The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

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AN - AP

 

 

Notation Note: The tunes below are recorded in what is called “abc notation.” They can easily be converted to standard musical notation via highlighting with your cursor starting at “X:1” through to the end of the abc’s, then “cutting-and-pasting” the highlighted notation into one of the many abc conversion programs available, or at concertina.net’s incredibly handy “ABC Convert-A-Matic” at

http://www.concertina.net/tunes_convert.html 

 

**Please note that the abc’s in the Fiddler’s Companion work fine in most abc conversion programs. For example, I use abc2win and abcNavigator 2 with no problems whatsoever with direct cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s into the concertina.net converter results in double-spacing. For concertina.net’s conversion program to work you must remove the spaces between all the lines of abc notation after pasting, so that they are single-spaced, with no intervening blank lines. This being done, the F/C abc’s will convert to standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth it.   [AK]

 

 

 

AN... The Gaelic word for "The...". See listing under the second word of the title.

                       

AN ALARCH. Breton. Archie Fisher adapted the tune for his version of the song “The Twa Corbies,” although Jack Campin maintains it was a pairing first invented by Morris Blythman.

                                   

AN DRO. Breton, Dance Tune.

X:1

T:An dro

M:4/4

L:1/4

Q:1/4=80

S:Jean-Michel Veillon

R:An dro

K:G

B B/c/ B B/G/ | A A/G/ F/G/F/E/ | B B/c/ BB/G/|1 AG/A/ FE :|2 AG/A/

F>G|

|:E F/G/ A A/B/| A G/A/ B/c/B/G/ | E F/G/ A B/A/ | G E/A/ A/G/F/G/|

E F/G/ A A/B/ | A G/A/ B/c/B/G/ | E F/G/ A B/A/ | G/E/F/D/ EE:|

                       

AN E DO TOIL E? AKA and see " Are You Willing."

 

AN ECHO FROM LEINSTER. Irish, Hornpipe. D Major/Mixolydian (O’Neill): D Major (Cranford). Standard tuning. AABB. Source for notated version: Winston Fitzgerald (Cape Breton), who according to Paul Cranford may have rearranged the tune from O’Neill or from a Sean Ryan 78 RPM recording [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 29, pg. 11. O'Neill (Music of Ireland: 1850 Melodiess), 1903/1979; No. 1672, pg. 311.

 

AN HONOURABLE PEACE. Scottish, Medley. E Minor. Standard tuning. AAB. Composed by Donald Dow. Carlin (The Gow Collection), 1986; No. 394.

                       

AN IRISH LILT. Irish, Double Jig. D Major. Standard tuning. AABB. O'Neill (1915 ed.), 1987; No. 184, pg. 101.

                       

AN IRISH LULLABY. Irish, Air (2/4 time). G Major. Standard tuning. AABB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 346, pg. 60.

X:1

T:An Irish Lullaby

M:2/4

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 346

Z:AK/Fiddler’s Companion

K:G

G|GA Bc/d/|ec dB|cd B2|cd B2|GA Bc/d/|ed/c/ dB|GB A2|G{c}B A:|

|:de/f/ gf/g/|ag ed|BG A2|BG/B/ A2|de/f/ gf/g/|ag ed|DE G2|DE/F/ G:|

                       


AN OLD MAN HE COURTED ME (WILL YOU LOVE, CAN YOU LOVE; AN OLD MAN HE COURTED ME, TAKE ME AS I AM) [1]. Irish, Air (6/8 time). E Flat Major. Standard tuning. AB. Stanford/Petrie (Complete Collection), 1902; No. 527, pg. 133.

X:1

T:An old man he courted me, will you love, can you love;

T:An old man he courted me, take me as I am. [1]

N:”Moderato”

M:6/8

L:1/8

S:Stanford/Petrie (1905), No. 527

Z:AK/Fiddler’s Companion

K:E_

B, | B, EE FEE | B (c/B/)(A/F/) B (A/F/)(E/D/) | B,EE FEE | E>FG/A/ B2 ||

G/A/ | Bec _dBA | GAF (ED).B, | B,AG AB (3A/F/D/ | FEE E2 ||

 

AN OLD MAN HE COURTED ME [2]. Irish, Air (3/4 time). F Major/Mixolydian. Standard tuning. One part. Source for notated version: “From (the Irish collector) Mr. Joyce” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 528, pg. 133.

X:1

T:An old man he courted me [2]

M:3/4

L:1/8

N:”Andante”

S:Stanford/Petrie (1905), No. 528

Z:AK/Fiddler’s Companion

K:F

F>G | A2A2A2 | B2G2G2 | F4 F2 | B2G2 EF/G/ |

 

AN OLD MAN HE COURTED ME [3]. Irish, Air (6/8 time). G Major. Standard tuning. AB. “The setting I gave to Dr. Petrie long ago is in Staford/Petrie with my name: but I think the following version better:
***

An old man he courted me fond and lovingly,

An old man he courted me—believe me if you can,

An old man he courted me—to my sorrow he married me,

So, maids, never while you live wed an old man.

***

Joyce (Old Irish Folk Music and Songs), 1909; No. 228, pg. 111.

X:1

T:An old man he courted me

M:6/8

L:1/8

R:Air

N:”Spirited”

S:Joyce – Old Irish Folk Music and Songs  (1909)

Z:AK/Fiddler’s Companion

K:G

GF|DGG AGG|de/d/c/A/ cd/c/A/F/|DGG AGG|G/F/G/A/B/c/ d2||B/c/|

dge =fdc|BcA GFD|DdB cd (3c/A/F/|AGG G2||

                       

AN OLD MAN IS A BED FULL OF BONES. English, Country Dance (Longways for as man as will). The melody is quite old and was considered part of the traditional repertoire in John Playford's day (Pulver, 1923). Playford, English Dancing Master (1651). Raven (English Country Dance Tunes), 1984; pg. 44. Familiar Records FAM 47, Pyewackett ‑ "7 to Midnight" (1985).

           

AN OLD WOMAN CLOTHED IN GRAY. AKA and see "Unconstant Roger," "Let Oliver now be forgotten," "How unhappy is Phillis in love." English, Air (6/8 time). G Minor. Standard. One Part. According to Chappell (1859) the air appears in a manuscript of 1662, and also has appeared in Salter's Genteel Companion for the Recorder (1683), Lady Catherine Boyd's MS. Lyra Viol Book, Henry Carey's Musical Century (vol. ii), John Gay's Beggar's Opera (1728, where it appears as "Through all the employments of life"), Humours of the Court (1732), and Walsh's Dancing Master, among other publications (see Chappell {1859}).  A popular tune, state Chappell (1859) and Pulver (1923), to which the number of appearances in period publications attests; it was used for numerous political ballads, especially around the turbulent year 1680, and appears under different titles in many ballad operas of the early 18th century. The original song begins:

***

An old woman clothed in gray

Whose daughter was charming and young,

But chanced to be once led astray

By Roger's false flattering tongue.

***

It appears in Playford's Dancing Master under the title "Unconstant Roger" after the Roger in the song. Chappell (Popular Music of the Olden Time), vol. 2, 1859; pgs. 120‑121. Howe (1000 Jigs and Reels), c. 1867; pg. 152. Raven (English Country Dance Tunes), 1984; pg. 50.

X:1

T:An Old Woman Clothed in Gray

L:1/8

M:6/8

S:Chappell – Popular Music of the Olden Time  (1859)

Z:AK/Fiddler’s Companion

K:G Minor

B3|ABG ^F=EF|G3 B3|ABG ^F=EF|G3B3|ABG ^F=EF|G3B3|ABG ^F=EF|(G3G2)A/B/|

cBA cBA|(c3c2)B/A/|Bcd edc|(d3d2) A/B/|cBA cBA|c3B3|ABG ^F=EF|G3||

                       

AN OLD WOMAN POOR AND BLIND. English, Air (6/8 time). C Minor. Standard tuning. AB. Cappell has discovered the earliest printing of the tune to be by W. Thackeray in the reign of Charles II, and later by Playford in "Pills to purge Melacholy" (all editions), "The Village Opera" (1729), and "The Fashionable Lady" (1730). Numerous other ballads were written to the air, including the titles "The Cries of London," "The Crafty Cracks of East Smithfield," "The Toothless Bride," "'The Deptford Plumb Cake' or 'The Four Merry Wives,'" and "Here's a Health to great Eugene." Chappell (Popular Music of the Olden Time), vol. 2, 1859; pg. 82.

X:1

T:An Old Woman Poor and Blind

M:6/8

L:1/8

R:Air

S:Chappell – Popular Music of the Olden Times  (1859)

Z:AK/Fiddler’s Companion

K:C Minor

G|c2c =B2B|c2c G2G|AGF G2G|C2z z2G|c2c =B2B|c2c G2G|AGF G2G|(C3 C2)||

D|E2E E2E|B2B B2=B|c2d e2c|(=B3 B2) c/d/|e2e d2d|c2c =B2G|AGF G2G|(c3 c2)||

                       


AN OSSIANIC AIR. AKA ‑ "An Air to Which Ossian is Recited," "Fonn gnathaichte do bhriathraibh Oisein." Scottish, Slow Air (6/8 time). A Major. Standard tuning. AAB. The tune "is also a favourite Ossianic measure, to which the editor has heard a great many fragments of the original recited. He had, however, previously acquired the air, as handed form Alexander Fraser of Leadclune, patronimically Alaster Mac Iluistein, who lived during the last century, and was the progenitor of the present Alexander Fraser, Esq. of Lincoln's Inn &c. He was a sterling reciter of Ossian, and a bard, whose genius, sentiments, and principles (as appears from a beautiful poem to this air, and many others), would have done honour to a more advanced stage of society" (Fraser). Fraser, 1874; No. 28, pg. 10.

                       

AN THE KIRK WAD LET ME BE.  Scottish, Air (3/4 time). G Major. Standard tuning. AABBCCDDEEFF. McGibbon (Scots Tunes, Book 1), c. 1762; pgs. 18-19.

X:1

T:An the Kirk wad let me be

M:3/4

L:1/8

R:Air

N:”Slow”

S:McGibbon – Scots Tunes, Book 1 (c. 1762)

Z:AK/Fiddler’s Companion

K:G

G3AG2 | B2d2e2 | {e}d2 (cB)(AG) | “tr”A4G2 | A2B2d2 | “tr”e4 (d/e/g) | G2B2d2 |

g2f2e2 | d2 (cB)(AG) | A2B2d2 | B2 (cB)(AG) | “tr”E4 D2 :: g2d2g2 | g3 aga |

“tr”f3ed2 | (e2d2)B2 | g3 abc’ | “tr”{b}a4 g2 | g2d2g2 | b2a2g2 | “tr”f3ed2 | e2f2g2 |

{e}d2 (cB)(AG) | “tr”{B}A4G2 :: d6 | (ed)(cB)g2 | {e}d2 (cB)(AG) | “tr”{B}A4G2 |

“tr”a4 (gf) | e2 “tr”(f2{e/f/}g2) | G2B2d2 | g2 (ag)”tr”(fe) | d2 (cB)(AG) | A2B2 (A/B/d) |

B2 (cB)(AG) | “tr”E4D2 :: g>a b2g2 | d2g2b2 | {b}a2 (gf)(ed) | (e2d2)b2 | g>fg>ab >c’ |

“tr”{b}a4 g2 | b 2 gabg | a2 fgaf | (gf)(ef)(ge) | (dcB)(cd)B | g2d2 B>c | “tr”{B}A4G2 :|

M:9/8

L:1/8

N:”Brisk”

G>AG Bde dBG | “tr”A2G ABd “tr”e2g | GAB gfe dBG | ABd cAG “tr”E2D :|

|: gdg g>ag “tr”fed | edB gab “tr”a2g | g>ag bag “tr”f>ed | (e/f/g)e dBG “tr”A2G :|

                       

AN THOU WERE MY AIN THING. AKA and see "Gin thou wert mine awn thing," "A Scotch Song." Scottish, Air. A Major. Standard tuning. AABBCCDDEE. The air appears under this title in "Orpheus Caledonius" (1725‑6), and in John Gay's Beggar's Opera (1728) under the title "Oh what pain it is to part." Thomson, in his first edition of Orpheus Caledonius, credits the tune to David Rizzio (who was Queen Mary's secretary and a lutenist and singer of repute), but deletes this credit in his second edition in 1733. Whether or not Rizzio wrote the tune, collected it from popular tradition, or had nothing to do with it is conjecture. McGibbon (Scots Tunes, book III), 1762; pg. 83.

X:1

T:Ann thou were my ain thing

M:C

L:1/8

R:Air

N:”Slow”

S:McGibbon – Scots Tunes, book III, pg. 83  (1762)

Z:AK/Fiddler’s Companion

K:A

F2 | E3F (A>B)(c>d) | “tr”B3A F2cB | A2E3A2c>d | (e>d)”tr”(c>B) A2 ({c/d/}e2) | “tr”E3F (A>Bc)A |

“tr”B3A F2(fa) | ({f}e3)c (dc)”tr”(B>A) | A4 ({A/B/}c2) :: (c>d) | ({c/d/}e2)E2E2(c>d) | “tr”B3AF2EF |

A2e2”tr”e3f | e>fed ({d}c2”tr”(BA) | d>efd c>dec | (dc)”tr”(BA) F2 ({f/g/}a2) | ({f}e3c (dc)”tr”(B>A) |

A4 ({A/B/}c2) :: F2 | (AFE)F (AGAB) (ABcA) | B>c (Bc)(BA) F2 (cB) | A(FEF) (AB)(cd) |

e>d”tr”c>B A(c/d/ e/c/d/e/) | (AFEF) (A/G/A/B/) (A/B/c/A/) | (B/A/B/c/) (B/c/”tr”B/A/) F2 (fg/a/) |

({f}e3)c (dc)”tr”(B>A) | A4 ({A/B/}c2) :: c>d | (ecA)d (c/B/c/d/) ec | (B/A/B/c/) (B/c/”tr”B/A/) F2 (EF) |

A(A/B/ c/B/c/d/) e3f | e>f (e/f/)(e/d/) ce (cB/A/) | d/c/d/e/ f)d (c/B/c/d/ e)c | dc B/(c/”tr”B/A/) F(f/g/ a/f/g/a/) |

({f}e3)c (dc)”tr”(B>A) | A4 ({A/B/}c2) :|

                       

AN TRÍ IS A RIAN.  Irish, Hornpipe. G Major. Standard. AA’BB’. Source for notated version: County Kerry fiddler Denis Murphy [Breathnach]. Breathnach (CRÉ V), 1999; No. 217, pg. 105. Capelhouse CD 896012, “James Kelly.”

 

AN UGLY CUSTOMER. Irish, Reel. A Major. Standard. AB. Source for notated version: Kissane [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 1373, pg. 256. O'Neill (Krassen), 1976; pg. 127.

X:1

T:Ugly Customer, An

M:C|

L:1/8

R:Reel

S:O’Neill – Music of Ireland (1903), No. 1373

Z:AK/Fiddler’s Companion

K:A

EAcA eAcA | EAce dB B2 | EAcA eAcA | afed cABG | EAcA eAcA |

EAce dBBg | {b}agae faec | dBed cA A || e | {b}agae fefg | afec dBBe |

{b}agae faec | dBed cAAe | {b}agae faec | {e}dBcA BF F2 | EFED EFAB | cdBd cA A2 ||

                       

AN YE HAE BEEN WHERE I HA’E BEEN (YOU WOULD NOT BEEN SO CANTY). AKA and see "If You Had Been Where I Have Been." Scottish, Country Dance Tune; New England, Polka. D Major. Standard. AABB. Aird (Selection), vol. II, 1782; No. 57, pg. 21. McGibbon (Scots Tunes, book II), c. 1746; pg. 43. Miller & Perron (101 Polkas), 1978; No. 37.

X:1

T:An Ye Hae Been Where I Ha’e Been

M:2/4

L:1/8

S:Aird, vol. II (1782)

Z:AK/Fiddler’s Companion

K:D

(d/e/) | f2 (g/f/e/d/) | g2 (a/g/f/e/) | fe/f/ g/f/e/d/ |

fa z d/e/ | f2 {a}gf/e/ | g2 {a}gf/e/ | f/g/a e>d | B d2 :|

|: f/g/ | aA AB/=c/ | BA/B/ G(f/g/) | aA aA | fa z (f/g/ |

a)AAB/c/ | (d/c/)(B/A/) Gg | (fg/a/) e>d | B d2 :|

X:2

T:An ye had been where I have been you would not been so canty

M:C|

L:1/8

R:Air

N:”Lively”

S:McGibbon – Scots Tunes, book II, pg. 43 (c. 1746)

Z:AK/Fiddler’s Companion

K:D

(d/e/) | f2 ({g}f)(e/d/) g2 ({a}g)(f/e/) | f(e/f/) (g/f/)(e/d/) fa z(d/e/) | f2 ({g}f)(e/d/) g2 ({a}g)f/e/ |

(f/g/a) “tr”e>d Bd2 :: (f/g/) | aA A({A/B/}=c) BA/B/ G(f/g/ | a)AaA fa z(f/g/ | a)AA(B/=c) (d/c/(B/A) Gg |

(f/g/a) “tr”e>d Bd2 :: d/e/ | (f/e/f/)g/ (f/e/f/)d/ (g/f/g/)a/ (g/f/g/)e/ | “tr”(f/e/f/)g/ (f/e/f/)d/ fa z(d/e/) |

f(g/f/) (g/f/)(e/d/) g(a/g/) (a/g/)(f/e/) | (f/g/a/)f/ “tr”e>d Bd2 :: f/g/ | aA A(B/=c/) (B/=c/)(B/A/) G/(g/f/g/) |

(a/g/f/e/) (d/c/d/)e/ fa z(f/g/) | ({f/g/}a)A A/(=c/B/c/) (d/=c/)(B/A/) G/(g/f/e/) | (f/g/a/)d/ “tr”e>d Bd2 :|

                       

ANACH CUAIN [1]. AKA – “Eanach Dhúin.” Irish, Double Jig. E Dorian. Standard. AAB. Jackie Small, in his notes to the tune in CRÉ V, says the tune was originally a song air, arranged as a dance tune. The song was composed by the poet Raiftearaí (Blind Rafferty), although Small thinks the air probably predated it. It tells of a tragedy in which nine people were drowned in the Corrib river, several miles from Galway City, in the year 1828. They had departed from Eanach Dhúin, on the eastern shore of Lough Corrib. Sources for notated versions: flute player Colm O'Donnell (b. 1962, Aclare, County Sligo, Ireland) [Flaherty]; fiddler Martin “Junior” Crehan (Mullagh, County Clare) [Breathnach] . Breathnach (CRÉ V), 1999; No. 49, pgs. 24-25. Flaherty (Trip to Sligo), 1990; pg. 14.

 

ANACH CUAN [2]. Irish, Slow Air (4/4 time). A Dorian. Standard tuning. One part. Words to the air were written by Blind Rafferty, the poet, born in 1784, and tell of a boating tragedy. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 40, pg. 37. Paul Dooley - “Rip the Calico.”

 

ANACH CUAIN [3]. Irish, Slow Air (3/4 time). E Dorian. Standard tuning.

X:1

T:Anach Cuain

R:Air

M:3/4

L:1/8

Q:70

Z:transcribed by Paul Keating

K:Edor

E EF|"Em"G2 "Bm"FE3/2 (3F/2E/2D/2|"Bm"d2 "Em"ef ed|

"Bm"B2 "D"AF "Em"EF|"Bm"D3 D "Em"EF|!

"Em"G2 "Bm"FE F(3F/2E/2D/2|"Bm"d2 "Em"e3/2(3f/2g/2f/2 e"Bm"d|

"Bm"{d}B2 "D"AF3/2 "Em"(3E/2F/2D/2 E|"Em"E3 B Be|!

"Em"e2 "Bm"fe Bc|"Bm"d2 "Em"ef ed|

"Bm"B2 "D"(3AGF "Em"EF|"Bm"D3 E "Em"EF|!

"Em"G2 "D"(3AGF "Em"E3/2 (3F/2E/2D/2|"Bm"d2 "Em"e3/2 (3f/2g/2f/2 e"Bm"d|

"Bm"B2 "D"AF3/2 "Em"(3E/2F/2D/2 E|E3 ||!

           

ANACREON. English, Air (6/4 time). D Major. Standard tuning. One part. The model tune for the United States national anthem, “The Star Spangled Banner.” It was named after a popular gentleman’s club in London, the Anacreontic Society, itself named for Anacreon, a lyric poet who lived in Greece in the 5th century B.C., “a convivial bard.”  Like many gentleman’s clubs of the era, it was dedicated to “wit, harmony, and the god of wine.” The lyrics to the song (the first stanza of which appears below) were written by a past president of the society, Ralph Tomlinson, although the tune appears to have been cobbled together by several members of the club. The music was probably polished by member John Stafford Smith (1750-1836), a court musician.

***

To Anacreon in Heaven, where he fat in full glee,
A few fons of Harmony fent a petition,
That He their Infpirer and Patron would be;
When this anfwer arrived from the Jolly Old Grecian
"Voice, Fiddle, and Flute,
"no longer be mute,
"I'll lend you my Name and infpire you to boot,
"And, befides, I'll infruct you like me to entwine
"The Myrtle of Venus with Bacchus's Vine.

***

American publications of the tune appeared as early as 1798, set to various words, including an early effort of Francis Scott Key’s called “When the Warrior Returns,” honoring the successful American naval expedition to punish the Barbary pirates. Thus, Key was familiar with the melody as a song vehicle when, in 1814, he wrote his more famous lyric after the battle of Fort McHenry in Baltimore harbor.

***

O’Farrell (Pocket Companion, vol. III), 1808; pg. 25.

X:1

T:Anacreon

M:6/4

L:1/8

R:Air

S:O’Farrell – Pocket Companion, vol. III (c. 1808)

Z:AK/Fiddler’s Companion

K:D

D2 | D2F2A2 d4 (fe) | d2F2G2 A4 A2 | f2e2d2c3Bc2 | d4 AG F D3 FE |

D2F2A2 d2d2 (fe) | d2F2G2A4 (ag) | f2e2d2 c4 Bc | d d3 A2F2D3d | f2g2a2 a4 (gf) |

e2e2f2g4 (fe) | f2e2d2 c3Bc2 | d2F2G2 A4A2 | d2d2d2B2B2B2 | ef (gf) ed {d}c4A2 |

d3 e(fg) a2f2d2 | f3g “tr”e2 d4 A2 | d2d2d2B2B2B2 | ef(gf)(ed) {d}c4A2 |

(dc)(de)(fg) {b}a2 (gf)ed | {de}f3g “tr”e2 d4 ||

                       

ANCIENT BARONS OF KELRAVOCK, THE (Barain Chulrabhaig). Scottish, Slow Air (4/4 time). E Flat Major. Standard tuning. AB (Hunter): AAB (Fraser). "This is complementary to the family of Colonel Rose of Kilravock, one of the most ancient and respectable in the north; a family who have for ages been celebrated not only as lovers of the science of music, but for uncommon proficiency and polished taste" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 183, pg. 75. Hunter (Fiddle Music of Scotland), 1988; No. 59.

X:1

T:Ancient Barons of Kilravock, The

T:Barain Chill-reathaig

M:C

L:1/8

R:Air

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:E_

(3E/D/C/|B,>A,G,>A, B,AGe|G>FE>F GCC (3E/D/C/|B,>A,G,>A, B,AGe|

[Ac]>[GB][GB][B,D] [G,3E3] (3E/D/C/|B,>A,G,>A, B,AGe|G>FE>F GCC (B/C/)|

G,EA,F B,AG(e|[Ge]>)([Ac] [Ac]>)([GB] [GB]):|

(3B/c/d/|~e>fg>e B>AGe|G>FE>F GCC (3B/c/d/|~e>fg>e b>geB|

[Ge]>([Ac] [Ac]>)([GB] [G2B2]) (B/c/4d/4 e/4f/4g/4)a/4|

(b/a/)(a/g/) (g/f/)(f/e/) (e/d/)(d/c/) (c/B/)(B/A/)|G>FE>F G>CC>D|

EcDB CAB,G|A,FB,D [G,3E3]||

           

ANCIENT IRISH MARCH. Irish, March (4/4 time). D Major. Standard tuning. AABC. The tune was originally published in the Hudson Mss. O’Neill (O’Neill’s Irish Music), 1915; No. 123, pg. 69.

X:1

T:Ancient Irish March

M:4/4

L:1/8