The Fiddler’s
Companion
© 1996-2009 Andrew Kuntz
_______________________________
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MATT - MB |
Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with your
cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s
Companion work fine in most abc conversion programs. For example, I use
abc2win and abcNavigator 2 with no problems whatsoever with direct
cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s
into the concertina.net converter results in double-spacing. For
concertina.net’s conversion program to work you must remove the spaces between
all the lines of abc notation after pasting, so that they are single-spaced,
with no intervening blank lines. This being done, the F/C abc’s will convert
to standard notation nicely. Or, get a copy of abcNavigator 2 – its well
worth it. [AK] |
MATT DALY’S SLIDE. Irish, Slide (12/8 time). A Major. Standard tuning. AA’B. Matt
Daly/Dalaigh was a fiddler of modest talent from Scartaglen, west Kerry, from
whom Padraig O’Keeffe learned this tune. Source for notated version: fiddler
Padraig O’Keeffe via accordion player Johnny O’Leary (Sliabh Luachra region of
the Cork-Kerry border) [Moylan]. Moylan (Johnny
O’Leary), 1994; No. 291, pgs. 168-169.
MATT
HAYES’S JIG [1] (Port Mhait Hayes). Irish, Jig. D Major. Standard tuning.
AABB. Accordion player Matt Hayes was a member of the Billy Clifford Trio, who
recorded the tune for Topic records. Breathnach (CRÉ V), 1999; No. 28, pg. 16. Globestyle
Irish CDORBD 085, The Billy Clifford Trio - “The Rushy Mountain: Classic Music from
Sliabh Luachra” (1994. A reissue CD of the 1977 Topic recording from Sliabh
Luachra musicians).
MATT HAYES’S (JIG) [2]. AKA and see “Tom Fleming’s.”
Irish, Jig. Globestyle Irish CDORBD 085, The Billy Clifford
Trio - “The Rushy Mountain” (1994. A reissue CD of Topic recordings from Sliabh
Luachra musicians).
MATT HAYES’ (POLKA)
[1]. Irish, Polka. G Major. Standard
tuning. AABB. Mallinson (100 Polkas),
1997; No. 55, pg. 21.
MATT HAYES'S POLKA [2]. AKA and see “Con Thadhgo’s
[2],” “Matt Teehan’s.” Irish, Polka. D
Mixolydian. Standard tuning. AB (Cowdery): AABB (Mallinson). The melody is based
on a strain found in "The
Job of Journey Work [1]" and is related to "Tom Sullivan's." Cowdery (The
Melodic Tradition of
MATT MOLLOY’S (JIG). AKA and see “Baby Gavin,” “Burke’s [1],” “Charlie Mulvihill’s (Jig)
[1],” “Connie
O’Connell’s Jig [2],” “Coughlan’s,” “Gallagher’s [2],” “Lad O’Beirne’s (Jig),” “The Short Road,” “The Silver Vale.” Irish, Jig. D Major. Standard
tuning. AABB. The melody has been attributed to Pete Kelly, who originally
called it “The Shannonaires’ Jig” after a showband or ceili band he was a
member of in
MATT MOLLOY’S [1]. AKA and see “All Around the
World,” “Cooley’s (Reel) [2],”
“The Connemara Rake,” “Doherty’s (Reel) [2],” “Grehan’s,” “John Doherty’s Reel [1],” “Johnny Doherty’s Reel [1],”
“Jolly Beggar [2],” “The Knotted Chord [2],” “The Mistress,” “Mot Malloy,” “Tinker Doherty’s,” “The Wise Maid [1].” Irish, Reel. D Major.
Standard tuning. AABB. A version of the tune usually known as “The Wise
Maid.” Sources for notated versions:
fiddler Sean McGuire (
MATT MOLLOY’S [2]. AKA and see “The Ashplant [2],"
“Coleman’s (Reel) [2]," “Dennis Murphy’s Favourite,” Dicky Sherlock’s Reel,” “Jim Kelly’s [2]," “John Brennan’s Reel [2],” “Maguire’s (Reel),” “Matt Molloy’s [2],” “Night in Ennis,” “Packie Duignan’s Reel,” “Tipperary Fancy.” Irish, Reel. D Major.
Standard tuning. AABB. Sources for notated versions: The Bridge Ceili Band
[Mulvihill]; flute player Matt Molloy [Bulmer & Sharpley]; accordion player
Willie Larkin (
X:1
T:Matt Molloy’s [2]
M:C|
L:1/8
R:Reel
S:Treoir, vol. 37, No. 2
(2005)
K:D
AF (3FEF BFAF | DEFA B3d | eB (3BAB
egfe | dfed BcdB |
AF (3FEF BFAF | DEFA B3d | (3efg fg
egdB | AFEF D3z :|
|: d3e fefg | afbf afdf | eB (3BAB
gB (3BAB | fedf edBd |
AF (3FEF ABde | afbf afdf | (3gag fg
egdB | AFEF D3z :|
MATT MOLLOY’S [3]. AKA and see “Lady Doll
Sinclair.” Irish, Reel.
MATT MOLLOY’S [4]. AKA and see “Brid Harper’s,” “Kevin Coyne’s,” “McGreevey’s Favorite,” “Pride of the Bronx.” Irish, Reel.
MATT
PEOPLES [1]. AKA and see “Matt Molloy’s.” Green Linnet GLCD 1211, Kevin Crawford – “In Good Company”
(2001).
MATT
PEOPLES’ [2]. AKA and see “Lady Doll Sinclair.” Irish, Reel.
A Dorian. Standard tuning. AAB (Taylor): AABB (Miller). Miller (Fiddler’s Throne), 2004; No. 205, pg.
128.
See also listings at: Jane
Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Matt
Peoples’ [2]
M:C
L:1/8
R:Reel
K:A
Dorian
A2
eA cAeA | B2 gB (3cBA GB | A2 eA cAeA |1 BAGB A3 ^G:|2 BAGB A3^g ||
a~e3
agef | g~B3 g3^g | a~e3 aged | (3Bcd gd BGBd | a~e3 agef | g~B3 g3^g |
afge fded | (3Bcd gd
BAGB ||
MATT PEOPLES [3]. AKA and see “Lady Gordon’s Reel [1],” “Tommy Peoples’ (Reel) [10].” Irish, Reel. D Major. Standard tuning. AA’B.
See also the related “Lady’s Ear-ring.”
Breathnach (CRÉ II), 1976; No. 256
(appears as untitled reel). Breathnach (CRÉ
III), 1986; No. 167 (appears as untitled reel).
X:1
T:Matt Peoples’ [3]
M:4/4
L:1/8
R:Reel
S:Breathnach, CRE
III (1986), No. 167.
K:D
FABc d2 BA|.d2 BA FE
E2|FABc .d2 BA|1 f3e dBBA:|2 f3e dB B2||
ad d2 adbd adde fe e2|ad
d2 a3f|egfe dBAB|
ad d2 adbd|adde {a}fe
e2|a3a .b2 af|egfe dBBA||
MATT TEAHAN’S DELIGHT. Irish, Jig. A Mixolydian. Standard tuning. AAB. See also the first part of the “Three Little Drummers [1]”
and the second part of “Walls of
Liscarroll [1],” says Paul de Grae. Source for notated version: concertina
player Matt Teahan via accordion player Johnny O’Leary (Sliabh Luachra region
of the Cork-Kerry border)--learned when they were both at ‘The Silver Dollar’
in Castleisland [Moylan]. Moylan (Johnny
O’Leary), 1994; No. 274, pg. 156.
MATT TEEHAN’S POLKA. AKA and see “Con Thadhgo’s
[2],” “Matt Hayes's Polka [2].”
Irish, Polka. D Mixolydian. Standard tuning. AABB. Cranitch (Irish Fiddle Book),
1996; No. 41, pg. 141.
MATTAWA. Canadian, Reel. D Major.
Standard tuning. AA’BB’. An Irish-tinged composition by Montréal fiddler
MATTHEW
BRIGGS. English, Jig. A Dorian. Standard
tuning. AABB. The melody also appears in the music manuscript collection of
Cumbrian musician John Rook (Waverton, 1840). Aird
(Selections of Scotch, English, Irish and
Foreign Airs), vol. II, 1782; No. 160, pg. 59.
X:1
T:Matthew
Briggs
M:6/8
L:1/8
R:Jig
S:Aird,
Vol. II (1782)
Z:AK/Fiddler’s Companion
K:A Dorian
ABA a3 | gef g3 | cdc edc | B2g dBG | ABA a3 | gef g3 | e3 deg | edB A3 :|
|: cdc efe | d2d (ded) | (cdc) (edc) | B2g dBG | cdc edc | deg a2g | e3 deg | edB A3 :|
X:2
T:Matthew Briggs
M:6/8
L:1/8
R:Jig
S:John Rook music manuscript collection (Waverton, Cumbria, 1840)
K:G
e3 deg|edB A2::cdc efe|d2d ded|cdc edc|
B2g
dBG|cdc edc|deg a2g|e3 deg|edB A3:|
MATTHEW’S REEL. American, Reel. F Major. Standard tuning. Composed by fiddler Erin
Shrader of Seattle, Washington. Sage Arts 1101, Erin
Shrader & Edith Farrar - “Enrichez Vous.”
X:1
T:Matthew’s Reel
M:C|
K:F Major
A,3C DA,A,2|DFF2 G2FG|Add2 dcAF|G2AG
FDEC|\
A,3C DA,A,2|DFF2 G2FG|Add2 dcAF|G2AG
FDD2:|*
|:"Transcription by Eden
McAdams"daa2 agec|d2ed cAA2|\
daa2 agec|dfec d2Ac|\
d3d dcAF|G2AG FDEC|FDD2 GEE2|Addc
d4:|**
MATTHEW’S WALTZ. Irish, Waltz. Composed by accordion player Josephine Marsh from
Broadford, east Clare, who plays in the east Clare style.
MATTRAIM HORNPIPE. English, Hornpipe. England, Yorkshire. B Flat Major. Standard. AABB.
Source for notated version: an MS collection by fiddler Lawrence Leadley,
1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather
& Seattle (The Fiddler of Helperby),
1994; No. 40, pg. 38.
MATTRIMONY. English. England, Northumberland. One of the "missing tunes"
from William Vickers' 1770 Northumbrian dance tune manuscript.
MAUD(E) McQUILLEN’S. AKA and see “Bob McQuillen’s.”
MAUDE MILLER [1] ("Mouda Ni Muilleoir" or "Maedb
Ni Muilleoir"). AKA and see "Dunnigan's
Reel ,” "Farewell to
Leitrim," "Fiddler's
Frolic [1]," "Hawthorne's
Reel," “Kennaw’s Reel,” "Lawson's Favorite," "Molloy's Favourite [1]," “Reidy Johnson’s [1],” "Roll Her in the Haystack,"
“Sporting Molly [2],” "Take Her Out and Air Her."
Irish, Reel. D Mixolydian (O’Neill): D Major (Mulvihill). Standard tuning. AB
(O'Neill/1850 & 1001): AABB (Mulvihill, O'Neill/Krassen). O’Neill’s source
for the tune was Chicago piper Bernard Delaney, the Captain’s brother-in-law.
It was popularized by James Morrision, who recorded the tune in New York in
1935. Mulvihill (1st
Collection), 1986; No. 58, pg. 15. O'Neill (Krassen), 1976; pg. 96. O'Neill
(Music in Ireland: 1850 Melodies), 1903/1979; No. 1204, pg. 227. O'Neill
(Dance Music of Ireland: 1001 Gems),
1907/1986; No. 480, pg. 92.
See also listing at: Alan Ng’s
Irishtune.info |
X:1
T:Maude Miller [1]
L:1/8
M:C|
R:Reel
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 480
Z:AK/Fiddler’s Companion
K:D
dcAG FADF|E2 cE dEcE|dcAG FADF|Dddc
dfed|
dcAG FADF|E2 cE dEcE|dcAG FADF|Dddc
d2d2||
fedf efge|afge afge|fedf efge|afge
fdde|fedf efge|afge f2 fg|afge fdec|Addc dfed||
MAUD(E) MILLAR [2]. AKA and see “Coming Home From the Bog,”
"Donegal Boys," “The Gardener’s Daughter,” “The Groves of Mt. Talbot,”
"I Wish I Never Saw You,"
“Killoran’s,” "Magic Slipper [1],"
“McFadden’s Handsome Daughter,”
“The Montua,” “Morrison’s (Reel) [2],” “Mrs. Smullen’s,” "My Love is Fair and Handsome
[1]," "Paddy
McFadden's [1]." Irish, Reel. G Major (most versions): F Major
(McGuire & Keegan). Standard tuning. AB (Breathnach): AAB (Mallinson,
Taylor): AABB (McGuire & Keegan, Miller). Editor David Taylor (1992) says
"evidently a very old tune," though does not say why; perhaps it is
because of the variety of titles. It is sometimes found in older manuscripts in
the key of F Major, and occasionally is heard played in that key in modern
times. Occasionally the tune has been attributed to James Keane. The alternate
titles “Killoran’s” and “Morrison’s” come from Sligo-style fiddlers John Vesey
and Andy McGann, respectively, while the “Mrs. Smullen’s” name is from Packie
Duigan and Seamus Horan. Mrs. Smullen, Theresa Smullen, is an accordion player
originally from Drumshambo, now living with her husband Paddy (who sings and
plays the spoons) in County Galway. See also the related “Strawberry Beds,” “Donegal Boys” and “My
Love is Fair and Handsome.” Source for notated version: County Roscommon
fiddler Joe McGlynn [Breathnach]. Breathnach (CRÉ II), 1976; No. 212, pg. 110 (appears as “Gan ainm”/unknown).
Bulmer & Sharpley (Music from Ireland),
vol. 3; 11 (appears as untitled reel). Mallinson (Essential), 1995; No. 3, pg. 2. McGuire & Keegan (Irish Tunes by the 100, vol. 1), 1975;
No. 67, pg. 18. Miller (Fiddler’s Throne),
2004; No. 206, pg. 128.
See also listings at: Jane
Keefer’s Folk Music Index: An Index
to Recorded Sources Alan Ng’s
Irishtune.info |
X:1
T:Maude Millar [2]
S:James Keane
R:reel
E:7
M:C|
I:speed 350
Z:Gary Chapin
K:G
gf|edBA GEDE|G2BG dG (3Bcd|eBdB
ABGA|Beed e2gf|\
edBA GEDE|G2BG dG (3Bcd|eBdB
ABGA|Beed e2:|*
ge|dega bg ~g2|agef gage|dega
bg~g2|agef ~g3e|\
dega bg~g2|agef gfga|b2af gfed|Beed
e2:|**
X:2
T:Maude Millar [2]
M:C|
L:1/8
K:G
edBA GEDE | G2BG DGBd | eBdB A2GA | Beed efgf |
edBA GEDE | G2BG DGBd | eBdB A2GA | Beed e2ge ||
dega bg~g2 | agef ~g3 e | dega bg~g2 | aged eage |
dega bg~g2 | agef ~g3 a | bgaf gfed | Beed efgf ||
X:3
T:Maud Miller [2]
M:4/4
L:1/8
R:Reel
K:G
|: dcAG FADA| E2 cE dEcE| dcAG FADF| Add^c dfec:|
K:D
|fdcd efge| afge afge| fdcd efge|afge fd d2| fdef efge| afge a2 fg |afge fdec| Addc dfec|
X:4
T:Maud Millar
R:reel
D:Mary Bergin: Feadoga Stain
Z:id:hn-reel-183
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:Edor
edBA GBDE|G2BG dGBd|eBdB A2GA|1 Beed e2gf:|2 Beed ~e3z||
dega bg~g2|agef ~g3e|dega bg~g2|aged gage| dega bg~g2|agef ~g3a|b2af gfed| Beed ~e3g||
MAUDABAWN
CHAPEL. Irish, Reel. E Dorian. Standard.
ABB’ (Reavy): AABB (Taylor/Tweed): AABB’ (Feldman & O’Doherty). Composed by
the late fiddler and composer Ed Reavy (1898-1988) of Cavan, Ireland, and Corktown,
near Philadelphia, Pa. The tune is named for a church in his native Cavan
parish which the family attended. Along with “Hunter’s House,” this is the most famous
Reavy composition in the tradition. Eileen Ivers (Bronx, New York) selected the
melody as one of the pieces with which she won the Senior All Ireland fiddling
title. Philippe Varlet believes the tune was probably composed in the 1950’s.
Source for notated version: Francie and Mickey Byrne (County Donegal) [Feldman
& O’Doherty]. Feldman & O’Doherty (The
Northern Fiddler), 1979; pg. 171 (appears as third and fourth part of
“Untitled Reel”). Reavy (The Collected
Compositions of Ed Reavy), No. 27, pg.s 28-29. Taylor (Traditional Irish Music: Karen Tweed’s
Irish Choice), 1994; pg. 15. DMPCD 9401,
Karen Tweed – “Drops of Springwater” (1994). Green Linnett SIF1041, Kevin Burke
- “Portland.” Green Linnett GLCD 1166, Eileen Ivers -”Wild Blue” (1996. Not the
usual reel setting, but rather a slowed down version of the tune). Green Linnet
SIF3051, Frankie Gavin - “Frankie Goes to Town.” Shanachie 34011, Andy McGann
& Paul Brady. Tara 2006, “Tony Linnane & Noel Hill” (appears as
“Ryans,” following “The Drunken Landlady”). Natalie MacMaster – “In My Hands.”
X:1
T:Maudabawn Chapel
C:Ed Reavy
M:C|
L:1/8
K:Edor
~G3D E2DB,|G,A,B,D EB,DB,|G,A,B,D
GABd|gabg eaaf|
gabg efge|dged B^cde|g2fa gedB|A=cBA
GEED:|
|:E2BE dEBE|E2BE AFDF|~E3F
GFGB|AF~F2 DF~F2|
EBBA ~B3A|BAGA B^cde|~f3a gfe^c|dBAF
GEED:|
"Variations:"
G2FG EGDB,|G,A,B,D EB,DB,|G,A,B,D
EGBd|gbag ea~a2|
gbag egfe|dged B^cde|g2fa gedB|A=cBA
GEED:|
|:E2BE dEBE|Ed^cB AFDF|~E3F
GFGB|AFDF A,DFD|
EBBA B^cdA|BAGA B^cde|~f3a
gfe^c|dBAF GEED:|
X:1
T:Maudabawn Chapel
M:2/2
L:1/8
C:Ed Reavy
R:Reel
N:The local chapel in Ed's parish where he first
N:learned the simple ways of faith.
Z:Joe Reavy
K:D
EF | (3GFE (3GED ECDB, | G,A,B,D ECEB, | G,A,B,D GABd | gabg eaaf|
gabg efge | dfed Bc d2 | (3efg fa gbec | dBA=c BEEF | (3GFE (3FED ECDB, |
G,A,B,D ECDB, | G,A,B,D GABd | gabg eaaf | gfga (3bag (3agf | gfed efge |
dfe=c BcdB | A=cBA GEED ||: E2 BE eEBE | GABG AFDF | EDEF GFGB |
A2 (3FED A,DFD | E2 BE eEBE | BAFA B^cde | f2 (3agf gfec |1 dBA=c BEED :|2
dBA=c BEED ||
X:3
T:Maudebawn Chapel
M:C
L:1/8
R:Reel
C:Ed Reavy
S:Brian Conway
Z:AK/Fiddler’s Companion
K:Emin
E3F ||: G2 FG E(B,D)(B, | G,A,)B,D E(B,D)(B, | G,A,)B,D G(AB)d |
gabg e(a{b}a)f |1 gabg e(fg)e | dge(d B)cdg | (3efg f(a g)be(^c |
d)BA(F G)EEF :|2 ~g3a (3bag ({a}g)f | gfe(d e)fge | dge(d B)edB |
AcBA G(E{F}ED |: E2 BE eEBE | GAB(G A)(FD)F | ~E3(F GF)GB|
(3ABA FD A,DFD | E2 BE eEBE | ({c}B)A^GA Bcdf | ef (3gfe
fde(^c | d)BA(F G)
MAUDE MILLAR. See entry under “Maud(e) Millar [2].”
MAUDE MILLAR’S HIGHLAND.
Irish, Highland. A version of “Julia
Delaney," from Donegal fiddler Con Cassidy.
MAULYKEAVANE JIG (Port Mholl Uí Chiobháin). AKA and see “Art O’Keeffe’s.” Irish, Jig. A Major (‘A’
part) & D Major (‘B’ part). Standard tuning. AA’BB’. Source for notated
version: renowned Kerry fiddler Denis Murphy, November, 1966 [Breathnach].
Breathnach (CRÉ V), 1999; No. 35, pg.
19.
MAULYKEAVANE RAMBLER, THE. Irish, Slide (12/8 time). Ireland, the Sliabh
Luachra region of the Cork-Kerry border. D Major. Standard tuning. AABB. The
Maulkeavane Rambler refers to Sliabh Luachra accordion player Johnny O’Leary.
Source for notated version: Johnny O’Leary, recorded in Ballydesmond, February,
1973, [Moylan]. Moylan (Johnny O’Leary),
1994; No. 19, pg. 12.
MAUN’S FANCY. AKA and see “Reel of Bogie.”
MAURA CONNOLLY'S. AKA and see “Eileen Curran [1],” "Sailor Set On Shore," "Sailors On Shore,” “The Sailor’s Return [1].” Irish,
Reel. A Dorian. Standard tuning. AABB. Composed by
X:1
T:Maura Connolly’s
B:Ceol Rince na hEireann Vol. 2 # 239
S:Paddy O'Brien
D:Shamrock "Mo Cheol Thu" POLYDOR 1985
M:C|
Q:88
Z:Michel Sikiotakis, 1998, from the playing of Olivier Darras on fiddle, slightly
Z:arranged from the Breathnach's version
K:ADor
B||cBAG (3EFG Ac | B~G3 EGBG | cBAG ~E3F |GEDG E~A,3|\
cBAG (3EFG Ac |B~G3 eGdG | cBAB cdea | gedB (3cBA BG |\
A2cA eAcA | G2 Bd gdBG | (3AAA cA a2 ba | gedB cAce |\
a2ed (3Bcd ef| gfga gedB | (3ccA GD ~E3F | GEDG E~A,3 ||
"Breathnach's version"
B|cBAG EGAc | BG (3GFG EG A2 | cBAG E3 F | GEDG EA, A,2 |
cBAG EGAc | BG (3GFG DGBd | cBcd egfa | gedB cAA :|
F[| A2 (3cBA aAcA | G2 Bd gdBG | (3AcA ce a2 ba | (3gfe dB cAAg |
(3aba
ed cdef | gfga (3gfe dB | cBAG E3 F | GEDG EA, A,2 :|
MAUREEN FROM GIBERLAND. AKA – “Maureen from Gibberland.” AKA and see “Bhíosa lá I bport
láirge,” "The Dainty Besom Maker,"
“Forgive the muse that
slumbered,” "The Gimlet," “I’d mourn the hopes that leave me,” “Johnny’s Grey Breeks [2],”
"The Old Lea Rigg,"
"Little Mary Cullinan,"
"Little Sheila Connellan,”
“Phelim O’Neill [2],” “Port Láirge,” “The Rose Tree [1],” “The Rose Tree in
Full Bearing." Irish, March (2/4 time). D Major. Standard tuning. AA’BB’.
Mulvihill (1st Collection),
1986; No. 34, pg. 125.
MAUREEN
GLYNN CONNOLLY’S. Irish, Jig. A Major. Standard tuning. AABB’. Composed
by Falmouth, Massachusetts, writer and musician Bill Black.
X: 1
T: Maureen Glynn Connolly's
M: 6/8
L: 1/8
Q: 325
R: jig
C: © B. Black
K: A
D | EAB cBA | dcB ecA | fdf ecA | FBB BAF |
EAB cBA | dcB ece | fga ecB | cAA A2 :|
e | aga baf | eaf ecA | EAB cBA | cBA B2 e |
|1 aga baf | eaf ecA | EFA Bcd | cAA A2 :|
|2
cBA dcB | ece fga | edc Bcd | cAA A2 ||
MAUREEN NI CULLENAUN. AKA and see "The Rose Tree
[1]." One of the tunes ancestral to "Turkey in the Straw."
MAUREEN PLAYBOY. AKA and see "Rolling
on the Ryegrass," "Old
Molly Ahern," "Piper's Lass,"
"Rathkeale Hunt," "Shannon Breeze [1]," "The Ladies Tight Dress," "The
Ladies Top Dress," "The Telegraph,"
"Roll her on the banks,"
"What the Devil ails you
[2]" "Boil the
Kettle Early," "The
Listowel Lasses," "The
Lady on the Railroad," "The
Brown Red Girl," "Love
among the Roses," "The
Kilfinane Reel," "Kitty got a
clinking (coming from the races) [1]," "Punch for the Ladies [2]."
MAUREEN’S JIG. Scottish, Jig. G Major.
Standard tuning. AABB. Composed by Fergie MacDonald. Martin (Traditional Scottish Fiddling), 2002;
pg. 35.
MAURIADE NI CEALLAGH. Irish, Air (3/4 time). D Dorian. Standard tuning. One part. Roche Collection, 1982, vol. 1; No. 52,
pg. 26.
MAURICE CARMODY’S
FAVOURITE. AKA and see “Lyon’s Favourite,” “Morrison’s Jig [1],” “Paddy Stack’s Fancy Jig,” “The Stick Across the Hob.”
MAURICE CASEY'S FANCY (Roga Maurais/Muiris Uí Catasaig). AKA and see "The Conneberry Reel," "The Cottage in the Grove,"
"McGovern's Favorite,"
"The Village in the Grove."
Irish, Reel. A Dorian. Standard tuning. AB (O'Neill/1850): AA'BB'
(O'Neill/Krassen). The tune was
recorded by Boston button accordion player Joe Derrane under this title on one
of his solo 78 RPM recordings. See also the similar-sounding “Coen’s Memories.” O'Neill (Krassen),
1976; pg. 135. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No.
1421. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 658, pg. 118.
X:1
T:Maurice Casey’s Fancy
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:A Minor
AcBc AGE^F|G2 BG edBd|eaa^f
gfed|AcBc AGEG|AcBc BGE^F|G2 BG edBd|
eaa^f gfed|AcBG A2A2||a2 ba
gede|gedB GABd|eaa^f gedB|AcBG A2A2|
a2 ba gede|gedB GABd|a^f (3gfe
fdec|dBgB A2A2||
MAURICE
MAURICE LENNON’S. AKA and see “Cullinan’s
Favourite.”
MAURICE LENNON’S [2].
AKA and see “Godfather,” “Road to Garrison.” Irish, Reel.
MAURICE MANLEY'S POLKA (Polka Mhuiris Uí Mhaonghaile). AKA and see “Ballydesmond Polka [2]," “O’Keeffe’s (Polka) [3]."
Irish, Polka. A Dorian. Standard tuning. AABB (Cranitch, Tubridy): AA'BB
(Breathnach). The great Sliabh Luachra (Kerry) fiddler Padraig O’Keeffe also
played this tune as a polka (versus the slide version below). Source for
notated version: whistle player Art O'Keefe, 1970 (Gneeveguilla, Co. Kerry,
Ireland) [Breathnach]. Breathnach (CRÉ II),
1976; No. 117, pg. 64. Cranitch (Irish
Fiddle Book), 1996; No. 35, pg. 139. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 10.
X:1
T:Maurice Manley’s Polka
M:2/4
L:1/8
K:A Dorian
EA A>B|cd eg|G2 G>A|GE ED|EA
A>B|cd ef|ge dB|1 A2 A>G:|2 A2 A2||
|:a>g ab|ag ef|g>f ga|ge ed|ea
a>b|ag ef|ge dB|1 A2 A2:|2 A2 AG||
MAURICE MANLEY’S
(SLIDE). Irish, Slide (12/8 time).
MAURICE O’CONNOR [1]. Irish, Planxty (6/8 time). G Major. Standard tuning. AABC. Composed by
blind Irish harper Turlough O'Carolan (1670-1738). Complete Collection of Carolan's Irish Tunes, 1984; No. 115, pg.
84.
MAURICE O’CONNOR [2]. Irish, Planxty (6/8 time). F Major. Standard tuning. AB. Composed by
blind Irish harper Turlough O'Carolan (1670-1738). Complete Collection of Carolan's Irish Tunes, 1984; No. 116, pg.
85.
X:1
T:Maurice O'Connor. Second Air
C:Turlough Carolan
B:Carolan by Donal O'Sullivan, no.
116
N:Maurice O'Connor was the head, in
Carolan's day, of
N:the O'Connor's of Offaly [D. O'S]
N:Andante grazioso
Z:Transcribed by Paul de Grae
M:6/8
L:1/8
K:F
f2 c fga|gf/e/d/c/ f2 c|d/e/fd
{d}cAF|EGG B2 c|
AGA FAf|{f}e2 f gab|c'a/b/c'/a/
bg/a/b/g/|e3 c3||
fFf fAf|{f}e2 d c2 B|Aca Aca|b2 a g2
c|
c'a/b/c'/a/ bgb/g/|fa/b/c'/a/
gec|dba gf/e/d/c/|f3 f3||
MAURICE O’CONNOR [3]. Irish, Planxty. F Major. Standard tuning. AB. Composed by blind Irish
harper Turlough O'Carolan (1670-1738). Complete
Collection of Carolan's Irish Tunes, 1984; No. 117, pg. 85.
MAURICE O’KEEFE’S [1]. Irish, Polka. G Major. Standard tuning. AABB. Green
Linnet SIF 1184,
X:1
T:Maurice O’Keefe’s [1]
M:2/4
L:1/16
R:Polka
D:
Z:Bud Burroughs
K:G
b2g2 d2^cd|e2A2 A2(3Bc^c|d2=c2
ABcd|e2d2 d4|
b2g2 d2^cd|e2A2 A2(3Bc^c|d2=c2
A2F2|G4 G4:|
A2(3Bc^c defg|a2a2 f4|g2g2 e4|f2f2
d4|
A2(3Bc^c defg|a2a2 f4|g2g2 egfe|d2f2
d2a2:|
MAURICE O’KEEFE’S [2]. Irish, Polka. A Dorian. Standard tuning. AABB. Green Linnet SIF
1184,
X:1
T:Maurice O’Keefe’s [2]
M:2/4
L:1/16
R:Polka
D:
Z:Bud Burroughs
K:ADor
E2|A3B c2d2|eaag e2d2|e2A2 BAG2|ABAG
E2G2|
A3B c2d2|eaag e2d2|e2A2 BAGB|A4 A4:|
eaag e2d2|eaag e2d2|e2A2 BAG2|ABAG
E2G2|
A3B c2d2|eaag e2d2|e2A2 BAGB|A4 A4:|
MAURICE O’KEEFFE’S [3]. Irish, Polka.
X:1
T:Maurice O'Keeffe's [3]
S:Maurice O'Keeffe
R:polka
M:2/4
L:1/8
K:D
Ad ce|df ef/g/|ae ce|dc BA|Ad ce|df ef/g/|ae
ce|d2 d2:|:
f2 fe/f/|gf ef/g/|ae ce|dc BA|f2
fe/f/|gf ef/g/|ae ce|d2 d2:|
MAURICE O’KEEFFE’S [4]. Irish, Polka. A Major. Standard tuning. AABB.
X:1
T:Maurice O'Keeffe's [4]
S:Maurice O'Keeffe
R:polka
M:2/4
L:1/8
K:A
cd|:e>f ec|A2 Af|ec/e/ f/e/c/B/|cB
Bc|e>f ec|A2 a>f|ec/e/ f/e/c/B/|cA Ac:|
Ac ec|de a2|Ac ec/e/|dc Bc/B/|Ac
ec|de a>f|ec/e/ f/e/c/B/|cA A2:|
MAURICE O’KEEFFE’S [5]. AKA and see “Kit White’s No. 2,”
“MacGregor’s March,” “Rob Roy’s March.” Irish, Polka. D Major.
Standard tuning. AA’BB’. The polka has variants in Ireland, England and
Scotland. Fiddler Maurice O’Keeffe, de Grae’s source, regarded it as an old
tune and indicated he obtained it from his"master" (first music
teacher) Johnny Linehan, who called it "The Drunken Peeler".
X:1
T:Maurice O'Keeffe's [5]
S:Maurice O'Keeffe
R:polka
M:2/4
L:1/8
Z:Transcribed by Paul de Grae
K:D
A>B A>B|Ad dc|B>c B>c|Be
Bd|A>B A>B|Ad dc|BA B/A/B/c/|1d2 dB:|
2d2 de|:f2 fe|fB BA|Be e>f|ed
BA|f>g fe|fB BA|Be B/A/B/c/|1d2 de:|2d2 d2||
MAVOURNEEN BAWN. Irish, Air (6/8 time). G Major. Standard tuning. AB. O'Neill (O’Neill’s Irish Music), 1915; No. 58,
pg. 37.
X:1
T:Mavourneen Bawn
M:6/8
L:1/8
R:Air
S:O’Neill’s Irish Music (1915)
Z:AK/Fiddler’s Companion
K:G
b/a/ | geg dB B/c/ | dgd BA G/A/ |
Bgf edB | deg a2 b/a/ | geg dBc | dgB BAG/A/ |
Bgf eba | gaf g2 || g/f/ | e^de fBB
| cBA G/A/ B g/f/ | efg agf | fga b2 g/f/ |
eed BG B/c/ | dgB BG B/c/ | dgB BA
G/A/ | Bgf eba | gaf g2 ||
MAVOURNEEN NA GRUAIGE
BAINE. AKA and see "My Fair‑Haired Darling [1],"
"Charmer With the Fair
Locks," "Dobbin's
Flowery Vale [1]," "Maid of
Templenoe," "One Evening
in June," "Youth and Bloom."
MAW CANNY HINNY. English, Air (3/4 time). England, Northumberland. E Flat Major.
Standard tuning. AB.
***
Where hes te been, may canny hinny?
An' where hes to been, maw bonny hinny?
Aw was up an' doon, seekin' for maw hinny;
Aw was throo' the toon seekin' for maw bairn.
Aw went up the Butcher Bank an' doon Grindin' Chare'
Ca'd at the Dun Cow, but aw cuddent find thee there.
Where hes te been, &c. (Bruce & Stokoe)
***
Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pgs. 132‑133.
X:1
T:Maw Canny Hinny
M:3/4
L:1/8
R:Air
S:Bruce & Stokoe – Northumbrian Minstrelsy (1882)
Z:AK/Fiddler’s Companion
K:E_
B2 BB (GE)|E2 Ac BB/B/|B2 BB (GE)|E2 Ac F2|
BB BB (GE)|E2 Ac BB|BB BB (GE)|EE Ac F||E|
EE/E/
ee dB|e2 cc B2|EE/E/ e2 dB/B/|ec BG F2||
MAXIME LEBLANC('S
REEL).
MAXINE LE PLANC. Canadian?, Waltz. D Minor. Standard tuning. AB. Maybe the “Maxime LeBlanc” of “Maxime LeBlanc’s Reel.”
X:1
T:Maxine
le Planc
M:3/4
L:1/8
Q:140
R:Waltz
K:Dmin
|:"Dm" f3AfA |"Dm" f3AfA | "A"
f2ede2- |"A" eABA^GA | "A" e3 AeA | e3
Aef | "A" e2d^cd2- |"Dm" dABA^GA|
"D7" d3 _ed^c | "D7" d3cBA| "Gm" A2G^FG2- |
"Gm" GBAGFE |"Dm" D^CDEFG
|"A7" ABAGFE | "Dm" D2 F2 A2
|"Dm" .d2 A2 A2||!
"A7" ageage | "A7" ageage| "Dm" gfdgfd |
"Dm" gfdgfd |!
"A7" feAfeA | "A7" feAfeA | "Dm" edAedA
|"Dm" edAedA|!
"D7"dcAdcA "D7" dcA_edc | "Gm" BAG^F G2-
|"Gm" GBAGFE |
"Dm ( Intro)" D^CDEFG | "A" ABAGFE |"Dm" D2
F2 A2| "Dm" d2
MAX’S JIG. Canadian, Jig. Canada, Cape Breton. D 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. 274, pg. 98.
MAXWELL GIRL. Old-Time. Recorded by the Booker Brothers, African-American musicians
from Jessamine County, Kentucky. Jim, a fiddler, was born around 1872. Document 5167, The Booker Brothers.
MAXWELL'S RANT. Scottish, Scottish Measure. Although originally perhaps a rant, the
tune is commonly played and danced as a Scottish Measure today.
MAY BE I WILL (Dob Feidir Ma's Mait Liom). Irish, Double Jig. G Major. Standard
tuning. AABB. O'Neill (Dance Music of
Ireland: 1001 Gems), 1907/1986; No. 359, pg. 74.
X:1
T:May Be I Will
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 359
Z:AK/Fiddler’s Companion
K:G
c|BcA GBG|EDE G2A|BAG GBd|ecA Adc|BcA
GEG|DEF GBc|dge dBA|BGG G2:|
|:D|GBc dBA|Bdd def|gfe dBG|AGA
BGE|GAG g2g|fed gfe|dBG cBA|BGG G2:|
MAY DAY [1]. AKA and see "Miss
McLeod's/MacLeod’s Reel [1]." English, Reel. G Major. Standard tuning.
AABC. Kennedy (Fiddlers Tune Book),
vol. 1, 1951; No. 48, pg. 24. Raven (English
Country Dance Tunes), 1984; pg. 175.
X:1
T:May Day [1]
M:C|
L:1/8
R:Reel
K:G
BA|:G2g2 edeg|B2 BA BcBA|G2 gf
edge|A2 AG AcBA|
G2g2 edeg|BcBA Bcd2|efed Bdef|gedB
AcBA:||
GABc dBGA|B2 BA BcBA|GABc dBGB|ABAG
AcBA|
GABc dBGA|BcBA Bcd2|efed Bdef|gedB
AcBA||
G2 BG DGBG|B2 BA BcBA|G2 BG
dGBG|ABAG AcBA|
G2 BG DGBG|BcBA Bcd2|efed Bdef|gedB
AcBA||
MAY DAY [2] (Bealltaine). AKA and see "Bealltaine," "Five Miles From Town [2],"
"The Mullingar Races [2]."
Irish, Hornpipe. G Major. Standard tuning. AB. Source for notated version:
“From Mr. P. Joyce, Learnt from his father” (presumably when P.W. Joyce was a
boy, in Limerick 1840’s) [Stanford/Petrie]. Joyce (Ancient Irish Music), 1873; No. 32. Petrie‑Stanford (Complete Collection), 1903‑06; No.
919 (appears as untitled hornpipe).
X:1
T:May Day [2]
M:C
L:1/8
R:Hornpipe
S:Stanford/Petrie (1905), No. 919
N:Appears as untitled hornpipe in
Stanford/Petrie
Z:AK/Fiddler’s Companion
K:G
D2|GABG ABcA|defd dcBA|BcBG ABAG|
FGAB cAGF|GABG ABcA|defd dcBA|B2d2
(cA)GF|
(DG)G>A G2||(3def|g2 eg f2 ed|g2
eg f2 ed|defg abag|
(f2 )dd (d>e)dc|B2 BG
(AF)Dc|(Bd)BG (AB)cA|defd cAGF|(DG)G>A G2||
MAY DAY [3]. English, Country Dance Tune (6/8 time). D Major. Standard tuning. AABB.
Source for notated version: an MS collection by fiddler Lawrence Leadley,
1827-1897; No. 65, pg. 44.
MAY DAY [4]. Scottish, Strathspey. D Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 4; No. 44, pg. 7.
X:1
T:May Day [4]
M:C
L:1/8
R:Strathspey
S:Kerr – Merry Melodies, vol. 4, No. 44 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
a<d a>f a<d a>f|a<d
a>f g<e e>f|a<d a>f a<d a>f|g<b a>g (f<d) d2:|
|:d2 (A<F) d2 (A<F)|d2
(A<F) (G<E) E2|d2 (A<F) d2 (A<F)|(G>B A>G (F<D) D2||
MAY DAY [5]. AKA and see “Parson in the Suds [1].” English,
Reel. G Major. Standard tuning. AABB. The melody is similar to “England’s Glory” in the John Clare music
manuscript. Source for notated version: the 1823 music manuscript collection of
H.S.J. Jackson (Wyresdale,
MAY FAIR. AKA and see "The Willoughby
Whim," "Golden
slumbers kiss your eyes," "O Jenny, o Jenny, where
hast thou been?" "Oh Polly, you might
have toyed and kissed." English, Air (3/4 time). B Flat Major.
Standard tuning. AB. The air appears in Pills
to Purge Melancholy (vol. 1,
1719), some editions of Playford's Dancing
Master; and the ballad operas The
Beggar's Opera (1728, as "Oh Polly, you might have toyed and
kissed") and The Grub Street Opera,
among others. Chappell (1859) reports it is sometimes called "O Jenny,
Jenny where hast thou been?" from a Thomas D'Urfey song called "The
Willoughby Whim." By Kidson's (1922) time English schoolchildren sang the
tune as the song "Golden slumbers kiss your eyes." Chappell (Popular Music of the Olden Times), vol.
2, 1859; pg. 113.
X:1
T:May Fair
M:3/4
L:1/8
R:Air
S:Chappell – Popular Music of the Olden Time
(1859)
Z:AK/Fiddler’s Companion
K:Bb
F2D2E2|F4d2|c4B2|G6|F2D2E2|F4d2|c4B2|c6||c2d2e2|
f2e2d2|e2d2c2|B2A2F2|B2d4|G4c2|F2A4|B6||
MAY HILL. AKA and see "The Twenty
Ninth of May," "The Jovial Crew,"
"Restoration of King
Charles," "The Jovial
Beggars."
MAY MORNING. American (?), Jig. Also appears in Bayard (1981) as "Old
Cotillion" (No. 592, pg. 521). Harding
Collection (1915) and Harding's
Original Collection (1928); No. 63. O'Malley, 1919; pg. 4.
MAYBELLE RAG . Old‑Time, Country Rag. USA, Tenn. Standard tuning. "The song
comes from the 1912‑1914 era, when Jess Young's {1925 S.E. Tenn. fiddling
champ} band played on a showboat on the Tennessee River near Chattanooga; Jess
often jammed with a Black guitar player named Howard Barnes. One night Barnes
introduced Jess to another guitar player, May Lee Bell, who played a raggy
guitar solo that Jess liked. He took it up on the fiddle, and called it, in
honor of Bell, "Maybelle Rag" (Charles Wolfe, The Devil's Box, Dec. 1981, vol. 15, #4). Cartunes
105, Bruce Molsky & Bob Carlin – “Take Me As I Am” (2004. Sourced to the
Young Brothers and Homer Davenport). Gennett Records (78 RPM), 3077‑A.
SVT 4011. Rounder Records, Young Brothers & Homer Davenport - "
MAYBELLE’S
COMPLIMENTS TO HER BROTHER CAMERON. AKA – “Compliments to Cameron
Chisholm.” Canadian, Strathspey. Canada, Cape Breton. E Dorian. Standard
tuning. AAB. Composed by Cape Breton musician Maybelle Chisholm (Doyle) in
honor of her brother Cameron, from a family of fiddlers.
X:1
T:Maybelle’s Compliments to Her
Brother Cameron
T:Compliments to Cameron Chisholm
M:C|
L:1/8
K:Edor
B<ee>f e>d B2|(3ABc d>A
F>AF<D|B<e e/e/f e>dB<d|B<GA>F E/E/E E:|
e/f/|g>fe>g B/B/B
e<g|f>ed>f A/A/A d<f|g>fe<g f>ed<f|B<GA>F E/E/E
Ee/f/|
g>fe>g B/B/B
e<g|f>ed>f A/A/A e<f|g>ba<f g>ef<d|B<GA>F E/E/E
E||
MAYBELLE’S JIG. Canadian, Jig. Canada, Cape Breton. A Major. Standard tuning.
AABBCCDD’. Composed by fiddler Jerry Holland (Inverness, Cape Breton). Paul
Stewart Cranford remarks “Maybelle Chisholm MacQueen has been a strong
influence on the current generation of young piano accompanisits and composers.
She comes from a musical family of great fiddlers--her brother and sister,
Cameron and Margaret, and uncles Angus and Archie Neil.” See also her
composition “Cameron Chisholm’s Strathspey.” Cranford (Jerry Holland’s), 1995; No. 203, pg. 58.
MAYDAY HORNPIPE, THE. AKA and see “First of May [1].”
MAYEN HOUSE. Scottish, Jig. G Minor. Standard tuning. AAB. Composed by Alexander
Walker. Walker, 1866; No. 193, pg. 66.
MAYFLOWER [1]. Old‑Time. Traditional tune recorded by Alabama fiddler Charlie
Stripling (1896‑1966) for Decca in 1936.
MAYFLOWER [2], THE. English, Jig. A Major. Standard tuning. AABB.
A modern composition by editor Michael Raven. Raven (English Country Dance Tunes), 1984; pg. 202‑203.
MAYFLOWER REEL, THE. Canadian, Reel. D Major. Standard tuning.
AABB. Composed by Cecil McEachern. Messer (Anthology
of Favorite Fiddle Tunes), 1980; No. 75, pg. 50.
MAYFLOWER WALTZ. AKA and see "Goodnight Waltz."
MAYO LASSES, THE (Gearrchailliú Chontae Mhuigheo). AKA and see "Ballinlough Boy," “The Hag’s Reel,” “Into the Room I Want You,” “Johnny’s Gone to France [3],”
“Johnny When You Die [1],”
“The Old Maid(s) of Galway,”
“West Mabou Reel.” Irish, Reel. G
Major. Standard tuning. AB. Source for notated version: accordion player Sonny
Brogan (County Sligo/Dublin) [Breathnach]. Breathnach (CRÉ I), 1963; No. 80, pg. 36. Giblin (Collection of Traditional Irish Dance Music), 1928; 12.
X:1
T:Mayo
Lasses, The
M:C|
L:1/8
K:G
eB B2
eBdB|A2 GA Bd d2|eB B2 eBdB|A2 GA BG G2|
eB B2
eBdB|A2 GA Bd d2|eB B2 eBdB A2 GA BG G2||
gbag egde|g2
ag ea a2|gbag egdB|ABGA BG G2|
gbag egde|g2 ag ea a2|bgag egdB|ABGA
BG G2||
MAYOBRIDGE. AKA and see "The Cup of Tea [1],"
"The Unfortunate Cup of Tea,"
"The Green Cup of Tea."
MAYOR HARRISON'S
FEDORA (Feadoir an Meara
Harrison). AKA
– “The Fedora.” Irish, Reel. E Dorian. Standard tuning. ABC (O'Neill): AA'BB'
(Breathnach). Carter Harrison Jr. was the mayor of Chicago in the early years
of the 20th century, and first appointed Francis O’Neill Captain of
the police force. His trademark was a brown fedora hat, and this reel was named
in his honor, despite Harrison’s opinion of O’Neill as a “conscientious,
industrious, if not brilliant chief” (Carolan, 1997). Supposedly, O’Neill’s
daughter said that Harrison was a “frequent guest at the O’Neill’s for Sunday
dinner.” The 3rd part of “Mayor Harrison” is the same as the 2nd of “Sporting Molly.” The tune is heard in both
two and three part versions, sometimes with the third part being played only
once at the end. Peader O’Loughlin’s version was a two-part one transcribed by
Breathnach for CRÉ II, and the fiddler remarked the tune was played in another
key by other fiddlers. Paul de Grae takes this to be a reference to his friend
Paddy Canny, “who plays it in G major/minor—that lovely east Clare/Galway scale
with mutable 3rd and 7th notes. On his 1997 CD Paddy Canny does play the third
part, or rather his own inimitable reworking of the standard third part - a
marvellous performance.” Paddy Ryan, writing in Treoir, says the tune is often paired in sessions with “Johnny Cronin’s Reel” after the
influential recording of the set on a 1973 Comhaltas EP recording of Portroe,
See also listings at: Alan Ng’s Irishtune.info |
X:1
T:Mayor Harrison's Fedora
S:Brendan McGlinchey
L:1/8
M:4/4
Z:transcribed by Juergen Gier
K:EDor
GBEG B2AF|GFGA ~B2AG|FADF ADFA|d2dB
AG (3FGA|\
GBEG BGAF|GFGA BABc|dcdB AGFA|GEED
E3F::\
(3Bcd ed e2ef|ggfg edBA|AABc
d2Bc|dBgf edBA|\mn
(3Bcd ed e2ef|ggfg edBc|dedB
AGFA|GEED E3F::\
G2GF GABc|dBAG FDFA|Beed efge|fedf
edBc|\
d2dB A2AF|GFEF GABc|d3 B AGFA|GEED
E3F:|
MAYOR OF GARRATT.
English, Country Dance Tune (2/4 time). D Major. Standard tuning. AABB.
The melody is unique to London publishers Charles and Samuel Thompson’s 1765
country dance collection. The Mayor of Garratt is a satirical play
written in 1765 by Samuel Foote, which premiered at the Haymarket Theatre. The
Garrat elections were spoof elections held in the town of Garrat, Surey, that
were extremely popular in the mid-18th century, and apparently grew
out of a popular local amusement at a minor political problem. The celebration
was sustained by the village tavern owners, who paid the cost of the
celebrations, but it died out at the end of the century when they declined to
contribute. Thompson (Compleat Collection of 200 Favourite Country
Dances, vol. 2), 1765; No. 164.
X:164
T:Mayor of Garratt, The
M:2/4
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:D
(DF)(FA)|(FA)(Ad)|(cd)(ef)|(e/d/c/B/) (A/G/F/E/)|(DF)(FA)|(FA)(Ad)|(c/d/e/d/) (c/B/A/^G/)|A2A2:|
|:(Ac)(ce)|(ce)(ea)|(gf)(ed)|(e/f/e/d/) (c/d/c/B/)|(Ac)(ce)|(ce)(ea)|(f/g/a/g/) (f/e/d/c/)|d2 D2:||
MAYPOLE [1], THE. English, Country Dance Tune (2/2 time). G
Major. Standard tuning. AABB. Raven (English
Country Dance Tunes), 1984; pg. 180.
MAY POLE REEL [2]. American (?), Reel. G Major. Standard tuning. AABC. Cole (1000 Fiddle Tunes), 1940; pg. 14. Ryan’s Mammoth Collection, 1883; pg. 37.
X:1
T:May-Pole [2]
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G
(3d/e/f/ | g/a/g/f/ g/d/B/d/ |
c/e/d/c/ B/d/d | c/e/d/c/ B/d/c/B/ | A/B/c/d/ g/f/e/d/ |
g/a/g/f/ g/d/B/d/ | c/e/d/c/ B/d/d |
c/e/d/c/ B/d/c/B/ | A/c/B/A/ G :|
|| b/c’/b/^a/ b/g/e/g/ | f/a/g/f/
g/f/e | b/c’/b/^a/ b/g/e/g/ | fa/g/f/ ef/g/ |
a/b/a/^g/ a/f/d/f/ | e/g/f/e/ f/e/d
| a/b/a/^g/ a/f/d/f/ | e/g/f/e/ d z || de/f/ g/a/b |
c’b/a/ d’/b/g | ef/g/ dg/b/ |
a/b/a/g/ f/e/d | de/f/ g/a/b | c’b/a/ d’/b/g |
ef/g/ df/g/ | b/a/g/f/ g ||
MAYSVILLE. Old-Time, Breakdown. USA, Kentucky. C Major. Standard. AB. J.P. Fraley
shifts into the 3rd position to play some of the unison ‘e’ notes,
and stays in that position for some succeeding notes. Maysville is a small town
on the Ohio River, the county seat of Mason County. Titon (2001) reports that
this is where source Fraley’s father brought his tobacco crop. Source for
notated version: J.P. Fraley (Denton, Kentucky) [Titon]. Titon (Old-Time
Kentucky Fiddle Tunes), 2001; No. 102, pg. 131. Rounder
CD-0351, J.P. & Annadeene Fraley - “Maysville” (learned from his father,
Richard Fraley).
X:1
T:Maysville
L:1/8
M:2/4
K:C
GG/A/ cc/d/|ee ed|c(c
c>)d|e/d/c/d/ AG|GG/A/ cc/d/|eg a2|
a/b/a/g/ e/d/c/A/|F/G/A/(d/
d/)e/d/c/|d/e/d/c/ A/G/E/G/|A/cd/ c2||
G||c/d/e/g/ aa/g/|a/b/a/g/
ec|a/b/a/g/ e/d/c|c/A/c [e2e2]|
[e2e2] (e2|
L:1/8
M:2/8
e2)||
L:1/8
M:2/4
ee/d/ cA|c/d/c/A/ AF|F/D/F/G/
A/B/c/d/|c/A/G A2||
MAZEPPA HORNPIPE. American, Hornpipe. B Flat Major. Standard. AABB. "Can be used as
a Clog,” notes Ryan. See also the related “Bashful Bachelor.” The title is the
name of a poem published in 1819 by Lord Byron, based on the true story of a
Polish noble of the same name, as told in Voltaire’s History of Charles XII King of Sweden. Mazeppa had the poor
judgement to have an affair with another Polish noble’s wife, and the ill-luck to
be found out. He was tied naked on the back of a wild horse and let loose to
roam until starvation and exposure took him.
Half-alive, he wandered into the Ukraine, where he was nursed by some
peasants, and over the years he rose as a war-lord of the Cossacks against the
Tartars. Such was his success that the tsar was forced to make him a prince of
the land. Byron, it is said, despised his handwriting, and imposed upon the
wife of his friend, Percy B. Shelley, during a visit, to transcribe the final
manuscript. The wife, Mary Shelley, went on to author Frankenstein. Cole (1000
Fiddle Tunes), 1940; pg. 105. Ryan’s
Mammoth Collection, 1883; pg. 141.
X:1
T:Mazeppa
M:C|
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:B_
(3fga | b>ab>f d>FB>d |
c>BA>c B>df>b | g>ec>g f>dB>d | c>f=e>e’
f>^fg>a |
b>ab>f d>FB>d |
c>BA>B c>de>f | g>ec>g f>ec>f | B2 ({a}b2)B2 :|
(3Bc^c | d>BG>B d>BG>B |
c>BA>B (3GD^F (3GAB | c>A=F>A c>AF>A |
G>F=E>G (3FDF (3^FGA |
B>GD>G B>GD>G | B>cA>B (3G^FG (3AB=B |
c>A=F>A c>ed>c | B2b2B2
:|
MAZURKA. Caoimhin Mac Aoidh says: “Mazurkas are dances of Polish origin which
appear to have been spread via continental armies. They are in 3/4 time, and
are played slower than waltzes, generally without the emphasis on the downbeat
of each measure, rather with evenly accented beats. There are not many mazurkas
played in the entire nation repertoire
- only about 15 at most. They are almost entirely restricted to Donegal.
Recently it was pointed out by Michael Robinson on the list that the Roche
collection does contain the odd "Redowa" (effectively another name
for what is recognised as a mazurka in Ireland. This collection largely draws
on the Munster repertoire. If you look at these they are straight versions of
the Donegal mazurkas (the Kilcar Mazurka etc.)” The year 1858 is generally
given for the introduction of the dance to fashionable society circles in the
British Isles. See Stevens (vol's 1 and 2) for several untitled mazurkas from
central France, and Kennedy (Fiddler’s
Tune-Book: Slip Jigs and Waltzes), 1999; No’s 149a-d, pg. 38, for four
untitled mazurkas.
MAZURKA DE LA
LOUISIANE. Cajun, Mazurka (3/4 time). USA,
Louisiana. D Major. Standard tuning. One part. Raymond Francois (1990) states that
the mazurka is no longer danced in Cajun Louisiana, though some of the tunes
survive among older musicians. In fact, his mother remembers her mother
demonstrating it at a family dance without a partner, as no-one else knew the
steps. Source for notated version: Dudley and James Favor [Francois]. Francois
(Yé Yaille), 1990; pg. 232. Old Timey Records OT-114, Dudley and James Favor.
MAZURKA DE LAPLEAU. French, Mazurka (3/4 time). G Major. Standard. AABB. Stevens (Massif Central), vol. 2, 1988; No. 71.
X:1
T: Mazurka de Lapleau
M: 3/4
L: 1/8
K:G
DG|B2 Bd BG|B2 Bd BG|A2 Ac BA|B2 G2 DG|B2 Bd BG|B2 Bd BG|A2 Ac AF|G4 :||
dB|GD GB dB|c2 A2 cA|FD FA cA|B2 G2 dB|GD GB dB|c2 A2 cA|FD FA cA|G4 :||
MAZURKA DE SAMATAN. French, Mazurka (3/4 time). G Major. Standard tuning. AABB. Stevens (Massif Central), vol. 1, 1987; No. 79.
MAZURKA DE SERVANT. French, Mazurka (3/4 time). G Major. Standard tuning. AB. Stevens (Massif Central), vol. 1, 1987; No. 78.
X:1
T:
Mazurka de Servant
B: The Massif Central Tune Book No 1 #78
M:3/4
L:1/8
K:G
ded|G2 Gded|A2 A2 Bc|d2 dcBA|B2 Gded|G2 Gded|A2 A2 Bc|d2 dcBA|G3||
bcd|E2 edcB| A2 A2 Bc|d2 dcBA|B2 GBcd|e2 edcB|A2 A2 Bc|d2 dcBA|G3||
MAZURKA LIMOUSIN. French, Mazurka (3/4 time). E Minor. Standard tuning. AA'BB'. Stevens (
M-BEIDHEDH AGUM COITE
NA BAD, AN. AKA and see "Had I a Cot or a Boat."
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