The Fiddler’s
Companion
© 1996-2008 Andrew Kuntz
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Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s
Companion work fine in most abc conversion programs. For example, I use
abc2win and abcNavigator 2 with no problems whatsoever with direct
cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s
into the concertina.net converter results in double-spacing. For
concertina.net’s conversion program to work you must remove the spaces
between all the lines of abc notation after pasting, so that they are
single-spaced, with no intervening blank lines. This being done, the F/C abc’s will convert to standard notation nicely. Or, get a
copy of abcNavigator 2 – its well worth it.
[AK] |
MAR CAITTEAR AN t-AIRGEAD. AKA and see "How the Money Goes."
X:1
T:
M:C
L:1/8
R:Air
N:”Slow and bold”
S:Skinner –
Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:E
B,>E G<E B<E ({d}e2) | c>e B>e c<F ({G/F/^E/}F>)G | B,>E
G<E B<E ({d}e2) |1
({A,/E/}c>)e
B>e G<E ({F/E/D/}E) z :|| ({A,/E/}c>)e B>e G<E ({F/E/D/}E) a ||
(g>e b>e {d’}e’>b
g>e) | (d>Bf>d a>fd>B) | (g>eb>e
e’>bg>e) |
(ab/c’/) f>b ({g/a/}g>)e (eb) | (g/f/e) b>g (3.c’.b.g (3.e.B.G | d/c/B
(f>d) (3afd (3.B.A.F |
((3BEG) ((3Bdg) ((3bge) e’>d’ |
(c’>e’) (b>e’) ({g/a/}g>)e [G2B2e2] ||
MAR HILLS
STRATHSPEY. Scottish, Strathspey. G Major. Standard tuning. AABB. Composed by Kirkmichael, Perthshire, fiddler Robert Petrie. Petrie
(Collection of Strathspey Reels and
Country Dances), 1790; pg. 8.
X:1
T:Marr Hills Strathspey
C:Robert Petrie
S:Petrie's Collection of Strathspey Reels and Country Dances
&c., 1790
Z:Steve Wyrick <sjwyrick'at'astound'dot'net>,
N:Petrie's
First Collection, page 8
L:1/8
M:C
R:Strathspey
K:G
"^Slow"
g|
GB/c/ d>B e>g{e}d{c}B | G>Bd>B (e/d/c/B/) A>B| G>Bd>B
eg/f/ g>d | (e/f/e/f/) (a/g/f/e/) dBB
:|
f
| (g/f/g/a/) ge d>gd<B |
g>ag<e d<BB>d | (g/f/g/a/) g>e d>eg>a | (g/f/g/a/) g<e d<BB :|
MARACAIBO REEL, THE. Irish, Reel. E Minor. Standard. AABB. Composed
by Chicago tin whistle player Johnny Harling, who (explains Bill Black) was
watching a pirate movie at the time this tune came into his head. The pirates’
ship was headed for Lake Maracaibo, Venuzuela, and hence the title. Black (Music’s the Very Best Thing), 1996; No.
273, pg. 147.
X:1
T: The
C: Johnny Harling
Q: 350
R: reel
Z:Transcribed by Bill Black
M: 4/4
L: 1/8
K: G
B/d/ | e3 d efge | aged B3 G | E3 F G3 A | BedB A2 (3Bcd |
e3 d efge | aged B3 G | E3 F GBdB | AGED E3 :|
F | D3 E FGAF | GFED EFGA | Be e2 fd d2 | gfed e3 d |
B3
A GBdB | A3 G FADA | EB B2 GBdB | AGED E3 :|
MARBHNA LUIMNÍ. Irish, Slow Air (4/4 time). G Major/Mixolydian. Standard. One part. A
popular air first printed in Neale's A
Collection of the Most Celebrated Irish Tunes (Dublin, 1726). Ó Canainn (Traditional Slow Airs of Ireland), 1995;
No. 112, pg. 95.
MARBLE HILL. Canadian, Jig. Canada, Cape Breton. D Major. Standard. AABB’. Composed
by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 51.
MARCAC AG AN AONAC, AN. AKA and see "The
Jockey at the Fair."
MARCEL AUCOIN. Canadian, Jig. Canada, Cape Breton. B Minor. Standard. AABBAACC.
Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 214, pg. 62.
MARCEL MARTIN. American, Reel. E Major. Standard. AABB. Composed by William Welling
(Averill Park, New York) who told Susan Songer (Portland Collection) that Marcel Martin was his tough boss of long
ago, when a young Welling was employed as a dishwasher. “I wrote this tune to
get over my dislike of him,” quotes Songer. Welling is the author of The Hartford Collection. Songer (Portland Collection), 1997; pg. 129. Great Meadow Music GMM 2002, Rodney Miller & David
Surette – “New Leaf” (2000).
MARCEL MESSERVIER. French-Canadian, Jig. D Major. Standard.
AA’BB’CCDD.
X:1
T:Marcel Messervier
M:6/8
L:1/8
K:D
F2B BcB | F2B BcB | E2A ABA | cAB cde | f2B BcB | f2B Bde | fgf edc |1 B6 :||2 B3A3 ||
DFA fed | cBc B2A | fed ceg | bag fdA | DFA fed | cBc B2A | fed cba |1 gBc d3:||2 gBc dcd ||
efe edc | e3 Acd | efe dcB | B2A Acd | efe edc | e3 Acd | efe B2c | d6 :|| DFA DFA | BAF D3 |
DFA
DFA | BAF E3 | DFA DFA | BAF D3 | DFA cBA | GFE D3 :||
MARCH, BOYS, MARCH. AKA and see "The Merry
Bagpipes."
MARCH FOR DIDACE. Canadian, Pipe March (cut time). Canada, Cape Breton. A
Major/Mixolydian. AABBCCDD’. A ‘double-tonic’ tune composed by Inverness, Cape
Breton, fiddler Jerry Holland. Cranford (Jerry
Holland’s), 1995; No. 7, pg. 3.
MARCH FOR THE 3rd
REGT. OF FOOT, LORD
AMHERST’S. English, March. Composed by General John Reid
(1721-1807), a Scottish musician and military figure who served in America
during the Revolutionary War under Lord Jeffrey Amherst. The march was printed
in Reid’s Set of Marches for two
clariments, hautboys, or German flues, two horns & a bassoon (London,
1778). The piece was reprinted (without the horn parts) in a publication called
Martial Music (Albany, 1807),
compiled by Timothy Olmstead, a Connecticut psalmodist and composer who had
also been a Connecticut fifer during the war. Raoul Camus believes Olmstead’s
publication is essentially military music from the Revolutionary War era. New World Records 80276-2, “Music of the American
Revolution: The Birth of Liberty.”
MARCH FOR THE 76th
REGT. LORD MACDONALD’S HIGHLANDERS.
AKA and see “Lord
Macdonald’s Highlanders.”
MARCH FROM NEWARK No. 42.
English, March. D Major. Standard. AABBCCDD. Gibbons originally set the
tune in the key of F major in his mss. 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; pgs. 36-37 (set for two instruments).
MARCH
FROM OSCAR AND MALVINA. AKA and see "Leslie's/Lesley's March [1],"
"Duplin House," "Blue Bonnets [2]." Irish (?),
March (6/8 time). D Major. Standard. AABBCC. Composed (as part of a Rondo) by
William Reeve and published in London, England in 1791, scored for harp and
uilleann pipes. The opera Oscar and
Malvina, or the Hall of Fingal, was
a long-running pantomime staged several times in London in the last decade of
the 18th century into the early years of the next. It featured for a
few years the playing of uilleann piper O’Farrell (whose first name is not
known, but may have been Patrick), whose tutor and collections of music are
important snapshots of the historical repertoire of the times. O’Farrell
(Pocket Companion, vol. 1), c. 1805;
pgs. 46 (appears as “Highland March in Oscar and Malvina”). Claddagh CC30, The Chieftains ‑ "Boil the Breakfast Early"
(1979). Shanachie 78002, “Solas” (1996).
X:1
M:6/8
L:1/8
R:March
S:O’Farrell – Pocket Companion, vol. 1 (c. 1805)
Z:AK/Fiddler’s Companion
K:D
d3d3 | dcB ABc | dcB AGF | F/G/AF E2D | e3e3 | fed eag | fed dAB |
d>ef/g/ e2d :: fdd eAA | fed eAA | gee fBB | ga/g/f/e/ fBB | fdd eAA |
fg/f/e/d/ ebg | fed dAB | d>ef/g/ e2d :: dfa dfa | dfa agf | egb egb | egb bge |
dfa
dfa | dfa a2g | fed dAB | d>ef/g/ e2d :|
MARCH HARE, THE. English, Jig. D Major. Standard tuning. AABB.
Raven (English Country Dance Tunes),
1984; pg. 122.
X:1
T:March Hare, The
M:6/8
L:1/8
R:Jig
K:D
A/G/ | FAA BAA | dAA BAA | FAA dfe |
edB B2 A/G/ | FAA BAA |
dAA BAA dff afe | dBB B2 :: f | fbb
faa | fbb afe | fbb faa |
fga gfe | fbb faa | fbb afe | def
afe | dBB B2 :|
MARCH IN BLUEBEARD. AKA – “Blue Beard’s March.”
English, March. D Major. Standard tuning. AABA. A popular march from the period
opera Bluebeard, based on the fairy
tale of a famous nobleman and his over-curious wife. The original story was
written by Charles Perrault and first published in 1698, and it was turned into
an opera by Grétry called Barbe Bleue.
Michael Kelly saw a production in Paris in 1790 and paid Colman to make a
libretto out of it in which the villain became Turkish rather than French. When
Blue Beard, or Female Curiosity was
staged in 1801 at the Theatre Royal, Drury Lane, reviews were mixed but it
proved popular with audiences. It employed an impressive grand cavalcade across
mountains, which used model figures and animals growing larger at each
successive appearance. Boys were also hired for the cast to preserve the
perspective. It was revived at Covent Garder in 1811, when 16 white performing
horses were used, “to thunders of applause.” Kelly himself acted in the play
and told this amusing story:
***
At the end of the piece, when Blue Beard is slain by Selim, a most
ludicrous scene
took place. Where Blue Beard sinks under the stage, a skeleton rises,
which when
seen by the audience was to sink down again; but not one inch would the
said
skeleton move. I, who had just been killing Blue Beard, totally
forgetting where I
was, ran up with my drawn sabre, and pummelled the poor skeleton’s head
with
all my might, vociferating, until he disappeared, loud enough to be
heard by the
whole house, “(Damn) you, why don’t you do down?” The audience were in
roars
of laughter at this ridiculous scene, but good-naturedly appeared to
enter into the
feelings of an infuriated composer. (quoted
in the New York Times Sept., 23,
1877)
***
“March from Blue Beard” was
immensely popular from the beginning of the 19th century, for it
appears in a number of musicians’ copybooks and manuscripts, including those of
James Haslingden (from the south or Midlands of England), dated 1827, and an
anonymous Staffordshire musician’s manuscript, dated 1820. In America, it
appears in the music manuscript copybooks of Morris Woodruff (1803, Litchfield,
Conn., as “The Blue Bards March, or Female Curiosity”), John Beach (1801-1825,
Gloucester, Mass.), Daniel Henry Huntington (Onondaga, N.Y., 1817), George
White (Cherry Valley, N.Y., c. 1790-1830), Joel Allen (1800-1817, Southington,
Ct.), and the Bellamy Band (Hamden, Ct., 1799-1804). In print it can be found
in Edward Riley’s Flute Melodies (New
York, 1814-1816), P.H. Munson’s Figures
of the Newest and Most Fashionable Country Dances (Hudson, N.Y., 1808) and
in the various editions of Alvan Robinson’s Massachusetts
Collection of Martial Musick (1818-1826), to name just a few. One of the
oddest instances of the tune is on the barrel organ from the polar expedition
of Admiral Parry of 1810. In place of a ship’s fiddler (common in those days),
Parry introduced a mechanical barrel organ on board ship to provide
entertainment and a vehicle by which the men could exercise (i.e. by dancing).
“March in Bluebeard” was one of eight tunes on barrel no. 4. This tune may be
the “Slow March in Bluebeard” that was included in the music manuscript
copybook of Henry Livingston, Jr.
Livingston purchased the estate of Locust Grove, Poughkeepsie, New York,
in 1771 at the age of 23. In 1775 he was a Major in the 3rd New York
Regiment, which participated in Montgomery’s invasion of Canada in a failed
attempt to wrest Montreal from British control. An important land-owner in the
Hudson Valley, and a member of the powerful Livingston family, Henry was also a
surveyor and real estate speculator, an illustrator and map-maker, and a
Justice of the Peace for Dutchess County. He was also a poet and musician, and
presumably a dancer, as he was elected a Manager for the New York Assembly’s
dancing season of 1774-1775, along with his 3rd cousin, John Jay,
later U.S. Chief Justice of Governor of New York. The tune was set in the key
of ‘C’ in Lincolnshire musician Gibbons’ original manuscript. 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].
Callaghan (Hardcore English), 2007;
pg. . 42. Sumner (Lincolnshire
Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 38 (set for
three instruments). Saydisc SDL 234, Parry’s Barrel
Organ (vol. 11 in the Golden Age of Mechanical Music).
X:1
T:March in Blue Beard
M:4/4
L:1/8
R:March
K:D
a3g f2e2|d4 e4|fefg a2 gf|eeee
e2z2|a3g f2e2|d4 e4|fefg f2e2|d2 d>d d4:|
|:e3d c2d2|e4 f4|gfga b2 gf|eeee
e2z2|e3d c2d2|e4 f4|e2d2c2B2|A2 A>A A2z2|
a3g f2e2|d4 e4|fefg a2 gf|e2 e>e
e2z2|a3g f2e2|d4 e4|fefg f2e2|d2 d>d d4:|
MARCH IN RINALDO (Handel). English, Air. Published by John Gay, The Beggar's Opera (1729). Raven (English Country Dance Tunes), 1984; pg
56.
MARCH IN SOLOMON. English, March (cut time). D
Major. Standard tuning. AABB. The air was included in the late 18th
century manuscript copybook of Henry Livingston, Jr. Livingston purchased the estate of Locust
Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 he was a Major
in the 3rd New York Regiment, which participated in Montgomery’s
invasion of Canada in a failed attempt to wrest Montreal from British control.
An important land-owner in the Hudson Valley and a member of the powerful
Livingston family, Henry was also a surveyor and real estate speculator, an
illustrator and map-maker, and a Justice of the Peace for Dutchess County. He
was also a musician and presumably a dancer, as he was elected a Manager for
the New York Assembly’s dancing season of 1774-1775, along with his 3rd
cousin, John Jay, later U.S. Chief Justice of Governor of New York. The melody
first appeared in George Frideric Handel’s oratorio “Solomon” (1749), set in
Biblical times. The melody later in a several period publications, such as the
1768 James Gillispie violin manuscript (Part 1, No. 11). Preston (Marches, Airs & Minuets), 1804; pg.
96.
X:1
T:March in Solomon
M:C|
L:1/8
R:March
S:The late 18th century
copybook manuscript of Henry Livingston
Z:AK/Fiddler’s Companion
K:D
|: A>A | e4A4 | F3E D2d2 | edef
d2a2 | f3e defg | a2a2a2 gf |
g2g2g2 fe | f2 ed g2f2 | e6 ::
e>e | a4f4 | edef e2a2 | g2f2b2a2 |
g4f4 | d4A4 | dcde d2g2 | gefg
“tr”e4 | d6 :|
MARCH IN THE BATTLE OF
PRAGUE. AKA and see “Dow Everly [2].” English, March (4/4
time). D Major. Standard tuning. AABB. The
Battle of Prague is a sonata first published in Dublin around the year 1788
by Frantisek Kotzwara (1730-1791), a Czech expatriate who lived in London and
made his living as a virtuoso double-bass player working at the King’s Theatre.
The descriptive piece, which commemorates the Prussian victory over the
Austrians at Prague in 1757, is the only work of his to survive. Portions of it
were quite popular on both sides of the Atlantic in the late 18th/early
19th century. As if being a “virtuoso double-bass player” (how many
have there been?) was not enough claim to fame, he is also remembered (perhaps
in-famously) as the first recorded victim of autoerotic asphyxiation. It seems
that the 63 year old gentleman visited a brothel at Vine Street no. 5 in St.
Martin’s on the night of September 2nd, 1791. There he spent time in
the company of a prostitute named Susannah Hill, gave her two shillings for a
dinner of ham, beef, porter and brandy, and following their repast he requested
that she remove his testicles with a knife; which request she reasonably
refused. The musician then proceeded to secure a rope around a doorknob, kneel,
tie the other end around his neck, and, apparently while engaged in intercourse
with Ms. Hill, he strangled himself.
Hill was prosecuted for the musician’s murder, although in the end the
court found her testimony regarding the night plausible and acquitted her. The
court records were supposedly destroyed to prevent public scandal, but a secret
copy was made with an eye to future monetary gain—the copy is said to have been
preserved and kept at the Francis Countway Library of Medicine in Boston. At
the time the incident was whispered about, however, and a year after an
anonymous pamphlet was published called “Modern propensities; or, An Essay on
the Art of Strangeling, & c. Illustrated with Several Anecdoets. With
Memoirs of Susannah Hill, and a Summary of her Trial at the Old Bailey on
Friday, September 16, 1791, on the Charge of Hanging Francis Kotzwara, at her
Lodgings in Vine Street, on September 2” (J. Dowson, London, 1791).
***
Writer Mark Twain mentions the piece
in his book A Tramp Abroad, when he
writes of a salon organist who “turned on all the horrors of ‘The Battle of
Prague,’ that venerable shivaree, and waded in the blood of the slain
“***
Selections from The Battle of Prague were printed widely. The “March in the Battle
of Prague” was published in America by J.G.C. Schetky in Philadelphia in 1793.
The melody appears in numerous 19th century British musicians’
manuscripts, including those of Joshua Gibbons, John Clare and John Moore (see
below), and Rev. Robert Harrison (1820, Brampton, Cumbria), James Winder (1835,
Wyresdale, Lancashire), William Clarke (1858, Feltwell, Norfolk), John Fife (c.
1780 Perth, Scotland), James Haslingden (1827, Midlands or southern England),
William Hall Lister (mid-19th century, East Boldon, near Newcastle)
and the Tiller manuscript. Gibbons originally set the tune in the key of F
major in his ms. The melody may also be found in English musician John Clare's
c. 1818 ms. See also note for “Turk’s March
[1]” for more on Turkish music in Britain. Sources for notated versions:
the 1823-26 music ms. of papermaker and musician Joshua Gibbons (1778-1871, of
Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]; a c. 1837-1840 MS by
Shropshire musician John Moore [Ashman]; the John Clare manuscript (c. 1820,
Helpston, Northants) [Callaghan]. Ashman (The
Ironbridge Hornpipe), 1991; No. 15, pg. 2 (appears as “Grand March in the
Battle of Prague”). Callaghan (Hardcore
English), 2007; pg. 28. Sumner (Lincolnshire
Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 39.
X:1
T:Battle of Prague. JC.008
M:C
L:1/8
Q:120
S:John Clare, Poet, Helpston
(1793-1864)
R:March
O:
A:Northamptonshire
Z:vmp:P.Headford
K:D
d2d>dd2e/d/c/B/|{B}A2A>AA2f>d|{c}B2g>e{d}c2e>c|d2d>dd2(fe)|!
e2cd ee(fe)|{e}d2Bc dded|{d}cB/c/
e/d/c/B/ A2^G2|A2A>A A2z:|!
|:A2A>B
c>de>f|g2e>gf2fg|afdd ~f>efd|e2A>AA2F>G|!
A2B>cd2f>d|{d}c2g>ef2
(3Adf|afdd fedc|d2d>dd2z:|]
MARCH
OF DONALD LORD OF THE ISLES TO THE BATTLE OF HARLAW (1411). AKA and see “Inverness Jig [2],”
“MacGregor Jig,” “Mac’s Fancy,” “O’Reilly’s
Jig,” “The Rover’s Return,” “The Victor’s Return.” Scottish, Jig. ABA’B.
MacDonald (The Gesto Collection).
MARCH OF ST. TIMOTHY. American, March (2/4 time). G Major. Standard tuning. AA'BB'. The tune
was written on Oct. 2nd, 1984, by dulcimer player Judi Morningstar
(White Lake, Michigan) of the Olde Michigan Ruffwater Stringband, and was named
for the church where the band played for over ten years at a dance sponsored by
the Detroit Country Dancers. Judi formally copyrighted the tune in 1985 “after
Steve Hickman, who plays in the Washington D.C. area, suggested it might became
a popular tune…The dancing ended at St. Timothy’s in Detroit when the group
moved out to the suburbs and eventually merged with the Oakland Traditional
Dance Society. The Olde Michigan Ruffwater Stringband still plays together and
just ended a 23 ½ year first Sunday dancing at beautiful Lovett Hall in
Greenfield Village, Dearborn Michigan” (private communication, 10/16/05).
Morningstar (Designer Music by Judache).
Morningstar (The Ruffwater Fakebook).
Songer (Portland Collection), 1997;
pg. 130. Front Hall FHR01, Bill Spence & Fennig’s
All Stars - “The Hammered Dulcimer” (1973). The Olde Michigan Ruffwater
Stringband – “Michigan Spring.” Just Friends – “Dulcimer Holiday.”
MARCH OF THE CAMERON
MEN. Scottish, March and Air (6/8 time).
D Major. Standard tuning. AB.
X:1
T:The March of the Cameron Men
C:Words and Melody by Mary M Campbell
B:Two Hundred and Twenty Popular Scottish Songs
Z:Nigel Gatherer
M:6/8
L:1/8
K:D
F>G|A>FA d>Af|f>ed d>cB|A>GF FED|E3-E2 F/G/|A>FA d>Af|e>dc d>cB|
A>FD E>FE|D4 || F>G|A2 D D2 D|EDE FDB|A>GF FED|E3-E2 A,|D>DD AAA|
dAF D2 A/A/|d>cd e>de|f3-f2 d/c/|B3-B2 c/d/|A3-A2 d/c/|d>AF E>FE|D3-D2|]
MARCH OF THE CLAN
SUIBHNE. Irish, March. Ireland, County
Donegal. A clan march collected in 1903 by Padraig Mac Aodh O’Neill from the
playing of Fanad, Donegal, fiddler Seaghan Mac Giolla Carr, who was over eighty
years of age at the time. Mac Aodh O’Neill published it in his Songs of Uladh Caoimhin Mac Aoidh (1994)
states it is clearly in pipe style and believes this dates the Donegal fiddle tradition
of imitating pipe music to the mid-1800's, at least.
MARCH OF THE CLANS. Irish, March (4/4 time). G Major. Standard tuning. ABC. O'Neill (O’Neill’s Irish Music), 1915/1987; No.
124, pg. 70.
X:1
T:March of the Clans
M:C
L:1/8
R:March
S:O’Neill – O’Neill’s Irish Music (1915)
Z:AK/Fiddler’s Companion
K:G
g2 g>e dB GG | BABd edef | f2
g>e dB GG | BABd e2 de/f/ | g2 g>e dB GG | BABd edef |
g2 g>e dB GG | BABd e2d2 || GG/G/
GA/A/ Bdgd | gd d/e/d/c/ BAGD | GG/G/ GA/A/ Bdgd |
gd d/e/d/c/ BA G2 | GG/G/ GA/A/ Bdgd
| gd d/e/d/c/ BA GD | GG/G/ AA/A/ Bdgd | gd d/e/d/c/ BA G2 ||
{ef}g2 b>a geeg | d>ddc BA G2
| {ef}g2 b>a ge a>g | fdef g2g2 | {ef}g2 b>a ge eg | d>ddc BA G2 |
g2 b>a ge a>g | fdef g2g2 ||
MARCH OF THE DIE HARDS. AKA and see "Caledonian
March." Scottish, March. The tune commemorates the 57th Regiment
Scots. Bayard (1981) thinks it "especially close" to his
MARCH OF THE GAELIC ORDER, THE. Irish, March. Paddy O’Brien (et al) – “The Big Squeeze.”
MARCH OF THE KING OF
LAOIS. AKA - "The
King of Laois." AKA and see "Rory O'Mo{o}re,"
"Rory of the Hills."
Irish, March (3/8 time). G Major. Standard tuning. AB. This ancient melody has
been associated with the O'Moore family and may have been composed in praise of
one Ruairi Og O Mordha, a head of the family during the 16th century and a
famous Irish hero of the resistance to English colonization of the time (Sean
Mac Reamoinn). The name 'Laois' is pronounced 'lay-eesh'. “March of the King of
Laois” first appears in Bunting’s 2nd collection of 1809 set in 6/8 time with
the title “Rory O Moor: King of Leixs March.” Phillipe Varlet sees some
resemblance to “The Hurler’s March [2]”
which Bunting obtained from the collector George Petrie and printed in his next
collection of 1840. Bulmer & Sharpley (Music
from Ireland), Vol. 2, No. 81. Johnson (The
Kitchen Musician's Occasional: Waltz, Air and Misc.), No. 1, 1991; pg. 13. June Appal 016, Malcolm Dalglish and Grey Larsen ‑
"Banish Misfortune." Kicking Mule 157, Duck Baker - "Irish Jigs,
Reels, Hornpipes and Airs.” Outlet 1019, The O’Brien Family - “Ulster Outcry”
(1974). RCA 09026-60916-2, The Chieftains - "An Irish Evening"
(1991). Shanachie 79023, "Chieftains 3" (1971/1982). Shanachie 97011,
Duck Baker - "Irish Reels, Jigs, Airs and Hornpipes" (1990. Learned
from a recording by Sean O'Riada). Paul Dooley - “Rip the Calico.”
X:1
T:March of the Kings of Laois
R:march
L:1/8
M:6/8
Z: Z:transcribed by
henrik.norbeck@mailbox.swipnet.se
K:Dmix
A2F A2D|A2F A2D|B2G A2F|G2F E>FG|
A2F A2D|A2F A2d|B2d A>dG|F>dF
E2D|F>ED G>FE|
A3 A>GF|E>cG E>CE|G>cG
E>CE|D>ED D>ED|D>ED D3:|
|:B2G d2G|B>AG d2G|A2d A2d|F2d
A>dA|
B2d d>BA|G>FG E>FG|F>ED
G>AB|A3 AGF|
E>cG E>CE|G>cG
E>CE|D>ED D>ED|D>ED D3:|
MARCH OF THE MEENATOITIN BULL.
AKA and see "The Inverness
Gathering." Irish, March (4/4 time) and Reel. A Mixolydian. Standard
tuning. AABBCC. Caoimhin Mac Aoidh (1994) notes piping influences in this
Donegal version (played as both a march and reel) of the Scottish tune
"The Inverness Gathering"). Source for notated version: fiddler John Doherty (1895-1980,
X:1
T:The March Of The Meenatoiteen Bull/The Drunken Piper
C:march
L:1/8
M:4/4
K:D
A2e2 A2BA | e2ef edBd | e2g2 G2GB | d2de dBGB |
d2e2 A2Bd | e2ef edBd | e2a2 gfed | eaed B2A2:|
A2e2 a3g | e2a2 edef | g2a2 G2GB | d2de dBGB |
d2e2 a3g | e2a2 edef | g2a2 gfed | eaed B2A2:|
A2e2 A2AA | eAAA cAAA | e2g2 G2GG | dGGG BAGB |
d2e2 A2AA | eAAA cAAA | e2a2 gfed | eaed B2A2:|
MARCH
OF THE MEN OF HARLECH (Gorhoffedd Gwyr
Harlech). AKA -
"Men of Harlech." Welsh, March (4/4 time). C Major. Standard tuning.
The music was first printed in Edward Jones' Musical and Poetical Relicks of the Welsh Bards, 2nd ed., 1794.
Later, in the 19th century, Welsh words were added to the tune by the poet John
Ceiriog Hughes and published in his 1890 volume Cant O Ganeuon (One Hundred Songs); an English translation followed
a few years later. The march was supposed by some to have been composed during
the Wars of the Roses, when Harlech Castle was besieged by the forces of Edward
IV during the years 1468-1469. The castle was a celebrated Welsh fortress,
having been built c. 530, and it is perhaps the oldest British fort whose
remains are still standing. Bayard (1981) found a southwestern
X:1
T:Gorhoffedd
Gwyr Harlech
T:March of
the Men of Harlech
M:C
L:1/8
S:Jones – Welsh Bards (1794)
Z:AK/Fiddler’s Companion
K:C
{C/E/G/}c>BAB
cdec|fedc BABG|{C/E/G/}c>BAB cdeg|g<e d>c c4:|
|:d>cB>c
dd z2|g>fe>f gg z2|g>fe>f g>fe>f|g>fe>f gg
ze|f>ag>g f>fe>e|
df/e/dc BABG|{C/E/G/}c>BAB cdeg|g<e d>c c4:|
MARCH OF THE MONTHS, THE. Irish, Air (6/8 time). G Minor. Standard
tuning. AB. Source for notated version: "...from the whistling of Joe
Martin of Kilfinane Co. Limerick, a rambling working man with a great knowledge
of Irish airs and songs, and much natural musical taste" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909;
No. 183, pg. 91.
X:1
T:March of the Months
M:6/8
L:1/8
R:Air
N:”Mod. Time”
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:G Minor
GA|B2c dBG|gec dBG|A2B cAF|fdB
cAF|B3 c3|dgg gab|fge dec|BGG G2||c|
d3 dec|dBG GAB|c3 cdB|cAF FGA|B3
c3|dgg gab|fge dec|BGG G2||
MARCH
OF THE THIRD REGIMENT OF GUARDS. AKA and see "Scotch Hornpipe [1]." Scottish,
March. The "London March" uses
one strain of this tune. Aird (Selections), 1788, vol. 3, No. 593.
MARCH OF THE
THIRTY-FIFTH REGIMENT.
English, American; March. The melody appears in George Willig’s Compleat Tutor for the Fife. (in liner
notes to the New Work Records recording) says it is a march in binary form but
opines that it is long and rather crude. “Though binary in form…it has a
somewhat distinct middle section, complete with a full cadence in the relative
minor.” New
World Records 80276-2, “Music of the American Revolution: The Birth of
Liberty.”
MARCH OF THE TRIBES TO
GALWAY. AKA and see "Road to Lisdoonvarna [2],"
"Sarsfield March," "All the Ways to Galway [1],"
"The Galway Girls," "Slash away the Pressing Gang."
MARCH OF THE
VOLUNTEERS (Mairseal Na
h-Oglac).
Irish, March. D Major. Standard tuning. AAB. Roche Collection, 1982, vol. 3; No. 209, pg. 80.
MARCH OF THE WORKERS (Life in the City). Scottish, Jig. Composed by Billy (William)
Jackson as part of his piece “Wellpark Suite,” commissioned by Tennent's in
honor of the centenary of their Wellpark brewery in Glasgow. A recording of the
work was released in 1985 featuring members of Ossian (of which Jackson had
been a member) and The Easy Club.
MARCH PAST. AKA and see “Din Tarrant’s [6],"
“Wha Saw the Forty Twa,” “Wha
Saw the Forty Second?,” “Wha Wadna Fecht for
Charlie,” Scottish, March. John Kirkpatrick identifies the tune as
Scottish, used there as a march or strathspey. The melody is also played in
Ireland as a polka. It was picked up by morris dancers in the Cotswold village
of Eynsham, Oxon, a team which impressed collector Cecil Sharp in the early
20th century with their speed and high kicks. Source for notated version: a
manuscript by Kenworthy Schofield [Bacon]. Bacon (The Morris Ring). Topic TSCD458, John
Kirkpatrick - “Plain Capers” (1976).
MARCH SARABANDE. See “Bandelena March.”
MARCH TO REFORM STREET, THE.
Scottish, March (cut time). C Major. Standard tuning. AAB. A modern
composition by Scottish fiddler Ron Gonnella. Miller (Fiddler’s Throne), 2004; No. 346, pg. 203. Atholl
Brose AB008, Ron Gonnella – “The Lad o’Kyle” (1986).
MARCH TO THE
BATTLEFIELD. Irish (?), March (2/4 time). D
Major. Some similarities to “The Rattlin’
Bog” or “The Bog Down in the Valley-O.” Jimmy Shand’s Bagpipe Marches.
Kerr (Violin Instructor and Irish Folk
Song Album) c. 1890’s?; pg. 52.
MARCH TO THE
RENDEZVOUS. Scottish, March (4/4 time). G
Major. Standard tuning. AA'BB'. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches,
&c.), 1866; No. 184, pg. 63.
MARCH, W.S. ROYALS. AKA and see “Ball’s Hornpipe,” “Quick Step 25th Regiment.”
MARCHA DE LOS NOVIOS (March of the Newlyweds). AKA and see "Marching Through
Georgia." Tex‑Mex, March. USA, New Mexico. A wedding
processional tune.
MARCHE CÉCILIA. AKA and see “Elmer’s Tune.” French-Canadian, Polka and
Galope. Recorded by Alfred Montmarquette.
The liner notes to Labbé’s album indicate the tune is a Galope and Polka
at the same time, and that it was one of Montmarquette’s most successful
recordings. Gabriel Labbé et al – “Hommage à Alfred
Montmarquette” (1995).
MARCHE DE CABRETTAIRES. Old Hat Music OH!02, "The Old Hat Dance
Band" (1992. Learned from the band Rosbif).
MARCHE DE LA NOCHE, LE (The Wedding March). Cajun. Recorded by accordion player
Joseph Falcon and Cleoma Breaux.
MARCHE DE VERNER. French-Canadian, March (6/8). From Gabriel L'Abbe, a mouth-organ player
who recorded in the 1920's and 30's. Folkways RBF111,
Gabriel L'Abbe - "Masters of French-Canadian Music." Old Hat Music
OH!02, "The Old Hat Dance Band" (1992).
MARCHE DES COLLÉGIENS. AKA and see "Collegians'
March," "Marche des Forges."
MARCHE DES FORGES. AKA and see "Collegians'
March," "Marche des Collegiens."
MARCHE DES MARIES (The Wedding March). Cajun, March (4/4 time). USA, Louisiana. G
Major. Standard tuning. A(Vocal)BA(Vocal)BA. This wedding march is
traditionally the first song played at a Cajun wedding dance. During it, the
wedding couple link arms with their entourage and walk around the dance floor
at least twice while it is being played (Francois, 1990). According to
"Cheese" Reed, the song was popularized by Eunice, Louisiana,
musician Abe Manuel. Source for notated version: Wallace "Cheese"
Reed, Raymond Francois (La.) [Francois]. Francois (Yé Yaille Chere), 1990; pgs. 226-227.
MARCHE DES RAQUETTEURS [1]. French-Canadian, March (6/8 time). A Major. Standard tuning. AA’BB’. From the playing of Montréal
accordion great Alfred
Montmarquette (1871-1944), who recorded it on a 78 RPM disc.
Source for notated version: Vincent & Raynald Ouellet, of the group Éritage
[Hart & Sandell]. Hart & Sandell (Dance
ce Soir), 2001; No. 64, pg. 97. Fogarty’s Cove
Records, Éritage – “La ronde des voyageurs” (1982).
MARCHE DES
RAQUETTEURS [2] (Snowshoers’ March). AKA and see “Reel Arcène.” French-Canadian,
March (6/8 time). D Major. Standard tuning. ABB'CB"B"'A'. Source for
notated version: learned by
MARCHE DU ST-LAURENT. French-Canadian, March (2/4 time). D Major. Standard.
AA'BB'A"A"'B"B"'. Source for notated version: Montreal
button accordion player Philippe Bruneau [Begin]. Begin (Philippe Bruneau), 1993; No. 4, pg. 12.
MARCHE FRANCOISE (French March). French, March (2/4 time). D Major. Standard. AABB. Aird (Selections), vol. II, 1782; No. 139, pg. 51.
X:1
T:Marche Francoise
M:2/4
L:1/8
S:Aird, vol. II (1782)
Z:AK/Fiddler’s Companion
K:D
af f/g/a/f/ | ge “tr”e2 | fd d/e/f/g/ | a/g/a/b/ ad’ | af f/g/a/f/ | ge “tr”e2 |
f/d/g/e/ de | dd/d/ d2 :: Ac/d/ ee | ee “tr”e2 | e/d/e/f/ e/d/e/f/ | e/d/e/f/ “tr”e2 |
dd/e/
ff | ff “tr”f2 | f/e/f/g/ f/e/f/g/ | f/e/f/g/ “tr” f2 :|