The Fiddler’s Companion

© 1996-2007 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

MAE - MAIB

 

 

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, Bangor, Wales, as a song tune, though editor Mellor (1935) thinks it was undoubtedly a dance tune. Mellor (Welsh Dance Tunes), 1935; pg. 6.

 

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 Flamouth, Massachusetts, musician and writer Bill Black in honor of the first child of Mike and Rosemarie (Conway) Flanagan. Black (Music’s the Very Best Thing), 1996; No. 143, pg. 75.

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 County Antrim fiddle player Jim McKillop, for his daughter Maeve. Related to “The Stage Reel” and “Dowser’s Favourite.” Flaherty (Trip to Sligo), 1994; pg. 52 (appears as untitled reel). Mulligan LUNCD 060, Sean Smyth - “The Blue Fiddle” (appears as “Jim McKillop’s”). Outlet SOLP 1045, Jim McKillop - “Mist in the Glen.”

 

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. England, Northumberland. One of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript.

 

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 North Ga. fiddlers c. 1922.

                       

MAGGIE AND JIGGS TWO STEP. Canadian, Two-Step. A Major. Standard. AABB. Composed by Ontario fiddler Ward Allen, who won contest after contest in the 1950’s and who carved out a career for himself as a radio fiddler. Maggie and Jiggs were cartoon charactes in the early-mid 20th century. GRT Records 9230-1031, “The Best of Ward Allen” (1973). Sparton Records SP 213, “Ward Allen Presents Maple Leaf Hoedown, Vol. 3.”

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. USA, New England. G Major. Standard. AAB (Cole, Gow, S. Johnson, Miller & Perron, Raven, Silberberg, Sweet): ABB (Harker/Rafferty): AABB (Brody, Allan's): AA'AA"B (Phillips): ABC (Kerr). The tune appears to have been composed by Nathaniel Gow, included with his name in his publication Beauties of Niel Gow (1819) under the title “Miss Margaret Brown. Now Lady Camden.” It is often credited to the blind Irish harper Turlough O'Carolan (1670-1738), probably due to its appearance in O’Neill’s Music of Ireland under the title “Planxty Browne.” Donal O’Sullivan, in his definitive work on Carolan (The Life, Times and Music of an Irish Harper, 1958), inserted the melody as an untitled air, but was of the opinion that it was doubtful it was a genuine work of that bard. Apparently, no publications of  the “Maggie Brown” tune predate Nathaniel Gow’s. O’Neill may have based his attribution to O’Carolan on the fact that one Miss Margaret Brown, a real person, was the object the harper’s love for some time. Unfortunately for Carolan, his Maggie Brown married Theobald, Sixth Viscount Mayo, in July, 1702, who incidentally became a great patron of O'Carolan. The melody is employed for the Scottish song “Twa Bonnie Maidens,” about Bonnie Prince Charlie’s flight to the Isle of Skye after his defeat, disguised as a woman. Sources for notated versions: Cathie Whitesides [Silberberg]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Allan's Irish Fiddler, No. 110, pg. 28. Brody (Fiddler’s Fakebook), 1983; pg. 180. Carlin (The Gow Collection), 1986; No. 348 (appears as "Margrett Brown's Favorite"). Cole (1000 Fiddle Tunes), 1940; pg. 53. Complete Collection of Carolan's Irish Tunes, 1984; No. 180, pg. 123 (Untitled). Harker (300 Tunes from Mike Rafferty), 2005; No. 295, pg. 96. S. Johnson (The Kitchen Musician No. 6: Jigs), 1982 (revised 1989, 2001); pg. 10.  Kennedy (Fiddler’s Tune Book), vol. 2, 1954; pg. 40. Kerr (Merry Melodies), vol. 2; No. 304, pg. 33. Miller & Perron (New England Fiddler’s Repertoire), 1983; No. 50. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 371. Raven (English Country Dance Tunes), 1984; pg. 105. Ryan’s Mammoth Collection, 1883; pg. 82. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 94. Sweet (Fifer’s Delight), 1965/1981; pg. 33. Alcazar Dance Series FR 204, Rodney Miller ‑ "New England Chestnuts 2" (1981). Cló Iar-Chonnachta CICD 148, Mick Conneely – “Selkie” (2001. Appears as “Planxty Maggie Brown”). Green Linnet 1015, Eugene O'Donnell‑ "Slow Airs and Set Dances." Rounder 7008, "Jerry Holland."

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;

If I had Maggie in the woods

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).” New York musician, researcher and writer Don Meade points out that the tune is usually known by the “Jenny Picking Cockles” title, and that it is a reel version of the jig “Cailleach an Airgead.” Cole (1000 Fiddle Tunes), 1940; pg. 9. Ryan’s Mammoth Collection, 1883; pg. 32.

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:Maghera Mountain

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]