The Fiddler’s Companion

© 1996-2009 Andrew Kuntz

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MAM - MAP

 

 

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]

 

 

 

MAM', J' SU' TOUJOURS TON 'TIT GARCON (Mom, I'm Still Your Little Boy). Cajun, Waltz. USA, southwestern Louisiana. G Major. Standard tuning. One part. A modern song. Source for notated version: Camey Doucet [Francois]. Francois (Yé Yaille Chère!), 1990; pgs. 405-406. Swallow Records SW-10251, Camey Doucet.

                       

MAMA BLUES. AKA – “Rag in C.” Old-Time, Country Rag. C Major. Standard tuning. AA’BB’. Source Alton Jones thought he learned the tune from a recording by the Kessinger Brothers, but Drew Beisswenger (2008) could find no such recording. Missouri fiddler Lonnie Robertson learned the tune from Jones, but recorded it as “Rag in C.” Sources for notated versions: Alton Jones (1918-2002, Theodosia, Mo.) [Beisswenger & McCann]; Lonnie Robertson (1908-1981, Springfield, Mo.) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pgs. 83 & 124. R.P. Christeson (Old Time Fiddlers’ Repertory, vol. 2), 1984; pg. 32 (appears as generic “Tune”). Rounder 0437, Alton Jones  – “Traditional Fiddle Music of the Ozarks, vol. 3: Down in the Border Counties” (2000. Various artists). Rounder CD 0375, Lonnie Robertson – “Lonnie’s Breakdown” (1996. Originally recorded 1978. Appears as “Rag in C”).

                       

MAMA, WHERE YOU AT? AKA and see "Hey Mom." First Cajun fiddle recording. The song was written by Amidie Breaux. Victor 21769 (78 RPM), La. fiddler Leo Soileau, 1928.

                       

MAMA'S LITTLE BABY. Old‑Time, Breakdown. Similar to old‑time version of "Rochester Schottische." Spudchucker Productions, Bert Edwards (N.C.) ‑ "Bert's Bombaree."

                       

MAMA'S PET [1] (Peata Mamaí). AKA and see "Mammy's Pet," "Downing's Reel," "Peata Mamaí [1]," “Pheata Mamaí,” “Timothy Downing.” Irish, Reel. G Major. Standard tuning. AB (O’Malley): AA'B (O’Neill, Taylor). Many versions of the tune exist. Breathnach's "Peata Mamaí" is perhaps a distant version of this setting. O’Neill (1922) remarks: “In boyhood days I memorized the first part of this reel from the fiddle playing of Mr. Downing a gentleman farmer who taught me the rudiments of music on the flute. Thirty-five years later the second part was supplied by A.S. Beamish, another West Cork musician. Being without a name the tune was called ‘Timothy Downing’ or ‘Downing's Reel’, in the O'Neill Collections. With a third part obtained from the famous fiddler John McFadden of Mayo, this tripartite reel is presented under its presumably true name.” Sources for notated versions: Pat O’Brien [Bulmer & Sharpley]; students of New York fiddler John McGrath (1900-1955, originally from County Mayo) [O’Malley]. Bulmer & Sharpley (Music from Ireland), 1974, vol. 1; No. 34. O’Brien (Jerry O’Brien’s Accordion Instructor), 1949. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 5, pg. 3. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 205. Taylor (Through the Half-Door), 1992; No. 20, pg. 16. Coleman Center CD CC004, Harry McGowan, Mick Loftus & Jim Corry – “The Mountain Road” (1999. Various artists. “A Compilation of tunes popular in South Sligo”). Coleman Music Center CHC 009, flute player Roger Sherlock – “The Coleman Archive, vol. 2: The Home Place” (2005. Various artists). Green Linnet GLCD  1211, Kevin Crawford – “In Good Company” (2001. Learned from button accordionist Máirtin O’Connor, although the version is credited to East Galway flute player Eddie Moloney). Shaskeen - "Atlantic Breeze." Shaskeen Records OS‑360, Andy McGann, Joe Burke, Felix Dolan ‑ "A Tribute to Michael Coleman" (c. 1965).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Mama's Pet

R:reel

D:Michael McGoldrick: Morning Rory

D:Frankie Gavin: Frankie Goes to Town

Z:id:hn-reel-598

Z:transcribed by henrik.norbeck@mailbox.swipnet.se

M:C|

L:1/8

K:D

G2BG EGDE|G2BG dGBA|G2BG EGDG|Bded B2AB:|

dBGB d2de|dBGB ~e3g|dBGB deBd|eged B2AB|

dBGB d2Bd|g2bg eBdB|~G3B ~A3B|d2gd B2AB||

"variations"

G2FB EBDE|G2BG dGBA|G2FB EBDE|Bded B2AB:|

dBGB d2de|dBGB ~e3g|dBGB dGBd|eged B2AB|

dBGB dGBd|g2bg egdB|~G3B AGAB|d2gd BdAB||

X:2

T:Mamma's Pet

M:4/4

L:1/8

S:Capt. F. O'Neill

Z:Paul Kinder

R:Reel

K:G

(3DEF|G2 FG EG D2|G2 BG dGBG|G2 FG EG D2|Beed BcAB|

G2 FG EG D2|GABc dBAB|G2 FG EG D2|Beed "tr"B2 A2||

BAGA Bc d2|Beed Bc d2|BAGA Bc d2|Beed "tr"B2 A2|

BAGA Bc d2|Beed BcdB|G2 GB A2 Ac|Beed "tr"B2 A2||

eA (3AAA edBA|GFGA Bc d2|eA (3AAA edBc|d2 ef "tr"g2 fg|

eA (3AAA edBA|GFGA Bc d2|G2 GB A2 Ac|Beed "tr"B2 A2||

X:3

T:Mama’s Pet [3]

M:C|

L:1/8

R:Reel

S:Brian Conway  (02/06)

Z:AK/Fiddler’s Companion

K:G

F|G2 F(G E)FDF|G2 B(G dGB)A|G2 F(G EF)GA|(3Bcd e(d B)dAF|

GE (3FED EDB,D|G~B3 GBA(F|G2) F(G EF)GA|(3Bcd ed B(dg)f||

eA (3AAA (EA) (3AAA|B~G3 DGBd|eA (3AAA EAcA|(3Bcd ed B(dg)f|

(3efe df e(Bd)B|~G3A Bcdg|(e^de)f gba(f|g2) f(g ed)BA||

 

MAMA'S PET [2] (Peata Mamaí). Irish, Reel. Standard tuning. A Dorian. Standard tuning. AABB. O’Brien (Irish Folk Dance Music).

X: 1

T: Mamma's Pet [2]

S: J. O'Brien: "Irish Folk Dance Music"

M: 4/4

L: 1/8

Q: 350

Z: Transcribed by Bill Black

R: reel

K: Ador

(3GAG (3FGF EDEF | G2 BG dGBG | (3GAG FG EFGA | Beed BA A2 |

(3GAG (3FGF EDEF | G2 BG dGBG | (3GAG FG EFGA | Beed BA A2 :|

eA (3cBA eA (3cBA | G2 BG dGBG | eA (3cBA eA (3cBA | (3Bcd ed BA A2 |

eA (3cBA eA (3cBA | G2 BG dGBG | efed BAGA |  (3Bcd ed BA A2 :|

                       

MAMA’S POLKA (Polca mo Mháithrín). Irish, Polka. A Major. Standard tuning. AABB. Breathnach (1996) remarks the tune was untitled in the Collins manuscript and that he took the English title from a manuscript from County Cork. Source for notated version: from a manuscript written by or in the possession of David Collins (Abbeyfeale, County Limerick) [Breathnach]. Breathnach (CRÉ IV), 1996; No. 88, pg. 45.

                       

MAMIE POTT’S SCHOTTISCHE.  AKA and see “California Dance,” “California Hornpipe,” "Limber Neck Blues,"  "Mason‑Dixon Schottische," "Nightingale (Clog) [2]," “Parkersburg Landing,” “Rustic Dance—Scottische [3],” “Rustic Hornpipe.”

 

MAMIE'S FAVORITE. Old‑Time. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

           

MAMINIA, THE.  English, Country Dance Tune (2/4 time). C Major. Standard tuning. AB. Geoghegan (Compleat Tutor for the Pastoral or New Bagpipe), c. 1745-46; pg. 25.

X:1

T:Mamina, The

M:2/4

L:1/8

S:Geoghegan – Compleat Tutor for the Pastoral or New Bagpipe (c. 1745-46)

Z:AK/Fiddler’s Companion

K:C

cc | B/c/d/B/ ce | d/c/d/e/ df | e/f/g/e/ ca | gf/e/ fe/d/ | e/f/g/e/ c2 | ec c/d/e/c/ | dB B/c/d/B/ |

cA A/B/c/A/ | B/c/d/B/ G2 | d2e2 | de/f/ gf/e/ | d2e2 | de/f/ gc | B/A/G/A/ A/G/F/G/ | G4 ||

cc | ceeg | g/f/e/d/ cB | BA A2 | d2d2 | dffa | a/g/f/e/ dc | B/c/d/B/ G2 | e/f/g/a/ gf/e/ |

fe d2 | defg fe/d/ | e/f/g/e/ c2 | g2g2 | gf/e/ dc | e2d2 | c/d/e/f/ ga | gf/e/ fe/d/ | c4 ||

           

MAMMY’S GONE AWAY, AND DADDY’S DEAD FOR EVER. American, Dance Tune (2/4 time). D Major. Standard tuning. AAB. The melody was published around 1805 in Edinburgh, Scotland, by John Clarkson Jr. in a single-sheet entitled American Tunes No. 1, Arranged for the Piano Forte.

                       

MAMMA'S/MAMA'S/MAMMY'S PET [1] (Peata Mamaí). AKA and see “Downing’s Reel,” “Paddy’s Pet,” “Peata Mamaí,” “Timothy Downing,” "Your Mother's Fair Pet," "Is Trua gan Peata 'n Mhaoir agam [1]" ???? Irish, Reel. C Major. Standard tuning. AAB. Bulmer & Sharpley (Music from Ireland), 1976, vol. 1, No. 34. Kerr (Merry Melodies), vol. 1; No. 18, pg. 35. Levey (The Dance Music of Ireland, 2nd Collection), 1873; No. 47, pg. 20.

X:1

T:Mammy’s Pet [1]

M:C

L:1/8

R:Reel

S:Levey – Dance Music of Ireland, 2nd Collection (1873)

Z:AK/Fiddler’s Companion

K:C

c2 (Bc) A2G2 | c2 (ec) gcec | c2 (Bc) A2G2 | (ea) (ag) e2d2 :: (ed) (de) (ec) (ce) |

(ed) (de) (ea) (ag) | (ed) (de) (ec) (ce) | (ea) (ag) e2d2 | (ed) d2 (ec) c2 |

(ed) d2 (ea)a2 | c2d2 (ec) (cd) | (ea) (ag) e2 d2 :|

 

MAMMY'S PET [2] (Peata Mamaí). AKA and see “Lilies of the Field.” Irish, Reel. D Major. Standard tuning. AAB. Source for notated version: Copied by Breathnach from the Bogue manuscript. Breathnach (CRÉ IV), 1996; No. 105, pg. 55.

                       

MAMMIE WILL YOU LET ME TO THE FAIR. Irish, Air (2/4 time). B Flat Major. Standard tuning. One part. Source for notated version: “From P. Coneely, Jan., 1845, R.(oscommon)” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 827, pg. 207.

X:1

T:Mammie will you let me to the fair?

M:2/4

L:1/8

N:”Moderato”

R:Air

S:Standford/Petrie (1905), No. 827

Z:AK/Fiddler’s Companion

K:B_

(FG) Bd | e2e2 | f2e2 | d3z | (dc) BG | (FG) Bd | e2d2 | c3z |

(FG) Bd | .e2.e2 | .f2.e2 | d3z | (dc) BG | (FG) Bd |

e2 {d}c2 | f3e | (dc) BG | (FG) (B/>c/d | c4 | B3 z ||

                       

MAMMOTH CAVE WALTZ. Old‑Time, Waltz. Recorded for Victor in 1928 by Blind Joe Mangrum (b. 1853, Paducah, Ky.), but unissued.

                       

MAMOU TWO-STEP [1]. Cajun, Two-Step (4/4 time). USA, southwestern Louisiana. A Major. Standard tuning. BBAABBBBBBAABBAA. This instrumental is named for the area around Mamou, Louisiana. The tune can be heard in Michael Cimino’s 1980 movie Heaven’s Gate, where it is played by a fiddler on roller skates (who then jumps on stage to be accompanied by a band on rollerskates). Source for notated version: Aldus Roger (La.) [Francois]. Francois (Yé Yaille Chère!), 1990; pg. 410. La Louisiane Records LL-LP122, Aldus Roger.

 

MAMOU TWO-STEP [2]. Cajun, Two-Step (4/4 time). USA, southwestern Louisiana. A Major. Standard tuning. BBAABBAABBAABBA. A related piece to version #1. Source for notated version: Lawrence Walker (La.) [Francois]. Francois (Yé Yaille Chère!), 1990; pg. 411. Arhoolie 427, Lawrence Walker – “Cajun Honky Tonk – The Khoury Recordings.” La Louisiane Records LL-LP126, Lawrence Walker.

 

MAMOU TWO-STEP [3]. Cajun, Waltz. A waltz time setting of the “Mamou Two-Step.” Green Linnet GLCD 3107, Aly Bain & Phil Cunningham – “The Pearl” (1994. Learned from the soundtrack of the film “Heaven’s Gate”).

                       

MAN EATER. Old-Time, Breakdown. USA, Kentucky. D Major. Standard tuning. AABB. Source John Masters (1904-1986) learned the tune from African-American fiddler Jim Booker (b. 1872), an influential Jessamine County musician who recorded in the 1920’s backing others and with his own band, The Booker Brothers. The melody was recorded by Kentucky fiddler Doc Roberts in 1930 for Gennett records, although the company never issued the side. Titon (2001) finds the title in tune-lists of the 1919 and 1920 Berea, Kentucky, fiddle contests, played by M.A. Moody of Big Hill and Leslie Van Winkle of Clover Bottom. Source for notated version: John Masters (Lexington, Fayette County, Kentucky) [Titon]. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 99, pg. 128.

                       

MAN FROM BARNAGROVE, THE. AKA – “Reavy’s.” Irish, Hornpipe. E Dorian. Standard tuning. AABB. Composed by Philadelphia, Pa., fiddler and composer Ed Reavy (1898-1988), originally from Barnagrove, County Cavan. Fiddler James Kelly remarked: “This tune was recorded on a home-made disk some time in the mid-1950’s and sent back to Ireland. It eventually found its way into my father’s (Dublin fiddler John Kelly, Sr., originally from County Clare) extensive collection of 78 RPM recordings” (1996). Reavy (The Collected Compositions of Ed Reavy), No. 108, pg. 121. Capelhouse Records, James Kelly – “Traditional Irish Music” (1996. Appears as “Reavy’s”).

                       

MAN FROM BUNDORAN, THE. AKA and see “Miller of Draughin,” Miller of Droghan.” Irish, Reel. D Major. Standard tuning. AB. The tune is associated with fiddler Patrick “Paddy” Kelly of Bundoran, Co. Donegal, and, since the original title of the tune was lost, it commemorates Kelly (who was the winner of the first All-Ireland fiddle competition). Kelly’s son is also a Paddy, and like his father is a well-known fiddler who still resides in Bundoran. (Kelly is not to be confused with other fiddling Paddy Kellys, notably the Paddy Kelly from County Galway, and another Paddy Kelly from County Clare). Green Linnet GLCD 1117, Altan - "Harvest Storm" (1992). Green Linnet SIF 3085, Four Men and a Dog – “Barking Mad.” Popcorn Behavior – “Journeywork” (1997).

X: 1

T: Man from Bundoran

R: Reel

M: 4/4

L: 1/8

K: D

BE~E2 BEcE | BE~E2 BcdB | cAA/A/A cAAB | ceef e2 dc |

BE~E2 BEcE | BE~E2 BcdB | cAA/A/A cAAB | ceef e2 cA ||

defe d3 A | defe dcBc | d2 dc dfaf | ecAc egfe |

defe d3 A | defe dcBc | d2 dc dfaf | ecAc e2 dc ||

                       

MAN FROM GLAUNTAUNE. Irish, Slide (12/8 time). G Mixolydian. Standard tuning. AA'BB. Taylor (Where’s the Crack), 1989; pg. 31.

                       

MAN FROM GLEANNTÁN. Irish, Hornpipe. Composed by Terry ‘Cuz’ Teahan (1905-1989), originally from Castleisland, County Kerry, but who loved most of his life in Chicago. Before he left Ireland he was a pupil of Sliabh Luachra fiddle teacher Padraig O’Keeffe (1887-1963), and wrote this tune in honor of the anniversary of O’Keeffe’s birthday, October 8th, 1972. Teahan (Road to Glountane). Ossian OSS CD 130, Sliabh Notes – “Along Blackwater’s Banks” (2002).

 

MAN FROM KNOCKROE, THE.  Irish, Hornpipe. Composed by County Tipperary fiddler Seán Ryan (d. 1985). Ryan (Seán Ryan’s Dream), 33.

 

MAN FROM NEWRY, THE (An Fear Ua Inbar-Cinn-Traiga). AKA and see “Gloucester Hornpipe,” “Swansea/Swansy Hornpipe.” Irish, Hornpipe. G Major. Standard. AABB. In England the tune goes by the titles “Gloucester Hornpipe,” and, more often “Swansea Hornpipe.” O'Neill (Krassen), 1976; pg. 204. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1730, pg. 322. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 910, pg. 156.

X:1

T:Man from Newry, The

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 910

Z:AK/Fiddler’s Companion

K:G

D2|G2g2 gdBG|c2e2 efge|dBdg edcB|AbcA GFED|

G2g2 gdBG|c2e2 efge|dBdg ecAF|G2B2G2:|

|:dc|BGBG BcdB|ecec efge|dBdg edcB|ABcA GFED|

BGBG BcdB|ecec efge|dBdg ecAF|G2B2B2:|

                       

MAN FROM SKYE, THE. Scottish, Hornpipe. A Minor. Standard. AABB'CCDD'. Composed by Pipe Major D. MacLeod. Martin (Ceol na Fidhle), vol. 2, 1988; pg. 5.

                       

MAN IN THE MOON [1], THE. Irish, Slide. D Major. Standard tuning. AABB. Roche Collection, 1927, vol. 2; No. 245, pg. 22.

X:1

T:Man in the Moon, The  [1]

M:2/4

L:1/8

R:Slide?

S:Roche, vol. 2, No. 245   (1927)

Z:AK/Fiddler’s Companion

K:D

D/E/|F>A d>A|B>A d>A|(3Bcd A>G|E2E2|F>A d>A|B>A d>A|

(3Bcd A>F|1 D2 D>E:|2 D2D2||:e>f (3fff|e>d e>f|g>a f>d|

f>e e2|e>f (3fff|e>d e>f|a>f d>B|1 A>F D2:|2 A>F D>E||

 

MAN IN THE MOON [2], THE. English, Jig. D Major. Standard tuning. AABB. No relation to any other tunes by this title. Source for notated version: the 1770 music manuscripts of Northumbrian musician William Vickers [Seattle]. Seattle (Great Northern Tune Book), 1987, Part 2; No. 243. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 42.

X:1

T:Man in the Moon [2]

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:D

D>FD F>AF|E>FE G>AB|ABc def|ged {d}c>BA|D>FD F>AF|E>GE G>AB|A>Bc d>ef|g>ec d3:|
|:f>ag f>ed|c>ed c>BA|B>dc B>AG|F>AG F>ED|f>ag f>ed|c>ed c>BA|Bgf edc|d3 D3:||

 

MAN IN THE MOON [3], THE (An Fear Annsa Rae). AKA and see “Old as the Hills [2],” “Over the Hills.” Irish, Double Jig. E Minor. Standard tuning. AABB. No relation to "The Man in the Moon" [1] or [2]. Source for notated version: the playing partners of Chicago police Sergeant James Early and John McFadden, a piper and fiddler from adjoining counties in the province of Connaght [O’Neill]. Allan’s Irish Fiddler, 30. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 311, pg. 66. WMT002, Wendy MacIsaac – “That’s What You Get” (1998?).

X:1

T:Man in the Moon, The [3]

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 311

Z:AK/Fiddler’s Companion

K:Emin

d/c/|BGE EFA|BAB d2B|AFD DFA|DFA dfd|BGE EFA|BAB def|edB AdF|FEE E2:|

|:(3c/d/e/|efe edB|def g2e|ded dcB|def gbg|e/f/ge edB|def gfg|edB AdF|FEE E2:|

 

MAN IN THE MOON [4], THE.  English, Waltz. G Major. Standard tuning. AAB. It is not known where source Tester got the tune. All versions are sourced to him. Some see similarities with the morris tune “Maid of the Mill,” if the latter is set in ¾ time. Source for notated version: anglo concertina player Scan Tester (1887-1972, Sussex), recorded in 1957 by Mervyn Plunkett [Callaghan]. Callaghan (Hardcore English), 2007; pg. 85. Musical Traditions MTCD333, Scan Tester et al) – “The Birds Upon the Tree” (2004). Topic 12TS455/6, Scan Tester – “I Never Played to Many Posh Dances” (1990). Veteran VTVS03/04, Scan Tester – “I Never Played to Many Posh Dances” (Re-release of 1990 Topic album).

                       

MAN MAY ESCAPE FROM RAPE AND GUN. AKA and see "Courtiers, courtiers (think it no harm)." English, Air. The tune appears under this title in John Gay's Beggar's Opera (1729).

                       

MAN OF ARAN. AKA and see “Man of Arran.” Irish, Reel. B Minor. Standard tuning. AABB (Flaherty): AA’BB” (Black). The Aran Islands lie off the west coast of Ireland. The tune was composed by tin whistle player Darach de Brún, of the band Oisín, who writes: “The ‘Man of Aran’ was written in December, 1975, as a wedding present for a friend of mine Tommy Walsh and his wife Zoz. I called it the ‘Man of Aran’ because that was the name of the pub where he had his reception” (Tommy Walsh is a Dublin button accordion player and the composer of the popular air “Inisheer”). Source for notated version: flute player Colm O'Donnell (b. 1962, Aclare, County Sligo) [Flaherty]. Black (Music’s the Very Best Thing), 1996; No. 91, pg. 47. Flaherty (Trip to Sligo), 1990; pg. 17. Miller (Fiddler’s Throne), 2004; No. 199, pg. 125. Gael-Linn CEF 083, “Donncha Ó Briain” (1979).

See also listing at: 

Alan Ng’s Irishtune.info

X:1

T: Man of Arran

C: Darach de Brún

Q: 350

R: reel

M: 4/4

L: 1/8

K: D

D | FBfe dB B2 | EAed cA A2 | FBfe dB B2 | FB B2 FB B2 |

FBfe dB B2 | ce e2 ce e2 | f2 fe dB B2 |1 cedc dB B :|2 eggf gfed ||

d2 fe df f2 | ce e2 ce e2 | d2 fe df f2 | cedc dBBc |

dfaf df f2 | cege ce e2 | dfeg fB B2 |1 dffe fedc :|2 cedc dcBA ||

                       


MAN OF CONSTANT SORROW. Old-Time, Slow Air. USA, Kentucky. This melody is the air to a broadside song of the same name, though its origins are rather obscure. The earliest known copy of the lyrics are to be found in a 1913 songbook printed by Richard Burnett of Monticello, Ky. (Guthrie Meade & Mark Wilson). Rounder 1010, Ed Hayley - "Parkersburg Landing" (1976).

                       

MAN OF KENT, THE. English, Air (4/4 time). G Major. Standard tuning. AAB. Chappell (1859) states this air was written by Leveridge, while not one but two sets of lyrics were written by Thomas D'Urfey‑‑one by the above name and one in praise of fishing beginning "Of all the world's enjoyments" (which appeared in his play "Masaniello"). Chappell (Popular Music of the Olden Times), Vol. 2, 1859; pg. 112.

X:1

T:Man of Kent, The

M:C

L:1/8

R:Air

S:Chappell – Popular Music of the Olden Time (1859)

Z:AK/Fiddler’s Companion

K:B_

d2|e2d2d2c2|c2F2 z2B2|A2B2c2A2|B6:|

||F2|D2F2B3A|G2E2c3d|e3d c2B2|c2F2 z2Bc|

d2B2c3d|e2c2d3F|G3A A3G|G2G2 z3B2|F2D2F2B2|F2D2F3F|

F2B2e3c|A4 z2 Bc|d2B2c3d|e2c2d3F|G3A BAG^F|G6||

                       

MAN OF THE HOUSE, THE (An Fear a Tige). AKA and see “Autumn Leaves,” “The Day I Met Tom Moylan,” "Ginley's Fancy," "Handsome Sally [1]," “McGinley’s,” “The Merry Thatcher,” “Miss Kelly’s Favorite,” "Old Tom,” “Paddy Carthy’s Reel [2],” "Sally Grant," “Through the Heather.” Irish, Reel. E Minor/E Dorian. Standard tuning. AB (Cranitch, Mulvihill): AAB (O'Neill/1850 & 1001): AA'B (Armagh Piper’s Club, O'Neill/Krassen). The alternate title “Ginley’s Fancy” comes from Galway accordion player Joe Burke, who has helped popularize the tune in modern times. “Autumn Leaves” is a related tune. Source for notated version: a manuscript of music from County Cavan from the collection of Philip J. O’Reilly in Chicago [O’Neill]; John Clancy (Bronx) [Mulvihill]. Armagh Piper’s Club (Play 50 Reels), 1982; No. 1, pg. 3 (appears as “Paddy Carthy’s Reel”). Breathnach (CRÉ III), 1986; Nos. 130, 131. Cranitch (Irish Fiddle Book), 1996; pg. 92. Mulvihill (1st Collection), 1986; No. 216, pg. 58. O'Neill (Krassen), 1976; pg. 131. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1398, pg. 260. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 642, pg. 115. Ossian OSS CD 130, Sliabh Notes – “Along Blackwater’s Banks” (2002). Shanachie 34014, James Kelly, Paddy O’Brien & Daithi Sproule – “Traditional Music of Ireland” (1995). Tara CD 4011, Frankie Gavin – “Fierce Traditional.” Patty Furlong – “Traditional Irish Music on the Button Accordion” (1999). 

X:1

T:Man of the House, The

M:C

L:1/8

R:Reel

Z:transcribed by Juergen Gier

K:Edor

E2BE GABG|DEBE FDAF|DEBE GABc|[1dBBA BFAF:|[2dBBA BEE2|]\

efge fgaf|gfed edBd|e2ge fga2|gfBd eede|e2ge fgaf|\

gfed edBd|bgaf gefd|e2BA GE (3FED|]

 

MAN OF WAR.  Irish, Hornpipe. From the Goodman manuscripts (vol. 3, pg. 24, c. 1860’s, southeast Munster), wherein another version also appears, under the title “Constantine Hornpipe.” Yet another version appears in CRÉ V under the title “Mick(e)y Connell’s Hornpipe.”

 

MAN ON THE MOON.  Canadian, Jig. Composed by Sarnia, southwestern Ontario, fiddler John(ny) Durocher (1934-1989); one of several tunes he composed in honor of the c. 60’s-70’s space program. Durocher was born the youngest of sixteen children, to a modest family of few resources. He quit school in his young teens to help make family ends meet and remained a factory worker for most of his life, not even possessing a drivers license. John came to fiddling when he found a broken fiddle in the trash one day and asked the owner for permission to retrieve it; with some repair work he had his first instrument. A few lessons from a local teacher (which served to teach him how to read and write music), were all the formal music education John received. He was a prolific composer of fiddle tunes, however, and named them for sports and current events, family and friends and topics of his day, explains Ritchie. Durocher’s music was picked up by radio fiddler Don Messer, who included many of his tunes in his broadcasts and printed collections, helping Durocher to become quite influential in the Ontario scene for his over 400 compositions. [For more see Ron Ritchie, “John Durocher: A Gifted Composer,” Fiddler Magazine, vol. 12, No. 2, Summer 2005, pgs. 25-27].

           

MAN ON THE WIRE, THE.  English, Country Dance Tune (cut time). D Major. Standard tuning. AABB. The melody is unique to London publishers Charles and Samuel Thompson’s 1757 country dance collection. The title probably refers to wire dancers, who, like rope dancers, were a fad for a time in 18th century England. George Anne Bellamy & Alexander Bicknell, for example, writing in An apology for the life of George Anne Bellamy, late of Covent Garden Theatre (1786) remarks:

***

About this time Mr. Rich got up a new pantomime, which he called “The Fair,” the most

indifferent entertainment of that species he had ever fabricated. In it he introduced a

celebrated wire-dancer; a measure which greatly disgusted [actor] Mr. Quinn. So much

displeased was this gentleman, that after saying it was an insult offered to the Theatre-Royal

to put it on a footing with  [the pleasure-garden] Sadler’s Wells, he declared that, if the event

took place he would not appear in any piece that should precede it. Mr. Rich, who was, as I

have already said, the most resolute of men, when once his natural indolence had permitted

him to form a resolution, however, persisted in it, and it was accordingly brought out.

***

In order to make her court to the great man, Mrs. [actress Peg] Woffington likewise refused

to appear. Mr. Rich had not, at this time, come to an open rupture with her. The refusal of

this lady was reckoned the more extraordinary, and drew on her the greater degree of

censure, as there was a report current, that when a child she had been what is usually

termed a make-weight to Madam Violente, the first wire-dancer that ever appeared in Ireland. [pg. 78]

***

 Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 70.

X:70

T:Man on the Wire, The

M:C|

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:D

D/D/D FA D/D/D FA|dAfd ec (A/G/F/E/)|D/D/D FA dAfd|afge d2 D2:||

|:d/d/d fa geAg|fdaf ecAc|d/d/d fa c/c/c eg|fdec d2 D2:||

 

MAN THAT CUTS HAY WITH THE SCYTHE. AKA and see “The Cuckoo’s Nest [14].” Irish, Air (4/4 time).

                       

MAN WHO DIED AND ROSE AGAIN [1], THE. Irish, Jig. A Minor. Standard tuning. One part. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 81 (with two variations).

 

MAN WHO DIED AND ROSE AGAIN [2], THE (An Fear Do Fuair Bas Agus Do Eirigareis). Irish, Jig. G Major. Standard tuning. AABB. Source for notated version: the celebrated uilleann piper Patsy Tuohey [O’Neill]. O'Neill (Krassen), 1976; pg. 69. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1096, pg. 206. O’Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 283, pg. 61.

X:1

T:Man Who Died and Rose Again, The [2]

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 283

Z:AK/Fiddler’s Companion

K:G

GBA G2A|Bge e2d|GBA G2B|AFD AFD|GBA G2A|BAB dcd|edB edB|AFD DFD:|

|:gef g2a|bge e2f|gef g2b|afd dcd|GFG AGA|BAB dcd|edB edB|AFD DFD:|

                       

MAN WHO SHOT THE WINDMILL. Scottish, Reel. Composed by Scottish accordion player and composer Phil Cunningham. Named for an actual incident on the Isle of Skye in which an out-of-control home-made windmill, victim of a high wind, was shut down when the owner, in desperation, shot off its blades. Green Linnet SIF 1070, Silly Wizard – “A Glint of Silver.”

                       

MAN WITH THE BIG HEAD, THE.  AKA and see “Lord Dunmore.”

 

MAN WITH THE MONEY, THE (Fear An T-Airgiod). Irish, Reel. E Minor. Standard tuning. AB (O'Neill/1850): AA'BB' (O'Neill/Krassen). Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. Feldman & O’Doherty (Northern Fiddler), 1979; pg. 188 (appears as untitled reel). O'Neill (Krassen), 1976; pg. 125. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1360, pg. 254.

X:1

T:Man with the Money, The

M:C|

L:1/8

R:Reel

S:O’Neill – Music of Ireland (1903), No. 1360

Z:AK/Fiddler’s Companion

K:Emin

F | E2 BE GEGe | E2 BG FDDF | E2 BE GABG | FdAG FDDF |

E2 BE GEGe | E2 BG FDDF | EFGE FGAF | GdAG FD D ||

F | EeeB GABG | FDdD FAFD | EedB cABG | FDFA dAFD |

EeeB GBAF | EedA FDDF | Eege f^deB | dcBA FD D ||

                       


MAN WITH THE RED CLOAK, THE (Fear Na Fallainge Deirge). Irish, Air (6/8 time, "with spirit"). C Major. Standard tuning. ABCD. 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. 244, pg. 42.

X:1

T:Man with the Red Cloak, The

M:6/8

L:1/8

R:Air

N:”With spirit”

S:O’Neill – Music of Ireland (1903), No. 244

Z:AK/Fiddler’s Companion

K:C

G2G G2G | GFA G3 | c2c cBc | ^c3 d2A | G2G G2G | GFA G2z |

d2d ded | c2c GAB || c2c cdc | c2B Bc^c | d2d ded | e2z GAB |

c2c cdc | c2B Bc^c | d2d ded | c2z z2 || G | f3 def | e3 c2c | BBB BAB |

c3 z2G | f3 def | e3 c2c | B2B BAB | c3 z2z || G2 G G2G | GFA G3 |

c2c cBc | ^c3 d2z | G2G G2G | GFA G2G | d2d ded | c3 z2 z ||

                       

MANAGE THE MISER. English, Country Dance Tune (3/2 time). D Major (Williamson): F Major (Knowles). Standard tuning. AABB. Published by Playford in his English Dancing Master (1651). Knowles (A Northern Lass), 1995; pg. 23. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 40. Flying Fish FF‑407, Robin Williamson ‑ "Winter's Turning" (1986).

                       

M’ANAN GI bDÉANFAD, ARSA AN FIDLÉIR. AKA and see “O Faith then I Will, Says the Fiddler.”

                       

MANASSAS JUNCTION. AKA and see "Abe's Retreat."

                       

MANCHESTER. German. Boehme states that the tune is an "old folk dance, and, since 1868, a modern Salon dance." The tune turned up in southwestern Pennsulvania where Bayard collected it as a marching tune (1981, No. 295, pg. 251, untitled), and he suspects it has had international currency, perhaps being brought to the state by German settlers. Boehme, No. 265, pg. 166.

 

MANCHESTER CALEDONIAN. Scottish, Strathspey. Tradition 2118, Jim MacLeod & His Band ‑ "Scottish Dances: Jigs, Waltzes and Reels" (1979).

 

MANCHESTER GALLOP. AKA and see “Paddy O’Flinn/O’Flynn.” Australian. This is the title used for a couples dance in NE Victoria.

 

MANCHESTER HORNPIPE [1]. AKA and see “Hastton’s Hornpipe,” “Lincoln Hornpipe,” “Morning Fair,” "One Eyed Fiddler," "Rickett's Hornpipe," "Sailor's Hornpipe [2],” "The New College Hornpipe [1], “Yarmouth Hornpipe.” English, Scottish, Irish; Hornpipe. D Major. Standard tuning. AABB (Allan's, Craig, Kennedy, Kerr, Raven) : AB (Honeyman). Sometimes played in the key of ‘G’. Honeyman's version notes it should be played as a "Newcastle Style" hornpipe. The tune was widely popular in the British Isles under a variety of titles and appears in numerous fiddler’s manuscripts from the 19th century. Lincolnshire musician Joshua Gibbons included it in his 1823-26 music manuscript book simply as “Hornpipe No. 101,” set in the key of ‘F’ major (Gibbons has another tune called “Manchester Hornpipe,” but it is unrelated). Another version appears as “Yarmouth Hornpipe” in George H. Watson’s (Swanton Abbott, Norfolk) manuscript of 1850-1880. Source for notated version: the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Allan's Irish Fiddler, No. 103, pg. 26. Craig (The Empire Collection of Hornpipes), c. 1890’s; pg. 3. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 43. Kennedy (Fiddlers Tune Book), vol. 1, 1951; No. 10, pg. 5. Kerr (Merry Melodies), vol. 1; No. 11, pg. 43. Raven (English Country Dance Tunes), 1984; pg. 159. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 58 (appears as “Hornpipe No. 101”).

X:1

T:Manchester Hornpipe [1]

M:C

L:1/8

R:Hornpipe

S:Honeyman – Strathspey, Reel and Hornpipe Tutor (1898)

Z:AK/Fiddler’s Companion

N:”Newcastle Style”

K:D

(3ABc|d>cd>A F>A d>f | e>dc>B A>ce>g | f>ga>f b>g e>d|

c>dB>c A>gf>e|d>cd>A F>A d>f | e>dc>B A>ce>g | f>ga>f b>ge>c|

d2 f2 d2||f>g|a>^ga>f d>f=g>a| b>^ab>g e>fg>^g | a>^ga>f b>ge>d|

c>dB>c A>gf>e| d>cd>A F>Ad>f | e>dc>B A>ce>g | f>ga>f b>ge>c | d2 (d2 d2) ||

 

MANCHESTER HORNPIPE [2]. English, Hornpipe. England, Yorkshire. G Major. Standard tuning. AABB. Source for notated version: an MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, England) [Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 10, pg. 30.

X:1

T:Manchester Hornpipe [2]

M:4/4

L:1/8

R:Hornpipe

K:G

dB|G2 GG GBdB|A2 AA ABcd|…

 

MANCHESTER HORNPIPE [3]. English, Old (Lancashire) Hornpipe (3/2 time). E Minor (Offord): C Minor (Walsh). Standard tuning. ABC (Offord): AABBCCDDEEFFGG (Walsh). John Offord (1990) compares this tune with a typical Galliard and finds many rhythmic similarities. The melody appears in Walsh’s Third Collection of Lancashire tunes (Lancashire Jigs, Hornpipes, Joaks, etc.) published around 1730. Offord, English Dance and Song, vol. 52, No. 2, Summer 1990; pg. 3.

X:1

T:Manchester Hornpipe [3]

B:Walsh

M:3/2

L:1/8

K:Cmin

A2 F4 f2 f2 ed| e2 B4 A2 G2 FE| A2 F4 f2 a2 gf| f2 c4 B2 A2 GF ::\

A2 F2 B2 G2 c2 A2| e2 B4 A2 G2 FE|A2 F2 B2 G2 c2 A2| e2 c4 B2 A2 GF::\

fgaf g2 a2 b2 ag| a2 gf g2 a2 =e2 dc|fgaf g2 a2 b2 ag|f2 c4 B2 A2 GF::\

FGAF A2 c2 A2 c2| EFGE G2 B2 G2 B2|FGAF ABcA cd=ec| f2 c4 B2 A2 GF::\

f2 F4 fg a2 gf| g2 E4 ga b2 ag|a2 F4 Bc _d2 cB|c2 f4 B2 A2 GF::\

c2 f4 g2 a2 gf|B2 f4 g2 a2 gf|A2 f4 g2 a2 gf| c2 f4 B2 A2 GF::\

fgaf gabg fgaf| g2 e4 B2 G2 FE|fgaf gabg fgaf| f2 c4 B2 A2 GF::\

AB c2 Bc _d2 cd e2| B2 G4 A2 G2 FG| AB c2 Bc _d2 cd =e2| f2 c4 B2 AG F2:|

 

MANCHESTER HORNPIPE [4].  English, Hornpipe. A Major. Standard tuning. AABB. Gibbons originally set the tune in the key of ‘C’ major. Gibbon’s “Hornpipe No. 101” is the tune most people recognize as the “Manchester Hornpipe.” The melody he labels in his ms. as “Manchester Hornpipe,” originally set in the key of ‘C’ major, is a different tune. Source for notated version: the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 59.

                       

MANCHESTER JIG. English, Jig. North‑West England. D Major. Standard tuning. AABB. Knowles (Northern Frisk), 1988; No. 88.


                       

MANCHESTER QUADRILLE. English, Quadrille Set. See entries for individual tunes in the set: “The Commerce,” “(Les) Beaux Arts,” “(Le) Industrie,” “(Le) Union,” and “Manchester Quadrille, Part 5.”

 

MANCHESTER QUADRILLE, PART 5. English, Quadrille Set. C Major. Standard tuning. AAB. The last part of a quadrille set, in 6/8 time. See entries for individual tunes in the set: “The Commerce,” “(Les) Beaux Arts,” “(Le) Industrie,” “(Le) Union,” and “Manchester Quadrille Part 5.” Source for notated version: a c. 1847 music manuscript by Ellis Knowles, a musician from Lancashire, England [Plain Brown]. Plain Brown Tune Book, 1997; pg. 51. 

X:1
T:Manchester Quadrille p5
B:Plain Brown Tune Book
O:Ellis Knowles
M:6/8
L:1/8

N:Posted to Tradtunes 01/01/03 by Tony Doyle
Q:120
K:C
G3 c2 c | A3 c2 G | G3 e2 c | d3 g2 z | G3 c2 c | A3 f2 d | c2 e dcd | c2 e c3 :|!
g3 {g}fef | e3 c'3 | g3 {g}fef | e2 g c'2 z | g2 e {g}fef | e3 g3 | f3 d'c'b | g2 b g3 ||

                       

MANCHESTER RACES. English, Jig. North‑West England. D Major. Standard tuning. AABB. The Manchester Races were once run on Kersall Moor, a common three miles northwest of Manchester, in Whitsun week from 1681 to 1847. Prior to that races had been held at Barlow Moor, on the southern border of Manchester, common so far back as 1647 (Richard Procter, Memorials of Manchester Streets, 1874). The racing was not continuous, for an anti-racing lobby succeeded in stopping the sport in Manchester for a period in the mid-18th century, but it resumed at Kersal Moor in 1760. The Manchester Cup was first run there in 1816, and a few years later there were permanent stands and rings. They held most years and were well attended by the 19th century, drawing many thousands of spectators. The races moved in 1847 to new grounds at nearby Castle Irwell, in a bend in the river, and were forced to move again (in 1867 to Salford) when the Irwell site was inherited by someone opposed to gambling. The races went in an out of fashion. As one writer complained “The Manchester races are entirely given up to the mill-hands” (Thomas Hay Sweet Escott, England: Her People Polity, and Pursuits, New York, 1880, pg. 92), yet by the end of the 19th century the prestigious Lancashire Chase, a steeplechase, was an established event on Easter Mondays. Buffalo Bill Cody’s Wild West Show visited the Manchester tracks on two different occasions, proving so popular that it stayed on longer than intended. After the 1903 visit, a Blackfoot Indian by the name of Charging Thunder decamped from the show and settled in Salford, where his descendents are today. Racing finally closed down in Manchester in 1963, due to financial difficulties. The melody appears in Cahusac’s Twenty Four Country Dances for the Year 1792 (London), along with dance figures. Knowles (Northern Frisk), 1988; No. 56.

                       

MANCHESTER REEL [1]. AKA and see "Cobbler's Hornpipe [2]," "Connolly's Reel," “Craig’s Pipes,” "The Edenderry Reel," "The Fiddler is Drunk," "The Foxhunter's (Reel) [1]," “Greg’s Pipe Tune,” “Gregg’s Pipes,” “Gun Do Dhuit Am Bodach Fodar Dhomh” (The Old Man Wouldn’t Give Me Straw), "The Kerry Huntsman," "Kregg's Pipes," "Píopaí Greig,” "Willie Wink(ie)'s Testament [2]," "Willy Wilky."

 

MANCHESTER REEL [2]. American, Reel. E Mixolydian. Standard tuning. AABB. Composition credited to one Zeke Backus. There were Backuses that were minstrel performers in the mid- and latter 19th century, including Charlie and Ned, although a Zeke Backus is not listed. Cole (1000 Fiddle Tunes), 1940; pg. 34. Ryan’s Mammoth Collection, 1883; pg. 59.

 

MANCHESTER REEL [3]. AKA and see “Galway Rambler.” Irish, Reel. The tune was recorded as the second in a medley with “Dunmore Lasses” and “Castlebar Traveler” by North Galway flute player Tom Morrision in 1927. Varlet & Spottswood note the tune is better known today as “The Galway Rambler.” Rounder CD-1087, Tom Morrison – “From Galway to Dublin” (1992. Reissue of 1927 original).

 

MANCHURIAN WALTZ. AKA and see "Hills of Manchuria" (Mandschurian Kukkulioilla). Russian, Waltz. A Modal. Standard tuning. AA'BB'CC'. A popular traditional waltz in Russia and Finland. In at least one source (the "Kammen International Dance Folio #9) the title is misidentified or mistranslated as "In the Trenches of Manchuria." Source for notated version: accordionist Walter Eriksson via Ruth Anne Fraley (Palo Alto, CA) [Matthiesen]. Matthiesen (Waltz Book II), 1995; pg. 34.

 

MANDERSTON HOUSE. Scottish, Strathspey. G Major. Standard tuning. AB. The melody was composed by Abraham Macintosh. Manderston House, in the Borders near Duns, has been rebuilt into a stately Edwardian mansion that at the present time is privately owned by Lord and Lady Palmer, but open to the public. In Macintosh’s time it was a property of the Homes’, built in 1790. Glen (The Glen Collection of Scottish Dance Music), Vol. 1, 1891; pg. 33.

 

MANDOLIN CLOG. American, Clog or Hornpipe. USA, North Dakota. C Major. Standard tuning. AABB. A traditional tune learned by Joe Pancerzewski from North Dakotan Elvy Osborne around 1931; Pancerzewsky could not remember the name so gave it this title because he thought it would sound good on the mandolin. Pancersewski (The Pleasures of Home), 1988; pg. 4.

 

MANDOLIN KING RAG. Old-Time, Country Rag. Hensley was the mandolin player for the group Walker’s Corbin Rattlers. The tune was later recorded by the Even Dozen Jug Band, featuring David Grisman on mandolin. Vocalion 02640 (78 RPM), Larry Hensley (1934. Recorded NYC).

 

MANDOLIN RAG. Old‑Time. County 548, H.M. Barre's Blue Ridge Ramblers - "Ridin' in an Old Model 'T'". Gennett 6750 (78 RPM), Doc Roberts.

 

MANDRAKS RANT. Northumbrian. One of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript.

 

MANDSCHURIAN KUKKULIOILLA. AKA and see "Manchurian Waltz."

 

MANDYLYN QUADRILLE MEDLEY. American, Quadrille. OKeh 40206 (78 RPM), 1924, John Baltzell {Baltzell was a native of Mt. Vernon, Ohio, the same home town as minstrel Dan Emmett (d. 1904). Emmett returned there in 1888, poor, but later taught Baltzell to play the fiddle.}

 

MANFREND. English, Jig. G Major. Standard tuning. AABB. Raven (English Country Dance Tunes), 1984; pg. 128.

                       


MANGAIRE SUGACH, AN. Irish, Single Jig. E Dorian. Standard tuning. AABB. Roche Collection, 1982; Vol. III, pg. 35.

                       

MANGAN’S. AKA and see “Papa’s Pet.” Irish, Reel. G Dorian. Standard tuning. AABB. The tune appears as “Papa’s Pet” in Jerry O’Brien’s Irish Folk Music. The “Mangan’s” title was McGrath’s. Source for notated version: students of New York fiddler John McGrath (1900-1955, originally from County Mayo) [O’Malley]. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 22, pg. 11.

X: 1

T: Mangan's

M: 4/4

L: 1/8

Q: 350

S: Luke O'Malley Volume 1

Z: Transcribed by Bill Black

R: Reel

K: Gdor

DG~G2 AGFG | (3AGF cF dFAF | DG~G2 AGFG | AFcA BGGF |

DG~G2 AGFG | AGAc dcAd | cAcd fagf | (3dfd cA BGG2 :|

|: dg{a}gf d2 cA | (3GAG FG Ac ~c2 | dg{a}g^f g2 =fg | agfg ag g2 |

gagf d2 cA | (3GAG FG Ac ~c2 | d^cde fagf | (3dfd cA BGG2 :|

                       

MANGAN’S FANCY (Aoibhneas Uí Mhongáin).  Irish, Reel. Breathnach (CRÉ  V), 1999; No. 182.

 

MANGISTER VOE. Shetland, Air or March (2/4 time). A Major. Standard tuning. AABB'. Composed by the late Shetland fiddler, composer, collector and teacher Tom Anderson. A voe in Shetland is the name for a sea inlet. Hunter (Fiddle Music of Scotland), 1988; No. 350.

                       

MANHATTAN HORNPIPE. American, Hornpipe. B Flat Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 104. Ryan’s Mammoth Collection, 1883; pg. 139.

X:1

T:Manhattan Hornpipe

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:Bb

d/c/ | .BF/B/ D/B/F/B/ | G/B/F/B/ D/B/F/B/ | c/B/c/d/ e/d/c/B/ | A/f/=e/g/ f/_e/d/c/ |

.BF/B/ D/B/F/B/ | G/B/F/B/ D/B/F/B/ | A/g/f/e/ d/c/B/A/ | BdB :: f | b/f/d/f/ g/f/d/f/ |

b/f/d/f/ g/f/d/f/ | b/a/g/f/ e/d/c/B/ | A/B/c/d/ .c.f | b/f/d/f/ g/f/d/f/ | =e/f/g/a/ b/g/_e/g/ |

f/=e/f/g/ f/_e/d/c/ | BdB :|

           

MANITOBA’S GOLDEN BOY.  Canadian, Two-Step. D Major. Standard tuning. AABB. Composed by Manitoba Metis fiddler Andy de Jarlis. The tune takes its name from The Golden Boy, a 5.25 meter tall statue, made in France, that has graced the dome of the Manitoba Legislature Building since its completion in 1920. The statue (depicting Mercury) was sculpted by Charles Gardet in Paris in 1918, and was placed in the hold of a ship for transport to Canada. However, the vessel was commandeered for service in World War 1, with the statue in the hold the entire time as it transversed the Atlantic. Golden Boy was finally unloaded in Halifax late in 1919, and shipped by train to Manitoba.

X:1

T:Manitoba’s Golden Boy

M:2/4

L:1/8

R:Two-Step

C:Andy de Jarlis

K:D

FG|:A2 d>e|f3 c/d/|edcB|A3 F|1 G2 e>e|e3 G|F2 d>d|

d2 F>G:|2G2 ed|cABc|(d4|d2) e>f||:gB gB|g2 a>g| fA fA|

f2 g>f|1 eAcd|egfe|(f4|f2) e>f:|2 eAcd|egfe|(d4|d2)||

 

MANLEY’S SLIDE. See “Maurice Manley's (Slide).”

           

MANOR DALE. American, Jig or March. USA, southwestern Pa. D Major. Standard tuning. AABB. Source for notated version: Clements MS, No. 3 [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 462, pg. 442.

                       

MAN-O'-WAR'S MAN, THE. English, Hornpipe. D Major. Standard tuning. AABB. Harding’s All Round Collection, 1905; No. 80, pg. 25.

X:1

T:Man-o’-War’s Man, The

M:C

L:1/8

R:Hornpipe

S:Harding’s All Round Collection  (1905)

Z:AK/Fiddler’s Companion

K:D

A2|:d2 d>A F2 A>F|D2D2 D>FA>F|B2 B>A G>Fe>d|d>ce>c A>ce>c|

D2 d>A F2 A>F|D2D2 D>FA>F|B2 Bd c>eA>c|d2f2d2:|

|:c>d|e>cA>c f>dA>d|g>fg>f g>ec>e|d2 d>c B>AG>F|E2e2e2 c>d|

e>cA>c f>dA>d|g>fg>f g>ec>e|d>cd>e f>ef>^g|a2a2 a>=gf>e:|

 

MAN'S A MAN FOR A' THAT, A. AKA – “Tho’ Women’s Minds.” AKA and see “(An) Gille Dubh Mo Laochan.” Scottish, Air (2/4 time). D Major. Standard tuning. AAB. The title comes from a Robert Burns song, composed in 1795, and one of his most famous lyrics, set to an older Gaelic song called “An Gille Dubh Mo Laochan.” Brock Bower, writing in the Smithsonian Magazine (March, 2001) believes Burns’ lyric was greatly influenced by Thomas Paine’s essay Rights of Man, and the parts of the lyric are paraphrases. Burns sent the song to his editor with the note that writers should usually stick to ‘love and wine.’ He referred to Payne’s work and said his lyric was ‘two or three pretty good prose thoughts (from the essay), inverted into rhyme.”

***

Is there for honest poverty

That hangs his head, and a' that?

The coward slave we pass him by,

We daur be puir for a' that.

For a' that, and a' that

Our toils obscure, and a' that;

The rank is but the guinea stamp

The man's the gowd for a' that.

***

There is also a waltz time version (see below). Johnson, Scots Musical Museum III, 1790. Neil (The Scots Fiddle) , 1991; No. 179, pg. 233. O’Farrell (Pocket Companion, vol. III), c. 1808), pg. 10.

X:1

T:Man’s a man for a that, A

M:C

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:D

(A/B/) | d>edA Bde>g | f>edA B2 B f/e/ | d>edA Bde>g | fedB A2 A :|

|: g | f>gaf g>feg | f>gad B2 Bg | fgaf/a/ beeg | fedB A2 A :|

X:2
T:A Man's a Man for A' That
D:World of Arthur Spink
Z:Nigel Gatherer
R:waltz
M:3/4
L:1/4
K:A
E | A2B | A2E | F2A | B2d | c2B | A2E | F3  | F2
E | A2B | A2E | F2A | B2d | c2B | A2F | E3  | E2 ||
d | c2d | e2c | d2c | B2d | c2d | e2E | F3  | F2
d | c2d | e2c | f2B | B2d | c2B | A2F | E3  | E2 |]

 

MANTLE ON MANTLE (Falluinn Air Fhalluinn). Irish, Air (6/8 time). D Dorian. Standard tuning (fiddle). AB. Source for notated version: sculptor Patrick MacDowell, born in Belfast 1799, d. 1870, via Forde (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 515, pp. 279‑280.

 

MANTLE SO GREEN [1] (An Fallaing Com Glas). AKA and see "I Courted Lovely Sally." Irish, Air (3/4 time, "tenderly"). C Major (O'Neill): F Major (Darley & McCall). Standard tuning (fiddle). One part. The text for this air was a common 19th century broadside in which a young man, back from Waterloo, tests to see if his love (who at first does not recognize him) has remained true; Cazden (et al, 1982) collected a version called "Famed Waterloo" (with a different tune) in the Catskill Mountains of New York. See also Joyce’s variant “Mantle so Green (2) (The).” Sources for notated versions: fiddler Courtney Jones (Avoca, Co. Wicklow, Ireland) [Darley & McCall]; Mrs. Fitzgerald [O’Neill]. Darley & McCall (Darley & McCall Collection of Irish Music), 1914; No. 6, p. 2. O'Neill (Music of Ireland: 1850 Melodies), 1903; No. 357, p. 62.

X:1

T:Mantle So Green [1]

M:3/4

L:1/8

R:Air

N:”Tenderly”

S:O’Neill – Music of Ireland (1903), No. 357

Z:AK/Fiddler’s Companion

K:C

ef|g2e2d2|cd e2 dc|A2 G2 G2|G4 GA|c2c2d2|e2c2 ce|g2f2e2|d4 GA|c2c2d2|

e2c2 ce|g2f2d2|d4 a2|g2e2d2|cd e2 dc|A2 G2 G2|G4||

 

MANTLE SO GREEN [2], THE. Irish, Air (3/4 time). G Mixolydian. Standard tuning (fiddle). AB.

***

As I went a-walking one morning in June,

To view the green fields and the meadows in bloom,

I espied a young damsel, she appeared like a queen,

With her costly fine robes and her mantle so green.

***

See also Darley & McCall’s variant, “Mantle so Green (1) (The).”

Source for notated version: “Mr. J. McKenzie of Newtownards, a great lover of Irish Music and of the corresponding folk songs, sent me (this air) about 30 years ago” (i.e. c. 1875). Joyce (Old Irish Folk Music and Songs), 1909; No. 325, pg. 151.

X:1

T:Mantle so green, The

M:3/4

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:G

GA|B2G2A2|GE D2 GA|B2G2GA|G3z de|g2=f2 ed|e2G2c2|d2d2 e2|d3z de|

g2=f2 ed|e2G2c2|d2d2 ef|g4 dc|B2G2A2|GE D2 GA|B2G2 GA|G3z||

 

MANTUA MAKER’S FROLIC, THE. English, Country Dance Tune (2/4 time). B Flat Major. Standard tuning (fiddle). AABBCC. Mantuas were a woman’s loose gown, called a mantie or mantua in the 17th and 18th centuries from the French word manteau. Alternately, it referred to a mantle fashionable in the second and third decade of the 19th century, also for women, derived from the custom of wearing a “plaid."  However, since they were of open crochet or lace work, they didn't hide the face and thus were more stylish for dance assemblies.  A dictionary also equates the term ‘mantua-makers’ with dressmakers, and says a mantua is a “woman’s loose outer skirt.” Mantuas were manufactured as an Edinburgh  women’s cottage industry in small workshops or at home. The melody was printed in John Johnson’s Two Hundred Favourite Country Dances, vol. 8 (London, 1758), David Rutherford’s Compleat Collection of 200 Country Dances, vol. 2 (London, 1760), Straight and Skillern’s Two Hundred and Four Favourite Country Dances, vol. 1 (London, 1775), as well as Charles and Samuel Thompson’s 1765 collection. The melody is also contained in the large music manuscript collection of Northumbrian musician William Vickers (1780). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 7.

X:7

T:Mantua Makers Frolic, The

M:2/4

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:Bb

B2 (3GFE|D[B,B] DF|B2 (3dcB|AFAc|B2 (3GFE|D[B,B] DF|d>B F>A|B4:|

|:B>df>d|b>dc>B|A>Bc>A|a>cB>A|G>AB>G|g>ed>c|B>G B/A/G/^F|G4:|

|:f>d (3dcB|b>a (3agf|e>d (3dcB|A>GF>E|DFBd|Egce|cAFA|B4:||

                       


MANUEL'S BAR WALTZ. Cajun, Waltz. USA, southwestern Louisiana. G Major. Standard tuning (fiddle). AA(Vocal)AAABB(Vocal)AA. See also "Valse de Prison." Source for notated version: Milton Molitor (Big Mamou) [Francois]. Francois (Yé Yaille Chère!), 1990; pp. 412-413. Big Mamou Records 101, Milton Molitor.

                       

MANUITTE, LA.  French, Country Dance (2/4 time). C Major. Standard tuning. AABBCCDD. From the contradance book (tunes with dance instructions) of Robert Daubat (who styled himself Robert d’Aubat de Saint-Flour), born in Saint-Flour, Cantal, France, in 1714, dying in Gent, Belgium, in 1782. According to Belgian fiddler Luc De Cat, at the time of the publication of his collection (1757) Daubat was a dancing master in Gent and taught at several schools and theaters.  He also was the leader of a choir and was a violin player in a theater. Mr. De Cat identifies a list of subscribers of the original publication, numbering 132 individuals, of the higher level of society and the nobility, but also including musicians and dance-masters (including the ballet-master from the Italian opera in London). Many of the tunes are written with parts for various instruments, and include a numbered bass. Daubat (Cent Contredanses en Rond), 1757; No. 11.

X:1

T:Manuitte, La

M:2/4

L:1/8

S:Daubat – Cent Contredanses en Rond (1757), No. 11

Z:AK/Fiddler’s Companion

K:C

gg/e/ (.c/4.d/4.e/4.f/4.g/.a/) | gg/e/ (.c/4.d/4.e/4.f/4.g/.f/) | ee/c/ d/(.f/.d/.B/) | c2 C2 :|

|: c/d/e/c/ d/e/f/d/ | e/f/g/e/ f/g/a/f/ | e/g/e/c/ d/f/d/=B/ | c2C2 :: cgg_a | {b}ag/g/ g2 |

f_e/d/ _ef | {e}d2d2 :: =ed/c/ f2 | ed/c/ g2 | ed/c/ dc/B/ | c2C2 :|

                       

MANX SWORD DANCE. English, Jig. D Major. Standard tuning (fiddle). ABCC. A traditional tune from the Isle of Mann.

X:1
T:Manx Sword Dance
M:6/8
L:1/6
S:Philip Leighton Stowell
C:Trad
O:Isle of Man
Q:126
R:Jig
N:The sequence
Z:Colin Messer 9-Dec-2002
R:AB
K:D
A2A A2F|A2A A2F|B2B B2A|B2c d2B|A2A A2F|A2B A2F|f2e d2B|A2B A2F||
||A2A A2F|A2B A2F|B2B B2A|B2c d2B|A2A A2F|A2B A2F|f2e d2B|A2c d3||
||:f2f f2d|f2g f2d|a2f e2d|B2d B2A|f2f f2d|f2g f2d|a2f e2d|B2c d3:||

                       

MANY A PLEASANT HOUR MY LOVE AND I DID PASS. Irish, Air (4/4 time). E Minor. Standard tuning. AB. Source for notated version: Hugh O'Beirne, a professional fiddler of Ballinamore, Co. Leitrim, c. 1846, via Forde (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 632, pg. 322.

 

MANY’S A WILD NIGHT. Irish, Polka. D Major. Standard tuning. ABCD. The tune comes from Sliabh Luachra (the Cork/Kerry border region) fiddle master Padraig O’Keeffe. A four-part version of the tune is Johnny O’Leary’s “Pa Keane’s.” Gael Linn CEF 176, Jackie Daly - “Many's a Wild Night” (1995. According to Paul de Grae, Daly had the tune from a collection of tunes written out by Padraig O'Keeffe for his fiddle pupil Paddy O'Connell, of Cordal, County Kerry).

X:1

T:Many’s a Wild Night

M:2/4

L:1/8

Q:240

FG | A>B AF | FE EB/c/ | dd/d/ dc/B/ | cc/c/ cA/B/ |

cf fe/d/ | ce ec/B/ | AB/c/ df | e2 e2 |

aa a^g/f/ | ee ec | Bc/B/ AF | E2 Ec/d/ |

ee fe/d/ | cA FA | EF A>A | A2 AF/G/ |

Ad dc/B/ | AF FE/F/ | GB BA/G/ | FD D2 |

Ad dc/B/ | AF FE/F/ | GB BA | D2 D2 |

dA/d/ fa | ge e/f/e/d/ | cA/c/ eg | fd f/g/f/e/ |

dA/d/ fa | ge ed | cb ba | d2 d2|

 

MAOILE NAN CROGAICHEAN. AKA and see "Orkney [1]."

 

MAOL MOUNTAIN. AKA and see "The Groves of Gneeveguillia," “The Queen’s Polka,” “Tom Barret’s,” “Top of Maol,” “Top of the Maol.” Irish, Polka.

 

MAOLAITHEOIRÍ, NA. AKA and see “The Dimmers.”

 

MAORAOM RUAD, AN. Irish, March. D Major and G Major. Standard tuning. Twenty parts plus waltz and slip jig. Roche Collection, 1982; Vol. II, pgs. 64‑66.

 

MAPLE LEAF. Old‑Time, Country Rag. USA, Oklahoma (Econtuska County). D Major. Standard tuning. AABCC. Thede (The Fiddle Book), 1967; pg. 147.

 

MAPLE LEAF JIG. Canadian (?), New England; Jig. G Major ('A' part) & D Major ('B' part). Standard tuning. AABB. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 9. Page (Ralph Page Book of Contras), 1969; pg. 19. Sweet (Fifer’s Delight), 1965/1981; pg. 35.

X:1

T:Maple Leaf Jig

L:1/8

M:6/8

K:G

B2G G2E|D2B B2G|F2A AGF|G2B BGA|B2G G2E|D2B B2G|

F2A AGF|G3 F2G:||:A2A A^GA|BA^G A2d|d2^c c2e|e2d dFG|

A2A A^GA|BA^G A2d| d2^c cBA|1 d3 d3:|2 d3 =c3|]

 

MAPLE LEAF POLKA. New England, Polka. C Major. Standard tuning (fiddle). AA'BB'. Miller & Perron (101 Polkas), 1978; No. 69.

 

MAPLE LEAF (REEL), THE. Irish, Reel. E Minor. Standard tuning (fiddle). AABB. Composed by whistle player Darach de Brún, of the band Oisín, written for his own wedding in April, 1976. He and his wife held their wedding reception at the Maples Hotel in Dublin, hence the title. Source for notated version: a c. late 1970's record by the group Oisín [Black]. Black (Music’s the Very Best Thing), 1996; No. 88, pg. 45. Miller (Fiddler’s Throne), 2004; No. 200, p. 125. Gael-Linn CEF 083, “Donncha Ó Briain” (1979).

See also listing at:

Alan Ng’s Irishtune.info

X:1

T:The Maple Leaf

C:Darach de Bru/n

R:Reel

B:The Golden Eagle, compiled by Donncha O/ Briain

L:1/8

Z:transcribed by Gordon Turnbull

Q:350

M:C|

K:Em

~E3 F GE ~E2 | B2 AB AGED | ~E3 F GFGA | B2 dB cBAG |

~E3 F GE ~E2 | B2 AB AGED | Beed BAGB | c2 Bc AGED :|

Beed ef g2 | Beed ed (3Bcd | Beed efge | a2 eg fded |

Beed ef g2 | Beed ed (3Bcd | a2 eg fedB | c2 Bc AGED :|

X:2

T: Maple Leaf

S: "Oisin"

C: Darach de Brún?

Z: transcribed by B.Black

Q: 350

R: reel

M: 4/4

L: 1/8

K: G

D |: E3 F GE E2 | B2 AB AGED | EDEF GFGA | B2 dB BAGF |

E3 F GE E2 | B2 AB AGED | Beed BAGA | B2 B2 AGFE :|

Beed ef g2 | Beed edBA | Beed efge | a2 eg fedA |

Beed ef g2 | Beed edBA | a2 eg fedA | B2 B2 AGED :|

X:3

T:Maple Leaf, The

R:reel

C:Darach de Brun

Z:id:hn-reel-119

Z:transcribed by henrik.norbeck@mailbox.swipnet.se

M:C|
L:1/8

K:Edor

~E3F GE~E2|B2AB AGED|EDEF|GFGA|B2dB AGED|

~E3F GE~E2|B2AB AGED|Beed BA~A2|B2AB AGED:|

|:Beed efg2|Beed edBA|Beed efge|a2eg fedA|

Beed efg2|Beed edB2|a2eg fedA|B2AB AGED:|

 

MAPLE LEAF TWO-STEP. Canadian, Two‑Step or March. C Major. Standard tuning (fiddle). AAB. Composed by Canadian fiddler Ward Allen. Page (Ralph Page Book of Contras), pg. 19. Flying Fish FF70572, Frank Ferrel – “Yankee Dreams: Wicked Good Fiddling from New England” (1991). MCA Records MCAD 4037, “The Very Best of Don Messer” (1994).

X:1

T:Maple Leaf Two-Step

C:Ward Allen

R:2-step

M:4/4

L:1/8

Z:Transcribed by Bruce Osborne

K:C

e2 f2 ^f2|:g4 a4|ag e2 c4|e4 dc E2|G6 c2|

B2 G2 D2 E2|F6 EF|A2 G2 E2 G2|A2 G4 ef|

g4 a4|ag e2 c4|e4 dc E2|G6 c2|

B2 G2 D2 E2|F4 A4|G2 Bd gdBd|cBcd c4:|

|:G6 ^FG|A2 G2 E2 G2|c4 -cGca|g6 ^f2|

f3 g f2 d2|B3 c B2 A2|G3 A G2 F2|E2 G2 ^F2 A2|

G6 ^FG|A2 G2 E2 G2|c4 -cGca|g6 ^f2|

f3 g f2 d2|B3 c B2 A2|G2 Bd gdBd|cBcd c4:|

 

MAPLE ON THE HILL. American. USA, Central Pa. In the repertory of Buffalo Valley, Pa., region dance fiddler Ralph Sauers.

 

MAPLE SUGAR. Canadian, American; Reel. Canada; Ontario, Maritimes. USA; northern New York, Pa., Missouri. A Major ('A' part) & E Major ('B' {or 'C'} part) {Bain, Beisswenger & McCann, Bohrer, Phillips, Silberberg}: G Major ('A' part) & D Major ('B' part) {Bayard}: D Major {Perlman}. Standard tuning. AA’B (Perlman): ABB' (Bayard): AA'BB' (Bain, Beisswenger & McCann): ABAC (Bohrer/Kibler): AA'BB'CC'BB' (Phillips): AA’BB’AA’CC’ (Silberberg). Composed by Ontario fiddler Ward Allen, a professional fiddler who won contest after contest in Canada the 1950’s and had a successful career playing on the radio. It is a tune which has varied considerably in the vicissitudes of the ‘fold process’ and has even acquired a set of words. In addition to being a staple of ‘down east’ Canadian fiddling, it has been popular in northern New York and northern New England; as Vic Kibler (Hamilton County, New York) said, "At every fiddle contest they all played it." It was in repertory of Buffalo Valley, Pa., region dance fiddler Harry Daddario. Shetland fiddler Aly Bain's version (which he calls "traditional Canadian") is much superior to that collected by Bayard (which is really one strain which is modulated to another key), who thought it a strain of a song air transformed into a dance tune. Most Canadian fiddlers play the tune in the keys of ‘A’ and ‘E’ (as did Missouri fiddler Lonnie Robertson), though in other parts of North America the tune is rendered throughout in the keys of ‘A’ or ‘D’ Major with no key change in the second part. Lonnie Robertson was a fiddler skilful enough to float a successful career as a performer on the radio and sundry other gigs, and employed “Maple Sugar” as the opening theme for one of his programs, thus popularising it in the Mid-west. Sources for notated versions: Bradley Grimshaw (northern New York, 1958) [Bayard]; Vic Kibler learned it from Fort Ann, New York fiddler Jimmy Hamblin [Bohrer]; Pete Sutherland (Vt.) [Phillips]; Sidney Baglole (b. 1912, Southwest Lot 16, West Prince County, Prince Edward Island; now resident of Freetown) [Perlman]; Lonnie Robertson (1908-1981, Springfield, Mo.) [Beisswenger & McCann]. Bain (50 Fiddle Solos), 1989; pg. 46. Bayard (Dance to the Fiddle), 1981; No. 365, pg. 358. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 122. Bohrer (Vic Kibler), 1992; No. 12, pg. 12. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 162. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 83. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 94. Caney Mountain CLP-233, Lonnie Robertson – “Fiddle Tunes, Oaark Style, vol. 2” (c. 1978). Condor 977‑1489, "Graham & Eleanor Townsend Live at Barre, Vermont." F&W Records 6, Fireside String Band ‑ "Square Dance Tunes for a Yankee Caller." GRT Records SP 203, “Ward Allen Presents Maple Leaf Hoedown, Vol. 1” (reissue). GRT Records 9230-1031, “Best of Ward Allen” (1973). John Edwards Memorial Foundation JEMF‑105, Duane Perry ‑ "New England Traditional Fiddling" (1978). Rodeo Records RLPCD 8045, Ward Allen – “It’s a Saturday Night Barn Dance” (c. 1996, compilation).

See also listing at:

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

X:1

T:Maple Sugar

C:Ward Allen

M:2/4

L:1/16

Z:Transcribed by Bruce Osborne

K:A

[A2e2] [c2e2][d2e2]|[A4e4] [A3e3][Af]|[A2e2][d2e2] [c2e2][B2e2]|[c4e4] [c3e3][de]|[ce][Be][A2e2] [d2f2][c2e2]|

[c2e2][B2e2] [B2e2][c2e2]|[d3f3][ce] [c2e2][Be][ce]|[d2e2][c2e2] [ce][Be][ce][de]|[ce][Be][A2e2] [c2e2][d2e2]|

[A4e4] [A4e4]|[A4e4] [A3e3][ce]|[d2e2][c2e2] [ce][Be][A2e2]|[c4e4] [c3e3][de]|

[c2e2][B4e4][c2e2]|[d3f3][ce] [c2e2][G2B2]|[B2e2][A2e2] [Ae]GAB|[A2e2]:|

|:z2 C2D2|[E4A4] [E3A3][FA]|E2C2 E2A2|[c4e4] [c3e3][ce]|[B2e2][A2e2] [d2f2][c2e2]|

[c2e2][B2e2] [B2e2][c2e2]|[d4f4] [c2e2][Be][ce]|[d2e2][c3e3][Be][ce][de]|[ce][Be][A2e2] C2D2|

[E4A4] [E3A3][FA]|E2C2 E2A2|[c4e4] [c3e3][ce]|[B2e2][A2e2] [d2f2][c2e2]|

[c2e2][B2e2] [B2e2][c2e2]|[d4f4] G3A|[B2e2][A4e4][B2e2]|[A2e2]:|

K:E

z2 G2A2|B4 B3c|B2G2 B2e2|g4 g3f|e2B2 c2B2|

f4 f3g|f2d2 c2d2|e4 d2c2|B2G2 A2c2|

B4 B3c|B2G2 B2e2|g4 g3f|e2B2 c2B2|

f4 f3g|f2d2 c2d2|e4 e3f|e2:|

 

MAPLE TREE, THE (An Crann-Malpais). Irish, Reel. A Major. Standard tuning. AB (O'Neill/1850): AA'BB' (O'Neill/Krassen). 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. 129. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1381, pg. 257.

X:1

T:Maple Tree, The

M:C|

L:1/8

R:Reel

S:O’Neill – Music of Ireland (1903), No. 1381

Z:AK/Fiddler’s Companion

K:A

af | e2 cB ABAF | EFAc dcBA | BABc dcBc | Aagf eagf |

e2 cB ABAF | EFAc dcBA | BdcB Aaec | BABc A2 || ed |

cAce aece | dcBc dfed | cAce aece | Bbba gfed |

cAce aece | dcBc dfed | c2 Ac dBGB | Aaec A2 ||

 

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