The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

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EIB -EMY

 

 

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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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 Ulster poet in the 18th century, but the air was later married to Thomas Campbell's poem "Lord Ullin's Daughter." Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 140. Vallely (Learn to Play the Fiddle with Armagh Pipers Club), 197?; pg. 18. Shanachie Records 79023, "Chieftains 3" (1971/1982).

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 E G2|A3 G A2|B3 A G2|A3 G A2|B3 A G2|G E3 D2|D6|D6:|
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. Taylor (Music for the Sets: Blue Book), 1995; pg. 13.

           

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. Wicklow, Ireland) [Darley & McCall]. Breathnach (CRÉ II), 1976; No. 289, pg. Darley & McCall (Darley & McCall Collection of Traditional Irish Music), 1914; No. 9, pg. 4. Roche Collection, 1982, vol. 3; No. 81, pg. 25.

 


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 bay of Loch nan Uagh, which partly divides the lands of Muidart and Arisaig, along with a handful of followers. They debarked and were soon met by about a hundred clansmen, the first to rally to his cause, and unloaded arms and ammunition. The Prince’s first temporary residence was the house of Angus MacDonald, a tenant at the farm belonging to MadDonald of Clanranald. The title takes its name from the legend that, at the very moment the famous royal rebel disembarked there happened to be seven fishermen 'hooking for bait' along the shoreline, and that upon seeing the prince their joy was overwhelming, causing them to dance on the sands.  They performed a dance for eight, but being one diminished they stuck a spade in the sand to represent the missing dancer, and their unknown dance became known as 'The Eight Men of Moidart'. The spot is today marked by seven great oak trees, the 'Seven Men of Moidart' to honor the fishermen. Another legend involving the landing is attached to the pipe pibroch “My King Has Landed in Muidart.”

***

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 Wilson

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," "Erin, the Tear and the Smile," "Robin Adair." Irish (originally), Scottish; Slow Air (3/4 time). D Major (O'Neill): A Major (Flood). Standard. AB (O'Neill): AAB (Flood). One of the oldest tracable tunes in all fiddle literature and still current in the living tradition. Flood (1905) states that it was composed in 1386 by Carrol mor O'Daly {Cearbhall O Dalaigh} (d. 1405), a famous Irish minstrel harper described by old annalists as the 'chief composer of Ireland, and Olair (Doctor) of the Country of Corcomroe,' apparently on the authority of Hardiman. Bunting and Francis O’Neill (1913) give the harpers name not as Carol/Carrol/Carroll but Gerald O’Daly, and Bunting refers to him as a contemporary of Rory Dall O’Cahan, who died in 1653, though he thinks the melody much older and that O’Daly only adapted Irish words to it. Mrs. Mulligan Fox, in Annals of the Irish Harpers gives the 1405 date for the harper’s death, and Fitz Gerald speculates that, since the hero of the song says he would spend a cow to entertain his ladylove, that a date of 1450 would be consistent with a time when ‘living money’ was still in use. No matter what his first name, "O'Daly so captivated Eilleen (Eibhlin) Kavanagh of Polmonty Castle, Co. Carlow (near New Ross, Co. Wexford), that she eloped with him on the eve of her betrothal to a rival lover" (Flood, 1905, pg. 62). An erroneous legend has the song composed by Donogh mor O'Daly, of Finvarra, Cistercian Abbot of Boyle (d. 1244), who was called 'the Ovid of Ireland,' and another version of the song was apparently composed by a 17th poet, also named Cearbhall O Dallaigh. To complicate matters further, James E. Doan (Eigse, volume XVIII, part 1, 1980) concludes there were several poets of the name of Cearbhall O Dalaigh between the 13th and 17th centuries, and suggests that the versions which have survived to the present day in Irish literature and song are really a composite of features of all, a folk-process amalgum. O’Neill (1913) records that the highly romantic story of “Eibhlin a Ruin” and her elopement with Carroll O’Daly was derived from Galway harper Cormac Common’s (1703-c. 1790) repertory.

***

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

T:Ailen a Roon (sic) [2]

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

A2B2{d}c2 | d3e f2 | A2B2 {d}”tr”c2 | d6 | A2 BABd | e2 “tr”e3f | A2B2{d}c2 |

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. Lyons had made a reputation as the arranger of variations to such tunes as this and “The Coolin” in a more ‘modern’ style. Ó Canainn (Traditional Slow Airs from Ireland), 1995; No. 37, pg. 35. O'Sullivan/Bunting, 1983; No. 123, pg. 175-178.

 

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."

                       

EILEEN O’KEEFFE’S POLKA. Irish, Polka. A Major. Standard tuning. AABB.

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

In sea‑girt isle where living vows were made

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."