The Fiddler’s
Companion
© 1996-2010 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 |
T:Martin
Ansboro’s Reel
M:C|
L:1/8
K:Edor
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 MULHAIRE’S [3]. AKA and see “Brook (The),”
“House on the Hill (2) (The),” “Pat Molloy’s.”
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 :|
T:Martin Wynne’s No. 1
M:4/4
L:1/8
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
Z: transcribed by B.Black
Q: 350
R: reel
M: 4/4
L: 1/8
K: G
dged B2 Ac | BGdG EAAc | BGdB cdeg | fgaf gfge |
dged B2 Ac | BGdG EAAc | BGdB cdeg | fgaf g4 :|
gfga gfeB | dged BGBc | dggf gfeB | dega bgaf |
gfga gfeB | dged BGBc | dggf gfeg | fgaf g4 :|
X:3
T:Martin Wynne's No. 3
S:Dervish, Midsummer's Night 1a
M:C|
L:1/8
R:Reel
Z:Transcribed by Jerome S. Colburn
K:G
dged BdAd | BGAG EA~A2 | B2 dB cdeg | fgaf ge~e2 |\
dged BdAd | BGAG EA~A2 | B2 dB cdeg |1 fdcA G2 Bc :|2 fgaf g2 ef |:\
g2 af gfeB | dged BGBc | dggf gfeB | dega bgaf |\
gbaf gfeB | dged BGBc | dggf gfed |1 fgaf ~g3 d :|2 fgaf
gfeB |]**
MARTIN
WYNNE’S (NO. 4). Irish, Reel. G Major. Standard
tuning. In the liner notes to Brian Conway’s album “First Through the Gate,”
Earl Hitchner and Don Meade say: “Brian first heard Martin play it at a
Philadelphia Festival in 1976, but says it took him ten years to coax the older
fiddler into playing it again! Martin composed as many as ten other tunes that
he felt were unworthy of publication.” Smithsonian
Folkways SFW CD 40481, Brian Conway – “First Through the Gate” (2002).
X:1
T:Martin
Wynne's
S:Trian II,
track 12c
Z:Jerome
Colburn
N:#4
N:Trian
obtained it from Brian Conway
M:C|
L:1/8
R:Reel
K:G
c |: BGAG
EDB,C | DGBA GBAG | EB,~B,2 G,A,B,D | EGAB cedc |1\
BGAG EDB,C
| DGBA GBAG | EB,~B,2 G,A,B,D | EGAc BGGA :|2\
BGAG EDB,C
| DEGB AEGF | EB,~B,2 G,A,B,D | EGAc BGG |:\
A | B2 cB
cedc | BGDG EAAc | BddB dega | bg~g2 eaag |\
bg~g2 aegf
| eBdB GABd | eBdB cAGD | EGAc BGG :|**
N:(on final
repeat the last bar is | EGAD G4 |])
MARTIN
WYNNE’S STRATHSPEY. Irish, Strathspey or Hornpipe. G
Major. Standard tuning. AAB. Wynne originally composed the tune in the key of
‘F’ Major. Black (Music’s the Very Best
Thing), 1996; No. 115, pg. 60.
X:1
T: Martin Wynne's Strathspey
C: Martin Wynne
Q: 300
Z: transcribed by B.Black
R: hornpipe
M: 4/4
L: 1/8
K: G
DEGA BGdB | AcBA GDB,C | DEGA BGDB, | CEDC B,G, G,2 :|
BGGB cAFA | GFED B,DGA | BGGB cAFD | ECA,C B,G, G,2 |
BGGB cAFA | BDGB ABcd | edge dBAG | ECA,C B,G, G,2 ||
MARTIN YULE. Shetland, Reel. F Major. Standard tuning. AAB. "Marin Yule is a
young Surgeon who visited Tom (Anderson) in 1972. He is a brilliant fiddler and
is the son of Dr. Bobbie Yule from Shetland who used to play guitar with Willie
Johnson, and who was Tom's Doctor for some years in Lerwick" (Anderson).
Composed by the late Shetland fiddler, composer, teacher and collector Tom
Anderson in 1972. Anderson (Ringing
Strings), 1983; pg. 69.
MARTINI’S MINUET. AKA
and see “H. Martini’s Favorite Minuet.” English, Minuet (3/4 time). D Major.
Standard tuning. AABBCCDD. According to Kate Van Winkler Keller (1992), this
tune was published on a sheet in London around 1770, although the composer has
not been established (published music by several Italian musicians of this name
were extent during the period). Source for notated version: the music
manuscript of Captain George Bush (1753?-1797), a fiddler and officer in the
Continental Army during the American Revolution [Keller]. Keller (Fiddle
Tunes from the American Revolution), 1992; pg. 10.
MARTIN'S
ONE-HORNED COW (Bo Leat-Adarcac Ui
Martain).
Irish, Double Jig. D Major. Standard tuning. AABB. O’Neill (Irish Folk Music) says the tune was
“previously unpublished and new to us.” The ‘one-horned cow’ is a phrase that
is sometimes a euphemism for a liquor still. Source for notated version: John
Carey, a native of Limerick [O’Neill]. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 325, pg. 68.
X:1
T:Martin’s
One-Horned Cow
M:6/8
L:1/8
R:Jig
S:O’Neill –
Dance Music of Ireland: 1001 Gems
(1907), No. 325
Z:AK/Fiddler’s Companion
K:D
F2A AFA|BGB
AFD|F2A AFD|EFE E2D|F2A AFA|BGB AFD|FAF GEC|DED D3:|
|:d2B cBA|B/c/dB
AFD|d2B cAF|EFE EFA|d2B cBA|B/c/dB AFD|FAF GEC|DED D3:|
MARTIN'S
RATTLER. American, March (2/4 time). D Major
('A' part) & B Minor ('B' part). Standard tuning. AABB. Sweet credits the
tune to one Billy Martin of the 12th Regiment of the New York National Guard
(1904). Bayard thinks this tune derivative of "Johnnie Cope." The Company of Fifers and Drummers, '76,
1974; pg. 27. Sweet (Fifer’s Delight),
1965/1981; pg. 44.
X:1
T:Martin’s
Rattler
M:2/4
L:1/8
R:March
Z:AK/Fiddler’s Companion
K:D
a/g/ | fA
df/e/ | d/e/f/g/ ag/f/ | gA ce/d/ | c/d/e/f/ ga/g/ | fA df/e/ | d/e/f/g/ af |
g/f/e/d/
c/A/B/c/ | d/f/e/c/ d :: F | F/Bc/ dc/d/ | c/B/A/c/ B/A/ F | F/Bc/ dc/d/ |
c/B/A/c/ GF
| F/Bc/ dc/d/ | c/B/A/c/ B/A/F | fe dc | B/^A/B/c/ d :|
MARTIN'S
WALTZ. Old-Time, Bluegrass; Waltz. D Major
('A' part) & A Major ('B' part). Standard tuning. AB (Frets): AA'BB'
(Phillips). Named after (composed by) bluegrass fiddler Benny Martin. Sources
for notated verisions: Benny Martin via John Hartford (1964, Byron Berline) [Frets]; Byron Berline and Benny
Thomasson (Texas) [Phillips]. Frets
Magazine, "Byron Berline: The Fiddle," June 1986; pg. 50.
Phillips (Traditional American Fiddle
Tunes), vol. 2, 1995; pg. 279.
MARTINSBURG SIX-EIGHT TIME. American, March (6/8 time). USA, southwestern
Pa. D Major. Standard tuning. AB. Source for notated version: Mount Pleasant
Tablatures (a fife MS. from Pa., 1950's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 627, pg. 551.
MARTON’S
HORNPIPE. Scottish, Hornpipe. A Major.
Standard tuning. AABB. Honeyman (Strathspey,
Reel and Hornpipe Tutor), 1898; pg. 45.
X:1
T:Marton’s
Hornpipe
M:C|
L:1/8
R:Hornpipe
S:Honeyman
– Strathspey, Reel and Hornpipe Tutor
(1898)
Z:AK/Fiddler’s Companion
K:A
cB|A2 Ac
ecAc|d2 df ecAc|d2 fd c2 ec|B2 B2 B2 cB|AEAc ecAc|
d2 df
ecAc|fgaf ecdB|A2 A2 A2::fg|aece Aece|aece Aece|dfdf cece|
B2 B2 B2
cB|AEAc ecAc|d2 df ecAc|fgaf ecdB|A2 A2 A2:|
MARTYR'S
LAMENT, THE (Caoine Na
Mairtireac). AKA
- “The Hanging Song.” Irish, Slow Air (6/8 time). G Major. Standard tuning. AB.
This Munster melody was alluded to as
the “hanging song” according to O’Neill (1913). O'Neill (Music of Ireland:
1850 Melodies), 1903/1979; No. 1844, pg. 346. O’Neill (1913), pg. 118.
X:1
T:Martyr’s
Lament, The
M:6/8
L:1/8
R:Air
S:O’Neill –
Music of Ireland (1903), No. 1844
Z:AK/Fiddler’s Companion
K:G
G/A/|B2B
d2e|B2A G2A|B2d e2f|(g3 g2) f/g/|a2g f2e|e2d B2A|Bcd e2f|(e3 e2) g/e/||
d2 B
d2f|e2d B2d|e2f {a}g2f|(e3 e) ze|d2B e2d|B2A B2G|A2A G2G|(G3 G2)||
MARY. English, Slow Air (3/4 time). North‑West England. B Flat Major.
Standard tuning. One part. A modern composition by Pat Knowles. Knowles (Northern Frisk), 1988; No. 140.
MARY
AND DOROTHY, THE. English, Country Dance Tune (6/8
time). E Minor. Standard tuning. AB (Sharp): AAB (Barnes). The tune dates to c.
1728 and was printed by Playford. Barnes (English
Country Dance Tunes), 1986. Sharp (Country
Dance Tunes), 1909/1994; pg. 54.
X:1
T:Mary and
Dorothy, The
M:6/8
L:1/8
S:Sharp – Country Dance Tunes (1909)
Z:AK/Fiddler’s Companion
K:Em
B|e2e
e>fg|f2f f>ga|g>ag f>gf|b2B B2B|e2e e>fg|f2f f>ga|g>ag
f>gf|b2B B2||
G/A/|B2B
B>AG|e2D D2 A/B/|c2c c>BA|e2E E>FG|A>Bc B2B,|(E3 E2)||
MARY ANN. AKA and see “The Hayden Fancy,”
“Johnny Box,” “O’Connor’s (Polka).” Irish, Polka. D
Major. Standard tuning. AABB. Miller & Perron (Irish Traditional Fiddle Music), 1977; Addenda. Miller & Perron
(Irish Traditional Fiddle Music), 2nd
Edition, 2006; pg. 132.
MARY
ANN MACDOUGALL’S.
Canadian, March (cut time). Canada, Cape Breton. A Major. Standard
tuning. AABB. Composed by Cape Breton musician Mike MacDougall (1928-1981), of
Ingonish Beach, who had an enviable reputation as a fiddler. Mary Ann (Whittey)
MacDougall was his mother. Cranford (Jerry Holland: The Second Collection),
2000; No. 17, pg. 8. Smithsonian Folkways Records, SFW
CD 40507, The Beaton Family of Mabou – “Cape Breton Fiddle and Piano Music”
(2004).
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index |
MARY ANNE’S REEL. Canadian, Reel. E Major (‘A’ part) & B Major (‘B’ part). Standard
tuning. AABB. Composed by Canadian fiddler Ward Allen, who won contest after
contest in the mid-20th century and who carved out a carear as a
radio fiddler. Sparton Records SP 210, “Ward Allen
Presents Maple Leaf Hoedown, vol. 2.”
X:1
T:Mary Ann's
Reel
C:Ward Allen
R:Reel
M:2/4
L:1/8
Z:Transcribed
by Bruce Osborne
K:E
b3/2a/|gb
eg|af df|eg fe|dc BA| GE GB|eg fe|dB df|b2 ba|
gb eg|af
df|eg fe|dc BA| GE Gg|fe df|eg bg|e2:|
K:B
B2|F4 -|F^E
FG|F4|B^A Bc| d4|Bc dg|f4 -|fg b2| ^a4|ab ^af|c4|ce g^a|
g4 -|gf
dB|F4 -|F^E FG| F4 -|F^E FG|F4|B^A Bc| d4|Bc dg|f4 -|fg b2|
^a4 -|^ab
^af|c4 -|ce g2| f4 -|f^a g^a|b4 -|b3:|
MARY ANN’S CAPER. English, Reel. D Major.
Standard tuning. AAB. Kennedy (Traditional
Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 122, pg.
29.
MARY BALFOUR. Scottish, Slow Strathspey. E Minor. Standard tuning. AB. Composed by
John Gow. Carlin (The Gow Collection),
1986; No. 136.
MARY BERGIN’S. Irish, RBCD
116, Cathal Hayden – “Handed Down.”
MARY BRENNAN'S
FAVORITE (Rogha Mháire Ní
Bhraonáin).
Irish, Single Jig. G Major. Standard tuning. AABB. Bayard (1981) sees this tune
as a composite of "Hundred Pipers" and "Captain Jinks," as well as
having "an elusive sort of general resemblance to the "Mill Mill O" air" (pg. 524). Source
for notated version: fiddler John Kelly/Sean O'Kelly (Dublin, Ireland,
originally from west County Clare), who had the tune from his mother, who had
it from her mother, the eponymous Mary Brennan, who was born on Scattery Island
in 1855 [Breathnach/Kelly]. Breathnach (CRÉ
I), 1963; No. 55, pg. 25. Breathnach (Folk
Music and Dances of Ireland), 1971; 14. Capelhouse
Records, James Kelly – “Traditional Irish Music” (1996).
MARY
CAROLAN’S. Irish, Reel. D Mixolydian (‘A’
part) & D Dorian (‘B’ part). Standard tuning. AB. Source for notated version:
fiddler Mary Carolan, a student of New York fiddler and accordion player John
McGrath (1900-1955). Carolan had the tune from McGrath, but had no title so
O’Malley named it for her [O’Malley]. O’Malley
(Luke O’Malley’s Collection of Irish
Music, vol. 1), 1976; No. 20, pg. 10.
X:1
T:Mary
Carolan’s
M:C|
L:1/8
S:O’Malley
Collection (1976)
Z:AK/Fiddler’s
Companion
K:D
AG || FEFA
GE~E2 | FEDF ABAG | (3FED FA GE~E2 | (3ABA GE {F}ED D2 |
FEFA G2 AG
| FEDF ABAG | F2 DF GE~E2 | (3ABA GE {F}ED D2 ||
K:Ddor
cdec dBcB |
AE~E2 A2 (3GAB | cdec dedc | (3ABA GE {F}ED D2 |
cdec dB~B2
| AGEG A^GAB | cA (3Bcd efed | cAGE {F}ED D2 ||
MARY CLAIRE. AKA - “Mary Clare.” Canadian, Hornpipe. Canada; Cape Breton, Prince
Edward Island. B Flat Major. Standard tuning. AABB (Perlman):
AABB’(Cranford/Holland). Composed by fiddler Jerry Holland (Inverness, Cape
Breton). Source for notated version: Kenny Chaisson (b.c. 1947, Bear River,
North-East Kings County, Prince Edward Island; now resides in Rollo Bay)
[Perlman]. Cranford (Jerry Holland’s),
1995; No. 45, pg. 13. Perlman (The Fiddle
Music of Prince Edward Island), 1996; pg. 115. Glencoe
001, Jerry Holland - “The Cape Breton Symphony” (1976). Rounder Records, “Jerry
Holland” (1976). Rounder Records 7057, Jerry Holland – “Parlor Music” (2005).
MARY COTTER. Canadian, Jig. Canada, Cape Breton. A Major. Standard tuning. AABB’.
Composed by editor, fiddler and lighthouse-keeper Paul Stewart Cranford.
Cranford (Jerry Holland’s), 1995; No.
204, pg. 59. Fiddlesticks cass., Jerry Holland - “A
Session with Jerry Holland” (1990). Green Linnett, Jerry Holland - “The
Fiddlesticks Collection” (1995).
MARY DELANEY. AKA and see “Market Day.” Iris,
Reel. D Major. Standard tuning. AAB. Some melodic material in this tune seems
similar to “Polly Put the
Kettle On.” Vallely (Armagh Pipers
Club Play 50 Reels), 1982; No. 33, pg. 17.
X:1
T:Mary Delaney
M:C|
L:1/8
R:Reel
K:D
dcAG FDDE |
FEFG ABcA | dcAG FD De | fage d4 :|
defg afed |
cdef gfec | defg a2 fd | fgag fedc |
defg afed |
cdef g2 fg | (3agf (3gfe fedf | eaag faec ||
MARY
DO IT AGAIN. Irish, Double Jig. A Mixolydian.
Standard tuning. AA’B. Double-tonic in the ‘A’ part. Kerr (Merry Melodies), vol. 4; No. 223, pg. 25.
X:1
T:Mary, Do
it Again
M:6/8
L:1/8
R:Jig
S:Kerr – Merry Melodies, vol. 4, No. 223 (c.
1880’s)
Z:AK/Fiddler’s Companion
K:A
e2A Bcd|ecA
A2B|1 =cBA d2=c|B2=G G2B:|2 efe d2e|c2A A2e||
|:=g2g
(gfe)|d3 c2d|e2a a2g|a2e e2f|=g2 g (gfe)|d3 (c2d)|efe d2e|
c2A
A2e:||(=gfe) (agf)|(ba=g) (agf)|(=gfe) (agf)|(=gfe) (dcB)||
MARY,
DO YOU FANCY ME? [1].
Irish, March (2/4 time). A Major. Standard tuning. AB. O'Neill (O’Neill’s Irish Music), 1915/1987; No.
118, pg. 66.
X:1
T:Mary Do You Fancy Me? [1]
M:2/4
L:1/8
R:March
S:O’Neill – O’Neill’s Irish Music (1915)
Z:AK/Fiddler’s Companion
K:A
A2 AG |
F2E2 | A2 AB | c2A2 | d2 dc/B/ | cdcA | BABc | d2d2 | d2 dB | c>ded |
cABA | F2E2
| A>B AG | FGEC | EFAB | A2 Az || A2 AG | F2 EC | EFAB | c2Az |
d2 fd | c2
ec | BAAB | c2A2 | defd | cdec | BAAB | c2Az | A2 AG | F2 EC | EFAB | c2A2 ||
MARY,
DO YOU FANCY ME? [2] (A Maire A
Taitnigeann Tu Me?). AKA and see "Quit Not
Yet the Shady Bower." Irish, Air (4/4 time). D Major. Standard tuning.
One part. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 621,
pg. 109.
X:1
T:Mary Do
You Fancy Me?
M:C
L:1/8
R:Air
S:O’Neill –
Music of Ireland (1903), No. 621
Z:AK/Fiddler’s Companion
K:D
d>edc BA
A2|d>cde f2d2|g>a gf/e/ f>gfd|e>def g2gz|
g>age
f>gag|fded B2A2|d>edc BcAF|Bcde d2dz||
MARY
DO YOU FANCY ME? [3]. Irish, Air (6/8 time, “gaily”). B
Flat Major. Standard tuning. One part. “As sung by an old Connaught beggarman
in Breat Bgritain St.” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 474, pg. 119.
X:1
T:Mary Do
You Fancy Me [3]
M:6/8
L:1/8
R:Air
N:”Gaily”
S:Stanford/Petrie
(1905), No. 474
Z:AK/Fiddler’s
Companion
K:Bb
B3 B2A |
A2G {G}F2D | F2G ABc | d3 B3 | e3 edc | d2e d2B |
c2B {B}A2B
| c3 c2z | e3 edc | d2e f2e | dcB c2B | G3 F2z |
B3 B2A |
A2G {G}F2D | F2G B2{B}c | (B3B2) z ||
MARY DONLEVY. Irish, March (4/4 time). B Flat Major. Standard tuning. AABB. Joyce (Old Irish Folk Music and Songs), 1909;
No. 733, pg. 364.
MARY
ELDER’S JIG.
American, Jig. G Major (‘A’ part) & D Major (‘B’ part). Standard
tuning. AB. Composed by Peterborough, New Hampshire, composer, piano and
accordion player Bob McQuillen. McQuillen (Bob’s
Note Book #4), 1980. Miller (Fiddler’s
Throne), 2004; No. 75, pg. 56. Great Meadow CD,
Bob McQuillen – “Old New England.”
MARY
FROM BALLYHAUNIS (Maire Bheal Atha
h-Amhnais).
Irish, Air. The melody appears in Joyce’s Irish
Music and Song.
MARY
FROM BLACKWATER SIDE. Irish, Air (4/4 time). A Dorian.
Standard tuning. AB. O’Neill (1922) says his melody “Connacht Mother’s Slumber
Song” “betrays a similar origin” with this tune. However that may be, “Mary
from Blackwater Side” is a variant of the well-known air “Star of the County Down.” 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. 187, pg. 93.
X:1
T:Mary from
Blackwater Side
M:C
L:1/8
R:Air
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
N:”Rather
slow”
K:Ador
E|E2A2A2
GA|c4 d2 cd|e3d dcBc|A2G2E2D2|E2A2A2 GA|c4 d2 cd|e3d dcAG|A2A2A3||
e/f/|g3e ed
c2|d4 c2d2|e3A AG E2|G4 G2 AG|E2A2A2 GA|c4 d2 cd|e3d dcAG|A2A2A3||
MARY – GENTLE AND DARK EYED
(Mairi Mhin mheal-shuileach dhu). Scottish, Air (2/4 time). A Major. Standard
tuning. AB. Morison (Highland Airs and
Quicksteps, vol. 1), pg. 1, No. 1.
X:1
T:Mairi
Mhin mheal-shuileach dhu
T:Mary –
gentle and dark eyed
M:2/4
L:1/8
R:Air
N:”In
moderate time”
S:Morison –
Highland Airs and Quicksteps, vol. 1
Z:AK/Fiddler’s Companion
K:A
{A}FE c2
c>B (ce) | (cA) (c/B/A) A2 (Bc) | (CE) F2 F>E (FA) | B>A c>B (AF)
FA ||
F>E EE
c2 Bc | e>c c/B/A A2 CE | F>F F>F E2 FA | B>A c>A {F}F2F2 ||
MARY GIRL. AKA and see “Killoran’s
Polka [2],” “Up and Away [1]." AKA
– “The Merry Girl.” Irish, Polka. G Major. Standard tuning. AABB. County
Leitrim flute player John
McKenna (1880-1947) and Michael Gaffney recorded the tune in 1934 under the
title “Merry Girl.” Breathnach (CRÉ III),
1986; No. 79. Bulmer & Sharpley (Music
from Ireland), vol. 3, No. 83. Mallinson (101 Polkas), 1997; No. 23, pg. 10. Miller & Perron (101 Polkas), 1978; No. 24. Miller &
Perron (Irish Traditional Fiddle Music),
2nd Edition, 2006; pg. 133. Folkways
Records FW 8821, McKenna and Gaffney – “Irish Dance Music” (1973. A reissue of
the original 1934 recording).
See also listing at:
Alan
Ng’s Irishtune.info |
X:1
T:Mary Girl
M:2/4
L:1/8
R:Polka
K:G
DB B/A/B|Dc
d/^c/d|f/e/d/c/ A/F/D/F/|GF E/D/E/F/|
DB B/A/B|Dc
d/^c/d|f/e/d/c/ A/F/D/F/|AG G2:|
|:g/d/B/d/
g>f|fe e/d/e|f/c/A/c/ f>e|ed d/^c/d|
g/d/B/d/
g>f|fe e/d/e|df/e/ d/c/B/A/|GF G2:|
MARY GRACE (Maire Ni Grasaig). Irish, Reel. A Dorian. Standard tuning.
AA'BB'. The great compiler Francis O’Neill learned this tune from County Mayo
piper James O’Brien, who visited Chicago (where O’Neill worked in the police
department) in 1876. O’Neill describes him as “a neat, tasty Irish piper of the
Connacht school of close players, and though his Union pipes were small, they
were sweet and musical...One of his peculiarities—and an unpleasant one,
occasionally—was a habit of stopping the music in order to indulge in
conversation. He could not be induced to play a tune in full, when under the
influence of stimulants, as his loquacity was uncontrollable, and he never
hesitated under such conditions to express a passing sentiment. Amiable and
harmless at all times, he died at a comparatively early age in Chicago, a
victim to conviviality, his only weakness.” Source for notated version: piper
Jimmy O’Brien (County Mayo) [O’Neill]. O'Neill (Krassen), 1976; pg. 106.
O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1256, pg. 236.
O'Neill (Dance Music of Ireland: 1001
Gems), 1907/1986; No. 526, pg. 99.
X:1
T:Mary
Grace
M:C|
L:1/8
R:Reel
S:O’Neill –
Dance Music of Ireland: 1001 Gems
(1907), No. 526
Z:AK/Fiddler’s Companion
K:Amin
B | c>A
(3AAA E>A (3AAA | BGdc BG G2 |1 c>A (3AAA E>A (3AAA |
cded cA A
:|2 A^GAB cBcd | egdB {c}BA A |: Bde^f gfgd | B>G (3GGG D>G (3GGG |
Bde^f g2 fg
|1 egdB {c}BA A2 :|2 abaf gfed ||
MARY GRAY. Scottish, Reel or Strathspey. G Mixolydian. Standard tuning. AB (Surenne): AAB (Athole, Gow): AABB (Bremner). John Glen (1891) finds the earliest appearance of the tune in print in Robert Bremner's 1757 collection, although it also appears in the 1768 Gillespie Manuscript of Perth. Mary Gray (or Grey) is the name of a Scottish country dance, mentioned by MacTaggart (1824) in an account of a country dancing school in his Scottish Gallovidian Encyclopedia (Flett & Flett, 1964). Earlier publications set the melody as a reel, but it has also been rendered as a strathspey, primarily by Cape Breton musicians. Source for notated version: pianist Maybelle Chisholm MacQueen (Cape Breton) [Cranford/Holland]. Bremner (Scots Reels), 1757; pg. 81. Cranford (Jerry Holland: The Second Collection), 2000; No. 214, pg. 79 (strathspey setting). Gow (Complete Repository), Part 1, 1799; pg. 13. Stewart-Robertson (The Athole Collection), 1884; pg. 162. Surenne (Dance Music of Scotland), 1852; pg. 122. Rounder Records 7057, Jerry Holland – “Parlor Music” (2005).
See also listings at: Alan Snyder’s Cape Breton Fiddle Recording
Index |
X:1
T:Mary Gray
M:C|
L:1/8
R:Reel
B:Gow - 1st
Repository (1799)
Z:AK/Fiddler’s Companion
K:G
B/c/|dGBG c=F A2|dGBd gd B2|dGBG c=FAB/c/|dcBA G2G:|
B|DD=FA cFA2|GGBd gdB2|DD=FA cFAc|dcBA G2B|
DD=FA cFA2|GGBd gdB2|DDDE =FGAc|dBcA G2G||
MARY HOLD THE CANDLE STEADY WHILE I SHAVE THE CHICKEN
LIP. AKA and see “The Oak Tree.”
MARY
HUGHES JIG. Canadian, Jig. Composed by Prince
Edward Island piano player Kevin Chaisson. Rounder CD
7014, Anastasia DesRoches – “Fiddlers of Western Prince Edward Island” (1997).
MARY
HUISTEAN’S PLAID.
See “Breacan mairi
Huistean.”
MARY
I DIE YOUR SLAVE. Irish, Air (2/4 time). E Flat
Major. Standard tuning. ABBC. Stanford/Petrie (Complete Collection), 1905; No. 751, pg. 188.
MARY
IN THE MALL. AKA and see "The Castlecomer Lasses," "Down the Groves," "Erin's Groves," "The Gay Fellow's Favourite,"
"The Good Fluter," "The Green Fields of Erin [1],"
“The Green Groves of Erin [1],”
"The Groves of Erin," "The Heather Breeze," “The Low Highland,” "Miss Shaw's Reel," “Miss Stewart of Grantully
[2],” “Padaí Bhilli
na Rópaí’s Highland,” "The
Queenstown Lasses."
MARY JANE KELLY.
Canadian, Jig. D Major. Standard tuning. AABBCC’DD’. Composed by piper Barry W.
Shears for his mother-in-law, a stepdancer. Shears (The Gathering of the Clans
Collection, vol. 1), 1986; pg. 66.
MARY JESSIE GILLIS [1]. Canadian, March. Canada, Cape Breton. A Major. ADae tuning. Composed by
fiddler, composer, compiler and editor Paul Stewart Cranford—who is also a
lighthouse keeper! Originally composed in the key of G Major. Mary Jessie
Gillis is a Cape Breton piano player (see also the tune “Jessie’s Fancy”). Cranford (The Lighthouse Collection). Odyssey ORCS 1051, Jerry Holland – “Fiddler’s Choice”
(1998).
MARY JESSIE GILLIS [2].
Canadian, Jig. Canada, Cape Breton. B Flat Major. Standard tuning. AABB.
Composed by the late Cape Breton fiddler and composer Jerry Holland
(1955-2009). Cranford (Jerry Holland: The Second Collection), 2000; No.
247, pg. 90.
MARY
JOSEPHINE’S HORNPIPE. Irish, Hornpipe. D Major. Standard tuning. AABB.
Composed by Falmouth, Massachusetts, musician and writer Bill Black.
X: 1
T: Mary Josephine's Hornpipe
C: © B.Black
M: 4/4
L: 1/8
Q: 325
R: hornpipe
K:D
AG | FDFA GFGE | DFAd fedB | AFdF AFBF | AFDF E2
AG |
FDFA GFGE | DFAd fgfe | dcdA (3Bcd AG | F2 D2 D2
:|
zA | DBAF EDEF | Afed BABd | ef (3fgf afbf |
afed edBA |
DBAF EDEF | Afed efge | fa (3a^ga b=geg | f2 d2 d2 :|
MARY KITTY. Scottish, Reel. G Major. Standard tuning. AABB. Another, similar
entitled melody named “Marry Ketty” is unrelated. MacDonald (The Skye Collection), 1887; pg. 91.
X:1
T:Mary
Kitty
M:C
L:1/8
R:Reel
S:MacDonald
– Skye Collection
(1887)
Z:AK/Fiddler’s Companion
K:G
DGGA
BABA|GABA AG E2|DGGA BABA|GggB A2G2:|
(B<d)
d>e g<de<d|(B<c) de gded|(B<d) d>e gded|1 B<dg<d B>A
G2:|2
d<g
B<g c<A G2||
MARY LEE. Irish, Jig and Air. G Dorian. Standard tuning. AB. Learned by Joyce as
a child in Limerick. Joyce (Old Irish Folk
Music and Songs), 1909; No. 100, pg. 51.
X:1
T:Mary Lee
M:6/8
L:1/8
R:Jig and
Air
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:G Dorian
d3c3|B3A3|GAG
B2c|eBG G3|d3c3|B3A2G|F3f2d|cAF F3||
GFD B2c|dBG
GFD|GAG B2c|dBG G2A|GFD B2c|dBG GFD|F3f2d|cAF F3||
MARY
MACDONALD, A. Reel. A
& M Records 79602 2000-2, Ashley MacIsaac - “Close to the Floor” (1992).
MARY MACLEAN. Canadian, Hornpipe. Canada, Cape Breton. D Major. Standard tuning. AB.
Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976).
Cameron (Trip to Windsor), 1994; pg.
71.
MARY MARSHALL. Old-Time, Breakdown. USA, Kentucky.
A Mixolydian (‘A’ part) & A Major (‘B’ part). ADae tuning. ABB. Titon
(2001) points out the similarity of the ‘B’ part with that of “Old Bunch of Keys.” He gives it a
local south-central Kentucky provenance. Source for notated version: Jim Bowles
(Rock Bridge, Monroe County, Ky., 1959) [Titon]. Titon (Old-Time Kentucky
Fiddle Tunes), 2001; No. 101, pg. 132. Marimac
9060, Jim Bowles – “Railroad Through the Rocky Mountains” (1994).
MARY
MAVOURNEEN. AKA ‑ "The Fair Young
Girl," "An Cailin Ban." Irish, Air. G Major. Standard tuning.
AABB. O’Farrell (Pocket Companion, vol. III), c. 1808 (appears as
“Cooleen Bawn”). Roche Collection,
1982, vol. 1; No. 46, pg. 23.
X:1
T:Cooleen Bawn, The
M:C
L:1/8
R:Air
S:O’Farrell – Pocket Companion, vol. III (1808)
Z:AK/Fiddler’s Companion
K:G
A2A2A2 G>A | B3A GED>E | G2G2G2 :|
MARY McMAHON. AKA and see “Foxhunter’s
(Reel) [2],” “Micho
Russell’s (Reel) [4],” “Noel Hill’s,” “The Sister’s Reel.” AKA – “Mary McMahon of
Ballinahinch.” Irish, Reel. D Major. Standard tuning. AA’BB. Button accordion
player James Keane says the origin of this tune is in Ballinahinch, County
Down. Breathnach (CRÉ II), 1976; No.
269 (appears as untitled reel). Bulmer & Sharpley (Music from Ireland), 1974, vol. 2, No. 24. Miller (Fiddler’s Throne), 2004; No. 202, pg.
126. Shanachie 78015, James Keane – “With
Friends Like These” (1998).
See also listings at: Alan
Snyder’s Cape Breton Fiddle
Recording Index Alan Ng’s Irishtune.info |
X:1
T:Mary
McMahon
M:C|
L:1/8
R:Reel
K:D
ag|fdec d2
AG|FGAB =cAGB|Adde fded|(3Bcd ef g2ag|
fdec
d2AG|FGAF =cAGB|Adde fdec|1 Addc d2ag:|2 Addc d2de||
|:fefg a2
fg|abag fdde|fefg a2 fa|bgaf g2 ag|
fefg
~a3f|abag fdga|bgaf gfed|B/c/d ef g2 ag:|
MARY MORRISON. Scottish, Air (4/4 time). G Major.
Standard tuning. AAB. Howe (1000 Jigs and
Reels), c. 1867; pg. 133.
X:1
T:Mary
Morrison
M:4/4
L:1/8
R:Air
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
MARY MURPHY. Scottish, Jig. D Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 249, pg.
28.
X:1
T:Mary
Murphy
M:6/8
L:1/8
R:Jig
S:Kerr – Merry Melodies, vol. 3, No. 249 (c.
1880’s)
Z:AK/Fiddler’s Companion
K:D
A|d2d
cBA|B2B AGF|GAG FED|EFG ABc|d2d cBA|
B2B AGF|EFG
ABc|(d3 d2)::d|f2e def|e2d cde|
D2c
Bcd|c2BA2d|f2e def|e2d cde|dcB e2^G|(A3 A2):|
MARY,
MY BRIGHT PET (Peatad Geal A
Maire). Irish,
Air (6/8 time, "spirited"). A Dorian. Standard tuning. AB. O'Neill (Music
of Ireland: 1850 Selections), 1903/1979; No. 466, pg. 81.
X:1
T:Mary, My
Bright Pet
M:6/8
L:1/8
R:Air
N:”Spirited”
S:O’Neill –
Music of Ireland (1903), No. 466
Z:AK/Fiddler’s Companion
K:Amin
A/B/|c>de
ede|cAF G2E|EAB cBc|Add d2B|{d}cBA G^F^G|
Ade fed|eaa
ged|cAA A2||c/B/|A2^G AE^F|GAF GEF|E^F^G ABc/d/|
ege dcB|A2B
{d}cBA|^G2A Bcd|e^fg/a/ ged|cAA A2||
MARY, MY DEAR (Máire A Rúin). Irish, Slow Air (4/4 time). C
Major/Mixolydian. Standard tuning. AAB. Joyce notes: “Compare with the “Bunnan Buidhe.” Joyce (Old Irish Folk Music and Songs), 1909;
No. 757, pg. 373.
X:1
T: Máire A Rúin
T: Mary, My Dear
M:C
L:1/8
R:Air
N:”Slow”
S: Joyce – Old Irish Folk Music and Songs (757)
Z:AK/Fiddler’s Companion
K:C
A | G2 FE
F2 EF | G2 FE _B2 A/G/A/=B/ | c2 C2 E2 D/C/D/E/ | D2 CD C2 :|
|| G2 |
c2G2 c2 c>d/2e/4 | f2 e2 d2 d>e/2f/4 | e2d2c2 B>c | dcBA G2 _B>A |
G2 FE F2 EF
| G2 FE _B2 A/G/A/=B/ | c2C2 E2 D/C/D/E/ | D2 CD C2 ||
MARY MY SWEETHEART (‘A Mháire as a Mhúirnín). See “O Mary, My Darling” [1].
MARY O. Scottish, Air (2/4 time). D Minor. Standard tuning. AABB. O’Farrell (Pocket Companion, vol. IV), 1810; pg.
86.
X:1
T:Mary O
M:2/4
L:1/8
R:Air
S:O’Farrell – Pocket Companion, vol. IV (1810)
Z:AK/Fiddler’s Companion
K:Dmin
|: AG/F/ cA
| dA AG/F/ | GA BA/G/ | Ad d2 :|
MARY
O’CONNOR’S POLKA. Irish, Polka. D Major. Standard
tuning. AABB. Composed by Falmouth, Massachusetts, musician and writer Bill
Black, in honor of a friend, hostess and Irish music lover in Brooklyn. Black (Music’s the Very Best Thing), 1996; No.
187, pg. 98.
X:1
T: Mary O'Connor's
C: © B. Black
Q: 300
R: polka
M: 4/4
L: 1/8
K: D
dDDd B>cdA | dDDd A/B/A/F/ ED | dDDd B>cde | fdec ed d2 :|
K: Dm
F>AdA G>Aec | fedc cd A2 | a>gfe fedc | A>cGE D2
D2 :|
MARY
OF CASTLECARY. AKA and see “Adew Dundee,” “Adieu Dundee,” “Bonnie Dundee [1],” “The Hearty
Boys of Ballymote,” “The Laccaroo
Boys,” "The Laccarue Boys,” “Saw
Ye My Wee Thing." Scottish, Reel. A Minor. Standard tuning. AAB. See
also note for “Bonnie Dundee [3],”
a melody which dates at least to the early 17th century. The tune
can be found in Irish collections set as a double jig called "The Laccarue
Boys." The song “Mary of Castlecary” was composed by H. MacNeil, and
begins: “Saw ye my wee thing.” Kerr (Merry
Melodies), vol. 1; Set 29, No. 4, pg. 18.
MARY
OF THE GROVE [1]. AKA and see “Dobbin’s Flowery Vale [2],” “Drogheda Lasses [2],” “Eddie Moloney’s [2],” “Paddy Doorhy’s.” Irish, Reel. E Minor.
Standard tuning. AAB. Roche Collection,
1982; vol. 1; No. 190, pg. 73.
MARY
OF THE GROVE [2]. Irish, Reel. E Minor. Standard
tuning. AAB. Bulmer & Sharpley print a ‘B’ part that is different that
“Mary/Grove” [1]. See also the related “Dangerous
Reel.” Bulmer & Sharpley (Music
from Ireland), vol. 3, No. 15.
MARY
O’ THE WISP. AKA – “Máire na Sop.” Irish, Reel. Ireland,
County Donegal. D Major. Standard tuning. AABB. See the “Scotch Mary” family of tunes. Source for notated
version: Francie and Mickey Byrne (County Donegal) [Feldman & O’Doherty].
Feldman & O’Doherty (The Northern
Fiddler), 1979; pg. 164.
MARY O'HARA. Irish, Air (6/8 time). G Major. Standard tuning. AB. Source for notated
version: "...copied by Mr. Pigot from a MS. lent to him by Miss O'Connell
of Grena, Kilarney" (Joyce). Joyce (Old
Irish Folk Music and Song), 1909; No. 804, pg. 391.
X:1
T:Mary
O’Hara
M:6/8
L:1/8
R:Air
S:Joyce – Old
Irish Folk Music and Song (1909), No. 804
Z:AK/Fiddler’s
Companion
K:G
B/c/ | dGG
BGG | dGG G2B | dGG BAB | GEE E2B | dGG BGG |
dGG BAB |
G2E A/B/AF | GEE E2 || d | g3a3 | gba bge | deg aga |
bge deg/a/
| bga/b/ agf/a/ | gfe/g/ fdB | A2B A/B/AF | GEE E2 ||
MARY
O'NEILL [1]. AKA - "Planxty Mary O'Neill."
AKA and see "Carolan's
Favorite Jig,” “The Horse in the
pound,” “The Humours of
Dublin [2],” “The Rutland Jig."
Irish, Planxty (6/8 time). D Mixolydian (Complete Collection): D
Major/Mixolydian (Stanford/Petrie). Standard tuning. ABC. Composed by blind
Irish harper Turlough O'Carolan (1670-1738). The tune appears in the Goodman
manuscript (vol. IV, pg. 1) as “The Horse in the Pound,” and as “Carolan’s
Favourite Jig” in Stanford/Petrie (1905). Breathnach (1996) gives a County
Leitrim title as “The Rutland Jig.” Further afield the melody was printed by
the Gows in their Complete Repository
(1799, vol. 1, 36) under the title “The Humours of Dublin.” Complete Collection of Carolan's Irish Tunes,
1984; No. 137, pg. 97. Stanford/Petrie (Complete
Collection), 1905; No. 981, pg. 250 (appears as “Carolan’s Favorite Jig”).
MARY
O'NEILL'S [2]. Irish, Reel. D Major. Standard tuning.
AABB. Source for notated version: piper Jerry O'Sullivan (New York) via the
band Shaskeen (Ireland) [Taylor]. Taylor (Crossroads
Dance), 1992; No. 7, pg. 8. Shaskeen - "The
Mouse Behind the Dresser."
MARY
O'NEILL'S FANCY (Roga Maire Ni
Niall/Neill).
AKA and see "The Mouse
Behind the Dresser." Irish, Reel. G Major. Standard tuning. AB.
According to Nicholas Carolan (1997), this tune was named for a sister of
fiddler Sergeant James O’Neill (originally from County Down and Belfast),
Captain Francis O’Neill’s chief collaborator for his Irish music collections.
O'Neill (Krassen), 1976; pg. 112. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1291, pg. 242. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 556,pg. 103.
X:1
T:Mary
O’Neill’s Fancy
M:C|
L:1/8
R:Reel
S:O’Neill –
Dance Music of Ireland: 1001 Gems
(1907), No. 556
Z:AK/Fiddler’s Companion
K:G
Bd|(3efg dB
G2 {A}GF|DG {A}(3GFG DGGB|dBAB G2 GA|Be{f}ed efge|
DBAB G2
{A}GF|DG {A}(3GFG DGGB|dBAB G2 GA|Be{f}ed e2||ze|
dB {c}(3BAB
dBge|dB {c}(3BAB d2 g2|dB {c}(3BAB g2 fg|(3efg dB A2 Bc|
dB {c}(3BAB
dBgf|edef g2 ga|(3bag af gefd|edef g2||
MARY
O'SULLIVAN (Maire Ni
Suilleabain).
Irish, Air (4/4 time). G Major. Standard tuning. AB. O'Neill (Music of
Ireland: 1850 Melodies), 1903/1979; No. 418, pg. 73.
X:1
T:Mary
O’Sullivan
L:1/8
M:C
R:Air
N:”Moderate”
S:O’Neill –
Music of Ireland (1903), No. 418
Z:AK/Fiddler’s Companion
K:G
G|G2 G>A
c2 dc|A2 DE {G}F2D2|G2 AB c2 dc|A2 G>A G3D|G2 G>A c2 d>c|
A2 A?G
{G}F2D2|G2 A>B cAdc|A2 G>A G3||B|d2 ef g2 fg|a2 bg e2 dB|
D2 ef g2
fg|a2 b>g g3B|d2 ef g2 fg|a2 b>a gfed|gefd e2 dB|A2 G>A G3||
MARY RAMSAY. Shetland Reel. A reel version of the Scottish tune "Lady Mary Ramsay('s) [1],"
used for the dance The Shetland Reel. Topic 12TS379,
Aly Bain & Tom Anderson ‑ "Shetland Folk Fiddling, vol. 2"
(1978).
MARY
RUN AWAY WITH THE COON. Old‑Time, Breakdown. USA,
southwestern Pa. D Major. Standard tuning. AB. Bayard (1981) calls it a
"blackface minstrel piece," but was unable to trace it, save for
noting a resemblance between it and an Irish air called "Leather Away with the Wattle O."
Source for notated version: Brown Hall (fiddler from Fayette County, Pa., 1956)
[Bayard]. Bayard (Dance to the Fiddle),
1981; No. 193, pgs. 150‑151.
MARY
SCOTT [1]. AKA and see "Carrick's Reel/Rant,"
"Berwick Lasses." Scottish,
Reel. D Major. Standard tuning. AABB. A variant of the “Sir John Fenwick…”
tune. Miller (Fiddler’s Throne),
2004; No. 203, pg. 127.
MARY
SCOTT [2]. AKA - "Mary Scott, the Flower
of Yarrow." AKA and see "Sir John Fenwick's (the)
Flower Amang Them All", “When
ye cold winter nights were frozen.” Scottish, Air and Minuet. D Major.
Standard tuning. AA'BB. The tune, appearing in Cumming Manuscript (1723 {appears untitled}), Adam Craig's Collection of Choicest Scots Tunes
(1730) and the 1768 Gillespie Manuscript
from Perth, is based on the song "Mary Scott, the Flower of Yarrow."
The air appears in a fiddler's tune book of c. 1705 (in the private collection
of Francis Collinson) to which a second strain has been added to the first; a
common practice of old Scots fiddlers who made single strain songs into fiddle
(i.e. dance) tunes. Another version can be found in Agnes Hume’s music book of
1704 (Collinson’s MS??). Mary Scott was a real life personage, the daughter of
Philip Scott of Dryhope Tower and renowned for her beauty, who lived in Yarrow
during the 16th century. She married a notorious border reiver named Wat Scott
of Harden in 1576 and bore him four sons and six daughters during their 30 year
marriage, one of whose descendents was Sir Walter Scott. Neil (1991) relates:
***
Mary Scott had great strength of character and
when there was no
food in the larder, she would serve her lord
and master with a pair
of clean spurs on an empty plate. Before dawn
there would be
English cattle hidden in a secret valley and
the family replete.
***
The tune
under the Northumbrian title “Sir John Fenwick’s the Flower Amang Them (All)”
is a variant, and it appears under the title “When ye cold winter nights were
frozen” in Thompson’s manuscript of tunes for the alto recorder, published in
1702. Sanger and Kinnaird (Tree of
Strings, 1992) say the tune was popular in Ireland as well, where it was
known as “Planxty Scott.” McGibbon (Scots
Tunes, book II), c. 1746; pg. 60. Neil (The
Scots Fiddle), 1991; No. 42, pg. 55.
X:1
T:Mary
Scott [2]
S:Agnes
Hume's music book, 1704, NLS Adv.MS.5.2.17
M:6/4
L:1/4
Q:200
Z:transcribed
by Jack Campin
K:Amix
DEG
"="A2[Bd]|"="A2[Bd] "="[F3/2A3/2]E/D|\
EFA
"="[B2d2][Ac]|"="[B2d2]A "="[B2d2]A|
DEG
"="A2[Bd]|"="A2[Bd] "="[F3/2A3/2]E/D|GA/G/F/E/
FG/F/E/D/|EFA "="[B2d2]A:|
"="[d3D3]
"="d>cB|ABd "="[F3/2A3/2]E/D|"="[e3E3]
"="e>de|"="fe"="d "="e>dc|
"="[d3D3]
"="d>cB|ABd "="[F3/2A3/2]E/D|GA/G/F/E/ FG/F/E/D/|EFA
"="[B2D2]A:|
X:2
T:Mary Scot
[2]
M:3/4
L:1/8
N:”Slow”
S:McGibbon
– Scots Tunes, book II, pg. 60 (c.
1746)
Z:AK/Fiddler’s Companion
K:D
D3 EFG |
A4B2 | (A2B2)d2 | “tr”F3ED2 | (E2F2)A2 | B4 (de) | f2 (gf)(ed) | “tr”B4d2 |
D3EF>G |
A4B2 | A2B2d2 | “tr”F3ED2 | G2 (AG)”tr”(FE) | F2 (GF)”tr”(ED) |
(E2F2)A2 |
“tr”B4A2 :: d2D2F2 | d2 (ed)(cB) | A2B2d2 | “tr”F3ED2 | e2E2(ef) |
f2 (gf)(ed)
| “tr”B4 (A/B/c) | d2A2d2 | (dcd)(ef)e | d>edBAG | “tr”F3ED2 |
G>AGFGE
| F>GFEFD | (E2F2)A2 | “tr”B4A2 :: D3 EFG | A4B2 | A2 (BcdA) |
(FA)(GF”tr”ED)
| (E2F2)A2 | B4 de | “tr”(f>e/2f/4 g)fed | B3(B/c/ d/B/c/ed/) | D2 DEFG |
A4B2 | A2
BcdA | “tr”F3E (FE/D/) | GBAG”tr”(FE) | (FAdF)”tr”(ED) | (E2F2)A2 | “tr”B4A2 :|
|: (dcd)DFA
| dcdefe | d>edBAG | “tr”F3E (FE/D/) | (GA/B/) AG”tr”FE | (F/D/F/A/) dF”tr”ED
| (E2F2)(A>d) | “tr”B4A2 :|
MARY
SCOTT (NAIRN). Scottish, Marching Air (cut time).
G Major (Cranford): A Major (Skinner). Standard tuning. AAB. Composed by the
great Scottish violinist and composer J. Scott Skinner
(d. 1927). Cape Breton fiddler Angus Chisholm arranged the tune as a strathspey
and it has become a favorite with Inverness County, Cape Breton, fiddlers,
remarks Paul Cranford. Source for notated version: learned by fiddler Brenda
Stubbert (b. 1959, Point Aconi, Cape Breton) from Arthur Muise (Cheticamp, Cape
Breton) who probably had it from either Cape Breton fiddler Cameron or Angus
Chisholm [Cranford]. Cranford (Brenda
Stubbert’s), 1994; No. 67, pg. 24. Skinner (The Logie Collection). Rounder CD
11661-7033-2, Natalie MacMaster – “My Roots are Showing” (2000. Angus
Chisholm’s version).
See also listings at: Alan
Snyder’s Cape Breton Fiddle
Recording Index |
MARY SCOTT, (THE FLOWER) OF YARROW. AKA and see "Mary Scott,"
"Carrick's Reel."
MARY STAUNTON'S. AKA and see "Walter
Sammon’s Reel." Irish, Reel. D Major. Standard tuning. AAB. Source for
notated version: Mary Staunton (who had no name for the tune) via accordion
player Charlie Harris (Co's. Limerick & Galway, Ireland) [Taylor]. Taylor (Crossroads Dance), 1992; No. 18, pg. 15.
Shaskeen - "My Love is in America."
MARY THE MAID. AKA and see "Bung Your Eye,"
"Brisk Young Lad(s)."
English, Jig. A Dorian. Standard tuning. AABB. Kennedy (Fiddlers Tune Book), vol. 2, 1954; pg. 42. Raven (English Country Dance Tunes), 1984; pg.
102.
X:1
T:Mary the Maid
M:6/8
L:1/8
R:Jig
K:Ador
E|ABA c2d|edc B2A|GAG B2c|dge dBG|
ABA c2d|edc Bcd|e2A AB^G|(A3A2):|
|:B|c>de/f/ g2a|gec gec|G>AB/c/ d2e|dge dBG|
c>de/f/ g2a|gec de^g|a2A AB^G|(A3 A2):|
MARY
THE MILLER (Maire Muilleoir). Irish, Air ("lively", 6/8
time). G Mixolydian. Standard tuning. AB. Source for notated version:
"...copied from a MS. collection lent to Mr. Pigot by James Hardiman, the
historian of Galway and editor of Hardiman's
Irish Minstrelsy" (Joyce). Joyce (Old
Irish Folk Music and Song), 1909; No. 763, pg. 375.
MARY
THORBURN CUNNINGHAM. Scottish. A modern composition by
one of Scotland's Cunningham brothers. Shanachie Shan‑79017, John & Phil Cunningham ‑
"Against the Storm" (1980).
MARY WALKER. Scottish, Reel. B Flat Major. Standard tuning. AABB (Brody, Martin): AB
(Skinner). Composed by J. Scott Skinner (1843-1927)
who originally printed it in his Miller
o’ Hirn Collection. Sources for notated version: the late Graham Townsend
(Ontario, Canada) [Brody]; Hector MacAndrew
[Martin]. Brody (Fiddler’s Fakebook),
1983; pg. 184. Martin (Traditional
Scottish Fiddling), 2002; pg. 121. Skinner (The Scottish Violinist), pg. 15. Rounder
7002, Graham Townsend‑ "Le Violin/ The Fiddle." Olympic 6151,
William McPherson‑ "Scottish Traditional Fiddle Music" (1978).
CC25, Sean Keane - “Jig it in Style.”
X:1
T:Mary
Walker
M:C|
L:1/8
S:Sean
McGuire, Avoca 33-ST-139, 1962
R:reel
Z:Philippe
Varlet
K:Bb
B2dB
ecAc|B2df bfdB|egce dfBd|cBAc BFGA|
B2dB
ecAc|B2df bfdB|egce dfBd|cf=ef gf_ec:||
d/c/B bB
aBgB|f2df bfdB|A/G/F eF dFcF|Acd=e fcAc|
d/c/B bB
aBgB|f2df bfdB|egce dfBd|cBAc B3c:||
MARY
WILL YOU DO IT AGAIN? Irish, Reel. Ireland, County
Donegal. Collected in 1904 by Padraig Mac Aodh O’Neill from the playing of Fawans,
Kilmacrennen, Donegal, farmer and schoolmaster Proinseas Mac Suibhne and
published in the Journal of the
Irish Folk Song Society of that
year. A note with the tune states it was used to accompany the Clap Dance,
which Caoimhin Mac Aoidh (1994) remarks is still to be found in a few parts of
Donegal, west Fermanagh, Cavan and Monaghan (though now danced to a hornpipe).
A similar title is found in the jig “Mary, do it again.”
MARY WILLIE'S. AKA and see "The Cat Rambles to the
Child's Saucepan." Irish, Slide. Recorded by the Bothy Band.
MARY WITH THE AMBER
LOCKS (Maire An Cuil
Omraig). AKA
and see "Maire Og Na gCiabh."
Irish, Air (3/4 time, "with feeling"). G Major/Mixolydian. Standard
tuning. AB. The identical tune appears in O'Sullivan/Bunting (No. 68, pg. 105)
under the title "Maire Og Na gCiabh" (Young Mary of the Tresses).
O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 445, pg. 78.
X:1
T:Mary with the Amber Locks
M:3/4
L:1/8
R:Air
N:”With feeling”
S:O’Neill – Music of Ireland (1903), No. 445
Z:AK/Fiddler’s Companion
K:G
D>F|G2 G>AB>A|G4
G>A|B>c d2 d>c|B4 e>f|g2g2 f>e|d2 d>cB>c|d2g2 g>a|g4||
g2|=f2 e2 d>c|B4
d2|e>fg>ab>a|g4 (3edc|B2A2G2|(F2 G>)AB>c|(d2 c>)BA>G|G4||
MARY WITH THE FAIR
LOCKS. AKA and see "Maire Og Na gCiabh."
MARY
YOUNG AND FAIR (Màiri bhàn òg). See “(A) Mhàiri Bhàn Òg.”
MARYANN’S FANCY.
English, Country Dance Tune (whole time). D Major. Standard tuning.
AABB. The melody was originally published in Charles and Samuel Thompson’s
Compleat Collection, vol. 3 (London, 1773). As with numerous tunes from the
Thompson’s 1773 collection, it was copied into the 1788 music manuscript book
of fiddlers John and William Pitt Turner (Norwich, Conn.). Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 107.
X:1
T:Maryann’s Fancy
M:C
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
d2 fd gecA|dfed cBAG|FAdc Bc d2|efgf ecBA|d2 fd gecA|
dfed cBAG|FAdc Bbag|fedc {c}d4::d2 fd cecA|BdBA {A}^G2 FE|
F^GAB
cdec|dBA^G A2 [A,2A2]|d2 fd gedc|dfed cBAG|FAdc Bbag|fedc {c}d4:||
MARYANS RANT. Northumbrian. One of the "missing tunes" from Vickers' 1770
Northumbrian dance tune manuscript.
MARY'S DREAM [1]. Scottish, Air. The work of transplanted Austro‑Hungarian composer
Christoff Schetky, who embraced Scottish society in the late 18th century, and
who composed many works in the national idiom of his adopted country. So
assimilated did he become, and so jovial a company did he find, that he even
founded in 1787 the 'Boar Club' at his favorite inn, Hogg's Tavern. The members
of this convivial organization were all 'bores,' who 'grunted' their
conversation in the comfort of their 'sty,' or room. The jar of punch became
the 'pig', the old name for an earthenware crock.
MARY’S DREAM [2] (Aisling Mháire). Irish, Reel. D Major. Standard tuning. AABB.
Source for notated version: Sean Reid (County Clare), with the date April, 11,
1889 [Breathnach]. Breathnach (CRE IV),
1996; No. 120, pg. 61.
MARY’S FANCY [1]. Canadian, Reel or Hornpipe. Canada, Cape Breton. A Mixolydian. Standard
tuning. AAB. Source for notated version: Ashley MacIsaac (Cape Breton) [Dunlay
& Greenberg]. Dunlay & Greenberg (Traditional
Celtic Violin Music of Cape Breton), 1996; pg. 53. AMI
92, Ashley MacIsaac - “Close to the Floor” (1992. Appears as “A Mary MacDonald
Reel”).
MARY’S FANCY [2]. Irish,
Jig. A Major. Standard tuning. AABB. Kennedy (Jigs & Quicksteps,
Trips & Humours), 1997; No. 114, pg. 28.
MARY’S FAVORITE. Irish, Reel. D Mixolydian. Standard tuning. One part.
X:1
T:Mary's Favorite
T:Miss Fahey's Fancy
S:Frank Quinn
S:O'Neill
M:4/4
L:1/8
R:reel
Z:transcribed by Caroline Foty
K:Dmix
AG|FDCD D3 D|AcBG cABc|AD (3DDD
EDEG|AdcA G2AG|
FDCD D3 D|AcBG cABc|AD (3DDD
EDEG|ABcA G2FG|
| A~d3 AGFG|Adde fdec|Addc AGFG|ABcA
~G3 B|
A~d3 AGFG|Adde fefg|a2 ge dged|cBAF
G2||
MARY'S ONE-STEP. AKA and see "One-Step a Marie."
MARY'S RETURN. AKA ‑ "Fillead Maire." Irish, Air (6/8 time,
"cheerful"). C Major. Standard tuning. AB. O'Neill (Music of
Ireland: 1850 Melodies), 1903/1979; No. 23, pg. 4.
X:1
T:Mary’s Return
M:6/8
L:1/8
R:Air
N:”Cheerful”
S:O’Neill – Music of Ireland (1903), No. 23
Z:AK/Fiddler’s Companion
K:C
c/d/|efe dcB|cde GcB|Aag fed|c2 d/c
Bzc/d/|efe ded|cde G/zc/B/|Aag fdB|d3 {e/d/}c2||
c/d/|efg dgf|efg ccB|ABc edc|B3
dzg/f/|efg dgf|efg ccB|Aag fdB|d3 {e/d/}c2||
MARY’S SPINNING-WHEEL. AKA and see “Tuirne Mhaire.”
MARY’S WEDDING. American, Waltz. G Major. Standard tuning. AB.
X:1
T:Mary’s Wedding
C:David M. Barton
N:Written for Mary Larsen and Jerry Holland,
as a wedding,
N:present, July 21, 1999. (The
wedding was in the fall of 1999,
N:in Cape Breton, N.S., Canada.)
M:3/4
L:1/8
R:waltz
K:G
DGA-|:"G"B3 GB
d-|"Am"c3 A c e-|"Em7"d2g2e2|"C"c4 d c-
|"G"B2 d3
g-|"Am"e2 c2 B2|"D"A3 GF G-|"D7"A4 d c-
|"G"B3 G B
d-|"Am"c3 A c e-|"Em7"d2 g2 e2|"C"c4 d c-
|"G"B2 d3
b-|"Am"A2 "D7"G2 F2|"G"G6-|G2 B2d2|
|"G"g3 d
B2|"Bm"f3 d B2|"Am7"e2 g3 e-|"D07"d B4 B-
|"A"A2 ^c2
e2|"A6"a2 f3 e-|"D"d6-|"D7"d2 e2 f2
|"G"g3 d
B2|"Bm"f3 d B2|"Am7"e2 g3 e-|"D07"d B4 B-
|"C"A2 G2 E2|"Am7"DE3
G2|"G"G6-|1 G3:|2 G3|]
MARY'S WEDDING. See "Mairi's Wedding."
MASK, THE. See “The Masque.”
MASON-DIXON
SCHOTTISCHE, THE. AKA and see “California Dance,” “California Hornpipe,” "Limber Neck Blues," "Nightingale
(Clog) [2]," "Peacock Rag,"
“Rustic Dance—Scottische [3],”
“Rustic Hornpipe,” "Starlight Clog.” American, Schottische. USA, southwestern Pa. C Major: D Major.
Standard. AA'BB'. Sources for notated versions: Marion Yoders (fiddler from
Greene County, Pa., 1961) and Walter Neal (Armstrong County, Pa., 1948 &
1952) [Bayard]. Bayard (Dance to the
Fiddle), 1981; No. 408A‑C, pgs. 387‑388.
MASON LADDIE, THE. AKA and see "Mason's
Apron." Scottish. Similar to Alexander McGlashan's "The Braes of Glenorchy [1],"
and "The Isla Reel." The melody was first published in 1780 by Robert Ross in A Choice Collection of Scots Reels or Country Dances, Edinburgh.
MASON'S APRON (Práiscín an Mhásúin/Saorcloice). AKA and see "Braes of Glenorchy [1]," "Carton's Reel," "Gallagher's Reel," "I Don't Like the Guidewife," "The Isla Reel," "Lady/Miss Carbury/Carberry," "Lowrie Tarrel," "The Mason's Cap," "The Mason Laddie," “Miss Hope’s Favourite-Scotch,” "Praiscin An Saorcloc," "'S' Coma Leam Do Shean Taighe" "Le Tablier Du Macon.” See also related American tunes "Jack of Diamonds [1]" and "Wake Up Susan [1]." Irish, Scottish, English, Shetlands, Canadian, American; Reel. A Major (most versions): A Mixolydian (Roche):G Major (some Irish versions). Standard or AEae tunings. AB (Athole, Breathnach, Gow, Hardie, O'Neill, Roche, Silberberg, Surenne, Sweet): AAB (Kerr): AABB (Brody, Cole, Jarman, Kennedy, Mallinson, Miller & Perron, Raven, Skye, Songer): AA'BB' (Phillips): AABBCCDDE (Gatherer): AABBCCDDEEFFGG’ (Martin & Hughes). The melody is Scottish in origin, according to most sources, despite having been strongly associated with Irish fiddling tradition in the present day. Early Scots versions appear in Alexander McGlashan's (173?‑1797) collections under the titles "The Isla Reel" and "Braes of Glenorchy," while one called "The Mason Laddie" is in Robert Ross's 1780 volume A Choice Collection of Scots Reels or Country Dances (Edinburgh). It quickly became a popular piece, with continued longevity; for example, a note in MacDonald's Skye Collection, printed a century after Ross's volume, states: "One of the best tunes that can be played for a Country Dance." It was a particular favorite of William Hardie Jr. of Methlick (1856-1944), and was the usual encore of the Scottish fiddler Duncan McKerracher (1796‑1873), the so‑called "Dunkeld Paganini" (whom family history had it once danced on a table to the playing of Niel Gow), who it was said played the tune wearing his Masonic apron. Mason's Apron is also the name of a Scottish country dance, though uncommon in the repertoire.
***
The melody lends itself to innumerable variations, and many fiddlers, even those not particularly known for spontaneous expostulation, compose their own. Of the two variations printed by Gatherer (1987), the first was composed by him, while the second, "quite common amongst Scottish and Irish fiddlers, was claimed by both Bobby McLeod and Sean Maguire." The latter, a famous Irish fiddler, has been credited with taking (this) "rather common two‑part reel," adding variations and creating a virtuostic piece which impressed other Irish musicians who either copied it or added their own variations, say the Boys of the Lough. Maguire added three parts to the two-part “Mason’s Apron,” requiring playing in positions and challenging to many fiddlers. Some fiddlers play pizzicato notes during the tune as a variation and some Irish versions have been rendered in the key of G major, including that by Paddy O'Brien (of Tipperary) and flute player Matt Molloy; the latter’s is a much admired version on that instrument. Joyce printed the tune as “Lady Carbury” and O’Farrell included it in his 4th volume of hi s Pocket Companion (1804-16) under the title “Miss Hope’s Favourite – Scotch.” Breathnach (1976) says the tune was sometimes played in AEae tuning by Irish fiddlers. “White Leaf” is a related Irish reel. Sligo master Paddy Killoran recorded “Mason’s Apron” as a two-part reel in March, 1939.
***
Many
fiddlers in a variety of traditions have used the tune as a vehicle to display
their skill at theme and variations. The melody is, for example, widely played
in the French-Canadian fiddling tradition of Québec (see "Le Tablier Du
Macon"), and variants can frequently be found in several American regional
styles. Alan Jabbour (1971), for example, sees associations with this tune and
the "Hell On the Wabash"/"Wake Up Susan"/"Hell on the
Potomac" complex of American tunes. The first sound recording appears to have been by New York accordion
player John J. “Dutch” Kimmel in 1915.
***
Sources for notated versions: Boys of the Lough (Ireland/Scotland) [Brody]; fiddler Sean McGuire (Ireland) [Phillips]; fiddler Patrick Kelly, 1966 (Cree, Co. Clare, Ireland) [Breathnach]; Eddy Arsenault (b. 1921, St. Chrysostom, East Prince County, Prince Edward Island) [Perlman]; Kevin Burke (Portland, Oregon) [Songer]; Cathie Whitesides [Silberberg].
***
Print Sources: Breathnach (CRE II), 1976; No. 211, pg. 110. Brody (Fiddler’s Fakebook), 1983; pg. 185. Carlin (The Gow Collection), 1986; No. 485. Cole (1000 Fiddle Tunes), 1940; pg. 50. Gatherer (Gatherer’s Musical Museum), 1987; pg. 10 (with variations). Gow (Complete Repository), Part 2, 1802; pgs. 24-25. Hardie (Caledonian Companion), 1986; pg. 27. Jarman (The Cornhuskers Book of Square Dance Tunes), 1944; pg. 21. Kennedy (Fiddlers Tune Book), vol. 1, 1951; No. 50, pg. 25. Kerr (Merry Melodies), vol. 1; No. 3, pg. 23. MacDonald (The Skye Collection), 1887; pg. 2. Mallinson (Enduring), 1995; No. 22, pg. 9. Martin & Hughes (Ho-ro-gheallaigh), 1990; pgs. 16-17. Miller & Perron (New England Fiddler’s Repertoire), 1983; No. 84. O'Neill (Krassen), 1976; pg. 122. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1343, pg. 251. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 598, pg. 109. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 96. Phillips (Fiddlecase Tunebook), 1989; pg. 36. Raven (English Country Dance Tunes), 1984; pg. 174. Roche Collection, 1982; vol.1; No. 1523, pg. 61. Ryan’s Mammoth Collection, 1883; pg. 77. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 97. Songer (Portland Collection), 1997; pg. 132. Stewart-Robertson (The Athole Collection), 1884; pg. 5. Surenne (Dance Music of Scotland), 1852; pg. 22. Sweet (Fifer’s Delight), 1965/1981; pg. 64.
***
Recorded
Sources: Avoca 139, Sean Maguire‑‑"Music
of Ireland" (c. 1961. A definitive version of the tune). Beltona 78 RPM 2292,
Jimmy Shand. Beltona BL2096 (78 RPM), Edinburgh Highland Reel and Strathspey
Society (1936). Capelhouse Records, James Kelly – “Traditional Irish Music”
(1996). Cló Iar-Chonnachta CICD 173, Brian Conway – “Consider the Source”
(2008). Columbia IDB 499 (78 RPM), Paddy O’Brien (1953). Copley Records EP9-20
(45 RPM), Paddy O’Brien (195?). Fretless 103,
"Clem Myers: Northeast Regional Old Time Fiddle Champion 1967 &
1970." Green
Linnet GLCD 1081, The Tannahill Weavers – “Dancing Feet.” Green Linnet 3082, Paddy O’Brien (Tipp.) – “The Banks of the
Shannon” (set in the key of G). Legacy 120, Jean Carignan‑ "French
Canadian Fiddle Songs." Green Linnet GLCD 3009/Mulligan LUN 021, Kevin
Burke‑ "If the Cap Fits" (1978. A two-part settiing learned
from a 78 RPM recording of Paddy Killoran, 1930’s). Outlet 1031 and Outlet
1006, Sean McGuire‑ "Ireland's Champion Traditional Fiddler."
RCA 09026-60916-2, The Chieftains - "An Irish Evening" (1991. Flute
solo by Matt Molloy). Rounder 3006, Boys of the Lough‑ "Second
Album" (1974). Rounder 7002, Graham Townsend‑ "Le Violin/ The
Fiddle." Tara
CD4011, Frankie Gavin – “Fierce Traditional” (2001. Learned from the late great
Co. Clare whistle player Micho Russell, who had his version from a neighboring
concertina player named Patrick Flanagan). “The
Caledonian Companion” (1975). “Fiddlers Three Plus Two.” BBC LP, Sean McGuire
& Barney McKenna – “Ulster’s Flowery Vale.” Kieran Hanrahan – “Kieran
Hanrahan Plays the Irish Tenor Banjo.”
Arthur Scott Robertson – “Champion’s Choice” (Sean Maguire variations).
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Mason’s Apron
M:C|
L:1/8
R:Reel
K:A
|:ed|c2A2 AB AF|EF AB c2 BA|dB B2 Bc BA|Bc de f2 ed|
c2A2 AB AF|EF AB c2 BA|Bc de fe fa|AA cB A2:|
|:ed|cA eA fA eA|cA eA fe dc|dB fB gB fB|dB fB gf ed|
cA eA fA eA|cA eA fe dc|Bc de fe fa|AA cB A2:|
X:2
T:Mason’s Apron
M:C|
L:1/8
R:Reel
S:Arthur Robertson’s transcription of Sean Maguire’s variations (1985)
K:A
(fg)|a>A A/A/A (cB)A(F|EF)AB c(ABc)|d>B B/B/B (dc)BA|(Bc)de (gf)ed|
c>A
A/A/A (cB)A(F|EF)AB c(ABc)|dcd(e ga)gf|edcB A:|
|:(fed)|c>A A/A (fA)ed|c>A A/A/A (fe)dc|d>B B/B/B (gB)fB|d>B B/B/B
(gf)ed|
c>A A/A/A (fA)ed|c>A A/A/A (fe)dc|(Bc)de (ga)gf|edcB A:|
|:(GAB)|c2 (ec) fcec|c/c/c (ac) gcfc|d2(fd) gdfd|d/d/d (ad) gdfd|
c2 (ec) fcec|c/c/c (ac) gcfc|(dc)de (ga)gf|edcB A:|
|:(efg)|a>e e/e/e (ae)fg|a(bga) fefa|b>f f/f/f (bf)g^a|b2 (^ab) fefg|
a>e e/e/e (ae)fg|a(bga) fef(g|ag)af ecA(c|BA)Bc A2:|
|:e2|(ac’_ea (c’e)ac’|(gd’)eb (d’e)bd’|(ea)c’e (ac’)ea|(3gbg eg (be)gb|
(ea)c’e (ac’)ec’|(gb)eb (d’e)bd’|(ea)c’e (gb)eb|g(efg) a2:||
“5th position variations, play an octave higher”
c2|c2 (ec) fcec|c/c/c (ec) fcec|d2 (fd) AdFA|dFAd fded|
c2 (ec) fcec|c/c/c (ec) fce(c|dc)de fde(d|cA)BG A3B|
c2 (ec) fcec|Acec|Gcec|d/d/d (fd) AdFA|dFAd fded|
c2 (ec) (fcec|c/c/ (ec) fce(c|dc)de fde(d|cA)BG A2||
“1st position”
|:(e>g)|a>A A/A/A (cB)A(F|ED)CB, A,CEA|F>D D/D/D (FD)F(A|dc)BA GBeg|
a>A A/A/A (cA)E(D|CA,)CE A(EcA)|dfB(d ce)Ac|BABc A2:||
d2|c2 (ec) Acec|Gcec =Gcec|d/d/d (fd) AdF(A|dF)Ad fded|
c2 (ec) Acec|Gcec =Gcec|(dc)de (ga)gf|edcB AGAB|
c2 (ec) Acec|Gcec|=Gcec|d/d/d (fd) Adf(d|bg)af (e=f) (^fg)|
(3aba (3gag (3fgf (3efe|(3ded (3cdc (3BcB (3ABA|(3GAG (3FGF (3EFE (3DED|(3CDC (3B,CB, {A,}C2||
MASON'S CAP, THE. AKA and see "Mason's
Apron." Irish, Reel. A Major. Standard tuning. AABB. One of the
"Mason's Apron," "Wake Up Susan" family of tunes. Cole (1000 Fiddle Tunes), 1940; pg. 16. Ryan’s Mammoth Collection, 1883; pg.
39. White’s Unique Collection, 1896;
No. 46, pg. 9.
X:1
T:Mason’s Cap, The
M:2/4
L:1/8
R:Reel
S:White’s Unique Collection (1896), No. 46
Z:AK/Fiddler’s Companion
K:A
e/ | c/>A/A/>B/
A/>B/A/>F/ | E/F/A/(B/ {A/B/}c)(b/A/) | d/>B/B/>c/ B/>c/B/>A/
|
B/c/d/e/ {g}f2(e/d/) | c/>A/A/>B/
A/>B/A/>F/ | E/F/A/B/ {A/B/}c(B/A/) |
B/c/d/e/ f/e/f/a/ | (3.A/.A/.A/c/B/
A A/ :: e/ | (c/A/)(e/A/) (f/A/)(e/A/) |
.c/.A/.e/.A/ .f/.e/.d/.c/ |
(d/B/)(f/B/) (a/B/)(f/B/) | (d/B/)(f/B/) .f(e/d/) |
(c/A/)(e/A/) (f/A/)(e/A/) |
(c/A/)(e/A/) .f/.e/.d/.c/ | .B/.c/.d/.e/ .f/.e/.f/.a/ |
(3.A./A./.A/c/B/ A A/z/ :|
MASON'S HORNPIPE. American, Hornpipe or Reel. F Major. Standard tuning. AABB. Ford (Traditional Music in America), 1940; pg.
31.
X:1
T:Mason’s Hornpipe
M:2/4
L:1/8
R:Hornpipe
S:Ford – Traditional Music in America (1940)
Z:AK/Fiddler’s Companion
K:F
c|c/=B/c/A/ F/A/c/f/|f/e/g/e/
c/d/c/_B/|c/B/d/B/ B/A/c/A/|A/G/B/G/ F/E/D/C/|
c/=B/c/A/ F/A/c/f/|f/e/g/e/
c/e/g/_b/|b/a/a/g/ g/f/e/g/|fa[Af]:|
|:G|G/^F/G/E/ C/E/G/B/|B/A/c/A/
=F/A/c/f/|d/f/c/f/ d/f/c/f/|d/f/b/a/ g/f/e/d/|
c/=B/c/A/ F/A/c/f/|f/e/g/e/
c/e/g/_b/|b/a/a/g/ g/f/e/g/|fa[Af]:|
MASON'S MARCH, THE. Irish, Air or March (6/8 time). A Dorian.
Standard tuning. AB. Source for notated version: sculptor Patrick MacDowell, born
in Belfast 1799, d. 1870, via Forde (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 521, pgs. 281‑282.
X:1
T:Mason’s March, The
M:6/8
L:1/8
R:March
N:”With spirit”
S:P.W. Joyce – Old Irish Folk Music and Songs, No. 521 (1909)
Z:AK/Fiddler’s Companion
K:Ador
E2A A2G|A2B c2d|e2e {f}e>de|c2A
A2G|E2A A2G|
A2B c2d|e>fg e2d|c2A A3||g2g
g2b|a2g e>dc|
d2d {e}d>cd|ecA G2G|E2A A2G|A2B
c2d|e>fg e>de|c2A A2||
MASON'S QUICKSTEP. American, March. Bayard (1981) identifies this as a version of the Pennsylvania
collected "Oho, Oho, I've
Found You Out " and the Northumbrian tune "O I Hae Seen the Roses Blaw."
American Veteran Fifer, 1927; No. 23.
MASQUE, THE. AKA – “The Mask.” KA and see "Hey to the Camp," "The Praties Are Dug, and the Frost is all
Over,” “What Would
You/I do if the Kettle Boiled Over,” “What Would You do if You
Married a Soldier?” English, “Old Hornpipe”. C Major. Standard tuning.
AABB. Bayard (1981) thinks the air dates back to the 1600's. Printed in the
second supplement to the 7th edition of Playford's Dancing Master (1688) and again in the 9th edition
(1698). A rather more elaborate version was printed in the 17th
edition of the Dancing Master (1721).
See notes for “Hey to the Camp” and “Frost
is all Over [1]” – one will readily see that this popular Irish jig is a
direct descendent of the Playford melody. The title refers to the masque, a
form of festive courtly entertainment the heyday of which was in the 16th
and early 17th centuries in England and elsewhere in Europe. It
consisted of dancing, singing and acting within an elaborate stage or set
design, and typically were occasions for revelling at festive events, such as
weddings and Christmas celebrations. Professional actors and singers would
often be hired for the masque, but supplemented by costumed guests and courtiers.
In some sense, the masques were the gentrified outgrowth of the medieval
pageants and courtly shows of the late middle ages, and were the counterpart to
the lower classes pace-egging plays and morris dances. However, by Playford’s
time the masque was going out of fashion in England, to be replaced the
semi-opera of Dryden and Purcell. Barlow (The
Complete Country Dance Tunes from Playford’s Dancing Master), 1985; No.
300, pg. 73.
X:1
T:Masque,
The
T:Mask, The
M:6/4
L:1/8
S:Playford – Dancing Master
K:C
cd e2 c2 d2 B2 G2|AB c2 E2 D4 C2|EF G2 E2 G4 G2|cd e2 c2 d6|
cd e2 c2 d2 B2 G2|AB c2 E2 D4 C2|EF G2 G2 AB c2 c2|ef g2 e2 c6||
ef g2 e2 g2 e2 c2|fg a2 f2 a4 a2|ef g2 e2 g2 e2 c2|d2 G2 d2 d6|
ef
g2 e2 g2 e2 c2|fg a2 f2 a3g f2|ef g2 e2 d2 B2 G2|AB c2 E2 C6||
MASSA BILL. AKA and see "Never Get
Your Money Back," "Mossy Bill."
Old-Time, Breakdown. G Major. Standard tuning. AABBCCDD. Phillips (Traditional American Fiddle Tunes, Vol.
1), 1994; pg. 150.
MASSACRE AT GLEN COE. See “Massacre of Glencoe.”
MASSACRE OF GLENCOE
[1], THE (Mort
Ghlinne-comhainn). AKA - “The Massacre at Glen Coe.” Scottish, Slow Air (6/8 or 3/4 time).
G Major. Standard tuning. AABB (Fraser). "The poet, in the 'Massacre of
Glencoe', as handed by the editor's progenitor, addresses himself to the owl,
as the only witness of a deed perpetrated under silence of night, and pretends
he is telling from her narration every circumstance of barbarity relating to
that melancholy event" (Fraser). The “deed” or “melancholy event” Fraser
refers to is the famous Massacre of Glencoe, which occured in that stark and
beautiful valley in the southwestern Highlands just to the south of Fort
William on February 13th, 1692. The new English king at the time, William III,
had demanded that the clans take an oath of loyalty to him that they would not
support the dethroned James II. The MacDonald clan procrastinated in this and
in retribution William ordered troops, accompanied by elements of the Campbell
clan (traditional enemies of the MacDonalds), to force the issue. The
MacDonalds were found encamped or dwelling at Glencoe and were massacred, over
forty dying outright and many more dying of exposure after having been driven
into the surrounding mountains, or burned in houses by the pursuing troops. The
abomination of the event in the minds of the Highlanders, beside the killings,
was that the Campbells beforehand had partaken of “the bread and salt” of the
MacDonalds for several days, i.e. had been granted and accepted formal
hospitality and were considered guests. Glencoe has been ever after known as
“The Glen of Weeping” and has served as a focal point of Scottish antipathy
toward England.
***
It has been reported that there was
still some vestige of distrust between Campbells and MacDonalds on Cape Breton
Island as late as the early 20th century. Fraser (The Airs and Melodies Peculiar to the
Highlands of Scotland and the Isles), 1874; No. 57, pg. 20.
X:1
T:Massacre of Glencoe, The [1]
T:Mort Ghlinne-comhainn
M:6/8
L:1/8
R:Slow Air
S:Fraser Collection (1874)
Z:AK/Fiddler’s Companion
K:G
D<G zG2F | A2F G<Dz | D<B zB2A | B2c B2A | G2A B2A | B2c d2G |
Agz GDz | G2F A2G :: G<e zd2c | c2B BAz | B<g zd2c | c2B B2c |
d<bz g2d | dcz cBz | d2G GDz | G2F A2G:|
MASSACRE OF GLENCOE
[2], THE. AKA and see “Colonel
Robertson [1],” “House of
MacDonald.” Canadian, Waltz. D Major. Standard tuning. AB. The tune is played as a pipe march
(called “Colonel Robertson”) and, on Prince Edward Island, as a waltz (see “The
House of MacDonald”). Jim McLean writes to clarify that the waltz is an
adaptation of his song:
***
I
wrote a song called the “Massacre of Glencoe” in 1963 and rewrote
the
air “Colonel Robertson” to suit the words. I wrote it as a slow air
and
you'll note that the recurring phrase 'the House o' MacDoanld'
would
never fit into “Colonel Robertson.” The song “Massacre of Glencoe”
or
“Ballad of Glencoe” or just plain “Glencoe” is regisered with the PRS
and
MCPS as an original work, words and music by myself and published
by
Duart Music London. Previous to my writing the song, “Colonel Robertson”
was
played as Colonel Roberson, a six-eight march, and there could not have
been
a mention of Glencoe relating to it before 1963. Likewise “The House of
MacDonald,” whose title was taken from the recurring refrain in my song.
***
Source for notated version: Johnny
Joe & Foncey Chaisson (b. 1918 & 1929, Souris, North-East Kings County,
Prince Edward Island) [Perlman]. Perlman (The
Fiddle Music of Prince Edward Island), 1996; pg. 171.
MASSA'S
GONE AWAY. AKA – “Old Master’s Runaway.” AKA
and see “The Doodletown Fifer [2],"
"Kingdom Coming," "Year of (the) Jubilo." Old‑Time,
Breakdown. USA; Virginia, West Virginia. D Major. Standard tuning. AABBA'A'.
The tune was composed by Henry Clay Work as a song for the minstrel stage in
1862, originally entitled “Kingdom Coming or the Year of Jubilo.” See notes for
“Kingdom Coming” and “Year of Jubilo” for more. This date, however, predates
Lincoln’s Emancipation Proclamation of 1863. Early 78 RPM era recorded versions
of the song include Sam and Kirk McGee in 1927 (Vocalion 5167), as “Old
Master’s Runaway” and Frank Crummit (Victor 21108). Source for notated version:
Frank W. George (Bluefield, West Virginia.) [Krassen]. Krassen (Masters of Old Time Fiddling), 1983; pg.
100‑101. Anachronistic 001, Franklin George‑
"Swope's Knobs." Musical Traditions MTCD0231, Sam Connor (Copper
Hill, Floyd County, Va.) – “Far on the Mountain, vols. 1 & 2” (2002).
MASSA'S IN THE COLD
COLD GROUND. American, "Sand Jig" (4/4
time). G Major. Standard tuning. AA'BB'. A sand jig was a type of syncopated,
duple time, dance for the mid-to-late 19th century stage. The name
is taken from the practice of sanding the floor to facilitate the dancer’s
steps. Kerr (Merry Melodies), vol. 2;
No. 405, pg. 45.
X:1
T:Massa’s in the Cold, Cold Ground
M:C
L:1/8
R:Sand Jig
S:Kerr – Merry Melodies, vol. 2, No. 405
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
d3e dBAG|g4e4|e2d2B2G2|ADEF GABc|d3e
dBAG|g4e4|
edBG B2A2|1 G2[B2g2][B2g2]z2:||:2 G2
AB cdef|g4 f2e2|
d4B4|e2d2B2G2|Adfe dcBA|d3e
dBAG|g4e4|edBG B2A2:|2 G2 [B2g2][B2g2]z2||
MASSAI'S FAVORITE. AKA and see "Lady
Walpole's Reel [1]."
MASSASOIT HORNPIPE. American, Hornpipe. D Major. Standard tuning. AABB. Massasoit was Chief
of the Wampanog Indians, who attended the first Thanksgiving in the new colony
at Plymouth, Massachusetts. The previous winter had been a hard one—nearly half
of the original 102 Pilgrims perished—and Massasoit and his tribesmen had
helped the survivors by teaching them how to plant the native corn, using fish
fertilizer. That autumn the harvest had been plenty, and the game abundant, and
in thanks Governor Bradford invited Massasoit and ninety of his warriors to the
feast; thus, as Stuart Berg Flexner points out (in Listening to America, 1982) the Native Americans outnumbered the
Pilgrims at the meal. Cole (1000 Fiddle
Tunes), 1940; pg. 93. Ryan’s Mammoth
Collection, 1883; pg. 128.
X:1
T:Massasoit Hornpipe
M:2/4
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:D
A | A/F/A/d/ f/e/d/B/ | A/F/A/d/
d/e/d/B/ | A/F/A/d/ f/e/d/f/ | a/f/g/e/ f/e/d/B/ |
A/F/A/d/ f/e/d/B/ | A/F/A/d/
d/e/d/B/ | A/F/A/d/ f/e/d/f/ | g/A/B/c/ d :|
|: (d/e/) | f/e/d/f/ e/A/A/d/ | f/e/d/f/
a/b/a/g/ | f/e/d/f/ e/A/A/A/ | f/d/e/c/ .d(d/e/) |
f/e/d/f/ e/A/A/d/ | f/e/d/f/
a/b/a/g/ | f/e/d/f/ e/A/A/A/ | f/d/e/c/ d :|
MASSEY HALL. Canadian, Reel. Canada, Cape Breton. D Major. Standard tuning. AAB.
Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 98, pg. 29.
MASTER ANDREW GRANT (Balmoral). Scottish, Reel. A Mixolydian. Standard tuning.
AB. Composed by A.F. Skinner. MacDonald (The
Skye Collection), 1887; pg. 24.
X:1
T:Master Andrew Grant
M:C
L:1/8
R:Reel
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:A
e>d|c>A A/A/A (EA) A/A/A|(cA)
A/A/A a2 (ed)|c>A A/A/A EAA=c|BA =Gf =g2 (ed)|
c>A A/A/A (EA) A/A/A|(cA) A/A/A
a2 (e/f/=g)|af=ge fde=c|B>G G/G/G g||cB|
Aaga edcB|Aaga e2 d/c/B|Aaga
ef=ge|=gagd B=GGB|
Aaga edcB|Aaga e2 (d/f/=g)|Af=ge
=fde=c|B>=G G/G/G g||
MASTER CROWLEY’S
FAVORITE. AKA and see “Killavil Jig [2],” “Limerick Roses,” “Pathway to the Well.” Irish, Jig.
The title “Master Crowley’s Favorite” comes from the first recording of the tune,
by fiddler Hugh Gillespie on a 78 RPM disc. Philippe Varlet also finds a
version by Sligo fiddler Michael Coleman, recorded on a hard-to-find World
Broadcast record made in 1944, the second tune in a medley entitled “James
O’Beirne’s” (a reference to fellow-New York fiddler James “Lad” O’Beirne). A
few years later Paddy Killoran recorded the melody under the title “Limerick
Roses.” Leitrim fiddler Seamus Horan played the tune with Packie Duignan on
their Topic LP, but not having a name simply called it “Your Jig.” Given all
the above, Varlet concludes the connection of the tune with Sligo region
fiddlers is strong.
MASTER CROWLEY('S
REEL) [1]. AKA – “Crowley’s Reel.” AKA and see
“The Bluebells,” “Crowley’s Reel [3],” “Miss Patterson,” "Miss Patterson's Slipper,"
“Shark’s Favorite.” Irish, Reel.
Ireland, County Sligo. E Dorian. Standard tuning. AB (Flaherty): AABB
(Cranitch). An early recorded version was performed by Hugh Gillespie. Sources
for notated versions: fiddler Fred Finn, 1919-1986 (Kiltycreen, Kilavil, County
Sligo) [Flaherty]; sessions at the Regent Hotel, Leeds, England [Bulmer &
Sharpley]. Bulmer & Sharpley (Music
from Ireland), 1974, vol. 1, No. 44. Cranitch (Irish Fiddle Book), 1996; No. 71, pg. 152. Flaherty (Trip to Sligo), 1990; pg. 77. Giblin (Collection of Traditional Irish Dance Music),
1928; 4. Claddagh CC13, Tommy Potts - “The Liffey
Banks.” Green Linnet 1026, James Keane - “Roll Away the Reel World.” Ossian OSS
006, Matt Cranitch - “Give it a Shtick.” RMCD4321, Roger Landes - “Dragon
Reels.” James Keane (et al) – “The Big Squeeze.”
X:1
T:Miss Patterson's Slipper
T:Crowley's Reel
T:Master Crowley's
R:reel
H:See also #685
D:The Gathering (Matt Molloy)
D:Paddy Glackin: Ceol ar an bhFidil le Paddy Glackin.
Z:id:hn-reel-179
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:Edor
B,E~E2 B,EFE|EDB,D A,DFD|B,E~E2 B,EFE|FAdA FEED|
B,E~E2 B,EFE|EDB,D A,DFD|B,E~E2 B,EFE|1 FAdA FEED:|2 FAdA FEEA||
|:Bbba fgeg|fd~d2 adfd|Bbba fgfe|dBAF FEEA|
Bbba fgeg|fd~d2 adfd|EFGA ~B3d|1 AFDE FEEA:|2 AFDE FEED||
"Variations:"
B,GEG B,GEG|F2DF A,DFD|B,E~E2 B,EGB|AFdF FEED|
B,E~E2 EFGE|EDB,D A,DFD|B,E~E2 B,EGB|AFdF FEED:|
|:Ebab fgeg|fdad bdad|Bbab ~f3e|dBAd BEEA|
Bbab fgeg|fd~d2 adfd|EFGA ~B3d|1 AFDE FEEA:|2 AFDE FEED||
MASTER CROWLEY('S
REEL) [2]. AKA – “Crowley’s Reel.” AKA and see
"The Roscommon Reel."
Irish, Reel. E Dorian. Standard tuning. AA’B.
X:1
T:Roscommon Reel, The
T:Master Crowley's [2]
T:Crowley's Reel
R:reel
D:The Gathering (Matt Molloy)
D:Paddy Glackin: Ceol ar an bhFidil le Paddy Glackin.
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
Z:id:hn-reel-180
M:C|
K:Edor
EFGA BAGB|AF~F2 dFAF|EFGA ~B3d|1 AFDE FEED:|2 AFDE FEEf||
eB~B2 efge|fa~a2 bfaf|eB~B2 efge|faaf efgf|
eB~B2 GBeg|fa~a2 bgag|faaf egfe|dBAF EFGA||
~B3A B2dB|AF~F2 dFAF|EBBA ~B3d|AFDE FEED|
EBBA BcdB|AF~F2 dFAF|EBBA ~B3d|AFDE FEED||
MASTER ERSKINE. Scottish, Hornpipe. C Major. Standard tuning. AABB. Composed by Niel Gow
(1727-1807). Carlin (The Gow Collection),
1986; No. 579. Gow (Fourth Collection of Niel Gow’s Reels), 2nd
ed., originally 1800; pgs. 26-27.
X:1
T:Master Erskine’s Hornpipe
M:C
L:1/8
R:Hornpipe
C:Niel Gow (1727-1807)
B:Gow – Fourth Collection of Niel
Gow’s Reels (1800)
Z:AK/Fiddler’s Companion
K:C
c|.G(cB).c .E(cB).c|(ec)(gc) (ac)(gc)|.G(cB).c
.E(cB).c|e2d2 d4|.G(cB).c .E(cB).c|
(ec)(gc)
(ac)(gc)|GcBd cagf|e2c2c3::e|(ga).g.f (ef).e.d|(cd).c.B (AG).F.E|
(EG).c.G (EF).G.E|F2D2
D3f|(ga).g.f (ef)ed|(cd).c.B AGFE|(EG)cG Fagf|e2c2c3:|
MASTER F. (Francis)
SITWELL. AKA and see “Francis Sitwell.” Scottish, Slow
Strathspey, Air or March. B Flat Major (most versions): C Major (Surenne).
Standard tuning. AB (Hardie, Surenne): AAB (Carlin/Gow, Glen, Honeyman): AABB'
(Gatherer, Kerr, Stewart-Robertson): AAB & variations CCD
(Cranford/Fitzgerald). Composed by Nathaniel
Gow (1768-1831), probably for Francis Sitwell (1768-1813) who in 1795 in
Dunbarton married Anne Campbell (c. 1766-1821), daughter of Sir Illay Campbell
of Succoth, 1st Bart, and Susan Mary Murray. Sitwell (whose original
name was Hurt) was master of Barmoor Castle, Northumberland, and sometime MP
for Berwick (1803-1806). Nathaniel was the third son of famed Scots
fiddler-composer Niel Gow (1727-1807), and was himself a fiddler, composer,
bandleader and music publisher. A master set of variations to this tune were
recorded by Aberdeenshire fiddler J.F. Dickie (“Master of the Slow Strathspey”,
according to J. Murdoch Henderson) in the early 1950’s. Indeed, the melody can
be rendered as either a strathspey, slow air or march. There is also a
strathspey name “Miss Sitwell” by
Nathaniel, presumably for a sister or relation of Francis. Source for notated
version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Carlin (The Gow Collection), 1986; No. 137.
Cranford (Winston Fitzgerald), 1997;
No. 219, pg. 87. Gatherer (Gatherer’s
Musical Museum), 1987; pg. 37. Glen (The
Glen Collection of Scottish Dance Music), vol. 2, 1895; pg. 28. Gow (Fourth
Collection of Niel Gow’s Reels), 2nd ed., originally 1800; pg.
33. Hardie (Caledonian Companion),
1992; pgs. 68‑69 (with variations by J.F. Dickie). Honeyman (Strathspey, Reel and Hornpipe Tutor),
1898; pg. 27. Kerr (Merry Melodies),
vol. 2; No. 202, pg. 23. Stewart-Robertson (The
Athole Collection), 1884; pg. 283. Surenne (Dance Music of Scotland), 1852; pgs. 16-17. Ron Gonella – “A Tribute to Niel Gow.” “James F. Dickie’s Delights”
(1976). RC2000, George Wilson – “Royal Circus” (2000). Risk 0401, Laura Risk –
“” (2004).
X:1
T:Master F. Sitwell
M:C
L:1/8
R:Slow Strathspey, Air or March
S:Glen Collection, vol. 2
(1895)
Z:AK/Fiddler’s Companion
K:Bb
D/E/|F>BD>B G2 EG|~F>f
e/d/c/B/ Accd/e/|dB FD G2 E>G|~F>BA>c dBB:|
d/e/|f>dg>e f2 dg|f<d
g>B Accd/e/|f>dg>e f>db>d|e/d/c/B/ AfdB Bd/e/|
f>dg>e f2 dg|f<d g>B
Accd/e/|fdBF G>A/4B/4 E>G|F>BA>c dBB||
X:2
T:Master Francis Sitwell
M:C
L:1/8
R:Slow Air, Strathspey or March
S:Surenne – Dance Music of Scotland, pg. 16-17
(1852)
Z:AK/Fiddler’s Companion
K:C
E/F/ | (G<c)(E<c) A2 F>A |
Gg (f/e/d/c/) (B<d) d/e/f/ | (e<c)G>E A2 F>A | G>cB>d
(e<c) c E/F/ |
(G<c)(E<c) A2 F>A | Gg
(f/e/d/c/) (B<d) d/e/f/ | e<c)G>E A2 F>A | G>cB>d (e<c)c
|| e/f/ |
g>ea>f g2 ea | (g<e)a>c
(B>d) de/f/ | g>ea>f g>ec’>e | (f/e/d/c/) B>g (e<c) ce/f/
|
(g<e)a>f g2 ea |
(g<e)a>c (B<d) de/f/ | g>ec>G (A/4B/2<c) F>A |
G>cB>d (e<c)c ||
X:3
T:Francis
Sitwell
M:C
L:1/8
R:Slow Air,
Strathspey or March
B:The Athole Collection
Z:AK/Fiddler’s Companion
K:Bb
B|F>BD>B
G2 E>G|F>f e/d/c/B/ A<c cd/e/|d>BF>D G2 E>G|
F>B A/B/c d<BB::g|f>dg>e f2 d>g|g>d e/d/c/B/ A<c cd/e/|1
f>dg>d
f>db>d|e/d/c/B/ F>c d<BB:|2 f>dB>F G2 E>G|F>B A/B/c
d<B~B||
MASTER FRANK ROMILY. Scottish, Reel. F Major. Standard tuning. AB. Composed by William Marshall (1748-1833). Marshall, Fiddlecase Edition, 1978; 1845
Collection, pg. 11.
X:1
T:Master Frank Romily
M:C
L:1/8
R:Reel
S:Marshall – 1845 Collection
Z:AK/Fiddler’s Companion
K:F
cAFA cfca|dfcA G/G/G G2|cAFA cbag|f<d c>A F/F/F F2|cAFA cfcA|
dfcA G/G/G G2|cAFA cbag|f<d c>A F/F/F F2||~f>g a<g fdcf|dfca g/g/g g2|
f>g a<g fdcf|d<f c>A F/F/F F2|~f>g a<g
fdcf|dfca g/g/g g2|f>g a<f bgec|d<f c>A F/F/F F2||
MASTER HENRY'S REEL
[1] (Ríl an Mháistir Mhic
Annraoi).
Irish, Reel. G Major. Standard tuning. AB. Breathnach (1985) records that the
master referred to was a schoolteacher named Batt Henry, from Ballymote. Henry
also taught fiddle and dancing, and was the first person in the district to
obtain Michael Coleman records from America. Source for notated version: flute
player Tommy Hart (Co. Sligo, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 157, pg. 83.
X:1
T:Master Henry’s Reel [1]
M:4/4
L:1/8
R:Reel
S:CRÉ II (No. 157)
Z:AK/Fiddler’s Companion
K:G
~G3B AE E2 | G2 Bd gedB | ~G3B AE E2
| cBAG E2 D>F | G2 GB AE E2 |
GABd gedB | ~G3B AE E2 | cBAG E2
D> || d | g2 dg egde | g2 dg eaaf |
g2 dg egdB | cBAG EG D2 | g2 dg egde
| g3 dg ea a2 | (3bag af gfed | cdef gedB ||
MASTER HENRY’S REEL
[2].
AKA and see “Henry’s Scotch
Reel.”
MASTER HUMPHREY’S SET OF COTILLONS. American, Cotillion Set. C Major. Standard tuning. ABCDEFGHI. The title refers to a dancing master. Howe (Complete Preceptor for the Accordeon), 1843; pgs. 28-29.
X:1
M:2/4
L:1/8
R:Cotillion
Set
S:Howe – Complete Preceptor for the Accordeon
(1843)
Z:AK/Fiddler’s Companion
K:C
G | cc dd |
ee cc/d/ | ffee | d/e/f/d/ c/B/A/G/ | cc dd | ee cd/e/ | ff ee | dd/e/ c2 ||
e/f/ |
g/e/f/g/ aa | ff g/a/g/f/ | eg fe | d/e/f/d/ c/B/A/G/ | g/e/f/g/ aa |
ff g/a/g/f/
| eg fe | df g/f/e/f/ || ee e2 | g/f/e/f/ g2 | (ea) (ag) | (gf) (fe) | dd
d>d |
f/e/d/e/
f>g/2f/4 | eg gf | fe ed ||
M:6/8
L:1/8
G | c2e
g2c’ | c’aa g3 | afd gec | Bdf e2d | c2e g2c’ | caa g3 | afd gec | fdB c2 ||
G | (g2e)
(a2g) | (f2d) (g2f) | (e2c) (f2e) | dec BAG | (g2e) (a2g) | (f2d) (g2f) |
(e2c) dfe |
dcB c2 || G | c/B/c/d/ ee | d/c/d/e/ ff | e/d/e/f/ g/a/f/g/ | e/f/d/e/ c/B/A/G/
|
c/B/c/d/ ee
| d/c/d/e/ ff | e/d/e/f/ g/a/f/g/ | e/f/d/e/ c ||
M:2/4
L:1/8
G | ce/c/
Bd/B/ | ce/c/ GA/B/ | ce/c/ Bd/B/ | c/d/e/f/ g/e/f/d/ | ce/c/ Bd/B/ |
ce/c/ GA/B/
| ce/c/ Bd/B/ | cc c2 | egc’g | fe fa/f/ | eg/e/ dd/e/ | f/e/d/c/ c/B/A/G/ |
egc’g | fe
fa/f/ | eg/e/ dd/e/ | f/e/d/c/ g ||
M:6/8
L:1/8
G | c2 c
cc’a | a3 gac’ | gec cBc | dBG GAB | c2c cc’a | a3 gac’ | gec fdB | c3 c2 |
g | geg geg
| ac’c’ c’ag | geg gec | dBG G2g | geg geg | ac’c’ c’ag | gc’g gec |
fdB c2 || G
| GFE EDC | G2G G2G | A2A ABc | cec BAG | GFE EDC |
G2G GcB |
ABc dcB | c3 c3 ||
MASTER JACKEY WAGTAIL.
English, Jig. D Major. Standard tuning. AABB. The melody is unique to
London publishers Charles and Samuel Thompson’s 1757 country dance collection.
Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1),
1757; No. 156.
X:1
T:Master Jackey Wagtail
M:6/8
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
d3
AFD|BGE EFG|ABA AFD|fdB Bcd|efe ecA|BGE EFG|ABA AGF|dAF DFA:|
|:d3 faf|gbg efg|d3 fga|bgb afd|gbg faf|ecA Bcd|ABA AFD|dAF DFA:||
MASTER JOHN GATHERER. Scottish, Strathspey. D Major. Standard tuning. AAB. Composed by
Alexander Walker in honor of Master Gatherer, a flute player from Strathdon.
Walker (A Collection of Strathspeys,
Reels, Marches, &c), 1866; No. 89, pg. 31.
MASTER JOHN ROMILY. Scottish, Reel. F Major. Standard tuning. AAB. Composed by William
Marshall (1748-1833). Moyra Cowie (The
Life and Times of William Marshall, 1999) speculates that Master John may
have been the son of Sir Sameul Romilly, the great jurist. Marshall, Fiddlecase Edition, 1978; 1845
Collection, pg. 11.
X:1
T:Master John Romily
M:C
L:1/8
R:Reel
S:Marshall – 1845 Collection
Z:AK/Fiddler’s Companion.
K:F
B|(Ac)fc A2 FA|gaba gGGB|(Ac)fc A2 FA|EgcB AFF:|
e|fcAf cfaf|dgba gGGe|fcAf cfAf|EGcB AFFA|fcAf cfAf|
gaba
gGGg|bgaf (ag)(fe)|fdcB AFF||
MASTER LINLEY’S
HORNPIPE. American, Hornpipe. D Major.
Standard tuning. AABB.
X:1
T:Master Linley's Hornpipe
C:John Greenwood Manuscript 1770's
(N.Y. Historical Society)
M:C
L:1/8
K:D
d/c/ | dA FG Ac eg | fafd {d} c2 BA
| GBed cefd | Ed gf {f} e2 dc |
dA FG Ac eg | fafd {d} c2 BA | G3 b
afed | A2 c2 d3 :||: b |
abc'd' afed | gbge {d} c2 BA | GBed
cefd | Ed gf e2 ab/c'/ |
d'afd Ac'af | Bbge {d} c2 BA | G3 b
afed | A2 c2 d2 z :|
MASTER McDERMOTT’S
REEL (Ríl an Mháistir Mhic
Dhiarmada). AKA
and see “Barrel Rafferty's Reel,”
“Farewell to Erin/Eireann
[2],” “McDermott’s Reel [1].”
Irish, Reel. D Major. Standard tuning. AABB (Breathnach): AA’BB’ (Feldman &
O’Doherty). Jackie Small (CRÉ IV)
maintains the tune was composed by Michael ‘Master’ McDermott in May, 1943, a
schoolteacher and fiddler from Carrickmore, southern County Tyrone. McDermott
died in 1947. Fiddler Sean
McGuire credited composition to himself along with Liam Donnelly in his
book Irish Tunes by the 100 (vol. 1,
1975). Breathnach was of the opinion this tune was a version of “Boys of the Lough.” Some similarities
with the tune “New Policeman” or “Belles of Tipperary.” “Give Us Another” is a related reel.
Sources for notated versions: Michael ‘Master’ McDermott via the collector Liam
Donnelly (County Tyrone and Belfast) [Breathnach]; fiddler John McKeown
[Feldman & O’Doherty]. Breathnach (CRÉ
IV), 1996; No. 119, pg. 61. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 242 (appears as last “Untitled
Reel” on page). McGuire & Keegan (Irish
Tunes by the 100), vol. 1, 1975; No. 45, pg. 12. Vallely (Play Fifty Reels with the Armagh Pipers Club),
1982; 40. Gael-Linn CEFCD 151, Buttons and Bows –
“Gracenotes” (appeasr as “McDermott’s”). CAT-WMR004, Wendy MacIssac - “The
‘Reel’ Thing” (1994). Coleman Center CD CC004, Deirdre Collis & Maria Lynn
McHugh – “The Mountain Road” (1999. Various artists. “A Compilation of tunes
popular in South Sligo.”) Outlet OAS 3030, Josephine Keegan (appears as
“McDermott’s). Philo 1051, Boys of the Lough (with Tommy & Brendon Gunn,
fiddle‑ "Good Friends, Good Music" (1977). SOLO 7012, Tommy
Peoples – “A Traditional Experience with Tommy Peoples” (appears as “The New
Policeman”).
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Master McDermott’s Reel
R:Reel
L:1/8
M:4/4
K:D
DFF2 DFAB | defe dBB2 | AFF2 BFAF |
E2EF E2FE | DFF2 DFAB | defe dBB2 |\
AFF2 dFAF | EDFE D4 :: dff2 dfaf |
g2fe dBB2 | dBBA Bcde |\
fdgf e2fe |
dfaf g2bg | fafe dBB2 | AFF2 dFAF | EDFE D4 :|
X:2
T:Master McDermott's
M:4/4
L:1/8
Q:222
C:traditional
S:Pat McKenna (originally from outside Emyvale, Monaghan)
R:Reel
Z:Gregor
K:D
D ~F3 DFAc|defe dBGB|AFEF (EFF)A|GEED EDB,E|DFEF DFAc|defe dBGB|
A ~F3 d~F3|EGFE EDDE| D ~F3 DFAc|d2 fe dBGB|AFEF (EFF)G|FEED EDBA|
DFEF DFAc|defe dBGB|A ~F3 d~F3|(3EFG FE EDDA||
fgfe dfaf|g2 bg agfe|dB ~B2 Addf|fefd e3 e|dfaf g2 bg|agfe dBGB|
A ~F3 D~F3|EDCE D3 A| Affe dfaf|gfgb agfe|dB ~B2 Addf|fefd e3 e|
dfaf g2 bg|agfe dBGB|A ~F3 d ~F3|(3EFG FE EDDE||
MASTER McDONALD ST. MARTIN’S STRATHSPEY. Scottish, Strathspey. G Minor. Standard
tuning. AAB. Composed by Kirkmichael, Perthshire, fiddler Robert Petrie. Petrie (Collection of Strathspey Reels and Country
Dances), 1790; pg. 19.
X:1
T:Master
McDonald St. Martin's Strathspey
C:Robert
Petrie
S:Petrie's
Collection of Strathspey Reels and Country Dances &c., 1790
Z:Steve
Wyrick <sjwyrick'at'astound'dot'net>, 3/19/04
N:Petrie's
First Collection, page 19
L:1/8
M:C
R:Strathspey
K:Gm
F
| D(GG)B/c/ d>GB<G | C(FF)A/B/ c>FA>F | DGG B/c/ d>GB<g | fd
c/d/f/A/ BGG :|
d
| (b/4a/4g3/2) g>d B<d (Tgf/g/) | (a/4g/4f3/2) fc Ac (Tf=e/2f/2) | (b/4a/4g3/2) g>d
B>dG<g |
f>d
c/d/f/A/ {A}G2Gg | (b/4a/4g3/2) g>d B<d (Tgf/g/) | (a/4g/4f3/2) f>c
A<c (Tf=e/f/) |\
g<bd<g
BdG>g | fd c/d/f/d/ {A}G2G2 |]
%The
original notated the next to last measure like this:
%
|g<bd<g Bd3/2Gg/| which appears to be an error -SW
MASTER PINTO. Scottish, Slow Air. B Flat Major. Standard tuning. AB. Composed by Nathaniel Gow
(1763-1831). MacDonald (The Skye
Collection), 1887; pg. 161.
X:1
T:Master Pinto
M:2/4
L:1/8
R:Slow Air
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:C
D>E (G/F/)E/D/|B>F
(G/F/)E/D/|D>E (G/F/)E/D/|BDFd|D>E (G/F/)E/D/|
B>F (G/F/)E/D/|Cc c>d|e/d/c/B/
A/G/F/E/|D>E (G/F/)E/D/|B>F (G/F/)E/D/|
D>E (G/F/)E/D/|dDFd|D>E
(G/F/)E/D/|B>F (G/F/)E/D/|Cc c>d|e/d/c/B/ A/B/c/A/||
(B/c/)(d/e/) f>B}dB
(g/f/)(e/d/)|(B/c/)(d/e/) f>B|dBd<b|(B/c/)(d/e/) f>B|
d>B (g/f/)(e/d/)|(c/d/)(e/f/)
gc|eceg|(B/c/)(d/e/) f>B|dBfd|(B/c/d/e/) fb|
(ab) (fb)|(3gbg (3fbf|(3ege
(3dfd|c/d/e/f/ g>f|e/d/c/B/ A/G/F/E/||
MASTER REGINALD
MACDONALD. Scottish, Strathspey. A Major.
Standard tuning. AAB. Composed by editor Keith Norman Macdonald. MacDonald (The Skye Collection), 1887; pg. 3.
X:1
T:Master Reginald MacDonald
M:C
L:1/8
R:Strathspey
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:A
e|A<A e<A af e<e|fe ae
f<B B2|A<A e<A af e<e|fe a<c B2A:|
e|A<A cA eA cA|E<E GE [EB]E
G[EB]|A<A cA eA cA|E<E GB A2A2|
A<A cA aecA|E<E (GE) [EB]E
G[EB]|(3ABc (3Bcd (3cde (3def|(3agf (3efg a2 a||
MASTER SEAMUS. AKA and see “Ciaran O’Reilly.”
Irish, Reel. G Major. Standard tuning. AA’BB’. Composed by Charlie Lennon.
X:1
T:Master Seamus
M:4/4
L:1/8
R:Reel
C:Charlie Lennon
Z:Philippe Varlet
K:G
B,C|DB,~B,2 DGBG|EC ~C2 EGcG|FD ~D2
FAd^c|ed^cd BGEG|
DB,~B,2 DGBG|EC ~C2 EGcG|FADF cABA|1
(3GAG FA GD:|2 (3GAG FA GABc||
dg{a}gf gdBd|ec{d}cB ceag|fd{e}d^c
dfc'b|agfe dcBc|
(3ded Bd gdBd|1 cc{d}cB cBAG|FADF
AcAF|(3GAG FA GABc:|
2 c2 (3BcB ABGA|Ec{d}cB cBAG|FDCA,
G,2||
MASTER TAILOR’S LILT, THE. AKA
and see “Barney Brallaghan,” "Blewitt's Jig," “Miss Blewit’s Jig.”
MASTER’S DAUGHTER, THE. Irish,
Reel. G Major. Standard. AABB. Composed by Irish fiddler Maurice Lennon, a
member of Stockton’s Wing, and nephew of fiddler and composer Charlie Lennon.
Miller (Fiddler’s Throne), 2004; No.
204, pg. 127. Tara 3028, Stockton’s Wing – “The
Crooked Rose” (1992).
MASTER'S RETURN, THE. AKA and see “The Floating Bottle,” "Rising Sun [1].” Irish, Reel. The name was
coined by Seamus Ennis in 1949 on the occasion of a return visit to Ireland of
renowned fiddler Paddy Killoran. Killoran and his band played aboard ship and
toured the country before sailing back, and while in Dublin was interviewed for
Radio Eire. Philippe Varlet owns a copy of the interview on acetate disc, and
says that Ennis asked Killoran about New York musicians, and Killoran replies,
naming among others the ‘new arrivals’ Denis Murphy and Martin Wynne. Ennis
later recorded the tune as “Paddy Killoran’s.” Philadelphia fiddler John Vesey
has recorded the tune as “Ed Reavy’s Fancy,” and Varlet says he has c. 1950’s
home recordings of Reavy playing the tune under the title “Martin Wynne’s.” Coleman Center CD CC004, Jimmy Murphy, James Murray &
Kevin Brehony – “The Mountain Road” (1999. Various artists. “A Compilation of
tunes popular in South Sligo”).
See also listings at: Alan Ng’s Irishtune.info |
MATAIR SEAGAIN BAIN. AKA and see "John
White's Mother."
MATCH HAS BEEN MADE, THE. AKA and see “The Bargain is Over,” “Ta do Mhargadh Deata.” Irish, Jig.
MATCHMAKER, THE. Irish, Air (3/4 time). G Minor. Standard
tuning. AB. "A matchmaker is one who negotiates marriages between young
prople. Some persons‑‑generally old women‑‑knowing and
discreet‑‑adopted matchmaking as a sort of profession‑‑and
a very profitable business it generally was: goodies and presents galore"
(Joyce). Joyce (Old Irish Folk Music and
Songs), 1909; No. 133, pgs. 67‑68.
X:1
T:Matchmaker, The
M:3/4
L:1/8
R:Air
N:”Slow and tender”
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:Gm
GF|D2G2 GA|B2 dc AG|F2A2c2|f4
gf|e2d2cA|B2 dcAG|A2 cBAG|F4 GF|
D2G2 GA|B2 dcAF|GABcd=e|f4
(3d=ef|g2d2 d>c|B2G2 {B}A>G|G6|G4||
Bc|d2g2 ga|g2d2 dc|B2c2 d=e|f4
gf|d2B2 AG|A2 cBAG|F2D2D2|D4 GF|
D2G2 GA|B2 dcAF|GABcd=e|f4 (3d=ef|g2 d_edc|B2G2
A>G|G6|G4||
MATE TO THE HOG WALTZ. Old-Time, Reel. USA, Arkansas. G
Major. Standard tuning. AB. A family tune (a reel, despite the title) from the
playing of fiddler and violin maker Violet Hensley (b. 1916, Yellville, Ark.),
learned from her father, George Washington “Wash” Brumley (b. 1874). The title
stems from the consistent pairing of the tune with “The Hog Waltz” (also a
reel) in family tradition. Source for notated version: Violet Hensley
[Beisswenger & McCann]. Beisswenger & McCann (Ozarks Fiddle Music),
2008; pg. 54. Rounder Records CD-0435, Violet Hensley
– “Traiditional Fiddle Music of the Ozarks, vol. 1” (1999. Various artists).
MATELOT, THE. English, Jig. E Major. Standard tuning. AABB.
See "Matelotte," which it is undoubtedly
derived from. Carlin (Master Collection),
1984; No. 13, pg. 21.
MATELOT ANGLOIS, LE (The English Sailor). French, Country Dance (2/4 time). A Major. Standard tuning. AB. 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. 1.
X:1
T:Matelot Anglois, Le
T:English Sailor, The
M:2/4
L:1/8
S:Daubat – Cent Contredanses en Rond (1757), No. 1
Z:AK/Fiddler’s Companion
K:A
a/A/c/A/ d/B/e/c/ | f/g/g a/e/c/A/ | B/c/c d/B/B/F/ | {A}GE E2 ||
E/e/c/e/ E/d/B/d/ | E/g/g a/e/c/A/ | E/e/c/e/ E/d/B/d/ | E/g/g a/e/c/A/ |
d/e/e
f/d/B/A/ | G/A/A B>d | c/e/A/c/ | AE A2 :|
MATELOTTE. German, Dutch. Dance tune. Bayard (1981) connects this air, which uses
strains in international currency (usually in duple time), with "Washington's March [1],"
"Exhibition March No. 1,"
"Finlands Svenska Folkdigtning," "Morning Fair," "Texarkana Hornpipe," "Tomorrow Morning." Boehme, 1886;
No. 345.
MATHAIR UISGE SPE. AKA and see "The Source of
the Spey."
MATHEMATICIAN, THE. Scottish, Hornpipe. D Major. Standard tuning.
ABB' (Hardie): AA'BB (Skinner). Composed by J. Scott
Skinner for a Dr. Clark, Cairo, it appears in his Scottish Violinist (1900) and Harp
and Claymore (1890/1904) collections. The tune is technically demanding on
the left hand, and Donegal fiddler John Doherty held the view
(according to Alun Evans) that Skinner wrote it “to fool the country fiddlers.”
Hardie (Caledonian Companion), 1992;
pg. 97. Skinner (Harp and Claymore
Collection), 1904. Skinner (The
Scottish Violinist), 1900; pg. 45. Skinner
(Harp and Claymore), 1904; pg. 130. Flying Fish FF 70572, Frank Ferrel – “Yankee Dreams: Wicked
Good Fiddling from New England” (1991). Green Linnet Records SIF 1058, Matt
Molloy & Sean Keane ‑ "Contentment is Wealth" (1985). Green
Linnet SIF‑1101, Sean Keane ‑ "Playing with Fire: the Celtic
Fiddle Collection" (1989).
See also listings at: Alan Snyder’s Cape Breton Fiddle Recording
Index Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan
Ng’s Irishtune.info |
X:1
T:The
Mathematician
L:1/8
M:C
K:D
G|F>G
^G>A f>d A>F|G>A _B>=B g>e B>d|c>b a>g f>e
d>c|
(3dfe (3dcB
(3ABA (3GFE|F>G ^G>A (3fed (3cBA|G>A _B>=B (3gfe (3dcB|
(3cba (3gfe
(3dcB (3ABc|(3dAf (3dAF D3||a|d'>a f>d A>F D>=C|
B,>^D
E>G B>e g>b|e'>b g>e B>G E>D|C>E A>c e>a
c'>e'|
f'>d'
a>f d>A F>D|G>B d>g b>d' g'>b|(3ad'c' (3bag (3fgf
(3gfe|(3dfa (3d'af d3||
MATHEW HARDIE [1]. Scottish, Pastoral Air (4/4 time). G Major. Standard tuning. AAB.
Composed by Bill Hardie in honor of the famous Scottish violin maker, Mathew
Hardie. Hardie (Caledonian Companion),
1992; pg. 108.
MATHEW HARDIE [2], THE. Scottish, Strathspey. E Major. Standard
tuning. AB. Composed by Bert Murray in honor of a violin (owned by Scottish
dance band leader Ian Powrie) made by the 'Scottish Stradivari', Mathew Hardie
(b. Edinburgh, 1755). Hardie made violins after the Stradivarius style, having
measured one exactly, and had a keen eye for fine aged woods which he used for
his plates. Neil (1991) relates:
***
One day, while out walking near Cramond, he found an old slab of
wood lying on the ground which on examination, was judged to be
perfect for the belly of a fiddle on account of its balance, lightness
and clear tone when struck. On his return he stopped at a farmhouse
for refreshment and noticed an ancient baking board which he
considered would make an excellent back. He remarked to the
farmer's wife that she had an excellent fiddle in her house. He
was told that if he could find such a thing, he could have it.
Mathew explained that the fiddle was inside the baking board
and clamouring to get out, whereupon she kept her word and
the board became his. A fine fiddle was subsequently made from
the two pieces of wood.
***
Neil (The Scots Fiddle), 1991; No. 16, pg. 23.
MATHEWSON’S HORNPIPE.
American, Hornpipe. E Flat Major. Standard tuning. AABB. Mr. Mathewson was an
early 19th century dancing master from Long Island, New York, from
whom directly or indirectly painter
and fiddler William Sydney Mount (1807-1868) obtained this tune. Mount wrote it
on a page dated May 8th, 1845, along with the tunes “Cameronian Rant” and “Bonnet Makers of Dundee,” and
it is possible he obtained all the tunes on the page from Mathewson, perhaps
from printed publications in Mathewson’s possession. There may have been a glut
of dancing instructors in the New York region, as several Long Island dancing
masters went to Georgia in the 1830’s to set up schools, including William Sydney’s
brother Robert. In a letter dated Jan. 30th, 1839, William wrote to
his brother the following:
***
Mr. Smith is in Augusta he bought out the masters he found there.
fifty to 60 scho(lars)
at 10 dollars a head. So he writes to Richard
Udall. I have not
heard the name of the place where Mathewson
has set up—It is not
in Agusta (sic). I believe Mr. Raymon
says if
you had gone to Agusta
you won’t have made money. You must
write and let me know
how all you Dancing Masters get on at the
South…This letter I
have written by candle light and in haste, a
scrawl complete. Yours affectionately…
***
X:1
T:Mathewson’s Hornpipe
M:C|
L:1/8
S:William Sydney Mount manuscripts, page dated May 8th, 1845
Z:AK/Fiddler’s Companion
K:Eb
B, | EDEF EGBG | FEFG ABcd | eBGE cAFE | (3DEF (3EDC B,AGF |
EDEF EGBG | FEFG ABcd | (3edc (3BAG (3cBA (3GFE | (3DEF (3B,CD E :|
|: F | B4 Bdfa | B4 Begb | B4 Begb | (3fgf (3edc (3BcB (3AGF | EDEF EGBG |
FEFG ABcd | (3edc (3BAG (3cBA (3GFE | (3DEF (3B,CD E :|
MATINÉE. American, "Buck Dance" (2/4 time). E Minor. Standard tuning.
AA'BB'. The title suggests the tune’s employment as the vehicle for a latter 18th
century solo stage dance. Hardings All Round
Collection, 1905; No. 197, pg. 62.
X:1
T:Matinée
M:2/4
L:1/8
B:Harding’s All Round Collection,
No. 197 (1905)
Z:AK/Fiddler’s Companion
K:Emin
E(D/E/) B,/D/G/D/|E(D/E/)
B,/D/G/D/|(F/E/).G,/.A,/ B,/C/D/E/|(F/E/).E/.C/ FE|
F(E/F/) (C/E/)A/E/|F(E/F/) (C/E/)A/E/|1
F(^E/F/) c/F/B/F/|A/D/G/D/ E/D/B,/D/:|2 D/c/A/G/ F/A/E/D/|GBGz||
|:A(G/A/)
.E/.A/.D/.A/|^C.^c.B.A|B(A/B/) F/B/E/B/|D.f.e.d|1 ^cB/c/ (B/.c/G/)z/|BA/B/
(A/.B/)F/z/|
A/EF/ GE|D^CB,A,:||2 d^c/d/
e/d/c/B/|A/Fd/ (B/A/)F/z/|A/^c/G/c/ F/c/E/c/|D[GA][Fd]z||
__________________________________
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