The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

_______________________________

HOME       ALPHABETICAL FILES        REFERENCES

[COMMENT1] [COMMENT2] 

FACE - FAO

[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, 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] 

F D MAINLAND, M.A. ABERDEEN.  Scottish, Quickstep. Composed by Aberdeen fiddler and composer J. Murdoch Henderson (1902-1972), dedicated to a Shetland musician. Henderson (Flowers of Scottish Melody), 1935.

 

FACE ME UP. Scottish, Hornpipe. F Major. Standard tuning. AA’BB. Kerr (Merry Melodies), vol. 4; No. 306, pg. 32.

X:1

T:Face Me Up

M:C|

L:1/8

R:Hornpipe

S:Kerr – Merry Melodies, vol. 4, No. 306

Z:AK/Fiddler’s Companion

K:F

c2f2d2f2 | (cd)cB AG F2 | ABcd efga |1 (g^f)ga g4 :|2 (gf)ga f4 ||

|: bagb agfa | gfeg f2a2 | g^fga g=fed | (c=B)cd (c_B)AB |

c2f2d2f2 | (cd)cB AB c2 | defd efge | f2a2f2z2 :|

                       

FACE OF QUÉBEC. French-Canadian, Reel. B Flat Major. Standard tuning. AA'BB'. Learned by fiddler Omer Marcoux (Concord, N.H.) from a record he purchased in Montreal. Miskoe & Paul (Omer Marcoux), 1994; pg. 2.

                       

FACTORY LASS, THE. Irish, Reel. D Major. Standard tuning. AABB’. The quote below appears in George Roberts Sims's book Living London: Its Work and Play, Its Humor and Its Pathos, Its Sights and Its Scenes (1903), containing illustrated essays about various aspects of life in London at the turn of the century. One chapter, “Scenes from Factory London” by C. Duncan Lucas, gives this improbably whitewashed view of factory labor.

***

She is a fine-looking girl. Quietly dressed and with an air of responsibility

about her, she is a young mother. Her husband is employed at the soap

works hard by, and though some one has to tend the babies during the

day she is happy — happy because there are two incomes to maintain

the bairns in plenty. Her daily output is 2,500,000 match stems. Watch

her. She has a cutting machine all to herself, and as the strands of wax

flow into the frame she presses her thumbs at a certain spot, and behold

a hundred stems are cut. Her thumbs never weary. The stems ready, up

they go to the roof to be dipped. A man stands at a slab on which is spread

 the composition — a thick paste. He takes a frame and presses it on to the

slab, and in ten seconds you have 10,000 finished matches. If any one should

suffer from the deadly "phossy jaw" this man should, for he has been dipping

matches for a quarter of a century, but he breathes the air of Heaven — the

kindly proprietors, who do not look upon their employees merely as so many

 machines, lay stress on this — and as a further precaution fans are kept

 going throughout the day to drive away the fumes. No one is idle here. Big

strapping girls are making wooden boxes at the rate of 120 gross a day:

others are filling the boxes with matches at a speed that beggars description;

while over the way men are cutting timber for wooden "lights" with knives as

 sharp as razors.

***

O’Neill (1922) remarks: “’The Factory Lass’ was first heard by the editor at Gaelic Park, Chicago, on July 4th, '22. It was cleverly rendered in concert by Mr. Mullaney, Miss Geary, and Mr. McGrath, on the Irish or Union Pipes, Violin, and Flute, respectively. The similarity of strain, especially in the the first part, to that of the ‘Home Made Reel’ which follows may be noticed.” Source for notated version: Miss Theresa Geary (Chicago) [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 232.

X:1

T:Factory Lass, The

M:4/4

L:1/8

S:Miss Theresa Geary, Chicago

Z:Paul Kinder

R:Reel

K:D

de|fedB A2 FA|BAGB AFDg|fedB A2 GF|Eeed e2 ag|

fedB A2 FA|BAGB A2 FA|BcdB cdeg|fdec d2:|

|:de|fgaf g2 ag|fgaf fd A2|BABc dedc|Beed cd e2|

1fgaf g2 ag|fgag fd A2|BABc dfag|fdec d2:|

2fgaf bgaf|gefd edBc|BABc dfag|fded d2||

                       

FACTORY SMOKE HORNPIPE. AKA and see “Tide Come In [2].” Scottish, Hornpipe. G Minor (Gatherer, Honeyman, McGuire & Keegan): G Dorian (Perlman). Standard. AABB. Martin Hayes recorded the tune as “The Brown Coffin” and Donegal fiddler Danny O’Donnell called it “The Tide Came In.” Source for notated version: Gus Longaphie (b. 1914, Souris, North-East Kings County, Prince Edward Island) [Perlman]. Gatherer (Musical Museum), 1987; pg. 43. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 54. Kohler, Kohler's Violin Repository (1881‑1885). . McGuire & Keegan (Irish Tunes by the 100, Vol. 1), 1975; No. 88, pg. 24. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 65 (appears as “Factory Smoke Clog”).

X:1

T:The Brown Coffin

T:The Factory Smoke

M:4/4

L:1/8

K:Gm

G>A|B>AG>^F G>AB>c|d2G2G2a>g|f>ed>c B>cd>B|(3cdc (3BAG F2d>c|!

B>AG>^F G>AB>c|d>g (3fga g3d|e>dc>B c>ed>c|B2G2G2:|!

g>a|b>gd>B g>dB>G|D>GB>d d>gb>g|a>fc>A f>cA>F|C>FA>c f>cA>c|!

B>AG>^F G>AB>c|d>g (3fga g3d|e>dc>B c>ed>c|B2G2G2:|

                                               

FAD UA BAILE. AKA and see "Far From Home."

                                               

FADA AN LA GAN CLANN UISNEACH [1] (Long is the day without the Sons of Uisneach). AKA - "The Lamentation of Deirdre for/over Sons of Usneach," "Song of Clan Uisneach in the Poem of Deirdre." Irish, Slow Air (3/4 time). G Major. Standard. AB. A tune from the Irish collector Edward Bunting's MSS., in the hexatonic mode. The song is printed in the Journal of the Irish Folk Song Society (volume VIII) under the title "A Song of the Antrim Glens and Scottish Isles." Source for notated version: according to O’Sullivan, Bunting obtained two versions of this tune in the early 19th century, one in Murloch, Co. Antrim, and the other from "the old Marchioness of Londonderry" who learned it from a 'Blind Highland Woman.'" O'Sullivan/Bunting, 1983; No. 152, pgs. 209-210.

 

FADA AN LA GAN CLANN UISNEACH [2]. AKA and see “Lamentation of Deirdre for the Sons of Usneach.”

                                               

FADED LOVE. American, Song Tune. D Major. Standard. AB. Composed by John Wills and Bob Wills, copyright 1950. Source for notated version: Bob Wills, Johnny Gimble and Vassar Clements [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 48.

                       


FA(R)DER BEN DA WELCOMER, DA. Shetland, Listening Tune (2/4 time). Shetland, Walls. D Major. Standard. AABB (Cooke {version B}): AABBC (Anderson & Georgeson, Cooke {version A}): AA'BBC (Carlin). The tune was played in Walls as a welcome on the return from the kirk of the bridal party to the Bride's home (in Unst "Da Bride is a Boannie Ting" was played instead). It was also occasionally played as a listening tune at the wedding dance, state Anderson & Georgeson (1970). The tune was listed in Hoseason's 1863 MS. "Neither Stickle nor Fraser gave any hint that it may have been danced, but the title appears in a list of 'Names of Reels or Dance Music collected in the Island of Unst' in the Notes section of the Old Lore Miscellany (vol. 4, 1913). Its asymmetrical phrasing and internal repetitions lead one to think it is not of Scottish origin" (Cooke, 1986). Francis Collinson also suggests the tune may be of Norwegian origin. Sources for notated versions: John Stickle (Unst, Shetland) [Cooke, version B], Peter Fraser (Shetland) [Cooke {version A}, Anderson & Georgeson]. Anderson & Georgeson (Da Mirrie Dancers), 1970; ppg. 10. Carlin (English Concertina), 1977; pgs. 48‑49. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex. 30a and 30b, pgs. 82‑83. Shetland Folklore Society ‑ "Shetland Folk Book."

                       

FADING, THE. AKA and see "With a Fading." Irish, English; Country Dance Tune (6/8 time). F Major. Standard. One part.  The title of this Irish dance tune is a corruption of the Gaelic title "Rinnce Fada" (or Long Dance, which was danced before King James II, when he landed at Kinsale in 1689), a dance that survived into the 20th century in Cornwall, England, where it was known as "The Faddy." Chappell (1859) identifies the title as taken from the burden, or ending "tag," of a "popular Irish song...(which) gave the name to a dance." The air appears in Pills to Purge Melancholy (1707). Chappell (Popular Music of the Olden Time), Vol. 2, 1859; pgs. 104‑105.

X:1

T:Fading, The

L:1/8

M:6/8

S:Chappell – Popular Music of the Olden Time

Z:AK/Fiddler’s Companion

K:F

C|F2C F2F|A>BA G2E|F2F c2c|d>ef e2e|fed cBA|GAB A2A|(A3 A)GF|

G3 C2C|FGA AGF|Acz z2||

                                   

FAERIE KING, THE. Irish (?), Air (3/4 time). D Minor. Standard. AA’B.

X:1
T:The Faerie King
S:Kevin O'Connor
Z:fiddler@jgfiddler.de
M:3/4

L:1/8

R:Air
K:DMin
A,2|D3EDE|F3ED2|A2GFED|E4A,2|\
DA,DF (3EFG|F2GFED|^C3EDF|1E4:|2E3EDE|\
F3FEF|G3GFG|AGA2B2|A3AG2|\
FEFGF2|GDGAG2|AGABAB|BcBAG2|\
FEFGF2|GDGAG2|AGA2d2|^c4A2|\
d2A2F2|B2cBAG|F3FE2|D4|]

                       

FAERY REEL. Shetland, Reel. D Major. Standard. AABB. Traditional. Some few similarities to "The Fairy Dance." Bain (50 Fiddle Solos), 1989; pg. 26.

                       

FAG AN SLIGE UAIM. AKA and see "Leave My Way."

                       

FAGAIL BRAIGH BHALLA. Scottish, Slow Air (3/4 time). G Major. Standard. One part. Martin (Ceol na Fidhle), Vol. 4, 1991; pg. 23.

                       

FAGAIL GHLEANN ALADAIL (Leaving Glen Aladale). Scottish, March (4/4 time). D Major. Standard. AB. Composed by Charles MacFarlane. Neil (The Scots Fiddle), 1991; No. 120, pg. 159.

                       

FAGAIL MHIULE (Leaving Mull). Scottish, Slow Air (3/4 time). A Major. Standard. AA. Composed by pianist and accordion player Hamish Johnson (b. 1922, Glasgow), who retired to live on the Isle of Mull where his mother's people came from. Neil (The Scots Fiddle), 1991; No. 146, pg. 187.

                       

FAGAMAOID SÚD MAR ATÁ SÉ (Let Us Leave That As It Is). AKA and see "Let Us Leave That As It Is," "Darby O'Leary," "Galbally (Cranbally) Farmer," "'Twas On the First of May Brave Boys," "The First of May [1]," "The (Old) Barndoor Jig", "Rakes of Kildare," "Get Up Early." Irish, Scottish; Jig. A Dorian/Minor (Shields): A Major (O’Neill). Standard. AB (Shields): AAB (O’Neill). The tune is an early set of the double hornpipe "The First of May." See also Bayard's (1981) No. 603, a Pennsylvania collected version generically entitled "Old March." Source for notated version: the 1861 manuscript collection of James Goodman, an Anglican cleric who collected in County Cork [Shields]. Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 97, pg. 168. Joyce (Ancient Irish Music), 1873; No. 13. Petrie Stanford (Complete Collection), 1903‑06; Nos. 387, 1130, 1319. O'Neill (Music of Ireland: 1850 Melodies ), 1903; No. 177, pg. 31. O'Neill's Irish Minstrels and Musicians, 1913; pg. 132. Shields (Tunes of the Munster Pipers), 1998; No. 15, pg. 10.

X:1

T:Let Us Leave That As It Is

M:6/8

L:1/8

R:Air

N:”Gaily”

S:O’Neill – Music of Ireland (1903), No. 177

Z:AK/Fiddler’s Companion

K:A

(A/G/) | (EA).A “tr”(AG).A | (cde) f2a | {a}g>ec ded | {d}cAF (G2 {A/G/}E/D/) |

EAA “tr”(AGA) | (cde) f2a | g>ec (d<c)A | A3 A2 :|

d | efg aba | “tr”(gfg) (efg) | aba gec | dcA G2 ({A/G/}E/D/) | EAA “tr”AGA |

(cde) f2a | g>ec (d<c)A | A3 A2 ||

                       

FAGAN. Irish, Jig. G Major. Standard. AABB. Kerr (Merry Melodies), vol. 1; No. 31, pg. 38.


                       

FAGAN AND FENTON’S.  American, Clog. D Major. Standard. AABB. Edward Le Roy Rice, in his book Monarchs of Minstrelsy (New York, 1911), gives:

***

(Barney Fagan) is justly recognized as the world’s greatest dancer; as a producer, he ranks second

to none. Mr. Fagan made his first professional appearance in his native city at the famous

Howard Athenaeum in 1860, as the Cabin Boy in the “Pilot of Brest.” He remained at this

theatre several seasons. In 1865 he played his first minstrel engagement with the Morris

Brothers in Boston. In 1870 Mr. Fagan went to St. Johns, N.B., and appeared with Pete Lee’s

Minstrels. In 1873 he joined Buckley’s Serenaders in Boston, and took Joe Parks as a

partner; the next three years, Fagan and Parks, known as the American Lads, played

variety engagements. In 1876 he did the famous Heifer dance with Richard Golden in

“Evangeline.” Mr. Fagan next joined John Fenton in a dancing specialty, and continued

with him until 1878, when he formed a partnership with Lizzie Mulvey, which lasted one

season. Mr. Fagan in 1879 allied himself with Barlow, Wilson, Primrose and West’s Min-

strels, and continued with them until the company’s dissolution in June, 1882; with this

organization he was general producer and soloist. Probably Mr. Fagan’s greatest achievement

was in organizing and producing Seatnam, Billy Rice and Fagan’s Minstrels, which gave their

first performance at Albany, N.Y., July 25, 1887; this was the largest minstrel company that

had ever travelled; 105 persons on parade; 88 in the regular company; incidentally that show

was just twenty-three years ahead of its time; in other words, Sweatnam, Rice and Fagan’s

minstrels are about due again.  Subsequently Mr. Fagan was with Thatcher, Primrose and

West; Barlow, Wilson and Rankin’s; and Cleveland’s Minstrels; with the latter organization

Sitting on the opposite end to Luke Schoolcraft. Outside of minstrelsy Mr. Fagan has appeared

Successfully in white-face in such plays as “Paradise Alley,” and his own company, “A High

Roller,” the latter in 1890. Some notable marches were the “West Point Cadets; the “Phantom

Guards” and “The Dance of the Popinjays”; the latter being one of the cleverest conceits

ever seen in minstrelsy. Mr. Fagan was general producer for Corinne for several seasons, also

with other notable companies.

***

As a song writer her is no less prominent; “Everybody Takes Their Hat Off to Me,” and “A

High Born Lady,” each enjoyed great popularity. Likewise did ths versatile genius write some

Very clever plays, notably—“The Land of Fancy,” “The Game of Love” and several others. Mr.

Fagan has been playing with Herietta Byron, of the Byron Sistes, since 1895. Barney Fagan was born

In Boston, Massachusetts, Janurary 12, 1850.

***

Barney Fagan (1850-1937) is credited with being a progenitor of both music and dance genres. His compositions were important in the development of ragtime, in the opinion of Sigmund Spaeth (A History of Popular Music in America, 1948). “…Fagan’s lively ‘coon song’, My Gal Is a High Born Lady, [1886, was] definitely above the average in both words and music. Fagan was an Irishman, but familiar with minstrel technique and one of the great buck-and-wing dancers of his day. He was famous also as a stage director, creating many elaborate acts for Primrose and West, with a feeling for color and lighting far in advance of his time. There is a story (probably started by Fagan himself) that he wrote his great hit in Chicago one morning, when he found himself down to his last twenty-five cents, and on his wife’s birthday at that. He took a bicycle ride along the Lake, brode a pedal and suddenly became conscious of a persistent rhythm as the dangling piece clicked against the wheel. The words ‘My gal is a high born lady’ fitted into the rhythm and suggested a rag-time melody. He stopped long enough to write down the main theme, then hurried home to complete the song, taking it immediately to a publisher and collecting $100.00 in cash, which he promptly spent on a birthday dress and a big party…(More important is the fact that the piano arrangement of My Gal Is a High Born Lady was made by a youngster named Gustav Luders, of later operatic fame.)”  (pgs. 287-288). Dancers sometimes credit him with being the “Father of Tap”(Dancing), although that title has also been applied to others. Frank Dumont in an article in the New York Clipper (March 27, 1915—“The Younger Generation in Minstrelsy and Reminiscences of the Past”) remembers Fagan as “the greatest dancer and producer of dancing tableaux and novel groupings…He was a genuine ‘find’ to minstrelsy and his methods are copied to this day in all dancing numbers. He was especially attentive to the young element and made great dancers of them.”

***

The melody is credited to J. Braham in Ryan’s Mammoth Collection. New York researcher, musician and writer Don Meade believes this refers to John Braham, an English-born violinist who led the orchestra at the Howard Athenaeum in Boston, and who composed numerous popular songs and dance tune in the 1870’s and 1880’s. Braham came from a musical family, notes Don, “His father Joseph led (New York variety theatre impresario) Tony Pastor’s orchestra, while his uncle David Braham was (musical theatre playwright) Ned Harrigan’s father-in-law, musical director and songwriting collaborator.”

***

Cole (1000 Fiddle Tunes), 1940; pg. 121. Ryan’s Mammoth Collection, 1883; pg. 160.

The tune is credited to J. Braham, “an English-born violinist and composer of numerous popular songs and dance tunes in the 1870’s and 1880’s,” says Don Meade.

X:1

T:Fagan and Fenton’s

M:C|

L:1/8

R:Clog

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

(3FG^G | (A>.a)(f>.d) A>fd>A | F>dA>F C>AF>D | C2 (3ggg g>ec>A | F2 (3fff (3fed (3dcB |

A>af>d A>fd>A | F>dA>F D>AF>D C2 (3ggg g>ec>A | d2f2d2 :: (B>.c) | (^d>.B)(d>.f) b>a^g>f |

^g>af>^g e2 c>d | e>Ac>e a>=gf>e | f>ge>f d2 (3dfa | d’2c2c2 (3dfa | d’2c2 d>cd>e |

=f>d’b>^g =f>dB>d | =c>c’^g>=f d>B (3AB^c | d>a^f>d A>fd>A | F>dA>F D>AF>D |

C2 (3ggg g>ec>A | F2 (3fff (3fed (3dcB | A>af>e ^d>bb>f | ^a<gf<g B>gf>e | (3def g>a b>ag>e | d2f2d :|

 

FAGHAIM ARIS A’ CRUISCIN AS BIODH SE LAN. AKA and see “We’ll take again a cruiskeen, a cruiskeen laun.”

                       

FAGIN’S HOLIDAY. American?, Irish?; Slide. The title may refer to Bernard J. “Barney” Fagan, of minstrel fame (see note for “Fagan and Fenton’s”). Ryan’s Mammoth Collection, 1883; pg. 109.

                       

FAHY’S….  See also listings under “Paddy Fahey’s…”

 

FAHY FROM KILLYBEG HOUSE. Irish, Reel. The title is from Seamus Connolly in honor of the composer, fiddler Paddy Fahy of Killybeg House, near Aughrim, County Galway. Green Linnett GLCD 1087, Seamus Connolly - "Notes From My Mind" (1988).

                       

FAHY'S JIG [1] (Port an Fhathaigh). AKA and see "Come Along with Me [2],” “The Green Forest." Irish, Double Jig. G Major. Standard. AA'BB (Breathnach). Source for notated version: accordion player Finbarr Dwyer (Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 24, pg. 12. Green Linnet Records SIF 1012, "Martin Mulvihill" (1978).

 

FAHY'S JIG [2]. Irish, Double Jig. Ireland, County Sligo. G Major. Standard. AABB (Flaherty): AA’BB (Mulvihill). No real resemblance to version #1. Mulvihill’s version shifts tonality between the major and dorian mode. Sources for notated versions: flute player Pat Meehan (b. 1960, Co. Sligo) [Flaherty]: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Flaherty (Trip to Sligo), 1990; pg. 108. Mulvihill (1st Collection), 1986; No. 17, pg. 68. 

 

FAHY’S JIG [3]. Irish, Double Jig. G Major. Standard. AA’BB’. No relation to “Fahy’s Jig” [1] or [2]. Source for notated version: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 16, pg. 67.

 

FAHY'S REEL [1] (Ríl an Fhathaigh). Irish, Reel. D Minor. Standard. AA'BB. Probably the best-known composition of Paddy Fahy, who does not appear to have named his pieces. Source for notated version: fiddler Kathleen Collins, who learned it directly from Paddy Fahy (Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 122, pg. 59. Shanachie Records 29002, "Kathleen Collins" (1976).

 

FAHY’S [2]. Irish, Reel. C Major. Standard. AB Source for notated version: Brendan Mulvihill (Baltimore, Md) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 190, pg. 51 (appears as “Fahy’s No. 2").

 

FAHY'S [3]. AKA and see "The Galway Reel [2]," “McGlinchy’s [1],” “Redican’s (Reel).” Irish, Reel. G Major. Standard. AABB. The tune, actually a composition of Long Island, N.Y., Irish musician Larry Redican, begins on a C Major chord (the subdominant of the key). Taylor (Half‑door), 1992; No. 31, pg. 23. Shanachie 34012, Liz Carroll - “Kiss Me Kate.” Shaskeen ‑ "Atlantic Breeze."

 

FAHY'S REEL [4]. AKA and see “The Banks of the Ilen.” Irish, Reel. Ireland, County Sligo. D Major. Standard. ABB. Source for notated version: flute player Colm O'Donnell (b. 1962, Aclare, County Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 15.

 

FAHY’S REEL [5]. AKA and see “Beare Island Reel,” “Ríl Bheara.” Irish, Reel. E Minor. Standard. AABB. The first measure only features a G sharp note. Source for notated version: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 185, pg. 50.

 

FAHY’S REEL [6]. Irish, Reel. A Major. Standard. AB. Source for notated version: a recording by Joe Burke [O’Malley]. O’Malley Collection, 1976; No. 53, pg. 27.

X: 1

T: Fahy's [6]

M: 4/4

L: 1/8

Q: 350

S: Luke O'Malley vol 1

Z: Transcribed by Bill Black

R: reel

K: A

AGED B,CDB, | E2 B,E GEBG | AGEF GABc | (3ded cB AcBG |

AGED B,CDB, | E2 B,E GEBG | AGEF GABA | GEDB, A2 (3EFG ||

A2 CE DCBG | AGED B,CDB, | EA~A2 EAce | dcBG EAA2 |

EAce (3ded BG | AGEF GFGA | (3Bcd ed Bcdf | edBG A4 ||

                       

FAIGH AN GLEAS (Find the Key). AKA and see "Feagh an Geleash" (Try if it is in tune).

                       

FAILL NA mBAN. AKA and see “The Cat the Kittled in Jamie’s Wig,” "File na Mon,” “Miss Lyall [2],” “Panmure House.” Irish, Hornpipe. A Dorian. Standard. AA'BB'. A hornpipe setting of the Scottish strathspey known as “Miss Lyall’s” or “Panmure House.” Roche Collection, 1982, vol. 2; No. 234, pg. 18.

                       

FAILLIRINN ‘ILLIRINN.  Scottish, Slow Air (4/4 time). F Minor. Standard. AB. Morison (Highland Airs and Quicksteps, vol. 2), c. 1882; No. 1, pg. 1.

X:1

T:Faillirinn ‘illirinn

M:C

L:1/8

R:Slow Air

S:Morison – Highland Airs and Quicksteps, vol. 2, No. 1 (c. 1882)

Z:AK/Fiddler’s Companion

K:F Minor

F2 FG F2 GB | c2 Bc F2G2  | B2 GF E2FG | B2GF E3e | f2 ec B2BB | c2 ee f2e2 |

cB AG F2GB | c2 BG F4 || F2 F>G F2 GB | c2 B>c F2G2 | B2 GF E2FG |

B2GF E3e | f2 ec B2BB | c2 ef f2e2 | cB AG F2 GB | c2BG F4 ||

 

FÁILTE A BAILE SEAGANIN. AKA and see "Johnny's Welcome Home."

                       

FÁILTE A GCOMNUIGE. AKA and see "Always Welcome."

                       

FÁILTE ‘A PHRIONSAI (The Prince’s Welcome).  Scottish. A favorite tune in the late 18th century. Emmerson (1972) reports that in 1785, at the Exhibition of Martial Music held in Dunn’s Assembly Rooms, that twenty-four pipers played the tune (along with “Glass Mheur” and “Grim Donald’s Sweetheart;” all long-standing favorites).

                       

FÁILTE AN PÍOBAIRE. AKA and see "The Piper's Welcome." The melody is found in Irish Tunes for the Scottish and Irish War Pipes by Walsh and Glen (p 46), and belongs to the “Drunken Gaugher [1]” and “Munster Rake” family of tunes.

                       

FÁILTE DON EILEAN SGITHEANACH (Welcome to Skye). Scottish, Air (3/4 time). D Major. Standard. One part. Composed by Neil Macleod. Martin (Ceol na Fidhle, Vol. 3), 1988; pg. 33.

                       

FÁILTE DON PHIOBAIRE. AKA and see "Welcome the Piper."

                       

FÁILTE GO h-ÉIRINN. AKA and see “Clareman’s Hornpipe,” “O’Mahoney’s Hornpipe.” Irish, Hornpipe. D Major. Standard. AABB. Roche Collection, 1982, Vol. 3; No. 178, pg. 62.

                       

FÁILTE NA BAN MHARC. AKA and see "The Marchioness's Salute."

                       

FÁILTE NA MIOSG. AKA and see "The Musket Salute." Published by Oswald in a 1742 collection called Curious Scots Tunes.

                       

FÁILTE PHRIONNSAH (The Prince’s Salute). AKA and see “The Prince’s Salute.”

                       

FÁILTE ROIMH Ó CONAILL GO BAILE ATHA CLIATH. AKA and see "O'Connell's Welcome to Dublin."

                       

FÁILTE ROMAD A BAILE. AKA and see "Welcome Home."

                       

FÁILTE ROMAD GO CORCAIGE. AKA and see "Welcome to Cork."

                       

FÁILTE SHINÉAD RIOMH CHATHAL. AKA and see "Jenny's Welcome to Charlie."