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] |
.
EIBHLÍN
GHEAL CHÚIUN NÍ CHEARBHAILL
(Fair Mild Eilli O’Carroll). AKA – “Eibhlín Dheas Chiúin
Nú Chearbhaill.” Irish, Air. D Mixolydian (Vallely): G Mixolydian (Miller
& Perron). Standard tuning. AAB.
The tune appears in the Bunting collection (General
Collection of Ancient Irish Music, 1796), taken down from a County Down
harper. The original lyric may have been by Seamus Dall Mac Cuarta, and east
X:1
T:Eibhlin
T:Eibhlín Gheal Chúin Ní Chearbhaill
D:Chieftains 3 - from memory
Z:Nigel Gatherer
L:1/8
M:3/4
K:D Mixolydian
D3
A3 B c2|d3 e d2|d3 c B2|A3 G E2|A3 B c2|d3 e d2|c6|B3 A G2|
A3 B c2|d3 e d2|d3 c B2|A3 G A2|B3 A G2|G E3 D2|D6|D6|]
EIBHLÍN A RÚIN/RUN. AKA and see "Eileen Aroon,"
"Aileen Aroon," "Robin Adair."
EIBHLÍN NÍ RIORDÁIN’S. AKA and see “Denis O’Keeffe’s,” “Denis O’Keeffe’s (Favourite),”
“Dinny O’Keefe’s.” Irish, Slide. A Major.
Standard tuning. AABB.
EIBLIN NÍ CEINNEIDIG. AKA and see "Nell Kennedy."
EIBLIN NÍ DONNABAIN. AKA and see "Nellie O'Donovan."
EIGHT AND FORTY
SISTERS, THE (Ochtar Deirfiúr
is Daichead).
Irish, Reel. E Dorian (Breathnach, Roche): E Minor (Darley & McCall).
Standard tuning. One part (Darley & McCall): AB (Breathnach): AAB (Roche).
The ‘B’ part of Darley
& McCall’s version of the tune is shared with “Dublin Lasses [2].” Breathnach’s has
a different second part. Sources for notated versions: flutist Eddie Moloney,
1960 (Kinvara, Co. Galway, Ireland) [Breathnach]; fiddler Courtney Jones
(Avoca, Co.
EIGHT MEN OF MADAAT. See "Eight Men of Mudart."
EIGHT MEN OF
MUDART/MUIDART [1]. Scottish, Reel. A Mixloydian. Standard.
AAB. Glen (1891) finds the earliest printings of the tune in Robert Bremner's 1757 collection and Neil Stewart's 1761 collection. As
"Eight Men of Madaat", it is one of the "missing tunes"
from William Vickers' 1770 Northumbrian dance manuscript. According to Flett
& Flett (1964) the Eight Men of Moidart (Mudart/Muidart) is also the title
of a Scottish reel dance for eight, and that the name stems from a legend
regarding Bonnie Prince Charlie. Prince Charles Edward Stuart arrived in 1745
on board the ship Doutel in the
***
It was at Muidart that the Prince’s bratach bhan, or white banner, was first unfurled. One of the Prince’s attendants, a man named Sheridan, brought it out of the house and displayed it before the small contingent of highlanders, who cheered and shouted, before handing it to Donald MacDonald, brother of Keppoch, who was the first standard-bearer. Bremner (Scots Reels), c. 1757; pg. 88.
X:1
T:Eight men of Mudardt
M:C
L:1/8
R:Reel
S:Bremner – Scots Reels (c. 1757)
Z:AK/Fiddler’s Companion
K:A Mixolydian
e | A/A/A Ae “tr”cAec | B/B/B Bg BGGB | A/A/A Ae cAec | B/B/B ed “tr”cAA :|
e | a>bae a>bae | g>agd BGGB | a>bae abae | dBed cAAe | a>bae a>bae |
g>agd BGGg | afge fdec | dBed “tr”cAA ||
EIGHT MEN OF MOIDART [2]. Scottish, March
or Polka. D Major. Standard. AABB.
X:1
T:Eight Men of Moidart
S:As played by Bert Shorthouse on an LP
Z:Nigel Gatherer
M:2/4
L:1/8
K:D
A/d/ | f/e/d/c/ dA | F2 DA | F/G/A DA | FE E
A/d/ | f/e/d/c/ dA | F2 DA | F/G/A EA | FD D :|
A/G/ | FD AD | BD AD | FD AD | B/A/G/F/ E
A/G/ | FD AD | BD AD | F/G/A EA | FD D :|
EIGHT MILES FROM TOWN. American, Reel. B Minor/D Major.
Standard tuning. AA’BB’. Composed by Vermont fiddler Pete Sutherland.
Sutherland (Bareface), 1984; pg. 25. Marimac Records 9031, Pete Sutherland – “Eight Miles from
Town” (1982).
EIGHT MORE MILES TO
LOUISVILLE. Old‑Time, Song and Fiddle
Tune. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled
by musicologist/folklorist Vance Randolph, but is of fairly recent vintage,
having been written in 1947 by Grand Ole Opry star Louis Marshall ('Grandpa')
Jones (1913-1998). Jones learned to play clawhammer banjo from a woman
musician, Cousin Emmy. He developed the ‘grandpa’ persona while working for WBZ
radio in Boston, after singer Bradley Kincaid endured his grumpiness in the
morning and awarded him the moniker. Front Hall FHR‑024,
Fennig's All‑Star String Band ‑ "Fennigmania" (1981).
Wildgoose Records, Rattle on the Stovepipe – “8 More Miles” (2005).
EIGHT O’CLOCK TRAIN. AKA and see “Star of Munster,” “Bright Star of Munster,” “Kitty’s Wishes.” Scottish, Reel. A
Mixoydian/Major. Standard tuning. AB. A Scottish version of
the Irish tune “Greenfields of
America.” Kerr (Merry Melodies),
vol. 4; No. 18, pg. 5.
X:1
T:Eight O’Clock Train
M:C|
L:1/8
R:Reel
S:Kerr – Merry Melodies, vol. 4, No. 18
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
(AB)|c2 Ac B2GB|A=GED (GE)D2|EAAB
cdef|=gedB =GABd|c2 Ac B2GB|
A=GED (GE)D2|EAAB cdef|=gedB
A3||c|eagb ageg|agbg agef|=g2 (ga) gfef|
=geaf (ge)d2|eaab ageg| agbg
agef|=g2g2a2a2|b=gaf gedB|cBAc BAGB|
A=GED (GE)D2|EAAB cdef|=gedB A3||
EIGHT STEP POLKA. See “Seven Step Polka.”
EIGHTEEN-TWELVE (1812)
MARCH, THE. AKA ‑
"1812," "Old 1812 Quickstep." AKA and see "Ye'll Aye Be Welcome Back
Again," "Duncan
Davi(d)son," "Maggy's
Weame Is Fu I Trow," "Handy Andy's Highland Fling."
American, March (2/4 time). USA, southwestern Pa. D Major. Standard tuning. AB
(Bayard): AABB (Sweet). This march has long been played by many southwestern
Pennsylvania martial bands, according to Bayard (1981), but the parent tune is
Scottish being called "Duncan Davidson," "Ye'll Aye Be Welcome
Back Again," or (in one source) "Gentle Ann" (Aird). Glen says
of these Scottish tunes that the Welcome Back air is the older, and that
"Duncan Davidson" was composed by Robert Burns; however he thinks the
ancestral tune to be "Strick upon a Strogin," which appears in the Leyden Manuscript of 1692 (Bayard seems
somewhat skeptical of this). Source for notated version: Hiram Horner
(Westmoreland and Fayette Counties, Pa., 1963) [Bayard]. American Veteran Fifer, 1927; No. 50. Company of Fifers and Drummers '76, 1974; pg. 76. Bayard (Dance to the Fiddle), 1981; No. 348,
pgs. 340‑341. Sweet (Fifer’s
Delight), 1964/1981; pg. 51.
X:1
T:1812
M:2/4
L:1/8
R:March
Z:AK/Fiddler’s Companion
K:D
DF Ad | AF Ad | DF Ad | A/G/F/G/ E2
| DF Ad | AF Ag | f def | d2d2 :|
|: fd de/f/ | gf ed | cA/B/ A/B/c/d/
| eA A2 | fd de/f/ | gf ed | cA/B/ A/B/c/e/ | dfd :|
EIGHTH OF DECEMBER, THE. Scottish, Strathspey. D Major. Standard. AAB. Jones [Ed.] (Complete Tutor Violin), c. 1815; pg. 12.
X:1
T:The 8th of December. a Strathspey.
R:strathspey
M:C
L:1/8
B:Complete Tutor Violin (c. 1815)
Z:Dr. Evan Jones, 2005
K:D
(A/G/) | (FAAF) GBBd (ceec) dffa | FAAF GBBd | c>def d2 D :|| f | (a>f) f2 geeg | fdcd (e/d/c/B/) A2 |
affa geeg | fdec d2 (Df) | (a>f) !trill!f2 geeg | fdcd
(e/d/c/B/) A2 | affa beeg | fdec d2 D |]
EIGHTH
OF JANUARY. AKA and see "Jackson's Victory." Old‑Time,
Bluegrass; Breakdown. USA, Widely known.
D Major. Standard or ADae (Molsky). AABB (Brody, Christeson, Phillips,
Ruth, Sing Out, Sweet): AABB' (Krassen). One of the most popular and widespread
of Southern fiddle tunes. The melody was originally named "Jackson's
Victory" after Andrew Jackson's famous rout of the British at New Orleans
on January, 8th, 1815. This victory, by a small, poorly equiped American army
against eight thousand front-line British troops (some veterans of the
Napoleonic Wars on the Continent), came after the peace treaty was signed and
the War of 1812 ended, unbeknownst to the combatants. The victory made
Jackson a national hero, and the anniversary of the Battle of New Orleans was
widely celebrated with parties and dances during the nineteenth century,
especially in the South. Around
the time of the Civil War, some time after Jackson's Presidency, his popular
reputation suffered and “Jackson’s Victory” was renamed to delete mention of
him by name, thus commemorating the battle and not the man. Despite its wide
dissemination, Tom Carter (1975) says that some regard it as a relatively
modern piece refashioned from an older tune named "Jake Gilly"
(sometimes “Old Jake Gilly”). Not all agree—Tom Rankin (1985) suggests the
fiddle tune may be older than the battle it commemorates, and that it seems
American in origin, not having an obvious British antecedent, as do several older
popular fiddle tunes in the United States. A related tune (though the 'B' part
is developed differently") is Bayard's (1981) Pennsylvania collected
"Chase the Squirrel" (the title is a floater).
***
Battle of New Orleans and
the death of General Packenham (sic), engraving by
Joseph Yeager (c. 1792-1859).
***
Variants of the tune are numerous,
and some stray quite far from the traditional melody (c.f. Dr. Humphrey Bate
and His Possum Hunters); some sets feature the second strain played an octave
higher for variation. It is on Charlie Walden’s list of ‘100 essential Missouri
fiddle tunes’. The “Eighth of January” was recorded for the Library of Congress
from Ozark Mountain fiddlers in the early 1940's by musicologist/folklorist
Vance Randolph, and from Mississippi fiddlers (John Hatcher, W.E. Claunch, Enos
Canoy, Hardy Sharp) in 1939 by collector Herbert Halpert. It was in the
repertoire of Cuje Bertram, an African-American fiddler from the Cumberland
Plateau region of Kentucky who recorded it on a home tape in 1970, made for his
family. In 1958 James Morris (Jimmy Driftwood) famously refashioned the tune
with new lyrics into his best‑selling song "The Battle of New
Orleans” (recorded on Jimmie Driftwood Sings Newly
Discovered Early American Folk Songs, Victor RPM 1635). One year later
Johnny Horton recorded a version of Driftwood's song, and the song rose to the
top of the hit parade that year (recorded on Johnny Horton
Makes History, Columbia 1478).
***
Missouri fiddler Glenn Rickman, born
in 1901, was featured in an article in Bittersweet
magazine and played “The Eighth of January” as part of his core repertoire. He
had a seemingly curious habit:
***
I play the ‘Eighth of January’ over the telephone to a department store
here. Every eighth of January I call up the department store and they
put in on their loud speaker. This time I had it taped. I played
‘Carroll
County Blues,…Sally Goodin’,…Forked Deer’ and ‘Eighth of January.’
I’m glad to get to do this. The ‘Eighth of January,’ that was known way
back before my grandpa was born…
***
Rickman’s playing over the phone for
a department store audience is less curious when one considers that playing
over the phone was at one time not unusual:
***
When the party line came in, telephones were used sort of like the radio
was later. Ten to fifteen families on a line could all listen in. On
lines
like Slim Wilson’s line, the neighbors would get a treat. The
family that lived near Nixa, Missouri, were all good musicians, and
when they were ready to play, they’d signal over the telephone line.
Everyone would take down the receivers and listen to the Wilson
family fiddling. Some would let the receiver hang down in a bucket
to help amplify the sound. (Allen Gage, Bittersweet, Volume IX, No. 3, Spring
1982)
***
Sources for notated versions:
Charlie Higgins (Galax, Va.) [Krassen]; Cyril Stinnett (Oregon, Missouri)
[Christeson]; Tommy Jackson [Phillips/1994]. Brody (Fiddler’s Fakebook), 1983; pg. 99. R.P. Christeson (Old Time Fiddler’s Repertory, vol. 2),
1984; pg. 65. Ford (Traditional Music in
America), 1940; pg. 63. Kaufman (Beginning
Old Time Fiddle), 1977; pg. 39. Krassen (Appalachian Fiddle), 1973; pg. 50. Phillips (Fiddlecase Tunebook), 1989; pg. 17. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 80. Ruth (Pioneer Western Folk Tunes), 1948; No.
15, pg. 7. Sing Out, vol. 36, No. 2,
August, 1991; pg. 77. Sweet (Fifer’s
Delight), 1964/1981; pg. 76. Brunswick 239 (78
RPM) {1928}, Dr. Humphrey Bate and His Possum Hunters (Nashville, Tenn. Bill
Barret was the fiddler for the tune, not Bate's regular, Oscar Stone). Caney
Mountain Records CLP 228, Lonnie Robertson (Mo.) ‑ "Fiddle
Favorites." County 518, Arkansas Barefoot Boys‑ "Echoes of the
Ozarks, Vol. 1." County 527, Ted Gossett’s Band – “Old Time Fiddle
Classics, Vol. 2” (reissue). County 531, The Fox Chasers - "Old Time
String Band Classics" (1975). County 541, Dr. Humphrey Bate & His
Possum Hunters ‑ "Nashville; the Early String Bands, Vol. 1."
County 727, John Ashby‑ "Old Virginia Fiddling." DLP-636,
Scotty Stoneman – “Mr. Country Fiddler.” Heritage 060, Major Contay and the
Canebreak Rattlers ‑ "Music of the Ozarks" (Brandywine, 1984).
Kicking Mule KM‑301, "Happy Traum, American Stranger" (1977).
Library of Congress AAFS L2, W.E. Claunch (Miss.). Marimac 9017, Vesta Johnson ‑
"Down Home Rag." Mississippi Department of Archives and History AH‑002,
Hardy C. Sharp (Meridian, Mississippi) ‑ "Great Big Yam Potatoes:
Anglo‑American Fiddle Music from Mississippi" (1985). Missouri State
Old Time Fiddlers' Association, Bob Walters (b. 1889) - "Drunken
Wagoneer." Morning Star 45004, Ted Gossett's String Band (western Ky.,
originally recorded Sept., 1930) - "Wish I Had My Time Again." Ok
45496 (78RPM), The Fox Chasers. Pinecastle Records, Chubby Wise – “An American
Original.” Rounder 0085, "Tony Rice." Rounder 0361, Bruce Molsky –
“Lost Boy” (1996. Learned from John Lusk String Band). Rounder 7002, Graham
Townsend‑‑"Le Violin/The Fiddle." Spr 2655 (78 RPM),
Buddy Young’s Kentuckian’s (AKA the Ted Gossett Band, originally recorded Sept.
1930). Spt 9775 (78 RPM), The Country String Band (AKA the Ted Gossett
Band/Buddy Young’s Kentuckian’s/Tommy Whitmer Band). Voyager 340, Jim Herd -
"Old Time Ozark Fiddling."
X:1
T:Eighth of January
M:2/4
L:1/8
K:D
e/a/|f/e/f/a/ f/e/d/f/|e/f/e/d/ BB/d/|ee/f/ e/d/B/A/|d/B/A/F/ De/a/|
f/e/f/a/ f/e/d/f/|e/f/e/d/ B/d/e/f/|a/f/e/a/ f/e/c/A/|d/B/A/F/ D:|
|:A/A/|AA/B/ AA/A/|A/d/B/A/ F/E/D/F/|AA/B/ AA/d/|B/A/F/E/ DD/F/|
AA/B/
AA/A/|A/d/B/A/ F/E/D/F/|AA/A/ A/d/f/e/|d/B/A/F/ D:|
EIGHTH OF JANUARY [2]. Old-Time, Breakdown. USA, northern Ky. D Major. Standard tuning. AABB.
Related to version #1. Source for notated version: Ted Gossett (northern Ky.)
[Phillips]. Phillips (Traditional
American Fiddle Tunes), vol. 1, 1994; pg. 81. County
527, Ted Gossett's Band‑ "Old‑Time Fiddle Classics, Vol
2" (Gosset, a northern Kentucky fiddler born in 1904, learned the tune
from his father, Noah "Big Son' Gosset).
EIGHTH OF JANUARY [3]. Old-Time, Breakdown. D Major. Standard tuning. AABBC. The tune is
played slower than the usual breakdown tempo. Source for notated version: The
Canebrake Rattlers [Phillips]. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 46.
EIGHTH OF OCTOBER, THE. See “Not
Safe with a Razor.”
EIGHTY-EIGHT. AKA and see "Hanskin,"
"Jog On (Jog On the Footpath Way)." The tune appears under this
title in Pills to Purge Melancholy
(1707), taken from a ballad set to the melody about the Spanish Armada,
beginning "Some years of late, in eighty‑eight" or "In
eighty‑eight, ere I was born."
EILAN, THE. Irish, Air (4/4 time). C Major. Standard
tuning. One part. Source for notated version: “From Iverk. From the Reverend
Mr. Graves” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 618, pg. 155.
X:1
T:Eilan, The
M:C
L:1/8
S:Stanford/Petire (1905), No. 618
Z:AK/Fiddler’s Companion
K: C
f2 | f3e e3e | ffff e3f | e2c2e2d |
c6 f2 | e2g2 g3f | f2gf e2c2 | c2GA _B2 G^F |
G6 ff | e3c c2G2 | F2D2 D3C | C4 C4
| C6 ||
EILEAN BEAG DONN A’
CHUAIN. Scottish. Composed by Donald
Morrison. Tartan Tapes CDTT1004, Alasdair White –
“Heat the Hoose” (1998).
EILEAN FHIANAIN (Finan's Isle). Scottish, Air (6/8 time). D Mixolydian.
Standard. AA'BB'. The tune was composed by Charles MacFarlane. Eilean Fhianain
is a small island in Loch Shiel, Moidart, Inverness‑shire, named for
Saint Finan, a Celtic saint who lived there around 575 A.D. and a contemporary
of St. Columba. He was known as 'Fhianan
Luibre' (the Leper) or as 'the infirm' from the disease which was said to have
been self‑inflicted, received from a child whom he ministered. Later a
fair named in his honor was held on the island each March 18th. Neil (1991)
relates:
***
One of the few ancient bronze bells, in use in Scotland in the 9th
century, is to be found on Finan's Isle. It is on record that the bell
was stolen by one of the English troops during the 1745 Rebellion,
while they were garrisoned near Moidart. Fortunately he was
apprehended by Niall Mor Man Eilean (Big Niel of the Island),
who was custodian of the bell. Niall had given chase and had
caught him at Glenfinnan. It is said that the culprit was tied to
a tree by Niall, who then gave him a severe thrashing as a
punishment for his misdeeds, while his companions simply
looked on, without lifting a finger to help. It was found that
the tongue of the bell had somehow been removed, and it
subsequently had to be replaced with on of iron.
***
Neil (The Scots Fiddle), 1991; No. 145, pg. 185.
EILEAN MO CHRIDHE. See “The Muckin’ of
Geordie’s Byre.”
EILEEN ALANNA. Scottish, Irish; Reel or Highland Fling. G Major ('A' part) & E
Minor ('B' part). Standard tuning. AABB. Perhaps the earliest recording is from
1913 by violinist Charles D’Alamaine, born in 1871 in England, who died in
1943. D’Alamaine immigrated to the United States in 1888, and by 1890 had
established himself as “instructor on violin” in Evanston, Illinois; by 1910 he
had removed to Yonkers, and in 1920 was a chiropractor in New York City (info.
from Paul Gifford). Cole (1000 Fiddle
Tunes), 1940; pg. 22. Kerr (Merry
Melodies), vol. 2; No. 305, pg. 33. O’Brien (Jerry O’Brien’s Accordion Instructor), 1949; 12. Ryan’s Mammoth Collection, 1883; pg. 46.
X:1
T:Eileen Alanna
L:1/8
M:2/4
R:Highland Fling
S:Jerry O’Brien’s Accordion Instructor (1949)
Z:AK/Fiddler’s Companion
K:G
(3d/e/f/|[Bg][Bg] z G/A/|B/d/c/A/ B/d/c/A/|[Bg][Bg] z A/B/|c/A/B/G/ A/F/E/D/|
[Bg][Bg] z G/A/|B/d/c/A/ B/d/c/B/|a/g/f/a/ g/e/d/c/|B/G/A/F/ G:|
|:B|B/e/e/f/ g/f/e/g/|f/b/a/f/ g/f/e/d/|B/e/e/f/ g/f/e/g/|f/b/a/f/ e>B|[Be][Be]z [Af]|
[Bg][Bg]
z [Af]|[^d/b/]a/b/c’/ b/a/b/c’/|[^d2b2] z :|
EILEEN AROON [1] (Eibhlin a Ruin) {“Eileen My Treasure” or “Darling
Eileen”}. AKA ‑
"Aileen Aroon," "Allen A'Roon," "Eib(h)lin A Ru(i)n.”
AKA and see "An tiocfadh tu a bhaile liom," "An d‑tiocfard,"
"Ducdame," "
***
The melody was later admired by the
German composer Handel during his stay in Ireland, according to Charles O'Conor
of Belanagame (Flood, 1906). A note in Pepys' diaries refers to one Joe Harris,
an Irish actor in London, singing the song in Gaelic in a performance of
Shakespeare's Henry V: "Among
other things, Harris, a man of fine conversation, sang his Irish song, the
strangest in itself, and the prettiest sung by him that ever I heard"
(Flood, 1906, pg. 72). It retained its popularity, being sung at the Smock
Alley Theatre, Dublin, in the Christmas season of 1728 by Mrs. Sterling at the
end of the opera The Way of the World,
and again at that theatre in December 1743 by Mrs. Storer as an interlude
during performances of Julius Ceasar.
Charles Coffey included it in his 1728 ballad opera The Beggar's Wedding, written after the success of John Gay's Beggar's Opera, and O'Sullivan and
O’Neill both find this to be one of the earliest printed versions of the tune.
A broadside without printer's imprint and with different words than Coffey's
was published about 1740 under the title "Ailen Aroon, an Irish
Ballad." See also note for "Robin
Adair." Sources for notated versions: A MS from 1726 [Flood]; “Mrs.
Lavin” [O’Neill]. Brysson (Curious
Selection), c. 1790; pg. 20. Flood, 1905; pg. 62. Hime (Pocket Book), volume IV, 1810; pg. 16. Holden
(Old Established Tunes), 1806-7; pg.
29. James Johnson (The McLean Collection),
1772 (Edinburgh); pgs. 28-29 (set by Charles McLean). Kinloch (100 Airs), Part I, c. 1815; No. 10.
McFadden (Scotch, English, Irish and
Foreign Airs), volume V, 1790-1797; pg. 29. Mooney (History of Ireland), 1846; pg. 535. Murphy (Irish Airs and Jigs), 1809; pg. 27. O'Farrell (Music for the Union Pipes), 1797-1800; pg. 30. O'Farrell (Pocket Companion), 1801-10; pg. 20.
O'Neill (Music of Ireland: 1850 Melodies),
1979; No. 392, pg. 68. Burke Thumoth (12
Scotch and Irish Airs), No. XIII, c. 1745-50. Walsh (Ceol ar Sinsear), Part V, 1920; pg. 18. Maggie’s
Music MM220, Hesperus – “Celtic Roots.”
X:1
T:Eileen Aroon [1]
M:3/4
L:1/8
R:Air
N:”Slow”
S:O’Neill – Music of Ireland (1903),
No. 392
Z:AK/Fiddler’s Companion
K:D
dB|A2B2 dB|d2e2f2|F2A2 ed|B4 dB|A2B2
dB|d2e2f2|F2A2 Bd|d4||
df|gg f2 fe|fa a2 fe|dd e2 dB|A4
f2|a2 fedB|de f4|F2A2 Bd|d4||
EILEEN AROON [2] (Eiblin A Run/Eileen, my darling). Irish, Slow Air (3/4 time). B Flat
Major (O’Neill): G Major (Cranitch): D Major (Gow, O’Farrell). Standard tuning.
AB (O’Neill): AAB (Cranitch, Gow): AABBCCDD (O’Farrell). Cranitch (Irish Fiddle Book), 1996; pg. 41. Gow (Complete Repository), Book 2, 1802; pg.
11. O’Farrell (Pocket Companion),
c. 1805; pgs. 20-21. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 393, pg. 68.
X:1
M:3/4
L:1/8
R:Air
S:Gow – 2nd Repository
(1802)
Z:AK/Fiddler’s Companion
K:D
A2B2c2|~d3e{e}f2|A2B2~c2|d6|A2B2c2|d3e
{de}f2|A2B2c2|d6:|
gf(ga)(ga)|(g2B2)B2|fe(fg)(fe)|d2B2A2|gfga
g2|fefg f2|~ed(eg)(fe)|
(d2B2)A2|a3 gfe|~d3e
{de}f2|(A2B2)c2|d6||
X:2
T:Ailen Aroon with Variations [2]
M:3/4
L:1/8
R:Air
S:O’Farrell – Pocket Companion (c. 1805)
Z:AK/Fiddler’s Companion
K:D
d4 f2 | (gfga)(ga) | g2B2”tr”B2 | fefa fe | d2 BA A2 | gfga “tr”g2 | fefg f2 |
(efgab)g | “tr”e2 dcBA | a4 b/c’/d’ | bagfed | d3e f2 | A2B2c2 | {B/c/} d6 :|
|: F<A G<B A<c | defg a2 | A>F B>G c>A | dc/B/ A/G/F/E/ D2 | AFGABc |
d/e/d/e/ fg a2 | A2B2{d}”tr”c2 | d4f2 | (gfga) g/a/g/a/ | (gab)gfe | fefg f/g/f/g/ |
fgafed | (g/f/e) (g/a/b) (f/e/e) | (f/e/d) (f/g/a) (f/e/d) | e/e/f g/g/a bg | {f}”tr”e2 dcBA |
a4 b/c’/d’ | (b/a/g) (a/g/f) (e/d/c) | {e}d3e f2 | F<A G<B A<c | d6 :: AFGABc |
d2 efga | A2B2 {d}c2 | dc/B/ A/G/F/E/ D2 | AF G/F/G/A/ B/A/B/c/ |
d/c/d/e/ f/e/f/g/ a2 | A2B2 {d}c2 | d4f2 | gbgeBG | E2b2g2 | f/a/g/f/ e/d/c/B/ A/G/F/E/ |
D2a2f2 | gEGbgE | fDFafD | EFabg | “tr”e2 dcBA | a4 b/c’/d’ | bGFaec | d3ef2 |
A2B2 {d}”tr”c2 | d6 :: AFGBAc | eAfd a2 | A2B2c2 | dc/B/ A/G/F/E/ D2 |
AG/F/ BGcA | (3ded (3fgf a2 | (3ABA B2c2 | d4f2 | g/a/b/a/ g4 | gdBG E2 |
f/g/a/g/ f4 | fdAF Dg | b/a/g/a/ g4 | a/g/f/g/ f4 | e/f/e/f/ g/f/g/a/ b/g/f/g/ | e2 dcBA |
a4
b/c’/d’ | b/a/g afec | {e}d2e2f2 | A2B2 {d}”tr”c2 | d6 :|
X:3
T:Eileen Aroon [2]
M:3/4
L:1/8
R:Air
S:O’Neill – MOI 393
K:B_
(F2G2A2)|(B3cd2)|(F2G2)(Ac)|B6|(F2G2A2)|(B3cd2)|(F/B/)z
(G/B/)z (A/c/)z|{c}B2||
d2d2d2|(e3G) G2|d2d2c2|(B3G)F2|f2
(ec)(BA)|(B3cd2)|(F/B/)z (G/B/)z (A/c/)z|{c}B2||
EILEEN AROON [3] (Eilionoir a Ruin). Irish, Air (3/4 time). G Major. Standard
tuning. One part (Ó Canainn): ABC (O’Sullivan/Bunting). Source for notated
version: Bunting noted his version from the harper "Denis Hempson at
Magilligan in 1792," who played variation by the famous harper Cornelius
Lyons from the turn of the 18th century.
EILEEN CURRAN [1]. AKA and see “Maura Connolly’s,”
"Sailor Set On Shore," "Sailors On Shore,” "The Sailor's Return [1]."
Irish, Reel. A Dorian. Standard tuning. AABB. An American version of the tune
was recorded in the 1920's by Ohio fiddler/violinist William Houchens, for the
Starr Recording Company under the title “Hel’n Georgia.” Sources for notated
versions: accordion player Patrick O'Brien, 1970 (Dublin, Ireland)
[Breathnach]; sessions at the Regent Hotel, Leeds, England [Bulmer &
Sharpley]. Breathnach (CRÉ II), 1976;
No. 239, pg. 124 (appears as untitled reel). Bulmer & Sharpley (Music from Ireland), 1974, Vol. 1, No.
36. Green Linnett GLCD 1181, Martin Hayes & Dennis
Cahill - “The Lonesome Touch” (1997).
EILEEN CURRAN’S [2]. Irish, Reel. E Minor. Standard tuning. AABB. Source for notated
version: Jim McElhone (County Derry) [Mulvihill]. Mulvihill (1st Collection), 1986; No.
132, pg. 35.
EILEEN DEELISH OF
ATHENRY. Irish, Slow Air (4/4 time). D
Dorian. Standard tuning. AB. Source for notated version: blind fiddler Michael
Daffy (Co. Clare, Ireland) [Darley & McCall]. Darley & McCall (The Darley & McCall Collection of
Traditional Irish Music), 1914; No. 11, pg. 5.
EILEEN MY DARLING. AKA and see “Eibhlin a Ruin,” “Eileen Aroon.”
EILEEN MACDONALD. Scottish. Green Linnet GLCD 1171, Simon Thoumire
Three – “March, Strathspey, and Surreal.”
EILEEN
MURRAY’S [1]. Irish, Polka. D Major. Standard tuning. AABB. From
the playing of banjo and accordion player Sean O Driscoll, originally from
Blarney, who lived in Minneapolis and lately in County Cork. Sean O’Driscoll – "Sticking Out A Mile.”
X: 1
T: Eileen Murray's [1]
C: S. O Driscoll
L: 1/8
Q: 300
M: 2/4
Z: Transcribed by Bill Black
R: polka
K: D
F>E | DF Af | ed B/2c/2d | AF DF | E2 AF
|
DF Af | ed B/2c/2d | AF DE | D2 :|
d>e | fd B/2c/2d | Ad B/2c/2d | fd B/2c/2d |
e2 d>e |
fd B/2c/2d | Ad B/2c/2d | AF EF | D2 :|
EILEEN
MURRAY’S [2]. Irish, Polka. D Major. Standard tuning. AABB.
X: 1
T: Eileen Murray's [2]
C: S. O Driscoll
L: 1/8
Q: 300
M: 2/4
Z: Transcribed by Bill Black
R: polka
K: D
B2 FB | B2 FB | AF FE | DE FA |
B2 FB | B2 FB | AF FA | B2 B2 :|
d2 df | ec Ac | d2 de | fg a2 |
d2 df | ec Ac | dB c/2B/2A | B2 B2 :|
EILEEN
MURRAY’S [3]. Irish, Polka. G Major. Standard tuning. AABB.
X: 1
T: Eileen Murray's [3]
C: S. O Driscoll
L: 1/8
Q: 300
M: 2/4
R: polka
Z: Transcribed by Bill Black.
K: G
D |: G2 GB | AG ED | G2 GA | Bd ed | G2 GB |
AG ED | GB AF | G2 G2 :|e2 ed | ef ge | d2 dc |
Bc
dB | e2 ed | ef ge | dB AB | G2 G2 :|
EILEEN NÍ RIORDAIN'S. Irish, Polka. Named for accordion player Eileen ní Riordan from Coolea.
GN1, Joe Thoma ‑ "Up the Track: Traditional
Music from Kenmare."
EILEEN NÍ RIORDAN. AKA and see “Across the Divide.”
Irish, Waltz. G Major. Standard tuning. AA’BB’. Named for accordion player
Eileen ní Riordan from Coolea. Mary Custy & Eoin
O’Neill – “With a Little Help from My Friends” (appears as “Across the
Divide”).
X:1
T:Eileen
Ni Riordan
M:3/4
L:1/8
S:Neil Baillie
R:Waltz
Z:Andrew Pickering
K:G
Bc|(d2 d)e dc|B2 G2 AB|c2 cB AG|F2 D2 EF|
(G2 G)A GD|EF GA Bc|1 d2 g2 gf|gf d2:|2 d2 g2 f2|g4||
ef|(g2 g)f gd|cd c_B G2|(=f2 f)c AG|=F2 GF D2|
G2 D2 G2|AB c2 A2|1 d2 g2 gf|gf d2:|2 d2 g2 f2|g4||
EILEEN O'CALLAGHAN(‘S
REEL). AKA and see “Geoghegan’s Favorite,” “Geehan’s Reel,” “Geogehan’s
Reel,” “Paddy Canny’s.” Irish, Reel.
G Major. Standard tuning. AB. See note for “Geogehan’s Reel.” Cranitch (Irish Fiddle Book), 1996; No. 56, pg.
147. Miller & Perron (Irish
Traditional Fiddle Music), 1977; vol. 3, No. 53. Miller & Perron (Irish Traditional Fiddle Music), 2nd
Edition, 2006; pg. 68. Outlet 1010, Na Filí –
“Farewell to Connacht” (1971).
|
See also listing at: Alan Ng’s Irishtune.info |
X:1
T:Geaghan's Fancy (sp?)
T:Eileen O'Callaghan's
T:Paddy Canny's
S:Buttons & Bows, 'Gracenotes'
Z:Nigel Gatherer
M:4/4
L:1/8
K:A
A2 cA EAcB|ABce dBGB|A2 cA EAce|efge
dBGB|A2 cA EAcB|
ABce dBGB|Ac c/c/c ecAc|efge
dBGB||eaag a2 ga|beee begf|
eaag a2 gf|efge dBGB|eaag a2 ga|b2
ba bagf|eaaa c'aag|efge dBGB|]
EILEEN OGE. AKA and see "The Pride
of Petravore."
X:1
T:Eileen O'Keeffe's Polka
S:Maurice O'Keeffe
R:polka
M:2/4
L:1/8
N:Maurice learned this from his grand-daughter
N:Eileen (hence the title), and she in turn picked it up
N:in Rockchapel, north County Cork. The hand-written
N:page Maurice gave me with the notes of the tune is
N:headed "T.J. Quinn, Co. Tyrone, February 1946"
Z:Transcribed by Paul de Grae
K:A
f|:ec BA/B/|cA F2|EF AB|cB cf|
ec BA/B/|cA F2|EF AB|cA A2:|:
ce a2|ce f2|ce fa|ec BA|
ce a2|ce fa|ec BA/B/|cA A2:|
EILIDH. Scottish, Waltz. G Major. Standard tuning. One part. Composed by John
Bannerman, Lord Kildonan (1901‑1969), a politician, rugby player, and
singer and composer of Gaelic songs. "Eilidh" means Helen, and the
song is set on the isle of Harris:
***
The way is long to island glen and shieling
The climb is steep o'er heather, crag and moor
But soft the tear of longing, Eilidh darling
For mem'ry's kiss in Laggan by the shore.
Your hand in mine and promise to be waiting
Your heart will ever guide my spirit sailing
To Tir‑nan‑og where love can never fade.
('Tir‑nan‑og' means
'Land of the Ever‑Young'.)
***
Martin (Ceol na Fidhle, vol. 3), 1988; pg. 20.
Neil (The Scots Fiddle), 1991; No.
137, pg. 177.
X:1
T:Eilidh
L:1/8
M:3/4
R:Air
K:G
B2|d4 d2|e4
d2|B4G2|A4 G2|E2 (D4| D4) D2|G4 G2|G4 B2|d4 d2|e4 d2|(A6|A4) B2|
d4 d2|e4
d2|B4 G2|A4 G2|E2 (D4|D4) D2|G4 G2|B4 d2|e4 d2| B4 A2|(G6| G4) D2|
D4 E2|G4
G2|B2A2G2|B4 d2|e2 (d4|d4) d2|e4 e2|e4 d2|B2 d4|G4 B2|(A6|A4) B2|
D4 E2|G4
G2|B2A2G2|B4 d2|e4 (d2|d4) d2|d4 d2|e4 g2|a4 b2|g4 e2|(g6|g2) z2||
EILIONOIR A RUIN. AKA and see "Eileen Aroon."
EÍLÍS NÍ BHRÓGÁIN (Elizabeth Brogan). AKA and see “Elizabeth
Brogan.”
EÍLÍS NÍ CHEALLAIGH (Elizabeth Kelly). AKA and see “Elizabeth Kelly’s Delight [1].”
EÍLÍS NÍ MURCADA. AKA and see "Bessy Murphy."