The Fiddler’s Companion

© 1996-2009 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

IKE - IM

 

 

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]

 

 

 

IKE FORRESTER'S REEL [1]. AKA and see "The Boys of the Lake [2]," "The Corkonian," "The Merry Blacksmith," "Paddy on the Railway," "The Peeler's Jacket [1]," "The Policeman's Reel," "The Railroad [2]," "The Shepherd in/on the Gap," "The Peeler's Reel."  Francis O'Neill named this tune after Ike Forrester, the fiddling village blacksmith of Edina, Missouri, who played this tune at local dances where O'Neill played the flute.  O'Neill describes the attendees at the affair as "a motley crowd--fiddlers galore, and each with his instrument. Irish, Germans, French--types of their respective races--and the gigantic Kentuckians, whose heads were endangered by the low ceilings, crowded in, and never a misunderstanding or display of ill-nature marred those gatherings.  Seated behind the fiddler, intent on picking up the tunes, was my accustomed post" (O'Neill, Irish Folk Music).

 

IKE FORRESTER'S REEL [2]. Old-Time, Breakdown. D Major. Standard. AB. Source for notated version: Terry Wergeland [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 47.

                       

IL EST NE. French-Canadian?, March? or Country Dance Tune (cut time). G Major. Standard. AABB. Miller & Perron (New England Fiddler’s Repertoire), 1983; No. 167.

X:1

T:Il est Né

M:C|

L:1/8

K:G

D2G2G2BG|D2G2G4|G2GA B2cB|A2G2 AFD2|

D2G2G2BG|D2G2G3D|G2GA B2cB|A2d2G4:|

|:B2c2d2cB|c2e2d4|B2c2d2ed|c2B2B2A2|B2c2d2cB|

c2e2d3c|B2c2d2ed|c2B2B2A2:|

                       

ILCEARDAIGE, AN. AKA and see "Jack-of-All-Trades."

                       

ILES DE LA MADELAINE. French-Canadian, Waltz. The Iles de la Madelaine lie in the Bay of St. Lawrence, off Québec’s Gaspé peninsula. Green Linnet SIF 1079, Buttons and Bows – “The First Month of Summer.” Chris Norman – “The Man with the Wooden Flute.”

                       

I'LL ALWAYS REMEMBER YOU. Irish, Air. Composed by Seamus Connolly. Canadian Broadcasting Corp. NMAS 1972, Natalie MacMaster - "Fit as a Fiddle" (1993).

                       

I'LL BE A GOOD BOY {AND DO SO NO MORE} (Beid Me Buacaill Macanta). Irish, Air (3/4 time). Ireland, County Cavan. D Major (O’Neill): B Flat Major (Stanford/Petrie). Standard. AB. “From the county of Cavan” (Stanford/Petrie). Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Selections), 1903/1979; No. 245, pg. 42. Stanford/Petrie (Complete Collection), 1905; No. 536, pg. 135.

X:1

T:I’ll be a Good Boy

M:3/4

L:1/8

R:Air

S:O’Neill – Music of Ireland (1903), No. 245

Z:AK/Fiddler’s Companion

K:D

Ad|f2 gf ed|c2 A2 A>G|F2D2 D>E|D4 Ad|fg a2 gf|ef g2 fe|dc A2 A2|A4 de||

fg a2 gf|ef g2 fe|d>c de fg|f4 ef/e/|d2 A2 A>G|F2 D2 FG|A2d d{f}e|d4||

                       

I'LL BE ALL SMILES TONIGHT. American, Waltz. C Major. Standard. AB.

***

I'll deck my brow with roses,

The loved one may be there.

The gems that others gave me,

Will shine within my hair.

And even them that know me,

Will think my heart is light.

Though my heart may break tomorrow,

I'll be all smiles tonight. (Ford)

***

Ford (Traditional Music in America), 1940; pg. 137 (additional verses on pg. 414).

 

I'LL BREAK YOUR HEAD FOR YOU. Scottish, Reel. Scotland, Skye. G Minor. Standard. AAB (Fraser, Kennedy): AABB (Kerr). "This tune is a genuine lively air of the Isle of Skye, sung and danced at the same time, the name of which shows, that while the male dancers exert their agility, the one half must preserve a posture of attack, and the other half a posture of defence" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 20, pg. 7. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 72, pg. 19. Kerr (Merry Melodies), Vol. 3; No. 176, pg. 21.

X:1

T:I’ll Break Your Head for You

T:Buailidh mi thu anns a’ cheann

M:C

L:1/8

R:Reel

S:Fraser Collection   (1874)

Z:AK/Fiddler’s Companion

K:G Minor

e|d3e d2 cB|B2 BB c2cc|d3e d2 cB|AG^FA G/G/G G2:|

B<B fg fddc|B<B fB d<d d2|B<B fg fddb|gffB G/G/G G2|B/B/B fB d/d/d dc|

B/B/B fB d/d/d d2|B/B/B fB d/d/d db|gBfB G/G/G G||


           

I'LL BUY BOOTS FOR MAGGIE. Irish, Polka. A Minor. Standard. AABB. Source for notated version: the Kansas City group Scartaglen [Black]. Black (Music’s the Very Best Thing), 1996; No. 294, pg. 158. Scartaglen - “Scartaglen.” Patty Furlong –“Traditional Irish Music on Button Accordion” (1999. Learned from the playing of Paddy “Offaly” O’Brien ).

X:1

T: I'll Buy Boots for Maggie

S: M.Dugger

Q: 275

R: polka

Z:Transcribed by Bill Black

M: 2/4

L: 1/8

K: Am

EA AB | cB AB | FA AB | cB A2 |

^FA AB | cB AB | e2 dB | BA A2 :|

A>B cd | eg a2 | e2 dB | BA G2 |

A>B cd | eg a2 | e2 dB | BA A2 :|

           

I'LL CLOOT MY JOHNNY'S GREY BREECKS. AKA and see “Johnny’s Grey Breeks [2],” “The Rose Tree [1].” Scottish, Strathspey. D Major. Standard. AB. Cole (1000 Fiddle Tunes), 1940; pg. 127. Ryan’s Mammoth Collection, 1883; pg. 167.

X:1

T:I’ll Cloot My Johnny’s Grey Breecks

M:C

L:1/8

R:Strathspey

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

(f/e/) | dBAF (A>.B) A2 | d2 (f/e/).d/.e/ fee (f/e/) | dBAF (A>.B) A2 | d2 (f/e/).d/.e/ fdd (f/e/) |

dBAF (A>.B) A2 | d2 (f/e/).d/.e/ fee (f/e/) | dBAF (A>.B) A2 | d2 (f/e/).d/.e/ fdd || g |

(f>.e)(fg) ({b}a2) (g>.f) | (eb)(b>.^a) bee {^d/e/}(f/>.e/) | dBAF (A>.B) A2 |

d2 (f/e/).d/.e/ fddg | (f>.e)(fg) ({b}a2) (g>f.) | (eb)(b>.^a) bee {^d/e/}(f/>.e/) |

dBAF (A>.B) A2 | d2 (f/e/).d/.e/ fdd ||

           

I'LL DANCE A JIG AND I'LL DANCE NO MORE. American, Jig. A Mixolydian. Standard. One part. "This air takes its title from another form of the jingle quoted in connection with "O Dear Mother My Toes Are Sore." Mrs. Armstrong's form of the rhyme is:

***

I'll dance a jig and I'll dance no more,

Till Daddy comes home from Baltimore;

I'll dance no more, my feet are sore,

Dancin' all over the sandy floor.

***

Her tune is one known also in Greene County and in central Pennsylvania to versions of the rhyme (Bayard Coll., Nos. 86, 111, 340), and there are other south-western Pennsylvania airs with the same or similar names, bespeaking connection with this little formula (e.g., Bayard Coll., Nos. 5, 306). It is possible that this tune might be a remote connection of the widespread and multiform old air represented by Nos. 44‑48 and 49 in this collection (See "Oro, Welcome Home")" Bayard, 1944). Source for notated version: Mrs. Sarah Armstrong, (near) Derry, Pennsylvania, November 18, 1943 [Bayard]. Bayard (Hill Country Tunes), 1944; No. 7.

           

I'LL FIND A HOLE TO HIDE YOU IN. Northumbrian. Title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800. It perhaps refers to the fear of the naval press gangs of the 18th century.

           

I'LL FOLLOW YOU MY DEAR. AKA and see "Rory O'Mo{o}re."

           

I’LL FORGIVE AND I’LL NEVER FORGET. Irish, Waltz.

X:1

T:I’ll Forgive and I’ll Never Forget

M:3/4

L:1/4

Q:140

K:D

|:F/E/|DFA|ded|cE2|E>D E/F/|G>F G/A/|BAG|F3|F2 F/G/|

AFA|ded|cE2|E2 B/c/|d (3A/d/A/ F|(3G/A/G/ (3F/G/F/ (3E/F/E/|D3|D2||

           


I'LL GANG/GAR NAE MAIR TO/TAE YON TOON/TOUN/TOWN. AKA ‑ "I'll Go No More to Your Town,” “Bha mi ‘n de air Cheilidh” (I went visiting yesterday). AKA and see “Lucky in Love,”  Oh, Gang with Me to Yon Town,” “The Pope’s Toe.” Scottish, English; Reel. England, Northumberland. A Major (Kennedy, Raven): F Major (Athole, Bremner, Kerr, Skye, Surenne, Williamson): G Major (Jones). Standard. AB (Surenne): AAB (Gow, Jones): AABB (Athole, Bremner, Gow, Kennedy, Raven, Williamson): AABB' (Kerr, Skye). John Glen (1891) finds the earliest printing of this tune in Robert Bremner's 1757 collection (pg. 6). The title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800. O’Neill (1922) remarks: “Popular since its first publication in Bremner's Collection of Scots Reels or Country Dances 1767, ‘I'll gae nae mair to yon town’ has been a fruitful source of variants which circulated under various titles. The variant herewith presented, was found without a name in Sergt. O'Neill's manuscripts.”

***

Miss Lucy Johnston of Hilton was a charming and accomplished beauty at the close of the 18th century; a musician and frequenter of concerts and the dance assembly until she married one Richard Oswald of Auchencruive in 1793. Robert Burns wrote extra verses for the song "I'll gang nae mair to yon toon" in honor of her arrival at her husband's family seat, near where he lived:

***

O' wat ye wha's is yon toun,

Ye see the e'ening sun upon?

The fairest maid's in yon toun,

That e'ening sun is shining on.

***

She died of tuberculosis  four years later, after the birth of two daughters, despite Oswald's efforts to contain the disease by taking her to Portugal.

***

There is a British regimental march with a similar title called “We’ll Gang nae Mair tae Yon Toon,” however, it is a different and unrelated melody than the reel.

***

See also the Irish variant “Lucky in Love.” Source for notated version: manuscripts in the possession of Chicago Police Sergeant James O’Neill, originally from County Down—many from the playing of his father [O’Neill]. Bremner (A Collection of Scots Reels), 1757; pg. 6 (appears as “I’ll gae nae mair to your Town”). Gow (Complete Repository), Part 1, 1799; pg. 28. Johnson (Scots Musical Museum), 1797; No. 458. Jones [ed.] (Complete Tutor Violin), c. 1815; pg. 20. Kennedy (Fiddler’s Tune Book), vol. 2, 1954; pg. 16. Kerr (Merry Melodies), vol. 2; No. 180, pg. 21. MacDonald (The Skye Collection), 1887; pg. 140. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 256. Raven (English Country Dance Tunes), 1984; pg. 151. Stewart-Robertson (The Athole Collection), 1884; pg. 205. Surenne (Dance Music of Scotland), 1852; pg. 57. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 58.

X:1

T:I’ll Gang Nae Mair to Yon Town

M:C|

L:1/8

R:Reel

B:Stewart-Robertson – The Athole Collection   (1884)

Z:AK/Fiddler’s Companion

K:F Major

A|Fffc A2Fc|AccA BGGf|a/g/f/e/ fc A2FB|A/B/c GB A=FF:|

|:B|AFcF dFcf|AF d/c/B/A/ BGGB|AFcF dFcF|A/B/c GB A=FF:|

Last time: |AFEF GABc|defg af~f||

X:2

T:I'll Go No More to Yon Town

M:4/4

L:1/8

S:Sergt. James O'Neill manuscripts

Z:Paul Kinder

R:Reel

K:A

(3efg||a2 ae c2 A2|ceAc d2 BB|ceae c2 A2|dfed cA (3efg|

a2 ae c2 A2|ceAc d2 BB|ceae c2 A2|dfed cA A2||

(3cBA eA fAed|(3cBA ec dBBd|(3cBA eA fded|ceBd c2 AA|

(3cBA eA fAed|(3cBA ec dBBd|cABc defg|afed cA A2||

X:3

T:I'll go no more to yon Town

T:Mr. Small's favorite Reel

S:Petrie's Second Collection of Strathspey Reels and Country Dances &c.

Z:Steve Wyrick <sjwyrick'at'astound'dot'net>, 6/11/04

N:Petrie's Second Collection, page 15

L:1/8

M:C

R:Reel

K:F

A|F(ffc) {B}A2 Fc|AcFc AGGg|(a/g/f/e/ f)c {B}A2 Fc|(A/B/c) GB AFF::B|

AFcF dFcF |AFcF AGGB| AFcF dFcF |(A/B/c) GB AFF:|

           

I'LL GET WEDDED IN MY AULD CLAES. English, Jig. G Major. Standard. AABBCC. Source for notated version: Northumbrian small‑pipes player Billy Pigg (1902‑1968). Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 38. Leader Records LEA 4006, "Billy Pigg, The Border Minstrel."

           

I’LL GO AND ENLIST FOR A SAILOR. English, Morris Dance Tune (4/4 or 2/2 time). E Minor (Mallinson): G Dorian (Bacon). Standard. AAAABBAACCAA (Mallinson): AAAABBAABBAA (Bacon). Collected in the village of Sherborne, Gloucestershire, in England's Cotswolds. Bacon (The Morris Ring), 1974; pg. 288. Mallinson (The Waltz Book), 1988, vol. 2; No. 67, pg. 32. Carthage CGLP 4406, Hutchings et al - "Morris On" (1983/1972).

           

I'LL GO HOME AND TELL MY MOTHER. Irish, Air (6/8 time). D Minor ('A' part) & F Major ('B' part). Standard. AB. Joyce (Old Irish Folk Music and Song), 1909; No. 737, pg. 365.

           

I'LL GO HOME IN THE MORNING AND CARRY A WIFE FROM ROSS. Irish, Air (6/8 time). A Dorian. Standard. One part. Learned by Joyce as a child in Limerick. Joyce (Old Irish Folk Music and Song), 1909; No. 121, pg. 61.

X:1

T:I’ll go home in the morning and carry a wife from Ross

L:1/8

M:6/8

R:Song Air

S:Joyce – Old Irish Folk Music and Songs  (1909)

Z:AK/Fiddler’s Companion

K:A Minor

c/d/|e2e d2e|c2A dcA|G^FG A2A|(A3 A2)G|A2A c2d|e2a g2a|e2 e dcd|(e3 e2)B|

A2A c2d|e2a g2a|e2e dcB|(c3 c2)d|e2e d2e|c2A dcA|G^FG A2A|(A3A2)||

           

I'LL HAE IT OFF WITH HER IN SPITE O' HER MINNIE. AKA and see "I'll Have Her In Spite o' Her Minnie."

           

I'LL HAP YE IN MY PLAIDIE. AKA and see “Munlochy Bridge.” Scottish, Strathspey. E Minor. Standard. AAB. See also the related “Sir John Malcolm.” Kerr (Merry Melodies), vol. 1; Set 12, No. 3, pg. 9. Stewart-Robertson (The Athole Collection), 1884; pg. 250.

X:1

T:I’ll Hap Ye in My Plaidie

M:C

L:1/8

R:Strathspey

B:Stewart-Robertson – The Athole Collection   (1884)

Z:AK/Fiddler’s Companion

K:E Minor

g|d>BA>G E>DE>G|d>ed>B d3g|d>BA>G E>DE>G|e>ge>^d e2e:|

g|d>eg>a g/a/b a>g|d>ed>B d3g|d>eg>a g/a/b a>g|e<b a>g e3g|

d>eg>a g/a/b a>g|d>ed>B d3g|d>BA>G E>DE>G|e2 e>^d e3||

           


I'LL HAVE ANOTHER WIFE. Irish, Double Jig. G Major. Standard. AABBCCDDEE. O'Neill (O’Neill’s Irish Music), 1915; No. 181, pg. 99.

X:1

T:I’ll Have Another Wife

M:6/8

L:1/8

R:Jig

S:O’Neill – O’Neill’s Irish Music (1915)

Z:AK/Fiddler’s Companion

K:G

G2e dBB | dBB dBA | G2e dBB | dcB AFD | G2e dBB | dBB dBA | G2g gfe |

dcB AFD :: G3A3 | B2e efg | G2G AGA | BcB AGF | G2G AGA | BcB efg |

fdf ece | dcB AFD :: G2E EFE | E2e efg | G2E EFE | FDF AGF | G2E EFE |
E2e efg | fdf ece | dcB AFD :: G2g dcB | dcB dcB | G2g dcB | dcB AFD |

G2g dcB | dcB dcB | G2g gfe | dcB AFD :: G2B BGE | B/c/BA BGE | G2B BGE |

 BGE AFD | G2B BGE | BGE efg | fdf ece | dcB AFD :|

           

I'LL HAVE HER (AWA) IN SPITE OF HER MINNIE. AKA and se "I'll Have It Off With Her In Spite O' Her Minnie (Mother)." Northumbrian, Scottish; Jig. G Major. Standard. AABB. Composed probably at the beginning of the 18th century (with lyrics that are rather risque or bawdy), but not recorded until the Flores Musicae collection of 1773. Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 157.

X:1

T:I’ll Have Her in Spite of Her Minnie

M:6/8

L:1/8

R:Jig

S:Bruce & Stokoe – Northumbrian Minstrelsy  (1882)

Z:AK/Fiddler’s Companion

K:G

GAB BAG|BAG BgB|GAB BAG|cAF AfA|GAB cAB|

BAB BGG|cA/B/c/A/ dB/c/d/B/|cAF AfA:|

|:g2d f2d|dcB BgB|g2d f2d|cAF AfA|g2d f2d|GB/c/d/B/ dB/c/d/B/|

cA/B/c/A/ dB/c/d/B/|cAF AfA:|

           

I'LL KICK THE WORLD BEFORE ME. Scottish. The melody appears in the Gillespie Manuscript of Perth (1768).

           

I'LL KISS THE BONNY LASSIE OH!  (Air m'fhalluinn bheirinn pog dhi). Scottish, Reel. E Flat Major. Standard. AB. Fraser says it forms a good medley with "Come Along and Keep Your Promise." Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 145, pgs. 58‑59.

X:1

T:I’ll kiss the bonny lassie oh!

T:Air m’fhalluinn bheirinn pog dhi

M:C

L:1/8

R:Reel

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:E_

c|B(GG)F EFGc|BGeG cFFc|B(GG)F EFGf|(gf)ed e2 dc|B(GG)F EFGc|

BGeG cFFc|BGGF EFGf|(gf)ed (e2e)||g|egge dffd|egge fdBd|egge dffd|

cafd e2 eg|egeg dfdf|egeg fdBg|agfe dcBA|Ggfd e2 (dc)||

           

I'LL KISS THE LASS, SHE BAD ME. AKA – “I’ll Kiss the Wife, She Bade Me.” AKA and see “Bob of Fettercairn,” "Newburn Lads," "Braw (Brave) Lads of Jedburgh."

           

I'LL LAY NO MORE WITH MY MOTHER. Scottish, Jig. G Major. Standard. AABBCC. The tune was composed by Joseph Reinagle about 1783???. The title, according to Johnson, means, 'I won't need to share a bed with my mother any longer (as I'll soon have a husband)'. The melody appears in the Gillespie Manuscript of Perth (1768). Source for notated version: Gillespie MS., 1768 (pg. 87) [Johnson]. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 83, pg. 228.

                       

I’LL LEARN YOU HOW TO ROCK ANDY. AKA and see “Rock Andy.”

                       

I'LL LEAVE THE COUNTRY. AKA and see "The Field of Flowers."

           

I'LL LOVE NE'ER A LADDIE BUT ANE. English. England, Northumberland. Title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800.

           

I’LL MAKE FOR MY BRIDEGROOM A GRASSY GREEN PILLOW. Irish, Air (4/4 time). D Minor/Dorian. Standard. AB. Source for notated version: George Petrie obtained this ballad from another collector, P.W. Joyce. Stanford/Petrie (Complete Collection), 1905; No. 331, pg. 83.

           

I'LL MAKE MY LOVE A BREAST OF GLASS (Deanfaim Brollac Gloine Dom Grad). Irish, Air (3/4 time). G Major (O’Neill): F Minor (Stanford/Petrie). Standard. AB. Note the difference in tonalities between Petrie and O’Neill. Source for notated version: “From Bet Skilling” [Stanford/Petrie]. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 518, pg. 90. Stanford/Petrie (Complete Collection), 1905; No. 622, pg. 156.

X:1

T:I’ll Make My Love a Breast of Glass

M:3/4

L:1/8

R:Air

N:”Slow”

S:O’Neill – Music of Ireland (1903), No. 518

Z:AK/Fiddler’s Companion

K:G

DGA | B2 AG Bc | d3 d ed | c2 dc Bc| A3 DGA | B2 AG Bc |

d3 c Bc | A2 BA GF | G3 || G/A/ BB| B2 df gf | e2 dc BB |

B2 cd cB | A3 DGA | B2 AG Bc | d2 ge dB | A2 BA GF | G3 ||

           

I'LL MAKE THEE BE FAIN TO FOLLOW ME. See "I'll Make You Fain to Follow Me."

           


I'LL MAK(E) YOU/YE FAIN TO FOLLOW ME. AKA and see "Mak You Fain to Follow Me" (Shetland). Irish, English, Scottish; Jig or "Lively Song Tune" {Joyce} (6/8 time). England, Northumberland. C Major (Bremner, Gow, Joyce, Seattle): D Major (O’Farrell). Standard tuning. AB (Gow, Joyce): AAB (Athole): AABB (Vickers): AABB’ (Bremner): ABC (O’Farrell). An old tune published by Allan Ramsey in his Scots Musical Museum (No. 268) as the melody to an anonymous song that speaks a soldier’s plea to a would-be lover, albeit unrequited. It was employed in Mitchell’s ballad opera The Highland Fair: or, Union of the Clans (1731). John Glen (1891) said the earliest printing was in Robert Bremner's 1757 collection (pg. 24). It appears to have been in circulation considerably earlier, for it appears in James Thomson’s (1702) manuscript (Edinburgh?) and Glen (Early Scots Melodies, 1900) himself noted it was in the Margaret Sinkler manuscript (1710—twice, both untitled). The melody appears in the Gillespie Manuscript of Perth (1768) and William Vickers’ 1770 Northumbrian manuscript. The title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800.  The melody has been associated with country dances. Source for notated version: "...from a MS. lent to Mr. Pigot by Miss O'Connell of Grena, Killarney" [Joyce]. Bremner (A Collection of Scots Reels), 1757; pg. 24. Gow (Complete Repository), Part 1, 1799; pg. 20. Joyce (Old Irish Folk Music and Songs), 1909; No. 795, pg. 387. O’Farrell (Pocket Companion, vol. 1), c. 1805; pg. 56 (appears as “Fain to Follow Me”). Seattle (William Vickers), 1987, Part 3; No. 487 (appears as "I'll Make Thee Be Fain To Follow Me"). Stewart-Robertson (The Athole Collection), 1884; pg. 140. Flying Fish FF358, Robin Williamson ‑ "Legacy of the Scottish Harpers, vol. 1".

X:1

T:I’ll Mak’ Ye Be Fain to Follow Me

M:6/8

L:1/8

R:Jig

B:Stewart-Robertson – The Athole Collection (1884)

Z:AK/Fiddler’s Companion

K:C

C|E/F/GG c2e|dDD D2C|E/F/GG cdc|BAB cGE|FdF EcE|dDD D2C|

E/F/GG c2G|ECC C2:|

f|ega gec|f2e d2c|ega gec|gea gec|fga gec|f2e d2F|E/F/GG c2G|

ECC C2f|ega gec|f2e d2c|ega gec|gea gec|fga gec|fef dgf|ece fdf|ecc c2||

X:2

T:Fain to Follow Me

M:6/8

L:1/8

R:Jig

S:O’Farrell – Pocket Companion, vol. 1 (c. 1805)

Z:AK/Fiddler’s Companion

K:D

D | F/G/AA d2f | eEE E2D | F/G/AA ded | c>Bc dAF | GeG FdF | eEE E2D |

F/G/AA d2A | FDD D2 || F/G/AA d2f | eEE E2D | F/G/AA ded | cBc d2d |

cBA BAF | FdF E2D | F/G/AA d2A | FDD D2 || g | fab afd | g2f e2d | fab afd |

afb gfd | gab afd | g2f e2E | F/G/AA d2A | FDD D2g | fab afd | g2f e2d |

fab afd | afb afd | gab afd | gaf eag | fdf geg | fdd d2 ||

X:3

T:I’ll make the be fain to follow me

M:6/8

L:1/8

R:Jig

S:William Vickers’ music manuscript, pg. 147  (1770)

Z:AK/Fiddler’s Companion

K:C

C|EFG c2B|dFD D2C|EFG cdc|BAG c2d|BAG cBA|

EdE D2C|EFG c2G|ECC C2::g|efg gec|fdd d2g|efg gec|

gag ~e2c|faf ege|fdd d2c|BAB c2G|ECC C2:|

           

I'LL MARRY AND I WON'T BE A NUN. AKA and see "O'Sullivan Mor(e’s March) [1]." Irish, March (4/4 time). G Major. Standard tuning. ABC. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 102, pg. 57.

X:1

T:I’ll Marry and I Won’t be a Nun

M:C

L:1/8

R:March

S:O’Neill – O’Neill’s Irish Music (1915)

Z:AK/Fiddler’s Companion

K:G

G>A | Bdg>a g2 fe | dBB>c B2 AG | Bdce dBGB | A2 AB A2 G>A | Bdg>a g>a b/a/g/f/ | edB>c B2 AG |

Bdce dBAB | G2 G>A G2 || fg | afd>e d2 ga | bge>f e2 ga | bgaf gedB | A2 A>B A2 G>A |

Bdg>a g>a b/a/g/f/ | edB>c B2 AG | Bdce dBAB | G2 G>A G2 || ab | c’baf gedc | BG/B/ dB/d/ g2 ab |

c’baf gedB | A2 A>B A2 G>A | Bdg>a g>a b/a/g/f/ | ed B>c B2 AG | Bdge dBAB | G2 G>A G2 ||

           

I'LL MEND YOUR POTS AND KETTLES [1]. Irish, March (4/4 time). G Major. Standard tuning. One part (Williamson): ABB (Mitchell): ABB’ (Harker/Rafferty). Sources for notated versions: piper Séamus Ennis (Ireland) [Williamson]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926, who had it from his daughter Mary, traced to the O’Brien-Moran recording [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No. 276, pg. 87. Mitchell (Dance Music of Willie Clancy), 1993; No. 92, pg. 81. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 74. .” Larraga Records TR1103, Mary Rafferty – “Hand Me Downs” (2002). Piping Pig Productions PPPCD001, Jimmy O’Brien-Moran – “Seán Reid’s Favourite” (1996. Learned from Séamus Ennis). Topic Records 12T159, Séamus Ennis ‑ "Jack of All Trades" (1961).

See also listings at:

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

Alan Ng’s Irishtune.info

 

I'LL MEND YOUR POTS AND KETTLES [2]. AKA ‑ "Deasfaid Me Do Coire Agus Do Corcain." Irish, Air (4/4 time, "playfully"). D Major. Standard tuning. AB. Thought (by Caoimhin Mac Aoidh, having studied original manuscripts) to have been composed by fiddler James O’Neill (b. 1863, originally from County Down & Belfast) who, while a sergeant on the Chicago police force in the first decade of the twentieth century, collaborated with Captain Francis O’Neill on the comprehensive Music of Ireland. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 57, pg. 10.

X:1

T:I’ll Mend Your Pots and Kettles [2]

M:C

L:1/8

R:Air

N:”Playfully”

S:O’Neill – Music of Ireland (1903), No. 57

Z:AK/Fiddler’s Companion

K:D

F/G/|Addd ecdc | Addd c A2 G | Addd ecdc | AGEG F D2 F/G/ | Addd ecdc |

Addd c A2 d/e/ | fdec d A2 B | AGEG F D2 || G | FFGG AAAG | FAGE E D2 G |

FFGG AA dc/d/ | efed c A2 A/G/ | FFGG AA dd/e/ | fdec d3 d/e/ | fdec d A2 B | AGEG F D2 ||

                       

I'LL NEITHER SPIN NOR WEAVE (Ni-beid Me Ag Sniom No Figead). Irish, Jig. G Major. Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 67. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1083, pg. 204. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 271, pg. 59.

X:1

T:I’ll Neither Spin Nor Weave

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 271

Z:AK/Fiddler’s Companion

K:G

c|BAG AFD|D2D DEG|G2B c2e|dBG A2c|BAG AFD|D2D DEG|BAG AFD|G3 G2:|

|:G|G>AG GBd|ege dBG|c2B ABd|BAG AFD|G>AG GBd|ege dBG|BAG AFD|G3 G2:|

           

I’LL NE’ER BE DRUNK AGAIN. See “Old Sir Simon/Symon the King.”

                       

I'LL NEVER DRINK ANY MORE. Old‑Time, Fiddle Tune. The title was listed in a master's thesis written by S.M. Taylor of the University of Alabama, 1925, called "A Preliminary Survey of Folk‑Lore in Alabama." AKA ‑ "I'll Never Get Drunk Any More"???

           


I'LL NEVER LEAVE THEE. Scottish, English; Slow Air (3/4 time). England, Northumberland. D Major. Standard. AABB. The title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800. The melody appears in the Bodleian Manuscript (in the Bodleian Library, Oxford), inscribed "A Collection of the Newest Country Dances Performed in Scotland written at Edinburgh by D.A. Young, W.M. 1740," and is included in the Gillespie Manuscript of Perth (1768). McGibbon (Scots Tunes, book III), 1762; pg. 77.

X:1

T:I’ll never leave thee

M:3/4

L:1/8

R:Air

N:”Slow”

S:McGibbon – Scots Tunes, book III, pg. 77  (1762)

Z:AK/Fiddler’s Companion

K:D

D2F>GA2 | “tr”F3E (F/E/D) | E2B2A>F | “tr”(E4{d/e/}) D2 | D2 (F>G) (F/G/A) |

“tr”F3E (F/E/D) | (EF)(dB)(AF) | “tr”E4D2 :: d3c (b/c/d) | (c/d/e) (dc)”tr”(BA) | B3A (B/A/F) |

d3e (d/e/f) | ({d}B2) ABFB | ({B}A2) (GF)”tr”(ED) | (EFd)BAF | ({F}”tr”E4)D2 :|

 

I'LL NEVER LOVE THEE MORE [1]. AKA and see "My Dear and Only Love Take Heed." Irish, Scottish, English; Harp and Song Air (6/4 time). G Major. Standard tuning. AB (Flood): ABCD (Chappell). An Irish harp melody adapted to a song which was picked up by some Puritan troops in Ireland, states (the notoriously unreliable) Grattan Flood (1905), in claiming that Isle as ancestral for the air. The title is John Gamble's (from a manuscript volume of songs and ballads, with music, dated 1659, in the handwriting of Gamble himself), but Flood believes it was previously adapted to other words by (Scottish) James Graham, Marquis of Montrose, who was executed in 1650. The alternate title given above is the first line of the words given by Gamble. Chappell (1859), of course, sees the tune as English, and finds the early English references to it in the Pepys Collection and others, leading him to believe that the tune, in its original form, was from the time of James I, in the early 17th century. He notes Graham's version of the lyrics, but, as far as ascribing the tune to him, says: "This is obviously a mistake: we have seen that the ballad was printed in the early years of the (17th) century, and the Marquis of Montrose was not born till 1612. He does concede that Montrose's words made the tune popular in Scotland, but that, strictly speaking, the tune is erroneously contained in collections of Scottish music. John Glen (Early Scottish Melodies, 1900) claims the tune as Scottish, in part (like Flood) on the strength of the undisputed Montrose connection (predating the Gamble manuscripts). He also finds a version in the Blaikie manuscript, a Scottish collection of lyra-viol music dated 1695, under the title “Montrose Lyns.” Source for notated versions: John Gamble's MS, 1659 [Chappell & Flood]. Chappell (Popular Music of the Olden Times), vol. 1, 1859; pgs. 1909‑191. Flood (The Story of the Harp), 1905, pg. 95.

X:1

T:I’ll never love thee more [1]

M:6/8

L:1/8

S:John Gamble (1659)

Z:AK/Fiddler’s Companion
K:G

D|D2D G2A|B2B D2D|B2B A2G|E3 E2D|D2D G2A|

B2B A2G|(d3 d2)||d|B2B A2G|c2d e2d|d2B A2G|

(E3 E2)D|D2D G2A|Bcd e2d|d2B A2G|(G3 G2)||

X:2

T:Montrose Lyns

M:C

L:1/8

S:Blaikie manuscript (c. 1695)

Z:AK/Fiddler’s Companion

K:G

G,2|B,2D2E2G2|B2 AG D2E2|G2A2A2 AG|D6 D2|(FE)(FG) (AG)AG|

(ABA)G D2E2|G2G2A2B2|d8||g2|dB2A2G2|c2d2e2g2|

(dgd).B (ABA).G|A6 G2|F2G2A2G2|A2B2e4|A2B2A2G2|

A6 G2|A,2D2E2G2|A2B2e2g2|(ded).B (ABA).G|G6||

 

I'LL NEVER LOVE THEE MORE [2]. English, Air (6/4 time). G Minor {?}. Standard tuning. ABCD. The same words as in version #1 appear with this tune in Pills to Purge Melancholy (1709). Chappell (Popular Music of the Olden Times), vol. 1, 1859; pg. 192.

           

ILL OMENS. AKA and see “Kitty of Coleraine,” “Paddy’s Resource [1].”

                       

I'LL REMEMBER YOU, LOVE, IN MY PRAYERS. Irish, Waltz. D Major. Standard. AB. Composed in 1869 by American songwriter W.S. Hays *1837-1907) of Louisville, Kentucky. Source for notated version: accordion player Bobby Gardiner [Miller & Perron]. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 2, No. 10. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 141.

 

I’LL RETURN TO KINTAIL. AKA and see “Return to Kintail,” "I Will Return to Kintail,” “Theid mi dhachaidh a chrò Cheanntaille.” Scottish, March (2/4 time). A Minor. Standard tuning. AB. Morison prints the tune as a march, although there are other, similarly titled tunes. Morison (Highland Airs and Quicksteps, vol. 1) c. 1880; No. 23, pg. 11.

X:1

T:I’ll Return to Kintail

T:Theid mi chachaidh a chrò Cheanntaille

M:2/4

L:1/8

R:March

S:Morison – Highland Airs and Quicksteps, vol. 1 (c. 1880)

Z:AK/Fiddler’s Companion

K:A Minor

B/d/ z eA | f>d eA | Bd eA | Bd eA | g>d BG | Bd eA |

f>d eA | B>d B>e | d>B A2 || Bd a>e | fd eA | Bd a>e |

fd BG | A>A Bd | eg a>g | f>d ef | dB A2 ||

 

I'LL TAKE A (GAY) GLASS WITH A FRIEND. AKA and see "Mall Rua," "Moll Roe{'s} [1]," "Late on a Saturday Night," "Moll Roe in the Morning," "Ditherum Doodle," "Though late was I plump," "Munsterman's Flattery," "Come under my Dimity," "One Bumper at Parting," "Jig an da Thuistiun," "Courting in the Kitchen." Irish, Slip Jig. A Major. Standard tuning. AABB. O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 19.

X:1

T:I’ll Take a Gay Glass with a Friend

M:9/8

L:1/8

R:Slip Jig

S:O’Farrell – Pocket Companion, vol. III (c. 1808)

Z:AK/Fiddler’s Companion

K:A

A/G/ | EAA AB(A/G/) Acd | e>fe cAG G2G | EAA AB(A/G/) Acd | e>fe dcA A2 :|

|: c/d/ | e>fe edc d>cA | cdc/A/ GEE G2G | EAA AB(A/G/) Acd | e>fe dcA A2 :|

 

I’LL TELL ME MA (WHEN I GO HOME). Irish, Polka. D Major. Standard. AABB. The melody for at least two popular songs, often used as a polka. The words go:

***

I'll tell me ma when I get home
The boys won't leave the girls alone
They pull my hair, they steal my comb
But that's all right till I get home
She is handsome, she is pretty
She is the belle of Belfast city
She is courting one, two, three
Hey, won't you tell me, who is he?
***
Albert Mooney says he loves her
All the boys are fighting for her
Knock at the door and ring the bell
Hey, my true love, are you well
***
Out she comes as white as snow
Rings on her fingers, bells on her toes
Our Jenny Murray says she'll die
If she doesn't get the fellow with the roving eye
***
Let the wind and the rain and the hail go high
Snow come tumbling from the sky
She's as nice as apple pie
She'll get a fellow by and by
***
When she gets a lad of her own
She won't tell her ma when she gets home
Let them all come as they will
It's Albert Mooney she loves still

***

Another song set to the tune is “My Aunt Jane”—

***

My Aunt Jane, she took me in,
She gave me tea out of her wee tin;
Half a bap with sugar on top,
Three black lumps (or balls) out of her wee shop.

***
My Aunt Jane has a bell at the door,
A white stone step and a clean swept floor;
Candy apples and hard green pears,
Conversation lozenges.

***
My Aunt Jane, she's so smart,
She bakes wee rings in an apple tart;
And when Halloween comes around,
Fornenst that tart I'm always found.

***
My Aunt Jane she'll dance a jig,
And sing a ballad round a wee sweetie pig;
Wee red eyes and a cord for a tail,
Hanging in a bunch from a farthing nail.

***
My Aunt Jane, she took me in,
She gave me tea out of her wee tin;
Half a bap with sugar on top,
Three black lumps (balls) out of her wee shop.

***

The first part of the music appears as the second part of the English “Percy Brown’s Polka.” Taylor (Music for the Sets: Blue Book), 1995; pg. 8. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 6.

X:1

T:I’ll Tell Me Ma

L:1/8

M:2/4

K:G

|:E|DG B>B|cB B>B|BA A>B|AG G>E|DG B>B|cB B>B|BA A>B|AG G:|

|:B|dd dB|cc cA|BB BG|AF ED|dd dB|cc cd/c/|BG AF|GG G:|

 

I'LL TELL MY MAMMY. AKA and see "Father Fielding's Favorite."

 


I'LL TELL THEE, DICK, WHERE I HAVE BEEN. English, Air(3/4 time). F Major. Standard. One Part. Chappell (1859) reveals that this "celebrated" ballad by Sir John Suckling was occasioned by the marriage of Roger Boyle, Earl of Orrery, and Lady Margaret Howard, daughter of the Earl of Suffolk. The tune appears in Loyal Songs (1685) and Pills to Purge Melancholy (1699 & 1707), while the words can be found in Wit's Recreation (1654), Merry Drollery Complete (1661), "Antidote to Melancholy" (1661), The Convivial Songster (1782), Ritson's Ancient Songs, and Ellis' Specimens of Early English Poets. Numerous songs were written to the tune including "The Cavalier's Complaint," "An Echo the the Cavalier's Complaint," "Upon Sir John Suckling's 100 Horse," "Three Merry Boys of Kent," "A Ballad on a Friend's Wedding", and "A Christmas Song." Chappell (Popular Music of the Olden Times), Vol. 2, 1859; pgs. 43‑44.

 

I'LL TOUSLE/TOUZLE YOUR KURTCHY/KURTHY. AKA and see "Rustic Courtship." Scottish. John Glen (1891) finds the earliest printing of the tune in James Aird's 1782 collection (Selections, pg. 4).

 

I'LL TRAVEL TO MOUNT NEBO. Irish, Air (2/4 time). E Minor. Standard. AB. "Near Gorey in Wexford" (Joyce). Source for notated version: Hugh O'Beirne, professional fiddler from Ballinamore, Co. Leitrim, 1846. Joyce (Old Irish Folk Music and Songs), 1909; No. 631, pg. 322.

 

ILLIAM Y THALHEAR. English, Dance Tune. A traditional dance tune from the Isle of Man. Maggie's Music MM107, "Music in the Great Hall" (1992).

 

ILLUMINATION - 9th FEBRUARY 1781, THE. Scottish, Reel. G Mixolydian. Standard. AABB. Composed by William Marshall (1748-1833), it first appears in his 1781 collection (pg. 8). The title refers to an item in the liturgy of the Episcopal Church, to which Marshall staunchly subscribed. Marshall, Fiddlecase Edition, 1978; 1781 Collection, pg. 8. McGlashan (A Collection of Reels), c. 1786; pg. 8.

X:1

T:Illumination – February 1781, The

M:C|

L:1/8

R:Reel

S:McGlashan – Reels  (c. 1768)

Z:AK/Fiddler’s Companion

K:G

g2 bg afgd|g2 bg af g2|g2 bg afge|=fdcf AfcA:|

|:B/c/d BG ecdc|B/c/d BG gB d2|B/c/d BG ecdB|cA=FA =fA c2:|

 

I'M A' DOUN FOR LACK O' JOHNNIE. Scottish, Air (4/4 time). Scotland, northern Scotland. G Major. Standard. AB. According to Jean Redpath ("The Scottish Fiddle: The Music and the Songs", Lismor, 1985.), the tune was first published in 1862, in Graham's Songs of Scotland, vol. 2, with words and music arranged by Finlay Dun, who described it as "known and sung in the north of Scotland".  The melody for this folk song from the north of Scotland was used by Max Bruch for his "Scottish Fantasia for Violin and Orchestra," opus 46 (1880).

***

I'm a' doun, doun

I'm doun for lack o' Johnnie

I'm a' doun, doun, doun

I'm doun for lack o' Johnnie

***

I sit upon an auld feal‑sunk

I spin and greet for Johnnie

But gin he's gi'en me the begunk

Och hone! What will come o' me!

***

Neil (The Scots Fiddle: Tunes, Tales & Traditions), 1991; No. 91, pg. 123. Surenne (The Songs of Scotland without Words).

X:1

T:I'm A' Doun For Lack O' Johnnie

B:The Songs of Scotland Without Words, J T Surenne

Z:Nigel Gatherer

M:4/4

L:1/8

K:G

D2|G3 F E2 FG|A3 F D2 EF|G3 F E3 D|D G3- G2 D2|

G3 F E2 FG|A3 F D2 EF|G3 F E3 D|D G3- G2 D2||

D2|G2 d2 d2 GA|B2 A2 A2 D2|G2 Bd e3 d|B2 d4 D2|

G2 d2 d2 GA|B2 A2 A2 EF|G3 F E3 D|D G3- G2|]

 

I'M A FISHERMAN ON LOUGH CARRA. AKA and see "Lough Carra Fisherman."

 


I'M A MAN IN MYSELF LIKE OLIVER'S BULL. AKA and see "An Chailleach is a Ceag ar a Gualainn," "Kitty's Ramble{s}," "The Rambles of Kitty," "Kitty's Rambles to Youghal," "The Heart of my Kitty for Me," "The Heart of My Kitty," "The Heart of My Kitty Still Warms to Me," "Murray's Maggot," "Linehan's Rambles," "Strop the razor [1]," "The Cobbler [2]," "Dan the Cobbler," "The Ladies Triumph [3]," "Young Ettie Lee." Irish, Jig. D Mixolydian. Standard. AABB. Joyce (1909) explains that the Olivers were the local landlords of his boyhood home in County Limerick around 1840‑1850. At that time the name of the tune was quite a common saying among the locals, and was applied to a confident, self‑reliant person. Joyce (Old Irish Folk Music and Songs), 1909; No. 88, pg. 46.

X:1

T:I’m a Man in Myself Like Oliver’s Bull

M:6/8

L:1/8

R:Jig

S:Joyce – Old Irish Folk Music and Songs  (1909)

Z:AK/Fiddler’s Companion

K:G

G|FDD c2A|def geg|fed cAG|FAF GFE|FDD c2A|def geg|fed cAG|Add d2:|

|:A|dfa fga|dfa agf|efg efg|eaf gfe|f3g3|agf efg|fed cAG|Add d2:|

           

I'M A POOR RAMBLING BOY (Is Buacaill Boct Fanac Me). AKA and see "Rambling Boy."

           

I'M A POOR STRANGER AND FAR FROM MY OWN [1]. Irish, Air (3/4 time). G Major (Joyce): B Flat Major (Stanford/Petrie). Standard. One part. "Both air and words of this song are well known in the South of Ireland, and I have been acquainted with them as long as I can remember" (Joyce, Old Irish Music). In Joyce’s 1873 Ancient Irish Music, he says of the air: “An English friend assures me that he heard the words of the following song many years ago, among the peasantry of the south of England; and he believes the air also to be the one I give here. The mention of nightingales in the first verse points to an English origin, the third verse looks very like Irish manufacture. I sent the air to Mr. Chappell, the great master of English popular music, and he has written to me, saying that he has some faint recollection of having heard it before; and expressing the opinion that it ought to be published. Both the air and the words are well-known in the south of Ireland, and I have been acquainted with them as long as I can remember. I think the air is Irish; but I give it here subject to any future claims from other quarters” (pg. 73). 

***

As I went a walking one morning in spring,

To hear the birds whistle and nightingales sing;

I heard a fair lady a-making great moan,

Saying, “I’m a poor stranger, and far from my own.”

***

And as I drew night her I made a low jee (bow?)

I asked her for pardon for making so free;

My heart it relented to hear to her moan,

Saying, “I’m a poor stranger, and far from my own.”

***

I’ll build my love a cottage at the end of this town,

Where lords, dukes and earls shall not pull it down;

If the boys they should ask you what makes you live alone,

You can tell them you’re a stranger and far from your own.

***

Source for notated version: “From (the Irish collector) Mr. Joyce” [Stanford/Petrie]. Howe (1000 Jigs and Reels), c. 1867; pg. 27. Joyce (Ancient Irish Music), 1873; No. 72, pg. 73. Joyce (Old Irish Folk Music and Songs), 1909; No. 392, pg. 200. Stanford/Petrie (Complete Collection), 1905; No. 800, pg. 200.

X:1

T:I’m a poor stranger that’s far from my home [1]

M:3/4

L:1/8

N:”Andante”

R:Air

S:Stanford/Petrie (1905), No. 800

Z:AK/Fiddler’s Companion

K:Bb

d>c | BG F2 FG | B>c d2 dB | c2B2B2 | B4 d2 | e2e2 fg | f2 ed c>B|

B2 Bc dB | c4 Bc/d/ | e2e2 fg | f3 d c>B | B2 Bc de | f3 edc | BG F2 FG |

B>C dB | c2B2B2 | B4 ||

X:2

T:I’m a poor stranger and far from my own [1]

M:3/4

L:1/8

R:Air

S:Joyce – Ancient Irish Music, No. 72  (1873)

Z:AK/Fiddler’s Companion

K:G

(BA)|(GE) D2 (DE)|G2B2(BG)|A2G2G2|G4 B2|c2c2e2|

d2(dB)(A>G)|G2 (G>A) (BA)|B4 (3GAB|c2c2e2|d2 (dB) A>G|

G2 (GA) (Bc)|(d3c) BA|(GE) D2 (DE)|G2B2 (BG)|A2G2G2|G4||

 

I’M A POOR STRANGER THAT’S FAR FROM MY HOME [2]. Irish, Air (3/4 time). E Flat Major. Standard tuning. One part. Perhaps a little similarity to Joyce’s air of a similar title, if only the banality of the melody. Source for notated version: “The Dublin ballad singers” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 799, pg. 199.

X:1

T:I’m a poor stranger that’s far from my home [2]

M:3/4
L:1/8

R:Air

N:”[From] The Dublin ballad singers.”

N:”Andante”

S:Stanford/Petrie (1905), No. 799

Z:AK/Fiddler’s Companion

K: Eb

E>F | G2B2 BG | F2c2 BG | F2E2 EG/F/ | E4 EF | G2B2 cd | e3 fgf | e2G2 (3GFE |

F4 EF | G2B2 cd | ~e3 fgf | e2G2 FG | B3 (3agf | e2G2B2 | {A}c3 BGE |

{E/G/}F2 E2 EG/F/ | E4 ||

                       

I'M A SILLY OLD MAN (Is Seanduine Saob Me). AKA and see "Bunch of Currents [1]," “Bunch of Roses [3],” "Christmas Comes but Once a Year," "I've got one daughter to marry," “The Little Bogtrotter,” “Shady Lane,” “Spring in the Air.” Irish, Single Jig. G Dorian. Standard tuning. AABB. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 404, pg. 80.

X:1

T:I’m a Silly Old Man

M:6/8

L:1/8

R:Single Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 404

Z:AK/Fiddler’s Companion

K:Gmin

A|B2B Bcd|c2A A2c|B2G GAB|AFD D2A|B2B Bcd|c2A A2c|B2G AG^F|G3 G2:|

|:=e|f2d d=e^f|g2d c2A|G2g g^fg|afd d2=e|fga gfe|fed c2A|G2B AG^F|G3 G2:|

 

I'M A SOLDIER NOW. Irish, American; Schottische. USA, Mass. G Major. Standard tuning. AABB'. The ditty that went with the tune goes:

***

I'm a soldier now, I'm a soldier now,

And you'll find me in the ranks of glory now. (Bayard)

***

Source for notated version: Mrs. Anastasia Corkery (Cambridge, Mass., 1930's; originally from Co. Cork, Ireland) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 31, pgs. 584‑585.

 

I’M A TOP OF TOM TICKLER’S GROUND.  English, Jig. G Major. Standard tuning. AABB. The melody also appears in John Johnson’s 200 Favourite Country Dances, vol. 8 (London, 1758). ‘Tom Tiddler’s Ground’ is the name of a children’s game, a kind of ‘tag’ where ‘it’ is ‘Tom Tiddler’ with players dashing into his territory crying “We’re on Tom Tiddler’s ground, picking up gold and silver.” The phrase ‘Tom Tiddler’s ground’ allusively means a place that offers rich items to be gathered up. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 125.

X:1

T:I’m a top of Tom Tickler’s Ground

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:G

B|(GB)B “tr”B2d|(e/f/g)e dBG|(ce)e “tr”e2g|(f/g/a)f gdB|(GB)B “tr”B2d|(e/f/g)e dBG|(ce)c (Bd)B|A(gf) g2:|

|:(e/f/)|gdB gdB|gdB AFD|g(e/f/g) def|gbg afd|gdB gdB|gdB AFD|EFG DcB|AGF G2:||

 

I’M A YOUNG LITTLE GIRL (Is Cailin Beag Og me). Irish, Air. The melody is a variant of “Young Bridie O’Malley” (Brid Og Ni Mhaille) and can be found in Hoffman’s 1877 collection of arrangements from the George Petrie collection.

 


I'M A YOUNG MAN. Scottish, Jig. D Major. Standard tuning. AAB. Kerr (Merry Melodies), vol. 1; No. 5, pg. 31.

X:1

T:I’m a Young Man

M:6/8

L:1/8

R:Jig

B:Kerr – Merry Melodies, vol. 1, pg. 31 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

f|ABA ABd|efg fdB|ABA Adf|(e3 e2)f|ABA ABd|efg fdB|ABA Afe|(d3 d2):|
|:(d/e/)|f2f fef|a2f fed|e2e egf|(e3 e)(ag)|fed def|ABA AFG|ABA Afe|(d3 d2):||

 

I’M AN IRISHMAN FROM MONAGHAN--A NORTH COUNTRY MAN BORN. Irish, Air (4/4 time). G Major. Standard tuning. AB. Stanford/Petrie (Complete Collection), 1905; No. 837, pg. 209.

X:1

T:I’m an Irishman from Monaghan – a North country man born

M:C

L:1/8

R:Air

S:Standford/Petrie (1905), No. 837

Z:AK/Fiddler’s Companion

K:G

G>E | D2 DE G2 EG | A2A2 B>AGE | G2A2 B>AGE | G3A BAGE |

D2 DE G2EG | A2A2 BAGE | G2A2 BAGE | G4 G2 || GA | B2d2e2 dB |

d2B2A2G2| B2d2e2 dB | d3B A2G2 | B2d2e2 ge | d2B2A2 BA |

G2E2 EDEG | A3B dBAB | G2G2G2 DG | A2A2 BAGE | G3A BAGE | G4 G2 ||

 

I'M AN OLD NIGGER AND I WILL TAKE A DRAM. See "I'd Druther Be a N....r Than A Poor White Man."

 

I'M AN ORPHAN. AKA and see "Je Suis Orphelin."

 

I'M ASLEEP AND DON'T AWAKEN ME (Ta Me Mo Codlad 'S Na duisguig Me). AKA and see "Erin, Oh! Erin," "A Soft Mild Morning," "Like the Bright Lamp." Irish, Air (3/4 time). F Major. Standard tuning. AABCCD. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 599, pg. 105.

X:1

T:I’m Asleep and Don’t Awaken Me

M:3/4

L:1/8

R:Air

N:”Moderate”

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

Z:AK/Fiddler’s Companion

K:F

F>D|C>E (F2F)z|F4 F2|G2 F/4G/4<A A/4G/4<F|D4 C2|

D2F2 F2|A2 c2 d/4/c/4<A|G3F A/4G/4<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|~D2 F2 f2|[D2d2] c>A G>F|G4 F2|F4||

|:F/4G/4<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 Cz|C2A,2C2|C2D2F2|F3G F/4G/4<A|

AG F/4G/4<A A/4G/4<F|D4 cd|[c4_e4][ce]|[B4d4] c<A|c>d f>d c>A|G>F D>F C2|

~D2F2f2|d2 cA GF|G3F A/4G/4<F|F4||

 

IM BÓ (Milking Song). Irish, Air (6/4 time). D Major. Standard tuning. One part. Darley & McCall believe there was an old Gaelic song sung to this air, whose title is literally Im= butter and bo= a cow. Source for notated version: fiddler Brian Mac Intyre (Virginia, Co. Cavan, Ireland) [Darley & McCall]. Darley & McCall (Darley & McCall Collection of Irish Traditional Music), 1914; No. 19, pg. 8.

 

´IM BÓ AGUS UM BÓ. AKA and see “Burn’s March,” “Huggad de gadda freed a mony” (“Chugad a’gadaidhe fríd a’mónaidh”), “Pretty Peggy [4],” “Steal a Cow and Eat a Cow.” Irish, Air (4/4 time). The Gaelic title is a nonsense refrain. Ann Heymann (1988) states it was common to many songs with various tunes, “and was popular enough in the 17th century to be used by a poet from County Kerry in a composition about a favorite dog which had choked to death on a mouse.” At the beginning of the 19th century the ancient harper Denis Hempson gave the collector Bunting a translation of two verses he knew of one song which used the refrain about a celebrated harper he said lived “250 years ago:”

***

Here lies Lappin, harpers’ king,

Whose fingers deserve a golden string.

His body lies here, his soul flies high,

Serenading David in the sky.

Siombo agus uambo

***

Here we spend our days

Giving Kate and Lappin praise

Now we quit and bid adieu

To Royal Kate and Lappin too.

Is iombo is uambo

***

(Heymann, 1988).

 

I'M BUBBLED. AKA and see "Irish Trot [1]." The air appears under this title in Gay's Beggar's Opera of 1729. Kidson (1922) says it is probably an alternative tune to "The Hide Park Frolic" in Pills to Purge Melancholy, vol. IV, pg. 138.

 


I'M CONTENT WITH MY LOT (Tá me sásta le m' stáid). AKA and see "Contentment is Wealth," "The Day After the Fair" (Breathnach), “Golden Keyboard [2].” Irish, Jig. A Dorian. Standard tuning. AABBCC. The tune is an offshoot of the tune "Lumps of Pudding(s) [2]." Source for notated version: Norry Dwane, Glenosheen, Co. Limerick: 1850 (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 155, pgs. 78‑79.

X:1

T:I’m content with my lot

T:Tá me sásta le m’ stáid

M:6/8

L:1/8

R:Jig

N:”Graceful and spirited: time well marked”

S:Joyce – Old Irish Folk Music and Songs  (1909)

Z:AK/Fiddler’s Companion

K:A Dorian

e/d/ | cBc Agf | ede A2 d/c/ | BAB Gdc | B/c/d/c/B/A/ G2 a/b/|

c’ba gcd | ede/f/ g2f | edc Bcd | cAA A2::c/d/ | edB ABd | ede A2 B/c/ |

dBA GBc | ded G2 c/d/|edB ABd|eag a2 g/f/ | edc Bcd | cAA A2:|

|:c/d/ | eab a>ge/d/ | cAA A2 B/A/ | GBd g>ed/c/ | BGG G2 A/G/|

EAB cde/f/ | geg a2 g/f/| edc Bcd | cAA A2:|

                                   

I’M DOUN FOR THE LACK O’ JOHNIE. See “I’m a’doun for the lack o’ Johnnie.”

                       

I’M GOING TO BE MARRIED ON SUNDAY. Irish, Air (6/8 time). D Major. Standard tuning. One part. Howe (1000 Jigs and Reels), c. 1867; pg. 26.

X:1

T:I’m Going to be Married on Sunday

M:6/8

L:1/8

R:Air

N:”Lively”

S:Howe – 1000 Jigs and Reels (c. 1867)

Z:AK/Fiddler’s Companion

K:D

A | dcd edc | dBA F2A | dcd BAF | F>EE E2 A/A/ | dcd edc |

dBA FBB | AFE EF^G | A3 d2B | AFE FDE | D3 D2 ||

                       

I’M GOING TO FEAST AT THE WELCOME TABLE. Old-Time. A solo fiddle piece played by Kentucky fiddler W.H. “Bill” Stepp, recorded in 1937 by the Lomax’s for the Library of Congress. 

                       

I'M GOING TO GET MY MOUSTACHE BLACKED WHEN I GET THERE. English, Schottische. D Major. Standard tuning. AABB.

X:1

T:I'm Going To Get My Moustache Blacked When I Get There

M:4/4

L:1/8

R:Schottische

N:as played by New Victory Band, I think

Z:Tim Willets

K:D

A|d2 d>e f2 f>e|d>cd>A F2B2|A>BA>F D2 F>G|A>BA>G F2A2|d2 d>e f2 f>e|d>cd>A

F2B2|A>BA>F G>FE2|D2F>ED::f|f>ga>g f2 fe|d>cd>A F2-F2|g2g2B2 c>e|

f>ef>e A2f2|f>ga>g f2 fe|d>cd>A F2B2|A>BA>F G>FE2|D2F>ED3:|

                                               

I'M GOING TO LEAVE OLD ARKANSAS. Old‑Time, Breakdown. USA, Arkansas. Nothing is known about Ward or his group. County 519, A.E. Ward & His Plowboys ‑ "Echoes of the Ozarks, vol. 2".

                                               

I'M IN DEBT BUT I'LL PAY THEM YET. AKA and see "Ta Me I n-Eagmais Ach Iocfadh Me Fos."

                                   

I'M GONNA GET MY MOUSTACHE BLACKED AS SOON AS I GET THERE. Old‑Time, Polka. Source for tune: Taylor and Stella Kimble (Laurel Fork, Virginia) [New Victory Band]. Topic 12TS382, New Victory Band ‑ "One More Dance and Then." 1978.

           

I’M GONNA GO A-HUNTING FOR THE BUFFALO. See “Hunting the Buffalo.”

                       

I'M LIKE A SKIFF ON THE OCEAN TOSSED. AKA and see "One evening, having lost my way," "The Happy Clown," "Walpole." The air appears in Gay's Beggar's Opera, 1729. It also appears in the second volume of Playford's Dancing Master (1718).

           

I'M LONELY TONIGHT LOVE (Taim Go Uaigneac anoct A Grad). Irish, Air (3/4 time). G Major. Standard tuning. AB. O'Neill's (Music of Ireland: 1850 Melodies), 1903/1979; No. 585, pg. 103.

X:1

T:I’m Lonely Tonight Love

M:3/4

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 585

Z:AK/Fiddler’s Companion

K:G

E/F/ G/A/B/^c/|df e/d/B/A/ B>c|B/A/G/E/ EE/F/ G/A/B/^c/|d>e d/B/A/B/ GG|

G3 E/F/ G/A/B/^c/|d>f g/e/f/d/ e>d|BA GE/F/ G/A/B/^c/|d>e d/B/A/B/ GG|G3||

G/A/ B/d/e/f/|g2 ff/g/ a/g/f/g/|e>d BB/A/ B/d/e/f/|g>f a/g/f/g/ ee|e3 e/f/ g/f/e/d/|

e>f gf/e/ d/B/A/c/|B>G EE/F/ G/A/B/^c/|d>e d/B/A/B/ GG|G3||

           

I'M MARRIED ONE YEAR TODAY (Taim Posda Bliadain An Diud). Irish, Air (6/8 time, "with spirit"). G Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 301, pg. 52.

X:1

T:I’m Married One Year Today

M:6/8

L:1/8

R:Air

N:”With spirit”

S:O’Neill – Music of Ireland (1903), No. 301

Z:AK/Fiddler’s Companion

K:G

d/>c/|B>AB GAB|c3 B2A|Bcd {d}c2B|(A3 A2)d/>c/|{c}B>AB GAB|

c3 B2A|BdB A2G|(G3 G2) || G/A/|Bcd def|g3 f2e|a2f e2d|(d3 d2)c|

{c}B>AB GAB|c3 B2A|BdB A2G| (G3 G2) ||

                       

I'M MY MOMMA'S DARLING (CHILD). AKA and see "Chinky Pin," "Love Somebody [2]," "Darling Child," "My Love is/She's But a Lassie Yet [1]," "Sweet Sixteen," "Lead Out," "Ten Nights in a Bar Room," "Too Young to Marry [1]," "Midnight Serenade [1]," "Fourth of July," "Buffalo Nickel [1]," "Yellow Eyed Cat," "Richmond Blues," "Farmer Had a Dog," "Hair in the Butter."

                       

I'M NINETY-FIVE. English. A comic song introduced as a march in the British Rifle Brigade, 95th Regiment, in 1842. It was also adopted by the 53rd Foot in 1862 and continued to be used until 1914 whenever the Regiment had to march at the double.

                       

I'M NOT TO BLAME. AKA and see "J' su' Pas a Blamer."

                       

I'M NOW IN THE LAND OF LIBERTY. AKA and see "Farmer Hayes," "A Fig For All My Foes," "God Be with Old Ireland," "Poor Pat Must Emigrate."

                       

I'M OFF TO CHARLESTOWN. Scottish??, American?; Country Dance Tune (2/4 time). D Major. Standard tuning. One part. The first several bars of melody are shared with the American old-time song “Old Plank Road.” The tune is included in Kerr’s along with a hodgepodge of tunes, including several from America. “I’m Off to Charlestown” sounds like an American import to the collection. Kerr (Merry Melodies), vol. 3; No. 395, pg. 43.

X:1

T:I’m Off to Charlestown

M:2/4

L:1/8

B:Kerr – Merry Melodies, vol. 3, No. 395 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

A|AABc|d f2f|fede|f3A|AABc deff|edBe A3A|

AABc d f2f|fede |f3a|agfe|gfed|dcde|dABc|

d2 f>d|A2d2|f>ed>e|f2a2|f2 f>e|d2 d>c|B>bb>a|

b3c’|d’2 c’2|b2a2|gfed|edBz|A2 d>f|a2b2|a>gf>e|d3||

                       


I’M OFF WITH THE GOOD ST. NICHOLAS BOAT. See “So, I’m Off with the Good St. Nicholas Boat.”

 

I’M ON MY WAY TO TEXAS TO EAT CONRBREAD AND ‘LASSES.  See “Little Home to Go to [1].”

           

I'M OW'RE YOUNG. Scottish, Jig. D Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 2; No. 310, pg. 34.

X:1

T:I’m Ow’re Young

M:6/8

L:1/8

B:Kerr – Merry Melodies, vol. 2, No. 310 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

B|A2D D2E|F2E F2G|A2D D2E|F2E E2B|A2D D2E|

F2E F2A|B2c d2B|A2F F2::A|B2c d2B|A2A f2e|

D2B A2F|F2E E2A|B2c d2B|A2F f2e|d2B A2F|F2E E2:|

 

I'M OVER/OWRE YOUNG TO MARRY YET [1]. AKA and see “Bonny Lad to Marry Me,” “O’Flynn’s Fancy.” Scottish, Irish, English, American; Reel. G Major (most versions): C Major (Bremner, McGlashan). Standard tuning. AAB (most versions): AABB (Bremner). Similar to "Roy's Wife of Aldivalloch," "Lady Frances Wemys' Reel," "The Ruffian's Rant," "Coig na Scalan," "Ben Nevis," "Old Virginia Reel [1]," "The Kilt is My Delight." John Glen (1891) finds the earliest appearance of this tune in Robert Bremner's 1757 collection, although it also appears early in print in Neil Stewart’s 1761 collection. See also the related tunes “Were You at the Fair,” “The Pretty Lass,” “Donny Brook [1]” and “O’Flynn’s Fancy.” The title comes from the Scots poet Robert Burns, who reworked an older (and somewhat bawdy) song called “I’m o’er young to marry” to make it more acceptable. The chorus goes:
***

I'm o'er young, I'm o'er young,

I'm o'er young to marry yet,

I'm o'er young, 'twad be a sin

To tak' me frae my mammie yet.

***

New York writer, researcher and musician Don Meade says the tune is “played as a fling in Ireland and is used as the air to many songs, including ‘Limerick Races’”. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 67, pg. 106. Breathnach (CRÉ II), 1976; No. 198. Bremner (A Collection of Scots Reels), 1757; pg. 28. Cole (1000 Fiddle Tunes), 1940; pg. 9. Huntington (Willam Litton's), 1977; pg. 10. Kennedy (Fiddlers Tune Book), vol. 2, 1954; pg. 14. Kerr (Merry Melodies), vol. 1; Set 12, No. 2, pg. 9. McGlashan (A Collection of Reels), 1786; pg. 46. Raven (English Country Dance Tunes), 1984; pg. 162. Ryan’s Mammoth Collection, 1883; pg. 31. 

X:1

T:Over Young to Marry Yet  [1]

M:C|

L:1/8

S:McGlashan – Reels  (1786)

Z:AK/Fiddler’s Companion

K:C

C|EGGA cded|cAGc d>edD|EGGA cdec|e/f/g de cC C:|

g|ecgc efga|ecgc eddg|ecgc efga|ecdB cCCg|ecgc efga|

ecgc a/g/f/e/ df|ecgc efga|egde cC C||

 

I'M O'ER YOUNG TO MARRY YET [2]. Scottish, Strathspey. D Major (Cole): F Major (Hardings). Standard tuning. AB. Cole (1000 Fiddle Tunes), 1940; pg. 127. Hardings All-Round Collection, 1905; No. 140, pg. 44. Ryan’s Mammoth Collection, 1883; pg. 166.

X:1

T:I’m O’er Young to Marry Yet [2]

M:C

L:1/8

R:Strathspey

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

A | (A<D) (D>E) (F>E) (F<A) | (A<D) (D>E) (F<E)(EA) | (A<D) (D>E) (F>E) (F<A) | (B>c)d>B (A<F)(EA) |

(A<D) (D>E) (F>E) (F<A) | (A<D) (D>E) (F<E)(EA) | (A<D) (D>E) (F>E) (F<A) | (B>c)d>B (A<F) E || A |

(d>e)(d>e) (cd/c/) (.B.A) | (B>c)d>B (A<F)(FA) | d>ed>e (cd/c/) (.B.A) | B>cd>B (A<F) (.E.A) |

(d>e)(d>e) (cd/c/) (.B.A) | (B>c)d>B (A<F)(FA) | d>ed>e (cd/c/) (.B.A) | B>cd>B (A<F) E ||

 

I'M O'ER YOUNG TO MARRY YET [3]. AKA and see "Loch Erroch Side," “Loch Ericht Side,” "The Rocky Road To Dublin [4]" [Bayard's No. 2], "Over the Hills To Glory," "The Lass o’ Gowrie [1]," "The Lakes of Sligo," “Tom Billy’s (Polka) [2].” Scottish, Reel. C Major. Standard tuning. AB. Gow's tune "Loch Erroch Side" is very similar to this version of the tune. Glen (1891) finds the tune first published by Bremner in his 1757 collection. The tune is mentioned in William Hamilton Maxwell’s Stories of Waterloo and Other Tales (London, 1829), in a chapter on one Frank Kennedy, of Connemara, a junior officer stationed in Ireland. His troop has been called to Ballybunion to help quell civil unrest at the hands of Whiteboys and other agrarian rebel groups, and here he marches out with them behind his Captain, of whom he says:

***

I shall describe him as a thick, square-shouldered, undersized man, having a short neck, and snub nose—the latter organ fully attesting that Page's port was a sound and well-bodied liquor. The captain, on his pied pony, rode gallantly on at the head of "his charge:" I modestly followed on foot, and late in the evening we marched in full array down the main street of Ballybunnion, our fife and drum playing to the best of their ability the captain's favourite quick step, "I'm over young to marry yet."

***

 

I'M OVER YOUNG TO MARRY YET [4]. English, Country Dance Tune (4/4 time). England, Northumberland. G Major. Standard tuning. AABB. Peacock (Peacock’s Tunes), c. 1805/1980; No. 19, pg. 7.

X:1

T:I’m Over Young to Marry Yet [4]

M:C

L:1/8

R:Country Dance

S:Peacock’s Tunes (c. 1805)

Z:AK/Fiddler’s Companion

K:G

c2 | B2A2G2B2 | c2B2A2c2 | B2A2G2c2 | B2d2g2e2 | d2B2G2B2 | c2B2A2c2 | B2g2f2e2 | d2B2G2 :|

|: f2 | g2f2e2d2 | c2B2A2f2 | g2f2g2e2 | f2d2d2f2 | g2f2e2d2 | c2B2c2e2 | d2B2c2A2 | B2G2 G2 :|

 

I'M OVER YOUNG TO MARRY YET [5]. Scottish, Reel. G Major. Standard tuning. AAB. O’Farrell (Pocket Companion, vol. IV), c. 1810; pg. 112.

X:1

T:Over young to Marry yet

M:C|

L:1/8

R:Reel

S:O’Farrell – Pocket Companion, vol. IV (c. 1810)  

Z:AK/Fiddler’s Companion

K:G

d | BdGG (BA)Bc | BdGB cAAc | BdGG (BA)Bd | (ef)ge dB B :|

|| d | g2 ge abaf | gage dB B>d | g2 ge (ab)af | b2 ba gede | g2 ge (ab)af |

gage dBBA | GEDE G>ABd | (ef)ge dB B ||

X:2

T:I'm O'er Young to Marry Yet [1]

B:Popular Songs and Melodies of Scotland (Glasgow 1893)

N:Transposed from D for comparison

Z:Nigel Gatherer

M:4/4

L:1/8

K:G

e|d<GG>A BAB>c|d<GG>A B<AAe|d<GG>A BAB>d|e>fg>e d<AA|]

d|e>fg<e dBb>a|g>fge d<BBd|e>fg<e dBb>a|g>fge dBA|]

           

I'M READY NOW (Taim Raid Anois). AKA and see “Is Trua gan Peata an Mhaoir agam [1],” “Mulvey’s Reel,” "Our House at Home,” "Patha Gal Do Vaher," "Your Mother's Fair Pet." Irish, Reel. D Major. Standard tuning. AA'B (O'Neill/1850): AA'BB' (O'Neill/Krassen). See note for “Our House at Home.” O'Neill (Krassen), 1976; pg. 125. O'Neill (Music of Ireland: 1850 Melodies), 19031979; No. 1362, pg. 254. Shanachie 78030, Danú – “Think Before You Think” (2000).

X:1

T:I’m Ready Now

M:C|

L:1/8

R:Reel

S:O’Neill – Music of Ireland (1903), No. 1362

Z:AK/Fiddler’s Companion

K:D

ed | cAAB cded | cAGE EDDB | cBAB cdeg |1 fdec dfed :|2 fdec d2 ||

de | f2 fa e2 eg | fded cAAg | f2 fa e2 eg | fdec d2 de | f2 fa e2 eg |

fded cAAg | f3 f eaag | fdec d2 ||

                       

I'M SADLY THINKING (Ta Me Ag Smuaireanac). AKA and see "The Deserter." Irish, Air (3/4 time, "slow and plaintive"). F Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 292, pg. 51.

X:1

T:I’m Sadly Thinking

M:3/4

L:1/8

R:Air

N:”Slow and Plaintive”

S:O’Neill – Music of Ireland (1903), No. 292

Z:AK/Fiddler’s Companion

K:F

c/B/ AG | F2 FG AA | {c}B2 AB cc | c2 Bc AF | G3 c/B/ AG | F2 FG AA |

{c} B2 AB cc | f2 AB/G/ FE | F3 || G AA | _e2 d=e fc | c2 BA BA |

G2 ec BA | G3 c/B/ AG | F2 FG AA | {c}B2 AB cc | f2 AB/G/ FE | F3 ||

                       

I'M THE BOY FOR BEWITCHING THEM ("Is Misi An Buacaill Do Meallfad Iad" or "Is Misi an Buacaill Le na Meallad"). AKA and see “Blithesome Bridal,” “Come fy, Let’s A’ to the Bridal,” “Come to the Bridal,” “Let us waa to the wedding.” “The Jolly Pedler’s [4].” Irish, Slip Jig. G Major (O’Neill): F Major (Howe). Standard tuning. AAB. Howe (1000 Jigs and Reels), c. 1867; pg. 114. O'Neill (Krassen), 1976; pg. 84. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1151, pg. 217. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 432, pg. 85. O’Neill (Waifs and Strays of Gaelic Melody), No. 212. Green Linnett GLCD 1087, Seamus Connolly - "Notes From My Mind" (1988).

X:1

T:I’m the Boy for Bewitching Them

M:9/8

L:1/8

R:Slip Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 432

Z:AK/Fiddler’s Companion

K:G

B|G>AG G<ge dBG|A>BA ABd e2g|G>AG gfe dBG|A>Bc BAB E2:|

|:d|g>dg gag fed|efe efg a2b|gdg gag fed|gfe dcB A2d|g>dg gag fed|

efe efg a2 g/a/|bgb afa gfe|def gdB A2||

                       

I'M WAITING FOR YOU [1] (Taim Ag Feiteam Leat/Leatsa). AKA and see “Andy McGann’s(Reel) [3]." Irish, Reel. G Major/ Mixolydian. Standard tuning. AB (O'Neill/1850 & 1001): ABB' (O'Neill/Krassen). The tune appears as “Andy McGann’s” in Bernard Flaherty’s Trip to Sligo, collected from Sligo fiddler Peter Horan. Breathnach (CRÉ II), 1976; No. 176. O'Neill (Krassen), 1976; pg. 148. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1486, pg. 275. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 711, pg. 125. Liam O'Flynn - “The Fine Art of Piping.” Gay McKeon - “Irish Piping Tradition.” Robbie Hannan - “Seidan Si.”

X:1

T:I'm waiting for you

R:reel

M:4/4

Z:transcribed by Paul de Grae

L:1/8

K:G

DF|"G" G2 dG BGdG|"D" AGFG ABcA|"G" BAGF GABc|

"D"defd "D7"cA ~A2|"G" BG ~G2 dGBG|"D" FGAB "D7" cAFA|

"G" BdGB "C" cBAG|"D" FGAF "G" G2 :|: Bd|

g3 d "C" ecAG|"D" (3FED) AD BDAF|"Em" E2 EF GFGA|

"A" Bd^ce "D" d2 ef|"G" gfed "Am" ecAG|"D" (3FED) AD BDAF|

"C" G2 FE "G" DGBd|"D7" cAFA "G" G2:|

 

I'M WAITING FOR YOU [2] (Taim Ag Fuireac Leatsa). AKA and see “Hillside Cottage.” Irish, Hornpipe. G Major. Standard tuning. AABB. The Pennsylvania collected "Buttermilk and Cider" shares  an 'A' part with this tune. O'Neill (Krassen), 1976; pg. 167. O'Neill  (Music of Ireland: 1850 Melodies), 1903/1979; No. 1567, pg. 290.

X:1

T:I’m Waiting for You [2]

M:2/4

L:1/8

R:Hornpipe

S:O’Neill – Music of Ireland (1903), No. 1567

Z:AK/Fiddler’s Companion

K:G

D | G>B A/G/E/D/ | G/B/d/g/ e>f | {a}g/f/g/e/ d/B/A/c/ | B/G/A/F/ G/F/E/D/ |

G>B A/G/E/D/ | G/B/d/g/ e>f | {a}g/f/g/e/ d/B/g/e/ | d/B/A/B/ G :|

|: z | gd/g/ e/d/g/d/ | e/a/a/b/ a/g/e/f/ | g d/g/ e/d/g/d/ | e/g/f/a/ gg/a/ |

(3b/c’/b/ b/g/ (3a/b/a/ a/f/ | (3g/a/g/ g/e/ de/f/ | {a}g/f/g/e/ d/B/g/e/ | e/B/A/B/ G :|

 

I'M WAITING FOR YOU [3]. Irish, Reel. A different tune than O’Neill’s “I’m Waiting for You.” This tune was in the repertoire of Donegal fiddler John Doherty and is associated with the playing of the Kilfenora Céilí Band, according to Caoimhin Mac Aoidh. Shanachie 79093, Paddy Glackin and Robbie Hannon – “Whirlwind” (1995. Learned from Liam O’Flynn).

                       

I'M WEA FOR THE LACK OF JOHNNIE. Scottish. The air was used by Max Bruch for his "Scottish Fantasia" for violin and orchestra.

                       

I'M WEARY OF LIFE (Taim Cuirtad D'n Saogal). Irish, Air (3/4 time). G Major. Standard tuning. One part. O'Neill (Music of Ireland: 1850 Selections), 1903/1979; No. 339, pg. 59.

X:1

T:I’m Weary of Life

M:3/4

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 339

Z:AK/Fiddler’s Companion

K:G

ga|b2 a2 g>f|d2B3 d|e2d2 BG|A2G2G2|G4 dc|B2 GA Bc|d4 fg|

a2b2g2|f2d2e2|d3 edc|B2G2 Bc|{e}d4 fg|a2b2 a>g|f2 de fa|

g4 ga|b2 a2 g>f|d2 B3d|e2d2 BG|{B}A2G2G2|G4||

                       

I'M WEARY OF WALKING ALONE. Irish, Slow Air (2/4 time). D Dorian. Standard tuning. One part. "This tune consists of four phrases, of 4 bars, 3 bars, 4 bars, 3 bars, respectively. The several phrases terminate where I have placed the letters A,B,C,D." (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 611, pg. 315.

                       

IMELDA ROLAND'S. Irish, Reel. E Dorian. Standard tuning. AABB. Composed by accordion player Raymond Roland, inspired by the whistling of his mother, Imelda. Source for notated version: Frank McCollam (Ballycastle, County Antrim) [Mulvihill]. McNulty (Dance Music of Ireland), 1965; pg. 9. Mulvihill (1st Collection), 1986; No. 100, pg. 26. MKM7590, Mike McHale – “The Schoolmaster’s House” (2000).

X:1

T:Imelda Roland's

S:Comhluadar

L:1/8

M:4/4

Z:Juergen Gier

K:Emin

B2GA (3BAG dB|AD (3FED ADFA|~G2EF GFGA|BABd egfe|\

~d2^ce dBAG|FDAD BDAD|~G2EF GGGA|BDAD BEEA::\

deed efga|beee be (3gfe|fdd^c defg|afdf adfd|\

eedf edB^c|dddB AFDF|GGEF GFGA|BDAD BE E2:|

                       

IMITATION. Irish, Reel. F Major. Standard tuning. AABB. Composed by New Jersey piano accordion player Luke O’Malley, who says: “The reason for the title is the influence that Paddy O’Brien’s and Joe Cooley’s style had on me. It was written in ‘imitation’ of their style of ‘smooth’ playing.” O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 50, pg. 25.

X: 1

T: Imitation (The)

M: 4/4

L: 1/8

Q: 350

C: Luke O'Malley

S: Luke O'Malley vol 1

Z: Transcribed by Bill Black

R: Reel

K: F

(3CDE | F2 AF BFAF | (3DEF GA BAGF | (3EDC GC ACGE | FAGF ECDE |

F2 AF BFAF | (3DEF GA B2 AB | cf~f2 afgf | ecBG F2 :|

|: AB | cf~f2 afef | afbf af (3de^f | g2 bg d'gbg | dfed cBAG |

F2 AF BFAF | (3DEF GA B2 AB | cf~f2 afgf | ecBG F2 :|

W: %space

P: Key of D

K:D %Transposed from F

(3A,B,C | D2 FD GDFD | (3B,CD EF GFED | (3CB,A, EA, FA,EC | DFED CA,B,C |

D2 FD GDFD | (3B,CD EF G2 FG | Add2 fded | cAGE D2 :|

FG | Add2 fdcd | fdgd fd (3Bc^d | e2 ge bege | BdcB AGFE |

D2 FD GDFD | (3B,CD EF G2 FG | Add2 fded | cAGE D2 :|

                                   

IMITHE CHUIG AN TAE. AKA and see "Gone for His Tea."

                       

IMPERIAL QUICK STEP, THE. English, March (2/4 time). D Major. Standard tuning. AABB (Callaghan): AABBCCDD (O’Farrell). The first two parts of the melody printed by O’Farrell can be found in the late 19th century music manuscript collection of William Andrews (Sheepstor, Devon), under the same title. Callaghan (Hardcore English), 2007; pg. 38. O’Farrell (Pocket Companion, vol. II), c. 1806; pg. 144.

X:1

T:Imperial Quick Step

M:2/4

L:1/8

S:O’Farrell – Pocket Companion, vol. II (c. 1806)

Z:AK/Fiddler’s Companion

K:D

A | dd f>d | ee g>e | dd f>d | e/d/c/B/ A/G/F/E/ | dd f>d | ee g>e | fe/d/ c/d/e/c/ |

d2d2 :: ff a>f | af fd | ee ge | ge d/c/B/A/ | ff a>f af fd | e/f/g/e/ d/c/B/A/ | dd/e/ d2 :|

|: dd/e cc/d/ | BB/d/ A2 | BB cc | d/f/a/b/ a/g/f/e/ | df/d/ ce/c/ | Be/B/ AA | BB c/d/e/c/ |

d2d2 :: f/g/ | af f>a | ge e>g | fd d>f | e/d/c/B/ A f/g/ | af f/g/a/b/ | ge e>g |fd c/d/e/c/ | d2d2 :|

                       

l’IMPERIALE. French, Country Dance (2/4 time). G Major. Standard tuning. AABB. From the contradance book (tunes with dance instructions) of Robert Daubat (who styled himself Robert d’Aubat de Saint-Flour), born in Saint-Flour, Cantal, France, in 1714, dying in Gent, Belgium, in 1782. According to Belgian fiddler Luc De Cat, at the time of the publication of his collection (1757) Daubat was a dancing master in Gent and taught at several schools and theaters.  He also was the leader of a choir and was a violin player in a theater. Mr. De Cat identifies a list of subscribers of the original publication, numbering 132 individuals, of the higher level of society and the nobility, but also including musicians and dance-masters (including the ballet-master from the Italian opera in London). Many of the tunes are written with parts for various instruments, and include a numbered bass. Daubat (Cent Contredanses en Rond), 1757; No. 22.

X:1

T:l’Imperiale

M:2/4

L:1/8

S:Daubat – Cent Contredanses en Rond (1757), No. 22

Z:AK/Fiddler’s Companion

K:G

B2 A/B/c/A/ | BAGg | ddde | B3 d | dGAF | {a}gfed | ^c.(c/e) A^c | {e}d2 D2 :|

|: A2 G/A/B/G/ | A A2 A | B(c/d/) cB | B2 A2 | GGGg | GG G2 | AAAa | AA A2 |

c(c c)B/c/ | Bedc | B2 A2 | {A}G4 | ^.c.c.c.c | {e}d(.D.D.D) | =c(c c)B/A/ |

B g2g | ac cB/A/ | Bedc | B2 A2 | G4 | _B2 A/_B/c/A/ | _B(GFG) | _B2 A/_B/c/A/ |

_BGFG | D(c c)B/A/ | Bedc | B2 A2 | G4 :|

                       

IMTIG DO'N DIABAL'S CORRUID TU FEIN. AKA and see "Go to the Devil and Shake Yourself."

                       

IMTIGTE GO CALIFORNIA. AKA and see "Off to California."


 

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