The Fiddler’s Companion
© 1996-2007 Andrew Kuntz
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MAE - MAIB |
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Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into 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] |
MAE NHW'N D'WEDYD. AKA and see "For Llanover Reel." Welsh, Country Dance Tune (4/4 time). D
Dorian/Minor. Standard tuning. AB. Collected by
Mr. H.O. Hughes,
MAEBH GHEAL. AKA and see "O White Maive."
MAEDB NI MUILLEOIR. AKA and see "Maude Miller
[1]."
MAEVE’S MAZURKA. Irish, Mazurka (3/4 time). A Major. Standard tuning.
AAB. Composed in 1990 by
X:1
T: Maeve's Mazurka
C: © B. Black
Q: 300
R: waltz
M: 6/8
L: 1/8
K: A
D | E2 AB cB | A2 a2 f2 | e2 c3 A | B2 c4 |
E2 AB cB | A2 a2 f2 | ef ec BA | BA F4 |
E2 AB cB | A2 a2 f2 | e2 c3 A | B2 c4 |
E2 Ac A2 | ^D2 Ac A2 | D2 GB e2 | A4-A :|
e | ab ag fe | fg fe ce | ag fe ce | f4 c2 |
ec B3 e | c2 B2 A2 | F2 ^D2 F2 | B4 e2 |
ab ag fe | fg fe ce | ag fe ce | fe cB A2 |
E2
Ac A2 | ^D2 Ac A2 | D2 GB e2 | A4-A :|
MAEVE’S REEL. AKA and see “The Stage Reel.” Irish,
Reel. G Major. Standard tuning. AABB. Composed by
MAGAIRE GREANNMAR, AN. AKA and see "The Jolly Joker."
MAGE ON A CREE. English, Country Dance Tune (6/8 time). G Dorian. Standard. AA. The
tune appears published earliest in Playford's English Dancing Master (1651). Barnes (English Country Dance Tunes), 1986. Fleming‑Williams (English Dance Airs; Popular Selection, Book
1), 1965; pg. 10. Raven (English
Country Dance Tunes), 1984; pg. 24 & 38. Sharp (Country Dance Tunes), 1994; pg. 15.
X:1
T:Mage on a Cree
M:6/8
L:1/8
S:Sharp – Country Dance Tunes (1909)
Z:AK/Fiddler’s Companion
K:G Minor
z | (B>cd/=e/ f2)(c | A2F c2)A |
(B>cd) (d>cd) | (B>AG d2)(G |
B>cd/=e/ f2)(c | A2F c2)(A |
B>cd) (=e>fg) | (^f>=ef) g2 :|
MAGGEES WEAM CAW. English.
MAGGIE [1]. English, Strathspey. G Major. Standard. AAB. Kennedy (Fiddler’s Tune Book), Vol. 2, 1954; pg.
18. Raven (English Country Dance Tunes),
1984; pg. 176.
MAGGIE [2]. Old‑Time. In repertoire of
MAGGIE AND JIGGS TWO
STEP. Canadian, Two-Step. A Major.
Standard. AABB. Composed by
X:1
T:Maggie and
Jiggs
C:Ward Allen
M:4/4
L:1/8
Z:Transcribed
by Bruce Osborne
K:A
a>f|e2A2
c<A (3Bcd|e2A>B A2a>f|e2A2 c<AA>d|c2B>A B2a>f|
e2A2
c<AA2|d2f>e f<aa>f|e>fe>c B>ce>d|c2A2 A2:|
|:(3efg|a2e>d
c<e (3efg|a2e2 e2 (3efg|a2e>d c<ee>f|=g2d>c d2 (3ef^g|
a2e>d c<e (3ABc|d2f>e
f<aa>f|e>fe>c B>ce>d|c2A2 A2:|
MAGGIE BROWN'S
FAVORITE. AKA ‑ "Maggie Brown,"
"Margrett Brown's
Favorite," “Margaret Brown’s Favorite,” "Miss Brown's," “Miss Brown’s Fancy [2],” “Miss Margaret Brown (Now Lady
Camden),” “Peggy Browne,” "Planxty Browne," "Planxty Maggie Brown."
Irish, English, American; Single Jig or Set Dance.
|
See also listings at: Alan Snyder’s Cape Breton Fiddle Recording
Index Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Maggie Brown’s Favorite
L:1/8
M:6/8
K:G
dBG GAB|E2E E2c|AFD DEF|G2G G2g|dBG Bcd|E2E E2c|AFD DEF|GBA G3:|/
[|ga|bgb afd|efg gfe|dBg dBG|AFD Dga|bgb afd|efg gfe|faf gc^c|d3 de=f|ece dBd|
cac BgB|Ace cBG|FAF DEF|GAB EFG|ABc def|gdB cAF|G3 g2g|]
X:2
T:Maggie Brown's
S:Mike Rafferty
R:set piece / single jig
Z:Lesl
M:6/8
K:G
gge||dBG GAB|cBc E2B|AFD DEF|GAF G2e|
dBG GAB|cBc E2B|AFD DEF|GAF G2a||
|:bgb afd|efg gfe|dBe dBG|AFd d2a|
bgb afd|efg gfe|(3fga f ge^c|d3 def|
e^ce dBd|cAc BGB|A2e dBG|(3FGA F DEF|
G2G EFG|ABc def|gdB cAF|1 G~G2 G2a:|2 G~G2 G2e||
"repeat from beginning and use this as last ending:"
|GBd G3||
MAGGIE CAMERON. Scottish, (Pipe) Strathspey. A Major (Hunter): A Mixolydian (Martin,
Skinner). Standard tuning. AB (Hunter, Skinner): ABCD (Martin). A fiddle
arrangement of a pipe tune. Jack Campin finds that it was earlier called "Willie Roy's Loomhouse,” and that
a related reel goes by the title "The Old Men at the Loom."
The latter is quite a bit simpler and, presumably, he says, is a still earlier
version. Pipe settings appear in the Scots
Guards Standard Settings of Pipe Tunes and Donald McPhedran’s collection
(pg. 6), but it is an often-printed tune appearing in at least a dozen other
pipe collections. J. Scott Skinner, in Harp and Claymore (1904), directs: “Give
one bow to each bar, as a rule—pressing hard with the fingers, and taking care
not to omit the grace notes.” Source for notated version: Arthur S. Robertson
(Shetland) [Hunter]. Hunter (Fiddle Music
of Scotland), 1988; No. 139. Martin (Ceol
na Fidhle), vol. 3, 1988; pg. 17. Skinner (Harp and Claymore), 1904; pg. 115. Olympic
6151, Arthur S. Robertson ‑ "Scottish Traditional Fiffle Music"
(1978).
|
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Jane Keefer’s Folk
Music Index: An Index to Recorded Sources
Alan Ng’s Irishtune.info |
X:1
T:Maggie Cameron
C:trad. pipe tune, composite fiddle setting (KED)
R:Strathspey
A:Cape Breton
N:Transcribed by Kate Dunlay (dungreen@total.net)
M:C
L:1/16
Q:1/4=160
F:http://www.interlog.com/~torocelt/setotm_archive.abc 2003-02-04
05:09:01 UT
K:A mixolydian
(uef3)|ve4 (cA3) ce3c3A|e3cA3c (ce3)(ef3)|e4 (cA3) ce3c3A|d3BG3B (Bd3)(df3)|
e4 (cA3) ce3c3A|e3cA3c e4 ((3a2g2f2)|e3Ac3A ((3c2d2e2) (c3A)|d3BG3B
(Bd3)(df3)||
vea3c3a e3ac3a|((3g2f2e2) ua3uc (ce3) (ef3)|ea3c3a e3fg3e|((3d2c2B2) ug3uB
(Bd3)(df3)|
ea3c3a e3ac3a|((3g2f2e2) ua3uc e4 ((3e2f2g2)|((3a2g2f2) (g3e) ((3f2e2d2)
(e3c)|((3d2c2B2) ug3uB (Bd3)(df3)||
ve4 (c3e) AAA2 (c3e)|AAA2 (c3e) AAA2 ((3a2g2f2)|e4 (c3e) AAA2 (c3e)|((3d2c2B2)
ug3uB (Bd3)(df3)|
e4 (c3e) AAA2 (c3e)|AAA2 (c3e) AAA2 ((3a2g2f2)|e3Ac3A ((3c2d2e2)
(c3A)|((3d2c2B2) ug3uB (Bd3)(df3)||
vea3a3g f3eab3|a3fe3d ((3c2d2e2) (ef3)|ea3a3g f3ea3c|((3d2c2B2) ug3uB
(Bd3)(df3)|
ea3a3g f3eab3|a3fe3d ((3c2d2e2) ((3e2f2g2)|((3a2g2f2) (g3e) ((3f2e2d2)
(e3c)|((3d2c2B2) ug3uB (Bd3)(df3)|]
MAGGIE GREY. AKA – “Margaret Grey,” “Meg Grey.” Old-Time, Breakdown. USA, Kentucky.
E Minor ('A' part), A Mixolydian ('B' part) & G Major ('C' part). Standard
tuning. AABBCC (Titon): AABB'BB'CC (Phillips). See related tune "Cattle in the Cane [1]".
Mark Wilson writes that source George Hawkins fashioned the tune from a banjo
player’s tune he heard when he was a boy. Hawkins was a friend and fiddling
buddy of John W. Summers, notes Joel Shimberg. There is a possibility that the
third part did not originally go to the tune, according to Kerry Blech, but
rather became attached after “floating” from another tune. He points out that
Hawkins, while he always did play the third part, would not play it in order,
but would rather insert it into the sequence of parts seemingly at will.
Sources for notated versions: Kerry Blech (Seattle, Washington) [Phillips];
George Hawkins (Bethel, Bath County, Kentucky) [Titon]. Phillips (Traditional American Fiddle Tunes),
1994; pg. 148. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 98, pg.
127. Leatherwood (cassette), Bruce Greene – “Vintage
Fiddle Tunes” (1987). Rounder 0376, George Hawkins – “Traditional Fiddle Music
of Kentucky, vol. 1; Up the Ohio and Licking Rivers (1997). Rounder 0380, Roger
Cooper – “Goin’ Back to Kentucky” (1997).
MAGGIE IN THE WOOD(S). AKA - “If I Had Maggie in the Woods,” “Maggie in the Corner.” AKA and
see "An
bhFaca Tú Mo Shéamaisín" (Did You See My Seámaisín?). Irish, Polka.
Ireland, West Kerry. G Major. Standard tuning. AB (Taylor): AABB (Mac Amhlaoibh
& Durham, Sweet): AABB' (Sullivan): AA’BB’ (Tubridy). The tune was
popularized by the Chieftains. Words set to the tune go variously:
***
If I had Maggie in the woods,
I’d do her all the good I could;
I’d keep her there till morning.
and:
If I had Maggie in the wood
I know she would, I know she could;
Nothing else would do her good
So early in the morning.
***
Source for notated version: set
dance music recorded at Na Píobairí Uilleann, mid-1980’s [Taylor]. Mac
Amhlaoibh & Durham (An Pota Stoir:
Ceol Seite Corca Duibn/The Set Dance Music of West Kerry), No. 6, pg. 14.
O’Brien (Jerry O’Brien’s Accordion
Instructor), 1949. Sullivan (Session
Tunes), vol. 2; No. 15, pg. 7. Sweet (Fifer’s
Delight), 1965/1981; pg. 57. Taylor (Music
for the Sets: Yellow Book), 1995; pg. 34. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 9. Smithsonian Folkways SFW CD
40126, Two Fiddles – “Choose Your
Partners!: Contra Dance & Square Dance Music of New Hampshire” (1999).
|
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Maggie in the Woods
M:2/4
L:1/8
K:G
D|:GD G>A|Be e>e|dB
B/A/G/A/|BA AD|GD G>A|
Be e>e|dB AB/A/|1 G2 GD:|2 G2
G>d||
|:g>f ed|ef g>e|dB B/A/G/A/|BA
Ad|g(3f/g/f/ ed|
ef g>e|dB AB/A/|2 G2 Gd:|2 G2G2||
MAGGIE LAIDIR. AKA and see "Maggie Lauder."
MAGGIE LAUDER. AKA and see "Maggie Laidir," "Moggy Lawther." Scottish, Irish, English; Polka or Highland Schottische. D Major. Standard tuning. AB (Miller & Perron, Raven): AABB (Aird): AABBCCDDEE (O’Farrell): AABBCCDDEEFFGGHH (Colclough). The Scottish dialect title means "strong Maggie" and dates from the mid‑17th century when new words were adapted to the tune by John O'Neachtan about the year 1676. Grattan Flood (1906) traces reports of the tune back to 1696 when it was sung by Irish actor Thomas Dogget in his comedy called A Country Wake (who must have liked it for he used it again in 1711 for another play, Hob, or the Country Wake, a variant which appeared in Drury Lane that year) [Ed.: Flood, it must be said, is renowned for his inaccuracies and his scholarship must always be taken with a grain of salt]. Having found a home in the ballad opera genre, the melody was utilized again in the Quaker's Opera in 1728, by Charles Coffey in 1729 in his Beggar's Wedding (both under the title "Moggy Lawther"), and was mentioned by Allan Ramsay in his ballad opera The Gentle Shepherd in 1725. A Scottish version appeared in 1729 in Craigs. A rare, late text of Forbes of Disblair's "Maggie Lauder" variations appears in Perthshireman James Gillespie's 1768 MS. (where it is listed as "Moggie Lawther"). "Maggie Lauder" has also long been known in the north of Britain.
***
The nation of Ireland has often been portrayed euphemistically, personified similar to Uncle Sam for America or John Bull for England. "Strong Maggie" is a euphemism for Ireland, states Hardiman, who published the air in 1831 based on an unknown 1706 transcription. This may be so, however, the 17th century lyric (which Chappell (1859) and Emmerson {1972} attributes to Francis Sempill or Semple of Beltrees) tells of a Scottish piper and his serendipitous meeting with a merry dancer in Fife, and may be enjoyed at face value:
***
For I’m a piper by my
trade
My name is Rob the
Ranter,
The lasses loup as
they were daft
When I blaw my chanter.
***
Later:
***
Then to his bags he flew wi'speed,
About the drone he twisted;
Meg up and wallop'd o'er the green,
For brawly could she frisk it.
Weel done, quoth he, play up, quoth she,
Weel bob'd, quoth Rob the Ranter,
'Tis worth my while to play indeed,
When I hae sic a dancer.
***
Aird (Selections), vol. II, 1782; No. 128, pg. 47. Colclough (Tutor for the Irish Union Pipes), c. 1830; pg. 18 (appears as “Maggie Lawder with Var.”). Kerr (Merry Melodies), vol. 3; No. 201, pg. 23. McGibbon (Scots Tunes, Book 1), c. 1762; pgs. 16-17 (appears as “Magie Lawder”). Miller & Perron (101 Polkas), 1978; No. 31. O’Farrell (National Irish Music for the Union Pipes), 1804; pgs. 42-43 (appears as “Maggie Lawder with New Variations).
|
See also listing at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
X:1
T:Maggy Lawder
M:C|
L:1/8
S:Aird, Vol. II (1782)
Z:AK/Fiddler’s Companion
K:D
d>edf d>edf | e>f g/f/e/d/ c2 (e>f/2g/4) | fddA dedf | ab a/b/a/g/ f2a2 |
g>agb f>gfa | e>f (g/f/)(e/d/) c2e2 | (d/c/)(B/A/) (B/A/)(G/F/) G/F/E/D/ Eg |
(f/g/a) ef d2D2 :: (f/g/a) dg f/g/a/f/ d>f | e>f (g/f/)(e/d/) c2e2 | (f/g/a) dg (f/g/a) df |
a>b a/b/a/g/ f2a2 | (g/f/g/a/) gb (f/e/f/g/) fa | e>f g/f/e/d/ c2e2 |
(d/c/B/A/) (B/A/G/F/) (G/F/E/D/) E>g | (f/g/a) e>f d2D2 :|
X:2
T:Magie
Lawder
M:C|
L:1/8
R:Reel
N:”Brisk”
S:McGibbon
– Scots Tunes, Book 1 (c. 1762)
Z:AK/Fiddler’s Companion
K:D
d>edf
d>edf | e>f g/f/e/d/ “tr”c2 (e>f/2g/4) | fddd d>edf | a>b
a/b/a/g/ “tr”f2a2 | g>agb f>gfa | e>f (g/f/)(e/d/) “tr”c2e2 |
(d/c/)”tr”(B/A/)
(B/A/)(G/F/) (G/F/)”tr”(E/D/) Eg | (f/g/a) “tr”e>f d2 D2 :: (f/g/a) dg
f/g/a/f/ d>f | e>f (g/f/)(e/d/) “tr”c2e2 |
(f/g/a) dg
(f/g/a) d>f | a>b a/b/a/g/ “tr”f2a2 | “tr”(g/f/g/a/ g)b “tr”(f/e/f/g/ f)a
| e>f g/f/e/d/ “tr”c2e2 |
d/c/B/A/
B/A/G/F/ G/F/E/D/ E>g | (f/g/a) “tr”e>f d2 D2 :: D>EDg a/g/f/e/ df |
e>f g/f/e/d/ “tr”c2e2 | D>EDg (f/g/a/)f/ d/e/f/g/ |
a/g/a/b/
a/b/a/g/ “tr”f2a2 | (g/d/)(b/d) (g/d/)(b/d/) (f/d/)(a/d/) (f/d/)(a/f/) | e>f
g/f/e/d/ “tr”c2e2 | (d/c/)(B/A/) (B/A/)(G/F/) (G/F/)(E/D/) E>g |
(f/g/a)
e>f d2 D2 :: (f/g/a/)f/ d/A/e/g/ (f/g/a/)f/ d/A/d/f/ | e(e/f/) (g/f/)(e/d/)
“tr”c2e2 | (f/g/a/)f/ d/A/e/g/ (f/g/a/)f/ d/e/f/g/ |
a/(d’/c’/b/)
(a/g/f/)g/ “tr”f2a2 | g b2 a/g/ f a2 g/f/ | e>f (g/f/)(e/d/) “tr”c2e2 |
(d/c/)(B/A/) (B/A/)(G/F/) (G/F/)(E/D/) E>g |
(f/g/a)
e>f d2 D2 :: f/a/d/f/ A/d/F/A/ D>EDf | e>f g/f/e/d/ “tr”c2
(e>f2g/4) | f/a/d/f/ A/d/F/A/ D>EDf | a>b a/b/a/g/ “tr”f2a2 |
(g/b/)(b/d’)
(d’b)”tr”(aa/g/) | (f/a/)(a/d’/) d’(a/g/f/) | (e/g/f/)a/ (g/f/)(e/d/) “tr”c2e2
| (d/c/)(B/A/) ( B/A/)(G/F/) (G/F/)(E/D/) E>g |
(f/g/a)
“tr”e>f d2 D2 :: D/F/A/d/ A/d/f/a/ d/f/a/d’/ d>f | (e/f/g/)f/ e/(d/c/d/)
“tr”c2e2 | D/F/A/d/ A/d/f/a/ d/f/a/d’/ d/e/f/g/ |
(a/g/a/)b/
a/b/a/g/ “tr”f2a2 | b/g/d/B/ G>b a/f/d/A/ F>a | e>f (g/f/)(e/d/) “tr”c2e2
| (d/c/)(B/A/) (B/A/)(G/F/) (G/F/)(E/D/) E>g |
(f/g/a)
“tr”e>f d2 D2 :: d>e df/g/ a/g/f/e/ d/e/f/d/ | eE g/f/e/d/ “tr”c2
(e>f/2g/4) | f/(d/c/d/) (d/c/d/)d/ d/A/B /c/ d/e/f/g/ |
“tr”(a/g/a/)b/
a/b/a/g/ “tr”f2a2 | b/g/d/B/ G/d/g/b/ a/f/d/A/ F/d/f/a/ | e>f g/f/e/d/
“tr”c2e2 | (d/c/)(B/A/) (B /A/)(G/F/) (G/F/)(E/D/) E>g |
(f/g/a)
“tr”e>f d2 D2 :: f/a/d/f/ A/d/F/A/ D/F/A/d/ F/A/d/f/ | (e/f/e/f/) (g/f/e/d/)
“tr”c2 (e>f/2g/4) | f/a/d/f/ A/d/F/A/ D/F/A/d/ F/A/d/f/ |
”tr”(a/g/a/)b/ a/b/a/g/ “tr”f2a2 | b/(g/d/g/) (b/g/)(d’/b/) a/(f/d/f/)
(a/f/)(d’/f/) | (e/f/)(e/f/) (g/f/)(e/d/) “tr”c2e2 |
(3d/c/B/
(3c/B/A/ (3B/A/G/ (3A/G/F/ (3G/F/E/ (3F/E/D/ E>g | (f/g/a/)f/ (e/f/g/)e/ d2
D2 :|
MAGGIE MAWHINNEY'S JIG. Canadian, Jig. G Major. Standard tuning. AAB. Composed by Bill Cormier.
Source for notated version: Eleanor Townsend (Ontario, Canada) [Hinds].
Hinds/Hebert (Grumbling Old Woman),
1981; pg. 26. Marathon MMS76048, Eleanor Townsend ‑
"Mrs. Country Fiddle."
MAGGIE O' HAM. Shetland. A Major tuning. AEae. Tom Anderson (1978) says the melody was
probably used as an alternative tune for "Shaalds O' Foula"/"Foula Shaalds" for the dance of that
name. Topic 12TS379, Aly Bain & Tom Anderson ‑
"Shetland Folk Fiddling, Vol. 2" (1978).
MAGGIE
PICKENS/PICKIE/PIGGY. AKA and see “The Lea Rig(ges),”
"Whistle Over/O'er
(the Lave O't)." Irish, Set Dance (2/4 time, though note in Allen's
says "Single Jig Time"), Fling or Highland. Ireland, County Donegal.
A Major (Allan’s, Sullivan): G Major (Tubridy). Standard tuning. AB (Tubridy):
ABB' (Allan’s): AABB’ (Sullivan). Flood (1906) identifies “Maggie Pickens” as a
Donegal pipe‑melody popular in the late 17th century. He asserts it was
"cribbed" by the Scotch between the years 1715 and 1740 and adapted
to a song called "Whistle o'er the lave o't"‑‑"so
indelicate that it had to be rewritten by Robert Burns in 1790." Other
writers believe the Scottish tune is the original, and “Maggie” is the
derivative. Supporting this viewpoint, Caoimhin Mac Aoidh (1994) states that
older Donegal players believed it to be of Scottish origin arising from the
“Whistle” tune, and he himself doubts the veracity of Flood’s assertion for
Donegal provenance. Teelin, County Donegal, fiddler Con Cassidy remembers
playing “Maggie Pickie” for dances when he was young:
***
...oh, they had their special reels. I once saw two people dance
the ‘Maggie Pickie’--the tongs would be laid out on the floor
and opened out a bit. The dancer could go right over it and the
secret was not to touch the tongs at all. It was wonderful how
it could be done.
***
Reg Hall (1995) describes “Maggie
Pickens” as an Ulster country-house couple dance, as well as a tune. Donegal
fiddler Vincent Campbell also remembered the dance, described as a set dance
and hornpipe, from house-dances in kitchens when he was young (Blooming Meadows, 1998, pg. 49). In modern times it has been one of the most
common highlands played in Ireland (Caoimhin Mac Aoidh). The melody was used by
the Irish Volunteers (presumably those in the rebellion of 1798) as a marching
tune. Variants are “Lucy Farr’s Fling”
and perhaps the single jig “Whole
Chicken in the Soup.” Allan's Irish Fiddler, No. 114, pg. 29.
Sullivan (Session Tunes) , vol. 3;
No. 23, pg. 9. Tubridy (Irish Traditional
Music, Book Two), 1999; pg. 11. Green Linnet SIF
3010, Kevin Burke - “Promenade” Topic TSCD 602, The Four Provinces Orchestra –
“Irish Dance Music” (1995. A reissue of the original 1928 recording).
|
See also listings at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources
Alan Ng’s Irishtune.info |
X:1
T:Maggie Pickie
S:Paul O'Shaughnessy
Z:Juergen.Gier@post.rwth-aachen.de
M:C|
L:1/8
K:A
AE~E2 ABc2|BAcA BAFB|AE~E2
ABcB|1Aaec BAcB:|2Aaec (3BeB A2|]\
agfe fec2|dBcA BAF2|agfe feca|ABcA
(3BeB A2|\
agfe fec2|dBcA BAFB|AE~E2 ABcB|Aaec BAcB|]
X:2
T:Maggie Pickens
B:Allan's Irish Fiddler
R:set dance
N:Single Jig Time (note in book)
M:2/4
L:1/8
K:A
A>F E>F|A>B c2|A>c
e>c|B>A F2|A>F E>F|A>B c2|A>c e>c|B2 A2||
f>g a>e|f>e c2|A>c
e>c|B>A F2|1f>g a>e|f>e a2|A>c e>c|B2 A2:|
2A>F E>F|A>B c2|A>c e>c|B2
A2||
MAGGIE PICKING COCKELS. AKA and see “Jenny Picking
Cockles.” American (?), Reel. D Mixolydian ('A' part) & D Major ('B'
part). Standard tuning. ABB. Related to “Jenny’s Welcome to Charlie,” and
shares melodic material with “The
College Grove(s).”
X:1
T:Maggie Picking Cockels
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:D Mixolydian
(F/G/) || A/d/d/c/ A/G/E/F/ |
G/E/c/e/ d/E/c/e/ | A/d/d/c/ A/G/E/F/ | G/E/c/E/ E/D/F/G/ |
A/d/d/c/ A/E/E/F/ | G/E/c/e/ d/E/c/e/
| A/d/d/c/ A/G/E/F/ | G/E/c/E/ E/D/D ||
K:D
ff/d/ ee/d/ | c/A/A/B/ c/d/e/g/ |
ff/d/ ee/d/ | e/a/g/e/ e/d/d |
ff/d/ ee/d | c/A/A/B/ c>d |
e/d/c/A/ A/G/E/F/ | G/E/c/E/ E/D/D |
MAGGIE SHANLEY'S SLIDE (Sleamhnán Mháiréad Nic Sheanlaoich). Irish, Slide (12/8 time). A
Mixolydian (Breathnach): A Major (Black). Standard tuning. AABB. Maggie Shanley
was a musician from the County Limerick/Kerry border area. Source for notated
version: fiddler Martin Mulvihill (County Limerick/Bronx, NY) [Breathnach]. Black
(Music’s the Very Best Thing), 1996;
No. 331, pg. 177. Breathnach (CRÉ III),
1985; No. 37, pg. 19. Green Linnet Records SIF 1012,
"Martin Mulvihill" (1978).
X:1
T: Maggie Shanley's
S: M. Mulvihill
Q: 375
Z:Transcribed by Bill Black
R: slide
M: 12/8
L: 1/8
K: A
A2 B c2 e dcB A2 e | A2 B c2 e f3 e3 |
A2 B c2 e dcB A2 B | c2 e dcB A3-A3 :|
f2 e c2 e dcB A2 A | f2 e c2 e f3 e3 |
f2
e c2 e dcB A2 A | c2 e dcB A3-A3 :|
MAGGIE'S APRON. Scottish, Reel. G Minor/Dorian. Standard tuning. AABB'. Kerr (Merry Melodies), vol. 3; No. 188, pg.
22.
X:1
T:Maggie’s Apron
M:C
L:1/8
R:Reel
S:Kerr – Merry Melodies, vol. 3, No. 188 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:G Minor
d2 Bc (dB)GB|d2 B Bc (dB)GB|c2 AB
(cA)FA|cdcB Af=ef:|
|:(dg)g^f g2 ga|bag^f gdBG|1 (Af)f=e
f2 fg|agf=e fcAF:|2 Bdce dgfe|dcBA G/G/G G2||
MAGGIE’S PANCAKES. AKA and see “Rainbow Tune.” Scottish, Reel. B Minor. Standard tuning. AABB.
Composed by Scottish fiddler Stuart Morrison. Green Linnet
GLCD 1081, The Tannahill Weavers – “Dancing Feet.”
X:1
T: Maggie's Pancakes
M: 2/2
L: 1/8
R: Reel
C: Stuart Morison
D: Tannahill Weavers, "Dancing
Feet"
K: Bm
fB~B2 fgfe|dB~B2 GBdB|cAAd AAec|AfdB
ecAe|
fB~B2 fgfe|dB~B2 GBdB|cABc ABce|afec
B2de:|
|:~f2dB GBdB|caec dB~B2|~f2dB
GBdB|caec Bcde|
fd~d2 fgfe|dB~B2 GBdB|cAdA eAce|afec
B2de:|
MAGGIE’S TOCHER. Scottish, Jig (9/8 time). A Minor. Standard. AB. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes),
1999; No. 43, pg. 10.
MAGGIE'S WAME IS FU' I
TROW. See "Maggy's Weame..."
MAGGINI WALTZ. Canadian, Waltz (9/8 time). G Major ('A' part) & D Major ('B'
part). Standard. A'BA"A"'B'A"". Composed by Arthur
Lindstrom in 1975. Maggini was one of the old Italian master violin makers.
Sources for notated versions: Arthur Lindstrom and Max Sexsmith (Prince George,
British Columbia) [Gibbons].Gibbons (As
It Comes: Folk Fiddling From Prince George, British Columbia), 1982; No. 7,
pgs. 20‑21 and No. 14, pgs. 31‑32.
MAGGOTS IN THE SHEEP
HIDE. Old‑Time, Breakdown. D Major.
Standard. AABB. "A notable feature of this dance air is its short three‑note
prelude, which is never played except at the very start, and is left out of all
subsequent repetitions. Preludes of an unvarying sort are quite unusual in our
traditional music" (Bayard). Source for notated version: Mrs. Sarah
Armstrong, (near) Derry, Pennsylvania, November 18, 1943 [Bayard]. Bayard (Hill Country Tunes), 1944; No. 62.
MAGGY'S FOOT. English. Alistair Anderson says the tune describes a farmer's ride home
from market on a lame horse, "one, two, three, clunk!" Front Hall Records FHR‑08, Alistair Anderson ‑
"Traditional Tunes" (1976).
MAGGY'S
WEAME IS FU I TROW. AKA and see "Duncan Davi(d)son," "Gentle Ann," "Handy Andy's Highland Fling,"
"Ye'll Aye Be Welcome
Back Again." Scottish, Country Dance Tune (cut time). D Major.
Standard. AABB. A risqué title from the early 18th century; 'wame'=
womb. John Glen (1891) finds the earliest appearance of the tune in print in Robert Bremner's 1757 collection (pg.
85). Aird (Selections), vol. II,
c. 1786; No. 11, pg. 4. Bremner (Scots Reels), c. 1757; pg. 85. Wilson (Companion to the Ballroom),
1840; pg. 55.
X:1
T:Maggy’s Wame is fu I true
T:Maggy’s Weame is Fu I Trow
M:C|
L:1/8
S:Aird, Vol. II (c. 1786)
Z:AK/Fiddler’s Companion
K:D
B | ADFD ADFB | ADFA E/E/E GB | ADFD ABde | g>dg>e d/d/d d :|
|:
A | defd geaf | gefd e/e/e eB | defd eBdA | BAdF D/D/D D :|
MAGH LUIRG. AKA and see "The Plains of
Boyle."
MAGH SEOLA. Irish, Air. Composed by uilleann piper Gerard Fahy from Ballinkill, who
named it after the site of an ancient battle in the west of Ireland. Green Linnet SIF 1139, “Eileen Ivers” (1994).
MAGHERA
MOUNTAIN. Irish, Reel. G Dorian. Standard.
AABB’. Composed by Clare fiddler Martin Hayes; the first tune he composed, at
the age of thirteen. Named for the hill in back of his family’s house in East
Clare. Some similarities to “Dan Breen’s Reel.” Martin Connolly – “The Fort of Kincora.”
X:1
T:
M:C|
L:1/8
C:Martin Hayes
R:Reel
K:G dor
d2 cA BGGF|DGGF GABc|d2 cA BGGB|AFcF
dFcF|
d2 cA BGGF|DGGF GBAG|FGAc
fcAc|1B/c/B AB GABc:|2B/c/B AB GBAG|:
FGAc f2ef|g2 ga gfef|ecgc acgc|ecgc
acgc|
BGGF G3B|AFFE F2 GA|Bdgd fdcd |1BdAB
GBAG:|2 BdAB GABc|
MAGHO SNAPS, THE. Irish,
Jig. G Major. Standard. AABB. Source for notated version: Mick Hoy (Co.
Fermanagh) [Miller, Treoir]. Miller (Fiddler’s Throne), 2004; No. 71, pg. 53. Treoir, vol. 17, No. 3, 1985.
MAGIC FLUTE. Scottish, Hornpipe. F Major (Kerr): G Major (Miller). Standard. AABB.
According to Lisa Ornstein, the melody was adapted from Mozart’s Opera Die Zauberflute (The Magic Flute), and is the melody Papageno plays on his magic
bells. Lisa says: “Like a number of themes from this most popular opera,
Paganeo’s magic bells melody (often referred to as “the glockenspiel tune”
because of the instrument which leads the melody in the opera) has, over the
past 200+ years, been adapted and scored from everything from music boxes to
piano solos” (FIDDLE-L, Aug. 12, 2006). Kerr (Merry Melodies), vol. 2; No. 333, pg. 37. Miller (Fiddler’s
Throne), 2004; No. 197, pg. 124. Philo 2001, "Jean Carignan" (learned from Joseph
Allard in four parts).
X:1
T:Magic Flute
M:C
L:1/8
R:Hornpipe
S:Kerr – Merry Melodies, vol. 2, No. 333
Z:AK/Fiddler’s Companion
K:F
(cB) | A2f2 afcA | BBdg b2 (BA) |
G2e2 gece | fafa fdcB | A2 cf (af)cA | B2 dg (bg)dB |
Ac f2 GB e2 | f2a2f2 :: c2 | AFCF
AFAd | c2B4B2 | GECE GEGc | B2A4 AB |
cAFC FAcA | Bcde fdcB | Acf2 GBe2 |
f2a2f2 :|
MAGIC FOOT. American, Barndance. G Major. Standard. ABB’CDD. Composed by American
guitar and mandolin player Russ Barenberg. Mary
Staunton – “Bright Early Mornings.”
X:1
T:Magic Foot
M:4/4
L:1/8
C:Russ Barenberg
S: Mary Staunton, "Bright Early Mornings"
Z:Jack Gilder
R:barndance
K:G
G2Bd ddBd|ddBd cAFA|G2Bd ddBd|cAFA G3F|!
G2Bd ddBd|ddBd cAFA|G2Bd ddBd|cAFA GBdc||!
|:BGdG BdBG|EGcG FAdc|BGdG BdBG|1AddB G2dc:|2AddB G2 gb||!
ad~d2 Add(d|d2)~d2 Adgb|ad~d2 Adde|dBAF G2gb|!
ad~d2 Add(d|d2)~d2 Adgb|ad~d2 Adde|d2(d2 d)BAF||!
|:G2Bd ~d2BG|FGFD A,DFA|GBdB FGFD|A,DFA G3F:||!
MAGIC MIST, THE (An Ceó Draoigheachta). Irish, Air (3/4 time). E Minor.
Standard tuning. AAB. The words to this allegorical Jacobite song appear in
O’Daly’s Poets and Poetry of Munster. P.W. Joyce says of his source,
Alice Kenny:
***
I cannot
forbear recalling the circumstances under which I obtained this
air. I
had often heard of old Alice Kenny, who was at this time about 70
years of
age, as a noted singer in her time; and I set out one day to visit
her.
When I arrived at her house, her grandchildren told me she was up
somewhere
on the neighbouring hill; so I and my companion set out in
search
of her; and we found her on the very top, pulling heath to cook
her
supper. We sat down by a turf-rick, and there for two hours, she
delighted
me and delighted herself, with her inexhaustible store of
Irish
airs and songs of all kinds,--love songs, keens, lullabies, execution
songs
&c. I took down several, and left her, determined to renew my
visit at
the first opportunity. But no opportunity came; and I have never
seen
poor old Alice from that day to this.
***
Source for
notated version: noted “in the summer of 1853, from the singing of Alice Kenny,
an old woman living in the parish of Glenroe, in the county Limerick” [Joyce].
Howe (1000 Jigs and Reels), c. 1867;
pg. 25. Joyce (Ancient Irish Music),
1873/1890; No. 40, pgs. 42-43.
X:1
T:An Ceó
Draoigheachta
T:Magic
Mist, The
M:3/4
L:1/8
R:Air
S:Joyce – Ancient
Irish Music (1890)
Z:AK/Fiddler’s
Companion
K:G
GA | B2 cA B>A | A2 GE D^C | D2E2 GA | B2 cA B>A |
A>G E2E2 | E4 :| EF | GA B^c d2 | e2 BA GA | B2B2 B^c |
d2d2d2 | e2 B>A GE | G4 (3B^cd | e2 d>B AG | A2 GE D^C |
D2E2 GA | B2 cA B>A | A>G E2E2 | E4 ||
MAGIC SLIPPER [1], THE. AKA and see “Dan
Galbey’s,” "Donegal Boys,"
“The Groves of Mt. Talbot,”
"I Wish I Never Saw You,"
"Maud(e) Millar [2],” “The Montua,” “Morrison’s (Reel) [2],” “Mrs. Smullen’s,” "My Love is Fair and Handsome
[1]," "Paddy
McFadden’s [1]." Irish, Reel. G Major. Standard. AABB. The tune is
related to O’Neill’s (DMI 480) “Maude Miller.” The second strain is similar to
"Katy Hill [1]." Cole (1000 Fiddle Tunes), 1940; pg. 30.
X:1
T:Magic Slipper, The [1]
T:My Love is Fair and Handsome [1]