The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

_______________________________

HOME       ALPHABETICAL FILES        REFERENCES

[COMMENT1] [COMMENT2] 

DIN - DIX

[COMMENT3] 

 

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]

 

[COMMENT4] 

 


DIN TARRANT’S [1]. AKA and see “I Have a Bonnet Trimmed with Blue [1].” Irish, Polka. Ireland, Sliabh Luachra region of the Cork-Kerry border. A Major. Standard tuning. AB. Din Tarrant was a Sliabh Luachra regional fiddler, an exponent of the "house party" style of fiddling (less ornamentation in the left-hand, less slurring with the bow) as contrasted with the more famous Sliabh Luachra style of fiddling typefied by Paddy O'Keeffe, Dennis Murphy and Julie Clifford. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 73, pg. 42. Topic 12T357, Johnny O’Leary - “Music for the Set” (1977).

 

DIN TARRANT’S [2]. Irish, Polka. Ireland, Sliabh Luachra region of the Cork-Kerry border. G Major. Standard tuning. AABB. Sources for notated versions: accordion player Johnny O’Leary (Gneevgullia, Co. Kerry) [Moylan]; fiddler Seamus Connelly [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1976, vol. 4, No. 17 (appears a “Gan Ainm/Untitled”). Cranitch (Irish Fiddle Book), 1996; No. 37, pg. 140. Cranitch (Irish Session Tunes: Red Book), 2000; 38. Moylan (Johnny O’Leary), 1994; No. 185, pg. 107.

X:1

T:Din Tarrant’s [2]

M:2/4

L:1/8

R:Polka

N:Matt paired it with “Din Tarrant’s [7]” in the workshop

S:Matt Cranitch – Catskills Irish Arts Week, 2004

Z:AK/Fiddler’s Companion

K:G

G>A | Bd de | dB B>c | dB AB | dB G>A | Bd de | dB BB/c/ | dG BA | AG G :|

|: B/c/ | dg g>g | fe e2 | ed d/d/d | ed B>c | dg g>g | fe e/f/g/e/ | dB B/c/A | AG G :|

 

DIN TARRANT’S [3]. AKA and see “The Gneevgullia Polka [3],” “The Lonesome Road to Dingle [1],” “Paul Landers’.” Irish, Polka. D Major. Standard tuning. AABB (Mallinson): AABB’ (Moylan). Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Mallinson (100 Polkas), 1997; No. 53, pg. 20. Moylan (Johnny O’Leary), 1994; No. 250, pg. 144.

 

DIN TARRANT’S [4]. AKA and see “Bill the Weaver’s," “Julia Clifford’s Polka.” Irish, Polka. D Major. Standard tuning. Gael-Linn CEF092, Julia and Billy Clifford - “Ceol as Sliabh Luachra.” Globestyle CDORBD 085, “The Rushy Mountain” (appears as “Julia Clifford’s Polka”). 

X:1

T:Din Tarrant's

D:Julia and Billy Clifford, "Ceol as Sliabh Luachra"

R:polka

M:2/4

L:1/8

Z:Transcribed by Paul de Grae

K:D

a>f df|Ad e2|e/f/e/d/ cA|Bc df| a>f df|A/B/c/d/ ee/f/|g/f/e/d/ cA|1Bc d2:|2 Bc dB/c/|

|:dB fB|dB fe/d/|cA eA|BA ce| fb ba|fb ba|f/g/f/e/ cA|1Bc dB/c/:|2 Bc d2||

 

DIN TARRANT’S [5]. AKA and see “The Humours of Ballydesmond,” “Knocknaboul Polka [1],” “Knocknabower Polka [1],” “The Little Green Cottage,” “The Scartaglen Polka [1].” Irish, Polka. G Major. Standard. AA’BB’C. The tune is usually paired with “The Knocknaboul Polka [2],” and together they are known as “The Knocknaboul Polkas.” Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Ceol, Vol. 2, No. 4 (appears as “The Little Green Cottage”). Moylan (Johnny O’Leary), 1994; No. 280, pgs. 160-161. Claddagh CC5, Denis Murphy & Julia Clifford - “The Star Above the Garter” (appears as “Knocknabower Polkas” [1]). Topic 12T309, Padraig O’Keeffe, Denis Murphy & Julia Clifford - “Kerry Fiddles” (appears as “The Humours of Ballydesmond”).

 

DIN TARRANT’S [6]. AKA and see “Jim Keeffe’s (Polka) [4],” “O’Keeffe’s (Polka) [1],” “Mert Plunkett’s.” Irish, Polka. G Major. Standard. AABB. Nigel Gatherer points out the tune is well-known in Scotland as “Wha Wadna Fecht for Charlie?” and “Wha Saw the Forty Second?”, and as the latter title, “Grand March” and “March Past” by English morris dancers (the latter title appears in Bacon).  Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O’Leary), 1994; no. 299, pgs. 172-173. Taylor (Music for the Sets: Blue Book), 1995; pg. 6 (appears as “Din Tarrant’s No. 5”).

X:1

T: Din Tarrant's [6]

B: Johnny O'Leary of Sliabh Luachra

R:Polka

Z:Paul Kinder

M:2/4

L:1/8

K:G

G2 GA|BA B/2c/2d|GA/2G/2 dB|AG ED|

G>F GA|BA Bd|e/2f/2g f/2g/2a|gG G2:|

|:Bd de/2f/2|gf ed|Bd de/2f/2|gB AG/2A/2|

Bd de/2f/2|gf ed|B/2c/2d B/2c/2d|BG G2:|

 

DIN TARRANT’S [7]. Irish, Polka. Ireland, Sliabh Luachra region. G Major. Standard. AABB. Breathnach (CRÉ III); No. 74 (appears as untitled polka). Cranitch (Irish Fiddle Book), 1996; No. 38, pg. 140. Cranitch (Irish Session Tunes: Red Book), 2000; 37.

X:1

T:Din Tarrant’s [7]

M:2/4

L:1/8

R:Polka

N:Matt paired it with “Din Tarrant’s [2]” in the workshop

S:Matt Cranitch – Catskills Irish Arts Week, 2004

Z:AK/Fiddler’s Companion

K:G

B/c/ | dg Bd/B/ | GA Bd | fa e/f/g/e/ | dB B>c | dg Bd/B/ | GA Bd | fa ef | g2 g :|

|: a2 f/g/f/e/ | de f2 | fa e/f/g/e/ | dB B>c | dg Bd/B/ | GA Bd | fa ef |1 g2 g2 :|2 g2 g ||

 

DIN TARRANT’S [8]. AKA – “Julia Clifford’s (Polka) [3].” Irish, Polka. D Major. Standard. AA’BB. Globestyle Records CDORBD 085, Julia Clifford  – “The Rushy Mountain” (appears as “Julia Clifford’s”).

X:1

T:Din Tarrant's [8]

D:Julia and Billy Clifford, "Ceol as Sliabh Luachra"

R:polka

M:24

L:1/8

K:D

f>a ge|f>a ge|fd ed|e/f/e/d/ Bd|

f>a ge|f/e/f/a/ ge|fd e/f/e/c/|1df de:|2 df dB|

|:A>F AB|Af af|ed ef/e/|dA B/c/d/B/|

A>F AB|Af af|ed ef|df d2:|

 

DIN TARRANT’S [9]. AKA and see “Blue Ribbon Polka [2],” “The Cobbler [3],” “Din Tarrant’s No. 1,” “O’Keeffe’s (Polka) [2],” “Tarrant’s [2].” Irish, Polka. B Minor. Standard tuning. AABB. Source for notated version: Sliabh Luachra accordion player Johnny O’Leary (1924-200?, County Kerry) [Miller & Perron]. Mallinson (100 Polkas), 1997; No. 24, pg. 10. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 128. Taylor (Music for the Sets: Blue Book), 1995; pg. 8. Topic Records 12TS357, Johnny O’Leary – “Music for the Set” (1977).

X:1

T:Din Tarrant’s [9]

M:2/4

L:1/8

R:Polka

K:B Minor

dB bB|de f/g/f/e/|dB bB|c/B/A/c/ ef/e/|d2 bB|de f/g/f/e/|de f/e/d/A/|B2B2:|

|:f>a ba|fe f>e|dB bB|c/B/A/c/ ed/e/|f>a ba|fe f/g/f/e/|de f/e/d/A/|B2 Bd/e/:|

                                               

DIN TARRANT’S FAVORITE. AKA and see “Breeches Mary,” “Catholic Bill’s,” “Humours of Kilkenny,” "You stay away a long time," "Your bag is handsome, my boy." Irish, Jig.

                                   

DIN TURRANTS'. Irish, Polka. B Minor. Standard tuning. AABB. The title is a mispelling of the name of the Kerry musician Din Tarrant.  Miller & Perron (101 Polkas), 1978; No. 74.

                                   

DINAH. AKA and see "Go To Sleep, John Dinny." Old‑Time, Breakdown. USA, southwestern Pa. A Major. Standard tuning. AB (Silberberg): AABB (Krassen). Bayard collected a vocal version of the tune in southwestern Pa. (see Bayard, Dance to the Fiddle, 1981; Appendix No. 25, pgs. 582‑583), but said it was known also as a dance tune. Krassen (Appalachian Fiddle), 1973; pg. 28‑29. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 36. Heritage XXIV, Dave Holt ‑ "Music of North Carolina" (Brandywine, 1978).

                                   

DINEEN DINNY DIN DAN’S. AKA and see “The Clog [1].”


                       

DINEEN’S FANCY.  Irish, Jig. G Major: B Flat Major (O’Malley). Standard tuning. AABBCC. Source for notated version: [O’Malley]. Source for notated version: a recording by George Wilson [O’Malley]. O’Malley (Luke O’Malley’s Collection or Irish Music, vol. 1), 1976; No. 109, pg. 55.

X: 1

T: Dineen's Fancy

M: 6/8

L: 1/8

Q: 325

S: Luke O'Malley vol 1

Z: Transcribed by Bill Black

R: Jig

K: G

B/A/ | GDB, DB,G, | B,A,G, B,CD | EAB c2 A/B/ | cAG FGA |

GDB, DB,G, | B,A,G, B,CD | EAB cAG | FGA G2 :|

|: d/c/ | B2 G GF=F | ECE DB,D | GFG BdB | ABE F2 D |

GFG BAG | ECE DB,D | GBe dBG | FGA G2 :|

|: D | GFG BAG | dBG BAG | EAB c2 A/B/ | cAG FGA |

GFG BAG | dBG BAG | EAB cAG | FGA G2 :|

P: Original key Bb

K: Bb

d/c/ | BFD FDB, | DCB, DEF | Gcd e2 c/d/ | ecB ABc |

BFD FDB, | DCB, DEF | Gcd ecB | ABc B2 :|

|: f/e/ | d2 B BA_A | GEG FDF | BAB dfd | cdG A2 F |

BAB dcB | GEG FDF | Bdg fdB | ABc B2 :|

|: F | BAB dcB | fdB dcB | Gcd e2 c/d/ | ecB ABc |

BAB dcB | fdB dcB | Gcd ecB | ABc B2 :|

                                   

DINEO. AKA and see "Di‑nee‑o, Ladies," "Darneo," "Sally Ann [1]." Old‑Time, Breakdown. USA, southwestern Va. A Major. Standard tuning. The name "Dineo" is particular to the Franklin/Floyd County area of western Virginia; it is more widely known under the title "Sally Ann." Di-nee-o = a variant of ‘Dinah’?  Recorded by Herbert Halpern for the Library of Congress (2739-A-3), 1939, from the playing of Taylor Houston and the Houston Bald Knob String Band (Franklin County, Va.) during a dance. Rounder 0057, Ted Boyd & Charlie Woods ‑ "Old Originals, vol. 1" (1978).

                                   

DI-NEE-O, LADIES. AKA and see "Dineo."

                                   

DINEFWR WALTZ, THE. Welsh, Waltz. From the manuscript of ‘Llewelyn Alaw’, Aberdâr (held at the National Libarary at Aberystwyth). Flying Fish FF70610, Robin Huw Bowen – “Telyn Berseiniol Fy Ngwlad/The Sweet Harp of My Land” (1996).

                                   

DINGLE HORNPIPE, THE. AKA and see “The Kerry Hornpipe [2],” “Murphy’s Fancy,” “Murphy’s Hornpipe [2].”

                                   

DINGLE REEL, THE. Irish, Reel. D Major. Standard. AABB.

X:1

T:Dingle Reel, The.

R:Reel

M:2/2

L:1/8

R:Reel

K:D

D3F EDB,A,|D3E FAA2|Beed e2de|f2ed BAFE|\

D3F EDB,D|A,B,DE FAA2|Beed e2dB|AFEF D4:||\

ABde f3g|afdf edBd|ABde f3g|afdf e2dB|\

ABde f3g|afdf edBA|d3B ABdB|AFEF D4:||

                                   

DINGLE REGATTA. AKA and see “Jazzing with Meaig Leary,” "Tom Billy's Favourite [3]." English, Jig; Irish, Slide (12/8 time). Ireland, West Kerry. G Major. Standard. AABB (Cranitch, Mac Amhlaoibh & Durham): AABBCC (Kuntz, McNulty, Tubridy). The "Dingle Regatta" name comes from Seán Ó Riada, according to guitarist Paul de Grae, who used it as part of the score for his film The Playboy of the Western World. It was the signature tune for Ó Riada’s band, Ceoltóirí Cualann, from which developed Ireland’s most famous traditional band, the Chieftains, for their first radio appearances on Radio Éireann in the early 1960’s (Glatt, The Chieftains, 1997). Unfortunately, the tune as played by the group was ‘totally inaccurate’:

***

Paddy Moloney smiles at the memory. ‘I gave that tune to Seán

spontaneously at one of the rehearsals but unfortunately I mixed

up two tunes and got the second part of it wrong. It didn’t matter

though because it blended beautifully and become our theme tune

that was played at the beginning of every show Ceoltóirí Cualann

ever did. (pg. 47).

***

“Dingle Regatta” has become a 'pub tune' if ever there was; one hearing and you think you've known it all your life. A pub session tradition has grown up around the tune in which the third part is sometimes sung with out words, though in many circles the ‘ya-da-duh-da-da-da’ singing is by now considered a hackneyed bore. Kevin Finnegan, formerly of the Liverpool Céilí Band has recently remarked that this 'dittying' to the melody originated as a joke.  He says:

***

The members of the band got along famously and when playing at ceili's

etc. and did many strange things to enjoy the 'craic'. For example, it was

not unusual for us to suddenly start changing seats while in the middle of

a tune. It brought a great response from dancers when they'd look up to the

stage and see Eamon Coyne (fiddle) walking around to change chairs with

Frank Horan(button box) who was sitting behind him. Or to see Charlie

Lennon (fiddle) switching places with Sean Murphy(banjo). It brought a

great sense of camaraderie and fun to the group. Another favourite activity

of each of the players was to suddenly stand up and straight back down

again in sequence across the stage. This might be condemned by some

'purists' but it always added to the 'craic' and certainly didn't hurt the

musical ability of the band - we still won two All-Irelands and countless

other honours. As part of the craic the "hi-ho" stuff started in the early sixties

as just another part of the fun we had playing together. It was not confined to

the "Dingle Regatta" - as you will hear if you listen to the two LP's we made

in the mid-sixties with Decca Records. In fact, like changing chairs, we did

it fairly regularly with a number of tunes but I never heard another band

do it until after our records came out. When we were in London recording

the Lp's we started the Hi-Ho as a laugh during the recording session and

never intended for it to come out on the final record - but the producer

loved it and asked us to leave it on that particular track. That's the

story of the Hi-ho sound. Of course it was always enhanced by the fact

that most of us did partake of a few sups of the 'black milkshake'

throughout the night so I'm sure that the bobbing up and down, the

chair switching and the hi-ho were somewhat as a result of our love

of the 'porter' !!!

***

An untitled quadrille (no. 45b) in John Moore's c. 1837-1840 MS (Ashman, 1991) resembles parts of this tune. Cotter (Traditional Irish Tin Whistle Tutor), 1989; 24. Cranitch (Irish Fiddle Book), 1996; No. 21, pg. 133. Cranitch (Irish Session Tunes: Red Book), 2000; 21. Jordan (Whistle and Sing), 1975; 25. Kuntz, Private Collection. Mac Amhlaoibh & Durham (An Pota Stóir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), No. 68, pg. 40. McNulty (Dance Music of Ireland), 1965; pg. 18. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 28. Vallely (Learn to Play the Tin Whistle with the Armagh Piper’s Club), vol. 1; 19. Topic, - "Kerry Fiddles" (appears as a two-part tune called "Tom Billy's Favourite").

X:1

T:Dingle Regatta, The

M:6/8

L:1/8

K:G

dBd e2d|BAB d2B|A2A AGA|B2A G2B|dBd e2d|BAB d2B|AGA B2A|G3 G2B:|

|:d2 d def|g3 gfg|a2a aga|b2a gfe|d2d def|g2g gab|a2g f2e|1 def g2e:|2 def g2d||

|:g3 ded|BdB G3|FGA DEF|G2B def|g3 ded|BdB G3|FGA DEF|1 G3 G2d:|2 G3 G2B||

 

DINKIE DORRIAN’S. AKA – “Dinkie’s,” “Dinky Dorian’s.” AKA and see “Dinky’s.” Irish, Reel (cut time). Ireland, County Donegal. A Mixolydian. Standard. AA’B (Taylor/Tweed), AABB’ (Songer): AA’BB’ (Cranford/Stubbert). A popular County Donegal reel composed (and popularized) by Francie Dearg (red-haired) Byrne of Cashel, Kilcar, southwest Donegal in honor of a friend, Hughie ‘Dinkie’ Dorrian, who was from Killibegs and either a butcher-fiddler, or (according to Caoimhin Mac Aoidh) a gaelic footballer and renowned step-dancer. Supposedly this was Dorrian’s favorite tune to step-dance to. Byrne’s brother Mickey Ban (fair-haired) also played the tune. According to Cranford (1994) the tune was introduced to Cape Breton by a visiting Irish fiddler, Dermot McLaughlin, of Derry, who learned it from Byrne. Karen Tweed remarks that the tune was “extremely popular in sessions in the early ‘80’s.” Source for notated version: French fiddler Vincent Blin [Taylor/Tweed]. Cranford (Brenda Stubbert’s), 1994; No. 18, pg. 7. Songer (Portland Collection), 1997; pg. 62 (appears as “Dinky’s Reel”). Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 16. Brenda Stubbert - “House Sessions” (1992). DMPCD 9401, Karen Tweed – “Drops of Springwater” (1994). Green Linnet SIF-1095, Altan - "Horse with a Heart" (1989. Learned from Dinky Dorrian, a travelling musician, via Francie Byrne). De Dannann - “Anthem.”

X:1

T:Dinky's

S:Altan

Z:Juergen.Gier@post.rwth‑aachen.de

M:4/4

L:1/8

K:AMix

ed|~c2Bc ABcd|egfd edBa|gB~B2 gBaB|gB~B2 gfed|\

(3cdc Bc ABcd|egfd edBa|~g3d egfd|(3cdc Bc A2::fg|\

aA~A2 aAbA|aA~A2 agef|gB~B2 gBaB|gB~B2 gfeg|\

aA~A2 aAbA|aA~A2 agef|gfgd egfd|(3cdc Bc A2:|

                       

DINKY'S/DINKIE’S. AKA and see “Dinkie Dorrian’s.”

                       

DINNA THINK, BONNIE LASSIE. AKA and see "Carrick Rant."

                       

DINNY DELANEY('S) [1]. AKA and see “Hag at the Churn,” “Hag in the Kiln,” "Old Hag in the Kiln." Irish, Single Jig or Slide (12/8 time). D Mixolydian. Standard. ABB. Dennis “Dinny” Delaney (1836-1919) was a blind piper and character from Ballinasloe, east Galway, who recorded this tune on a wax cylinder in 1902. Delaney competed in the Feis Ceol in 1898 and was recorded on an Edison cylinder at that time as well, playing “Kid on the Mountain,” “The Repeal of the Union” and “The Woman of the House” as well as “The Hag in the Kiln.” Breathnach says: “Delaney it seemed was not one whit overawed by the occasion” (Ceol VIII, 1986). Captain Francis O’Neill has a sketch and photograph of Delaney that appears in his Irish Minstrels and Musicians (1913, pgs. 305-308):

***

One of the few surviving, good, old-time players of the rollicking style lives

in his native town of Ballinaslie, County Galway. Robust in build and ruddy of

complexion, he is one of the central figures in its life, and in its celebrated fair.

Though totally blind, he is, strange to say, unsurpassed as a judge of cattle and

other kinds of farm stock, and so well recognized in his skill in this respect that

at fair and market his opinion is eagerly sought when trading is in progress.

Stranger still is the fact that furniture moving is his principal occupation. With

a table on his head, or a cupboard on his back, he can make his way safely all

over town. To see him thus engaged and without a trace of timidity in his footsteps,

a stranger would never suspect that he was blind.

***

Gifted with great conversational powers, an endless fund of humor, and a

tenacious memory, his is naturally the life of every gathering which he attends.

With such attractions, not to mention his qualifications as a prize-winning piper,

we can understand how he won the heart and hand of a buxom young colleen

half his age, it being his second matrimonial venture.

***

The jolly Denis, having “seen” to the burial of an old friend and brother

piper, naturally “came in” for his beautiful set of pipes. He disposed of his own

superannuated set, made by the elder Kenna in 1781, to Mr. Wayland, the irre-

pressible enthusiast and untiring promoter, of Cork, he being the fifth proud

possessor of this specimen of Kenna’s handiwork. The first owner after coming

from the hands of the maker was a Mr. Burke of Tyrquinn, near Athenry, County

Galway, and their cost ten pounds. By bequest they became the property of Mr.

Burke’s nephew, Mr. C. Natton, of Kingstown, Dublin, from whom Denis Delaney

purchased them in 1873.

***

In friendly rivalry at a big concert in Dublin, Mr. Delaney and Prof. P.J. Griffith

played their respective versions of the “Fox Chase,” and, while both delighted

the audience with their performance, it was freely conceded that Prof. Grffith’s

version of that famous but much varied composition was the better.  [Hereafter,

O’Neill prints a long poem, called “Warpipes versus Fiddle”, inspired by the incident].   

***

As a prize-winner at pipers’ competitions all over Ireland, we know of

nothing to equal Denis Delaney’s record. Since 1897—the date of their

origin—he has to his credit 29 first, 12 second, 6 third, and 1 special prizes

up to the year 1912, according to his own account. Accustomed as he had

been to winning distinction for over a dozen years, his bump of self-esteem

suffered no diminution in the flight of time, and however much we may approve

the decisions of the adjudicator in awarding the prizes to others at the Dublin

Feis in 1912, we cannot help sympathizing with Delaney, whose pride had

sustained a shock so severe that he hastened away without waiting to enjoy

the subsequent festivities, or sit in the group of competitors for a picture. 

***

Source for notated version: piper Pat Mitchell, 1972 (Dublin, Ireland), who had the setting from Delaney’s cylinder recording [Breathnach]. Breathnach (CRÉ II), 1976; No. 88, pg. 46 (appears as “Old Hag in the Kiln”). Bulmer & Sharpley (Music from Ireland), 1976, vol. 4, No. 81. Sullivan (Session Tunes), vol. 2; No. 39, pg. 16. Claddagh CC17, Seán Keane ‑ "Gusty's Frolics" (1975). Green Linnet SIF 3005, The Bothy Band - “Old Hag You Have Killed Me” (1981. A reissue of the 1976 Mulligan LP). Green Linnet GLCD 3009, Kevin Burke - "If the Cap Fits" (1978). Shanachie 34007, Tommy Peoples (with Paul Brady) – “The High Part of the Road.”

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

Alan Ng’s Irishtune.info

X:1

T:Old Hag in the Kiln, The

T:Dinny Delaney’s

R:slide

N:Parts 3 and 4 are optional.

Z:id:hn-slide-26

Z:transcribed by henrik.norbeck@mailbox.swipnet.se

M:6/8

L:1/8

K:Dmix

A2D ~D3|A2G EFG|A2D ~D3|G2A GED|A2D ~D3|c2d e2d|dcA AGE|G2A GED:|

|:dcA AGE|c3 ABc|dcA AGE|G2A GED|dcA AGE|c2d e2d|dcA AGE|G2A GED:|

|:A2D ~D3|A2B G2B|A2B G2A|E2E GED|A2D ~D3|c2d e2d|dcA AGE|G2A GED:|

|:dcA AGE|c3 ABc|dcA AGE|G2A GED|dcA AGE|c2d e2d|dcA AGE|G2A GED:|

 

DINNY DELANEY’S [2]. AKA and see AKA and see "An Ril Cam," “The Crooked Reel,” “Follow Me Down to Carlow [2],” "Miss Murphy [2]," "Bonnie Annie [3]." Irish; Reel, Hornpipe. A Dorian. Standard. AB. Named for blind piper and character Dinny Delaney (1836-1919) of Ballinasloe, east Galway. Source for notated versions: New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926. Lesl Harker writes “Mike had these tunes from his father who used to go to the fair with neighbour Tom Broderick to see Dinny Delaney” [Black, Harker]. Black (Music’s the Very Best Thing), 1996; No. 59, pg. 31. Harker (300 Tunes from Mike Rafferty), 2005; No. 122, pg. 37 & No. 268, pg. 83. Miller (Fiddler’s Throne), 2004; No. 146, pg. 95. Green Linnet SIF 1034, Billy McComiskey – “Makin’ the Rounds” (1981). Larrage Records LR090098Mike and Mary Rafferty – “Old Fireside Music” (1998).

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

Alan Ng’s Irishtune.info

X:1

T: Dinny Delaney's [2]

S: M. Rafferty

Q: 350

R: reel

M: 4/4

L: 1/8

K: Ador

ABAG EF G2 | A2 AB cded | ABAG EF G2 | aged cAdc |

ABAG EF G2 | A2 AB cded | ABAG EF G2 | aged cA A2 ||

egdg egdc | BG G2 Bc d2 | edeg e2 ab | aged cA A2 |

ag e2 aged | cA A2 EF G2 | AGAB cdea | g2 ea gedB ||

X:2
T:Dinny Delaney's  [2]
S:Dangerous Reel,  Mike and Mary Rafferty
Z:Lesl NJ what exit.
R:hornpipe; reel
M:C|
L:1/8
N:Posted to the woodenflute mailing list January 2002
K:Ador
dc| A2AG EFGE | A2AB cdec | A2{A}AG EFGE | A2BG A2dc |
ABAG EFGE | A2AB cdec | A2AG EFGE | A2BG A2 (3Bcd |
eAAG EFGE | A2AB cdd2 | eaag  EFGE | A2BG A2 (3Bcd |
eaag EFGE | A2AB cdd2 |eaag  EFGE | A2BG A2dc ||
"reel:"
|:ABAG EFGG | A2AB cded | cAag efge | aged cAdc |
A2GB EG~G2 | A2AB cded | cAag efge | aged cAA2 ||
egdg egdc | BG~G2 Bcd2 | eged e2ab | aged caa2 |

agea aged | cABG EFGG | AzAB cdef | g2fa gedc :| A8 ||

                       

DINNY MESCAL'S SLIDE (Sleamhnán Dhinní Uí Mheiscill). AKA and see "Micko Doyle's Jig," "Patsy Mack." Irish, Slide (12/8 time). G Major. Standard tuning. AABB'. See also the closely related “Old Favourite.” The “Paddy Mack” title is from Breathnach’s Folk Music and Dances of Ireland while Treoir II (pg. 11) has printed it under the title “Micko Doyle’s Jig.” Source for notated version: fiddler Patrick Kelly (Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 44, pg. 21. Breathnach (Folk Music and Dance of Ireland), 1971; 17. Mulvihill (1st Collection), 1986; No. 6 in slide section (appears untitled). Comhaltas Ceoltoiri Eireann CL17, John Kelly ‑ "Ceol an Chlair vol. 1."

                       

DINNY O’BRIEN’S HORNPIPE. Irish, Hornpipe. G Major. Standard tuning.

X:1

T:Dinny O'Brien's Hornpipe

S:Planxty

Z:Juergen.Gier@post.rwth‑aachen.de

L:1/8

M:C

K:G

DE|GABG ABcB|defa gfdc|BGBd (3ABc AF|GFGF DEFD|\

G2BG ABcA|defa gfdc|BGBd cAFG|(3ABA GFG2::Bd|\

g3a gfdf|g2bg afde|dffg afge|fdec dcAF|G2BG ABcA|\

defa gfdc|BGBd cAFG|(3ABA GFG2:|

                       

DINNY O’BRIEN’S JIG. Irish, Jig. Green Linnet SIF 3082, Paddy O’Brien – “Banks of the Shannon.”

                       


DINNY O'BRIEN'S REEL [1] (Ríl Dhonncha Uí Bhriain). AKA and see “John Bowe’s [2],” "The Last House of Connaght [2].” Irish, Reel. D Mixolydian. Standard tuning. AAB (Miller & Perron/2006): AABB (most versions). Dinny O’Brien was the fiddle and concertina playing father of B/C box player Paddy O’Brien (1922-1991, Nenagh, County Tipperary), who composed the tune is his honor (Mick Brown says it was Paddy’s first composition). Dinny was the leader of the famous Bridge Céilí Band. Accordionist Jim Coogan (New York) says that New York B/C box player Joe Madden learned the tune while travelling in a car on his way to Dunvargan, where he promptly won the All-Ireland 2-row accordion championship playing it. Sources for notated versions: fiddler Joe Ryan and harmonica player Eddie Clarke (Ireland) [Breathnach]; Frank McCollam (Ballycastle, County Antrim) [Mulvihill]; a 1971 recording by Na Fili [. Breathnach (CRÉ III), 1985; No. 145, pg. 68. Carlin (Master Collection), 1984; pg. 123, No. 208. Cranitch (Irish Fiddle Book), 1996; No. 55, pg. 146. Cranitch (Irish Session Tunes: Red Book), 2000; 55. Feldman & O’Doherty (Northern Fiddler), 1979; pg. 104. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 3, No. 56. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 62. McGuire & Keegan (Irish Tune by the 100, vol. 1), 1975; No. 55, pg. 15. Moylan (Johnny O’Leary), 1994; No. 318. Mulvihill (1st Collection), 1986; No. 126, pg. 34. O’Brien Minogue (The Compositions of Paddy O’Brien), 1992; pg. 38. Cló Iar-Chonnachta, CICD 148, Mick Conneely – “Selkie” (2001). Everest Tradition, The Kilfenora Ceili Band (with Tommy Peoples, recorded by Mick Moloney, 1974). Green Linnet SIF 1030, Joe Ryan & Eddie Clark ‑ "Crossroads" (1981). Green Linnet SIF 1165, Joe Burke - “The Bucks of Oranmore.” Outlet 1010, Na Fili. Eileen O’Brien - “The Compositions of Paddy O’Brien” (with accordion player Willie Fogarty). Shanachie 34016, Joe Burke, Andy McGann & Felix Dolan - “The Funny Reel.” Shanachie 78030, Danú – "Think Before You Think" (2000). Seamus Thompson - “The Long Mile.” John Rea - “Traditional Music on the Hammered Dulcimer.” Paddy O’Brien - “Paddy O’Brien Collection.” Brogue - “At Boolavogue.” Brendan Mulhaire Ceili Band - “Ceili Time in Ireland #2.”

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

Alan Ng’s Irishtune.info

X;1

T:Dinny O'Brien's Reel [1]

M:C

L:1/8

K:Dmix

fd (3ed^c dcAB|c2 (3dcB cAGE|D2AD EGAB|c3d efge|\

fd (3ed^c dcAB|c3c cAGE|D2AD DGAB|cAGE EDD2::\