The Fiddler’s
Companion
© 1996-2008 Andrew Kuntz
_______________________________
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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]
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BRIDGE AT NEWTOWN, THE. Irish. Arhoolie C‑334, Seamus Connolly ‑
"Masters of the Folk Violin" (1989).
BRIDGE OF ALFORD [1], THE. Scottish, Reel. D Major. Standard
tuning. Composed by A. Troup in the 19th century.
Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 80, pg. 28.
BRIDGE OF ALFORD [2], THE. Scottish, Strathspey. G
Minor. Standard. AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1966; No. 195, pg. 67.
BRIDGE OF ANAS. AKA and see "Braes of Angus." Scottish, Reel. D Dorian. Standard. AAB. Glen (1891) finds the piece first in print in Robert Bremner's 1757 collection. Bremner (Scots Reels), c.
1757; pg. 58.
X:1
T:Bridge of Anas, The
M:C|
L:1/8
R:Reel
S:Bremner – Scots Reels (c. 1757)
Z:AK/Fiddler’s Companion
K:D Dorian
A | D/D/D F>D E2c2 | GFED
CDEC | D/D/D FD E2d2 | c>Ac>E D/D/D D :|
A | d>edA d/d/d f2 | “tr”e>dce
cdec | dedA d/d/d f2 | “tr”e>dce d/d/d d2 |
dedA d/d/d f2 | “tr”e>dce cdec |
d>ec>d A>cG>A | F>GEd D/D/D D ||
BRIDGE OF ATHLONE [1], THE (Droicead Ata Luain). AKA and see "Humours of Whiskey [2],"
"Dever the Dancer," "The Peeler's/Policeman's Return,"
"Deel of the Dance,"
"Dillon's Fancy [2],"
"The Crossroads Frolic,"
"Humours of Derry." Irish, Long Dance. D Major. Standard.
ABCD (Roche): ABCDD’ (Mulvihill). The Bridge of Athlone, over the river Shannon, connects Connaught and Leinster. It was built in 1566, the ninth
year of the reign of the English Queen Elizabeth. Originally built of wood, it
was 360 feet long and 14 feet wide, had nine arches with pillars built on
stones thrown into the river and held in position by wooden pilings. During the
late 17th century the Bridge of Athlone was the site of a fierce struggle in
1691 between the Jacobite forces and the forces of William of Orange, led by
the Dutch general Ginkel, who eventually succeeded in crossing the flow. A new
bridge was constructed in 1884, featuring a swivel span to accommodate larger
boats, and was itself replaced by a fixed span in the 1960’s. The tune has long
been used for a group (ceili) dance of the same name. The ‘B’ part differs from
“The Humours of Whiskey” family of tunes. Jordan (Whistle and Sing), 1975; 48. Mulvihill (1st Collection), 1986; No.
16, pg. 122. Roche
Collection, 1982; vol. III, pg. 44, #140.
BRIDGE OF ATHLONE [2], THE. Irish, Hornpipe. B Flat
Major. Standard. AABB.
The hornpipe was famously recorded on 78 RPM by Sligo fiddle great Michael Coleman in New York. O'Neill
(Krassen), 1976; pg. 202. Connolly & Martin (Forget Me Not), 2002; pgs. 16-17. O'Neill (Music of Ireland: 1850 Melodies), 1979/1979;
No. 1721, pg. 320. Green Linnet GLCD, Joe
Derrane – “Return to Inis Mor” (1996).
X:1
T:Bridge of Athlone, The [2]
M:C|
L:1/8
R:Hornpipe
S:O’Neill –
Music of Ireland (1903), No. 1721
Z:AK/Fiddler’s Companion
K:B_
(3FGA|B2B2 F>Bd>B|c>bc>d
e>dc>B|A>Bc>d c>BA>G|(3FAc f>g f>ed>c|
B>dF>B (3DFB
d>B|e>gc>e (3FAc e>c|(3Bac (3BAG F2 G>A|B2 d2 B2:|
|:A>B|c>fa>g (3feg
f>e|d>fb>a g2 g>f|(3edc (3dcB (3afe (3dcB|(3FAc f>g
f>ed>c|
B>dF>B (3DFB
d>B|e>gc>e (3FAc e>c|(3Bac (3BAG F2 G>A|B2 d2 B2:|
BRIDGE OF ATHLONE [3], THE. Irish, Set Dance (Consisting of March:Jig:March:Jig: March:Jig:March). G Major. Standard. Marches are AABB, Jigs are one part. Allan's Irish Fiddler,
No. 121, pg. 32.
BRIDGE OF BALATER. See "Brig of Balater."
BRIDGE OF BAMORE, THE. Scottish (originally), Canadian; Reel. Canada; Cape Breton, Prince Edward
Island. A Major. Standard or AEae (Cape Breton). AAB (Dunlay & Greenberg,
Stewart-Robertson): AA’B (Perlman). The tune is frequently played in raised or
‘high’ bass tuning on Cape Breton. See notes under "High Bass Reel." Sources for notated
versions: Mary MacDonald (Cape Breton) [Dunlay & Greenberg]; George
MacPhee (b. 1941, Monticello, North-East Kings County, Prince Edward Island) [Perlman]. Dunlay
& Greenberg (Traditional Celtic
Violin Music of Cape Breton), 1996; pg. 135. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 94. Stewart-Robertson
(Athole Collection), 1884; pg. 3.
ACC-4968, Kinnon Beaton - “A Sprig
of Ivy” (1989). CLM 1001, Carl MacKenzie
- “And his Sound is Cape Breton” (1981). Overton 1829-I-LM 88, Dwayne Cote - “Introduction” (1992). Rounder 7012, Winnie Chafe - “Highland Memories of Cape Breton”
(1979).
Rounder RO7023, Natalie
MacMaster - “No Boundaries” (1996. Learned from her
uncle, Buddy MacMaster).
X:1
T:Bridge of Bamore
M:C|
L:1/8
S:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s
Companion
K:A
A,2 e>f edcA|BF F/F/F GEEF|A2 ef edcA|BABc A/A/A A2:|
||g|aece aecA|BF F/F/F GEEg|aece aecA|BABc A/A/A Ag|
aece
aecA|BF F/F/F GEEF|A,2 ef edcA|BABc A/A/A A|]
BRIDGE OF BANFF, THE. Scottish, Reel. A
Minor. Standard tuning. AAB.
Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 37, pg. 14.
BRIDGE OF BRACKLIN, THE.
Scottish, Reel. C Major. Standard tuning. AB. Surenne (Dance Music of Scotland), 1852; pg. 70.
X:1
T:Bridge of Bracklin, The
M:C
L:1/8
R:Reel
S:Surenne –
Dance Music of Scotland, pg. 70
(1852)
Z:AK/Fiddler’s Companion
K:C
g | (a/g/f/e/) cg egcg | (a/g/f/e/)
cg eddg | (a/g/f/e/) cg egde | c>AGE C<CCg |
(a/g/f/e/) cg egcg | (a/g/f/e/) cg eddg | (a/g/f/e/) cg
egde | c>AGE C<CC ||
G | (E/4F/2<G) cG AGcG |
(E/4F/2<G) ce dDDF | (E/4F/2<G) cG EGca |
Gede c<ccG | (E/4F/2<G) cG AGcG | (E/4F/2<G) ce dDDF |
(E/4F/2<G) cG EGca |
Gede c<c c2 ||
BRIDGE OF BRECHIN, THE. Scottish, Strathspey. F Major. Standard tuning. AB. Kerr (Merry Melodies), vol. 2; No. 195, pg.
22.
X:1
T:Bridge of Brechin, The
M:C
L:1/8
R:Strathspey
S:Kerr – Merry Melodies, vol. 2, No. 195 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:F
F|C<FA>F c>Af>d|c>A B/A/G/F/
E<GG>A|C<FA>F c>Af>d|c>A B/A/G/F/ C<FFF|
C<FA?F c>Af>d|c>A
B/A/G/F/ E<GG>A|C<FA>F c>Af>d|c>A B/A/G/F/ C<FF||
c|f<ag<a f>cd<f|c>F
d/c/B/A/ B<GG>c|f<ag<a f>cd<f|c>f e/f/g/e/ f<FA>c|
(3fga (3efg (3def (3cBA|(3Bcd (3cBA
B<GG>B|(3ABc (3cBA (3Bcd (3dcB|(3def (3efg a<ff||
BRIDGE OF BUCKET, THE. Scottish, Reel. A
Major. Standard tuning. AAB.
Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 20, pg. 7.
BRIDGE OF DEE. See "Brig of Dee."
BRIDGE OF FORTH, THE. Scottish.
Glen (1891) finds the tune first in print in Joshua Campbell's 1778 collection (pg.
65).
BRIDGE OF FOSS, THE. Scottish.
Glen (1891) finds the tune first in print in Robert
Ross's 1780 collection (pg. 1).
BRIDGE OF GAIRN, THE. Scottish, Strathspey. D Major. Standard tuning. AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 93, pg. 32.
BRIDGE
OF GARRY, THE. Scottish, Reel. A Major. Standard
tuning. AAB (Gow, McGlashan): AABB' (Kerr, Stewart-Robertson). The bridge of Garry is “at Struan,” notes McGlashan. Gow (Complete Repository),
Part 4, 1817; pg. 34. Kerr (Merry Melodies), vol. 2; No. 18, pg. 5. McGlashan (A Collection of Reels),
c. 1786; pg. 32 (appears as “Bridge of Gary”).
Stewart-Robertson (The Athole Collection),
1884; pg. 20.
X:1
T:Bridge of Garry, The
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:A
a|A/A/A eA cAeA|Bffe fBBa|A/A/A eA cAeA|EFAB cAA:|
g|a2 ea cAec|Bffe fBBg|aeea cAec|EFAB cAA(3e/f/g/|a2 ea
cAec|
Bffe
fBBg|afbg afed|ceBe cAA||
BRIDGE OF INVER, THE. AKA and see "MacIntosh of MacIntosh." Scottish (originally), Canadian; Reel. Canada; Cape Breton, Prince Edward
Island. B Flat Major. Standard tuning. AAB. Composed by James Macintosh. James Macintosh (1791-1879)
was, according to J. Murray Neil (The
Scots Fiddle, 1991), a member of a musical family that produced six skilled
fiddlers in three generations. James’ father was a contemporary, friend and
neighbour of the famous Scots fiddler Niel Gow’s in Inver, Dunkeld, Perthshire,
and played in the latter’s band. James and his brother Charles took lessons
from Niel and remained close to the family. James attempted a career as a
joiner, explains J. Murray Neil, but, when invited to Edinburgh by the Gow sons to play in their
band (the ‘Reel players of Scotland’, a celebrated string band of up to
20 skilled musicians), he at once departed for the city. In addition to his
professional playing, Macintosh established a reputation as a music teacher in Edinburgh and had several compositions
printed by Lowe (1840) and later Kerr. Source for notated version: Kenny
Chaisson (b. c. 1947, Bear River, North-East Kings County, Prince Edward Island; now resides in Rollo Bay) [Perlman]. Cranford (Jerry Holland’s), 1995; No. 55, pg. 16. MacDonald (The Skye Collection), 1887; pg. 126.
Perlman (The Fiddle
Music of Prince Edward Island), 1996; pg. 114. Stewart-Robertson
(The Athole Collection), 1884; pg.
286.
X:1
T:Bridge of Inver,
The
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:B_
d|~B2 FE DB,B,D|ECCE DF~FA|B2 FD CFBF|GecA ~B2 B:|
f|dBdf gBbB|fdcB Ac~cf|dBdf gbfg|dfcA ~B2 Bf|dBdf gBbB|
gBfB
Accd|~BGFE DFBF|GecA ~B2B||
BRIDGE OF/AT LODI, THE. AKA and see “Down Back o’ Shoddy,”
"Hell on the Potomac [3],”
"Hunter's Hornpipe [1],"
"Huntsman's Hornpipe,"
"The Lochmaben Hornpipe,"
"Lord Nelson's Hornpipe,"
"Nelson's (Hornpipe) [2],"
"Saxon's Hornpipe,"
“Worcestershire Hornpipe.” Scottish, English; Hornpipe.
C Major (Carlin): D Major (Raven). Standard tuning. AABB. A very popular hornpipe melody that
exists in 19th century musicians’ copybooks under a variety of
titles. The Bridge of Lodi was the site of one of Napoleon’s
earliest and most important victories in Italy, early in his career. The melody
appears under this title in the music manuscripts of William Clarke (Feltwell, Norfolk) dated 1858. Dorset writer Thomas Hardy wrote a poem
called “The Bridge of Lodi,” inspired two fold by the hornpipe and by a trip to
Italy in the Spring of
1887. The first two stanzas begin:
***
When of tender mind and body,
I was moved by minstrelsy,
And that air “The Bridge of Lodi”
Brought a strange delight to me.
***
In the battle-breathing jingle
Of its forward-footing tune
I could see the armies mingle,
And the columns crushed and hewn.
***
Carlin (Master Collection), 1984; pg. 99 (#170). Raven (English Country Dance Tunes), 1984; pg.
163. Wilson (Companion to the Ballroom),
1816.
X:1
T:Bridge of Lodi, The
M:C
L:1/8
R:Hornpipe
Z:AK/Fiddler’s Companion
K:D
AF | D2d2d2 cd | ecAc d2 de | fdfd
gege | fdfd ecGE | D2d2d2 cd | ecAc d2 ed |
cecA cBA^G | A2A2A2 :: fg | agfe
dcBA | B2G2G2 ga | bagf edcB | c2A2A2fg |
afaf bgbg | afaf bgbg | afge fdec |
d2d2d2 :|
BRIDGE OF LYON.
Scottish, Strathspey. G Major. Standard tuning.
AAB. Composed by Malcolm MacDonald, the melody first
appears in his first collection of 1788, dedicated to Mrs. Baird of Newbyth.
MacDonald (A Collection of Strathspey
Reels, vol. 1), c. 1788; pg. 22-23.
X:1
T:Bridge of Lyon
M:C|
L:1/8
R:Strathspey
S:MacDonald – Collection of Strathspey Reels, vol. 1 (c. 1788)
Z:AK/Fiddler’s Companion
K:G
(D>G)(BG) cABG | (A>B)cA AG F2
| G3c Bc d2 | (g>d)dg BG G2 :|
g>age d>e=fg | =fdc_B AG =F2 |
(g>ag)e dega | gddg BG G2 | g>age de=fg |
=fdc_B AG F2 | G3c (Bc)(dg) | (gd)dg
BG G2 ||
BRIDGE OF NAIRN, THE. AKA and see "The Old Man ill never die."
Scottish. John Glen (1891) finds the tune earliest in
print in Robert Bremner's second
collection, 1768 (pg. 109).
BRIDGE OF NEWE, THE. Scottish, Strathspey. E Minor. Standard tuning. AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 128, pg. 44.
BRIDGE OF PERTH, THE. Scottish, Reel. A
Mixolydian. Standard tuning. AB (Surenne): AAB
(Gow, McGlashan, Skye): AABB (Athole). Composed by Daniel Dow, probably to commemorate the
opening of the Tay
bridge at Perth, which was completed in 1772. The
tune was first published the following year. John Glen (1891) finds the tune
first printed in Dow's c. 1775 collection (pg. 9). Gow (Complete Repository), Part 4, 1817; pg.
28. MacDonald (The
Skye Collection), 1887; pg. 15. McGlashan (A Collection of Reels),
c. 1786; pg. 27. Stewart-Robertson (The Athole Collection), 1884; pg. 23.
Surenne (Dance Music of
Scotland), 1852; pg. 51.
X:1
T:Bridge of Perth,
The
M:C|
L:1/8
R:Reel
S:McGlashan – Reels
(c. 1786, pg. 27)
K:A
A/B/c/d/ eA dAfA|cAec ae c2|A/B/c/d/ ed ceAc|Bd=GB gd B2:|
Aaea caea|Aaef eA c2|Aaea caea|=gaeg B=G B2|Aaea caea|Aaef eA
c2|
Aaga
eaca|Bgdg BG B2||
X:2
T:Bridge of Perth
M:C|
L:1/8
R:Reel
B:-Robertson-StewartThe
Athole Collection (1884)
Z:AK/Fiddler’s
Companion
K:A
c|:A/B/c/d/ ed cAed|cAeg ae c2|A/B/c/d/ ed deA=c|B=GGB =gd
~B2:|
|:Aaga
eaca|eacf eA c2|eaga eaca|B=gdg d=G ~B2:|
BRIDGE OF PORTUMNA. Irish, Reel. A
Major. Standard tuning. ABC.
Composed by Martin Mulhaire.
X: 1
T: Bridge
of Portumna
M: 4/4
L: 1/8
Q: 350
R: reel
Z: Transcribed by Bill Black
C: M. Mulhaire
K: A
ed | c2 ec dcBA | EAAG A3 B | cA A2 eA A2 | B=G
G2 DGBd |
c2 ec dcBA | EAAG A3 B | cAeA aAeA | Bd=GB d2 cd
||
e2 ae beae | (3efe ae d2 cd | B=g g2 bg g2 |
edBc d2 cd |
e2 ae beae | (3efe ae d2 cd | B=g g2 bg g2 |
edBc d2 ed ||
ceAc eAce | aeca ecae | fedc dcBA | GABc dfed |
ceAc
eAce | aeca ecae | fedc dfaf | ecdB A4 ||
BRIDGE OF SPEY, THE. AKA – “The Boat
of Bog.” Scottish, Strathspey ("Slow when not danced"). D
Major. Standard tuning. AAB. Composed by William Marshall (1748-1833).
The stone four-arched bridge across the river Spey at Fochabers was completed
in 1804 and took three years to erect. Its cornerstone was laid by the Marquis
of Huntly, the son of Marshall’s employer the 4th Duke
of Gordon, with great public ceremony. Marshall, Fiddlecase Edition, 1978; 1822
Collection, pg. 33. McGlashan (A Collection of Reels),
c. 1786; pg. 13 (appears as “The Boat of Bog”).
X:1
T:Bridge of Spey
T:Boat of Bog
L:1/8
M:C|
S:McGlashan
– Reels
Z:AK/Fiddler’s
Companion
K:D
A,<D
D>A, C<D D>B|A<F E>D B,/B,/B, B,2|A,<D D>A, C<D
D>B|A<F E>F D/D/D D2:|
g |
f>de>c d>AB>d | A<F E>D B,/B,/B, B,>g | f>de>c
d>A B<d | A<F E>F D/D/D Dg |
f>de>c
dA B/c/d/4c/4B/ | A<F E>D B,/B,/B, B,2 | A,<D D>A, C<D D>B
|A<F E>F D/D/D D2 ||
BRIDGE OF THE GARRY AT
STRUAN. Scottish, Reel. A tune "with
Atholl connections" composed by John Crerar (1750‑1840) and printed
in McGlashan's second collection
in 1786 (Alburger, 1983). Perhaps “Bridge of Garry.”
BRIDGE OF TILT, THE. Scottish, Reel. D Major. Standard tuning. AAB. Hunter (Fiddle Music of
Scotland), 1988; No. 208 ("as played by Angus Cameron").
BRIDGE OF TURK, THE.
Scottish, Reel. G Major. Standard tuning. AB. Surenne (Dance Music of Scotland), 1852; pg. 73.
X:1
T:Bridge of Turk, The
M:C
L:1/8
R:Reel
S:Surenne – Dance Music of Scotland, pg. 73
(1852)
Z:AK/Fiddler’s Companion
K:G
c | BGG>A G>A Gc | BGG>B
gdec | BGGB G>AG_B | A^FFA c3c | BGG>A G>AGc |
BGG>B gdec | BGGA G>AG_B |
A^FFA c3 || A | Add>e d>edc | Bdd>e gdec |
Bdd>e d>edB | A^FFA c3A |
Bdd>e dedc | Bdde g3d | gbeg dgBd | A^FFA c3c ||
BRIDGET CRUISE [1] (Brighid Cruis). Irish, Planxty (3/4 time). E Minor. Standard
tuning. ABB. Composed by harper Turlough O'Carolan (1670-1738). Bridie Cruise,
from Cruisetown, County Longford, was the object of O'Carolan's
unrequited love affair thought he met her after he lost his sight.
Unfortunately, Bridget did not return his affections, but even so, O’Carolan
composed fifteen songs in her honor (O’Neill, 1913). The family was not adverse
to harpers, however. Arthur O’Neill (1734-1818) mentions in his Memoirs that he
stopped at the seat of Peter Cruise, “nephew to Carolan’s favorite, Bridget Cruise,”
on his way home from the third and last Granard harp competition in the 1780’s.
Complete Collection of
Carolan's Irish Tunes, 1984; No. 26, pg. 39. Shanachie 79013, Derek Bell - "Carolan's Receipt"
(1987).
BRIDGET CRUISE [2]. Irish, Planxty (3/4 time). G Mixolydian (Complete Collection): F
Mixolydian (O’Neill). Standard tuning. AB (O’Neill): AAB (Complete Collection).
Composed by Turlough O'Carolan (1670-1738), and the only one composed in the
traditional style. O’Neill (1913) relates the story that near his father’s
house was a rath, in the interior of which the fairies were believed to hold
court. After O’Carolan became blind he would prevail upon neighbors and friends
to lead him to the site and leave him for hours, “stretched listlessly before
the sun.” Occasionally he would startle, as if in the midst of visions, and
upon one such occasion he called to his friends to lead him home, whereupon he
took up his harp and in little time played and sang the air and words of this
song addressed to Bridget Cruise, the object of his early mature affections
(who unfortunately did not return his sentiment). O’Neill says, “So sudden and
so captivating was it, that it was confidently attributed to fairy inspiration.
From that hour he became a poet and composer.” Complete Collection of Carolan's Irish Tunes, 1984; No. 27, pg. 39.
O’Neill (1913), pg. 71.
BRIDGET CRUISE [3]. Irish, Planxty (3/4 time). G Major. Standard. One Part. Composed by
blind Irish harper Turlough O'Carolan (1670-1738). Complete Collection of Carolan's Irish Tunes, 1984; No. 28, pg. 39.
North Star NS0031, "Dance Across the Sea: Dances
and Airs from the Celtic Highlands" (1990).
BRIDGET CRUISE [4]. AKA and see "Young Bridget."
Irish, Planxty (3/4 time). G Major. Standard. One Part. Composition often
attributed to Turlough O'Carolan, and though Donal O’Sullivan included the
melody in his definitive work on O’Carolan, he noted that there was not
incontroverable evidence that it was composed by him. Complete Collection of Carolan's Irish Tunes, 1984; No. 29, pg. 40.
BRIDGET FLYNN'S REEL (Ríl Bhríd Ní Fhloinn). Irish, Reel. E Minor/Dorian.
Standard. AB (Black): AAB (Breathnach). Bridget Flynn was the name of Martin
Mulvihill’s mother, and this was one of her tunes. Source for notated version:
fiddler Martin Mulvihill (County Limerick, Ireland/Bronx, NY) [Black, Breathnach]. Black (Music’s the Very Best Thing), 1996; No.
335, pg. 179. Breathnach (CRÉ
III), 1985; No. 187, pg. 84. Green Linnet
Records SIF 1012, "Martin Mulvihill."
X:1
T: Bridget Flynn's
S: M. Mulvihill
Q: 350
Z:Transcribed by Bill Black
R: reel
M: 4/4
L: 1/8
K: Edor
FA | BE (3EFE DEFA | BE (3EFE D2 FA | BE (3EDE BAFA | ABAF
E2 FA |
BE (3EFE DEFA | BE (3EFE D2 FA | BE (3EDE BAFA | ABAF E2 :|
FA | Beed e2-ed | (3Bcd ef gfed | Bddc d4 | BcdB ADFA |
Beed
e2 ed | (3Bcd ef gfef | g4 f3 d | BcdB A2 :|