The Fiddler’s Companion

© 1996-2007 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 concertina.net’s incredibly handy “ABC Convert-A-Matic” at

http://www.convert.net/tunes_convert.html

 

 

I AM A BOLD DEFENDER. Irish, Air (6/8 time). F Mixolydian. Standard. One part. Stanford/Petrie (Complete Collection), 1905; No. 434, pg. 109.

X:1

T:I am a bold defender

M:6/8

L:1/8

R:Air

S:Stanford/Petrie (1905), No. 434

Z:AK/Fiddler’s Companion

K:F Mixolydian

(3c/d/e/ | f2g _e2f | c2B A2F | B2A F2F | (F3F2) F | A2F A2B | c2B A2F |

F2G A2B | (c3c2) F | A2F A2B | c2B A2F | F2F A2B | (c3c2) (3c/d/e/ |

f2g _e2f | c2B A2F | B2A F2F | (F3F2) ||

                       

I AM A BRISK AND SPRIGHTLY LAD. English, Air (cut time). F Major. Standard. One part. Huntington (William Litton's), 1977; pg. 27.

                       

I AM A LONG TIME HERE (Is Fada Annso Me). AKA and see "The Gentle Maiden."

                       

I AM A POOR MAID THAT’S CROSSED BY MY FRIENDS. Irish, Air (6/8 time). F Minor. Standard. One part. “Set by W. Forde” (Stanford/Petrie). Stanford/Petrie (Complete Collection), 1905; No. 309, pg. 77.

                       

I AM A POOR MAIDEN, MY FORTUNE PROVED BAD. Irish, Air (3/4 time). D Major. Standard. One part. Source for notated version: “(The Irish collector) Mr. Joyce, from Peggy Cudmore” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 455, pg. 115.

X:1

T:I am a poor maiden, my fortune proved bad

M:3/4

L:1/8

R:Air

S:Stanford/Petrie (1905), No. 455

Z:AK/Fiddler’s Companion

K:D

(3ABc | d2c2B2 | A2F2A2 | {A}G2F2E2 | D4 de | f2d2f2 | ed cBAB |

c2d2e2 | d4 de | f2d2f2 | ed cBAB | c2d2e2 | d4 (3ABc | d2c2B2 |

A2F2A2 | G2F2E2 | D4 ||

                       

I AM A POOR RAMBLING BOY. AKA and see "Rambling Boy."

                                               

I AM A POOR SHEPHERD UNDONE. AKA and see "The Distressed Shepherd," "Hey, Ho, My Honey," “Slaughter House,” "When my hero in court appears." English, Air (6/8 time). E Minor. Standard. AAB. The melody appears in Playford's Dancing Master (1665, 1668 and all subsequent editions), Apollo's Banquet for the Treble Violin, Pills to Purge Melacholy {vol. IV, 1720, as "The Distressed Shepherd"}, and John Gay's Beggar's Opera (1729) {as Air IV "When my hero in court appears"}. Chappell (1859) notes numerous references to the tune, the earliest dating 1659. Kidson (1922) says the earlier name for the tune is "Hey, ho, my honey." Chappell (Popular Music of the Olden Times), vol. 2, 1859; pgs. 14‑15. Raven (English Country Dance Tunes), 1984; pg. 67.

X:1

T:I am a Poor Shepherd Undone

M:6/8

L:1/8

S:Gay – Beggar’s Opera

K:D Minor

dd | ^c=BA ABc | d3F3 | GBA F>ED | (D3 D2)d | ^c=BA ABc | d3F3 | GBA F>ED | (D3D) ||

EE | FEF GFG | A3 z2E | FEF GFG | A3 z2E | FEF GAB | A3d2d | cBA GFE | D3 z2 D/E/ |

F3A3 | F D2 z2E | FEF GAB | A3 z2E | FEF  GAB | A3d3 | cBA GFE | (D3 D2) ||

                       

I AM A REAL REPUBLICAN. Irish, Air (6/8 time). G Dorian. Standard. One part. "There was a Ninety‑eight song to this air:‑‑'I am a real republican; John Wilson is my name'" (Joyce). Source for notated version: Hugh O'Beirne, professional fiddler from Ballinamore, Co. Leitrim, 1846. Joyce (Old Irish Folk Music and Songs), 1909; No. 600, pg. 311.

                       

I AM A ROVER. Irish, Air (3/4 time). E Flat Major. Standard. AAB. Stanford/Petrie (Complete Collection), 1905; No. 526, pg. 133.

X:1

T:I am a rover

M:3/4

L:1/8

S:Stanford/Petrie (1905), No. 526

Z:AK/Fiddler’s Companion

K:E_

B/c/4d/4 ef/g/ | e>d cB c/>d/e/c/ | BG EA G/A/B/c/ | {A}G>E CB,/C/ EE | E3 :|

|| AGA | B>c de f/>g/a/g/ | f>d Bc/d/ ef | ed B{d}c BB | B2 Bc/d/ ef/g/ |

e>d cB c/>d/e/c/ | BG EA G/A/B/c/ | G>E CB,/C/ EE | E3 ||

                       


I AM A WIDOW AND A MAID (Is Baintreabhach Agus Maighdean Me). Irish, Slow Air (3/4 time). C Mixolydian. Standard. AB. This widow and maid was the bride of O'Reilly, who was drowned when crossing the Shannon on his wedding day: see "Lamentation of O'Reilly's Bride." Source for notated version: Hugh O'Beirne, professional fiddler from Ballinamore, Co. Leitrim, 1846. Joyce (Old Irish Folk Music and Songs), 1909; No. 630, pg. 321.

                       

I AM A YOUNG LITTLE BOY (Is Buachaillin Beag Og Me). Irish, Air (4/4 time). F Major. Standard tuning. AAB. "A song on leaving home" (Joyce). Source for notated version: Hugh O'Beirne, professional fiddler from Ballinamore, Co. Leitrim, 1846. Joyce (Old Irish Folk Music and Songs), 1909; No. 628, pg. 321.

                       

I AM AN ORPHAN BOY. AKA and see "Ja Sam Sirota."

                       

I AM ASLEEP {AND DON'T WAKEN ME} [1] ("Tha mi am chadal," or "Taimse 'im chadal"). AKA and see "Taimse 'im Chodladh." Scottish, Irish; Slow Air (3/4 time). F Major. Standard tuning. AAB. This tune, an "ancient simple set," "is claimed by both the Irish and Lowland Scotch. There being very ancient Gaelic words to it, the Highlands have as well‑founded a claim to it as either, which the editor is bound to assert. It was since the air was printed that he observed it furnished with words by H. MacNeil, Esq., who is entirely of the editor's opinion, regarding its origin" (Fraser). As with many tunes the national origin is in dispute, and Paddy Moloney of the Chieftains, echoing (word for word) the early 19th century collector Edward Bunting, believes this "ancient and beautiful air (was) unwarrantably appropriated by the Scots." Bunting (1840) notes that Hector O'Neill, a Scot, wrote words to it. There are numerous versions of the melody that have been collected in tradition. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 34, pg. 12.

X:1

T:I am asleep [1]

T:Tha mi am chadal

N:”Ancient simple set”

M:3/4

L:1/8

R:Air

S:Fraser Collection   (1874)

Z:AK/Fiddler’s Companion

K:F

CD/E/ F4|F4 A2|GABAGF|D4 C2|A>Bc>e f2|A3B G2|1 F6:|2 F4||

c>d|_e3 gfe|d2 e2 f2|c3 dfg|f2d2c2|_edegfe|d3=e f2|c2 BAGF|F2D2C2|

f2e2d2|c2B2A2|G3 FAG|F3 G/A/ C2|D>E F4|AgedcB|A3B G2|F6||

 

I AM ASLEEP AND DON'T WAKEN ME [2] ("Taim I Mo Chodhladh Is Na Duisigh Me," "Táimse im/mo Chodladh" or "Ta me mo chodladh"). AKA and see “Cold, frosty morning,” "Lament of a Druid,” "Past one o'clock," "Thamama Hulla" (an Englished version of the Irish title). Irish, Air (3/4 time). F Major (O’Sullivan/Bunting): F Mixolydian (Stanford/Petrie). Standard tuning. AB (O’Sullivan/Bunting): AAB (Stanford/Petrie). A variant of version #1. The first printing of the tune in Ireland was in John and William Neale’s Collection of the Most Celebrated Irish Tunes (Dublin, date of publication usually given as 1721 or 1726, although 1742 is the date Bonnie Shaljean gives in the Appendix to the 2001 edition of O’Sullivan’s Carolan: Live and Times; this based on watermark analysis), the first collection of Irish melodies (Ó Canainn, 1978). As with some other airs, it is unclear whether original provenance lies in Scotland or Ireland, as the melody appears in publications around the same time: if the earlier date for the Neale’s publication is correct, then it predates the Scots appearance in Stuart's Music for TTM, c.1725/6 (where it is given as "Chami ma chattle"). It was used in ballad operas of the 18th century and is still quite common in the tradition. Cowdery (1990) identifies this tune as a member of "The Blackbird" family.

***

A story is told by O'Neill regarding this tune, quoted in O'Sullivan (1983):

***

When at Mr. Macdonnell's of Knochranty in the county of

Roscommon, he met a young nobleman from Germany who

had come to Ireland to look after some property to which

he had a claim through his mother. "He was one of the most

finished and accomplished young gentlemen," says O'Neill,

"that I ever met. When on one occasion Hugh O'Neill and I

 played our last tunes for him, he wished to call for 'Past one

o'clock,' or 'Tha me mo chodladh, naar dhoesk a me,' which

he had heard played somewhere before, but for the name he

was at a loss. Perceiving me going towards the door, he followed

me, and said that the name of his bootmaker was Tommy

McCullagh, and that the tune he wanted was like saying

'Tommy McCullagh made boots for me;' and in the broad

way he pronounced it, it was not unlike the Irish name. I

went in with him and played it, on which he seemed

uncommonly happy.    

***

Blind harper Arthur O’Neill (1734-1818), originally from County Tyrone, mentioned the tune (as “Past One O’Clock”) in his memoirs. As a young man he stayed seven years with a Colonel White of Red Hill, County Cavan, and visited his neighbor, a Mr. Norris Thompson, every Saturday night:

***

I spent my time very pleasantly between Colonel White and Mr. Thompson.

I spent one Saturday night with Mr. Thompson particularly and he was so

uncommon fond of the tune ‘Past one o’clock’ that we both tęte-ŕ-tęte

finished four bottles of good old port wine, I playing the tune all the time

except when lifting my hand to my head.

***

The Gaelic song “Táimse im’chodladh” is an allegorical lyric, with a beautiful lady personifying Ireland appearing to the writer in a vision, beseeching him to arise and take arms against the invader. It thus falls in the Asiling, or ‘vision’, tradition of Irish poetry and song. It was composed in the 18th century in Munster. A translation by Dr. Eoin O’Neill of the Irish lyric, goes:

***

As I was abroad late one evening
-I am asleep and don't waken me-
It happened that I noticed by my side a beautiful apparition
-I am asleep and don't waken me-
Her curly, ringleted, cascading surplus of tresses fell over her trembling limbs,
As she launched the arrows that pierced me in the side.
-I am sleep and don't waken me-

***
Arise my loyal family and take up your weapons
-I am asleep and don't waken me-
And level to the ground every English clown.
-I am asleep and don't waken me-
If only three survive, let there be shouts of triumph in all your towns;
From Carrick-on-Suir west to the banks of Dingle
Raise your blades and give the English their own treachery;
-I am asleep and don't waken me-

***

The melody was a part of the old Irish harp tradition, and was also absorbed into piping tradition. Brian McNamara (2004) calls it one “of the great airs associated with the Uilleann pipes.” Source for notated version: Bunting noted the melody from Hempson the harper at Magilligan in 1792. Holden (Collection of Old-Established Irish slow and quick tunes), volume II, Nos. 15 & 35. Mulholland (Ancient Irish Airs), No. 32. Neal (Collection of most Celebrated Irish Tunes), 1726 (?); pg. 12. O'Farrell (Pocket Companion for the Irish or Union Pipes), No. 168. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 599. O'Sullivan/Bunting, 1983; No. 100, pgs. 144-146. Stanford/Petrie (Complete Collection), 1905; No. 488, pg. 123. Burke Thumoth (Twelve Scotch and Twelve Irish Airs), pg. 15. Walker (Historical Memoirs of the Irish Bards), No. 32. Drumlin Records BMNCD2, Brian McNamara – “Fort of the Jewels” (2004). RCA 09026-61490-2, The Chieftains - "The Celtic Harp" (1993). Topic 12T184, Willie Clancy - "The Breeze From Erin" (1969).

X:1

T:I’m Asleep and Don’t Awaken Me

M:3/4

L:1/8

R:Air

S:O’Neill – Music of Ireland (1903), No. 599

Z:AK/Fiddler’s Companion

K:F

F>D|C>D F2F z|F4 F2|G2 F/4G/2<A A/4G/2<F|D4 C2|D2F2F2|A2 c2 d/4c/2<A|

G3 F A/4G/2<F|F4:||c>d|{d}e4 ef/e/|{^c}d4 d_e/d/|{=B}c4 d>e|d2c2A2|c2d2f2|

f4 d>c|A2G2F2|F>G D>F C2|{d}e4 f>_e|{^c}d4 =c>A|c>d f>d c>A|G>F D>F C2|

D2F2f2|[D2d2] c>A G>F|G4 F2|F4||F/4G/2<A|B2 cBAG|A2 BAGF|G>A c>G A>F|

D4 C2|D2F2f2|d2 c<A G<F|G4 F2|F4||C>D|[C4_E4] [CE] z|[B,4D4][B,D]z|C4 C z|

C2 A,2 C2|C2 D2 F2|F3G F/4G/2<A|AG F/4G/2<A A/4G/2<F|D4 cd|[c4_e4][ce]|

[B4d4] c<A|c>d f>d c>A|G>F D>F C2|D2F2f2|d2 cA GF|G4F A/4G/2<F|F4||

X:2

T:I am asleep and don’t wake me

M:3/4

L:1/8

S:Stanford/Petrie (1905), No. 488

Z:AK/Fiddler’s Companion

K:F

FG/A/ | B2B2B2 | A2A2A2 | FA/c/ BA GF | D4 C2 |

C2D2 F>G | A2c2 (3dcB | A4G2 | F4 :|

|| cd | _e4 e2 | d4 cA | c2d2f2 | f2 dc A2 | _e2 e2e2 |

d4 cA | F2 FG AF | G2F2 F/A/c/d/ | _e2 ef gf | _e2 dc fd/c/ |

B2 AF GD | F2D2C2 | D2F2F2 | AB c2 f/d/c/B/ | A4 G2 | F4 ||

                                               

I AM MY MOTHER'S DARLIN' CHILD. AKA and see "Soldier's Joy [1]." Old-Time. Columbia 191‑D (78 RPM), 1924, Samantha Bumgarner and Eva Davis (Asheville, N.C.).

                       

I AM SO DEEP IN LOVE. AKA and see "Cupid's Courtesie." English, Air. The air is usually known as "Cupid's Courtesie." The alternate title "I am so deep in love" is taken from the first line of a song entitled "The Maiden's Complaint against Young Men's Unkindness" (to the tune of "Cupid's Courtesie").

 

I AM SO SORROWFUL. See “Tha mise cho muladach.”

                       

I AM THE BRAVEST COWBOY. Old‑Time, Song and Breakdown. USA, western N.C. Greenhays GR 710, John McCutcheon ‑ "Fine Times at Our House" (1982. Learned from Tommy Jarrell, Mt. Airy, N.C.).

                       

I AM THE DUKE OF NORFOLK. AKA and see "Paul's Steeple." English, Country Dance Air (cut time). G Dorian. Standard tuning. AB. The original ballad has been lost though references to it exist in literature, states Chappell (1859), who also records a curious ritual attached to the tune that was current (or in living memory) in Suffolk at the time he was writing. At harvest festivals in that county it was customary to sing a song beginning—

***

I am the Duke of Norfolk

Newly come to Suffolk,  (etc.)

***

and one of the gathered group would be crowned with a pillow or cushion, while another kneeled before him and presented him with a jug of ale. The one so crowned was required to then drink off the ale without spilling it or letting the cushion fall. The editor of the "Suffolk Garland" (1818, pg. 402) says that "this custom has most probably some allusion to the homage formerly paid to the Lords of Norfolk, the possessors of immense domains in the country." Whether or not this was the origin, the term "to serve the Duke of Norfolk" entered tradition as equivalent to making merry, and Chappell finds references to it in literature as early as 1617; Shakespeare's Falstaff also makes reference to using a cushion as a crown. Chappell (Popular Music of the Olden Time), vol. 1, 1859; pgs. 282‑283.

                       

I AM WAITING FOR YOU. Irish, Reel. Kilfenora Ceili Band - “Irish Traditional Fiddle Music.” Gael‑Linn CEF 092, “Billy Clifford” (1982).

X:1

T:I am waiting for you

M:4/4

L:1/8

K:G

D|G2BG dGBG|AGFG ABcA|BAGF GABc|defd cAFA|B~G3 dGBG|

AGFG ABcA|(3Bcd)GB cBAG|FGAF G3

:| d|g2fg ecAG|(3FED) AD BDAD|~E3F~G3A|(3Bcd) ^ce d2ef|

gfed ecAG|(3FED) AD BDAD|G2FE DGBd|cAFA G3:|

                       

I AM WEARING A COAT IN PRAISE OF THE MILL. See “Tha Cota Orm S’Ardach Muillin.”

                       

I ASKED THAT PRETTY GIRL TO BE MY WIFE. AKA and see "Miss Sally at the Party,” “Old Miss Sally.” Old‑Time, Breakdown. USA, Oklahoma. G Major. GDad. ABBBBBB'. Vocal on rpt. of 'A' section.

***

Asked that pretty girl to be my wife,

She wouldn't do it to save my life;

Asked that pretty girl to be my wife,

She run at me with a carving knife (or 'old case knife'). {Thede}

***

The tune was collected in 1939 in Mississippi as "Miss Sally at the Party", with a similar rhyme sung to it. Source for notated version: Sam Wiles (McCurtain County, Oklahoma) [Thede]. Thede (The Fiddle Book), 1967; pg. 86‑87.

                       

I AWOKE FROM MY DREAM (Do Duisig Me Ua Mo Aisling). Irish, Air (6/8 time, "gaily"). D Major. Standard. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 341, pg. 59.

X:1

T:I Awoke from My Dream

L:1/8

M:6/8

N:”Gaily”

S:O’Neill – Music of Ireland (1903), No. 341

Z:AK/Fiddler’s Companion

K:D

A|ABc d2d|d2d edc/A/|ABc d2d|fed cdB|ABc d2d|e>dc BcA|d2d ecA|d3 d2||

f/g/|a2f gfg|a3 f3|e2e efd|B3 A2A|ABc d2d|e>d BcA|d2d ecA|d3 d2||

                       

I bhFOISCEACHT MILE DO BHAILE ATHA CLIATH. AKA and see "Within a Mile of Dublin."

                       

I BHI ADA. Scottish, Strathspey. D Major. Standard. AABB’. Martin (Ceol na Fidhle), Vol. 4, 1991; pg. 20.

                       

I BRIDLED MY NAG. Irish, Air (6/8 time). D Major. Standard. One part. "Air and words learned in early life from hearing the people sing the song. The hero was evidently what sporting people now call a 'welsher'" (i.e. one who has no funds to pay any debts incurred) {Joyce}. It begins:

***

I bridled my nag and away I did ride

Till I came to an alehouse hard by a town side,

There I saw three gentlemen throwing dice,

And the took me to be some noble knight:

Cho:

With my right fol-ol de diddle, right fol-lee,

And in my pocket bur one pen-nee.

***

Joyce (Old Irish Folk Music and Song), 1909; No. 60, pg. 33.

X:1