The Fiddler’s
Companion
© 1996-2009 Andrew Kuntz
_______________________________
HOME
ALPHABETICAL FILES REFERENCES
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>,
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
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
|:
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
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
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 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
***
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
L:1/8
R:Air
N:”Lively”
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:D
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
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
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."
_______________________________
HOME ALPHABETICAL
FILES REFERENCES
© 1996-2009 Andrew Kuntz
Please help maintain the viability of the Fiddler’s
Companion on the Web by respecting the copyright.
For further information see Copyright and Permissions Policy or
contact the author.