The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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MAID

 

 

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]

 

 

 

MAID AMONGST THE ROSES, THE. Irish, Reel. B Minor/D Major. Standard tuning. AAB. Roche Collection, 1982; vol. 1, No. 63.

                                   

MAID AND THE MAGPIE, THE. English, Country Dance Tune (cut time). C Major. Standard tuning. AABB. The tune appears in Hodsoll’s Collection of Popular Dances No. 24, an undated manuscript of tunes with Napoleonic-era titles and country dance directions.

X:1

T:Maid and the Magpie, The

L:1/8

M:C|

S: Hodsoll’s Collection of Popular Dances No. 24

K:C

G|c2 ec AcGc|AcGc Bcde|c2 ec AcGc|(3ABc (3Bcd ecc:|

|:d|(3efg ge fafd|(3Bcd dB egec|(3ABc cB Adfd|(3ABc (3Bcd ecc:|

                                   

MAID AT THE CHURN, THE (An Aindear Ag an Cuinneog/Gcunneoig). AKA and see “The Hag at the Churn,” “The Merry Woodsman.” Irish, Reel. G Dorian. Standard. AB (O'Neill/1850 & 1001): AA'B (O'Neill/Krassen). O'Neill (Krassen), 1976; pg. 144. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1462, pg. 271. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 693,pg. 123.

X:1

T:Maid at the Churn, The

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 693

Z:AK/Fiddler’s Companion

K:G

GF|DGGA BGAF|DEFd cFAF|DGGA Bcdg|(3fed (3cBA BGAF|DGGA BGAF|

DEFd cFAF|DGGA Bcdg|(3fed (3cBA BG G2||gd (3ggg gbag|fc (3ccc fgaf|

gd (3ggg gbag|(3fed (3cBA BGBd|gd (3ggg gbag|fdef gfga|(3bag (3gfe (3fed (3efg|

(3fed (3cBA BGAF||

 

MAID AT THE FAIR, THE. AKA and see “Jackson’s Maid at the Fair [1].” Irish, Jig. D Major. Standard. AABBCC.  Brendan Breathnach (1996) says the title is a translation of an obscene title in Irish. O’Farrell (National Irish Music for the Union Pipes), 1804; pg. 34.

X:1

T:Maid at the Fair

M:6/8

L:1/8

R:Jig

S:O’Farrell – National Irish Music for the Union Pipes (1804)

Z:AK/Fiddler’s Companion

K:D

d | FGF FEF | BcB B2d | FAF FEF | ABA A2d | F2F FEF | BcB Bcd |

cBA BAF | ABA A2 :: d | cBA cec | BcB B2d | cBA cec | ABA A2d |

cBA cde | fdB Bcd | cBA BAF| ABA A2 :: B/c/ | dAF FEF | BcB B2c |

dAF FEF | ABA ABc | dAF FDF | BcB Bcd | cBA BAF | ABA A2 :|

 

MAID AT THE SPINNING WHEEL, THE. AKA - “The Maid of the Spinning Wheel.” AKA and see “An Cailin Fionn,” "Cailleach an Tuirne," "Cailín A' Tuirna," "Garrett Barry{‘s Jig}," "Gearoid de Barra," “The Hag at the Spinning Wheel,” "Is Maith Le Nora Ciste" (Nora Likes Cake), "Kiss Me Darling," "The Ladies' Fancy [3]," “Máire an Phórtair” “Noran Kista,” “Nora’s Purse,” "Norickystie," "The Road to Lurgan," “Sergeant Early's Jig," “The Spinning Wheel [4],” "Tune the Fiddle,” "The Wild Irishman [4]," "Wreathe the Bowl.” Irish, Double Jig. G Major. Standard. AABBCC(DD): AABBCCDD (Breathnach): AA’BB’CCDD (Miller). The tune is commonly known as “Maid at/of the Spinning Wheel” at present. Brendan Breathnach (1963) traces this tune to Rutherford’s Compleat Collection of 200 of the most celebrated Country Dances (Vol. 3, 1756) where it appears under the title “The Wild Irishman,” and goes on to identify James Aird’s printing of the melody in A Selection of Scottish, English, Irish and Foreign Airs as “Norickystie” (c. 1782). “Norah with the Purse” is Bunting’s translation of Aird’s title and the tune under that name was printed by the Irish collector in his third collection of 1840. It is perhaps this version that editor David Taylor (1982) refers to when he remarks that the melody under the “Norah” name “is presently associated with a very old two-part version.” Thomas Moore wrote his song “Wreathe the Bowl” to Bunting’s variant. O’Neill printed several variants: it appears as “The Road to Lurgan” (which Breathnach calls “a poor version”) and again as “Kiss Me Darling” in his Music of Ireland (1920). “The Wild Irishman” appears note-for-note reprinted from the Hibernian Muse (c. 1787) in O’Neill’s Waifs and Strays of Gaelic Melody. Finally, Breathnach identifies the titles “Cailín A’ Tuirna” in Irish Uileann Pipes by T. Crowley (Cork, c. 1934) and “Máire an Phórtair” in the Goodman Manuscripts. Others have identified the title "Tune the Fiddle," at one time perhaps the most popular name for this tune. Another  variant of the melody, as "Is Maith Le Nora Ciste" (Nora Likes Cake), was found on further inspection of Edward Bunting's 1840 collection, noted from the harper Byrne in 1802. The fourth part is often omitted as it is awkward and there are different variants. Sources for notated versions: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]; piper Seán Potts [Breathnach]. Breathnach (CRE I), 1963; No. 1, pg. 3 (appears as “Cailleach an Túirne”). Jordan (Whistle and Sing), 1975; 36. Miller (Fiddler’s Throne), 2004; No. 72, pg. 54. Mulvihill (1st Collection), 1986; No. 15, pg. 67. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 94 (first two parts only). Taylor (Crossroads Dance), 1992; No. 42, pg. 32. BMCD 571, John Regan & Paddy Glackin – “Let Down the Blade.” Copley COP 5010, Bobby Gardiner – “Memories of Clare.” Green Linnet SIF, Brendan Mulvihill – “The Corner House” (1978). Green Linnet SIF 1016, The Irish Tradition – “The Corner House.” Green Linnet SIF 1040, Touchstone – “The New Land.” Green Linnet SIF 3067, Jack and Charlie Coen – “The Branch Line” (three part version). Trax 062, Brain McNeill – “Monksgate.” Na Fili - "Chanter's Tune." Shaskeen - "The Mouse Behind the Dresser." Clairseach – “Let Erin Remember.” Paddy (Offaly) O’Brien – “Paddy O’Brien Collection.” Maggie Sansone – “Mist and Stone.” Paddy Cronin – “The Rakish Paddy.” Paddy Moloney & Sean Potts – “Tin Whistles” (appears as “Hag at the Spinning Wheel”).

X:1

T:Maid of the Spinning Wheel

T:Cailleach an Túirne

B:Breathnach, CRE I 1

R:Jig

Z:transcribed by Paul de Grae

M:6/8

L:1/8

K:G

D||: GAG B2 G | BcA B2 G | GDG cAG | ~F3 AFD |

GAG B2 G | BcA B2 c | ded cAF | G3 G2 :||: c |

BAG AFD | ~D3 AFD | ~D3 AFD | EFG ABc

BAG AFD | ~D3 AFD | ded cAF | G  G2 :||: D |

GBd gba | gdB ecA | dBG cAG | ~F3 AFD |

GBd gba | gdB ecA | fed cAF | G3 G2 :||: A |

(4cBAC Afd | Bfd Afd | Bfd AFD | EFG ABc |

BAG AFD | ~D3 AFD | ded cAF | G3 G :||

 

MAID AT THE WELL (An Og-Bean Air An Tobair). AKA and see "Castle Street Jig," "The Blackthorn Stick [5],” "The Milkmaid [2]," "The Maids of Glenroe," “The Silver Tip [2],” "The Black Stripper," "The Kilkenny Jig," "Arthur McBride [1]," "The Castle Street Jig," "An Maide Draighin." Irish, Double Jig. G Major. Standard. AABB (O'Neill/1850 & 1001): AABB' (O'Neill/1915). O'Neill (O’Neill’s Irish Music), 1915/1987; No. 159, pg. 89. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 24, pg. 20. O'Neill (Music of Ireland: 1850 Melodies), 1903/1976; No. 724, pg. 135. Kells Music KM 9505, Tommy Keane & Jaqueline McCarthy - “Wind Among the Reeds.”

X:1

T:Maid at the Well

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 24

Z:AK/Fiddler’s Companion

K:G

A|GED DED|GEG c2e|dcB AGA|BAG E2A|GED DED|BDB c2e|dcB AGA|BGG G2:|

|:d|gdd edd|gdB c2e|dcB AGA|BAG E2d|gdd edd|gdB c2e|dcB AGA|BGG G2:|

                       


MAID BEHIND THE BAR [1], THE (An Gearrchaile taobh thiar den Bheár). AKA and see "The Barmaid," “The Bartender,” "The Green Mountain [2]," "The Haymaker (Reel) [1],” “Indy’s Favorite,” “Little Judy,” "Judy's Reel," "The Maid Behind the Barrel,” “The Maid Behind the Counter,” “The Maids of Castlebar." See also related 'C' part of "Snoring (Mrs.) Gobeil." Irish, Reel. D Major (most versions): C Major (Cranitch). Standard. AABB (most versions): AA'BB (Bain). The tune was popularlized through the recording by Sligo fiddle master James Morrison and has become one of the most ubiquitous tunes in modern Irish sessions. The melody appears earliest in print as “Indy’s Favorite” and “Judy’s Reel” in Ryan’s Mammoth Collection (1883). O’Neill prints the tune also under the title “Maid of Castlebar,” but title may be a corruption of “Maid Behind the Bar,” or vice-versa. Philippe Varlet believes that a recording for Columbia Records by accordion player James Murphy in 1920 is the first time that the use of the title “Maid Behind the Bar” can be documented. He notes that accordion player John “Dutch” Kimmel recorded the tune the same year as “The Bartender” and that flute player John Sheridan waxed it as “Maid Behind the Barrel” in 1928. Sources for notated versions: fiddler Frank Ferrel (Seattle/Boston) [Brody]; Elmer Robinson (b. c. 1910, Mounty Pleasant, now resides in Woodstock, West Prince County, Prince Edward Island) [Perlman]; Larry Redican [O’Malley]. Bain (50 Fiddle Solos), 1989; pg. 12. Brody (Fiddler’s Fakebook), 1983; pg. 181. Cranitch (Irish Fiddle Book), 1996; No. 68, pg. 151. Cranitch (Irish Session Tunes: Red Book), 2000; 67. Harker (300 Tunes from Mike Rafferty), 2005; No. 4, pg. 1. Mallinson (Essential), 1995; No. 21, pg. 9. Martin & Hughes (Ho-ro-gheallaidh), 1990; pg. 34. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 70, pg. 35 (appears as “The Barmaid”). Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 73. Sullivan (Session Tunes), vol. 2; No. 7, pg. 4. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 20. Canadian Broadcasting Corp. NMAS 1972, Natalie MacMaster - "Fit as a Fiddle" (1993). Coleman Music Center CHC 009, whistle player Jim Donoghue – “The Coleman Archive, vol. 2: The Home Place” (2005. Various artists). Flying Fish FF 70572, Frank Ferrel – “Yankee Dreams: Wicked Good Fiddling from New England” (1991). Gael Linn CEF 175, Colm Murphy - "The Irish Drum/An Bodhran." Green Linnet 1022, Michael and Andrew Carnase‑ "Irish Music: The Living Tradition, vol. 2." Green Linnet SIF 1040, Touchstone - "The New Land." Green Linnet SIF 1131, Tom Doherty - "Take the Bull by the Horns." Green Linnet 3008, "Matt Molloy." Green Linnet 3098, Brendan Power - "New Irish Harmoica." Green Linnet SIF 3051, Frankie Gavin – “Frankie Goes to Town” (appears as “Maid Behind the Barrel”). Mulligan 004, "Matt Molloy." Ossian OSS 6, Matt Cranitch - "Irish Fiddle Music 2: Give It Shtick!" Voyager 320‑S, Frank Ferrel‑ "Fiddle Tunes."

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:Maid Behind the Bar, The [1]

M:C|

L:1/8

R:Reel

K:D

DE|FAAB AFED|FAAB A2 de|fBBA Bcde|faaf edBA|FAAB AFED|

FAAB A2 de|fBBA BcdB|AFEF D2:|

|:de|faag fdde|fdad fddf|efga beef|gebe geeg|faa2 b2 af|

defd e2 de|fBBA BcdB|AFEF D2:|

 

MAID BEHIND THE BAR [2], THE (An Gearrchaile taobh thiar den Bheár). AKA and see “The Bruisus,” “Clonmel(l) Lassies,” “Kiss the Maid behind the Barn,” “Kiss the Maid behind the Barrel(s).” Irish, Reel. G Major. Standard. ABCD. Breathnach (1963) states that O’Neill’s “Kiss the Maid behind the Barrel” is a version of this tune, while Petrie (1905) prints five versions of the tune under the titles “Clonmell Lasses,” “The Bruisus,” “Kiss the Maid behind the Barrel(s).” The tune is best-known as “Kiss the Maid Behind the Barrel” today, although this title is often confused with “Maid Behind the Bar.” Philippe Varlet says it was recorded (under the “Maid Behind the Bar” title) in the 78 RPM era by such musicians as James Morrison and Tom Ennis. Ennis, remarks Varlet, paired it with the similar sounding “Trim the Velvet” and mixed the parts of the two tunes up as he played! Source for notated version: piper Tommy Reck/Tomas Riabhach (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 74, pg. 34. O’Brien (Jerry O’Brien’s Accordion Instructor).

                       

MAID BEHIND THE BARREL, THE. AKA and see "The Maid Behind the Bar [1]."

                       

MAID BEHIND THE COUNTER, THE.  English, Reel. G Major. Standard. AABB. Related to “The Bruisus,” “Clonmel(l) Lassies,” “Kiss the Maid behind the Barn,” “Kiss the Maid behind the Barrel(s),” “Maid Behind the Bar [2].” Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 117, pg. 28.

 

MAID I DAREN’T TELL, THE.  AKA and see “Maid of Athens.” Irish, Reel. Recorded by Donegal melodeon player Tom Doherty.

 

MAID I FIRST COURTED, THE.  AKA and see “The Game Cock Reel.”

 

MAID I LOVED DEARLY HAS LEFT ME BEHIND, THE. Irish, Air (3/4 time). E Flat Mixolydian. Standard. One part. Source for notated version: “From P. MacDowell” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 705, pg. 177.

X:1

T:Maid I loved dearly has left me behind, The
M:3/4
L:1/8

N:”Andante”

S:Stanford/Petrie (1905), No. 705

Z:AK/Fiddler’s Companion

K:E_

Bc/=d/ | e2 c>B AF | AB c2 BA | F2E2E2 | E4 AB | c<e e2 fe | cB AF AB | c<e cBAc |

B4 AB | ce e2 fe | c>B AF AB | c<e c>B Ac | B4 Bc/=d/ | e>_d c>B AF | AB c2 BA | F2E2E2 | E4 ||

                       

MAID I NE'ER FORGOT, THE (An Cailin Do Cuimnigim I Gcomnuide). Irish, Reel. E Minor. Standard. AB. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 790, pg. 137. Treoir.

X:1

T:The maid I ne'er forgot

B:O'Neill's Dance Music of Ireland, no. 790.

N:key signature shows only one sharp, but tune sounds

N:strange unless played with two sharps (E Dorian)

R:reel

M:4/4

L:1/8

Z:transcribed by Paul de Grae

K:Edor

B,|E3 F GFGA|B2 ec dBAd|BGEF GABc|dBec dBAF|

EB,EF G3 A|B2 ec dBA=c|BGEF GFGB|dBAF GEE||

||A|BABd edef|gfed edBA|BGEF GABc|(3ddd AG FGAF|

(3EEE BE dEBE|Beec dBAd|BGEF GABc|dBAF GEE||

X:2

T: Maid I Ne'er Forgot

S: Treoir

M: 4/4

L: 1/8

Q: 350

Z: Transcribed by Bill Black

R: reel

K: Edor

D | E3 F G3 A | B2 ec dBAd | BGEF G2 (3ABc | dAec dBAF |

E3 F G3 A | B2 ec dBAd | BGEF GABc | dBAF GE E3 :|

D | B3 d e3 f | (3gfe fd edBA | BGEF GABc | d2 AG FGAF |

E2 BE dEBE | dBec dBAd | BGEF GABc | dBAF GE E3 :|

                       

MAID IN A BOX. Scottish? Reel. A Major. Standard. AABB. Bain (50 Fiddle Solos), 1989; pg. 5.

                       

MAID IN THE BUSHES, THE. See "The Maid in the Rushes." 

                       


MAID IN THE CHERRY TREE [1], THE ("An Aindear Annsa Crann Siris," "An Aindir sa Crann-silin" or "An Gearrchaile sa gCrann Silíní). Irish, Reel. A Mixolydian (O'Neill): A Dorian (Taylor). Standard tuning. AAB (O'Neill): AABB (Taylor). O’Neill (1913) mentions this tune in connection with a sketch of uilleann piper and fiddler William F. Hanafin, born in 1875 in County Kerry, who emigrated to America in his adolescence, moving first to Massachusetts. Originally a fiddler, Hanafin though to buy a bag and chanter in Boston, and began to practice. One day, while practicing scales, he heard someone “in evident distress” in the next hotel room, and thought to investigate. When he inquired next door, he met a man who said he ‘played a little’ himself, and Hanafin handed him his instrument, which proved unsuitable as the other was left-handed. “Wait a minute till I come back,” said the other. “I knew there was something coming by the way he fingered the old thing I had,” O’Neill quotes Hanafin as writing, “There were eight or nine of us in the room. When the piper came back and harnessed on his own set of pipes, you may be sure we got the finest surprise of our lives. He started ‘The Maid in the Cherry Tree.’ I jumped up, and over the table in the centre of the room, and danced all around it, while the others stared in blank astonishment. His identity was a mystery to me, but I sat down beside him, and accompanied him on the fiddle for an hour. I heard Mike Hobbs, the bandmaster, talking about a great (Chicago) piper by the name of Patsy Touhey, and thinking this fellow might know him, I asked if he had ever met Touhey in his travels. When he modestly replied, ‘I’m the man,’ our surprise was hardly less than when he turned loose on his instrument.”  The tune is also printed by O’Neill as “The Curragh Races,” and a version appears in Roche as “The Humours of Old Knockaney.” See also the related “Paddy Lynn’s Delight,” and the Scottish tune “Highland Man that Kissed His Grannie [1].” Source for notated version: set dance music recorded at Na Píobairí Uilleann in the 1980’s [Taylor]. O'Neill (Krassen), 1976; pg. 159. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1538, pg. 284. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 753, pg. 131. Taylor (Where’s the Crack), 1989; pg. 9. Taylor (Music for the Sets: Yellow Book), 1995; pg. 9.

X:1

T:Maid in the Cherry Tree, The [1]

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 754

Z:AK/Fiddler’s Companion

K:D

cd|:eAAF G2 cd|eA (3AAA gefd|eAAF G2 Bc|dBgB BA A2:|

||e>a {b}(3aga baag|eaag (3efg dg|e>a {b}aga baaf|gedB BA A2|

e>a {b}(3aga baag|eaaf g2 ga|bgaf gefd|edgB BA A2||

 

MAID IN THE CHERRY TREE [2], THE. AKA and see “Austin Tierney’s,” “The Cherry Tree [1]," “The Flying Column [2].” Irish, Reel. Ireland, County Sligo. D Major. Standard. AAB. This melody is not related to version #1 and is perhaps a mislabelling of the alternate title “The Cherry Tree.” Source for notated version: fiddler Peter Horan (b. 1926, Kilavil, County Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 65.

 

MAID IN THE CHERRY TREE [3], THE. AKA and see "The Curragh Races [1]," "The Humors of Old Knockaney," "Coleman's Fancy," “Mick Flaherty’s.” Irish, Reel. A Dorian. Standard. AB. Source for notated version: piper Seán Potts (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 103, pg. 44.

                       

MAID IN THE MEADOW [1]. AKA and see “Copey’s Jig,” “Cossey’s Jig,” “Jimmy O’Brien’s Jig,” “Molly Brallaghan [1].” Irish, Jig. G Major. Standard. AABB. The accompaniment to the ‘A’ part begins on the subdominant chord. The earliest printed version of the tune is as “Cossey’s Jig” in Jackson’s Celebrated Tunes (1774). O’Neill has it as “Jimmy O’Brien’s Jig” and Roche gives it as “Molly Brallaghan.” See also the reel-time version of the tune called “The Greenfields of America [1].” Philippe Varlet says the tune was popluar and often recorded during the 78 RPM era. Source for notated version: flute player Cathal McConnell [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1974, vol. 1, No. 61. Carlin (Master Collection), 1984; No. 252, pg. 145. Mallinson (Enduring), 1995; No. 44, pg. 19. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 38. Lochshore CDLDL 1215, Craob Rua - “The More that’s Said the Less the Better” (1992). Cathal McConnell – “Ulster’s Flowery Vale.” Paddy Glackin – “On Hidden Ground.” Brian McGrath – “Dreaming Up the Tunes.”

X:1

T:Maid in the Meadow

R:Jig

M:6/8

L:1/8

K:G

c3 ~B3|AGA BGE|DEG AGA|BdB AGE|\

c3 ~B3|AGA BGE|DEG AGA|1 BGF GAB:|2 BGF G2D!

|:GBd gdd|edd gdB|GBd gdB|AGA BGE|\

GBd gdd|ede gdB|GAB AGA|1 BGF G2D:|2 BGF GAB||

X:2

T:Maid in the Meadow
S:Padraig O'Keeffe MS, via 'Music from Sliabh Luachra'
Z:Nigel Gatherer
L:1/8
M:6/8
K:G
B|cBA BdB|AGA BGE|DEG AGA|BdB AGE|cBA BdB|AGA BGE|
DEG AGA|BGG G2::D|GBd gdd|edd gdB|GBd gdB|
AGA BGE|GBd gfg|e/f/ge fdB|GBB AGA|BGG G2:|]

 

MAID IN THE MEADOW [2]. AKA and see “Michael Relihan’s.” Irish, Reel. D Major. Standard. AABB. The tune appears to be from County Clare.

X:1

T:Maid in the Meadow
M:4/4
L:1/8
S:Randal Bays, learned from James Cullinan
R:reel
K:D
|:d3 B =cAGc|Addc dfag|fded =cAGF|EG=cG ED D2:|

|:fdd^c d2 cd|eaag efge|fddcd2 cd|eaag edde:|

                       

MAID IN THE MOON [1], THE. AKA and see "All in a Garden Green." English, Country Dance Tune (2/2 time). G Major. Standard. AABB. The melody was published by Playford. Fleming‑Williams, 1965; pg. 7. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 21. Sharp (Country Dance Tunes), 1909/1994; pg. 64.

X:1

T:Maid in the Moon, The [1]

L:1/8

M:2/2

S:Sharp – Country Dance Tunes  (1909)

Z:AK/Fiddler’s Companion

K:G

|:d4 d2d2|B3c d2d2|e2d2c2B2|A6 B2|c3d ef g2|G3A Bc d2|c2B2 AGAB|G6 z2:|

|:d2dd d2d2|e2f2 g4|B2BB B2G2|A2B2 c4|B3A GA B2|c3B AB c2|d3c Bc d2|

e3d cdBc|A2G2G2F2|G6 z2||

 

MAID IN THE MOON [2], THE. AKA and see "Valentine's Day." English, Country Dance Tune (6/8 time).

                       

MAID IN THE MORNING, THE. Irish, Jig. G Major. Standard. AABBCC. Source for notated version: copied from O’Farrell’s Pocket Companion (1804-10) [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 149.

X:1

T:Maid in the Morning (#149), The

M:6/8

L:1/8

S:O'Farrell's Pocket Companion 1804-10

K:G

EGE G2 A|BAG B3|EGE G2 A|BGE GED|

EGE G2 A|BAG B2 d|ege dBG|A3 A3:|

|:AGE AGE|A2 B c3|EGE G2 A|BGE GED|

BGE BGE|A2 B c2 d|ege dBG|A3 A3:|

|:gfe gdB|A2 B c3|EGE G2 A|BGE GED|

gfe gdB|A2 B c2 d|ege dBG|A3 A3:||

                       


MAID IN THE PUMP-ROOM. New England, Hornpipe or Reel. G Major. Standard. AABB. "In England the room or building at a spa or mineral spring where water was dispensed for drinking was called a pump room. In the New England home, the pump room was the 'cool pantry', later known as the 'butt'ry', and was often used for dairy purposes. It was not uncommon on the New England farm to have the water conveniently brought to the shelter of the house ell, where the well or spring water could be pumped for general use" (Linscott, 1939). The title could still be a double-entendre. Burchenal (1918) prints a country dance by the same name along with the tune. Source for notated version: Dennis McClure (Willimantic, Conn.) [Linscott]. Burchenal, 1918; pg. 24. Cole (1000 Fiddle Tunes), 1940; pg. 108. Linscott (Folk Songs of Old New England), 1939; pg. 95. Ryan’s Mammoth Collection, 1883; pg. 144.

X:1

T:Maid in the Pump Room

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

(3D/E/F/ | GD/D/ DB | c/B/A/c/ B>A | G/F/G/A/ GB | A/G/A/B/ A(3D/E/F/ |

GD/D/ DB | c/B/A/c/ B>A | G/F/G/A/ B/A/G/F/ | GGG :: D | G/B/d/B/ G/B/d/B/ |

c/B/A/c/ B>A | .GG/G/ GB | A/G/A/B/ cA | G/B/d/B/ G/B/d/B/ |

c/B/A/c/ B>D | DGBd | d/c/B/A/ G :|

                       

MAID IN THE RUSHES, THE (An Gearrchaile sa Luachair). AKA - “Maid in the Bushes.” AKA and see "The Bird in the Cage,” "Gardiner's Favourite [1],” “John McKenna’s [1],” "The London Lasses [1],” "The Turnpike Gate [2].” Irish, G Major. Standard. AABB. Source for notated version: piper Felix Doran, 1969 (Co. Kilmanny, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 170, pg. 89.

           

MAID IS LIKE THE GOLDEN ORE, A. AKA and see "Of all the simple things we do," "Marriage, or the Mouse Trap," "Old Hob, or the Mouse Trap." English, Air. The tune appears under this title in Gay's Beggar's Opera (1729).

           

MAID MARIAN. American, Hornpipe. D Major. Standard. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 111. Ryan’s Mammoth Collection, 1883; pg. 148.

X:1

T:Maid Marian

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

A | A/^G/A/B? A/B/c/d/ | e/d/c/B/ AA |  d/A/F/A/ d/A/F/D/ | E/D/E/F/ EE | A/^G/A/B/ A/B/c/d/ |

e/d/c/B/ A/G/F/E/ | F/A/d/f/ E/A/c/e/ | dfd :: c/d/ | e/d/c/d/ e/g/f/e/ | f/e/d/e/ f/a/g/f/ | g/b/b/g/ f/a/a/f/ |

e/d/c/B/ Aa | b/g/g/b/ a/f/f/a/ | g/f/e/d/ c/B/A/G/ | F/A/d/f/ E/A/c/e/ | dfd :|

           

MAID OF ARDAGH, THE. AKA and see “Sliabh Mhachaire [1],” “Toormore Polka [2]," “Tuar Mor Polka [1],” “Wallace’s Cross.” Irish, Polka. D Major (‘A’ part) & A Major (‘B’ part). Standard tuning. The tune has been recorded as one of  “Johnny O’Leary’s Polkas,” although Sliabh Luachra accordion player O’Leary himself called it one of the “Tourmore Polkas.” Shanachie 79053, “Cherish the Ladies.”

X:1

T:Sliabh Mhachaire

T:Maid of Ardagh

M:2/4

L:1/8

K:D

FA/A/ BA|de f2|fe/f/ gc|ed BA|FA/A/ BA|de f2|fe/f/ gc|ed d2:|

|:ef/e/ ce|fe a2|ef/e/ ce|fe c/B/A|ef/e/ ce|fe a2|ef/e/ dB|BA A2:|

           

MAID OF ARGYLE'S, THE. AKA and see “Muldoon’s Favorite.” Scottish, Reel. G Major. Standard tuning. AABB. Curiously, the same tune is printed in Ryan’s/Cole’s as “Muldoon’s Favorite” a few pages distant from “The Maid of Argyle’s.” Cole (1000 Fiddle Tunes), 1940; pg. 35. Ryan’s Mammoth Collection, 1883; pg. 46. White’s Unique Collection, 1896; No. 57, pg. 11.

X:1

T:Maid of Argyle’s, The

M:2/4

L:1/8

R:Reel

S:White’s Unique Collection (1896), No. 57, pg. 11

Z:AK/Fiddler’s Companion

K:G

.g(d/c/) .B(A/G/) | F/G/A/B/ c/A/A/f/ | g/d/e/c/ .B(A/G/) | D/F/A/c/ (B/G/).G |

.g(d/c/) .B(A/G/) | F/G/A/B/ c/A/A/f/ | g/d/e/c/ .B(A/G/) | D/F/A/c/ (B/G/).G :|

|:(D/G/)(B/G/) (A/G/)(B/G/)|(D/G/)(B/G/) (c/A/)(A/c/)|B/d/e/f/ g/e/d/c/|B/d/A/c/ B/G/G/B/|

(D/G/)(B/G/) (A/G/)(B/G/)|(D/G/)(B/G/) (c/A/)(A/c/)|B/d/e/f/ g/e/d/c/|B/d/A/c/ (B/G/).G:|

           

MAID OF ATHENS. American, Reel. D Major. Standard tuning. AABB. New York musician, writer and researcher Don Meade finds the tune a “primitive version of (the Irish reel) ‘Dowd’s No. 9’, and was recorded by Donegal melodeon player Tom Doherty as ‘The Maid I Daren’t Tell’.” “Maid of Athens,” notes Don, was a poem by Lord Byron:

***

Maid of Athens, ere we part,

Give, oh, give back my heart!

***

Cole (1000 Fiddle Tunes), 1940; pg. 21. Ryan’s Mammoth Collection, 1883; pg. 46. White’s Unique Collection, 1896; No. 73, pg. 13.

X:1

T:Maid of Athens

M:C|

L:1/8

R:Reel

S:White’s Unique Collection (1896), No. 73

Z:AK/Fiddler’s Companion

K:D

FAAF GFED | FAAc dABG | FAAF GFGB | AFdF E2D2 | FAAF GFED |

FAAc dBAG | FAAF GFGB | AFdF E2D2 :: fddf geeg | fded (cA) A2 |

fddf geeg | fdec d2d2 | fddf geeg | fded (cA)A | FAAF GFGB | AFdF E2D2 :|

                       

MAID OF ATHLONE, THE (An Aindear/Aindir Ua At-Luain). AKA and see “Enchanted Lady.” Irish, Reel. D Major. Standard tuning. AAB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1480, pg. 274. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 708, pg. 125.

X:1

T:Maid of Athlone, The

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 708

Z:AK/Fiddler’s Companion

K:D

A3G FAdB | AGFD EA, (3A,B,A, | ABAG FAdB | ABca fd d2 :|

|| f2 df e2 df | afeg fBBg | f2 df e2 dA | (3Bcd AG FDDg |

f2 df e2 df|afeg fB B2 | AFAB deba | (3fga eg fddB ||

                       

MAID OF BALLINTRA, THE. AKA – “Maid of Ballinatra.” AKA and see "Within a Mile of Dublin [1]," "An Giobarach," "The Meadow in Bloom," "Through the Fields [3]," "The Club Reel," "The Kerry Lasses [2]," "Sarah's Reel," "You're a long time a courting," "The Road to Dublin," "A Mile from Dublin." Topic TSCD 602, George Halpin – “Irish Dance Music” (1995. A reissue of the 1927 original).

                       

MAID OF BANBRIDGE, THE (An Cailin Ua Droiciod-Na-Banna). Irish, Air (3/4 time). G Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 350, pg. 61.

X:1

T:Maid of Banbridge, The

M:3/4

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 350

Z:AK/Fiddler’s Companion

K:G

GE|D2D2 EF|G2G2 AB|c2c2 BA|B4 GA|B2A2 AG|E2D2 GD|E2D2D2|D4||

Bc|d2d2 e>d|B2d2B2|A2G2A2|B4 GA|B2D2E2|G3 ABG|A2G2G2|G4||

           

MAID OF BATH, THE.  English, Jig. A Major. Standard tuning. AABB. The melody was originally published in Charles and Samuel Thompson’s Compleat Collection, vol. 3 (London, 1773), followed by an appearance in Longman, Lukey & Broderip’s Bride’s Favourite Collection of 200 Select Country Dances (London, 1775). As with numerous other tunes from the Thompsons’ 1773 collection, “Maid of Bath” was entered into the 1788 music manuscript copybook of fiddlers John and William Pitt Turner (Norwich, Conn.). The Maid of Bath was a three-act comedy by dramatist Samuel Foote, which premiered at the Haymarket in 1771. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 192.

X:1

T:Maid of Bath, The

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)

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

Z:abc’s:AK/Fiddler’s Companion

K:A

e|aga ecA|fdB ecA|a3 ecA|G2A BGE|aga ecA|fe^d e2a|bge af^d|e3 E2:|

|:e|ecA dgb|dcB cea|cBA G2A|BGE “tr”E3|FdF EcE|DED [C2c2]f|edc BAG|A3-[A,2A2]:||

           

MAID OF BELLEVUE. Scottish, Jig. C Major. Standard tuning. AABB. Composed by bandleader Jimmy Shand. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 187, pg. 73.

                       

MAID OF BLESSINGTON. AKA and see "Blessin(g)ton Maid," "Castle Donovan [2]."

                       

MAID OF CALLIGAN, THE. Irish, Air (4/4 time). E Minor. Standard tuning. One part. O’Farrell (Pocket Companion, vol. II), c. 1806; pg. 150.

X:1

T:Maid of Calligan

M:C

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:Emin

B | e>f g/f/e/d/ B2 AG | d>e dB gf e2 | e>f (g/f/)(e/d/) B2 (AG) | GA GF E>F G2 |

G>A Bd G2 F>D|E>F (G/F/)(E/D/) EF G2|(E/F/)(G/A/) (B/c/)(d/B/) (e>f) (g/f/)(e/d/)|B>c dF (FE) E2||

                       


MAID OF CASTLEBAR [1], THE (An Og-Bean Ua Caislean-An-Barraig). Irish, Slow Air (3/4 time). E Flat Major. Standard tuning. AB. Source for notated version: Hartnett [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 544, pg. 95.

X:1

T:Maids of Castlebar

M:3/4

L:1/8

R:Air

N:”Slow”

S:O’Neill – Music of Ireland (1903), No. 544

Z:AK/Fiddler’s Companion

K:Eb

EF | G2 GA FG | E2E2GA | B2c2BG | F4 Bc/d/ | e3f ge | fe cB GB |

AG E2 E>F | E4 || EF | GE BG FG | E2E2 EF | GB cd c=B | c3d ed |

d>B GB eG | F2E2 GB | AG E2 E>F | E4 ||

 

MAID OF CASTLEBAR [2], THE. See “Maids of Castlebar.”

           

MAID OF CASTLE CREAGH, THE. Irish, Air. E Flat Major/Mixolydian. Standard tuning. AB. Stanford/Petrie (Complete Collection), 1905; No. 709, pg. 178.

X:1

T:Maid of Castle Creagh, The
M:2/4
L:1/8

R:Air

S:Stanford/Petrie (1905), No. 709

Z:AK/Fiddler’s Companion

K:Eb

B | eg af | e>_d BA/F/ | EF AB/c/ | d3 B/c/4=d/4 | eg af | e>_d BA/F/ | A>F EE | E3 ||

E/F/ | GA BA/>F/ | B2 A>F | EF AB/c/ | d3 (3B/c/=d/ | eg af | ed BAF | BA/F/ {F}EE | E3 ||

           

MAID OF COOLEY SHORE, THE. Irish, Air (3/4 time). B Flat Major. Standard tuning. One part. Stanford/Petrie (Complete Collection), 1905; no. 754, pg. 189.

X:1

T:Maid of Cooley Shore, The

M:3/4

L:1/8

R:Air

S:Stanford/Petrie (1905), No. 754

Z:AK/Fiddler’s Companion

K:Bb

F>G | B23e2d2 | (cB G2) (BG) | (FG) B2B2 | B4 (F>G) | B2 Bc de |

(f2d2)f2 | (e2d2) (cB) | G4 FG | B2 Bc de | (f2d2) (gf) | e2d2 cB |

G4 F>GA/ | B2e2d2 | cB G2 BG | F>G B2B2 | {A/B/c/} B4 ||

           

MAID OF CRAIGMADDIE, THE. Scottish, Slow Jig. G Minor. Standard tuning. One part. Composed by Nathaniel Gow (1763-1831). Craigmaddie is in the parish of Baldernock, Stirling. In Nathaniel’s time it was owned by Glasgow’s Lord Provost James Black, who purchased the estate. Black was a rich West India merchant who maintained residences both in Glasgow and at Craigmaddie, causing a cottage to be built there, later adding the mansion. Today the house is a ruin. It is unknown whom the maid is, although Black had a son who died at Craigmaddie in 1812 at the age of 17. Carlin (The Gow Collection), 1986; No. 346. Gow (Fifth Collection of Strathspey Reels), 1809; pg. 29.

X:1

T:Maid of Craigmaddie, The

M:6/8

L:1/8

R:Slow Air

C:Nathaniel Gow (1763-1831)

B:Gow – Fifth Collection of Strathspey Reels (1809)

Z:AK/Fiddler’s Companion

K:Gmin

F/=E/|Ddd ~d>ed/c/|BGG ~G2 A/B/|(Ac)f af c/B/|AFF F>GF/=E/|Ddd ~d>ed/c/|

BGG G2g|(dg)b (d^f)a|”tr”g3 {^fg}G2:||”tr”b/>c’/|(d’b)g (d’b)g|dgg ~g2 f/g/|

(af)d (cf)d|(cAF) F2 “tr”b/>c’/|(d’b)g (d’b)g|(dg)g g2 f/e/|”tr”d>cB “tr”c>BA|

{F}G3 G2 “tr”b/>c’/|(d’b)g (d’b)g|dgg ~g2 =e|”tr”f/=e/f/a/g/a/ “tr”f/e/f/d/c/B/|

(AF)F ~F2A|(GB).B (Ac)c|(Bd).d (ce)e|d>Bd {d}c>BA|{F}G3 [B,2G2]||

           

MAID OF ERIN, THE. AKA and see "Farewell to Connacht." A County Leitrim title for the tune.

           

MAID OF FEAKLE, THE (An Aindir Ua Fiadcoill). AKA – “Maids of Feakle.” Irish, Reel. G Major. Standard tuning. AB. The ‘A’ part is the same as "For the Sake of Old Decency” and "Farewell to Old Decency," although the ‘B’ parts differ. Nicholas Carolan, biographer of Francis O’Neill, thinks famous collector may have named the tune in honor of his wife, Anna, whose maiden name was Rogers and who came from Feakle, County Clare. Gearóid Ó hAllmhuráin (1999) says the tune was collected by O’Neill during a trip to East Clare in 1906, where, in the Sliabh Aughty area, he had several tunes from fiddler Johnny Allen, a dance musician and contemporary of Pat Canny and a blind fiddler named Paddy MacNamara. The latter taught music in the region in the early part of the 20th century. Source for notated version: set dance music recorded at Na Píobairí Uilleann in the 1980’s [Taylor]. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 775, pg. 135. Taylor (Music for the Sets: Yellow Book), 1995; pg. 4. Celtic Crossings CD0299-02, Gearóid Ó hAllmhuráin & Patrick Ourceau – “Tracin” (1999. Learned from concertina player Paddy Murphy from Fiach Roe, Sliabh Callan district, West Clare). Green Linnett GLCD 1155, Martin Hayes - “Under the Moon” (1995).

X:1

T:Maid of Feakle, The

M:C|

L:1/8
R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 775

Z:AK/Fiddler’s Companion

K:G

Bc|d2 BG AGEG|DGBG c2 Bc|d2 BG AGEG|DGBG A2 GB|d2 BG AGEG|

DGBG c2 BA|GABd efge|dBGB A2G2||BcdB cBcd|BcdB AEED|

BcdB cBce|dBGB A2G2|BcdB cBcd|BcdB AEED|Bddf edBd|egfa gfge||

           

MAID OF GLENCONNEL, THE. English, Waltz. D Major. Standard tuning. AB. The air to a song, composer unknown, which tells of the betrayal of a lass (“The pearl of the fountain, the rose of the valley”) by a faithless lover, and warns others to beware. According to David Murray (Music of the Scottish Regiments, Edinburgh, 1994, pgs. 208-209), the melody was employed by the 54th Regiment of the British army as their ‘march past’. The 54th  had been raised in 1755 by John Campbell of Mamore, later 4th Duke of Argyll, who made his reputation with the Argyll Militia fighting against the Jacobites in the rising of 1745. He was affectionately known as “Colonel John” to the troops, and the affection was passed along to his wife. Her favourite song was “The Maid of Glenconnel,” a melody which was often played by the 54th band, so much so that the tune became associated with the regiment and was adopted as their distinguishing march. Although the 54th has long been  amalgamated into other units (with the 39th in 1881 as the Dorset Regiment, and again in 1958 with the Devonshire Regiment), “Maid of Glenconnel” survives as the regimental march past (paired with “Widdecombe Fair” in modern times as the march of the Devon and Dorset Regiment). Kennedy (Fiddler’s Tune Book), vol. 2, 1954; pg. 29.  Raven (English Country Dance Tunes), 1984; pg. 136.

X:1

T:Maid of Glenconnel, The

M:3/4

L:1/8

R:Waltz

K:D

(de) | f3e d2 | d2B2A2 | A2F2A2 | A2F2 (de) | f3ed2 | d2a2f2 | f2 e3e |

e4 (de) | f3ed2 | d2B2A2 | A2F2A2 | A2F2A2 | d2a2f2 | e3de2 | f2d2d2 |

d4 || (AG) | F2A2d2 | d2f2d2 | A2c2ee | e2g2AG | F2A2d2 | d2a3f | f2e2e2 |

e4 fg | a2f2d2 | d2f2d2 | e2c2A2 | A3BG2 | F2A2d2 | e3d e2 | f2d2d2 | d4 ||

           

MAID OF GLENGARRYSDALE. Scottish, Jig. Topic 12TS381, The Battlefield Band ‑ "At the Front" (1978).

           

MAID OF HOL(L)YWELL, THE (Gearrchaile an Tobair Bheannaithe). Irish, Reel. D Major. Standard tuning. AB. The melody was recorded by the Kilfenora Céilí Band in the 1950’s, according to the note on Máire O’Keeffe’s album. Breathnach (CRÉ V), 1999; No. 200, pg. 95. Treoir, vol. 3, No. 1; pg. 14. Gael-Linn CEFCD 165, Máire O’Keeffe – “Cóisir/House Party.”

 

MAID OF HOLYHEAD, THE. Irish, Reel. D Major. Standard tuning. AB. “Recorded in England” (Mulvihill). Mulvihill (1st Collection), 1986; No. 209, pg. 56.

           

MAID OF ISLA(Y). AKA – “Maids of Islay.” Scottish, Slow Strathspey or Reel. A Mixolydian (Cole): F Major (Athole, Gow, Kerr): G Major (Kennedy). Standard tuning. AB (Cole): AAB (Gow, Kennedy). A note in Gow’s Fourth Collection (1800) reads: “I am indebted to Col. & Lady Charlotte Campbell for this beautiful tune.” See “Lady Charlotte Campbell(‘s Reel) [2]” for more on her. Carlin (The Gow Collection), 1986; No. 128. Cole (1000 Fiddle Tunes), 1940; pg. 128. Gow (Fourth Collection of Niel Gow’s Reels), 2nd ed., originally  1800; pgs. 20-21. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 118, pg. 29 (reel setting). Kerr (Merry Melodies), vol. 2; No. 197, pg. 22. Ryan’s Mammoth Collection, 1883; pg. 168. Stewart-Robertson (The Athole Collection), 1884; pg. 225.

X:1

T:Maid of Islay

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:F

F<F c>A c<d c<A|F<F ~c>A d>c A2|F<F c>A c>d c<A|d>e~f>d c<A G2:|

c|~f>g f<d c>dc>A|~f>g f<d c>dA>c|~f>g f<d ~c>dc>A|d>ef>d c<A G>c|

~f>gf>d ~c>d c<A|~f>gf>d c<a A>c|f<a d>f c>df>g|a/g/f/e/ ~f>dc>d A>f||

           

MAID OF JUDAH, THE. English, Air (4/4 time). England, Shropshire. G Major. Standard tuning. AABB. Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 48, pg. 18.

           

MAID OF KILDARE. Edison 50870 (78 RPM), John H. Kimmel (accordionist from N.Y.C.), 1920 {appears in "Oh Gee Medley Reels"}.

           

MAID OF KINSALE, THE (An Aindear Ua Ceann-Saile). Irish, Double Jig. G Major. Standard tuning. AABB. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 347, pg. 72.

X:1

T:Maid of Kinsale, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 347

Z:AK/Fiddler’s Companion

K:G

D|GDG ABA|BGB def|gfe dcB|cAA A2D|GEG cBA|BGB def|gfe dec|BGG G2:|
|:A|Bdg dBG|cBc def|gdB edc|BAA A2B|GcA Bcd|ece gfe|dBd edc|BGG G2:|

                       


MAID OF LISMORE, THE (An Cailin Ua Lios-Moir). Irish, Air (3/4 time, "tenderly"). G Major. Standard tuning. AB. Source for notated version: Father James K.Fielding, a friend of Francis O’Neill’s who was originally from Kilkenny. Fielding played the flute, was a member of the Chicago Irish Music Club and was a Gaelic League activist [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 531, pg. 93.

X:1

T:Maid of Lismore, The

M:3/4

L:1/8

R:Air

N:”Tenderly”

S:O’Neill – Music of Ireland (1903), No. 531

Z:AK/Fiddler’s Companion

K:G

G>G | (AB/c/) dB | c>D (ec) (dB) | G2 (AB/c/) (BA) | G4 z2 ||

g>g (fefg) | (f>g) (fe) (ed) | dc) (BA) (Bd) | (e>f) (gb/a/) g2 ||


           

MAID OF LISTOWEL, THE (An Aindear Ua Lios-Tuatail). Irish, Hornpipe. D Mixolydian. Standard tuning. AABB. 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 (Krassen), 1976; pg. 172. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1595, pg. 295.

X:1

T:Maid of Listowel, The

M:C|

L:1/8
R:Hornpipe

S:O’Neill – Music of Ireland (1903), No. 1595

Z:AK/Fiddler’s Companion

K:D

B2 | AFEF E2 (FD) | EFAB d^cde | fedB AFEF | DFAF D2 (BA) |

AFEF E2 (FD) | EFAB d^cde | fedB AFDF | E2 EE E2 :|

|: BF | AFAB defe | dBAB d2 (de) | fedB AFEF | DEFG A2 (BF) |

AFEF E2 (FD) | EF (3AB^c dcde | fedB AFDF | E2 EE E2 :|

           

MAID OF LLANGOLLEN. Scottish, Country Dance Tune (2/4 time). D Major. Standard tuning. AABB. The “Maid of Llangollen” was an English song (Llangollen is a Welsh name, of course) dating at least back to the early decades of the 19th century.

***

Tho’ lowly my lot and tho’ poor my estate,

I see without envy the wealthy and great;

***

Kerr (Merry Melodies), vol. 3; No. 374, pg. 41. Riley’s Flute Melodies, vol. 4, 1826; pg. 73.

X:1

T:Maid of Llangollen

M:2/4

L:1/8

S:Kerr – Merry Melodies, vol. 3, No. 374  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

A
d2 e>f|d2 AA|d2 e>f|d3f|gfed|dBcd|Afed|e3:|

|:a|gfed|dBcd|Afed|e2a2|gfed|dBcd|Afea|d3:|


           


MAID OF LODI, THE. English, Air (6/8 time). G Major. Standard tuning. One part. The music for “Maid of Lodi” was collected by English popular composer William Shield while on a tour of Italy. It was a popular ballad in the first decades of the 19th century, a favorite of Byron and of Sir Walter Scott (according to Thomas Carlyle), that was frequently arranged in several forms for various instruments. Sources for notated versions: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]; the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Ashman (The Ironbridge Hornpipe), 1991; No. 42, pg. 15. O’Farrell (Pocket Companion, vol. IV), c. 1810; pg. 92. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 68 (appears as “Maid of Lodia,” originally set in the key of ‘C’ major in the ms.).

X:1

T:Maid of Lodi

M:6/8

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:G

D | G2G B2G | F2E z2c | Bd G A2 dF | G2 z z2D :| G | F2D d2F | AG z z2G |

F2D d2F | G2z z2D | d2d {e}d{c}B G2 | F E2 g2e | dBG AdF | G2z z2D |

d2d e/d/c/B/A/G/ | e2e g/f/a/g/f/e/ | dGB {d}cAF | G2z BG ||

           

MAID OF MONTCISCO. AKA and see “Maid of Mount Kisco.”

           

MAID OF MONTERAY. Old-Time, Breakdown. USA, North Carolina. G Major. From the playing of Ararat, North Carolina, fiddler Marcus Martin. Old 97 Wrecords 001, “The Hush Puppies.”

                       

MAID OF MOUNT CISCO (Gearrchaile Shliabh Cisco). AKA and see "Maid of Mount Kisco."

           

MAID OF MOUNT KISCO (Gearrchaile Shliabh Cisco). Irish, Reel. A Dorian. Standard tuning. AABCC (Harker/Rafferty, Tubridy): AA'BCC: AA’BCC’ (O’Malley): AA’BB’CC’ (Alewine). This popular session tune is named after a woman who resided in Mount Kisco, a town of approximately 10,000 souls in Westchester County, directly north of New York City. Paddy Killoran has generally been credited (by Reg Hall, 1995, for one) with either the composition of the tune or adapting an older tune in the Sligo repertoire, although this cannot be confirmed. ‘Tune lore’ has it that Killoran either named or renamed an existing tune when playing near Mount Kisco when he was asked the name of the piece by either a young lady or a barmaid (depending on the version of the tale). Not knowing the correct title, on the spot he made up “Maid of Mount Kisco” in her honor. However, the late New York accordion player Jim Coogan said that Killoran wrote it for a friend, Ann Mulligan, who resided in Mount Kisco. Flute player John McEvoy believes Killoran composed the tune for his wife, who was originally from County Clare. Killoran recorded the tune for Decca in New York in 1937, the earliest found instance of a sound recording of the melody. Philippe Varlet finds subsequent versions by another Decca Irish artist, Joe Maguire (1945), Leo Rowsome (London, 1947), and the Kincora Céilí Band, led by Kathleen Harrington (Dublin, 1952). Two relatively early versions can be found by older groups on the RTE compilation video “Come West Along The Road”. The title is sometimes irritatingly misspelled “Mt. Cisco” perhaps from its appearance in Brendan Breathnach’s Ceol Rince na hErineann where Kisco is spelled Cisco because in the Irish language there is no letter ‘K’. In Ireland the name is pronounced as “Sisco” although name of the Westchester town in pronounced with a hard ‘K’. The earliest printed version appears to be from button-accordion player Jerry O’Brien’s collection published in Boston around the year 1950. Sources for notated versions: piper Mattthew Tiernan/Maitiu Mac Tighearnain (Ireland) [Breathnach]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; New York fiddler John McGrath (1900-1955, originally from County Mayo) [O’Malley]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Alewine (Maid that Cut Off the Chicken’s Lips), 1987; pg. 23 (appears as “Maid of Mt. Cisco”). Breathnach (CRÉ I), 1963; No. 118, pg. 49. Harker (300 Tunes from Mike Rafferty), 2005; No. 88, pg. 28. Lyth (Bowing Styles in Irish Fiddle Playing, vol. 1), 1981; 64. Mitchell (Dance Music of Willie Clancy), 1993; No. 93, pg. 82. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 57, pg. 29. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 21. Cló Iar Chonnachta CICD 165, John Wynne & John McEvoy – “Pride of the West” (2007). Shanachie 79095, Arcady - “Many Happy Returns” (1995). Tommy Keane – “The Piper’s Apron.” Michael McGoldrick – “Morning Rory.” Tara CD4011, Frankie Gavin – “Fierce Traditional” (2001). Topic TSCD 602, Kincora Ceilidhe Band – “Irish Dance Music” (1995. A reissue of the original 1945 recording, where it appears as “Maid of Mt. Kisko”).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Maid of Mount Kisco, The

M:C|

L:1/8

R:Reel

K:Ador

AG|EA (3AAA BGAG|EA (3AAA BGAG|EG (3GGG BGAG|EG (3GGG EG D2|

EA (3AAA BGAG|EA (3AAA BABd|edef ~g3e|1 dBGB A2 AG:|2 dBGB A2 z2||

|:A3B dBAB|G2 BG EG B2|A3B d2 (3Bcd|1 efge dBGB:|2 efge d2 (3Bcd||

|:ea (3aaa bgag|{a}gedB GA (3Bcd|ea (3aaa bgag|{a}gede ~g3 z|

a3e ~g3e|dedB GA (3Bcd|eA (3AAA efge|1 dBGB A2 (3Bcd:|2 dBGB A2 z2||

X:2
T:Maid of Mount Kisco, The
T:Maid of Mount Cisco, The
T:Maid of Moncisco, The
C:Paddy Killoran (1904-1965) (?)
R:reel
D:Tommy Keane: The Piper's Apron
D:Michael McGoldrick: Morning Rory
Z:id:hn-reel-364
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
K:Ador
EA~A2 BA~A2|EA~A2 BGAG|EG~G2 AG~G2|EG~G2 EGDG|
EA~A2 BAAG|EA~A2 BA (3Bcd|efge afge|1 dBGB ~A3G:|2 dBGB A2dB||
|:~A3B dBAB|G2BG DGBG|~A3B d2 (3Bcd|1 efge dBGB:|2 edge d2 (3Bcd||
|:ea~a2 bgag|egdB GABd|ea~a2 bgaf|gede g2eg|
~a3f ~g3e|dedB GABd|eA~A2 efge|1 dBGB A2 (3Bcd:|2 dBGB ~A3G||
"Variations:"
|:EA~A2 BGAG|EA~A2 BGAG|EG~G2 BG~G2|EGDG EGDG|
EA~A2 BGAG|EA~A2 BABd|~e3f ~g3e|dBGB BAAG:|
|:AGAB dBAF|G2BG DGBG|~A3B dGBd|1 egfa gedB:|2 egge dGBd||
|:ea~a2 bgaf|gedB GABd|ea~a2 bgag|edef g2eg|
~a3b ~g3e|dedB GABd|eA~A2 efge|1 dBGA BA~A2:|2 dBGA BAAG||

           


MAID OF MULLAGHMORE, THE (Maighdean Mhara an Mhullaigh Mhóir). AKA – “Maid of Mullach,” “Maid of Mullagh.” AKA and see “John Doherty’s Reel [1],” “Mermaid of Mullaghmore.” Irish, Reel. Ireland, Donegal. D Major ('A' part) & D Mixolydian/Major ('B' part). Standard tuning. AB. Caoimhin Mac Aoidh (1994) lists this as one of the Donegal tunes played with long bowed double stops, reminiscent of piping. He relates the story behind the tune, which is properly called “The Mermaid of Mullaghnore”: It seems that there once was a young captain of a fishing boat out of Teelin who fished in Donegal Bay over towards Mullaghmore. While plying for his catch the captain was repeatedly taken by the lilting of a mermaid and enchanted the man. Soon the mermaid noticed the young sailor and she in turn fell in love with him, so much so that she beseeched her father for permission to live her life on land with her beloved. Upon hearing the earnestness of her pleading her father knew this was no passing fancy and decided that the only thing to do was to kill the source of her affections, and he plotted to create a storm to drown the captain. The mermaid and the captain met before this could happen, trothed their mutual love, and she presented him with a magic dagger, telling him that if ever his life was in danger on the sea that he should toss the implement into the water and the seas would calm. Soon after this the mermaid father seized his chance when the captain went out on the bay to fish. A terrible storm arose and the fishing boat foundered and began to break up. Meanwhile, the mermaid noticed the storm and when she found her father absent she raced to the scene. The captain waited as long as he could before bringing himself to use the knife the mermaid had given him, but seeing no other hope and having already lost several hands, he threw the knife into the water to save himself and his remaining crew and the lo, storm subsided. Soon afterwards the body of the mermaid was found floating on the surface, a knife piercing her breast. Devastated, the Teelin captain returned to land and forsook the sea ever after. The tune the mermaid lilted at the beginning of the tale became known as “Maighdean Mhara Mhullach Mhoir.” The tune appears in at least four different versions in Donegal tradition, according to Caoimhin Mac Aoidh. The one by fiddler John Doherty is perhaps the most familiar, though Francie Dearg O’Byrne of Kilcar, Con Cassidy and James Byrne also had variants.  The tune is sometimes mis-titled “The Maid of Mullagh” and thus mistakenly thought to have a West Clare provenace by some. Compare “Maid of Mullagh(more)” with O’Neill’s “Plaid Mantle” (Dance Music of Ireland, No. 663). When played as a reel the tune is known as “Doherty’s (Reel) [3],” and Donegal fiddler Tommy Peoples has recorded it as “John Dohery’s Reel.” Sources for notated versions: fiddler John Doherty, 1965 (1895-1980, Co. Donegal, Ireland) [Breathnach, Feldman & O’Doherty]; set dance music recorded at Na Píobairí Uilleann, late 1980’s [Taylor]. Breathnach (CRE II), 1976; No. 134, pg. 72. Breathnach (CRE III), 1985; No. 149. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 83 (appears as “Untitled Highland,” although it is a reel). Taylor (Music for the Sets: Blue Book), 1995; pg. 25. Green Linnet SIF 1113, De Dannan – “Half Set in Harlem.”

           

MAID OF MY CHOICE IS SWEET KITTY MAGEE, THE. Irish, Air or Jig. G Major. Standard tuning. AB. Joyce (Old Irish Folk Music and Songs), 1909; No. 135, pg. 69.

X:1

T:Maid of My Choice is Sweet Kitty Magee

M:6/8

L:1/8

R:Air

N:”Graceful and with spirit”

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

Z:AK/Fiddler’s Companion

K:G

B/A/|GAF GEF|GBc d2 B/d/|efe dBG|G>FG/A/ B2 E/F/|GAF GEF|

GBc d2 B/d/|efe dBG|AGG G2||G/A/|BcB gag|afd e>dB/A/|BAB GFG|

E>FG/A/ B2 E/F/|GAF GEF|G>AB/d/ g2 f/g/|efe dBG|AGG G2||

                       

MAID OF SELMA (An Maigdean Ua Selma). Scottish, Irish; Single Jig or Air (6/8 time, "gaily"). E Minor. Standard tuning. AB (O'Neill): AAB (Cole, Roche). This melody is identified as Scottish in origin in Cole's 1000. Cole (1000 Fiddle Tunes), 1940; pg. 73. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 250, pg. 43. Roche Collection, 1982, Vol. 3; No. 65, pg. 19 (listed as an Air). Ryan’s Mammoth Collection, 1883; pg. 105.

X:1

T:Maid of Selma

M:6/8

L:1/8

R:Air or Jig

N:”Gaily”

S:O’Neill – Music of Ireland (1903), No. 250

Z:AK/Fiddler’s Companion

K:Emin

(G2E) (EDE) | G3 (g2e) | (d2B) (BAG) | .A.B.A (A2B) | (G2E) (EDE) |

G3 (g2e) | (d2B) .B.A.G | A3G3 || d3 (gfg) | e3 (dcB) | (d2e) (g2a) |

(b2e) e2z | (d3 (gfg) | e3 (dcB) | (d2e) (g2b) | a3 (g2a) | (b2e (efg) |

(f2d) d3 | (e2B) (~BAG) | (A2E) E3 | (G2E) (~EDE) | G3g3 |

.e.d.B .B.A.G | A3G3 ||

                       

MAID OF SUTHERLAND, THE. AKA and see "Maid Who Gathered Bilberries." AKA ‑ "Nighean donn a buain nan dearcag." Scottish, Slow Air (4/4 time). G Minor. Standard tuning. AAB. "The Maid of Sutherland has words by Robert Donn, and various Highland bards. This melody the editor never heard in so perfect a shape as it had been acquired by his father from the gentlemen mentioned in the Prospectus, and given in this work. They, of course, sung it with high glee, from the connection of one of them with a Sutherland family; but the ordinary name of the air is "The Maid Who Gathered Bilberries." Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 53, pg. 19.

X:1

T:Maid of Sutherland, The

T:Nighean donn a buain nan dearcag

M:C

L:1/8

S:Fraser Collection

Z:AK/Fiddler’s Companion

K:Gmin

B<G G2 FG/B/ c2|B<G G>b g>fd>c|B>AGB FG/B/ c2|B<G ~G>A B>c d<g:|

f>dg>d f>c d2|f>d b2 g>fd>B|c>d f<b g>fd>c|B<G ~B>A ~B>c d<g|

f>dg>d f>c d2|f>d b2 g>fd>B|c>d f<b g>f d b/4a/4g/4^f/4|g>B~B>A B>c d<g||

                       

MAID OF SWEET GURTEEN, THE. Irish, Air (2/4 time). E Flat Mixolydian: G Mixolydians. Standard tuning. One part. See note for “The Enniskillen Dragoons” for brief discussion of the structure of this tune and partial list of others in this class. Sources for notated versions: “From the Dublin Ballad Singers” and “From P. Carew’s MS” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; Nos. 328 & 329, pg. 83.

X:1

T:Maid of Sweet Gurteen, The

M:2/4

L:1/8

R:Air

N:”Andante”

S:Stanford/Petrie – Complete Collection, No. 328  (1905)

Z:AK/Fiddler’s Companion

K:E Flat Major

B/>G/|EE/F/ G/A/B/G/|A_dc B/G/|EF/G/ EE|E6 B/c/|_dcB c/=d/|

e>{g}f eB/c/|_dc/B/ eB/G/|A6 B/c/|_dcB c/=d/|eg/f/ eB/c/|

_dc/B/ cB/G/|A>_d cB/G/|EE/F/ G/A/B/G/|A_dc B/G/|EF/G/ EE|E6||

X:2

T:Maid of Sweet Gurteen, The

M:2/4

L:1/8

R:Air

S:Stanford/Petrie – Complete Collection, No. 329  (1905)

Z:AK/Fiddler’s Companion

K:G

D/E/|G>ABd|c=f ed/B/|GB/A/ GG|G3 d/e/|=fe de/^f/|

gd dd/e/|=fe/d/ gB/A/|B3 d/e/|=fe de/^f/|gd dd/e/|

=fe/d/ gB/A/|B3 D/E/|GA Bd/B/|c=f ed/B/|GB/A/ GG|G3||

                       

MAID OF TEMPLEMORE, THE (An Og-Bean Ua Teampoll-Mor). Irish, Air (4/4 time). C Major. Standard tuning. AAB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 394, pg. 69.

X:1

T:Maid of Templemore, The

M:C

L:1/8

R:Air
N:”Moderate”
S:O’Neill – Music of Ireland (1903), No. 394

Z:AK/Fiddler’s Companion

K:C

G2|c2 cd e2 GA|~_B3c dBGE|F2 EG c2c2|c6:|

||cd|e2c2 cdef|g3e f2 gf|e2 dc cBAG|G6 cd|e3d cdef|g{a/g/}f eg f2 gf|

e2 dc cBGF|~G3 A B2 G2|c2 cd e2 GA|B3c dBGE|F2 EG c2c2|c6||

                       

MAID OF TEMPLENOE. AKA and see "My Fair Haired Darling [1]," "Mavourneen Na Gruaige Baine," "Charmer With the Fair Locks," "Dobbin's Flowery Vale [1]," "One Evening in June," "Youth and Bloom."

                       


MAID OF THE FOREST, THE. AKA and see "Miss Thornton's {Reel}," "The Boat Street Lasses," "The Creeping Mouse," "Spike Island Lasses [2]," "Salamanca [2]," "O'Loughlin's Reel," "Lady Ann Hope [1]," "Thro the Fields [2]," "Coming Through the Field(s)."

                       

MAID OF THE GLEN (Ainnir an Ghleanna). Irish, Reel. A Mixolydian. Standard tuning. AAB. Source for notated version: Bernard Bogue’s (County Monaghan & County Tyrone) 20th century collection [Breathnach]. Breathnach (CRÉ IV), 1996; No. 169, pg. 79.

                       

MAID OF THE GOLDEN TRESSES, THE (Cailin Na N-Oir Folt). AKA and see “An Páistín Fionn.” Irish, Air (6/8 time, "tenderly"). D Major. Standard tuning. AB. Better-known today as “An Páistín Fionn” and as the air for the song “Lone Shanakyle” (by which title Mícheál Ó Raghallagh plays I under as an air on his CD entitled “The Nervous Man”). O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 505, pg. 88.

X:1

T:Maid of the Golden Tresses, The

M:6/8

L:1/8

N:”Tenderly”

R:Air

S:O’Neill – Music of Ireland (1903), No. 505

Z:AK/Fiddler’s Companion

K:D

A|d2 e/d/ cde|f>gf e2 A|BAG FGA|c>de/c/ A2A|d>ed cde|fgf e2 A|

AFA GFE|(D3 D2)||E|F F/G/ A/B/ cAA|BGG cAA|F F/G/ A/B/ cAc|

dec f2 E|F F/G/ A/B/ cAc|dgf {f}e2d|cAF {A}GFE|(D3 D2)||

                       

MAID OF THE HOUSE, THE. Irish, Reel. G Major. Standard tuning. AABB. Source for notated version: Jack McGuire (County Cavan & Belfast), Seán McGuire’s father [McGuire & Keegan]. McGuire and Keegan (Irish Tunes by the 100, vol. 1), 1975; No. 52, pg. 14.

                       

MAID OF THE MILL [1]. English, Country and Morris Dance Tune (6/8 time). G Major (Bacon‑Longborough, Carlin, Mallinson): C Major (Johnson): C Mixolydian (Bacon). Standard tuning. AAB (Carlin): AABB, x4 (Bacon‑Longborough, Johnson, Mallinson): AABABA (Bacon). Van Cleef and Keller (1980) remark that as a topic the 'Maid of the (or in) the Mill' appears frequently in 17th and 18th century English literature, dating back at least as far as a play by Francis Beaumont and John Fletcher called The Maid in the Mill, performed in 1647 in London. Country dance versions of a tune by the name appear in Playford's Dancing Master of 1698 and in subsequent editions, as well as in Walsh's Country Dancing Master of 1718. A song on the theme is contained in Oswald's Caledonian Pocket Companion (volume VII, London, c. 1750), the tune of which was reproduced in Johnson's Scots Musical Museum (volume V, Edinburg, 1796). Still another song called "The Maid of the Mill" was printed in the Universal Magazine (volume XLI) in 1767, and another opera on the theme was penned in 1765 by Samuel Arnold.

***

Johnson (1988) dates the contra dance and tune that is usually now known as "Maid of the Mill" from c. 1795, and prints contra dance instructions set to both "Maid of the Mill" and "Money in Both Pockets [1]." The tune predates his estimate, however, as its origins have been found to have derived from a new tune in William Shield's popular opera Rosina (1783), which takes its name from the last line of the first verse of the duet (no. 7) between William and Phoebe beginning:

***

I've kiss'd and I've prattled with fifty fair maids,

And changed them as oft do you see;

But of all the gay lasses that sport on the green,

The Maid of the Mill for me.

***

 (A caveat to this as the ultimate source of the usual tune is that Shields could have adapted his air from a folk tune in common currency at the time he was writing, as were many of the melodies used in ballad operas of the 18th century.) As with many popular English melodies, it was quickly transported to America. Just two years after the London appearance of Shield's opera the words his "The Maid of the Mill," varied only slightly from the printed version, were copied along with the tune by a student at Harvard, John Cabot. One Nancy Shepley wrote out the figures for a country dance to the tune which she learned in Pepperell, Massachusetts, around 1794 and German flute student Cushing Eells copied it into his music MS (Norwich, Conn., 1789). Nancy Shepley's MS notwithstanding, Van Cleef and Keller report the title does not appear frequently in American dance sources, and they conclude she copied it from a published collection of dances from England. Oddly enough, the tune, almost identical to Eells' version, was preserved mechanically on two chime clocks of the time manufactured in East Windsor, Connecticut (one of which is at the Wadsworth Atheneum and the other at the Connecticut Historical Society).

***

Morris dance versions survived in tradition in rural England with most villages having a “Maid of the Mill.” Those variants closest to the Shield's and the American versions were collected in the villages of Bledington (Gloucestershire), Ilmington (Warwickshire) and Longborough in the Cotswolds. Bacon (The Morris Ring), 1974; pgs. 79, 215, 255. Carlin (Master Collection), 1984; No. 52, pg. 39. Johnson (Twenty‑Eight Country Dances as Done at the New Boston Fair), vol. 8, 1988; pg. 7. Mallinson (Mally’s Cotswold Morris Book), 1988, Vol. 2; No. 17, pg. 10.

X:1
T:Maid of the Mill [1]
D:Swarbrick, Lift the Lid and Listen
Z:Nigel Gatherer

N:This version based on the Ilmington, Warwickshire, tune.
M:6/8
L:1/8
K:C
G  | G2c  c>Bc | def  g2c | A2A  _BAG | c3- c2
G  | G>cc c>Bc | d>ef g2c | A>AA _BAG | c3- c  ||
ef | g>gg g>fe | f>ef f2e | def  g>ed | c3  B2
G  | G>cc c>Bc | d>ef g2c | A>AA _BAG | c3- c  ||

X:2

T:Maid of the Mill

M:6/8

L:1/8

R:Jig

K:G

D|G>AG G>FG|A>BA A2c|B>AG A>GF|G>AG G2:||

c|B>cd d>ed|d>cB A3|A>Bc d>BA|G3 F2D|

G>AG G>FG|A>BA B2c|B>AG A>GF|G>AG G2||

 

MAID OF THE MILL [2]. English, Morris Dance Tune (6/8 time). G Major (Mallinson): A Major (Bacon). Standard tuning. ABB, x4. A variation of version #1. Collected in the village of Bampton, Oxfordshire, in England's Cotswolds. This rhyme is sometimes sung by dancers at the beginning of the dance:

***

The maid of the mill, the maid of the mill,

She says she won't but we know she will.

***

Bacon (The Morris Ring), 1974; pg. 40. Mallinson (Mally’s Cotswold Morris Book), 1988, vol. 1; No. 19, pg. 15. Veteran VT111, Francis Shergold - "Greeny Up" (1988. Recorded from Bampton morris musicians). Dave Swarbrick – “Lift the Lid and Listen.”

 

MAID OF THE MILL [3]. English, Morris Dance Tune (6/8 time). G Major. Standard tuning. AAB(x3),A. From the Cotswold village of Bucknell, Oxfordshire. Source for notated version: Powell, 1927, via Dr. Arthur Peck [Bacon]. Bacon (The Morris Ring), 1974; pg. 117. Topic TSCD458, John Kirkpatrick - “Plain Capers” (1976/1992).

 

MAID OF THE MILL [4]. English, Morris Dance Tune (6/8 time). B Flat Major. Standard tuning. AABBB(x4),AA. Bacon (The Morris Ring), 1974; pg. 104.

                       


MAID OF THE OAKS. American?, Jig. D Major. Standard tuning. AABB. This is the tune for a country dance of the same name. Morrison (Twenty-Four Early American Country Dances, Cotillions & Reels, for the Year 1976), 1976; pg. 31.

                       

MAID OF THE SPINNING WHEEL, THE. AKA and see "Maid at the Spinning Wheel," "Cailleach an Tuirne," "The Wild Irishman [4]", "The Road to Lurgan," "Kiss Me Darling," "Wreathe the Bowl," "Norah with the Purse," "Norickystie," "Maire an Phortair," "Tune the Fiddle."

                       

MAID OF TIMAHOE, THE. AKA and see “As I roved out one morning [2].” Irish, Air (4/4 time). F Mixoldyian/Dorian. Standard. One part. Stanford/Petrie (Complete Collection), 1905; No. 498, pg. 126.

X:1

T:Maid of Timahoe, The

M:C

L:1/8

R:Air

S:Stanford/Petrie (1905), No. 498

Z:AK/Fiddler’s Companion

K:Bb

F2 | B2 Bc d2 FG | _A2B2 cAFD | E2 DE F2F2 | F6 || e2 | d2B2 Bcde | f2d2 e2 fe |

d2 cB BAGF | F6 || e2 | d2B2 Bcde | f2d2e2 fe | d2 cB BAGF | ~F3G _A2 || FE |

B2 Bc d2 FG | ~_A3B cA FD | E2 DE F2F2 | F4 ||

                       

MAID OF TRAMORE. See “Maids of Tramore.”

 

MAID(EN) ON THE GREEN, THE (An Aindear Air/Ar an Bainseac/b-Faitce). AKA and see "Billy Patterson(‘s Favorite)," "The Blackthorn Stick [1]," "Boys of Bockhill/Rockhill," “Coach Road to Sligo [1],” “Catholic Boys [3],” "Eagle's Nest" "The Fire on the Mountain(s) [2]," "Fire in the Valley," “Hare on the Mountain,” “The Mountain Boy,” "Night of the Fun [1]," “O’Connell’s Welcome {to Parliament} [1],” "The Rose on the Mountain [1]," “Tom Greyhan’s,’ “The Trip to Dublin.” Irish (originally), English; Double Jig. G Major. Standard tuning. AAB (Raven): AABB (Allan, Brody, Cole, O'Neill {all versions}, Perlman, Roche, Sweet): AABBCC (Moylan). A popular jig in Ireland, Scotland, Cape Breton, and for American contra dancing. Bayard (1981) believes this tune to be a derivative of some original tune that also spawned "(Daniel) O'Connell's Welcome (to Parliament)," "Farewell to the Troubles of the World" (Slan agus Beannacht le Buaidhreamh an tSaoghail), and "The Night of the Sun." Cape Breton fiddlers sometimes call the tune “Trip to Dublin.” Source O’Leary’s three-part tune consists of a different ‘B’ part in between the two parts found in O’Neill. Sources for notated versions: John Campbell [Brody]; accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border), recorded in recital at Na Piobairi Uilleann, November, 1990 [Moylan]; Peter Chaisson, Sr. (b. 1929, Bear River, North-East Kings County, Prince Edward Island) [Perlman]; concertina player Noel Hill [Taylor/Tweed]; “As played by Jimmy Norton, the Boss Jig Player” (Norton was presumably a band-leader or principal instrumentalist in the Boston, Massachusetts, area in the mid-19th century) [Howe]. Allan's Irish Fiddler, No. 10, pg. 4. Brody (Fiddler’s Fakebook), 1983; pg. 182. Cole (1000 Fiddle Tunes), 1940; pg. 79. Giblin (Collection of Traditional Irish Dance Tunes), 1928; 81. Howe (1000 Jigs and Reels), c. 1867; pg. 49. Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 109, pg, 27. Moylan (Johnny O’Leary), 1994; No. 179, pg. 103. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 127, pg. 73. O'Neill (Krassen), 1976; pg. 33. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 853, pg. 158. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 114, pg. 34. Peoples (Fifty Irish Fiddle Tunes), 1986; No. 33. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 127. Raven (English Country Dance Tunes), 1984; pg. 118. Roche Collection, 1982, Vol. 1; No. 108, pg. 46. Ryan’s Mammoth Collection, 1883; pg. 111. Sweet (Fifer’s Delight), 1965/1981; pg. 24. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 10. CDLDL1266, Wendy MacIssac – “That’s What You Get” (1997). Great Meadow GMM 2018, Frank Ferrel & Joe Derrane – “Fiddledance” (2004). Green Linnet 1023, Joe Shannon and Johnny McGreevy‑ "The Noonday Feast." NPU 001, Patsy Tuohey – “The Piping of Patsy Tuohey.” Rounder 7003, John Campbell‑ "Cape Breton Violin Music." Shanachie 33001, Michael Coleman‑ "The Wheels of the World." Shanachie 79803, Mary Bergin – “Feadóga Stáin 2” (1993). Topic 12T309, Padraig O’Keefe, Julia Clifford, Denis Murphy – “Kerry Fiddles” (1977). Rounder Select 7015, Kevin Chaisson – “The Fiddlers of Eastern Prince Edward Island” John Campbell – “Cape Breton Violin Music.” Topic TSCD602, Batt Henry’s Traditional Quartet Orchestra – “Irish Dance Music” (1995. A reissue of the 1930 original). WMT002, Wendy MacIsaac – “That’s What You Get” (1998?).

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:Maid on the Green

R:Jig

M:6/8

L:1/8

K:G

gfg e2d|Bee dBA|BGG dGG|BAG ABd|

gfg e2d|Bee dBA|BGG dBA|BGF GBd:||

|:gfg afd|gfg abc'|bag agf|gef g2a|

                       

MAID ON THE SHORE [1]. See note for “Sorrowful Maiden.”

 

MAID ON THE SHORE [2]. English, Aire or Waltz. G Major. Standard tuning. One part. A modern composition by editor Michael Raven. Raven (English Country Dance Tunes), 1984; pg. 209.

 


MAID PEEPED OUT AT THE WINDOW, THE. AKA and see "The Friar in the Well." English, Country Dance Tune (6/4 or 6/8 time). G Mixolydian (Barnes, Karpeles, Raven, Sharp): G Dorian (Chappell). Standard tuning. AAB (Chappell): ABB (Sharp): AABB (Barnes, Karpeles, Raven). The air appears earliest in Playford's English Dancing Master (1650). Barnes (English Country Dance Tunes), 1986. Chappell (Popular Music of the Olden Time), vol. 1, 1859; pg. 296. Karpeles (A Selection of 100 English Folk Dance Airs), 1951; pg. 21. Raven (English Country Dance Tunes), 1984; pg. 27 & 41 (the latter is a facsimile copy of Playford’s original). Sharp (Country Dance Tunes), 1909/1994; pg. 68. Varrick VR‑013, Bare Necessities ‑ "English Country Dances" (1987).

X:1

T:Maid Peeped Out at the Window, The

T:Friar in the Well, The

M:6/8

L:1/8

S:Sharp – Country Dance Tunes  (1909)

Z:AK/Fiddler’s Companion

K:G Mixolydian

D | G2G G>AB | A2G E3 | B2B c>de | d2B G2D |

G2G G>AB | A2G E3 | B2B cd>e | d2B G2 ||

|: G | (B2c d>ed | c2B A2) (G | =F2E F2G | A>G=F E3) |

(D2D G2) G | (=F>EF E2)E | (D2G =F>GA | G3) G2 :|

 

MAID THAT CUT OFF THE CHICKEN'S LIPS, THE. AKA and see "Cuil Aodha Jig,” “Humours of Ballymore,” “Happy ‘A’ Jig,” “Out and About.”

 

MAID THAT DARE NOT TELL, THE (An Aindear Nar Feud {Do} Innsin). Irish, Reel. D Major. Standard tuning. AAB. As “The Maid that Daren’t Tell,” the title appears in a list of tunes in his repertoire brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997). Samuel Bayard identified a Pennsylvania-collected variant called “Chase the Squirrel [1].” O'Neill (Krassen), 1976; pg. 132. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1405, pg. 261. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 647, pg. 116.

X:1

T:Maid that Dare Not Tell, The

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 647

Z:AK/Fiddler’s Companion

K:D

G|FAAF GBBG|FAAF GFED|FAAF GFGA|BdAF D2D:|g|

fdeg fdef|gfed B2 Ag|fdeg fdeg|faef d2 dg|

fdeg fdef|{a}gfed B2A2|FAFA GFGA|BdAF D2D||

 

MAID THAT LEFT THE COUNTY, THE.  AKA and see “Maid Who Left the Country.”

 

MAID THAT TENDS THE GOATS, THE (Nighean donn nan gabhar). Scottish, Slow Strathspey. A Minor. Standard tuning. One part: AABB (Gow/Repository, O’Farrell). Gow (1802) remarks: “Supposed very Ancient.” The tune was also printed by James Aird in his 6th collection (1803). Thompson, in his Scottish Airs (1805), stripped Robert Burns original tune for his song “Ca’ the Yowes” and substituted instead the melody for “Maid that Tends the Goats.” Carlin (The Gow Collection), 1986; No. 129. Gow (Complete Repository), Part 2, 1802; pg. 12. Johnson (The Kitchen Musician's No. 10: Airs & Melodies of Scotland's Past), 1992 (revised 2001); pg. 11. O’Farrell (Pocket Companion, vol. II), c. 1806; pg. 121. Patrick MacDonald, No. 138, pg. 21. Green Linnet SIF 1077, Capercaillie ‑ "Crosswinds" (1987).

X:1

T:Maid that tends the Goats, The

M:C

L:1/8

R:Strathspey

S:Gow – 2nd Repository  (1802)

Z:AK/Fiddler’s Companion

K:Amin

E<E A<A c>E D2|EE ~c>d B>A Bd|e<e d>e GA c2|D>B {B}e>d B>A A2:|(g<e) ~e>d cd E2|

c<c d<d g>e e>d|eAcG E>D D2|E<E c>e B>A Bd|e<e d>e G>A c2|d>B {B}e>d B>A A2||

 

MAID WHO GATHERED BILBERRIES, THE. AKA and see "Maid of Sutherland."

 

MAID WHO LEFT THE COUNTRY [1], THE. AKA – “The Maid That Left the County.” AKA and see The Half-Penny,” “Ha’Penny Reel,” “Honeymoon (Reel) [2],” Lady O’Brien’s Reel [2],” The Pure Drop [1].” Irish, Reel. G Major. Standard tuning. AABB. Source for notated version: set dance music recorded at Na Píobairí Uilleann, mid-1980’s [Taylor]. Taylor (Music for the Sets: Yellow Book), 1995; pg. 29 (appears as “The Maid that Left the County”).

X:1

T:The Maid Who Left The County

T:The Honeymoon Reel

R:reel

P:1

M:4/4

L:1/8

Q:140

K:G

dc|BG~G2 DG~G2|Bded gedc|BG~G2 DG~G2|BedB A2dc|

BG~G2 DG~G2|Bded ~g3a|bgaf gfed|gedB A2dc|

BG~G2 DG~G2|Bded gedc|BG~G2 DG~G2|BedB A2dc|

BG~G2 DG~G2|Bded ~g3a|bgaf gfed|gedB A2Bd||

~e3f edBA|Bdef gedc|BG~G2 DG~G2|BedB A2Bd|

~e3f edBA|Bdef ~g3a|bgaf gfed|gedB A2Bd|

~e3f edBA|Bdef gedc|BG~G2 DG~G2|BedB A2Bd|

~e3f edBA|Bdef ~g3a|bgaf gfed|gedB A3||

 

MAID THAT LEFT THE COUNTRY [2], THE. Irish, Reel. G Major. Standard tuning. AABB. A variant of “Maid Who Left the Country [1]." Treoir.

X:1

T: Maid that Left the Country

S: "Treoir"

M: 4/4

L: 1/8

R: reel

Z: Transcribed by Bill Black

K: G

ed | cA A2 GEDE | G2 AE G3 A | B2 AB GE D2 | Bdd^c d2 :|

ed | Bdef g2 fg | a2 af g2 ed | Bdef g2 fg | afge d2 :|

                       

MAID WHO LEFT THE MOUNTAINS, THE. Similar to “Crockett’s Honeymoon,” “Honeymoon (Reel) [2],”

 

MAID WITHOUT A GOWN, A. Irish, Air (3/4 time). G Major. Standard tuning. AB. O’Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 317, pg. 55.

X:1

T:Maid without a Gown, A

M:3/4

L:1/8

R:Air

N:”Slow”

S:O’Neill – Music of Ireland (1903), No. 317

Z:AK/Fiddler’s Companion

K:G

G>A|B2c2B2|{G}B2A2 AG|F2G2 {F}G>A|B2d2 {d}(3cAG|A2G2G2|G4||
G>F|G2B2d2|d2e2 cB|c2A2A2|G2B2c2|d2B2 cd/e/|d4||

                       

MAID WITHOUT DOWER, THE (An Cailin Gan Spreid). Irish, Air (6/8 time). E Minor. Standard tuning. AB. Paul De Grae thinks it might be related to the set dance “An Súisín Bán” ("The White Blanket [1]). O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 611, pg. 108.

X:1

T:Maid without Dower, The

M:C

L:1/8

R:Air

N:”Slow”

S:O’Neill – Music of Ireland (1903), No. 611

Z:AK/Fiddler’s Companion

K:Emin

G>A|B2 E2E2 DE|G2 AB c3A|B2G2E2 DF|A2A2A2 G>A|B3A GEDE|G2G2G2||

B2|cBcd efgf|edcB c3A|B2G2E2 DF|A2A2A2 G>A|B3A GEDE|G2G2G2||

                       

MAIDE COILL, AN. AKA and see "The Hazel Stick."

                       

MAIDE DRAIGHIN, AN (The Blackthorn Stick). AKA and see "The Blackthorn Stick [5]," "The Milkmaid [2]," "The Maid at the Well," "The Castle Street Jig," "Arthur McBride [1]," "The Kilkenny Jig," "The Black Stripper," "The Maids of Glenroe ,” “The Silver Tip [2].”

                       


MAIDE DRAIGHIN AN ÉIREEANNAIGH. AKA and see "The Irishman's Blackthorn."

 

MAIDE FUINNSEOIGE, AN (The Ash Plant). AKA and see “The Ashplant [1].”

 

MAIDE TAIDGIN. AKA and see "Tady's Wattle."

 

MAIDEN, THE (An Maigdean). AKA and see “The Dark Maiden of the Valley.” Irish, Slow Air (3/4 time). D Major. Standard tuning. AB. The air is a simpler version of “Bean Dubh a' Ghleanna [1]” (The Dark Woman of the Glen), which O’Neill obtained from fiddler Danile Sullivan of Boston, a native of Millstreet, County Cork. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 174, pg. 31.

X:1

T:Maiden, The

M:3/4

L:1/8

R:Air

N:”Slow”

S:O’Neill – Music of Ireland (1903), No. 174

Z:AK/Fiddler’s Companion

K:D

ec | {c}A2A2 (Ac) | d4 (5A/B/c/d/e/ | f2 f/g/f/e/ (5d/c/A/G/c/ | A4 (5A/B/c/d/e/ |

f2f2 ed | e2 (e>d) (5c/A/G/A/c/ | d2d2 cd | e4 d2 | d4 || (5A/B/c/d/e/ | fg ef |

(9d/4f/4e/4d/4c/4A/4G/4A/4B/4 | c4 ec | d2c2 (AG) | E4 (DE) | C4 (5A,/B,/C/D/E/ |

F2F2 E/D/C/D/ | E2 E>D (5C/A,/G,/A,/C/ | D4 (CD) | D4 ||

 

MAIDEN BY THE SILVER DEE, THE. Scottish, Slow Air (4/4 time). F Major. Standard tuning. AB. Source for notated version: William Hardie Jr., (Scotland), grandfather of fiddler Bill Hardie and great-grandfather of fiddler Alastair Hardie [Hardie]. Hardie (Caledonian Companion), 1986; pg. 36.

 

MAIDEN FAIR. AKA and see "Once I Loved a Maiden Fair."

 

MAIDEN FOND OF MIRTH (Nighean donn an t-sugraidh). Scottish, Slow Air (4/4 time). A Minor. Standard tuning. AB. "This air, and "Rowing From Isla to Uist," the editor acquired from a gentleman belonging to the island of Uist, and is given exactly as sung by him" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 46, pg. 16.

X:1

T:Maiden fond of Mirth

T:Nighean donn an t-sugraidh

M:C

L:1/8

R:Slow Air

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:A Minor

B|c2 B>A A2 Bd|e2 d>B A2 d>c|B2 AG E2 G>E|D2 E^G A2 AB|c2 d>c B2 AB|

e2 d>B A2 d>c|B2 AG E2 G>E|D2 E^G (A2 A)||B|c2 d>c B2 g>^f g>B A2 d>c|

B2 dD E2 G>E|D2 E^G A2 A>G|A>Bc>c c2 c>d|e>cd>B G2 AB|g2 e>G E2 G>E|D2 E^G A2 A||

 

MAIDEN HORNPIPE.  English, Hornpipe. D Major. Standard tuning. AABB. The melody appears in the music manuscript copybook of fiddler John Burks, dated 1821. Unfortunately, nothing is known of Burks, although he may have been from the north of England.

 

MAIDEN LANE. English, Country Dance Tune (2/2 time). A Major ('A' and 'C' parts) & B Minor ('B' part). Standard tuning. ABC (Sharp): AABBCC (Barnes, Raven). First published in Playford's English Dancing Master (1651). The Maiden Lane section of London, near Covent Garden and the River Thames, has been alternately a diminished, dissolute area, and one of high fashion—sometimes at the same time!  In Playford’s day it was the site of “mean houses,” but by Georgian times, elegant properties were built whose garden walls outlined the lane, and forming the southern boundary of architect Inigo Jones’s proposed Italiante Piazza. Gradually, however, the area drew theatres (it was near Covent Garden), taverns and coffee houses, and disrepute began to again set in. Round Court, at the western end of the narrow alley, was described as “…one of the Rookeries, full of town-Pyrates and a hotbed of Robbers.” The social set deserted the area and by the 19th century it was again the refuge of the lawless, although it still retained its entertainments.  William Makepeace Thackery (1811-1863) was a regular customer of the “cider cellers,” a type of underground venue for musical theatre, and wrote: “Healthy country tradesmen and farmers in London for their business, came and recreated themselves with the jolly singing and suppers at the back kitchen, squads of young apprentices came here for fresh air doubtless…dashing young medical students, handsome guardsmen, and florid bucks.” In the 1890’s a murder took place at the stage door to the Adelphi Theatre, when melodramatic thespian William Terriss was stabbed by a crazed stagehand. Barnes (English Country Dance Tunes), 1986. Raven (English Country Dance Tunes), 1984; pg. 43. Sharp (Country Dance Tunes), 1909/1994; pg. 32. Beautiful Jo Records BEJOCD 33, 1651 – “Cast a Bell” (2001). Big Chain BC 103, Cooper & Bolton –“The Savage Hornpipe.” Maggie’s Music, Hesperus – “Colonial America” (2003). Topic Records TSCD550, Brass Monkey – “Flame of Fire” (2004). Varrick VR‑013, Bare Necessities ‑ "English Country Dances" (1987).

See also listing at:

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

X:1

T:Maiden Lane

M:2/2

L:1/8

S:Sharp – Country Dance Tunes  (1909)

Z:AK/Fiddler’s Companion

K:A

(e3d cB A2) | (a2g2a2e2) | (a2g2a2 ed | c2B2 A4) | (e3d cB A2 |

a2g2a2) (e2 | a2g2a2 ed | c2B2 A4) || (Bcde f2B2 | d2c2B2) f2 |

f2f2 (f2ed | cBcd B4) | (Bcde f2B2 | d2c2B2)f2 | f2f2(f2 ed |

cBcd B4) || (e2cd) (e2cd) | (edcB c2A2) | (e2 cd efed |

c2B2 A4) | (e2cd) (e2 cd) | (edcB c2A2) | (e2 cd efed | c2B2 A4) ||

           

MAIDEN MOOR.  English, Country Dance Tune (2/2 time). D Major. Standard tuning. AB. Composed by Brian Jenkins in 1982. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 80.

 

MAIDEN OF MULL. AKA and see "Maighdean Mhuile."

           

MAIDEN-RAY, THE. Irish, Air (3/8 time). F Major. Standard tuning. One part. Petrie notes: “Set in the Cladagh Galway, Aug. 28th, 1840.” Stanford/Petrie (Complete Collection), 1905; No. 421, pg. 106.

X:1

T:Maiden-Ray, The

M:3/8

L:1/8

R:Air

S:Stanford/Petrie (1905), No. 421

Z:AK/Fiddler’s Companion

K:F

f/>d/ | cAB | AFG | F2 {A}G | F2F | F2 F/G/ | Acc | def | ec{e}d | c2c |

c2 F/G/ | Acc | def | ecd | c2c | f2d | cAB | AFG | F2G | F2F | F2 ||

           

MAIDEN THAT JIGS IT IN STYLE, THE. Irish, Double Jig. G Major. Standard tuning. AB (Mitchell): AABB (Miller). See also the related tunes “Bryan O’Lynn [1],” “Petticoat Loose [1].” Breatnach (CRÉ V, 1999) prints an untitled jig (No. 39) that is likewise a related melody, obtained from fiddler Jim Mulqueeny. Sources for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; Pat Mitchell [Miller]. Miller (Fiddler’s Throne), 2004; No. 73, pg. 55. Mitchell (Dance Music of Willie Clancy), 1993; No. 66, pg. 68. Topic Records 12TS95, “Pat Mitchell Uilleann Pipes” (1976).

           

MAIDEN’S BLUSH, THE. English, Country Dance Tune (6/8 time). D Major. Standard tuning. ABB. Sharp (Country Dance Tunes), 1909/1994; pg. 50.

X:1

T:Maiden’s Blush, The

M:6/8

L:1/8

S:Sharp – Country Dance Tunes  (1909)            

Z:AK/Fiddler’s Companion

K:D

(A | def efd | c>BA d2) (F | GAB ABc | d2A Fd) (d |

def efd | c>BA d2) (F | GAB ABc | d2A FD) ||

|: d | (def efg | afd ecA) | (def) (efg) | (afd) (ecA) |

(fa2) (fa2) | (fa2) (fa2) | (ABc) (ABc) | (d2A FD :|

 

MAIDEN’S CHOICE. English, Jig. D Major. Standard tuning. AABB. The tune was first printed in John Hinton’s Universal Magazine of Knowledge and Pleasure (London, 1758). There are other, different tunes by the same name. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 12.

X:12

T:Maiden’s Choice, The

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)

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

Z:abc’s:AK/Fiddler’s Companion

K:D

D|D2F F2A|dfe d2B|Add Gdd|FdF EDC|D2F F2A|dfe|e2d|cBA EF^G|AEC A,2:|

|:A|A2c c2e|afg afg|A2c c2e|gef g2f|fed cBA|BAG FED|CDE A,B,C|D2 D D2:||

“variation”

D|D2F F2A|dfe d2B|Add Gdd|Fdf edc|D2F F2A|dfe|e2d|cBA EF^G|Aec A2:|

|:A|A2c c2e|afg afg|A2c c2e|gef g2f|fed cBA|BAG FED|cde ABc|d2d d2:||

           

MAIDEN’S DREAM, THE. Reel. Rounder CD 1161-7033-2, Natalie MacMaster – “My Roots are Showing” (2000. The first two turns are from Winston Fitzgerald, the third from Alex Dan MacIsaac).

                       

MAIDEN’S LAMENT FOR HER LOVER’S DEPARTURE. See “Maigdean ag Rganad le na Grad.”

           


MAIDEN'S MARCH. AKA and see "Oh, Come, Maidens, Come." English, March (3/4 time). D Major. Standard tuning. AABB. DeVille, The Violin Player's Pastime, pg. 47. Huntington (William Litten's), 1977; pg. 37.

 

MAIDENS OF DERRY, THE. Irish, Jig. Ireland, County Donegal. The tune was published by Padraig Mac Aodh O’Neill in his Songs of Uladh, and was collected by him in 1903 in Donegal from the playing of an elderly Fanad, Kilmacrennan, Donegal, farmer and schoolmaster named Proinseas Mac Suibhne.

 

MAIDENS OF TIR EOGHAIN, THE. AKA and see “The Big Ship come over the Bay,” “The Bouchaleen Buidhe,” “Kitty’s Wedding [2],” “McArdle’s Fancy,” “Off to Donnybrook,” “Out on the Ocean [2],” “Paddy the Dandy [1],” “Pride of Leinster,” “Ships in Full Sail,” “The Three Little Drummers [2].” Irish, Double Jig. Ireland, County Donegal. A Major (?). Standard tuning. AABBCC. The melody was collected by Padraig Mac Aodh O’Neill in 1903 from the playing of Fawans, Kilmacrennan, Donegal, farmer and schoolmaster Proinseas Mac Suibhne, who learned it from Antoine Mac Suibhne of Bearnas Gap. It appears in Mac Aodh O’Neill’s Song of Uladh.

 

MAIDEN'S PRAYER. Old‑Time, Western Swing; Dance piece. USA, Texas. A Major. Standard tuning. AB (Christeson), One part (Brody). A favorite tune of Texas swing fiddler Bob Will's father, fiddler John Wills, "who would get up early in the morning, around four A.M., and sit out in the front yard to the Wills farm as the dawn crept up off the plains, and play the melody to himself" (Charles Wolfe, The Devil's Box, June 1982, pg. 20). Florida fiddler Chubby Wise (1916-1996) earned a gold record for sales of his recording of the tune, while Wills' 1938 version became the third best-selling country music record for that year.  Lyrics to the tune are attributed to Bob Wills:

***

Twilight falls - Ev'ning shadows find

There 'neath the stars - a maiden so fair - divine

All alone I seem to see her there

In her eyes is a light shinning ever so bright

She whispered a silent prayer.

***

Ev'ry word revealed her empty broken heart

Broken by fate that holds them so far apart

Lonely there she kneels and tells the stars above

In her arms he belongs, in her heart is a song

An undying song of love.

***

Sources for notated versions: Red Williams (Dallas, Texas) [Christeson]: Bob Wills (Texas) and Jay Ungar (West Hurley, N.Y.) [Brody]. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 2), 1984; pg. 128. Brody (Fiddler’s Fakebook), 1983; pg. 182. Stoneway 104, Chubby Wise‑ "Chubby Wise and His Fiddle." MGM MG‑2‑5303, Bob Wills‑ "24 Greatest Hits By Bob Wills." Philo 1040, Jay Ungar and Lyn Hardy‑ "Catskill Mountain Goose Chase." County 772, Bobby Hicks‑ "Texas Crapshooter." Rhino CD #R2 70744, Bob Wills Anthology (originally recorded 1935). Asleep at the Wheel – “Ride with Bob.”

 

MAIDHC CATACH. AKA and see "Curly Mike."

           

MAIDIN AMARAC. AKA and see "Top of the Morning."

           

MAIDIN ANDE. AKA and see "Yesterday Morning."

           

MAIDIN AOIBHIN COIS TAOIBH AN GHLEANNA (On a fine morning by the side of the glen). Irish, Air (cut time, “slow”). G Major. Standard tuning. AB. Source for notated version: a manuscript collection dated 1861 compiled by James Goodman, a Church of Ireland cleric who collected primarily in County Cork [Shields]. Shields (Tunes of the Munster Pipers), 1998; No. 23, pg. 13.

                       

MAIDIN BHEAG AOIBHINN ("Pleasant Early Morning" or "Soft Mild Morning"). Irish, Air (3/8 time). B Flat Major. Standard tuning. AA. Source for notated version: the Irish collector Edward Bunting noted the tune from the harper Denis Hempson at Magilligan, County Kerry, in 1796. It was only published in 1840, however, in Bunting’s third volume of Ancient Music of Ireland, with the note that it was “very ancient, author and date unknown.” Hempson was the only harper Bunting heard who played in the ancient style, with long curved fingernails plucking brass strings. O'Sullivan/Bunting, 1983; No. 78, pgs. 121-122.

           


MAIDIN CEO n-UAIN A D’EINIGEAR [1]. Irish, Air (4/4 time). F Major. Standard tuning. AB. Petrie notes that Hardiman and Joyce both have sets of this air, which is related to Petrie’s own “Morning Star” (No. 895). Stanford/Petrie (Complete Collection), 1905; Nos. 1511 & 1512, pg. 378.

 

MAIDIN CEO n-UAIN D’EINIGEAR [2]. Irish, Air (4/4 time). E Flat Major. Standard tuning. One part. Source for notated version: Mr. Hardiman [Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 1513, pg. 379.

           

MAIDIN CHEODHACH NUAIR D’EIRIGHEAS (When I Rose on a Misty Morning). Irish, Air (4/4 time). G Mixolydian. Standard tuning. One part. Howe (1000 Jigs and Reels), c. 1867; pg. 25.

X:1

T:When I Rose on a Misty Morning

M:C

L:1/8

N:”Moderato”

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

Z:AK/Fiddler’s Companion

K:G Mixloydian

CD | E2E2 DEGA | c4d2 fe | d>c AG E2 [C2E2] | [B,4D4] [B,2D2] cd | e2e2 dcAB |

c3d e2 fe | dc A2c2d2 | d6 cd | e2e2 dcAB | c3d e2 fe | d>c AG E2E2 |

[B,4D4] [B,D] (3GEC | [B,2D2] EC DEGA | c3e dcAG | [C4E4] [B,2D2][B,2D2] | [B,6D6] ||

                       

MAIDIN DE MAIRT. AKA and see “Tuesday Morning.”

           

MAIDIN DOMHNAIGH (On Sunday Morning). AKA and see "Sunday Morning," "Youghall Harbour [4]," "Maidin Fhoghmhair." Irish, Air (3/4 time). A Major. Standard. AA'BB. The ballad "Boolavogue" is a variant of this tune (which appears in the Irish collector Edward Bunting's 1840 collection), as is "Youghall Harbour," printed in Holden's Collection (1806). Source for notated version: noted by Bunting in 1802 from one Redmond Stanton (Westport, Ireland) [O'Sullivan/Bunting]. O'Sullivan/Bunting, 1983; No. 16, pgs. 23-24.

           

MAIDIN FHOGHMHAIR. AKA - "Maidin Fhomhair." AKA and see "Maidin Domhnaigh."  Irish, Air.  This air appears in Padraig Mac Seain's Ceolta Theilinn, collected in the Teelin-Carrick-Glencolumcille area of County Donegal.  Caoimhin Mac Aoidh (1994) states Donegal fiddler John Doherty had a version of the tune, a particular favorite of his, but that it differs from Mac Seain's.

           

MAIDIN GEAL BEALTAINE. AKA and see "(A) Bright May Morning."

           

MAIDIN I mBE’ARRA (Morning in Beare). AKA and see “Danny Boy,” “Derry Air,” “Londonderry Air.” Irish, Air. Bere is an island in Bantry bay near Castletownbere on County Cork’s Beara peninsula.

           

MAIDIN LUAN CINCISE. Irish, Air (4/4 time). D Major. Standard tuning. One part. Ó Canainn (Traditional Slow Airs of Ireland), 1995; pg. 19.

           

MAIDIN NEALLAC. AKA and see "(A) Cloudy Morning."

           

MAIDIN SAMRAID. AKA and see "(A) Morning in Summer."

           

MAIDINEOG, AN. AKA and see "The Morning Star [5]."

           


MAIDRIN RUA(DH), AN (The Little Red Fox). AKA and see "The Duck Chewed/Chews Tobacco" "The Little Beggarman," "The Red Haired Boy." Irish, Air (2/4 time). E Flat Major. Standard tuning. ABB. A macronic song, with verses in both Irish and English. The earliest known printing of the tune is in Robert A. Smith's "Irish Minstrel" of 1828 set to a text by James Hogg called "There's Gows in the Breast." Thomas Moore used the melody for his song "Let Erin Remember the Days of Old." “Maidrin Ruadh” was recorded early in the century from the playing of blind Uilleann piper Michael O’Sullivan, of Castlecove, Kenmare Bay, Kerry, who emigrated to America while a young man and located at Worcester, Mass. O’Sullivan, however, was an exceedingly superstitious and simple individual, and, after playing some of his best tunes into the phonogragh, “a scowl instead of a smile overspread his handsome features when he heard the machine reproduce the tunes. Evidently regarding this as another instance of the devil’s handiword, he aimed several whacks of his cane at the enchanted box before he could be restrained” (O’Neill, 1913). The air retains some currency among traditional musicians today, especially after Mary O’Hara’s influential recording of it in the 1960’s. It is related to part of the old pipers’ and fiddlers’ showcase “The Fox Hunt.” Source for notated version: the index to the Irish collector Edward Bunting's 1840 collection gives the Irish collector "G. Petrie, Esq., London 1839" as the source. Hannagan (Londubh an Chairn), No. 28. O'Sullivan/Bunting, 1983; No. 129, pg. 187. Walsh (Ceol Ar Sinsear), pg. 41.

           

MAIDS, THE. AKA and see "The Primrose Lass [1]," "The Primrose Girl [2]," "The Primrose Lasses," "The Brown Eyed Girl," "The Kilworth Lasses."

           

MAID'S COMPLAINT [1], THE. Irish, Slip Jig. F Major. Standard tuning. AABB (Cole, Ryan): AA’BB’ (Kennedy). Cole (1000 Fiddle Tunes), 1940; pg. 70. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 44, pg. 11. Ryan’s Mammoth Collection, 1883; pg. 100.

X:1

T:Maid’s Complaint, The  [1]

M:9/8

L:1/8

R:Slip Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:F

c2A A2f edc | d2e f2g afd | c2A A2f edc |1 def gfe f3 :|2 def cAAF F3 ||

|: a2f f2a agf | g2e e2g gfe | f2d d2f edc |1 def gfe f3 :|2 def cAF F3 ||

 

MAID’S COMPLAINT [2], THE.  English, Air. E Flat Major. Standard tuning. AAB. A tune by this title was used by the poet Robert Burns for his song "It isna, Jean, thy bonny face." Howe (1000 Jigs and Reels), c. 1867; pg. 161.

X:1

T:Maid’s Complaint, The [2]

M:4/4

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:E_

G2 | c3=B d>bcd | e2 (EF) E2 e>d | c2 {c/d/}e2B2 c/B/A/G/ | {G}F4z2D>F | G>F EF> G2 e>d |

(cB)(ce) B3B | cd e2 fg/a/ g/f/e/d/ | e6 :| (d>e) | (fB) (g>f) f3 (e/d/) | (ed)(ef) g3B | (GFGc) (ed)(c=B) |

{B}c6 (cd/e/) | B2 (c/B/)(A/G/) F2 (de) | (fe)(dc) G2 (EF) | G2 (c>e) (ed)(c=B) | c6 ||

           

MAID'S GOT MILK DOWN THE LANE, THE. AKA and see "Queen Mab." English, Reel. England, Northumberland. G Major. Standard tuning. AABBCC. Seatlle (William Vickers), 1987, Part 3; No. 558.

           

MAIDS IN THE MORNING, THE. Irish, Jig. E Minor/A Dorian. Standard tuning. AABBCC. A composition of the famous 18th century gentleman musician Walker ‘Piper’ Jackson, of the townland of Lisduan, in the parish of Ballingarry, Limerick. The tune was first published by Samuel Lee in Dublin c. 1774 in Jackson's Celebrated Irish Tunes, a volume reprinted in 1790. O’Farrell (Pocket Companion, vol. II), c. 1806; pg. 104.

X:1

T:Maids in the Morning

M:6/8

L:1/8

R:Jig

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

Z:AK/Fiddler’s Companion

K:A Dorian

EGE G2A | BAG B3 | EGE G2A | BGE GED | EGE G2A | BAG B2d |

ege dBG | A3A3 :: AGE AGE | A2B c3 | EGE G2A | BGE GED |

AGE AGE | A2B c2d | ege dBG | A3A3 :: gfe gdB | A2B c3 |

EGE G2A | BGE GED | gdB gdB | A2B c2e | ege dBG | A3A3 :|

 

MAIDS IN THE MORNING [2], THE. Irish (?), Jig. D Mixolydian. Standard tuning. AABB. The tonality is indistinct in the first part, fluctuating between G major and D. It may be a distanced version of “Maids in the Morning [1].” Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 110, pg. 27.

           

MAID’S INVENTION. English, Jig. A Major. Standard tuning. AABB. The melody is contained in the Joseph Kershaw manuscript. Kershaw was a fiddler who lived in Slackcote, Saddleworth, North West England, in the 19th century, and his manuscript dates from around 1820 onwards. The Joseph Kershaw Manuscript, 1993; No. 10.

                       

MAID'S LAST WISH, THE. English, Country Dance Tune (6/8 time). C Major. Standard tuning. AABB. The tune dates to 1695. Barnes (English Country Dance Tunes), 1986.

           

MAID'S MORRIS. English, Country Dance Tune (2/2 time). C Major. Standard tuning. ABB (Karpeles, Raven, Sharp): AABB (Barnes). The melody dates to 1690, published by Playford. Barnes (English Country Dance Tunes), 1986. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 20. Raven (English Country Dance Tunes), 1984; pg. 25. Sharp (Country Dance Tunes), 1909/1994; pg. 56.

X: 1

T:Maid's Morris

M:4/4

L:1/8

S:Playford

K:C

G2| c2 c2 AB c2| B2 d4 cB| c2 A2 A2 ^f2| g6 G2| c2 c2 AB c2 |B2 d4 cB| c

2 A2 A2 ^f2| g6:: g2| a2 f4 f2 | g2 e4 e2 |f2 A2 A2 d2| B2 G2 G2 g2| ag

f2 f2 ef|gfed c2 d2| B2 G2 g2 e2| c6:|

           

MAIDS OF ARAGLEN (Na Cailinide n-Aragleanna). Irish, March or Air (4/4 time). G Major. Standard tuning. AB. 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 Melodies), 1903/1979; No. 104, pg. 19. Roche Collection, 1982, vol. 3; No. 211, pg. 80.

X:1

T:Maids of Araglen

M:C

L:1/8

R:Air

S:O’Neill – Music of Ireland (1903), No. 104

Z:AK/Fiddler’s Companion

K:G

D | G2 (G/A/B/A/) G2 AB | cBAG E2 (DE) | G2 (G/A/B) G2 Bd | egfe d2 zd |

edef gfed | cBAG A2 BA | GEDB, DEGA | B2G2G2 z || d | edef g2 fe |

dBAG A2 Bd | edef g2 fe | fagf e3 d | edef gage | dBAG A2 (BA) |

GEDB, DEGA | B2G2G2 z ||

           

MAIDS OF ARDAGH. AKA and see “Back of the Haggard,” “Dan O’Leary’s [2],” “Johnny O’Leary’s [1],” “Let’s Have a Ceilidh,” “Sliabh Mhachaire [1],” “The Tournmore,” “The Toormore Polka [2],” “Tuar Mór Polka [2],” “Wallace’s Cross.” Irish, Polka. D Major (‘A’ part) & A Major (‘B’ part). Standard tuning. AABB. Black (Music’s the Very Best Thing), 1996; No. 252.

X:1

T: Maids of Ardagh

Q: 275

R: polka

Z:Transcribed by Bill Black.

M: 2/4

L: 1/8

K: D

FA BA | de f2 | fe/f/ ge | ed BA |FA BA | de f2 | fe/f/ ge | ed d2 :|

K: A

ee ce | fe a2 | ee/e/ ce | fe c/B/A |ee ce | fe a2 | ee/e/ dB |1 BA A2 :|2 BA A=G ||

           

MAIDS OF ARROCHAR, THE. AKA – “Maid of Arrochar.” Scottish, Slow Air (6/8 time). D Major. Standard tuning. AABB. Arrochar is a village located near the head of Loch Long, Argyll and Bute, Scotland. It is overlooked by a group of mountains called the Arrochar Alps, and in particular the distinctive peak of The Cobbler. The Air was composed by John Macdonald, Dundee, according to MacDonald in his Gesto Collection (1895, pg. 35). The Gows also attributed it to John McDonald Esq. (a dancing master who also composed “The Memory of Joys that are past” and “The Contrivance”) in their Fourth Collection (1800). However, tune was first published in John Bowie’s 1789 collection. It was the melodic vehicle port Robert Tannahill (1774-1810) chose to set one of his poems to, a piece about the Scots hero William Wallace (although he himself did not think it was one of his better efforts). The tune has some currency in modern times among Cape Breton musicians, in particular harmonica player Tommy Basker and the Barra MacNeils. Carlin (The Gow Collection), 1986; No. 347. Gow (Fourth Collection of Strathspey Dances), 2nd ed., originally 1800; pg. 30. MacDonald (The Gesto Collection), 1895; pg. 35. MacDonald (The Skye Collection), 1887; pg. 182. O’Farrell (Pocket Companion, vol. II), c. 1806; pg. 91. Tommy Basker – “The Tin Sandwich.” The Barra MacNeil’s – “The Traditional Album.” Rounder 7059, Alex Francis MacKay with Gordon MacLean – “Gaelic in the Bow” (2005).

See also listing at:

Alan Snyder’s Cape Breton Fiddle Recording Index

X:1

T:Maids of Arrochar, The

M:6/8

L:1/8

R:Slow Jig

S:MacDonald – Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:D

D/E/|{DE}F>ED {DE}F>ED|FA[EA] [F2A2] d/>e/|{e}f>ed {de}f>ed|

{f}e2d B2{c}d|{G}F>ED {DE}F>ED|fAA A2 d/>e/|(fd)A (BF)A|{F}E2 D D2:|

|:A/G/|(FA)B (FA)B|d>ef/e/ (dB)A|(FA)B (FA)f|{f}e2d B2A|~dfa fdA|

B/A/(B/c/)d/B/ AFD|(Fd)A (BF)A|{F}E2D D2:|

X:2
T:Maids of Arrocher
B:Gow Collection
Z:Nigel Gatherer
M:6/8

L:1/8
K:D
D/E/|F>ED F>ED|FAA A2 d/e/|f>ed f>ed|e2 2 B2 d|
F>ED F>ED|FAA A2 d/e/|fdA BFA|E2 D D2:|
A/G/|FAB FAB|d>e/f/e/ dBA|FAB FAf|e2 d B2 A|
dfa fd||B/A/B/c/d/B/ AFD|FdA BFA|E2 D D2:|]

           


MAIDS OF BALLINACARTY, THE (Na Cailini Ua Baile-na-Cearoca). Irish, Double Jig. D Major. Standard tuning. AABB. O’Neill (Irish Folk Music) says the tune was previously “unpublished and new to us.” Source for notated version: John Carey, a native of Limerick [O’Neill]. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 332, pg. 69.

X:1

T:Maids of Ballinacarty, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 332

Z:AK/Fiddler’s Companion

K:D

(3A/B/c|ded cAG|F2D DFD|E2c cBc|ded cAG|

B/c/de cAG|F2D DFD|E2A ABG|F2D D2:|

|:F/G/|A2d dcd|f2d dcd|e2c dcd|e2c cBc|

e2f gfg|aba a2g|fed efg|f2d d2||

           

MAIDS OF CASTLEBAR, THE (Gearrchailiú Chaisleán an Bharraigh). AKA – “Girls of Castlebar.” Irish, Reel. D Major. Standard tuning. AB (Breathnach): AABB (Flaherty). “The Maid(s) of Castlebar” was recorded by Sligo fiddler Paddy Killoran in New York in the late 1930’s. This reel is not to be confused with O’Neill’s air “Maid of Castlebar [1].” Related tunes are “The Barmaid,” “The Green Mountain [2],” “Indy’s Favorite,” “Judy’s Reel,” and “The Maid Behind the Bar [1].” In fact, the ‘Castlebar’ title may be a corruption of “The Maid Behind the Bar,” or vice versa. See also the related “McFarley’s Reel.” Sources for notated versions: fiddler Tommy Potts (Ireland) [Breathnach]; fiddler Philip Duffy (b. 1966, London, now residing in Dublin) [Flaherty]. Breathnach (CRÉ I), 1963; No. 134, pg. 54. Flaherty (Trip to Sligo), 1990; pg. 27. Lyth (Bowing Styles in Irish Fiddle Playing, vol. 1), 1981; 70. Lochshore CDLDL 1215, Craob Rua - “The More that’s Said the Less the Better” (1992). Rounder CD 11661-7033-2, Natalie MacMaster – “My Roots are Showing” (2000).

X:1
T:Girls of Castlebar, The
T:Maids of Caslebar, The
R:reel
D:Frankie Gavin: Frankie Goes to Town
D:Shaskeen: 25th Silver Jubilee Collection
Z:id:hn-reel-597
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:D
dD~D2 EDCE|D2FA BAFA|dDcD BDAF|DEFD EDB,D|
FD~D2 EDB,E|D2FA BAFA|dgfe dBAG|F2EF D4:|
|:a2ga fd~d2|fdad fddf|gebe geef|gebe gece|
fdad bdad|fgec dBcA|Bcde fdec|dBAG FDD2:|
"variations"
|:dD~D2 EDB,A,|D2FA BAFA|d2cd BdAF|DEFD EDB,D|
~F3D EDEF|D2FA BAFA|dfec dBAF|GFEG FDD2:|
|:a2^ga fdde|fdad fddf|gebe geef|gebe geeg|
fd~d2 ~g3e|fdec dcBA|Bcde f2ef|dBAG FDD2:|

           

MAIDS OF CASTLETOWN. Irish, Reel. D Major. Standard tuning. AB. Source for notated version: “From my mother” [Mulvihill]. Mulvihill (1st Collection), 1986; No. 103, pg. 27.

           

MAIDS OF DONEGAL, THE. AKA and see “The Flowers of Ballymote,” “The Sunny Banks.”

           

MAIDS OF FAIR HILL. AKA and see “Flowers of Redhill [1].”

 

MAIDS OF FEAKLE, THE. See “Maid of Feakle.” Irish, Reel.

 

MAIDS OF GALWAY [1], THE. Irish, Reel. A Dorian. Standard tuning. AABB’. Mulvihill (1st Collection), 1986; No. 39, pg. 126. ?????????

 

MAIDS OF GALWAY [2], THE. AKA and see “Dublin Lasses [2]," "Eight and Forty Sisters,” “Murtough Molloy,” “Walls of Limerick [2]." Irish, Reel. The title is from the playing of the great flutist John McKenna (b. 1880, Tents, Tarmon, County Leitrim), who recorded the tune accompanied by banjo player Michael Gaffney (b. 1896, Mullaun, Co. Roscommon). Despite being from different counties, they were in fact neighbors in Ireland, points out Reg Hall (1995), and only lived a mile from each other. Both emigrated to New York (in 1911 and 1915, respectively), where they paired to produce a number of successful recordings and to entertain in the Irish dance halls of the 1920’s and 1930’s. Topic TSCD602, John McKenna & Michael Gaffney – “Irish Dance Music” (1995. A reissue of the 1925 original).

 

MAIDS OF GLENROE, THE. AKA and see "Arthur McBride [1]," "The Black Stripper," “Blackthorn Stick [5],” "The Castle Street Jig," “Christmas Jig,” "The Kilkenny Jig," "The Maid at the Well," "An Maide Draighin," "The Milkmaid [2]," "The Silver Tip [2].” Irish, Double Jig. G Major. Standard tuning. AABB (Roche): AABB’ (Mulvihill). The tune was recorded by the Ballinakill Ceili Band under this title in 1931. Source for notated version: “learned from my mother” [Mulvihill]. Mulvihill (1st Collection), 1986; No. 3, pg. 65. Roche Collection, 1982, Vol. 1; No. 83, pg. 38.

 

MAIDS OF ISLA/ISLAY, THE. Scottish, Strathspey. A Major (Athole, Gow): G Major (Carlin/Master). Standard tuning. AB (Gow): AAB (Athole, Carlin/Master). Not "Maid of Isla." Carlin (The Gow Collection), 1986; No. 403. Carlin (Master Collection), 1984; No. 147, pg. 89. Gow (Complete Repository), Part 3, 1806; pg. 22. Stewart-Robertson (The Athole Collection), 1884; pg. 22. Smithsonian Folkways Records, SFW CD 40507, The Beaton Family of Mabou – “Cape Breton Fiddle and Piano Music” (2004). 

X:1

T:Maids of Islay, The

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:A

c|AA e>c e>f e>c|AA e>c f>e c2|AA e>c e>f e>c|f>g a>f e<c B2:|

a>b a>f e>f e>c|a>b a>f ef ~c2|a>b a>f e>f e>c|f>g a>f e>c B>e|

a>b a>f e>f e>c|a>b a>f ef ~c2|a>b f>a e>f c>e|f>g a>f ec ~B2||

 

MAIDS OF KILMALLOCK, THE (Mna Oga Cill-Moceallog). AKA and see "Quinn's Reel [2]," "The Hare in the Corner." Irish, Reel. D Major. Standard tuning. AB. “Quinn’s Reel” is a related tune. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 778, pg. 135.

X:1

T:Maids of Kilmallock, The

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 778

Z:AK/Fiddler’s Companion

K:D

dB|AD (3FED A2 AB|ADFA BE E2|ADFA Beed|cABc dedB|AD (3FED A2 AB|

ADFA BE E2|ADFA Beed cABc d2||A2|d2 ~d2 dfed|cA (3AAA ecAc|d2 dc dfed|

cABc d2 A2|defg afed|cA (3AAA ecAg|afge fded|cABc dedB||

 

MAIDS OF KINTAIL.  AKA and see “Annie MacNab.” Scottish, Pipe March. The melody also appears under titles The amorous black-haired lad, Dean cadal 's fan samhach, a chuilean a run (Go sleep and rest easy, my darling my dear), and was apparently based on a song.

 

 


MAIDS OF MITCHELLSTOWN, THE ("{Na} Og-Mna {Ua} Baile-Mitil" or "Gearrchaile Bhaile Mhistéala"). AKA and see "The Templeglantine Reel [2]." Irish, Reel. D Mixolydian. Standard tuning. AB (Breathnach, O'Neill/1850 & 1001): AA'BB' (O'Neill/Krassen). See note for the “Templeglantine Reel [2]” for thoughts on related strains. Source for notated version: piper Seán Potts (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 151, pg. 60. O'Neill (Krassen), 1976; pg. 133. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1410, pg. 262. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 650, pg. 116. Celtic Crossings CD0299-02, Gearóid Ó hAllmhuráin & Patrick Ourceau – “Tracin” (1999). Hemisphere 7243 8 31216 25, The Bothy Band - “Celtic Graces” (1994). Mulligan - The Bothy Band - “Out of the Wind into the Sun” (1977).

X:1

T:The Maids of Mitchelstown

R:reel

M:4/4

L:1/8

K:Ddor

"Dm" D2 AG "C" EG G2 | "Dm" A2 GA "Am" cAGE |

"Dm" D2 AG "C" EG G2 | "Am" AcGE "G" EDCE |

"Dm" D2 AG "C" EG G2 | "Dm" A2 GE "Am" A2 GE |

"Dm" DAAG "C" EDEG | "Am" A2 GE "G" ED D2 ||

"F" (3EFC AB c2 BG | "G" Adde “Bb”f2 ed |

"Am" cAGE "Bb" F3 G | "Am" AcGE "G" EDDF |

"F" (3EFG AB c EG | "G" Adde "Bb" f2 ed |

"Am" cAGE "Bb" F3 G | "C" (3ABc Bd "Gsus4" cAGE || "Dm" D8 ||

 

MAIDS OF (THE) MOURNE SHORE, THE. AKA and see “Down by the Sally Gardens [2],” “The Mourne Shore [2],” “Sally Gardens [2].” Irish, Air (4/4 time). A Major (Roche, Stanford/Petrie): G Major (Johnson). Standard tuning. AB (Roche, Stanford/Petrie): AAB (Johnson). The tune is one of the melodies to which the song “Sally Gardens” is set. George Petrie notes that his version was collected in County Derry in 1834. The melody also appears in Hoffman’s 1877 collection of selected arrangements of the George Petrie collection (1855). Johnson (The Kitchen Musician No. 5: Mostly Irish Airs), 1985 (revised 2000); pg. 9. Roche Collection, 1982, vol. 3; No. 50, pg. 14. Stanford/Petrie (Complete Collection), 1902; No. 302, pg. 75.

 

MAIDS OF MULLACH. See “The Maid of Mullaghmore.”

           

MAIDS OF MULLAGH, THE. AKA and see “The Maid of Mullaghmore.”

           

MAIDS OF PALESTINE.  AKA and see “"Anderson's Reel [1]," “Don’t be Foolish,” “Flowers of Redhill [1],” “The Hod Carrier,” “Jilly Neary’s Favourite,” “Wild Irishman [2].” Irish, Reel.

 

MAIDS OF SELMA, THE. Irish, Jig. G Major. Standard tuning. AABB. The tune is Keane’s arrangement of a set dance found in the Roche Collection. Source for notated version: Chicago musician Jimmy Keane [Black]. Black (Music’s the Very Best Thing), 1996; No. 259, pg. 139. Jimmy Keane (et al) – “The Big Squeeze.”

X:1

T: Maids of Selma

S: Jimmy Keane

Q: 325

R: jig

Z:Transcribed by Bill Black

M: 6/8

L: 1/8

K: G

D | G2 E EDE | GFG e3 | d2 B BAG | AcB AGE |

G2 E EDE | GFG e3 | dBB BAG | ABA G2 :|

A | d^cd gfg | ege edB | d^cd g2 a | b2 e edB |

GBd gfg | ege edB | d^cd g2 a | b3 a3 |

gfg efg | f2 d d^cd | e2 B B2 A | G2 E EDE |

G2 E EDE | GFG e3 | dBB BAG | ABA G2 :|

           

MAIDS OF TIPPERARY, THE. AKA and see “The Dairymaid [4]," "Kiss the Maid in Bed," "Tom the Fisherman," "Bumper Allen's Delight," "Tabhair pog don Bhrideoig sa Leaba." Irish, Reel. D Major. Standard tuning. AAB. O’Neill (1922) remarks: “It may be remarked that Mr. Dunne was a farmer of the townland of Kilbraugh not far from Thurles, Tipperary. From his wonderful repertory of dance tunes, generously contributed some years ago, many have been selected.” Source for notated version: the Patrick Dunne manuscript [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 229.

X:1

T:Maids of Tipperary, The

M:4/4

L:1/8

S:Pat. Dunne manuscript

Z:Paul Kinder

R:Reel

K:D

AF (3FFF AFdB|AF (3FFF BE (3EEE|AF (3FFF AFdF|(3DDD DE FD D2:|

defg abag|fded fdBc|defg abag|fdec (3ddd d2|

defg abag|fded fdBc|defg abag|fdec Ad d2||

           

MAIDS OF TRAMORE. AKA and see “The Eviction,” “Scatter the Mud [1], [2].” Irish, Double Jig. A Dorian/G Major. Standard tuning. AABB. The first turn (which Breathnach claims is faulty) is the same as that of “Scatter the Mud [2]" and “The Noonday Feast.” Ryan’s/Cole’s tune “The Eviction” appears to be almost identical with “Maids of Tramore,” and compares favourably with the Roche version. Roche Collection, 1982, vol. 1; No. 129, pg. 52.

X:1

T:Maids of Tramore

M:6/8

L:1/8

R:Jig

S:Roche Collection, vol. 1, No. 129  (1927)

Z:AK/Fiddler’s Companion

K:A Dorian

eAA BAA|eAA ABd|eAA (B2A)|BGG GBd|eAA BAA|

eAA ABd|efe dBA|BGG GBd::gfg efg|fag fed|gfg efg|

(e2d) efg|{a}gfg efg|fag fed|efe dBA|BGG GBd:|

           

MAIDS OF TULLA (Og-Mna Na Tulca). AKA and see “Marquis of Tullybardine/Tullibardine [1].” Irish, Reel. A Major. Standard tuning. AB. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 783, pg. 136.

X:1

T:Maids of Tulla

R:Reel

M:4/4

L:1/8

K:A

eA~A2 eAfA | e2ce fedc |1 Bcde fB~B2 | Bcde fgaf :|2 Bcde fgaf | ecBc A4 \

|: eaag aece | a2ga fece |1 fbba b3a | fbba fece :|2 Bcde fgaf | ecBc A4 ||

           

MAIDS OF TULLYKNOCKBRINE, THE. AKA and see “James Byrne’s (Reel) [2],” “The Rat in the Thatch.” Irish, Reel. According to Caoimhin Mac Aoidh, the Kelly’s source (see abc’s) was Donegal fiddler John Doherty, who was the source of the “Maids” title. Tullyknockbrine is a Donegal townland on the southern slopes of the Croaghs Mountains in the vicinity of Reelin Bridge. The tune is well-known by the alternate title “Rat in the Thatch.” Green Linnett GLCD 3090, Mairead Ni Mhaonaigh & Frankie Kennedy - "Ceol Aduaidh" (1983/1994. "A mixture of the version played in the Teileann Kilcar area and that played by John Doherty”).

X:1

T:Maids of Tullyknockbrine, The

M:4/4

L:1/8

Q:100

R:reel

H:transcribed by Bill Black from the James/John Kelly recording (Tara 1008).

K:G

G2 dc BDGB |dGBc ecAF | G2 dc Bcde | dBcA BGGD |

G2 dc BDGB| dGBc ecAF  | G2 dc Bcde | dBcA BGBd ||

egfg egfe | ^cdfd adfd | egfg efga | (3bag af gfef |

ebge bge^c | defd Adfd | G2 dc Bcde | dBcA BG G2 ||

X:2
T:James Byrne's
T:Maids of Tullyknockbrine, The
T:Rat in the Thatch, The
R:reel
D:Paul McGrattan & Paul O'Shaughnessy: Within a Mile of Dublin
D:De Danann: Jacket of Batteries
Z:id:hn-reel-277
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
K:G
G2dG BdGB|dGBd ecAF|G2dG Bcde|1 dBcA BGAF:|2 dBcA BG~G2||
egfg egfe|d2fd Adfd|egfg efga|bgaf geed|

efga bge^c|defg afdB|~G3A Bcde|dBcA BGFA||

           


MAIDSTONE. Canadian, Hornpipe. Canada, Cape Breton. B Flat Major. Standard tuning. AB. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 67.

           

MAIDSTONE HALL. English, Country Dance Tune (6/8 time). A Major. Standard tuning. AABB. The tune dates to 1788 when it was published by Longman & Broderip in Six New Minuets and Twelve Country Dances. Barnes (English Country Dance Tunes), 1986. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 80.

 

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