The Fiddler’s
Companion
© 1996-2009 Andrew Kuntz
_______________________________
HOME ALPHABETICAL FILES REFERENCES
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.
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,
MAMA, WHERE YOU AT? AKA and see "Hey Mom." First Cajun fiddle recording. The song
was written by Amidie Breaux. Victor 21769 (78 RPM),
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,
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
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
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
T:Mammy’s
Pet [1]
M:C
L:1/8
S:Levey – Dance Music of
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,
MAMOU TWO-STEP [1]. Cajun, Two-Step (4/4 time).
MAMOU TWO-STEP [2]. Cajun, Two-Step (4/4 time).
MAMOU TWO-STEP [3]. Cajun, Waltz. A waltz time setting of
the “Mamou Two-Step.” Green Linnet GLCD 3107, Aly Bain
& Phil Cunningham – “The
MAN EATER. Old-Time, Breakdown.
MAN FROM BARNAGROVE, THE. AKA – “Reavy’s.” Irish, Hornpipe. E Dorian.
Standard tuning. AABB. Composed by
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
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 [
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,
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
See also listing at:
Alan Ng’s Irishtune.info |
X:1
T: Man of
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
L:1/8
Z:transcribed by Juergen Gier
K:
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
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
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
X:1
T:
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 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
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 ||
__________________________________
HOME ALPHABETICAL FILES REFERENCES
© 1996-2009 Andrew Kuntz
Please help maintain the viability of the Fiddler’s
Companion on the Web by respecting the copyright.
For further information see Copyright and Permissions Policy or contact the author.