed| (3efg dB (3cde cA|(3Bcd BG FDEF|GFED EGFA|G4 G2:| |:GF|DGBd dcAB|cBGB BAFA|DGBd dcAg|(3fga gf gdBG| DGBd dcAB|cBGB BAFA|BAGA (3Bcd FA|G4 G2:| |:dc|BA (3Bcd ed (3efg|(3fga gf gdBG|BA (3Bcd ed (3efg|(3fga gf g2fg| (3efg dB (3cde cA|(3Bcd BG FDEc|(3BdB GB (3AcA FA|G4 G2:|| % % Few tunes are more widely known than "The Girl I Left Behind Me", % or "The Spalpeen Fanach", as an air, march, or hornpipe. Even so, % no apology is needed for the introduction of this elaborate setting % with variations by Jeremiah Breen, a famous blind fiddler of North % Kerry of the past generation. His tunes noted down by a pupil, % Thomas Rice, were transcribed by a friend Sergt. James P. Walsh % of the Chicago Police. X:53 T:Homeward Bound (#53) M:4/4 L:1/8 S:Capt. F. O'Neill R:March K:G BA|G2 GG G2 Bc|d2 dd d2 ba|g2 d2 cBcd|e2 A2 A2 BA| G2 GG G2 Bc|d2 dd d2 ba|g2 d2 edcA|B2 G2 G2|| Bc|d2 g2 gfga|g2 d2 d2 Bd|e2 a2 agab|a2 e2 e2 fe| d2 g2 gfga|babc' d'3 c'|bd'bg (3abc' af|g2 gg g2|| % % This spirited march was memorized by the writer in early life; % all circumstances relating to its acquirement being now forgotten. % We have no assurance of its Gaelic origin, yet few would deny % that it was worth preserving at least. For obvious reasons, a % name has been supplied for its identification. X:54 T:Lord Lindsay's March (#54) M:4/4 L:1/8 S:Aird's Selections, 1782-97 R:March K:D (3ABc|d2 dd d2 fd|e2 ee e2 ge|f2 ff fagf|edcB AGFE| dAFA dfed|ecAc egfe|fadf gece|d2 dd d2|| fg|afdf aa b/2a/2g/2f/2|gece gg a/2g/2f/2e/2| fdBd fa b/2a/2g/2f/2|edcB AGFE|DFAd fdAF| EGBd gecA|fadf gece|d2 dd d2|| % % An almost identical setting is named "Capt. Hillman's % March" in the same volume. X:55 T:Over the Hills and Far Away (#55) M:4/4 L:1/8 S:Capt. F. O'Neill R:March K:D AB|d3 e defe|d2 B2 B2 AB|d3 e defd|f2 e2 e2 AB| d3 e defe|d2 B2 B2 d2|ABAG ABde|f2 e2 e2|| fg|a3 b afef|d2 B2 B2 fg|a3 g f2 ed|f2 e2 e2 fg| a3 b afef|d2 B2 g3 B|A2 AB ABde|f2 e2 e2|| % % "Gay Robin was a piper young, % and many an air he played and sung % But sweetest far the love fraught lay % 'Over the hills and far away'" X:56 T:North Wind, The (#56) M:4/4 L:1/8 Q:140 S:Rice-Walsh manuscript R:March K:G (3DEF|G2 GG GBdB|c2 A2 A2 c2|BGBd gdBG|d2 de dcBA| G2 GG GBdB|c2 A2 A2 c2|(3BdB GB (3AcA FA|G2 GG G2|| (3def|g2 ga bgdB|c2 A2 A2 fg|a2 ab agfe|dgfe dcBA| G2 GG GBdB|c2 A2 A2 c2|(3BdB GB (3AcA FA|G2 GG G2|| X:57 T:O'Brien's March (#57) M:6/8 L:1/8 S:O'Farrell's Pocket Companion 1804-1810 R:March K:G B3 AGA|B2 G g2 e|dBG E2 D|EAA A2 c| BGG AGG|BGG g2 e|dBG E2 D|EGG G2|| d|gfg agf|gfe dBG|cBA BAG|EAA A2 D| E/2F/2GA G2 e|dBG A2 B|DGc B2 A|B>GG G3|| X:58 T:Clan March, A (#58) M:6/8 L:1/8 S:Aird's Selections 1782-97 R:March K:D A|A>FA A>FA|A>FA A2 d|B>dB B>AB|d>ef "tr"f2 e| e>fa b/2c'/2d'b|afe d>ef|f>ba f>ef|d>BB B2|| a|aba afa|bc'b b2 a|afa bag|"tr"f2 e d2 b| d'ba baf|afe def|fba fef|d>BB B2|| % % In Aird's Selections of Scotch, English, Irish and % Foreign Airs etc this tune is designated "An Irish Jigg" % while in the index it is named "An Irish Air". Its emphatic % swing and antique cadences proclaim this spirited % strain a march, altho as "The Hibernian Jig" it was % included in O"Neill's Dance Music of Ireland 1907, % but in a much lower key. X:59 T:Bonaparte's Grand March (#59) M:4/4 L:1/8 S:Sergt. James O'Neill R:March K:D A2|d2 d>d d2 A/2B/2c/2d/2|e2 e>e e2 de|f2 e>f g2 f2|e2 e>e e2 A2| d>dA>A F>FA>A|d>dA>A F>FA>A|d3 f edef|d2 d>d d2|| f2|e>dc>B A>Bc>A|d>cd>e d>ef>d|e>dc>B A>Bc>A|d>cd>e d>ef>d B2 g>g g2 B2|A2 f>f f2 af|e2 e2 e>de>f|d2 d>d d2|| f>g|a2 a2 b2 b2|a3 g f2 a2|g2 g2 f2 af|e>de>f e2 ef| g2 g/2f/2e/2d/2 c2 A2|a>af>f d2 A2|f2 fa gfed|a2 a>a a2|| % % In the heyday of Bonaparte's renown, early in the nineteenth % century, many song, marches, hornpipes etc were named in % his honor in Ireland. Most of the tunes, being traditional, % retain their popularity. It is not claimed that "Bonaparte's % Grand March" is an Irish composition. In fact we have no % information concerning its history or origin, but there can be % no question as to its circulation and popularity in Ireland in % former times. Its rescue from the oblivion of faded manuscript % to the publicity of the printed page may endow this spirited % march with renewed vitality. X:60 T:Croppies' March, The (#60) M:4/4 L:1/8 S:Patsy Touhey R:March K:D B|A3 B A2 F2|A2 B2 d3 e|f2 a2 e2 f2|d2 B2 BcdB| A3 B A2 F2|A2 B2 d3 e|f2 a2 e2 f2|d4 d3:|| |:e|f2 a2 a3 f|g2 b2 b2 g2|f2 a2 e2 f2|d2 B2 B2 d2| f2 a2 a3 f|g2 b2 b3 c'|d'2 c'2 c'2 a2|b4 b3 a| f2 a2 a2 f2|g2 b2 b2 g2|f2 a2 e2 f2|d2 B2 BcdB| A3 B A2 F2|A2 B2 d3 e|f2 a2 e2 f2|d4 d3:|| X:61 T:Croppies' March No.2, The (#61) M:4/4 L:1/8 S:Capt. F. O'Neill R:March K:D B|A>BAF ABde|faef d/2e/2f/2d/2 Bd|A>BAF ABde|faef d2 d2:|| faag/2f/2 gbba/2g/2|faef d/2e/2f/2d/2 "tr"BA| faag/2f/2 gbbc'|d'c'ba b2 ba|faag/2f/2 gbba/2g/2| faef d/2e/2f/2d/2 Bd|A>BAF ABde|faef d2 d2|| % % The term "Croppy" grew from the custome of the English and % Scotch reformers in 1795, who cut their hair short. The same % custom was adopted by the reformers in Ireland; and hence all % those who wore their hair short were denominated "Croppies", % and were the marked objects of government vengeance. In % truth, clipped hair constituted secondary evidence of treason, % and was sufficient to cause the arrest and ill treatment of any % person daring enough to adopt it. X:62 T:Port Gordon (#62) M:4/4 L:1/8 S:O'Farrell's Pocket Companion 1804-1810 K:F DE|F2 FG A2 GF|G2 GA c2 AG|FEFG A2 GF|G3 F D2 DE| F2 FG A2 GF|G2 GA c2 AG|A3 B A2 G2|A6 DE| F2 FG A2 GF|G2 GA c2 AG|A2 AB AGFG|A4 f2 DE| F2 FG F2 ED|EDEG A2 GE|D2 DE FED^C|D6|| de|f3 g fg a2|FEFG F2 ED|f3 g f>g a2|GFGA G2 fg| a4 a2 gf|g4 agfe|fgfe defe|dA =cA/2G/2 A3 A| d2 dc defe|dedc A2 AB|c2 cA cded|dcAG A2 AG| F2 FG F2 ED|EDEG A3 c|dedc AGA^c|d6|| % % In "Hardiman's Irish Minstrelsy Vol.1", "Port Gordon" % is listed as one of Carolan's compositions, and it is also % attributed to him in "O'Farrell's Pocket Companion for % the Irish or Union Pipes", from which the above setting % was copied. Bunting, however, includes "Port Gordon" % among the compositions of Rory Dall O'Cahan, a famous % harper of the Western Highlands. The fact is that Carolan % exercised his talents in retouching his predecessor's % composition according to his own personal fancy. % The setting which follows, taken from O'Neill's Music of % Ireland was found among Sergt. James O'Neill's % inherited manuscripts. X:63 T:Gordon's Tune (#63) M:4/4 L:1/8 S:Sergt. James O'Neill K:Bb dc|B2 Bc B2 AG|G>ABc d2 cA|G2 GF D2 D^F|G4 G2 dc| B2 Bc B2 AG|G>ABc d2 cA|G2 GF D2 D^F|G4 G2|| GA|B2 c2 d3 B|c2 d=e f2 d>g|g>fdc B2 d2|c3 B G2 dc| B2 Bc B2 AG|GABc d2 cA|G2 GF D2 D^F|G4 G2|| X:64 T:Long John's Wedding March (#64) M:6/8 L:1/8 S:Capt. F. O'Neill R:March K:G dc|B2 G GBG|gfe d2 c|B2 G GAB|c2 B ABc| B2 G GBG|gfe d2 c|B2 G AFA|G3 G2:|| D|G2 A B2 c|dcd d2 B|cBc ABc|d2 c BAG| e2 f gfe|d2 c B2 d|e2 d c2 B|A3 d3| G2 A B2 c|dcd d2 B|c2 B ABc|d2 c BAG| e2 f gfe|d2 g d2 c|B2 G AFA|G3 G2|| % % The foregoing march is an elaboration of a Jig named % "Long John's Wedding", No. 233, O'Neill's Dance % Music of Ireland. X:65 T:Slash Away the Pressing Gang (#65) M:4/4 L:1/8 S:Capt. F. O'Neill K:G d>efd cAAc|BG ~G2 cA A2|1d>efd cAAc|BGAF D3 D:|2defg abag|fde^c d3 d| |:A>BAG AB c2|G>AGF ECEG|1A>BAG ABcd|cAGE D3 D:| 2A>BAG Adde|"tr"fde^c d3 d|| X:66 T:Dalkeith Maiden (#66) M:4/4 L:1/8 S:Aird's Selections 1782-97 K:G DE|G>FGA B2 AG|A>GAB d3 e|d>BA>G A>cBA|{A}G2 E2 E2:|| ef|gfga "tr"g2 eg|agab a2 ge|g3 a bage|g2 d2 d2 ge| d>BA>G A2 g>e|db c/2B/2A/2G/2 E2 g>e| dG A>cBA|{A}G2 E2 E2|| % % There is enough resemblance between the above melody and that % which follows to suggest a common origin. The "Dalkeith Maiden" % was taken from Aird's Selections of Scotch, English, Irish and % Foreign Airs, Vol.III, published in Glasgow, 1786. The earliest %setting of "Biddy I'm Not Jesting" available is that obtained by % Petrie in 1829 from Paddy Coneely, the famousGalway piper, %and which appears in the key of A Flat in the Stanford Petrie % Collection of Irish Music. The source of this memorized version %of earlier years cannot now be recalled by the writer. X:67 T:Biddy I'm Not Jesting (#67) M:4/4 L:1/8 S:Capt. F. O'Neill K:G D2|DEGA B2 AG|AGAB d2 BG|E2 DB, DEGA|B2 A>A A2 D2| DEGA B2 AG|AGAB d2 BG|E2 DB, DEGA|B2 G>G G2:| |:D2|GABd e2 ge|dBGE c2 Bc|dBGE DEGA|B2 A>A A2 D2| DEGA B2 AG|AGAB d2 BG|E2 DB, DEGA|B2 G>G G2:|| X:68 T:Gobby O and Variations, The (#68) M:6/8 L:1/16 S:Rice-Walsh manuscript K:Bb dc|BAGABG AGFGAF|D2G2G2 G2^F2G2|AGABcB A2G2F2|cAdcAG F2G2A2| BAGABG B2A2G2|AFDEFG A2B2c2|dcdefe dcBAGF|D2G2G2 G4|| D2|G4 A2 B4 c2|d3efa g4 a2|bagabg fedefd|cAdcAG F2G2A2| BAGABG B2A2G2|AFDEFG A2B2c2|dcdefe dcBAGF|D2G2G2 G4|| ga|bagabg ag^fgaf|d2g2g2 g2^f2g2|a2abab a2g2f2|c'2a2ag f2g2a2| bagabg ag^fgag|f2d2B2 g2c'2ag|f2d2c2 A2G2F2|A2G2G2 G4|| g2|gbag^fa gbagfa|g2d2B2 g2d2B2|fgagfe f2g2a2|f2c2A2 f2c2A2| g2e2c2 a2f2d2|b2g2b2 d'2a2g2|f2d2c2 A2G2F2|A2G2G2 G4|| Bc|dcBcdB GABcdB|dcBcdB GABcdB|cBABcA FGABcA|cBABcA FGABcA| BAGABG cBABcA|fedefd gfgbag|fedefe dcBAGF|D2G2G2 G4|| GF|D2B2B2 D2G2A2|D2G2F2 G2A2GF|D2B2B2 D2A2A2|F2GFED F2G2A2| D2B2B2 cBABcA|fedefd gfgbag|fedefe dcBAGF|D2G2G2 G4|| Bc|dedcdc B2G2G2|AFDEFG A2B2c2|dcde^fa g2f2g2|agbag^f gfagfe| dcedcd B2G2G2|AFDEFG A2B2c2|dcdefe dcBAGF|D2G2G2 G4|| % % Classed as an Irish tune in "Aird's Selections etc 1782-97" and in % "Brand & Weller's Country Dances for 1798". "The Gobby O" % was a simple jig of two parts. The possibilities of elaboratiion % based on a popular strain are well illustrated by Jeremiah Breen, % a blind fiddler of Ballybunnian, North Kerry, as noted down by % his pupil Thomas Rice X:69 T:Johnny I Hardly Knew Ye (#69) M:6/8 L:1/8 S:Capt. F. O'Neill R:March K:C A/2G/2|E2 A A2 B|c2 B c2 A|G3-G2 E|G3-G2 A|E2 A A2 B|c2 B c2 d| e3-e2 c|e3-e2 c/2d/2|e2 e edc|d2 d dcB|c2 c cBA|B2 B GBd| e2 e d2 d|c2 c BAG|EAA A2 ^G|A3-A2 B|c2 E EGE|G2 E EGE| AGA c2 d|e3-e2 c/2d/2|ege d2 B|cBA B2 ^G|EAA A2 ^G|A3-A2|| % % Classed as a street ballad in "Halliday Sparling's Irish Minstrelsy % London 1887" the editor adds, in a note on page 366, % "Johnny I Hardly Knew Ye ! This favorite old song % is here for the first time given complete. It dates from % the beginning of the present century (19th), when % Irish regiments were so extensively raised for the % East India service." % This spirited air almost forgotten in Ireland blossomed into new % popularity during the American Civil War, and, after its arrangement % by a master hand - Patrick Sarsfield Gilmore - it became a great % favorite with military and volunteer bands. Parodies on the original % song such as "When Johnny comes marching home again", % "Johnny fill up the bowl" etc., were sung to it by the Union soldiers. % After the manner of the "Loobeens" and occupational songs of % olden days in Ireland, additional verses were improvised, some % possibly crude, yet always mirth-provoking, and well-calculated to % keep up their spirits on the march, or relieve the monotony of %camp life. The circumstance of its arrangement as above stated % no doubt led Adair FitzGerald to refer to it in his "Stories of % Famous Songs" in qualified words: % "When Johnny comes marching home again, said to % have been composed by the celebrated Patrick S. % Gilmore. % The latter, a native of Dublin quite probably had memorized the % tune in his youth. The original, it may be observed, included a % refrain of four lines not found in the parodies. X:70 T:Bonnie Blue Flag, The (#70) M:6/8 L:1/8 S:Capt. F. O'Neill R:March K:G D/2G/2|B2 B BAB|c2 c cBc|dcd B2 G|A3-A2 B/2d/2| g2 g f2 g|e2 d B2 G|A2 G G2 F|G3-G2|| (3d/2e/2f/2|g2 g gfe|f2 f fed|ede gfe|d3 def| g2 g f2 g|e2 d B2 G|A2 G G2 F|G3-G2|| % % Not less popular that "Johnny I hardly knew ye" in the % North, was "The Bonnie Blue Flag", the Southern % National Air, which was to the boys in grey what % "Yankee Doodle" was to the boys in blue. In Adair % Fitzgerald's "Famous Songs" we are told the words of % "The Bonnie Blue Flag" were written in 1862 by Mrs. % Annie Chambers Ketchum to an Irish melody adapted % or composed by Henry McCarthy. After a fruitless % search in several old time collections for the now % very rare strain it is presented as noted from the % author's memory. X:71 T:Dandy Pat (#71) M:6/8 L:1/8 S:Capt. F. O'Neill K:D A|d2 d def|B2 B B2 A|c2 c cBA|d2 d d2 A| d2 d def|B2 B B2 g|"tr"f2 e f2 g|a3-a2|| f/2g/2|a2 f a2 f|a3 agf|e2 f gfe|f2 g a2 z| a2 f a2 f|a3 agf|e2 f g2 a|"tr"f2 e d2|| % % This spirited air enjoyed no little popularity % some fifty years ago when a song of that % name to be found in "Hyland's Mammoth % Hibernian Songster" was sung to it. X:72 T:McDermot Roe (#72) M:6/8 L:1/8 S:Carolan - Hibernian Muse 1787 R:Air K:F c|AFF Acc|f2 F fed|e/2f/2gc dcB|Acc f2 g| ab/2a/2g ab/2a/2g|fdd d2 e/2f/2|gcg ga/2g/2f|ec/2d/2e f2 c| AFF cA/2B/2c/2A/2|FA/2B/2c/2A/2 F2 f|ecc dB/2c/2d/2B/2| c/2B/2A/2B/2c/2A/2 G>AG|FAf fFf|gcg afa|agf ece|fFF F3|| GCC GCC|AF/2G/2A/2F/2 BGG|A/2B/2cc d/2e/2ff|e/2f/2gg ece| fc'b a/2b/2c'/2b/2a/2g/2|fcf fcf|bg/2a/2b/2g/2 fd/2e/2f/2d/2| Bc/2d/2g ece|f2 F fed|c2 A BAG|A/2B/2cc fg/2f/2e|f3-f2|| % % Among Carolan's many distinguished friends and patrons, no one % was more generous and loyal than Mrs. McDermot Roe, of % Alderford House, County Roscommon. At the outset of his % professional career in 1693, it was she who equipped him % with a horse and an attendant harper; and it was to her % hospitable home he directed his feeble footsteps in his % declining days. Exceptionally honored in death, Carolan's % remains were interred near the family vault of his % benefactress. X:73 T:Miss Forbes' Return (#73) M:4/4 L:1/8 S:Sergt. James O'Neill manuscript R:March K:G GA|B2 d2 cBAG|B2 d2 efge|d2 de dBGA|B2 A2 A2 GA| B2 Bd cBAG|B2 d2 efge|d2 ge dBAc|B2 G2 G2|| d2|g2 ga gfed|efge agfe|d2 de dBGA|"tr"B2 A2 A2 d2| g2 ga gfed|efge agfe|d2 ge dBAc|B2 G2 G2|| % % "Miss Forbes' Return" as noted by Humphrey Murphy % in Sergt. James O'Neill's manuscripts differs not % materially from "Miss Forbes' Farewell" as printed in % Aird's Selections of Scotch, English, Irish and Foreign % Airs 1782-97. This strain is no less popular in Ireland % than it is with Highland pipers everywhere. It may be % claimed that Murphy's variant is more Irish in % character than the original. X:74 T:Pat on Parade (#74) M:4/4 L:1/8 S:Capt. F. O'Neill R:March K:D (3ABc|d2 dd d2 ef|gece d2 ef|gfgb afdf|edcB ABcA| dfef d2 ef|gece d2 ef|gfgb afef|d2 dd d2|| ef|gfga b2 ag|fefg a2 fe|dcde f2 ed|eaab agfe| d2 dd d2 ef|gece d2 ef|gfgb afef|d2 dd d2|| % % This March or Hornpipe tune noted from memory % may be worthy of preservation, but when or % where it as acquired the writer is unable to state. % Suggestion supplied the name. X:75 T:Moonlight on the Lough (#75) M:4/4 L:1/8 S:Rice-Walsh manuscripts K:G BA|G2 GG GABc|dBge d2 ga|b2 ag edef|gfga g2 d/2c/2B/2A/2| G2 GG GABc|dBge d2 ga|b2 ag edea|g2 gg g2|| ga|b2 bg edef|gfga b2 GA|B2 ge dBAG|A2 AA A2 d/2c/2B/2A/2| G2 GG GABc|dBge d2 ga|b2 ag edea|g2 gg g2|| X:76 T:Rambler from Ross, The (#76) M:6/8 L:1/8 S:Capt. F. O'Neill K:G G|DEG "tr"B2 G|AGA "tr"B2 G|DEG "tr"B2G|"tr"AGE E2 G| DEG "tr"B2 G|AGA "tr"B2 G|DEG GBA|GED D2|| G|"tr"BAB "tr"dBG|"tr"AGE "tr"AGE|"tr"BAB "tr"dBG|"tr"AGE "tr"E2 D| "tr":BAB "tr"dBG|"tr"AGE "tr"GED|DEG GBA|"tr"GED D2|| % % This marching tune above was another of McLean's favorites % which seems to be unknown to the pipers of this generation. % The original name not being ascertained, a suggested title % is here presented. McLean was a native of Ross, Scotland. X:77 T:Johnny's Trip to France (#77) M:4/4 L:1/8 S:Capt. F. O'Neill R:March K:G gf|e2 A2 A2 Bd|edef "tr"gedB|G2 GA BAGA|B2 d2 d2 "tr"gf| e2 A2 A2 Bd|edef "tr"gedB|G2 GA BAGA|"tr"B2 A2 A2:| |:Bd|e2 a2 a2 ga|b2 ab a2 "tr"gf|edef gfga|bc'ba g2 ed| 1e2 a2 a2 ga|b2 ab a2 "tr"gf|edef gag"tr"d|B2 A2 A2:| 2a2 gf g2 fg|edef "tr"gedB|G2 GA BAGA|"tr"B2 A2 A2|| % % The above fine marching tune tho' manifestly in the % Irish style is probably of Scotch origin because it comes % from the subconscious memory of the writer who % associated in Chicago nearly 50 years ago, with such % noted Highland pipers as McLean, Cant, and Monroe. % Of the four distinct tunes, named after Lochiel the % Jacobite hero to be found in old printed collections % I find that one specially arranged for the Highland % bagpipe is a variant of "Johnny's Trip to France"; % dreamily remembered by the editor since early manhood. X:78 T:O'Sullivan's March (#78) M:6/8 L:1/16 S:Rice - Walsh manuscript R:March K:G D2|G2B2A2 B2d2d2|egfedB AcBAGE|G2GBAc B2BAGE|A2G2G2 GEDCA,B,| D2B2A2 B2d2d2|egfedB AcBAGE|GDGBAc B2BAGE|A2G2G2 G4:| |:de|fedefd fedefd|fedefd e2d2c2|BAGABc d2e2f2|gfefge d2B2G2| gbagfe fagfed|egfedB AcBAGE|GDGBAc B2BAGE|A2G2G2 G4:| % % The above is an involved variant of a much simpler jig tune of % identical name printed in "Lynch's Melodies of Ireland 1845"; % and in "O'Neill's Dance Music of Ireland 1907". The strain is % ancient. Following is a quatrain of a folk song sung to it in % the editor's boyhood days: % "There was an old woman tossed up in a blanket % Seventeen times as high as the moon; % What she was doing there I cannot imagine % But in her hand she carried a broom." % All of which is reminiscent of the days of witchcraft. X:79 T:Gladly Would I Go (#79) M:6/8 L:1/8 S:Capt. F. O'Neill R:March K:D A/2G/2|F2 A AFA|BGB AFD|F2 A AFd|EFE E2 G| F2 A AFA|BGB AFD|FA>F GEC|D>ED D2|| A|dBd cAc|BGB AFD|dBd cAc|BGB A2 B/2c/2| dBd cAc|BGd AFD|FA>F GEC|D>ED D2|| % % This fine old march was memorized from the % playing of William McLean a famous Highland % piper much admired in Chicago some fifty years ago. % The tune in almost identical setting was included in % a book of pipe music, published at Glasgow about % 1825 under two names: "The Duke of Athol's % March" and a long Gaelic title expressive of romance % and chivalry. Its spirited swing and characteristic % cadences, no less than its Gaelic title indicate an % Irish origin. X:80 T:No Surrender (#80) M:6/8 L:1/8 S:H. Hudson manuscript 1840-41 R:March K:Bb F|BdB G2 B|FDF F2 G|F2 G B2 c|d2 f edc| B/2c/2dB G2 B|FDF F2 G|F2 e dec|B3 B2|| F|B2 d f2 d|g2 e f2 d|B2 d f2 d|e2 c gec| B2 d f>ed|e>fg f2 e|dBG FBc|dBf edc| dBG G2 B|FDF F2 G|F2 G B2 c|d2 f edc| B/2c/2dB G2 B|FDF F2 G|F2 e dec|B3 B2|| % % The setting of "No Surrender" above submitted, was taken % from a manuscript volume of Irish melodies compiled by % H.Hudson, 24 Stephens Green, Dublin in the years 1840-41. % After the name comes the notation: "From Ordnance Survey % of Londonderry, Vol. 1, page 197." % From the remarks accompanying the famous old march in % Dr. Joyce's "Ancient Irish Music Dublin 1890", we quote: % "It is printed in the Ordnance Memoir of Londonderry % where, however, it is practically inaccessible to the % general public, as that book is very scarce. It has long % been appropriated as the marching tune of the yearly % celebration of the shutting and opening of the gates % of Derry." % It may be of interest to add that the siege of Derry occurred % in 1689. % We may be pardoned for remarking that Dr. Joyce's % arrangement is in the Scale of C altho both settings were % derived from the same scarce publication. % Output from ABC2Win Version 2.1 k pre2 on 9/20/2000 X:81 T:Knight of St. Patrick Lancers (#81-A) M:6/8 L:1/8 S:Sergt. James O'Neill manuscripts K:D (3A/2B/2c/2|d>ed def|a>ba afd|e>fe fdc|B>cB B2 A| d>ed def|a>ba afd|{f}e>de fdA|[D2B2] [Gc] [F2d2] z|| abc' d'2 b|c'2 a baf|abc' d'2 b|c'ba b2 c'/2d'/2| d>ed def|a>ba afd|{f}e>de fdA|[D2B2] [Gc] [F2d2]|| K:G (3d/2e/2f/2|[B3d3g3] [B3g3b3]|{b}a>ga bge|ded g2 e'|d'c'b a2 g| [B3d3g3] [B3g3b3]|{b}a>ga bge|d>ed dd'>c'|bgg g2|| K:D M:2/4 L:1/8 d/2d/2d/2d/2 d2|e/2e/2e/2e/2 e2|dd' c'b|ag fe| d/2d/2d/2d/2 d{^c'}d'|e/2e/2e/2e/2 e{^a}b|d{g}a c{g}a|d z d' A|| 2 f>d|ge dc|df a>b|a2 f>a| ag eg|gf df|ge dc|d3 a| a>g fg|ad' c'b|ag fg|a2 c'd'| d'2 bd'|d' c'2 a|c'b a^g|a2 c'/4b/4a/4=g/4f/4e/4|| f/4e/4|dB BB|FB BB|cA A/2B/2c/2d/2|e2 dc| dB BB|FB BB|cA A/2B/2c/2d/2|e2 dc| db ba|bf fe|fb ba|b3 b/2c'/2| d'b c'^a|bf fe/2d/2|cA A/2B/2c/2d/2|e2 dc|| % % Among the mass of his father's manuscript music which Sergt. James % O'Neill brought from Belfast in his youth, was a copy of "The Knight % of St. Patrick Lancers". Many of the original tunes of which it was % composed having been subjected to alteration in the process of its % arrangement, its publication in that form in the O'Neill Collections % was then not favorably considered. Since the appearance of Dr. % Joyce's "Old Irish Folk Music and Songs" in 1909, the composition % has assumed new interest. In a note to a "Reel", page 63, the % learned author remarks: % "I find a setting different from mine in a single obscure publication % The Knight of St. Patrick Lancers, long since out of print". % Dr. Joyce's unnamed "Reel" it may be added is the well known % "Bonnie Kate". Taking all things into consideration The Knight of % St. Patrick Lancers cannot be out of place in a collection of Waifs % and Strays of Gaelic Melody. %NOTE: Due to the length of this tune, I have separated it into % 5 parts. (PTK) X:82 T:Knight of St. Patrick Lancers (#81-B) M:6/8 L:1/8 S:CONTINUATION OF #81-A K:D f/2g/2|afd B2 d|A2 A A2 B|d2 d {f}e>de|f3 e2 f/2g/2| afd B2 d|A2 A A2 B|d2 f {f}e>de|d3 d z|| A|d2 d f2 a|b2 b a2 g|f2 d dfa|b2 c' d'2 d| d>ed dfa|bc'd' a2 b|g2 a f2 g|e3-e2|| K:G b|bgb b>^c'd'|afa a>^c'd'|g>fg eag|fdd d2 d| ece e>fg|d>Bd def|{a}gfg ad'c'|bgg g2|| B|e3 gfe|fb>b b2 a|gfe {g}fe^d|efg B2 B| e3 gfe|fb>b b2 a|g>fe f>e^d|e3-e z B/2A/2|| G>AG GBd|ceg g2 f/2e/2|d>cB AGA|B3-B2 B/2A/2| G>AG GBd|ceg g2 f/2e/2|dgB AGA|G3-G z|| B|e3 gfe|fbb b2 a|gfe fe^d|efg B2 B| e3 gfe|fbb b2 a|g>fe fe^d|e3-e z| d'/2c'/2|b2 g a2 f|g2 e deg|[d3f3a3] [d3f3a3]|[d3f3a3] [d2d'2] c'| [B2b2] g [A2a2] f|[G2g2] e d2 e|g3 g3|[B3d3g3]-[B2d2g2]|| X:83 T:Knight of St. Patrick Lancers (#81-C) M:6/8 L:1/8 S:CONTINUATION FROM #81-B K:G B|e3 gfe|fb>b b2 a|g>fe fe^d|efg B2 B| e3 gfe|fbb b2 a|gfe fe^d|e3-e z| d'/2c'/2|ged g2 g|g3-g2 b|age a2 a|a3-abc'| d'>c'b d'>c'b|gfe d2 b/2a/2|ged g2 g|g3-g2|| B|e3 gfe|fb>b b2 a|gfe {g}fe^d|efg B2 B| e3 gfe|fbb b2 a|g>fe fe^d|e3-e z|| e|dGG AGG|dGG Gge|d>cB BAG|FAA A2 B/2c/2| dGG AGG|dGG e2 d/2c/2|B>cd def|gGG G2|| K:D M:2/4 L:1/16 dB|AFdB ABAF|DFAF E2 EB|AFAd BGBd|cABc dcdB| AFdB ABAF|DFAF E2EB|AFAd BGBd|cABc defg|| a2fd fafd|fafd e2ef|gfef gbag|fedc defg| a2fd fafd|fafd e2ef|gfef gbag|fedc d2|| K:G M:6/8 L:1/8 (3d/2e/2f/2|g>ag gdB|d>ed def|g>ag gdB|A>aa a2 b| g>ag gdB|d>ed d'2 c'|b>ab ged|egg g2|| (3b/2a/2g/2|gbd' d'bg|faa a2 (3a/2g/2f/2|gbd' d'bg|b2 a a2 (3a/2g/2f/2| gbd' d'bg|faa a2 c'|bab ged|egg g2|| X:84 T:Knight of St. Patrick Lancers (#81-D) M:6/8 L:1/8 S:CONTINUATION FROM #81-C K:G (3d/2e/2f/2|gdB gdB|d>ed d2 (3d/2e/2f/2|gdB gfg|faa a2 (3d/2e/2f/2| gdB gdB|ded d'2 c'|bab ged|egg g2|| K:D f/2e/2|d2 B B>cB|A2 A A2 A|B2 B B>cB|g3 f2 e| d2 B B>cB|A2 A A2 c|B>cd ecA|d3-d z|| A|d2 e f2 g|aba a2 f|d2 e f2 g|a3 f2 a| bab a2 f|g>ag f2 e|d2 B BcB|g3 f2 e|| a|d'd'a b2 a|d'2 a b2 a|f2 d g2 e|f2 d g2 e| f>ga B>cd|e>fd c>BA|B>cd ecA|d3-d z|| a/2g/2|f2 f fga|b g2 z gf|e2 e efg|a f2 z2 a| g2 d B2 g|e2 cA2 a|f2 d {e}dcd|f2 e z2|| A|f>ff f2 d|g>gg gfg|a>ba agf|e3 d zz| f>ff f2 d|g>gg gfg|a>ba agf|e3 d2 X:85 T:Knight of St. Patrick Lancers (#81-E) M:2/4 L:1/16 S:CONTINUATION FROM #81-D K:A edcB|A2(3cBA eA(3cBA|eAaA gAfA|eA(3cBA eAfA|BEcE dEBE| A2(3cBA eA(3cBA|eAaA gAfA|efec eaec|BABc A2 z2| E2(3GFE BE(3GFE|BEdE cEBE|A2(3cBA eA(3cBA|eAaA gAfA| efec agaf|efec agaf|ecag fedc|BAGF EFGE|| X:86 T:Winter Garden Quadrille (#82) M:6/8 L:1/8 S:Sergt. James O'Neill manuscripts K:D "NO. I" fdB AFA|BGB AFA|fdB AFA|B2 c d2 e| fdB AFA|BGB AFA|fdB AFA|B2 c d2 e|| f2 a e2 f|dcd A2 g|f2 a e2 f|gfg a3| bbb aaa|gfg ede|fdB AFA|B2 c d2 e|| K:G "NO. II" FAA Afe|dBB BAG|FAA d2 e|fdd dAG| FAA Afe|dBB BAG|FAA d2 e|fdd d2|| e|fef afe|dBc d2 e|fgf ede|fdA Bde| fef afe|dBc d2 e|fgf ede|fdA BAG|| "NO. III" E2 B BAG|F2 d AFD|E2 B BGB|AGF e2 f| gfe dcB|AFd AFD|E2 B BGB|AGF E3|| eBe gab|aga faf|eBe gbg|afd e2 f| gfe dcB|AFd AFD|E2 B BGB|AGF E3|| "NO. IV" GBB dBB|gBB dBB|cAA fef|gfa gdB| GBB dBB|gBB dBB|cAA fef|g3 g3|| afd dcd|edc BAB|dBG GFG|AcB A2 c| Bdg gdB|dfa afd|def def|g3 g3|| X:87 T:Holiday Fancy (#83) M:2/4 L:1/8 S:Sergt. James O'Neill manuscripts K:G D|GG BB|dc/2B/2 A/2c/2B/2A/2|GG BB|AF/2E/2 D/2E/2F/2D/2| GG BB|dc/2B/2 A/2c/2B/2A/2|GG AF|G2 G|| d|gg gd/2B/2|dc/2B/2 A/2c/2B/2A/2|GG BB|AF/2D/2 Dd| gg gd/2B/2|dc/2B/2 A/2c/2B/2A/2|Bd de|dc BA|| GG BB|dc/2B/2 A/2c/2B/2A/2|GG BB|GF/2E/2 D/2E/2F/2D/2| GG BB|dc/2B/2 A/2c/2B/2A/2|GG AF|G2 G|| d|cA AB/2c/2|dd de/2f/2|gf ag|fd d/2f/2e/2d/2| cA AB/2c/2|dd de/2f/2|ge d^c|d=c BA|| % % This spirited tune was found among the O'Neill manuscript % but without a title. With a view to its identification in the % Index we have named it. X:88 T:Job of Journey Work (#84) M:2/4 L:1/8 S:Aird's Selections 1782-97 K:G g2|dB GB|"tr"d2 dg|dB c/2B/2A/2G/2|A2 GA| B/2A/2G/2A/2 B/2A/2G/2F/2|E>F GA|de e^d|g2:| |:d2|gg a/2g/2f/2e/2|dd dB|gg a/2g/2f/2g/2|"tr"e2 dB| gg a/2g/2f/2e/2|dd dg|dB c/2B/2A/2G/2|"tr"A2 GA| B/2A/2G/2A/2 B/2A/2G/2F/2|E>F GA|Be e^d|e2:|| % % This is a variant of the Long Dance of the same name % in O'Neill's Dance Music of Ireland. It differs however % in having two bars less in the second part. X:89 T:Humors of Listivain (#85) M:6/8 L:1/8 S:Aird's Selections 1782-97 K:C EAA AGA|BAB GAB|eAA AGA|BAB g3|egg dee| Bdd GAB|eAA AGA|BAB g3|egg dff|BEG A3:| |:eaa aga|bab g3|aga e3|gfg d3|ee/2f/2e/2d/2 BB/2c/2B/2G/2| AA/2B/2A/2G/2 E3|EAA AGA|BAB g3|egg dff|BEG A3:|| % % The above setting of which there are several variants, is no % doubt the original. In O'Farrell's National Irish Music for the % Union Pipes, 1797-1800, a tune named "Jerry's Rambles" % closely follows it. More distinct variants are "The Jolly Old % Woman" and "The Humors of Bandon", the latter as % printed in O'Neill's Dance Music of Ireland being the % arrangement favored by modern dancers. X:90 T:Morgiana in Ireland (#86) M:6/8 L:1/8 S:O'Farrell's Pocket Companion 1804-10 K:G D2 D G2 G|AGA B3|D2 D G2 A|B2 c BGE| D2 D G2 G|AGA Bcd|edc BcA|G2 G BGE:| d2 d dcB|e2 f g3|d2 d dcB|e2 f gdB| ded dcB|efe efg|dec BcA|G2 A BGE:| |:GFG B2 d|AGA c2 e|GFG G2 A|B2 c BGE| GFG B2 d|c2 e B2 d|f2 g B2 d|G2 A BGE:|| X:91 T:Suisin Ban (#87) T:White Blanket M:4/4 L:1/8 S:O'Farrell's Pocket Companion 1804-10 K:G G>A|B2 E2 E2 D>E|G2 AB c3 A|B2 AG E2 D>E|A2 A2 A2 GA| B3 A GEDE|G2 G2 G2:||:B2|cBcd efgf|edcB c3 A|B2 AG E2 D>E| A2 A2 A2 G>A|B3 A GED>E|G2 G2 G2:|| X:92 T:Cruiskin (#88), The M:4/4 L:1/8 S:Sergt. James O'Neill manuscripts K:G Bc|d2 de dBAB|d2 de d2 BA|Beee efge|defa g2 g2|abag fagf| egfe d2 BA|Beee egfe|defa g2 eg|edcB AcBA|G2 GG G2|| X:93 T:Walsh's Frolics (#89) M:6/8 L:1/8 S:Francis E. Walsh, San Francisco K:G d/2c/2|B2 G BdB|"tr"B2 G Bdg|e2 A Aag|f2 d def| g2 d gfe|d2 c Bcd|edB d2 A|GBA G2 d| b2 g {b}agf|"tr"g2 f efg|e2 d efg|"tr"d2 c Bcd| e2 A Adc|B2 G BdB|"tr"B2 G Bdg|ed^c d2 B|GBA G2|| X:94 T:Flag Dance (#90), The M:6/8 L:1/8 S:Aird's Selections 1782-97 K:D a|f2 d ded|f2 d ded|e2 f g2 f|e2 d cBA| d2 e f2 g|a2 a agf|e2 f g2 f|e2 f g2 a| f2 d ded|f2 d ded|e2 f g2 f|efd cBA| d2 e f2 g|a2 a abc'|d'2 a abg|f2 d d2|| X:95 T:Rope Dance (#91), The M:6/8 L:1/8 S:Aird's Selections 1782-97 K:G B/2c/2|def gfg|d2 B Bcd|edc BAG|F2 D DBc| def gfg|d2 B Bcd|edc BcA|G3 G2:| |:B|c2 A ABA|B2 G GAG|c2 A ABA|B2 G GBd| def gfg|d2 B Bcd|edc BcA|G3 G2:|| X:96 T:Fingalians' Dance (#92), The M:4/4 L:1/8 S:The Hibernian Muse 1787 K:G B2 G2 G2 Bc|d2 G2 d2 G2|B2 G2 G2 Bc|d4 {c}B4| c2 A2 A2 cd|e2 A2 e2 A2|c2 A2 A2 cd|e4 {d}c4|| G2 g2 g2 fg|agfe dcBA|A2 a2 "tr"a2 ga|bagf dcBA| G2 g2 "tr"g2 fg|f2 ga D2 g2|f2 ga D2 g2|f4 {e}d4|| % % An identical setting with variations was printed in % Burk Thumoth's Twelve English and Twelve % Irish Airs, London 1743. X:97 T:Hibernian Dance (#93) M:6/8 L:1/8 S:Clinton's Irish Melodies 1840 K:G d|g2 d B2 G|A>GA fef|g2 d ded|c2 A A2 d| g2 d B2 G|A>GA f2 e/2f/2|g2 d dec|BGG G2:| |:d|gfg efg|abg fed|gfg aga|bgg gab| c'bc' efg|abg fed|g2 d dec|BGG G2:|| X:98 T:Wild Irishman (#94), The M:6/8 L:1/8 S:The Hibernian Muse 1787 K:D A|d2 e f2 d|g2 e f2 d|d2 e fed|c2 d e3| d2 e f2 d|g2 e f2 d|fga gec|d3 d2:| |:g|fed c2 A|ABA c2 A|fed c2 A|c3 e3| fed c2 A|ABA c2 A|fga gec|d3 d2:|| X:99 T:Tom Jones (#95) M:6/8 L:1/8 S:Aird's Selections 1782-97 K:D [A3c3a3] [A3c3g3]|fdf ecA|d2 f ecA|d2f ecA| dcd ede|fef gfg|a2 d c2 B|A3 A3| D2 F E2 G|F2 A G2 F|GAB ABc|B3 A3| GFG AGA|BAB cBc|d2 G F2 E|D3 D3|| X:100 T:Merrily Dance the Quaker (#96) M:6/8 L:1/8 S:Bremner's Coll. of Scots Reels or Country Dances 1760 K:G GAB D2 B|A2 G "tr"E2 D|GAB D2 D|E3 F3:|| dcB edc|dcB ABc|dcB efg|"tr"B3 d3| dcB gfe|dcB A2 A|GAB D2 D|E3 G3|| % % For over a century the name "Merrily Kissed the Quaker" has been % associated with a tune or Special Dance in Ireland, but no song or % verse relating thereto has been traced. In "O'Farrell's Pocket % Companion for the Irish or Union Pipes 1804-10", we find the tune % with name annotated "New Sett Irish". Continuing the investigation % we discover that "Merrily Dance the Quaker" (probably the original % tune) was printed in No. 7 of "Bremer's Collections of Scots Reels, % or Country Dances" issued in 1760. The traditional version in North % Kerry taken from the Rice-Wlash manuscript serves to illustrate how % far a tune may deviate from the original in a few generations. X:101 T:Merrily Kiss the Quaker (#97) M:6/8 L:1/8 S:O'Farrell's Pocket Companion 1804-10 K:D g|fef A2 A|BAB G2 g|fef A2 A|B3 g3| fef A2 A|BAB G2 g|faf gec|d3 d2:| |: g|faf afd|ege gec|f/2g/2af afd|f3 a3| faf afd|ege gec|f2 d gec|d3 d2:|| X:102 T:Merrily Kiss the Quaker (#98) M:6/8 L:1/8 S:Rice-Walsh manuscript K:G D|GAB DED|cBA BGE|GAB DED|ABA BGE| GAB DED|cBA BGE|GAB DED G3 G2|| A|BBB BAG|ABA GBd|efe edB|egf/2a/2 gfe| def gfe|dBG AGE|GAB DED|G3 G2|| X:103 T:Rosin the Bow (#99) M:6/8 L:1/8 S:Sergt. James O'Neill manuscripts K:G D|GAG BAG|Bcd efg|dBG GAB|"tr" E3-E2 D| GAG BAG|Bcd efg|dBG AGA|G3 G2:| |:B/2c/2|dBd dBd|g2 e g2 e|dBG GAB|E3-E2 D| GAG BAG|Bcd efg|1dBG AGA|G3 G2:|2baf agf|g3 g2|| % % The name "Rosin the Bow" has clung to the writer's memory since % childhood, and the tune, like the song about "Old Rosin the Bow" % (a nickname for the fiddler) may have passed into oblivion, had % not the melody been fortuitously found recently in a faded % miscellaneous manuscript collection long discarded by Sergt. James % O'Neill. A version of it I find is printed in Joyce's "Old Irish Folk % Music and Songs - 1909". X:104 T:Tulloch Gorm (#100) M:4/4 L:1/8 S:Officer William Walsh R:Strathspey K:C a|cA dG B2|cA cAea|cA d>G B2|cA c2 BA dG B2|cA cAea|cAeA dG B2|cA c2 Bc|| AG B2|Aa caea|ca (3efg d>G B2|Aa c2 Bc| Af g>ea>e|g>ag>e d>GB>g|a>eg>e a3|| % % Sometimes written "Tulloch Gorum" or Tullagorum", this famous % strathspey first published in Robert Bremner's Collections of Scots % Reels, or Country Dances, Edinburgh 1757" was composed by % William Marshall, butler and house stewart in the service of the Duke % of Gordon for thirty years. His tunes were plagiarized ruthlessly by % comtemporaries. In the words of Robert Burns, Marshall was: % "the first composer of strathspeys in the age". % The grace notes peculiar to pipe music are omitted in the setting. % A clergyman at Linshart, Rev. John Skinner composed songs to % "Tulloch Gorum" and several others of Marshall's tunes. X:105 T:Reel of Tulloch (#101), The M:4/4 L:1/8 S:Neil Gow & Sons Complete Repository c.1805 K:D f|"tr"e2 Ac/2d/2 ecAa|"tr"e2 AB/2c/2 dBGB|{B}e2 Ac/2d/2 eAce| dE cd/2e/2 dBGB:||:"tr"cA cd/2e/2 "tr"c>AAB|cA cd/2e/2 dBGB| cA d/2e/2f cAcA|BE c/2d/2e dBGB|"tr"cA c/2d/2e "tr"cAAB| cA c/2d/2e dBGB|cA c/2d/2e cA c/2d/2e|BE c/2d/2e dBGB|| % % Noted for its dashing rhythm rather than for its melodic merits, % "The Reel of Tulloch" first appeared in print in the 10th number % of "Robert Bremner's Scots Reels, or Country Dances" issued in % 1761. It originated in the parish of Tulloch, Aberdeenshire, Scotland. % The traditional stories relating to its composition are too long and % unreliable for narration here. A wild orgie of dancing under % improbable circumstances in one case, and a desparate encounter % with swords in another, are given as the inspiration of what has been % termed "the maddest of all Highland reels". Altho Officer William % Walsh obligingly favored me with a bagpipe setting of the tune, % preference has been given to that played by the famous violinist Neil % Gow, which leaves nothing to be desired. X:106 T:Gillie Callum - Sword Dance (#102) T:Keellum Kallum M:4/4 L:1/8 S:Officer William Walsh, Chicago K:C A2 cA d2 BG|A2 cA d2 cA|B2 ge d2 BG|A2 cA dB e2:|| A2 cA g2 BG|A2 cA a2 cA|a2 cA g2 BG|A2 cA dB e2| A2 cA a2 BG|A2 ce aeae|g>a (3gfe dF "tr"E2 A,>F|F2 "tr" ED G/2F/2E/2D/2 CE| D/2D/2D D>F E2 A,E|"tr"F2 ED C>A,A,:| |:G|A>cAG G>AGF|F>GFD G/2F/2E/2D/2 CG| A>cAF G>AGE|FD G/2F/2E/2D/2 CA,A,:| |:A|d/2d/2d d>f "tr"e2 c>e|f2 "tr"ed g/2f/2e/2d/2 ce| d/2d/2d d>f e2 Ae|fd g/2f/2e/2d/2 c>AA:| |:g|aa _b/2a/2g/2f/2 gg a/2g/2f/2e/2|ff g/2f/2e/2d/2 eccg| aa _b/2a/2g/2f/2 gg a/2g/2f/2e/2|fe g/2f/2e/2d/2 cAA:|| % % With this tune is associated a special Highland dance, commonly % referred to as "Sean Truis", but occasionally as "Willichan". % The full name as above given is the same in Glenn's Analytical % Table , and in "Bremner's Collections of Scots Reels, or Country % Dances 1757-61". After Robert Bremner's death in 1789 his % collections were reprinted by Preston, a great London publisher. X:108 T:Whistle o'er the Leave o't (#104) M:4/4 L:1/8 S:The Caledonian Muse 1785 K:G G>DE>G B>A B2|d>eB>g "tr"A>G E2|G>DE>G B>ABg|GG A2 G2:| |:de/2f/2 g>d e>d "tr"B2|d>eB>g A>G E2|g>be>g d>eB>g|GG A2 G2:| |:G>BA>c B>GA>c|B>GA>E G>B A2|G>BA>c B>dG>B|GG "tr"A2 G2:| G/2A/2B/2c/2 dg"tr"ed B2|c>AB>G c>G "tr"E2| BA/2B/2 cB/2c/2 de/2f/2 gf/2e/2|dGBG A2 G2:|| % % Identical with the above setting of "Whistle o'er the Leave o't" is % that printed in "Bremner's Collections of Scots Reels, or Country % Dances 1757-61". Its claim to consideration in this work is based on % the statement of Joseph Cant of Chicago, a first prize winner at % several piping competitions; that it was the favorite tune for the % Sean Truis or "Old Man's Dance" in his native Perthshire. The % rhythm of it was deemed more suitable to the requirements of % dancers burdened with years than the preceding tune (#103). % On such excellent authority it has been included in this % classification. X:109 T:Ligrum Cus (#105) M:6/8 L:1/8 S:Aird's Selections 1782-97 K:D ABA A2 G|F2 E D3|ABA AFA|B3 d3| dcB ABG|FGE D3|def ecA|B3 d3|| d2 e fgf|e2 d c2 A|d2 e fgf|e3 A3| d2 e fgf|e2 d cBc|dcB AFA|B3 d3|| % % The expression "Ligrum Cus", evidently corrupt Gaelic, may be % translated "Let go my foot". It may also relate to the rent % question. We can hardly blame the Scotch, while Irish titles % in Moore's Melodies present similar difficulties. X:110 T:Petticoat (#106), The M:6/8 L:1/8 S:Aird's Selections 1782-97 K:D D/2E/2|F2 F FED|A2 A ABc|d2 B AFD|E3 E2 D| F2 F FED|A2 A A2 d|Bgf edc|d3 d2:|| e|fed cde|fdB "tr"^A2 F|dcB cf^A|"tr"B3 dcB| A2 A A2 f|ede d2 B|AFD G2 F|{F}"tr"E3 GFE| D2 E F2 G|BGd dcB|AFD GEA|D3-D2|| X:111 T:Paddy Stack's Fling (#107) M:4/4 L:1/8 Q:180 S:Patrick Stack, Chicago R:Fling K:G c>B|A>A,A,>B, C>DE>F|G2 (3AGF G2 c>B|A>A,A,>B, C>DE>G|c2 (3edc A2 c>B| A>A,A,>B, C>DE>F|G2 (3AGF G2 c>d|e>cd>B c>AB>G|g>e (3dcB A2|| A,2|e>aa>f g>ba>g|e>aa>f g>ed>f|e>aa>f g>ba>B|c2 (3cBA B2 A,2| e>aa>f g>ba>f|e>aa>f g2 g>a|(3bag (3agf (3gfe (3def|(3gfe (3dcB A2|| X:112 T:Bonny Woods and Braes (#108) M:4/4 L:1/8 S:Capt. F. O'Neill K:G d2|G2 GA Bd d2|cABG AG (3FED|G2 GA Bd d2|(3efg fa g2 b2| G2 GA Bd d2|cABG AG (3FED|G2 GA Bd d2|(3efg fa g2|| d2|gaba gfed|efge dcBA|gaba gfed|(3efg fa g3 d| gaba gfed|efge dcBA|(3GGG GA Bd d2|(3efg fa g2|| % % Known only as "The HIghland Fling" this cheerful tune has served % for that purpose as long as the editor can remember. For its name % as above printed, we are indebted to Officer William Walsh % whose memory in such matters is phenomenal. X:113 T:Lark in the Morning (#109) M:6/8 L:1/8 S:James Carbray, Quebec Canada K:G B,|[B,2E2] c BGE|D2 d AFD|[B,2E2] c BAF|GFE e2 e/2f/2| gfe dcB|A/2B/2AG FED|EFG ABc|BGF E2:| |:B|eBe gED D2 d|BAG FGE|AdB AFA|EFE E2 A| DED D2 d|BAG FGE|AdB AFA|DED D2:| |:d/4e/4f/4g/4|a3 b3|a>ba afd|gag faf|ede fdB| a3 f3|{f}ede fdB|AFA dAF|D>ED D2:|| X:117 T:Boy From Home (#113), A M:6/8 L:1/8 S:Patrick Stack, Chicago K:G D|GBA G2 B|def gdB|GBA G2 B|AFD DEF| GBA G2 B|def gfg|ecA GAG|FEF G2:| |:B|d3 dcd|e2 f gfe|ded/2c/2 Bcd|ecA GFE| d3 dcd|e2 f gfg|ecA GAG|FEF G2:|| X:118 T:Girl That Wears Green (#114), The M:6/8 L:1/8 S:Sergt. James O'Neill manuscripts K:G G|G>Bd e>dB|gBB dBG|A>Bd e>dB|BAA A2 D| G>Bd e>dB|gBB dBG|A>Bd edB|AGG G2:| |:g|geg aga|geg aga|gag/2f/2 gee|d>ef BAG| GBd edB|gBB dBG|ABd edB|AGG G2:|| X:119 T:Bantry Bay Boys (#115) M:6/8 L:1/8 S:Riley's Country Dances for 1798 K:C c/2d/2|ecA AcA|ecA A2 f|dBG GBG|dBG Bcd| ecA AcA|ecA c2 d|e2 a g2 e|dBG A2:| |:B|c>dc cBA|GEG GAB|c>dc cBA|e3 B2 B| c>dc cBA|GEG GAB|e2 a g2 e|dBG A2:|| X:120 T:Trip to Killarney (#116), A M:6/8 L:1/8 S:O'Farrell's Pocket Companion 1804-10 K:D A|:d2 f agf|agf a2 f|d2 f agf|e2 f gfe| d2 f agf|agf a2 f|gbg faf|e2 f g2 e:| |:fed dAF|DFA dAd|fed dAd|e2 f g2 e| fed dAF|DED dAF|G2 d AGF|E2 F G2 E:| |:D2 d AGF|ABA AGF|D2 d AGF|E2 F G2 E| D2 d AGF|AGF A2 F|G2 d AGF|E2 F G2 E:| |:d3 cBc|dAF FED|d3 cBc|e2 f g2 e| dfd cec|dAF FED|G2 d AGF|E2 F G2 E:|| X:121 T:Melvin Head (#117) M:6/8 L:1/8 S:Sergt. James O'Neill manuscripts K:G D/2E/2|:G3 AGE|A2 A AGE|G3 AGE|GAB AGE| G3 AGE|ABA ABc|BAG AGE|GAB GED:| |:BGG AGG|BGG AGE|BGG AGF|G3 GED| BGG cAA|dBB cAA|BGG AGE|G3 GED:| |:egf/2g/2 dBG|ABA A2 d|egf/2g/2 dBG|Dgf g2 a| bag agf|gfe dBG|BAG AGE|G3 GED:| |:G2 c BGd|BGd AGE|G2 c BGd|AFd AFD| G2 c BGd|BGd ABc|GFG AGE|G3 GED:| |:DFD DED|A3 AGE|DFD DED|G3 GED| DFD DED|ABA ABc|BAG AGE|G3 GED:|| X:122 T:Jerry O'Reilly's Jig (#118) M:6/8 L:1/8 S:Jeremiah O'Reilly, San Francisco, Cal K:G B/2c/2|dgg bag|a/2a/2ba g/2f/2dc|{cB}AGG dGG|FDd "tr"cAG| B/2d/2gg bag|a/2a/2ba g/2f/2dc|{cB}AGG FdF|"tr"AGG G2:| |:B/2c/2|ded cAA|dg/2f/2e/2d/2 cAG|G/2F/2DB cAG|(3F/2G/2F/2Dd cAG| (3d/2d/2d/2cA "tr"fef|"tr"gfe cAG|DGG B>cA|BGG G2:|| X:123 T:Paddy The Weaver (#119) M:6/8 L:1/8 S:Wilson's Companion to the Ballroom, 1816 K:D d|c2 A ABA|c2 A A2 d|c2 A AGA|F2 D D2 d| c2 A ABA|c2 A A2 e|f2 d gec|d3 D2:| |:e|fgf gab|agf efg|f2 d ded|c2 A A2e| fgf gab|agf efg|f2 d gec|d3 d2:|| X:124 T:Original One-Horned Sheep (#120), The M:6/8 L:1/8 S:Capt. F. O'Neill K:G GA|BGG AGG|BGB "tr"c2 A|BGG AGG|BGB "tr"A2 G| BGG AGG|BGB c2 e|GBd efg|dBG "tr"A2 G:| |:Bdd dBG|Bdd "tr"d2G|Bdd dBA|GED G2 A| Bdd dBG|Bdd "tr"e2 d|BcB ABA|GED G2 A:| % % An Irish song extolling the many good qualities of % "An sean caora adarcach" in supplying drink, food, % and clothing , to her owner, wa sung to this air. % No. 238 in O'Neill's Dance Music of Ireland is a % sprightly variant. X:125 T:Oxford Castle (#121) M:6/8 L:1/8 S:Aird's Selections 1782-97 K:G g|GBd dBd|geg dBd|ece dBG|FAA A2 A| GBd dBd|gag gdB|1dgb c'af|dgg g2:|2dgb afd|dgg g2| c'|bgb afd|g/2a/2bg dBG|ece dBg|FAA A2 c'| bgb afd|ege dBG|1B/2c/2dA AFD|DGG G2:|2B/2c/2dg edc|BGG G2|| X:126 T:Give Me A Lass With A Lump of Land (#122) M:6/8 L:1/8 S:Aird's Selections 1782-97 K:G A>Bd "tr"e2 A|"tr"f2 A "tr"e2 A|A>Bd e2 A|gfe dBG| A>Bd "tr"e2 A|"tr"f2 A e2 f|g>ag g>fe|dB>g d>BG:| |:g>ag "tr"f2 e|f2 g "tr"a3|gag gfe|d2 g dBG| gag gfe|"tr"f2 g "tr"aga|b>ag g>fe|dg>e d>BG:|| X:127 T:Jackson's Silver Mines (#123) M:6/8 L:1/8 S:O'Farrell's National Irish Music 1797 K:D F/2G/2|A3 AGF|ABA AGF|G2 E EFE|G2 E EFG| A2 A AGF|ABc dAG|F2 D DED|F2 D D2:| |:d|cBc dAF|ABc dAF|G2 E EFE|GFG E2 d| cBc dAF|ABc dAG|F2 D DED|F2 D D2:| |:F|AF/2G/2A/2F/2 DFF|DFF AGF|G2 E EFE|G2 E E2 F| AF/2G/2A/2F/2 DFF|DFF AGE|F2 D DED|F2 D D2:| |:g|fed faf|gbg faf|g2 e ece|gfg e2 g| fed faf|gbg aga|fed dAd|f2 d d2:| |:g|faf gec|fdB AGF|G2 E EGE|G2 E E2 g| fdB ecA|dBG AGE|F2 D DED|F2 D D2:|| X:128 T:Waves of Tramore (#124) M:6/8 L:1/8 S:Wm. J. McCormick, Chicago K:G d/2c/2|BGB BGB|AFA ABc|ded cAF|GBd g2 d/2c/2| BGB BGB|AFA ABc|d/2e/2fd cAF|AGF G2:| |:B/2c/2|def gag|fed cBc|def gag|fef g2 B/2c/2| 1def gag|fed cAG|B/2c/2dB cAF|AGF G2:| 2dgb afd|e/2f/2ge dBG|B/2c/2dB cAF|AGF G2|| % % "The Waves of Tramore", obtained from our versatile friend % Mr. McCormick, who swings a bow, or fingers a chanter with % equal facility, is a much better jig than "Larry Grogan" of % which it is a variant. The latter was composed early in the % 18th century by Lawrence Grogan of Johnstown Castle, % Kilkenny, a "gentleman piper", celebrated in song and story. % "Larry Grogan" was printed in Aird's Selections of Scotch, % English, Irish and Foreign Airs; Glasgow, 1782, and in % The Hibernian Muse, London 1787. An unmusical % second part detracted from its popularity, altho few Irish % dance tunes have been favored with such liberal publicity. X:129 T:Lilt From Home (#125), A M:6/8 L:1/8 S:Capt. F. O'Neill K:G A/2G/2|EAA AGA|BAB G2 A|Bee dBA|"tr"BAB GED| EAA AGA|BAB G2 A|Bee dBG|BAA A2:| |:d|gfg edB|BAA A2 B|GBG dBA|BAB G2 d| gfg edB|BAB G2 A|Bee dBG|BAA A2:|| X:130 T:Put in Enough (#126) M:6/8 L:1/8 C:Jackson S:Aird's Selections 1782-97 K:D A/2G/2|F>GF "tr"FED|B>cB Bcd|F>GF "tr"FED|A2 A A2 d| FGF "tr"FED|B2 B Bcd|cBA dAF|ABA A2:| |:d|"tr"cBA cec|dBB "tr"B2 d|"tr"cBA cec|ABA A2 d| "tr"cBA cec|dBB B2 d|"tr"cBA dAF|ABA A2:| |:G|"tr"F2 d "tr"F2 d|B2 B Bcd|"tr"F2 d "tr"F2 d|A2 A A2 G| "tr"F2 d "tr"F2 d|B2 B Bcd|"tr"cBA dAF|ABA A2:|| % % This is one of the famous "Piper" Jackson's jigs, not included in % any modern collection since its publication in a much higher % key in Clinton's Gems of Ireland, London 1841. X:131 T:Dromey's Fancy (#127) M:6/8 L:1/8 S:Patrick Stack, Chicago K:G E/2F/2|GEE BEE|GEE BAG|FDD ADD|dcB AGF| GEE BEE|GEE B2 c|ded BAF|GEE E2:| |:A|Bef gfe|fed BAG|FDD ADD|"tr"A2 G FED| 1Bef gfe|fed BAG|GEE BAF|GEE E2:| 2EDE G2 A|BAB def|edB BAF|GEE E2:|| % % This catchy strain which is a superior variant of "The Dancing Master" % in O'Neill's Dance Music of Ireland was introduced to Chicagoans by % John Dromey an excellent fluter, and amateur piper, whose name it % bears. Mr. Dromey who is yet hale and hearty, was in his prime, a % generation ago, the star of every Irish gathering, for as a % traditional singer of Irish songs, he was unrivalled. X:132 T:Digging for Gold (#128) M:6/8 L:1/8 S:Sergt. James O'Neill manuscripts K:G eAB c2 e|dcB c2 d|eAB c2 e|dcd eag| eAB c2 e|d2 c Bcd|eAA gfe|dcB A2 z:| |:eaa efg|dec Bcd|eAB c2 e|dcd efg| eaa bag|edc Bcd|eAA gfe|dcB A2 z:|| X:133 T:Petticoat Loose (#129) M:6/8 L:1/8 S:Sergt. James O'Neill manuscripts K:G dc|:B2 G AFD|B2 G AFD|DGG AGF|DGG Adc| B2 G AFD|B/2A/2GB AFD|F2 F FAG|FDE FGA:| |BdB cAc|BdB AFD|g2 g gdg|gag fdc| BdB cAc|BGB AFD|f2 f fde|f/2g/2ag fdc| B/2c/2dB cBA|BGB AFD|g2 g gdg|gag fdc| B/2c/2dB cBA|BAG AFD|f2 f fde|f/2g/2ag fdc|| % % "Petticoat Loose" is an old name for a dance tune. A jig under % that name in O'Neill's Dance Music of Ireland bears no % resemblance to the above. X:134 T:Jackson's Frolic (#130) M:6/8 L:1/8 S:Aird's Selections 1782-97 K:D B|A2 D FED|F/2G/2AD FED|GBG FAF|EFE E2 B| A2 D FED|F/2G/2AD FED|B2 G A2 F|DED D2:| |:d|f2 d edB|d2 c BAF|EFE EFA|e3 efa| fed edB|d2 B BAF|AFF d2 D|DED D2:|| % % An anonymous variant of "Jackson's Frolic" was memorized from % " the fluting of James Moore in Chicago some fifty years ago. % Another version of the tune heard later differed so materially in % the second part, that it was added as a third part to Moore's % variant, and printed as "Kitty of Oulart" in former O'Neill % collections. X:135 T:Kennedy's Bridal Jig (#131) M:6/8 L:1/8 S:Officer James Kennedy, Chicago K:G D|G3 BGB|def gfe|dBG GFG|AFD DFA| G3 BGB|def gfe|dBG FGA|BGG G2:| |A|Bee edB|def g2 a|bag agf|gfg edB| Bee edB|def g2 a|bag agf|gfg e3| Bee edB|def g2 a|bag agf|gfg edB| G3 BGB|def gfe|dBGF GA|BGG G2|| X:136 T:Jackson's Welcome Home (#132) M:6/8 L:1/8 S:Sergt. James O'Neill manuscripts K:G d|gfg efg|dec BAG|gfg efg|dBG A3| gfg efg|dec BAG|AFA BGB|cAF G2:| |:A|DED cAA|Bdg dBG|DED cAA|dBG A3| DED cAA|Bcd efg|dec BcA|BGG G2:|| X:137 T:Jackson's Bottle of Claret (#133) M:6/8 L:1/8 S:Paul Alday's Pocket Volume etc., c.1800 K:G D|G2 G A>GA|B2 g gdB|c2 A BGE|G>AG GED| G2 G A>GA|B2 g gdB|c2 A BGE|G>AG G2:| |:d|gfg efg|fdB B3|gfg efg|afd d2 f| gfe agf|gfe edc|cBA BGE|G>AG G2:|| X:138 T:Innis's Jig (#134) M:6/8 L:1/8 S:Aird's Selections 1782-97 K:G D|GAG BAG|dBG e2 g|edc BAG|EAA A2 B| GAG BAG|dBd e2 G|gfe dec|BGG G2:| |:d|gdB GAG|DED GAG|edc BAG|EAA "tr"A2 f| gdB GAG|ecA FED|gfe dec|BGG G2:|| X:139 T:Walls of Enniscorthy (#135) M:6/8 L:1/8 S:Patrick Stack, Chicago K:G B3 Bdc|B3 AGF|DGG AGF|AGG Adc| B3 BdB|B3 AGF|FGA/2B/2 cAA|FDE FGA:| |:"tr"B3 "tr"c3|BGG ABd|g3 gdB|dgg fdc| "tr"B3 "tr"c3|BGG ABd|fef gdB|EDE FGA:|| % % An excellent setting of a Double Jig as played by Delaney, Early, % and McFadden, and of which the above is a popular variant % that was printed for the first time in the O'Neill Collections 1902-09 %, % and named "The Merry Old Woman". X:140 T:Tanning the Leather (#136) M:6/8 L:1/8 S:Rice-Walsh manuscript K:G c|BGG DGG|BGG G2 c|BGG DGG|GBA/2G/2 F2 c| BGG DGG|BGG c2 A|B/2c/2dB cAG|FDD D2:| |:d|gdc BAG|GBd def|gdc BAG|FAA ABd| 1gdc BAG|GBd c2 A|B/2c/2dB cAG|FDD D2:| 2gfg/2f/2 gdc|BGB c2 A|B/2c/2dB cAG|FDD D2|| X:141 T:Milkmaid (#137), The M:6/8 L:1/8 S:Rice-Walsh manuscript K:G D|GDD EDD|GAB c2 d|edc BcA|AGE E2 D| GDD EDD|GAB c2 d|edc BcA|AGG G2:| |:d|edd gdd|edB c2 d|edc BcA|AGE E2 d| edd gdd|edB c2 d|edc BcA|AGG G2:|| X:142 T:Far Away Wedding (#138), The M:6/8 L:1/8 S:Capt. F. O'Neill K:G A|:FDD ADD|FDF AGF|GEE BEE|BEB "tr"BAG| FDD ADD|FDD AGF|EFA B2 A|BdF E2 D:| |:FAA A2 B|FAA AGF|GBB B2 A|GBB BAG| FAA A2 B|FAA AGF|EFA B2 A|BdF E2 D:|| X:143 T:Kildare Club (#139), The M:6/8 L:1/8 S:O'Farrell's Pocket Companion 1804-10 K:G e|dGG dcB|dGG e/2f/2ge|dGG edB|dBA A2 B| dGG dcB|dBd G2 A|BAG e/2f/2ge|dBA A2:| |:B|dBd gdB|gba gdB|dBd gdB|cAA A2 B| dBd ece|dBd g2 a|b2 a/2g/2 e/2f/2ge|dBA A2:|| X:144 T:What's That to Any One (#140) M:6/8 L:1/8 S:Capt. F. O'Neill K:G B/2c/2|ded dBd|dge dBG|cee dBG|FAA A2 B/2c/2| ded dBd|dge dBG|cee dBA|BGG G2:| |:d|gag gfg|afd def|gag gfg|afd d2 e/2f/2| gbg faf|ege def|gdB AGA|BGG G2:|| X:145 T:Woods of Old Limerick (#141), The M:6/8 L:1/8 S:John Kelly, San Francisco K:F c/2B/2|AFF GAB|cff edB|AFF GBB|GEC GAB| AFF GAB|cff ecB|A2 F GcB|GFF F2:| |:f/2g/2|aff fgf|ecc c2 g/2a/2|bge fga|bge f2 g| agf gec|def ecB|A2 F GcB|GFF F2:|| X:146 T:Paddy Stack's Fancy Jig (#142) M:6/8 L:1/8 S:Rice-Walsh manuscript K:G "tr"E3 BEB|EBE AFD|"tr"E3 BEB|edB AFD| E3 BEB|EBE AFD|EBE BEB|edB AFD:| eee fee|aee fee|efe fef|a2 g fed| eee fee|bee fee|e/2f/2ge fde|dcB AFD|| eee fee|bee fee|bee fef|a2 f def| gba/2g/2 fag/2f/2|egf/2e/2 def/2g/2|egf/2e/2 d2 A|BAG FED|| % % This fine jig, remarkable for originality of composition, and the % technique essential to giving it adequate expression, is a % masterpiece of execution at the hands of the amiable Patrick % Stack who obligingly scored it on paper, after charming us % with it on his fiddle - Coming from Jerry Breen the much admired % blind fiddler of North Kerry, it was preserved in the Rice-Walsh % manuscript and is now recorded for print for the first time. X:147 T:Gaelic Club (#143), The M:6/8 L:1/8 S:Capt. F. O'Neill K:C A|cBA AGE|ABA ABc|BAG GAG|dcd GAB| cBA AGE|AGA c2 d|efe dcB|cAA A2 :| |:d|eaa efg|eaa ged|eaa gdc|BGG G2 A/2B/2| 1cBA AGE|AGA c2 d|efe dcB|cAA A2:| 2cBc dcd|edB c2 d|efe dcB|cAA A2|| % % This setting of the "Gaelic Club" differs materially from the "Glasgow % Club" of the Highlanders, and the "Gaelic Club Jig" in former O'Neill % collections, the second part being new and original. X:148 T:Figure of Three (#144), The M:6/8 L:1/8 S:Clinton's Gems of Ireland 1841 K:D d2 e fgf|fed g2 e|d2 B B/2c/2dB|d2 B B/2c/2dB| d2 e fgf|fed g2 e|dBA A/2B/2cA|dBA ABA:| |:"tr"aga bge|fed g2 e|d2 B B/2c/2dB|d2 B B/2c/2dB| aga bge|fed g2 e|dBA A/2B/2cA|dBA Afg:| |:afd gec|afd g2 e|d2 B B/2c/2dB|d2 B Bcd| afd gec|afd g2 e|dBA A/2B/2cA|dBA A3:|| X:149 T:Stolen Purse (#145), The M:6/8 L:1/8 S:Capt. F. O'Neill K:G dBA AGA|BGG G2 B|dBA ABd|efe edB| dBA AGA|BGG G2 A|GED G2 A|Bdd edB:| |:def g2 b|agf "tr"g2 e|def g2 a|bge edB| def g2 b|agf g2 a|bgg agf|"tr"e2 d efg:|| % % This rare jig tune which has haunted my memory for years was % evidently derived from "The Old Woman Lamenting Her Purse", % No. 560, O'Neill's Music of Ireland 1903. The air does not appear % in the Bunting Collections. A setting in which the first part is % repeated after the second part is printed without note or comment % in Petrie's Complete Collection of Irish Music. X:150 T:Soup of Good Drink (#146), The M:6/8 L:1/8 S:O'Farrell's Pocket Companion 1804-10 K:D A|DED F2 G|A2 d cAF|G2 A B2 G|GBG AFD| DED F2 G|A2 d cAF|G2 A B2 G|AFD D3:| |:d2 e f2 d|faf gec|d2 e f2 d|cBA d2 A| d2 e f2 d|faf gec|d2 A B2 G|AFD D3:|| X:151 T:Jackson's Dream (#147) M:6/8 L:1/8 S:O'Farrell's Pocket Companion 1804-10 K:D A|DED D2 d|AGF G2 B|AFD FED|EFE E2 F| DED D2 d|AGF G2 B|AFD FEF|DED D2:| |:g|fed edB|ABd e3|fed edB|ABd d3| f2 d edB|ABd g2 e|faf g2 e|fdd d2:|| X:152 T:Jackson's Maid at the Fair (#148) M:6/8 L:1/8 S:O'Farrell's Pocket Companion 1804-1810 K:D A|FAF FEF|BcB B2 d|FAF FEF|ABA A2 c| F2 F FEF|BcB Bcd|cBA BAF|ABA A2:| |:d|cBA cec|BcB B2 d|cBA cec|ABA A2 d| cBA cde|fdB Bcd|cBA BAF|ABA A2:|| X:153 T:Maid in the Morning (#149), The M:6/8 L:1/8 S:O'Farrell's Pocket Companion 1804-10 K:G EGE G2 A|BAG B3|EGE G2 A|BGE GED| EGE G2 A|BAG B2 d|ege dBG|A3 A3:| |:AGE AGE|A2 B c3|EGE G2 A|BGE GED| BGE BGE|A2 B c2 d|ege dBG|A3 A3:| |:gfe gdB|A2 B c3|EGE G2 A|BGE GED| gfe gdB|A2 B c2 d|ege dBG|A3 A3:|| X:154 T:Jackson's Rowly Powly (#150) M:6/8 L:1/8 S:O'Farrell's Pocket Companion 1804-10 K:G B|EFE G2 E|B2 E G2 E|F2 D AFD|dFD AFD| EFE G2 E|B2 E G2 E|B/2c/2dB F/2G/2AF|GEE E2:| |f|gfg e/2f/2ge|gfg e2 g|f/2g/2af dfd|f/2g/2af def| gfg e/2f/2ge|gfg e2 f|g/2a/2bg f/2g/2af|gee e2 f| g/2a/2bg e/2f/2ge|g/2a/2bg e/2f/2ge|f/2g/2af dfd|f/2g/2af def| g/2a/2bg f/2g/2af|e/2f/2ge d/2e/2fd|B/2c/2dB F/2G/2AF|GEE E2|| X:155 T:Courtney's Jig (#151) M:6/8 L:1/8 S:O'Farrell's Pocket Companion 1804-10 K:D F/2G/2|A2 d dcd|efe efg|f2 d dfd|cde ABc| A2 d dcd|efe efg|fad edc|d3 d2:| |:f/2g/2|aba f2 f|gfg e2 g|fdd ged|cde A2 f/2g/2| aba f2 f|gfg e2 g|faf gec|d3 d2:|| X:156 T:Basket of Oysters (#152), The M:6/8 L:1/8 S:O'Farrell's Pocket Companion 1804-10 K:G (3def|gag gab|abg fga|gfg eag|fdB BAB| gag gab|abg fga|gfe afd|e3 e2:| |:g|dec BcA|GBd gfe|dec BcA|BGE E3| dec BcA|GBd g2 a|bge afd|e3 e2:| |:g/2a/2|bgg dgg|af/2g/2a/2f/2 dfa|gfg efg|fdB B2 g| bgg dgg|af/2g/2a/2f/2 dfa|gfe afd|e3 e2:| |:g|dBB GBB|dBB gBB|dBB GBA|BGE E2 e| dec BcA|GBd g2 a|bc'b agf|e3 e2:|| X:157 T:Jackson's Coge in the Morning (#153) M:6/8 L:1/8 S:O'Farrell's Pocket Companion 1804-10 K:C A|:E2 A A2 B|c2 A BGE|GAG AGE|G2 B GED| E2 A A2 c|BAG Bcd|ege dBG|A3 A3:| |:e2 a a2 b|c'2 g age|g2 d g2 a|b2 a ged| e2 a abc'|bag a2 e|g^fe dBG|A3 A3:|| X:158 T:Fond of the Ladies (#154) M:6/8 L:1/8 S:Capt. F. O'Neill K:G e|dBG AGE|GED D2 E|G2 G A2 A|BAA Age| dBG AGE|GED D2 E|G2 G A2 A|BGG G2:| |:D|G2 G GAB|A2 A ABd|e>ee efg|dBG AGE| GAG GAB|ABA ABd|ede gdB|AGE G2:|| % % Following the example of Dr. Petrie and Dr. Joyce, whoe collections % abound in variants, some of which differ but slightly from others in % their pages; the editor has continued the practice, rather than risk % the loss of a worthy strain. Of that class is "Fond of the Ladies", % the opening bars of which remind us of "Sweet Biddy Daly", % or "The Irishman's Heart to the Ladies" previously printed. X:159 T:Rover (#155), The M:6/8 L:1/8 S:Capt. F. O'Neill K:G D|GAG EDB,|GBd "tr"e2 d|g>BB BAB|c>EE E2 F| GAG EDE|GBd "tr"e2 d|g>BB BAB|cEF G2:| |:D|GBd GBd|gfg dBG|GBd efg|fdd def| geg fdf|ece d2 B|cBc Adc|BGG G2:|| % % The Rover is another tune that is suggestive of certain strains with % which we are more or less familiar. It proves to be a variant of % "Paddy's Resource" - a rather stylish composition printed in % former O'Neill Collections. X:160 T:Penniless Traveller (#156), The M:6/8 L:1/8 S:Capt. F. O'Neill K:G B/2c/2|dgg gfe|ded dBc|dgg g2 a|bag "tr"e2 d| dgg gfe|ded dBd|gbg a/2b/2c'a|bgg g2:| |:B/2c/2|dBG GFG|ecc c2 d|eAA ABG|Edd d2 B| 1dgg gfe|ded dBd|gbg a/2b/2c'a|bgg g2:| 2dgg faa|gbb abc'|d'bg a/2b/2c'a|bgg g2|| % % The above is an old strain which appeared in print at least as early % as 1798 in a much simpler setting under the name "Go to the Devil % and Shake Yourself". It was included in six Collections of Country % Dances published in London in that year. It has been confused with % "Get Up Old Woman and Shake Yourself", an entirely different % tune. None of the names appear in Bunting, Petrie or Joyce % collections. Another name for this tune is "When You Are Sick 'Tis % Tea You Want", but a tune so named in the Petrie Collections is a % different 8 bar melody. X:161 T:Ladies' Fancy (#157), The M:6/8 L:1/8 S:Thomas Galvin, Tralee K:G G3 AEE|AGG GED|G3 AEE|AGG GED| G3 AEE|AGG GED|G3 ABc|dAG FED:| |:dFF DEE|DFF DEE|dFF DEE|DFF FED| dFF DEE|DFF DEE|AAA ABc|dAG FED:|| % % This jig, a variant of the much more diversified "Yellow Wattle" % No.353 in O'Neill's Dance Music of Ireland, was sent to me by % Prof. P.D. Reilly, a famous dancing master of "London and % Castle Island", with the notation: % "This simple jig was a noted favorite among the two last % generations, and quite good enough for the present % when well played." X:162 T:Fairly Shut of Her (#158) M:6/8 L:1/8 S:O'Farrell's Pocket Companion1804-10 K:G D/2E/2|G2 E G2 E|G2 B BGE|G2 E G2 E|FGA AFD| G2 E G2 E|GAG Bcd|ege dBG|FGA AFD:| |:d3 BAB|G2 d dBG|d3 BAB|EFE AFD| d3 BAB|GAG Bcd|ege dBG|FGA AFD:| |:gfe gab|GAG BAG|g2 g gfg|efg afd| gag gfe|dcB c2 d|ege dBG|FGA AFD:| |:G3 dGG|BGG dGG|BGG dGG|BGG AFD| GAG dGG|BGG dBd|ege dBG|FGA AFD:|| % % Altho McGoun's tune was at hand for years, and was not known to % our traditional musicians, I hesitated to claim it as Irish, until % O'Farrell specifically notes it as being Irish in his Collection for %the Irish or Union Pipes. Few variants, while preserving a distinct % strain, differ so widely in their development. O'Farrell was a % renowned Irish piper who took part in operatic performances on % the London stage late in the 18th Century. SEE #159. X:163 T:Fairly Shot of Her (#159) M:6/8 L:1/8 S:McGoun's Repository 1803 K:G D|:E/2F/2GE E/2F/2GE|E2 B BGE|E/2F/2GE E/2F/2GE|D2 A AFD| E/2F/2GE E/2F/2GE|E2 B BGB|cBA dcB|D2 A AFD:| |:B/2c/2dE B2 E|B/2c/2dE BGE|B/2c/2dE B2 E|B/2c/2dB AFD| B/2c/2dE B2 E|B/2c/2dc BGB|cBA dcB|D2 A AFD:|| % % SEE NOTES TO #158 X:164 T:Answer I Got (#160), The M:6/8 L:1/8 S:Rice-Walsh manuscript K:G dBG GDG|GDG B2 d|ecA ABA|ABA c2 e| dBG GDG|GDG B2 d|efg dBd|1gba gfe:|2GGG G2 B/2c/2| |:dBg dBg|ecg ecg|fdg fdg|aAA ABc| dBg dBg|ecg ecg|fdg fga|gba gfe:|| X:165 T:Showman's Jig (#161), The M:6/8 L:1/8 S:Rice-Walsh manuscript K:A c/2d/2|eaa fec|dfe dcB|AAA cBA|GBB Bcd| eaa fec|dfe dcB|AAA Bcd|1cAA A2:|2cAA AGF| |:EAA cAA|eAA cAA|EAA cBA|GBB Bcd| EAA cAA|eAA cAA|DAA Bcd|1cAA AGF:|2cAA A2|| X:166 T:Jackson's Stranger (#162) M:6/8 L:1/8 S:O'Farrell's Pocket Companion 1804-10 K:D (3A/2B/2c/2|dAF FAF|dAF F2 F|cAF FAF|AFE E2 F| dAF FAF|dAF F2 d|cBA BAF|AFE E2:| |:c/2d/2|ecA cBA|ecA A2 f|ecA c2 B|AFE E2 c/2d/2| ecA cBA|ecA A2 d|cBA BAF|AFE E2:| |:F|dFd FdF|dAF F2 F|dFd FdF|AFE E2 F| dFd FdF|dAF F2 d|cBA BAF|AFE E2:|| X:167 T:Murphy's Weather Eye (#163) M:6/8 L:1/8 S:Clinton's Irish Melodies 1840 K:D d/2e/2|fgf edc|fdB BAF|Add dcd|fee e2 d/2e/2| fgf edc|fdB BAF|Add cde|fdd d2:| |:A|FAA BAA|dAA BAG|FAd {f}dcd|fee e2 A| FAA BAA|dAA BAG|FAd {f}ede|fdd d2:|| X:168 T:Old Walls of Liscarroll (#164), The M:6/8 L:1/8 S:Prof. P.D. Reidy manuscript K:D A|DFF DGG|EFF DEE|DFF GEA|FDD D2 E| DFF GFG|A/2B/2cA fed|ecA GFE|FDD D2:| |:A|cBc dfd|ecA AGE|cBc dcA|AGE GAB| cBc dcd|efg fed|ecA GFE|FDD D2:| |:A|dcd AGF|EDE GFE|dcd AFA|GFE D2 A| dcd AGF|E/2F/2GE fed|ecA GFE|FDD D2:| |:A|dFF AFF|dFF AGF|GEE cEE|GBA GFE| dFF AFF|A/2B/2de fed|ecA GFE|FDD D2:|| % % In the year 1902 a thin oblong book of manuscript music came to % hand from Prof. P.D. Reidy "Professor of Dancing, London and % Castleisland". Altho it included forty tunes from the repertory of % five competent fiddlers, nearly all were variants of tunes already % in our possession. The above as played by Daniel J. Kelleher % is one of the exceptions. There can be little doubt that Mr. % Reidy's title was well deserved, because his fame as a dancer % and dancing master in early life in North Kerry was successfully % maintained later in life in London, where he was esteemed as % an authority on the subject. Frequent mention of his name % appears in "Irish Minstrels and Musicians". X:169 T:Humors of Cork (#165), The M:6/8 L:1/8 S:Sergt. James O'Neill manuscripts K:G D|DEF GAB|Bgf efg|dBG AGF|G/2A/2BG AFD| DEF GAB|Bgf/2g/2 efg|dBG AGF|DGF G2:| |:d|gfe agf|gfe dcB|ceg dBG|A/2B/2cA BGE| DEF GAB|Bgf/2g/2 efg|dBG AGF|DGF G2:|| X:170 T:O'Connor's Frolics (#166) M:6/8 L:1/8 S:Sergt. James O'Neill manuscripts K:F D/4E/4F/4G/4|:AFF AFF|BGG BGG|AFF AFF|GFG EFG| AFF AFF|BGG BGG|B/2c/2dB cAG|FDD D2 z:| |:Add dcd|efe dcB|Add dfa|gee e2 A| Add dcd|efd cBA|B/2c/2dB cAG|FDD D2 z:| |:DFF AFF|dFF AFF|DFF AFF|GEE E3| DFF AFF|dFF AFF|BAB cAG|FDD D2 z:| |:Add dcd|cBA AFA|Add dcd|ecA Acd| fdd ecc|dcB AFA|BAB cAG|FDD D2z:|| X:171 T:Lasses of Limerick (#167), The M:6/8 L:1/8 S:O'Farrell's Pocket Companion 1804-10 K:F d|cAG GAG|cAG G2 A|cAG GAG|cAG F2 d| cAG GAG|cAG G2 A|cAG dfd|cAG F2:| |d|:cAG ded|cAG G2 A|cAG ded|cAG F2 d| cAG ded|cAG G2 A|cAG f2 d|cAG F2 d:| |:g2 g f2 d|cAG G2 d|g2 e f2 d|cAG F2 d| g2 e f2 d|gag f2 d|g2 e fed|cAG G2 A:| |:B3 BdB|A2 A AcA|G2 G GAG|cAG G2 A| B3 BdB|A2 A AcA|GAG fed|cAG F2 A:|| X:172 T:Female Hero (#168), The M:6/8 L:1/8 S:Aird's Selections 1782-97 K:G Bdc BGB|cAc BGB|B/2c/2dc BGB|ABG FED| Bdc BGB|cAc BGB|gfe dcB|A2 d AFD:| |:BAG GDG|BGB gdc|BAG GDG|cAF ABc| BAG GDG|BGB g2 d|efg dcB|cAF ABc:|| X:173 T:Dumfries House (#169) M:6/8 L:1/8 S:Aird's Selections 1782-97 K:G D|G3 G2 g|dBG GAB|cGE EFG|AFD DEF| G3 G2 g|dBG GAB|cec BdB|gdc BAG| G3 G2 g|dBG GAB|cde dcB|AFD DEF| G3 G2 g|dBG GAB|cAG FEF|G3 G2|| d|dBd dBd|gag "tr"f2 e|dBd dcB|AFD D2 d| dBd dBd|gag f2 e|dcB AGF|gdc BAG| dBd dBd|gag f2 e|dBd dcB|AFD D3| dBd ece|fdf gfe|dcB cAd|GAG G2|| % % "Dumfries House" is one of the numbers on "A Collection of Scots % Reels, or Country Dances, and Minuets, etc." composed by John % Riddle at Ayr, and sold by himself about the year 1766. X:174 T:Rising Step (#170), The M:6/8 L:1/8 S:Capt. F. O'Neill K:G B|DFD G2 B|AGE G2 B|DFD G2 B|AGE E2 G| DFD G2 B|AGE G2 A|Bdc "tr"B2 A|GED D2:| |:B|dcd "tr"BAG|BdG BAG|dcd BAG|BAA A2 B/2c/2| 1dcd BAG|BdG BAG|ABc "tr"B2 A|GED D2:| 2dcd efg|afd edB|cdc "tr"B2 A|GED D2|| X:175 T:Hare in the Corn (#171), The M:6/8 L:1/8 S:Aird's Selections 1782-97 K:G c|BGB def|gdc B2 G|cec BdB|cAA A2 c| BGB def|gdc B2 G|Aag fef|gGG G2:| |:c|dBB GBB|dBB GBB|cAA FAA|cAA GBc| dBB ecc|fdd gee|dBB cAf|gGG G2:|| % % A rather florid setting of "The Hare in the Corn", procured "from a % piper in 1800" is printed in Bunting's Ancient Music of Ireland, % published in 1840, with notation "Author and date unknown". % The name is not indexed in any of the Petrie or Joyce Collections. % The setting herewith presented was taken from Aird's Selections % of Scotch, English, Irish, and Foreign Airs, 1782-97. It is also known % as "The Hare in the Corner". X:176 T:Yesterday's Kisses (#172) M:6/8 L:1/8 S:Aird's Selections 1782-97 K:G E|ABA ABd|egB A2 c|BAB GBG|BAB GAB| cBc dcd|efe "tr"a2 g|edc Bcd|eAA A2:| |:f/2g/2|a2 A ABA|a2 A A2 f|g2 G GAG|BAB G2 B| cBc dcd|ede "tr"a2 g|edc Bcd|eAA A2:|| % % It may be permissable to abbreviate such an involved title as: % "Sae Braely as I was kiss'd yestreen" into "Yesterday's Kisses" % both for convenience and euphony, especially as the sentiment % has not been clouded by the change. This jig preserved also in % Aird's Selections, has been given circulation recently on the % player-pianos. X:177 T:Streams of Kilnaspig (#173), The M:6/8 L:1/8 S:Pat. Dunne manuscript K:G B/2c/2|dcB AFA|GBd gdB|cBc AFA|GBd c2 A| dcB AFA|GBd gdB|cBc AFA|BGG G2:| |:c|def gfg|eag fed|cBc AFA|GBd gec| def gfg|eag fed|cBc AFA|BGG G2:|| X:178 T:Skylark (#174), The M:6/8 L:1/8 S:Pat. Dunne manuscript K:G A/2B/2|cAA eAA|dBG GAB|cAA eAA|dBG A2 B| cAA ece|dcd GBd|f/2g/2af gfe|dBG A2:| |:B|def g2 f|edc Bcd|efg aga|bgg e2 f| gfa gfe|dcd Bcd|cBc age|dBG A2:|| X:179 T:Jackson's Over the Water (#175) M:6/8 L:1/8 S:Aird's Selections 1782-97 K:F A/2G/2|FDD FDD|G>AG GFG|A>BA AGF|G>AG GFG| A2 B AGF|cAc def|cAA "tr"AGF|G3 G2:| |:g|fdd gee|fdd cAA|fdd gee|fdd d2 g| fdd aa/2b/2a/2g/2|fdd def|cAA "tr"AGF|G3 G2:|| X:180 T:Light and Airy (#176) M:6/8 L:1/8 S:Neil Gow & Sons Complete Repository, Edinburgh 1805 K:G d3 BdB|GBd gdB|d3 BdB|A2 B c2 e| d3 BdB|GBd gdB|cac BgB|A2 B c2 e:| |:gag gdB|gag gba|gag gdB|A2 B c2 e| gbg ac'a|gbg faf|g>fe d>cB|A2 B c2 e:| |:dBG G2 B|dBG Bdg|dBG G2 B|A2 B c2 e| dBG GBd|g>fe dcB|cac BgB|A2 B c2 e:|| % % "Light and Airy" first appeared in "A Choice Collection of Scots Reels % or Country Dances & Strathspeys, etc.," published by Robert Ross at % Edinburgh, 1780. X:181 T:Hinchy's Fancy (#177) M:6/8 L:1/8 S:Capt. F. O'Neill K:G A|BAB GBG|AFD F2 G|AGA fed|cAG FGA| BAB GBG|AFD EFG|AGA fed|cAF G2:| |:d|gfg afd|gfg a2 d|gfg "tr"b2 g|"tr"a2 g fga| geg fdf|ece cde|fef ded|cAF G2:|| % % The above jig named after a blind fiddler of East Clare two % generations ago, is a better setting of "Hincy's Delight", first % published in "O'Neill's Music of Ireland, 1903". It was noted down % from the whistling of Daniel Rogers in Chicago many years ago. X:182 T:Apples in Winter (#179) M:6/8 L:1/8 S:Wm. F. Hanafin, Boston K:G d/2c/2|BEE dEE|BAG FEF|DED FDF|ABc ded| BEE BAB|def gfe|fdB AdF|FEE E2:| |:B|efe edB|e/2f/2ge fdB|ded dAF|DFA def| 1efe edB|ede g2 a|bag fga|bge e2:| 2edB def|gba gfe|fdB AdF|FEE E2:|| % % A setting of this tune named "Kennedy's Jig" appears in Joyce's % "Ancient Irish Music", Dublin 1890. Known to the fiddlers and % pipers on this side of the Atlantic in later years as "Apples in % Winter", it was printed under that name in the O'Neill collections, % but no variant of the popular jig so far in circulation, displays the % skill of that played by the versatile Billy Hanafin, proficient on % both instruments. % It may be pertinent to add that the Jig named "Apples in Winter" % in O'Farrell's Collection of National Irish Music for the Union Pipes, % London, 1797, is identical with "Gillan's Apples" in former O'Neill % collections. X:183 T:Last of the Lot (#178), The M:6/8 L:1/8 S:Capt. F. O'Neill K:G B/2d/2|e2 e dBd|ege dcA|BGG dGG|BAG ABd| eee dBd|e/2f/2ge dBA|BGG dBG|EAA A2:| |:e|a3 bag|eaa ged|BAA BGG|BcA BGG| a2 a bag|eaa ged|BAA dBG|EAA A2:|| X:184 T:Tumble the Tinker (#180) M:6/8 L:1/8 S:John McFadden, Chicago K:G d/2c/2|:BAG GDG|GBd gdc|BAG GFG|A2 G Adc| BAG GDG|GBd gdB|cec BdB|1A2 G Adc:|2A2 G GBc| |:d3 BGB|def gdB|ded BGB|A2 G ABc| 1d2 d BGB|def gdB|cec BdB|A2 G ABc:| 2dBd def|gba gdB|cec BdB|A2 G Gdc|| % % An excellent double jig called "Tumble the Tinker" was printed for % the first time in the enlarged edition of "O'Neill's Irish Music for P %iano % or Violin", issued in 1915. It was obtained from John McFadden a % clever traditional Irish fiddler of Chicago, who until then had forgot %ten % the tune since last leaving his native Mayo some forty years before. % Since its publication as stated, a spirited second finish has been % developed. As varied in the present setting "Tumble the Tinker", % heretofore so little known, is assuredly worthy of preservation, and % enhanced publicity. % Output from ABC2Win Version 2.1 k pre2 on 10/24/2000 X:185 T:Splashing of the Churn (#181), The M:9/8 L:1/8 S:Capt. F. O'Neill K:G G2 B E2 B BAG|F2 A D2 A AGF|G2 B E2 B BAG|BdB AGF E3:|| g2 e g2 e edB|f2 d ded fga|g2 e g2 e edB|dBA ABd e3| g2 e g2 e edB|f2 d ded fga|g2 e f2 d edB|BdB AGF E3|| % % This spirited Slip Jig is a variant of "Dublin Streets", obtained from % % Mr. Ennis of the Irish Music Club of Chicago, and published in % former O'Neill Collections. "The Splashing of the Churn", or in % Irish "Glugur an Meadair" is the original name of the tune. % Following is another version of it [Humors of Bottle Hill #182], % obtained thru the courtesy of Sergt. James P. Walsh of % Chicago whose manuscript collection has been a prolific source % of many desirable melodies hitherto unpublished. X:186 T:Humors of Bottle Hill (#182) M:9/8 L:1/8 S:Sergt. James P. Walsh K:G F|G2 B E2 B BAG|F2 A D2 A AGF|G2 B E2 B BAG|Bcd AGF E2:|| A|B2 e eee efg|f2 d def afd|B2 e e2 f gfe|fef agf e2 d| B2 e eee efg|f2 d ddd d2 f|a2 f g2 e e2 c|d2 B AGF E2|| % % [SEE NOTES TO TUNE # 181, SPLASHING OF THE CHURN] X:187 T:Good Fellow (#183), The M:9/8 L:1/8 S:Sergt. James O'Neill manuscript K:D A|:DED D2 d F3|DED D2 d GEc|DED D2 d F3|EFE cBA GEC:| |:AcA GBG F3|AcA GBG AFD|AcA GBG F3|EFE cBA GEC:| |;D2 a ged c3|d2 e f2 a gec|faf ged c3|cAG FAF GEC:| |:DED dAG F3|DED dAF GEC|DED dAG F3|EFE cBA GEC:|| X:188 T:Miss Brown's Fancy (#184) M:9/8 L:1/8 S:Sergt. James O'Neill manuscript K:G D2 A A2 G ABc|D2 A BGE G2 E|D2 A A2 G ABc|BAG AGE G2 E:|| c2 d ecA A2 c|B2 c dBG G2 B|c2 d ecA ABc|BAG AGE G2 E| c2 d ecA A2 c|B2 c dBG G2 B|c2 d e2 f g2 e|dBG AGE G2 E|| X:189 T:Irish Hop Pickers (#185), The M:9/8 L:1/8 S:Wilson's Companion to the Ballroom 1816 K:G G2 A B2 c dBG|A2 B c2 d ecA|G2 A B2 c dBG|d2 g agf g3:| |:d2 g gag fed|efe gfe d2 B|cdc edc BdG|E2 E FED G3:|| X:190 T:Kitten (#186), The M:9/8 L:1/8 S:O'Farrell's Pocket Companion 1804-10 K:G D|:G2 B GEE GEE|G3/2A/2G/2F/2 GEE F2 D|G2 B GEE GEE|FGA ABG FED:| |:G2 c BGd BGd|G2 c BGd cBA|G2 c BGd BGd|ecA ABG FED:| |:B/2c/2BA GEE GEE|B/2c/2BA GEE FED|B/2c/2BA GEE GEE|FGA ABG FED:| |:G2 G dBG BdB|G2 G dBG ecA|GBd g3/2a/2g/2f/2 gdB|ecA ABG FED:| |:BGE cGE dGE|cGE BGE AFD|BGE cGE dGE|d2 B ABG FED:|| X:191 T:Dolly's the Girl for Me (#187) M:9/8 L:1/8 S:Aird's Selections 1782-97 K:D G|F/2G/2AF d2 A d2 A|B/2c/2dB AFD E2 G|F/2G/2AF d2 A d2 g| f/2g/2af edc d2:|g|fdf gag fed|c2 A c/2d/2ee e2 g|fdf gag fed| c2 A B/2c/2dd d2 g|f2 d f/2g/2ag fed|c2 A c/2d/2ee e2 g| fdf afa bag|fed ABc d2|| X:192 T:McDonnell's Rant (#188) M:9/8 L:1/8 S:O'Farrell's National Irish Music 1797 K:G c|:BAG GAG GDG|BAG GDG ABc|1BAG GAG GDG|cAF FAF ABc:| 2GBd gag gdB|cAF FAF ABc||:ded/2c/2 BGG BGG|ded/2c/2 BGG ABc| 1ded/2c/2 BGG BGG|cAF FAF ABc:|2GBd gag gdB|cAF FAF ABc|| X:193 T:Yellow Stockings (#189) M:9/8 L:1/8 S:O'Farrell's National Irish Music 1797 K:G E|:G2 B GEE GEE|G2 B GEE FED|G2 B GEE GEE|FGA ABG FED:| |:G2 c BGd BGd|G2 c BGd cBA|G2 c BGd BGd|ecA ABG FED:| |:B/2c/2BA GEE GEE|BdB GEE FED|B/2c/2BA GEE GEE|FGA ABG FED:|| X:194 T:Darby Carey (#190) M:9/8 L:1/8 S:O'Farrell's Pocket Companion 1804-10 K:D d2 B d2 B AFD|d2 B d2 e f3|d2 B d2 B AFD|EFE EFA B3:| |d2 e fdB BAF|d2 e fdB f3|d2 e fdB BAF|AFE EFA B3| d2 e fdB BAF|d2 e fdB f3|g2 e fdB BAF|AFE EFA B3|| X:195 T:Gilla Machree (#191) M:9/8 L:1/8 S:Capt. F. O'Neill K:G G2 G G2 B dBG|E2 A ABG FED|1G2 G G2 A Bcd|efg agf g2 z:| 2G3 GFG Bcd|efg agf g2||:d|gag gfe dcB|A2 A ABG FED| 1gag gfe dBd|efg agf g2:|2gag bag afd|efg agf g2z|| X:196 T:Piper's Whim (#192), The M:9/8 L:1/8 S:Offr. Wm. Walsh, Chicago K:G c|B3 GBG dBG|B/2c/2dB gdB efg|B2 G GBG dBG|A/2B/2cA fAB c2:| |:c|B/2c/2dB gdB gdB|B/2c/2dB gdB efg|1B/2c/2dB gdB gdB| B/2c/2dB fAB c2:|2bag agf efg|B/2c/2dB cAF G2|| % % "The Piper's Maggot", as this old tune was called, first appeared in % print in "Rob't Bremner's Collection of Scots Reels and Country % Dances, Edinburgh 1758". As the word "Maggot" which means % an odd fancy or whim is obsolete in this age, the change of name % is permissible. The tune was printed in Aird's Selections etc., % London 1797, and in later publications somewhat varied. X:197 T:Lasses of Sligo (#193), The M:9/8 L:1/8 S:Powers' Musical Cabinet 1810 K:A ABc ABc F2 E|ABc A2 c ecB|ABc ABc F2 f|efg agf ecB:| |:agf ece f3|fgf a2 b c'af|agf efg a3|Ace agf ecA:|| X:198 T:Capt. McDonald's Favorite (#194) M:9/8 L:1/8 S:O'Farrell's Pocket Companion 1804-10 K:G g|dBB BAB GEE|dBG ABc e2 g|dBB B2 A GAB|BAG ABd e2:| |:f|gfg a/2g/2fe dBB|gfg agf e2 f|gfg agf efg|dBG ABd e2:|| X:199 T:Come to the Bridal (#195) M:9/8 L:1/8 S:Aird's Selections 1782-97 K:G D|GAG Gge dBG|ABA ABd e2 g|GAG gfe dBG|ABc BAG E2:| |:d|gdg gag fed|edB gab a2 b|gab abg fed|efg dBG A2:|| X:200 T:Munster Rake (#196), The M:9/8 L:1/8 S:O'Farrell's Pocket Companion 1804-10 K:G D/2E/2|G/2A/2BG AGE EDE|G/2A/2BG AGE c2 e|dBG AGE EDE| G/2A/2BG AGE G2:||e|dBG GAG e/2f/2ge|dBG GAG A2 e| dBG GAG e/2f/2ge|dBG AGE G2 e|dBG GAG e/2f/2ge| dBG GBG A2 e|dBG gBB AGE|G/2A/2BG AGE G2|| X:201 T:Long Room (#197), The M:9/8 L:1/8 S:Aird's Selections 1782-97 K:G B|G2 G GBG Bcd|G2 G GBG AFD|G2 G GBG Bcd|e2 e fed g2:| |:e/2f/2|g2 g gag fed|g2 g gbg afd|g2 g gag fed|efg afd g2:| |:c|BGB BGB c2 d|BGB BGB AFD|BGB BGB c2 d|ege fed g2:|| X:202 T:Lasses of Solohod (#198), The M:9/8 L:1/8 S:Rice-Walsh manuscript K:G d|c2 A A2 G F2 D|D2 G G2 A B2 d|c2 A A2 G F2 D|EFG A2 F G2:| |:c|Bce d2 B c2 A|Bce d2 B c2 d|1Bce d2 B c2 A|B2 G G2 A B2:| 2efg d2 B c2 A|B2 G G2 A B2:|| % % The above is a variant of "The Rakes of Solohod", No. 454 in % O'Neill's Dance Music of Ireland. X:203 T:Roving Blade (199), The M:9/8 L:1/8 S:Rice-Walsh manuscript K:A e3 edc edc|e3 edc a2 f|e3 edc edc|f2 B B2 f a2 f:| |:e2 A A2 c cBA|e2 A Ace a2 f|e2 c c2 B cde|f2 B B2 f a2 f:|| X:204 T:Fig for a Kiss, A (#200) M:9/8 L:1/8 S:Preston's Selections of Reels & Country Dances, London 1768 K:G E2 B BGE BGE|FAE AFd AFD|EFG ABc BAG|BeB AGF E3:|| eBe geg bge|dAd fdf afd|eBe geg bge|gfe Be^d e3| eBe geg bge|dAd fdf afd|e/2f/2gf edc BAG|BeB AGF E3|| % Output from ABC2Win Version 2.1 k pre2 on 10/25/2000 X:205 T:Lady Kelly's Reel (#201) T:Up Roscommon M:4/4 L:1/8 S:as played by John Kelly of San Francisco R:Reel K:G ef|gG (3GGG EGDG|EGDG (3EFG DG|(3EFG AB cBcA|BcdB cBAB| (3ccc gc (3BBB dB|(3AAA af gfed|cBAG FGAc|BGAF G2|| ef|g2 dg (3efg dg|bgag bgef|g2 dg (3efg dg|bgag bg g2| g2 dg (3efg dg|bgag bgef|(3gag (3fgf (3efe (3dc|(3Bcd ef gfef|| (3ggg dg (3efg dg|bgag bgef|(3ggg dg (3efg dg|bgag bg g2| (3ggg dg (3efg dg|bgag bgef|(3gag (3fgf (3efe dc|(3Bcd ef gfef|| % % This famous reel as played by John Kelly a fiddler of phenomenal % execution now living in San Francisco Cal., is a florid setting of=20 % Sergt. James O'Neill's "Northern Lasses" printed in the O'Neill % Collections. % Kelly a native of Roscommon, Ireland, says this reel was known as % "Kelly's Reel" before his time.=20 % It was his masterly rendering of "Lady Kelly's Reel" that won the=20 % championship for Owen Brennan an expert piper, as described % on page 215, Irish Minstrels and Musicians.=20 X:206 T:Miss Corbett's Reel (#202) M:4/4 L:1/8 S:Aird's Selections 1782-97 R:Reel K:D f|D/2D/2D FD ADFD|EcGc EcGc|D/2D/2D FD ADFD|BdAd FD D:| g|fdag fddf|ecgf ecce|fdag fdec|dBAd FDDg| fdag fddf|ecgf ecce|fdef fagb|afge fd d|| X:207 T:Sweetheart Reel (#203), The M:4/4 L:1/8 S:Capt. F. O'Neill R:Reel K:G A/2G/2|:EAAB "tr"e2 dB|"tr"e2 dB GABG|EAAB "tr"edef|"tr"gedB "tr"BAA2:| eaac' "tr"b2 ag|(3efg dg egdg|eaac' "tr"b2 ag|(3efg "tr"dB "tr"BA A2| eaac' "tr"b2 ag|(3efg dg egdg|bgaf "tr"gfed|(3efg dB "tr"BA A2|| X:208 T:Kitty O'Neill (#204) M:4/4 L:1/8 S:Capt. F. O'Neill R:Ree; K:G BA|:G2 DG E2 DE|GFGA Bd d2|edcB cBAF|1GBAG E2 DE:|2GBAF G2 z2| |:Bdde d2 BA|Bddf ef g2|1Bdde d2 B2|cABG EG D2:| 2gfge d2 B2|cABG EG G2|| X:209 T:Mamma's Pet (#205) M:4/4 L:1/8 S:Capt. F. O'Neill R:Reel K:G (3DEF|G2 FG EG D2|G2 BG dGBG|G2 FG EG D2|Beed BcAB| G2 FG EG D2|GABc dBAB|G2 FG EG D2|Beed "tr"B2 A2|| BAGA Bc d2|Beed Bc d2|BAGA Bc d2|Beed "tr"B2 A2| BAGA Bc d2|Beed BcdB|G2 GB A2 Ac|Beed "tr"B2 A2|| eA (3AAA edBA|GFGA Bc d2|eA (3AAA edBc|d2 ef "tr"g2 fg| eA (3AAA edBA|GFGA Bc d2|G2 GB A2 Ac|Beed "tr"B2 A2|| % % In boyhood days I memorized the first part of this reel from the fiddl %e % playing of Mr. Downing a gentleman farmer who taught me the=20 % rudiments of music on the flute. Thirty-five years later the second % part was supplied by A.S. Beamish, another West Cork musician. % Being without a name the tune was called "Timothy Downing" or % "Downing's Reel", in the O'Neill Collections. With a third part % obtained from the famous fiddler John McFadden of Mayo, this % tripartite reel is presented under its presumably true name. X:210 T:Glenmore Hunt (#206), The M:4/4 L:1/8 S:O'Farrell's Pocket Companion 1804-10 R:Reel K:G GA|B2 AG "tr"E2 D2|EAAB A2 GA|B2 AG "tr"E2 D2|EGGA G2 A2| B2 AG "tr"E2 D2|EAAB A2 GA|BABG E2 D2|EGGA G2|| BA|G2 GB d2 d2|e2 ef e3 d|gfed cBAG|B2 A2 A2 GA| BABG "tr"E2 D2|EAAB A2 GA|cBAG "tr"E2 D2|EGGA G2|| X:211 T:Four-Hand Reel (#207), The M:4/4 L:1/8 S:Capt. F. O'Neill R:Reel K:G (3DEF|"tr"G2 BG dGBG|FADA FADA|G2 BG dGBd|egfa gedB| G2 BG dGBG|FADA FADA|G2 BG dcBd|egfa g2|| (3def|gdBd edBd|gdBd "tr"e2 ef|gdBd edBd|egfa g3 d| gabg efge|dedc BGBd|"tr"edef edBd|egfa gedB|| G2 BG dcBG|(3FED AD BDAD|G2 BG dcBd|egfa gedB| G2 BG dcBG|(3FED AD BDAD|G2 BG dcBd|egfa g2|| (3def|"tr"g2 gf gdBd|faag fdef|"tr"g2 gf gdBd|(3efg af g3 d| gabg efge|dedc BGBd|"tr"edef edBd|(3efg af gedB|| % % "The Four Hand Reel" as far as the writer is aware was first brought % to Chicago in 1886 by Barney Delaney, an excellent Irish piper. So % versatile was he, like most great Irish musicians, in the manipulation % of his instrument, that he varied his tunes according to fancy % without detriment to tone or rhythm, but rather to the advantage of % the general effect. Although not included in any collection of Irish % music published beyond the Atlantic, the strain must have been quite % popular in the Eastern States, for we find the tune in a Boston=20 % publication no less than four times, and named respectively: % "Corporal Casey's Favorite", "Lady Gardner's Reel", "Parnell's Reel", % and "Yellow-Haired Laddie"; all consisting of but two parts each. % The setting here presented was memorized from Delaney's playing, % but no bare scoring of measured bars could do justice to his % inimitable execution. % Since the foregoing was written I find that "The Five Mile Chase" % in R.M. Levey's Second Collection of the Dance Music of Ireland, % London, 1873; consisting of but two parts, is also a variant of=20 % "The Four Hand Reel".=20 X:212 T:Marquis of Huntly's Reel (#208), The M:4/4 L:1/8 S:McGoun's Repository c.1803 R:Reel K:Bb DE DGAB cA|DF DGA>B c/2B/2A/2G/2 FA|DF Dabg d>gbg|a/2g/2f/2d/2 c>d fcaf|g>abg dgbg|b/2a/2g/2f/2 d^f g/2g/2 g g2| g>abg afgd|f>cdf AFcA|D>GG>F D>G G2|fc d/2c/2B/2A/2 {A}G2 G2|| % % This fine reel first published in 1781 is but one of many composed by % Wm. Marshall who for thirty years was in the service of the Duke of=20 % Gordon as butler and house steward. In music as in other=20 % accomplishments he was entirely self taught. His playing of=20 % strathspeys and reels was so inspiring, it is said, that neither the=20 % old nor the young could overcome their inclination to dance. As an=20 % amateur violin player of Scottish dance music, he was unrivalled in=20 % the last half of the 18th Century. No composer of his time was so=20 % victimized by plagiarists who appropriated his tunes, changed a few=20 % notes, and passed them off as their own under different titles. X:213 T:Capt. Keller's Reel (#209) M:4/4 L:1/8 S:McGoun's Repository c.1803 R:Reel K:Bb A|B2 (3dcB fdbd|B/2B/2B (3dcB AFcA|B2 (3dcB fdbd|c>AFA BG G2:| |:G|DGBG dGBG|DGBG AFcA|1DGBG dGBG|cAFA BG G2:| 2DGBG dBgd|c'afa bg g2|| % % The above clever tune first appeared in 1761 in A Collection of the=20 % Newest and the Best Reels and Country Dances, published in=20 % Edinburgh by Neil Stewart. As "Capt. Keller's Reel" it has been % reprinted in recent years, but without the spirited second finish. X:214 T:Miss Bain's Reel (#210) M:4/4 L:1/8 S:Aird's Selections 1782-97 R:Reel K:D B|AFDF AdcB|dfeg e/2e/2e e2|AFDF AdcA|BdAF D/2D/2D D:| f/2g/2|afdf abaf|geaf e/2e/2e e/2f/2g|afdf abaf|geaf d/2d/2d df/2g/2| afdf abaf|geaf e/2e/2e eg|fdec dBAF|GBAF D/2D/2D D|| X:215 T:Miss Bain's Fancy (#211) M:4/4 L:1/8 S:Aird's Selections 1782-97 R:Reel K:G B|E/2E/2E EF GABd|D/2D/2D AD FDAF|E/2E/2E EF GABG|BEED E2-E:| e/2f/2|gef^d e2 Be|dBAd FDAF|efed B^def|geB^d eBef| gefd e2 Be|fcdA FDAf|gdeB dGAB|GEE^D E2-E|| X:216 T:Miss Brown's Favorite (#212) M:4/4 L:1/8 S:Aird's Selections 1782-97 R:Reel K:G c|BGGA FGAc|BGGA gdcB|caBg AGFD|EcAF G2 G:| d|gdgb fgaf|gabg afdf|gdbd fdad|fgaf g2 g2| dfad cegc|BdgB DAcA|BdgB cAec|EcAF G2 G|| X:217 T:Letter from Home (#213), A M:4/4 L:1/8 S:Capt. F. O'Neill R:Reel K:G GA|B2 BA Bd d2|efed eg g2|BcBA GABG|AGEF G2:| ef|gfed edBd|gfed e2 ef|gfed edBA|BGEF G2 ef| gfed edBA|gfed e2 ef|gbag fagf|edef g2|| X:218 T:Miss Gunning's Delight (#214) M:2/4 L:1/8 S:Aird's Selections 1782-97 R:Reel K:G B2 AG|(3FGA DC|B,DGB|AD D2| B2 AG|F/2G/2A Dc|B/2c/2d DA|BG G2:| |:gGgG|gG G2|F/2G/2A/2B/2 A2|F/2G/2A/2B/2 A2| gGgG|gGGA|B2 AG|DG G2:| |:Bded|Bded|edcB|AD D2| Bded|Bded|edef|gG G2:|| % % Well-born and of surprising loveliness only equalled by their poverty, % the famous Gunning sisters, Maria and Elizabeth, born in Roscommon % and educated in Dublin, became Lady Coventry, and Dutchess % of Hamilton respectively, in 1752, one year after their arrival in=20 % London. The marriages of "two Irish girls of no fortune who are=20 % declared the handsomest women alive" were great public events. % "May the Luck of the Gunnings attend you" was a proverbial Irish % blessing. % The above setting of a tune composed in their honor, and printed in % Aird's Selection of Scotch, English, Irish and Foreign Airs, vol.-1, % 1782 is doubtless the original. A highly elaborate and difficult=20 % variant in four parts found in Sergt. James O'Neill's manuscripts,=20 % entitled "The Contradiction" was printed in former O'Neill=20 % Collections. % As an example of what may be developed from a simple composition % by a skillful hand, both original and variant are herewith submitted=20 % for comparison.=20 X:219 T:Contradiction (#215), The M:4/4 L:1/8 N:Miss Gunning's Delight Variant S:Sergt. James O'Neill manuscripts R:Reel K:A e|c2 {d}(3cBA BEED|CEAc dfed|c2 {d}(3cBA GABc|defg afed| c2 {d}(3cBA BEED|CEAc dfed|c2 {d}(3cBA GABg|afec A/2A/2A A|| g|aA A/2A/2A aAcA|GBEB GBEg|aA A/2A/2A aAcA|GBEB cAAg| aA A/2A/2A aAcA|GBEB EBEg|agfe fedc|dEFG A2|| e2|aec'e aec'e|bed'e bed'e|c'ee'e c'ee'e|dcBA EA A2| aec'e aec'e|bed'e bed'e|c'ee'e c'ee'e|dcBA EA A2|| cefe cefe|dcBA BE E2|cefe cefe|fagb afed| cefe cefe|(3fga ec BE E2|ecea fdfa|gbeg aefd|| % % SEE NOTES TO MISS GUNNING'S DELIGHT #214 X:220 T:Raveled Hank of Yarn (#216), The M:4/4 L:1/8 S:Geo. A.M. Leech, San Francisco R:Reel K:G B2 Bd cAAc|BGGB d2 cA|B2 Bd cAAB|d2 cA BG G2| B2 Bd cAAc|BGGB d2 cA|BABc d2 cA|BdcA BG G2|| fgaf g2 fe|dcAB c2 de|fgaf g2 fe|d2 cA BG G2| fgaf g2 fe|dcAB c2 de|fgaf bgag|fdcA BG G2|| % % A few years ago as Mr. Leech was fingering a stray reel on his=20 % flute, Prof. John Cummings (mentioned on page 282-4, Irish % Minstrels and Musicians) remarked "that's The Raveled Hank % Of Yarn and I had forgotten it for the last forty years". Although % then in his 85th year he buckled on his pipes, and played the % tune in a style which astonished his audience. It is a variant % of No. 638, O'Neill's Dance Music of Ireland. X:221 T:Green Grows the Rashes (#217) M:4/4 L:1/8 S:Neil Gow & Son's Complete Repository c.1805 R:Reel K:G A|G/2G/2G B>A BGGB|A/2A/2A e>d eAAB|c2 ce d/2c/2B/2A/2 GB| A/2B/2c BA GE E2:|A|G/2G/2G g>f gddg|e/2e/2e ag aeef| g>age d/2c/2B/2A/2 GB|A/2B/2c BA GEEA|G/2G/2G g>f gddg| e/2e/2e ag aeef|gbeg dgBg|A/2B/2c BA GE E2|| % % Robert Burns' song to this oldtime favorite strain, was in general % circulation among the Irish peasantry early in the last century, % and the name is still well remembered. The melody much older % than the poet's day, was known as "We're a' dry wi' drinking o't". % In reel time it was first printed in 1761 by Neil Stewart of Edinburgh % in A Collection of the Newest and Best Reels, or Country Dances, % Adapted for Violin or German Flute. The traditional Irish version of % the tune as remembered by the editor may prove not uninteresting % to the musical student of a later generation. [See #218] X:222 T:Green Grows the Rushes-O (#218) M:4/4 L:1/8 S:Capt. F. O'Neill R:Reel K:G D|G2 GA BG G2|ABcd eAAB|c2 "tr"ed B2 "tr"dB|AcBA GE E:| |:d|gfga "tr"ge d2|eaab agef|1gfge dcBG|AcBA GE E:| 2gfge dBgB|AcBA GE E|| %=20 % [SEE NOTES TO TUNE #217] X:223 T:Jack Lattin with Variations (#219) M:4/4 L:1/8 S:O'Farrell's National Irish Music 1797 R:Reel K:D FE|:DFFd AFFA|DFFf A>B A/2G/2F/2E/2|DFFd AFFA|BEEF G2 {G}FE:| |:DF/2G/2 AF BGAF|DDAF A>B A/2G/2F/2E/2|DF/2G/2 AF BGAF| BEEF G2 {A}GF/2E/2:||:DFd>f e{d}c d2|DFdF A>B A/2G/2F/2E/2| DFdf ec d>A|BEEF G2 {A}GF/2E/2:||:fddd Addd|fd df/2g/2 agfe| fddd Adfd|ecce g2 {a}gf/2e/2:||:fdec dB A/2G/2F/2E/2| DFBF A>B A>g|fdec dB d/2c/2B/2A/2|BEEF G2 GF/2E/2:|| % % The renowned Walter Jackson popularly known as "Piper" Jackson=20 % who flourished about the middle of the 18th Century, was reputed to % be the composer of "Jack Lattin", "Jack O'Lattan", or "Jacky Latin", % as the tune has been variously called. Under the first name it was % printed in Waylet's Collection of Country Dances, 1749. As "Jack % Laten" I find an elaborate setting of it in McGibbons Collection of % Scots Tunes published in London 1755 consisting of four original % parts apparently, and fifteen variations. While preserving the same % strain, but more suitable to our purpose, O'Farrell's setting of much % later date is here presented. % A tune known to me as "Jenny Rock the Cradle" was declared to=20 % be "Jacky Latin" by a musical acquaintance, and it was under the=20 % latter name it was printed in O'Neill's Dance Music of Ireland in=20 % 1907 % If both tunes were derived from Jackson's original composition, they % furnish a striking illustration of how time, taste, and development=20 % diversify a strain of music in a few generations. % [SEE JENNIE ROCK THE CRADLE #220] X:224 T:Jennie Rock the Cradle (#220) M:4/4 L:1/8 S:Capt. F. O'Neill R:Reel K:D (3ABc|dAFA DAFA|dAFG A2 (3ABc|dAFA DAFA|GFEF G2 (3ABc| dAFA DAFA|dAFG A2 (3ABc|dBcA BGAF|GFEF G2|| FE|DFAc BGAF|DFAB A2 AF|DFAc BGAF|GFEF G2 FE| DFAc BGAF|DFAB A2 (3ABc|dBcA BGAF|GFEF G2|| AG|(3FED AD BDAD|(3FED AB A2 AG|(3FED AD BDAD| GFEF G2 AG|(3FED AD BDAD|(3FED AB A2 (3ABc| dBcA BGAF|GFEF G2|| % % [SEE NOTES TO JACK LATTIN #219] X:225 T:Moniemusk Reel (#221), The M:4/4 L:1/8 S:Capt. F. O'Neill R:Reel K:G e|dGBG dGce|dGBG ABce|dGBG Bcdg|ecAd BG G2:| |:gddg Bgdg| gdcg BgAf|gdeg dgBg|ecAc BG G2:| |:gdBd edBd|gdBd eA A2|1gdBd edBc|dcAc BG G2:| 2gefd ecdc|BcAc BG G2||g2 gf g2 (3def| g2 fg ef d2|g2 af g2 dc|BcAc BG G2|g2 gf g2 (3def| g2 fg ef d2|gefd ecdc|BcAc (3BAG (3gfe|| % % The origin or meaning of the name of this popular tune defied=20 % investigation and inquiry for many years. Eventually a glance % thru the pages of McGoun's Repository of Scots and Irish Airs, % Strathspeys, Reels, etc., Glasgow 1803, led to the solution of % the puzzle. Among the contents was "Sir Archibald Grant of % Moniemusk's Reel". The popular name Moniemusk was that % of an estate, and the full name of the reel being inconveniently % long, it was abbreviated to "Moniemusk" and the rest of the=20 % name forgotten. The first and second parts as above noted % constitute the original tune composed by Daniel or Donald=20 % Dow, a musician of note who died at Edinburgh in 1783. % The third was substituted for the more difficult second by modern % fiddlers, and the fourth, the editor memorized from the playing of % Wm. McLean, the greatest Highland piper of his day in Chicago, % some fifty years ago.=20 X:226 T:Charming Mary Kelly (#222) M:4/4 L:1/8 S:Capt. F. O'Neill R:Reel K:D A/2G/2|:FD (3DDD d2 AB|cAGF EFGE|1FD (3DDD d2 AB|cAGE FD D2:| 2DFEG FABd|cAGE FD D2||:Addc d2 ed|cAGF EFGE|1Addc d2 cd| eaag ed d2:|2DFEG FABd|cAGE FD D2|| X:227 T:Early Rose (#223), The M:4/4 L:1/8 S:Rice-Walsh manuscript R:Reel K:G G2 BG FGAc|Bdef g2 dg|ecAG FGAc|BGAF GFED| DGBG FGAc|Bdef g2 dg|ecAG FGAc|BGAF G2|| Bd|g2 gg a2 aa|bgaf g2 dg|egfa g2 dg|ecAF GFED| gbag fagf|egfa g2 dg|egfa g2 ga|bgaf gedB|| X:228 T:Bashful Beau (#224), The M:4/4 L:1/8 S:Rice-Walsh manuscript R:Reel K:G defg fcdB|AD (3FED FAdc|BEEF GABc|dBAc BE E2| Bdef d2 dB|AD (3FED FAdc|BEEF GABc|dBAc BE E2|| e2 ef g2 fe|defg afdf|e2 ef gfge|dBAc BE E2| e2 ef g2 fe|defg afdf|gabg fagf|(3efg fa gfge|| X:229 T:Because I Was a Bonnie Lad (#225) M:4/4 L:1/8 S:Aird's Selections 1782-97 R:Reel K:A e||"tr"c>BAa (3fga ec|d>fec B3 B|cBAa (3fga ec|d>fec A2 A:| e|"tr"c>BAc defd|cAec (3BBB B2|c>BAc def^g|afec (3AAA A2| cAeA fAea|cAec (3BBB Bf/2^g/2|af^ge fdec|dfec (3AAA A|| X:230 T:Bonnie Lad (#226), The M:4/4 L:1/8 N:(Warpipe Style) S:Capt. F. O'Neill R:Reel K:D G|FEDF AdAF|(3GAB AF E2 EG|1FEDF AdAF|(3GAB AF D2 D:| 2dBcA BGAF||:(3GAB AF D2 D||:G|(3FED AD BDAD|(3FED AF E2 EG| 1(3FED AD BDAD|(3GAB AF D2 D:| 2dBcA BGAF|(3GAB AF D2 D|| X:231 T:Smiling Susan (#227) M:4/4 L:1/8 S:Capt. F. O'Neill R:Reel K:G AB|cABG AGEF|G2 Bc dBGB|cABG AGED|EAAB A2:| AB|cdef g2 ef|gage dBGB|cdef gfed|eaab a3 B| cdef g2 ef|gage dBGB|cABG AGED|EAAB A2|| X:232 T:Fairy Hurlers (#228), The T:Walsh's Favorite M:4/4 L:1/8 S:Joseph P. Tamony & John Kelly, San Fran. R:Reel K:C AB|c2 gc acgc|~c2 ge dBGB|(5c/2d/2c/2B/2c/2 gc acgc|fage dBGB| c2 gc acgc|sBcs ge dcBd|c2 gc acgc|seas ge sdBs GB|| A2 (3cBA .e.A.c.A|(3AAA ge dBGB|A2 (3cBA eAcA|sgfgsd BGGB| A2 (3cBA eAcA|~A2 sges dBGB|A2 (3cBA .e.A.c.A|(5g/2a/2g/2f/2g/2 gd BGGB| |:scdefs sgfges|scdecs sdBGBs|scdefs sgfges|afge dBGB:| |:(3cBA eA fAeA|(3cBA eA dBGB|(3cBA eA fAeA|(5g/2a/2g/2f/2g/2 gd BGGB:| |:Aceg ^fdec|Acec dBGB|sAcegs s^fdefs|gfge dBGB:| |:(3cBA eA (3cBA eA|(3cBA eA .d.B.G.B|(3cBA eA (3cBA ef|gfge dBGB:|| % % According to legendary lore the fairies or good people enjoy the same % activities and pastimes, especially hurling and dancing, as they did=20 % before being called to another life. Many a tale is told of their=20 % kidnapping a competent piper when necessary to entertain them=20 % at their festivities in the subterranean they are said to occupy=20 % within the ancient raths or forts so numerous all over Ireland.=20 % The Fairy Faith survives. X:233 T:Maids of Tipperary (#229), The M:4/4 L:1/8 S:Pat. Dunne manuscript R:Reel K:D AF (3FFF AFdB|AF (3FFF BE (3EEE|AF (3FFF AFdF|(3DDD DE FD D2:| defg abag|fded fdBc|defg abag|fdec (3ddd d2| defg abag|fded fdBc|defg abag|fdec Ad d2|| X:234 T:How We Spent the Christams (#230) M:4/4 L:1/8 S:Capt. F. O'Neill R:Reel K:D df|eA (3AAA BG (3GGG|(3AGA fe dB (3BBB|eA (3AAA BG (3GGG|Agfe d2:| |:de|"tr"fdfa "tr"fdfa|eddf dB B2|1"tr"fdfa "tr"fdfa| edeg d2:|2ABAF ABdf|afef d2|| X:235 T:I Wish You Would Marry Me Now (#231) M:4/4 L:1/8 S:Preston's Collection of Scots Reels and Country Dances 1768 R:Reel K:C EAAB c2 ce|dcBA GABG|AE E/2E/2E c2 ce|dBgB A/2A/2A A2:| agea geae|fedg BGdB|agea geae|gdgB A/2A/2A A2| agea geae|gedg BGdB|cAdB ecae|gegB A/2A/2A A2|| X:236 T:Factory Lass (#232), The M:4/4 L:1/8 S:Miss Theresa Geary, Chicago R:Reel K:D de|fedB A2 FA|BAGB AFDg|fedB A2 GF|Eeed e2 ag| fedB A2 FA|BAGB A2 FA|BcdB cdeg|fdec d2:| |:de|fgaf g2 ag|fgaf fd A2|BABc dedc|Beed cd e2| 1fgaf g2 ag|fgag fd A2|BABc dfag|fdec d2:| 2fgaf bgaf|gefd edBc|BABc dfag|fded d2|| % % "The Factory Lass" was first heard by the editor at Gaelic Park % Chicago on July 4th, '22. It was cleverly rendered in concert by % Mr. Mullaney, Miss Geary, and Mr. McGrath, on the Irish or Union % Pipes, Violin, and Flute, respectively. The similarity of strain,=20 % especially in the the first part, to that of the "Home Made Reel" % which follows [#233] may be noticed. X:237 T:Home Made Reel (#233), The M:4/4 L:1/8 S:Capt. F. O'Neill R:Reel K:D de|fedB A2 FG|AFBF A2 de|fedB A2 FA|Beef e2 de| fedB A2 FG|AcBG A2 de|fefd BAFA|Bdde d2:| |:de|fdad fddg|fdaf e2 de|1fdad fddA|Bdde d2:| 2faaf gabg|afef d2|| % % SEE NOTES TO FACTORY LASS [#232] X:238 T:Joyful Hour (#234), The M:4/4 L:1/8 S:Capt. F. O'Neill R:Reel K:F ABAG FGAB|cdcA BdcB|ABAG FGAg|f"tr"de^c Ad d2:|| defg a"tr"fg"tr"e|f"tr"dcA FGAc|defg a"tr"fg"tr"e|f"tr"de"tr"^c Ad d2| defg a2 g"tr"e|(3fga g"tr"e f2 df|a"tr"fg"tr"e abag| f"tr"de"tr"^c Ad d2|| X:239 T:Redmond's Frolics (#235) M:4/4 L:1/8 S:Rice-Walsh manuscript R:Reel K:G GABc dBcB|AFDc BcAF|GABc dBcB|AFDF AG G2| GABc dBcB|AFDc BcAF|GABc dBcB|AFDF AG G2|| g2 ag fgag|fdde f2 af|gfgf g2 ag|fdcA BG G2| g2 ag fgag|fdde f2 af|gfgf gbag|fdcA BGAF|| X:240 T:Rose Garden (#236), The M:4/4 L:1/8 S:Rice-Walsh manuscript R:Reel K:G EFGA BE E2|GBAG FDEF|GFEF GABc|1dfe^c dBAF:|2dBAF GE E2|| e2 ee (3efg fe|fedc defg|afgf efga|bgaf ge e2| efga bgaf|(3efg fe defg|(3fgf (#efe dfe^c|dBAF GE E2|| X:241 T:Turkey in the Straw (#237) M:4/4 L:1/8 S:John McFadden R:Reel K:G sBAs|G E2 F EDB,C|DEDB, DEGA|"tr"sBAsBc dBGA|B A2 G AcBA| G E2 F EDB,C|DEDB, DEGA|B d2 e dBGA|BGAF G2|| GA|B d2 e dBGA|Bdde dcBA|Bdef gfed|BA (3Bcd e2 ef| "tr"gfge dged|BdAG E2 GA|BdAG EDB,D|E G2 A G2|| % % "Turkey in the Straw", or "Old Zip Coon", as played nowadays may % suit the rapid movements of buckdancers, but the frenzied rhythm % is ruinous to the melody. Rendered after the manner of the famous=20 % Dan Emmett of Bryant's Minstrels, in slow reel time, this popular tune % acquires a much enhanced appeal. Emmett, it will be remembered,=20 % was the author of the immortal "Dixie", and it was his version of=20 % "Turkey in the Straw" which we obtained from John McFadden of % the Chicago Irish Music Club , that is here presented. % The origin of this favorite of our fathers is wrapped in even deeper=20 % mystery than that of "Yankee Doodle". Under the title "Old Zip % Coon" the tune appeared in Howe's Collections about the middle % of the 19th Century, and possibly earlier. The first gleam of light on % the question of how the old title eventually yielded to the popularity % of the new name, came through a chance conversation while fishing % in 1920 with a northern tourist at Ocean Springs, Mississippi. The=20 % latter confidently informed me that Alderman Silas Leachman of=20 % Chicago, a native of Kentucky, was the author of "Turkey in the % "Straw" - both words and music ! The melody I knew was older than=20 % the Alderman's grandfather, yet here was a lead worth investigating, % for it was his melodious voice that first brought him to prominence. % An interview with the talented official at Chicago a month later % confirmed the statement that he was indeed the author of one song % of that name, the best of several others on the same theme. One=20 % question was settled. The popularity of the modern song relegated % to obscurity the the named of the ancient tune. The pioneers or early % settlers of West Virigina, Kentucky and Tennessee were largely of % Irish ancestry, and obviously their music or tunes more or less varied % by fancy, and defective memorizing from one generation to another, % were of Irish origin. Fiddling and dancing being inseparable from all=20 % festivities and important events, the tunes became much more % diversified, but the swing and spirit of the Gael however was always=20 % discernable in their reels and quadrilles, and so continues to the % present day. % For the convenience of musical antiquaries who may be interested=20 % in the subject, an old Irish March, or Jig, "The Kinnegad Slashers" % to which is sung "The Land of Sweet Erin", is herewith submitted % as a tune from which "Old Zip Coon" or "Turkey in the Straw"=20 % could have been derived or evolved. A third part added later by % musicians is not essential in this illustration. [SEE TUNE #237B]=20 X:242 T:Kinnegad Slashers (#237b), The M:6/8 L:1/8 S:O'Farrell's Pocket Companion 1804-10 R:Jig K:D B/2c/2|d>ed dAF|A>BA ABc|d>ed dAF|Eee e2 f| d>ed dAF|ABA A2 g|f>ef dBA|Bdd d2:| |:A|dfa afd|cde ecA|dfa afd|faa a2 A| dfa afd|cde eag|fef dBA|Bdd d2:|| % % [POSSIBLE ORIGIN OF "Turkey in the Straw". % SEE NOTES TO TUNE # 237.] X:243 T:Arkansas Traveler (#238), The M:4/4 L:1/8 S:Capt. F. O'Neill R:Reel O:%% K:G d2|GBAG E2 GE|D2 DD E2 G2|ABAG "tr"B2 BG|ABAG "tr"E2 D2| GBAG E2 GE|D2 DD G2 Bd|gfgd (3efg dc|BGAF G2|| Bc|dcBd cBAc|BAGB AFDF|GEGB AFAc|BAGB A2 Bc| dcBd cBAc|BAGB AFDF|gfgd (3efg dc|BGAF G2|| % % Vying in popularity with "Turkey in the Straw", another American % favorite claims our affection. Famous in song and story its origin % has baffled investigation. An exhaustive research conducted by % Dr. H.C. Mercer, an official of Buck's County Historical Society % (Doylestown, Pa) relating to its history and antecedants failed of % its purpose. All lines of inquiry extending to Kentucky, Arkansas, % and Louisiana, ended in contradiction, and uncertainty. Furthermore, % the quaint dialogue between the "Traveler" and the backwoods=20 % fiddler was based on nothing more substantial than a fertile % imagination. The opening paragraph of Dr. Mercer's essay published % in the Century Magazine -On the track of the Arkansas Traveler- is % well worth quoting: % "Sometime about the year 1850 the American musical myth % known as "The Arkansas Traveler" came into vogue among % fiddlers. It is a quick reel tune with a backwoods story % talked to it while played, that caught the ear at sideshows % and circuses, and sounded over the trodden turf of fair=20 % grounds. Bands and foreign-bred musicians were above % noticing it, but the people loved it, and kept time to it,=20 % while tramps and sailors carried it across the seas to vie=20 % merrily in Irish cabins with "The Wind that Shakes the Barley" % and"The Soldier's Joy". % Though classed as a reel, the tune as printed with Dr. Mercer's clever % essay and elsewhere, is scored as a Buckdance, and in a key much % too low for certain instruments. The editor who is responsible for the % setting above presented ventures to suggest that like "Old Zip Coon" % or "Turkey in the Straw", "The Arkansas Traveler" had been evolved % from a venerable Irish strain by some backwoods fiddler whose identity % is lost in the oblivion which engulfed the composers of the multitude %of Irish melodies that have survived many influences inimical to their % preservation. % Among the probable sources from which the tune in question may have % been derived are the following examples: % [SEE TUNES # 238A - 238B - 238C]=20 X:244 T:Priest and His Boots (#238-A), The M:6/8 L:1/8 S:O'Neill's Dance Music of Ireland 1907 R:Jig K:D c/2d/2|e2 e e2 e|efd cBA|dcd fed|cAc e2 c/2d/2| efe efe|efd cBA|dcd fga|gec d2:| |:f/2g/2|afa geg|fdf ecA|dcd fed|cAc e2 f/2g/2| "tr"a2 f "tr"g2 e|"tr"f2 d ecA|dcd fga|gec d2:|| % % As "The Priest in His Boots" and "The Parson in his Boots", this=20 % tune was printed in six different Collections of Music between the % years 1765 and 1809 at Edinburgh, London, and Dublin. The dullest % ear can discern the Similarity of strain in the second parts of "The=20 % Priest and his Boots" and "The Arkansas Traveler".=20 % [SEE NOTES TO ARKANSAS TRAVELER, # 238.]=20 X:245 T:Johnny With The Queer Thing (#238-B) M:4/4 L:1/8 S:O'Neill's Dance Music of Ireland 1907 R:Reel K:D defd B2 dB|AD (3FED FAAB| defd B2 dB|ABdf gfef| dfed BcdB|AD (3FED FA A2|dfed B2 dB|ABdf "tr"e2 d2|| faag fddf|gfga beeg|faaf gedB|ABdf "tr"e2 d2| faag fddf|gfga bgeg|agfe dcBc|ABdf "tr"e2 d2|| % % Compare the first part of "The Arkansas Traveler" with the first % part of "Johnny with the Queer Thing" above, which is No. 559 % in O'Neill's Dance Music of Ireland. % [SEE NOTES TO #238 AND #238-A] X:246 T:Queen's Shilling (#238-C), The M:4/4 L:1/8 S:O'Neill's Dance Music of Ireland 1907 R:Reel K:G D2|G2 sG>Bs dBGB|dBeB dBAB|G2 sGBs d2 sBds|(3efg sdBs AcBA| G2 sGBs dBGB|dBeB dBAB|G2 sGBs dBGB|(3efg dB A2|| ga|b2 gb a2 fa|g2 segs sfds B2|b2 gb a2 fa|gfef d2 ga| bagb agfa|gfef dega|bgaf gfed|(3efg dB AcBA|| % % A study of another fine old reel, No. 752 of O'Neill's Dance Music=20 % of Ireland, named "The Queen's Shilling", but known in Scotland % as "Lady Mary Ramsay" fosters the idea that perhaps there was=20 % nothing so very remarkable after all in the Traveler's completing % the tune for the pioneer Paganini. % [SEE NOTES TO TUNE # 238, ARKANSAS TRAVELER] X:247 T:Cameron House (#239) M:4/4 L:1/8 S:Aird's Selections 1782-97 R:Reel K:C A/2B/2|EAAB cB A2|GGGA Bd c/2B/2A/2G/2|EAAB cAca|ge e/2d/2c/2B/2 cAA:|| e|a"tr"bc'a ee a2|gedg BGGe|a"tr"bc'a ee a2|ge e/2d/2c/2B/2 cAAe| a"tr"bc'a ee a2|gedg BGGB|ceAe aec'a|ge e/2d/2c/2B/2 cAA|| X:248 T:Sweet Molly (#240) M:4/4 L:1/8 S:O'Farrell's Pocket Companion 1804-10 R:Reel K:G EEBE dEBe|dBAF DEFD|EEGE dEBe|dBAF BE E2:|| Beef gfed|(3Bcd AF DEFD|Beef gfed|BdFA BE E2| Beef gfed|(3Bcd Af defa|"tr"afge fde^c|dBAF BE E2|| X:249 T:Lady Harriot Hope's Reel (#241) M:4/4 L:1/8 S:McGoun's Repository, 1803 R:Reel K:F A|:FA