The Fiddler’s Companion

© 1996-2007 Andrew Kuntz

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MART - MATI

 

 

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, 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]

 

 

 

MART DHE CRODH A' MHEINEIRICH. AKA and see "Fair Fa' the Minstrel."

                       

MARTHA. Irish, "Valse." C Major. Standard tuning. Two parts: 1) AAB 2) AB. Roche Collection, 1982, vol. 3; No. 149, pg. 49.

                       


MARTHA CAMPBELL [1]. Old‑Time, Breakdown. USA; eastern Kentucky, Indiana. D Major. Standard tuning. AB (Silberberg): ABB (Brody): AABB (Krassen, Phillips): AA'BB' (Phillips, Reiner & Anick). Known as a Kentucky tune, especially from the northeastern and central part of the state, but not common outside those regions. “Martha Campbell” was of the first tunes recorded by Kentucky fiddler Doc Roberts, 1925, who remastered the tune in 1929 in an electrically recorded version for the Sears lable. Charles Wolfe (1983) thinks the tune related to Roberts' "Brickyard Joe," and states the fiddler probably learned the tune from African-American fiddler Owen Walker of Madison County, Ky., a mentor, around 1915. Titon (2001) is of the opinion that it may have had an African-American origin, and transmition sources appear to be from black fiddlers to white. He reports that Darley Fulks spoke of hearing the melody for the first time in the 1920’s, from “colored fiddlers,” and notes that Fulk’s version, unique to him, included a bass part that the fiddler said the African-American fiddlers included in their renditions. “Martha Campbell” was also recorded by the Lomax’s from the playing of white Virginia fiddler Emmett Lundy in 1941, when he was 80 years old. Refer also to Billy Stamper’s recorded version, from the Irvine, Kentucky, region, that Mark Wilson describes as an “amiable” style of playing and that features a lower (“coarse”) part “with an unexpected melodic kick in the middle of the strain.” Titon says that his source Buddy Thomas’s version is “reminiscent” of Doc Roberts Gennett 78 RPM. A Missouri cousin is “Politic.” Sources for notated versions: James W. Day (AKA Jilson Setters, eastern Kentucky) [Krassen]; Buddy Thomas (Emerson, Lewis County, northeastern Ky.) [Brody, Reiner & Anick, Titon]; Doc Roberts (Ky.) [Phillips/1994]; Stephanie Prausnitz [Silberberg]. Brody (Fiddler’s Fakebook), 1983; pg. 184. Krassen (Masters of Old Time Fiddling), 1983; pg. 25. Phillips (Fiddlecase Tunebook), 1989; pg. 29. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 150. Reiner & Anick (Old Time Fiddling Across America), 1989; pg. 101. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 97. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 100, pg. 129. Berea College Appalachian Center AC003, “John M. Salyer: Home Recordings 1940-41, Vol. 2” (1993). Berea College Appalachian Center AC005, Walter McNew – “Black Jack Grove” (1993). County 412, "Fiddling Doc Roberts" (1983). County 779, Art Stamper – “The Lost Fiddler” (1982). County CD2712, Art Stamper (Ky.) - "The Lost Fiddler" (reissue). Gennett 3152 (78 RPM), Doc Roberts (1925). Heritage XXXIII, Fiddling Doc Roberts ‑ "Visits" (1981). Marimac 9009, Bill Christophersen ‑ "Old Time Friends" (1987). Rounder 0032, Buddy Thomas  "Kitty Puss: Old Time Fiddle Tunes From Ky." (1974. Learned from Bob Prater, a fiddler from Foxport, Ky., and Doc Roberts). Rounder Heritage Series 1166-11592-2, Billy Stamper (et al) – “The Art of Traditional Fiddle” (2001). Supertone 9397 (78 RPM), Doc Roberts (1929). Victor 21353 (78 RPM), Blind Bill Day (a pseudonym for Jilson Setters, b. 1860 ‑ recorded in 1926 or 1928 as "Marthie Campbell"). Voyager 319‑S, Ace Sewell‑ "Southwest Fiddlin.'"

X:1

T:Martha Campbell

L:1/8

M:2/2

S:From a transcription of Buddy Thomas by Jeff Titon

K:D

DEFA BFAF|DEFA BFAF|DEFA B2A2|[C2A2][B,2G2][A,4E4]|

DEFA BFAF|DEFA BdBd|ABde fgfe|dBAG F(D D2):|

|:Bcdd fdfd|efde fdfd|ABde f2d2|fedf edBd|ABde fdfd|efde fdfg|

abag fgfe|dBAG F(D D2):|

 

MARTHA CAMPBELL [2]. Old-Time, Breakdown. D Major. Standard tuning. AABB. A variant of version #1. Source for notated version: Orville Burns [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 150.

                       

MARTHA KELLY.  Old-Time, Breakdown.

 

MARTHA QUADRILLES. American, Quadrilles. Apparently based on a tune or tunes from von Flotow's opera Martha. Howe (Diamond School for the Violin), 1861; pg. 63.

                       

MARTHA WASHINGTON WALTZ. Old-Time, Waltz. C Major. A waltz that cental New York state fiddler Chad Miller learned from western New York fiddler Mark Hamilton at the Fiddler’s Fair Festival in Mumford. “I brought it home and now it seems to be one of our ‘standard’ tunes.”

                       

MARTHA WON'T YOU HAVE SOME GOOD OLD CIDER. Old-Time, Breakdown. D Major. Standard. AB. Similar title to the Skillet Lickers' "Sal Won't You Have Some Good Old Cider," but a different tune. Source for notated version: Gaither Carlton (N.C.) [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 84.

                       

MARTIN ANSBORO'S REEL (Ríl Mháirtín Uí Ainmhire). AKA – “Martin Ainsborough’s.” AKA and see “Bohola (Reel).” Irish, Reel. E Minor. Standard. AB (Connolly & Martin, Miller): ABB (Breathnach): AABB (Vallely). Named for Bohola, County Mayo, musician Martin Ansboro. Source for notated version: flute player Matt Molloy (Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 91, pg. 45. Connolly & Martin (Forget Me Not), 2002; pgs. 64-65. Miller (Fiddler’s Throne), 2004; No. 201, pg. 126. Vallely (Armagh Pipers Club Play 50 Reels), 1982; No. 20, pg. 11. Mulligan Records LUN 004, "Matt Molloy." Shanachie 79064, Matt Molloy – “Heathery Breeze” (1999. Re-release of Polydor 2904018, 1981). Cottage Music CM001, Christine Dowling, Martin Dowling, Daithe Sproule, “A Thousand Farewells” (1997).

See also listing at:

Alan Ng’s Irishtune.info

X:1

T:Martin Ansboro’s Reel

M:C|

L:1/8

K:E Dorian

e3 d BAFA | d2 fd Adfd | ~e3d BAFA | fbba fee2 ::

be (3gfe be (3gfe | adfd adfd | be (3gfe be (gfe | afde fe e2 :|

                       

MARTIN BYRNE’S WALTZ. Irish, Waltz. A reworking of the Scottish 6/8 march “(A) Hundred Pipers.” Accordion player Joe Burke relates a Martin Byrnes story about the time Martin had landed a gig playing solo fiddle as an accompaniment to a one-man show running in Dublin. After the first week the show seemed to be going well and, since they shared quarters, the actor volunteered to fetch pay packets for both performers. He dutifully returned to the room to find Martin playing the fiddle. “Martin,” he says, “I’ve got a confession to make.” “Now, why would you be confessin’ to me,” Byrnes replied, “Surely there’s nothing you could tell me.” The actor then confided that he had peeked into both pay packets, curious to see their respectibe wages, and was chagrined to find that they were both being paid exactly the same salary. “And why not,” says Byrnes, upon which the actor hotly replied that it was he who was up on the boards, carrying the whole show, doing all the characters and speaking all the lines…”and all you’ve got to do is play a few tunes on the fiddle!” At this Martin held out the fiddle to him and said, “Lets see if you’re as good an actor as I am!” Chris Sherburn & Denny Bartley – “Last Night’s Fun.” “Far From Home.”

X:1

T:Martin Byrne's Waltz (A)

M:3/4

L:1/8

Q:120

D:"Last Night's Fun"  Sherburn & Bartley

R:Waltz

Z:Transcribed by Paul Kinder

K:A

|:|{e}c3 E E>c|cE eE cE|F<A F>E C>E|A,4 a>f|

e2 c2 c>d|c3 e (3dcB|AB c<e- e>d| c>A B2 A>B|

c3 E E>c|cE eE cE|F<A F>E C>E|A,4 a>f|

e>a (3fed c>A|B4 (3dcB|A4 A>B|1A4 (3BAB:|2A4 (3Bcd|

e2 c2 A2|{ef}e2 c2 A2|{a}f2 a2  a>b|a2  a>b af|

e2 c2 c>d|c3 e (3dcB|AB c<e- e>d|c>A B2 c (3B/2c/2d/2|

e2 c2 A2|{ef}e2 c2 A2|{a}f2 a2 a>b|a2 a>b a>f|

e>a (3fed c>A|B4 (3dcB|A4 {c}A>B|A4 (3Bcd|

e2 c2 A2|{ef}e2 c2 A2|{a}f2 a2 a>b|a2 a>b af|

e2 c2 c>d|c3 c/2e/2 c>B|A>B c>B A>F|E>D E3 d|

e2 c2 A2|{ef}e2 c2 A2|{a}f2 a2 a>b|a2 a>b a>f|

e>a (3fed) c>A|B4 (3dcB|A4 {c}A>B|A4||

                       

MARTIN CONNOLLY’S REEL. AKA and see “John Dwyer’s Reel.” Irish, Reel. G Major. Standard. ABB’. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 294, pgs. 170-171.

                       

MARTIN COONEY’S. Irish, Jig. Composed by the late County Tipperary fiddler Seán Ryan. Ryan (The Hidden Ireland), 10.

 

MARTIN DOUGH. Irish, Air (9/8 time). A Major. Standard. AB. Stanford/Petrie (Complete Collection), 1905; No. 748, pg. 187.

X:1

T:Martin Dough

M:9/8

L:1/8

S:Stanford/Petrie (1905), No. 748

Z:AK/Fiddler’s Companion

K:A

A2A BcA GFE | A2A B2B e2z | A2A BcA GFE | F2F G2E A2z ||

AGF EDC DEF/G/ | A2E G2A B2z | A2A BcA GFE | F2F G2E A2 ||

                       

MARTIN HOWLEY’S REEL. AKA and see “Denis Murphy’s (Reel) [2],” “Glentaun.” Irish, Reel. The tune was recorded under this title by Doolin, County Clare, tin whistle player Micho Russell. A variant of “Lord MacDonald.”

                       

MARTIN MULHAIRE’S [1]. AKA and see “Brendan Mulhaire’s [1],” “Grandpa Tommy’s Céili Band.” Irish, Reel.

 

MARTIN MULHAIRE’S [2]. Irish, Reel. G Major. Standard tuning. AB. Composed by New York B/C accordion player Martin Mulhaire, originally from Dún an Uchta, east County Galway. Breathnach (CRÉ V), 1999; No. 131, pg. 67.

                       

MARTIN MULHARE’S NO. 9 (Ríl Mháirtín Ui Mhaolchéire, Uimhir a Naoi).  AKA – “Mulhaire’s.” AKA and see “Ril Chiarain Ui Rathallaigh,” “Roly Poly.” Irish, Reel. G Major (Mulvihill, Peoples): D Major (Breathnach, Bulmer & Sharpley, Miller). Standard tuning. AABB (Miller, Mulvhill), AA’BB’ (Breathnach, O’Malley, Peoples). Composed by Bronx B/C accordion player Martin Mulhaire in the 1950’s as “Martin Mulhaire’s No. 9.”. Mulhaire was originally from Dún an Uchta, east County Galway, and played with the famed Tulla Céilí Band before moving to the United States. It has been set for the pipes by Pipe Major Peter Hewletts in his Music for the Great Pipe. Versions are popular both in the key of ‘D’ and ‘G’. Source for notated version: Jim Bly (County Roscommon) [Mulvihill]. Breathnach (CRÉ V), 1999; No. 132, pg. 68. Bulmer & Sharpley (Music from Ireland), 1976, vol. 4, No. 7. Miller (Fiddler’s Throne), 2004; No. 219, pg. 135 (appears as “Mulhaire’s #9). Mulvihill (1st Collection), 1986; No. 183, pg. 50. O’Malley (Luke O’Malley’s Collection of Irish Music), vol. 1, 1976; No. 72, pg. 36 (appears as “Mulhaire’s”). Peoples (Fifty Irish Fiddle Tunes), 1986; 11 (appears as “Mulhaire’s).  Cross Border Media CBMCD 016, Brendan Larrissey – “A Flick of the Wrist” (appears as “Roly Poly”). Green Linnet GLCD 1135, Martin Mulhare (with Jack Coen & Seamus Connolly) – “Warming Up.” Green Linnet SIF 1135, Martin Mulhaire, Seamus Connolly & Jack Coen - "Warming Up" (1993). Green Linnet GLCD1182, The Tannahill Weavers - “Choice Cuts 1987-1996.” Tommy Peoples - "Traditional Irish Music" (appears as last tune of "Belles of Tipperary" set).

See also listing at: 

Alan Ng’s Irishtune.info

X:1

T:Mulhaire’s #9

R:Reel

C:Martin Mulhaire

S:Kevin Finucane

Z:id:hn-reel-764

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

M:C|

L:1/8

K:D

F2AF DFAF|G2BG DGBd|c2Ac eAce|dcde fdAG|

F2AF DFAF|GB~B2 dB~B2|Acef geAc|1 eddc dBAG:|2 eddc defg||

|:a2fd adfd|adfd edBd|~e3f gfga|be~e2 begb|

a2fd adfd|adfd edBA|~F3A GBdB|1 AFEF D4:|2 AFEF D3E||

X:2

T:Mulhaire's

B:Music from Ireland, Bulmer & Sharpley, vol. 4, no. 7

R:reel

M:4/4

L:1/8

K:D

AG|F2 AF DFAF|G2 BG DGBG|cAec AecA|dcde fdAG|

F2 AF DFAF|GB ~B2 dB ~B2|Ae ~e2 gece|d2 ce d2:||:fg|

a2 fd adfd|adfd edBd|edef gfga|be ~e2 begb|

a2 fd adfd|adfd edBG|FA ~A2 GBdB|AFGE D2:||

X:3

T:Mulhaire's

M:4/4

L:1/8

Z:Ted Hastings

K:G

DC|B,2 DB, G,B,DB,|C2 EC G,CEC|D2 FD A,DFA|GFGA BGDC|!

B,2 DB, G,B,DB,|C2 EC G,CEC|D2 FD A,DFA|GFGA G2:||!

Bc|d2 BG dGBG|dGBG AGEG|~A3 B ~c3d|e~A3 ABce|!

d2 BG dGBG|dGBG AGEG|D2 B,D EFGE|DB,A,B, G,2:||

                       

MARTIN MULVIHILL’S (JIG).  AKA and see “Dominic’s Farewell to Cashel,” “McAuliffe’s.” Irish, Jig.

                       

MARTIN MULVIHILL’S (POLKA).  AKA and see “I Looked East and I Looked West,” “Paddy Scanlon’s.”

                       

MARTIN QUADRILLE, THE. American, Quadrille (4/4 time). USA, southwestern Pa. G Major. Standard tuning. AB. Source for notated version: Charles Martin (Fayette County, Pa., 1946; Martin learned it from a brother‑in‑law who picked the tune up in Virginia) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 117, pg. 66.

                       

MARTIN ROCHEFORD’S [1]. AKA and see “Forget Me Not [1],” “Gerry Cronin’s Reel,” “Larry Redican’s [3],” “Redigan’s.” Irish, Reel. C Major. Standard tuning. AABB. Vincent Griffin. Named in association with the late fiddler and piper from Ballinahinch, Bodyke, east Clare, a noted musician in the east Clare style though little recorded. The tune is a Larry Redican composition called “Forget Me Not.”

X:1

T:Martin Rocheford’s [1]

T:Gerry Cronin’s

T:Larry Redican’s

T:Forget Me Not

R:Reel

D:Irish Dancing Tape (P. Acc)

Z:Adrian Scahill

M:4/4

L:1/8

K:C

c2ec AGED|CA, (3A,A,A, G,A,CD|EGcd e2dc|Addc dfed|\

c2ec AGED|CA, (3A,A,A, G,A,CD|EGce dcAc|GEDE C3B:||\

(3cdc Gc acgc|fcec dcAc|Gcc2 Gcef|gece d2eg|\

aee2 gede|cdec decA|(3GAG EG cBcA|GEDE C4:||

X:2

T:Martin Rocheford's [1]

M:4/4

L:1/8

Z: Greg Taylor

K:D

d2 fd BAFE|DB, B,2 A,B,DE|FAde f2 ed|Beed egfe|

d2 fd BAFE|DB, B,2 A,B,DE|FAdf ecdB|AFEA FD D2 :|

d2 ad bdad|gdfd edBd|Ad d2 Adfb|afdf e2 fg|

af f2 afef|defd efdA|FAdf ecdB|AFEA FD D2 :|

 

MARTIN ROCHEFORD’S (REEL) [2]. Irish, Reel. D Minor. Standard tuning. AA’B. Green Linnet SIF 1071, “Patrick Street.”

X:1

T:Martin Rochford's Reel

R:reel

D:Patrick Street 1.

Z:id:hn-reel-20

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

M:C|

K:Dm

F2CD FGAc|cAGc Ad~d2|FDCD F2dA|1 cAGB ADDE:|2 cAGB ADD2||

f2df edce|Addc Adde|f2af edcA|cAGB ADD2|

f2df edce|Addc d3e|faag eggd|cAGB ADDE||

                       


MARTIN SAID TO HIS MAN. AKA - "Fooba-Wooba." English, Air (3/4 time). C Major. Standard tuning. One part. Chappell (1859) reports the song appears with its music as one of the Freeman's songs to three voices in Deuteromelia (1609) and the Fitzwilliam Virginal Book. Regarding those songs, in the life of Sir Peter Carew by John Vowell, he says "For the King himself (Henry VIII) being much delighted to sing, and Sir Peter Carew having a pleasant voice, the King would often use him to sing with him certain songs they call 'Freeman's Song's.'" Registered as a ballad with the Stationers' Company in 1588, it seems a satire on the tellers of marvelous tales, much in the vein (says Kines) of such traditional songs of exaggeration such as "Tom‑a‑lyn," "Paddy Backwards," "The Darby Ram," "Amhran na mBreag," and "I was born 1000 years ago." A much later derivative of "Martin Said to his Man" was written by William Courtright, published in 1877 and called "Flewy, Flewy."

***

Martin said to his man, fie, man, fie

Martin said to his man, who's the fool now?

Martin said to his man, fill thou the cup and I the can,

Who hast well drunken man, who's the fool now?

***

Chappell (Popular Music of the Olden Time), vol. 1, 1859; pg. 140. Kines (Songs From Shakespeare's Plays and Popular Songs of Shakespeare's Time), 1964; pg. 91.

                       

MARTIN WALTZ, NO. 1. Old‑Time, Waltz. USA, Nebraska. A Major. Standard tuning. AB. The melody has been turned into a "contest" waltz, i.e. smooth and technical. Source for notated version: Bob Walters (Burt County, Nebraska) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; pg. 160. Missouri State Old Time Fiddler's Association, Pete McMahan - "Kansas City Rag." MSOTFA 007, Charlie Walden - "Draggin' the Bow" (1985).

                       

MARTIN WALTZ, NO. 2. Old‑Time, Waltz. USA, Nebraska. A Major. Standard tuning. AABB. Source for notated version: Bob Walters (Burt County, Nebraska) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; pg. 160.

                       

MARTIN WYNNE'S NO. 1 REEL (Ríl Mhairt in Uí Ghaoithin {Uimh. 1}). Irish, Reel. D Major. Standard tuning. AB (Breathnach): AAB (Flaherty): AABB (Mallinson, McNulty, Mulvihill): AA’BB (O’Malley): AA’BB’ (Harker/Rafferty). Composed by fiddler Martin Wynne (1916-1998), born in Bunninadden, County Sligo. Wynne spent a few years in England (where he played with flutist Paddy Taylor and fiddler Joe O’Dowd), then immigrated to New York in 1948. There he was influenced by the by the great Sligo émigré fiddlers, Coleman, O’Beirne, Morrison and Killoran, and in turn influenced his own students, such as Brian Conway (who holds Wynne in very high esteem as a teacher and player). He composed some six tunes in the 1930’s, before he left Ireland, of which reels No’s 1-3 are considered outstanding. “Martin Wynne’s No. 1” can be heard in modern sessions, often paired with “Martin Wynne’s No. 2”, his most famous compostion. Sources for notated versions: fiddler Frankie Gavin of the band De Dannan (Ireland) [Breathnach]; fiddler Peter Horan (b. 1926, Kilavil, County Sligo) [Flaherty]; students of New York fiddler John McGrath (1900-1955, originally from County Mayo) [O’Malley]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ III), 1985; No. 206, pg. 91. Flaherty (Trip to Sligo), 1990; pg. 71. Harker (300 Tunes from Mike Rafferty), 2005; No. 151, pg. 46. Mallinson (Essential), 1995; No. 53, pg. 23. McNulty (Dance Music of Ireland), 1965; pg. 11. Mulvihill (1st Collection), 1986; No. 141, pg. 38. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 19, pg. 10. Coleman Center CD CC004, Phillip Duffy & Kevin Brehony – “The Mountain Road” (1999. Various artists. “A Compilation of tunes popular in South Sligo”). Green Linnet SIF1035, Brian Conway and Tony De Marco - "The Apple in Winter (1981. Learned from Martin Wynne). Green Linnett SIF3031, The Bothy Band - “Out of the Wind Into the Sun.” Shanachie Records SH29008, Frankie Gavin ‑ "Traditional Music of Ireland" (1977). Shanachie Records SH29005, Johnny Cronin & Joe (Banjo) Burke. Smithsonian Folkways SFW CD 40481, Brian Conway – “First Through the Gate” (2002).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Martin Wynne's #1

M:4/4

L:1/8

Q:200

C:Martin Wynne

S:Martin Mulvihill, First Collection

Z:transcribed by Jeffrey Erickson

R:reel

K:D

dB |: AF {G}(3FEF GE {F}(3EDE | F2 AF EFDB, | A,B,DE FEFG|ABde {g}fedB |

AF {G}(3FEF GE {F}(3EDE | F2 AF EFDB, | A,B,DE FEFG | ABde fdd2 :|

|: dfaf gbeg|fgdf edBd | (3dcB AF DEFA | ABde fe e2 | dfaf (3gfg ag | fgdf edBd |

(3dcB AF DEFA | ABde fd d2 :|

X:2

T:Martin Wynne’s No. 1

M:4/4

L:1/8

R:Reel

S:Brian Conway

Z:AK/Fiddler’s Companion

K:D

DB|A~F3 G~E3|(FA)D(F E)B,DB,|A,B,DE ~F3B|ABd(e ({g}f))edB|

A~F3 G2EG|FADF EB,DB,|A,B,DE ~F3B|ABde f(d({e}d))B|

A~F3 G~E3|(FA)DF EB,DB,|A,B,DE [F3A3]B|ABd(e ({g}f))edB|

A~F3 G~E3|FADF EB,DB,|A,B,DE [F3A3]B|ABde f<d d2||

|:dfa(f ({a}g))feg|fedf e~B3|dBA(F DE)FA|dfa(f g2) bg|

dfa(f ({a}g))feg|fedf e~B3|dBA(F DE)FB|A(Bd)e f<d d2:|

                       

MARTIN WYNNE'S NO. 2. AKA and see “The Burying Poteen,” “Joan Coyne’s.” Irish, Reel. B Minor. Standard tuning. AAB (Flaherty): AABB (most versions). Composed by fiddler Martin Wynne (1916-1998), originally from Bunninadden, County Sligo. Wynne emigrated to the Bronx, New York, in 1948, but not before spending some time in England, where he played in various céilí bands, most notably the Kilburn with Paddy Taylor (flute) and Joe O’Dowd (fiddle). The title “Joan Coyne’s” for the tune comes from New Jersey accordion player Luke O’Malley, who got the tune from another of John McGrath’s (1900-1955) students, fiddler Joan Coyne. At the time no one knew the correct title. Sources for notated versions: fiddler Peter Horan (b. 1926, Kilavil, County Sligo) [Flaherty]; Martin Wynne (New York) [Mulvihill]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Bulmer & Sharpley (Music from Ireland), vol. 2, No. 17. Flaherty (Trip to Sligo), 1990; pg. 69. Harker (300 Tunes from Mike Rafferty), 2005; No. 147, pg. 45. Mallinson (Essential), 1995; No. 31, pg. 14. Mulvihill (1st Collection), 1986; No. 139, pg. 37. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 71, pg. 36 (appears as “Joan Coyne’s”). Vallely (Learn to Play the Fiddle with Armagh Pipers Club), 197?; No. 49, pg. 43. Coleman Center CD CC004, Phillip Duffy & Kevin Brehony – “The Mountain Road” (1999. Various artists. “A Compilation of tunes popular in South Sligo”). Green Linnet SIF1035, Brian Conway and Tony De Marco - "The Apple in Winter (1981. Learned from Martin Wynne). The Bothy Band - “1975.” Tommy Healy & Johnny Duffy - “Memories of Sligo.” Shanachie Records SH29005, Johnny Cronin & Joe (Banjo) Burke. Smithsonian Folkways SFW CD 40481, Brian Conway – “First Through the Gate” (2002).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Martin Wynne's #2

M:2/2

L:1/8

Q:200

C:Martin Wynne

Z:transcribed by Jeffrey Erickson

S:Martin Mulvihill, First Collection

R:reel

K:BMin

|:BA|FBAF E2 FE|DB, {D}(3B,A,B, DB,A,2|B,E {F}(3EDE FEDE|FABc dcBA|

FBAF EGFE|DB, {D}(3B,A,B, DB, A,2|B,E {F}(3EDE FEDE|FB{c}BA B2:|

|:BA|FBAF A3 d|(3Bcd eg fdde|f2 af e2 fe|dBAd BAFE|

(3Bcd AF A3 d|(3Bcd eg fdde|f2 af e2 fe|dBAd B2:

                       

MARTIN WYNNE'S NO. 3. AKA and see “Willie Coleman’s.” Irish, Reel. G Major. Standard tuning. AABB. Composed by fiddler Bronx, New York, fiddler Martin Wynne, originally from County Sligo. A untitled reel in Brendan Breathnach’s Ceol Rince na hÉirreann II, No. 143 (pg. 76), from the playing of Sligo fiddler Willie Coleman, is probably a setting of “Martin Wynne’s No. 3.” Sources for notated versions: tenor banjo player Tommy Finn (b. 1964, Marlow, Ballymote, Co. Sligo) [Flaherty]; fiddlers Martin Wynne via Brian Conway (Queens, N.Y.) via Seamus Connolly (Massachusetts) [Black]; fiddler Willie Coleman [Breathnach]. Black (Music’s the Very Best Thing), 1996; No. 144, pg. 76. Breathnach (CRÉ II), 1976; No. 143, pg. 76 (appears as “Gan Ainm”). Flaherty (Trip to Sligo), 1990; pg. 53. John Wynne – “With Every Breath.” Smithsonian Folkways SFW CD 40481, Brian Conway – “First Through the Gate” (2002).

X:1

T:Martin Wynne's #3

M:4/4

L:1/8

Q:200

C:Martin Wynne

S:unknown, via Brian Conway

Z:transcribed by Jeffrey Erickson

R:reel

K:G

|:Bc|dged BdAc|BG {A}(3GFG DEGA|BG {A}(3GFG Bdef|gbaf gfec|

dged BdAc|BG {A}(3GFG DEGA|BG {A}(3GFG Bdef|gbaf g2:|

|:(3Bcd|g2 gf gfec|dged BGBd|g2 fa gfec|dega bg {a}(3gfg|

gbaf gfec|dged BGBd|g2 fa gfed|ceaf g2:|

X:2

T: Martin Wynne's #3

C: M. Wynne

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