The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

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Notation Note: The tunes below are recorded in what is called “abc notation.” They can easily be converted to standard musical notation via highlighting with your cursor starting at “X:1” through to the end of the abc’s, then “cutting-and-pasting” the highlighted notation into one of the many abc conversion programs available, or at concertina.net’s incredibly handy “ABC Convert-A-Matic” at

http://www.concertina.net/tunes_convert.html 

 

**Please note that the abc’s in the Fiddler’s Companion work fine in most abc conversion programs. For example, I use abc2win and abcNavigator 2 with no problems whatsoever with direct cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s into the concertina.net converter results in double-spacing. For concertina.net’s conversion program to work you must remove the spaces between all the lines of abc notation after pasting, so that they are single-spaced, with no intervening blank lines. This being done, the F/C abc’s will convert to standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth it.   [AK]

 

 

 

MERCH MEGAN (Megan’s Fair Daughter). AKA – “Wyres Megan.” Welsh, Air (3/4 time). G Major. Standard tuning. AAB. The tune is said to appear in John “Blind” Parry’s Twelve Airs for one and two Guitars, 1781 edition, and also his British Harmony of the same year. Parry (Parri Ddall, or Blind Parry) was born in about 1710 on Pen Lion, Gaernafonshire, Wales, blind from birth, and as a child found a patron in the Griffiths family who initially gave him a Welsh triple harp and support for mastering it. He later became harpist to Sir Watkin Williams-Wynn at Wynnstay, Ruabon, and where he perfected his baroque composing. Willams-Lynn periodically brought him to his residence in London bringing his music and playing to a wider audience. In fact, his harping was admired by George Frederich Handel (who resided in England as court composer to George II), and Parry played the great composer’s Concerto in B flat at Hickford’s Great Room in Brewer Street, Soho. Parry died in 1782. Edward Jones, Harpist Laureate to George IV, included it in his book The Bardic Museum (1802) under the title “Wyres Megan.” Harpist Henry Humphreys won the prize of the Silver Harp at the Welshpool Eisteddford in 1824 for his rendition of this tune. Ludwig van Beethoven composed music for an art song by this title. Lyrics, translated by John Oxenford (Cole, Folk Songs of England, Ireland and Wales, New York, 1961), begin:

***

I see her in my dreams, she trips to me lightly,                             A welsoch chwi ‘rioed mo Elin merch Megan

With joy on her lips she whispers my name.                                 O gwmpas ei gwaith yn ddiwyd a llon?

Her eyes look in mine, so fondly, so brightly,                               Mae pob peth a wnêl yn bleser I’w weled

I wake an ‘tis then no longer the same.                                       A’I gwên yn y ty fel heulwen ar don.

Her glance then is chilly, her step seems to shun me,                  Bydd cysur a mwyniant o’I gwyneb yn t’wynnu

The lips that have smiled wear the curl of disdain;                     Wrth olchi a smwddio a gweithio’n ddigwyn

Oh! Megan’s fair child my love hath undone me,                        Yn beraidd o’I min bydd miwsig yn llifo

But yet in my dreams I’d see thee again.                                     Mor swynol â llais yr eos mewn llwyn.

***

Robin Huw Bowen – “Harp Music of Wales” (1994). “Ar Log, Vols. 1-3: 1976-1981” (2001).

X:1

T:Merch Megan

M:3/4

L:1/8

R:Air

K:G

dc|B2G2G2|e4d2|c2B2AG|F2D2dc|B2G2G2|e4d2|c2B2A2|G4:|

d2|g2 gaga|f2 fgfg|e2 efge|f2d2 ef|g2 gabg|f2 fgaf|eba gfe|d4 dc|

B2G2G2|e4d2|c2B2AG|F2D2 dc|B2G2G2|e4d2|c2B2A2|G4||

 

MERCHANT FROM THE ERNE, THE (An Ceannuighe O'N Earna). AKA – “Peddlar from Erne.” Irish, Air ("moderately slow", 3/4 time). D Dorian. Standard. One part. "'The Merchant From the Erne', i.e. frp, Ballyshannon" (Joyce). Source for notated version: Hugh O'Beirne, professional fiddler from Ballinamore, Co. Leitrim, c. 1846 (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 565, pg. 299.

X:1

T:Merchant from the Erne, The

M:3/4

L:1/8

R:Air

N:”Moderately slow”

S:Joyce – Old Irish Folk Music and Songs (1909)

Z:AK/Fiddler’s Companion

K:D Dorian

c2 | A2G2 (3GFD | F3G AF | G3F D2 | F2D2D2 | D4 F2 | D2C2 DF |

G4 FG | A4 AG | G2F2G2 | A4 AG | G2 FD F>D | D4 DF | G4 AG |

G2F2 (3GAB | c4 de | d2 cA (3GFD | F3G AF | G3F D2 | F2D2D2 | D4 ||

 

MERCHANT'S DAUGHTER [1]. AKA and see "The Merry Merchant."

 

MERCHANT’S DAUGHTER [2], THE. Irish, Air (3/4 time). F Minor. Standard. One part. Source for notated version: “From P. MacDowell, Esq., from Skull” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 389, pg. 99.

X:1

T:Merchant’s Daughter, The [2]

M:3/4

L:1/8

R:Air

S:Stanford/Petrie (1905), No. 389

Z:AK/Fiddler’s Companion

K:F Minor

FG | A4 GF | {G}c4 cB | G2F2F2 | F4 FG | A2B2 c=d | e4 gf | e2 (fe)(cB) |

c4 FG | A2B2 cd | e4 gf | e2 (fe)(cd) | e4 f>e | c2 (cB)(GF) | F2 E>F GB |

{F/A/}F2F2 | F4 || 

           


MERIWEATHER. Old‑Time, Breakdown. Bobby Fulcher (1986) says the tune only rarely shows up in traditional Kentucky fiddlers' repertoires, though Clyde Davenport recorded the tune for County Records in 1986. Bruce Green had the tune from Jake Phelps, a Kentucky fiddler who was not originally from the Appalachian part of the state but reather from Purchase, on the western side. Jeff Titon says the tune is closely related to the Irish “Tom Ward’s Downfall.” County 788, Clyde Davenport (Monticello, Ky.) ‑ "Clydeoscope: Rare and Beautiful Tunes from the Cumberland Plateau" (1986).

           

MERLE'S TUNE. AKA – “Liz Carroll’s Reel.” American, Reel. B Dorian. Standard. AABB. Composed in 1988 by Celtic‑style fiddler Liz Carroll (Chicago) for her friend Pam Kuras ('Merle'). Paddy (Offaly) O’Brien recorded it soon after as “Liz Carrol’s Reel” in the key of A Dorian, which fit the B/C box better, although the low F# note puts it out of range on the fiddle. Frets Magazine, August 1988, pg. 22.

           

MERMAID, THE (An Mhaighdean Mhara). Irish, Air (3/4 time). D Major. Standard. One part. "A beautiful mermaid visited a ship by moonlight. The captain tried to detain her: but she chanted a song that threw captain and crew into a trance, and so she escaped. 'One of the best of the old northern airs' {Mr. McKenzie}" (Joyce).

***

O were my men drunk or were my men mad,

Or wre my men drowned in care‑‑O,

When they let her escape, which made us all sad?

And the sailors all wished she was there‑‑O, there,

And the sailors all wished she was there.

***

Cazden (et al, 1982) finds the tune, with a similar lyric theme, as "The Maid on the Shore" collected in New York's Catskill Mountains, and said it seemed quite familiar in the northeastern United States and eastern Canada. The melody is also related to O'Neill's air "The Sorrowful Maiden." Source for notated version: Mr. J. M'Kenzie of Newtownards, c. 1879 [Joyce]. Joyce (Old Irish Folk Music and Song), 1909; No. 327, pg. 152. CCF2, Cape Cod Fiddlers – “Concert Collection II” (1999).

X:1

T:Mermaid, The

M:3/4

L:1/8

R:Air

S:Joyce - Old Irish Folk Music and Songs  (1909)

Z:AK/Fiddler’s Companion

K:D

D2|G2F2E2|A4A2|F2D2D2|D4 GB|d3 A A2|d2e2f2|(e6|c3) z de|

f2e2d2|e2d2c2|d2c2B2|F2G2A2|G2F2E2|D2F2A2|d3e f2|F4 F2|G2F2E2|F2G2A2|D4||

           

MERMAID OF MULLAGHMORE, THE. AKA and see “Maid of Mullaghmore.” Irish.

           

MERMAID’S SONG, THE. Scottish, Slow Air (6/8 time). A Mixolydian. Standard. AABB. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 28. 

                       

MERMENTAU WALTZ. Cajun, Waltz. USA, southwestern Louisiana. A Major. Standard. One part. Raymond Francois (1990) identifies this as a relatively modern song originally recorded by Dunice P. Theriot. Mermentau, an Indian name, is a town in southwest Louisiana on the banks of the Mermentau River. See also note for "Valse de Quatre-vingt-dix-neuf Ans." Source for notated version: Barry Cormier (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 419-421. Bayou Classics BC-3000, Dunice P. Theriot.

 


MERRILY DANCED/KISSED THE QUAKER('S WIFE). AKA - "Quaker's Wife." AKA and see "The Legacy," "The Humours of Last Night," "Blithe Have I Been," "Wilke's Wrigle." Scottish, English; Jig. Irish, Slide. G Major (Bremner, Gow, Mitchell, Taylor/Tweed): D Major (Hardie, Johnson, Kerr, Sumner, Sweet). Standard. AB (Hardie): AABB (most versions): AABBCC (Mitchell, Taylor). A variant of "Merrily Kissed the Quaker('s Wife)." Phillips Barry, FSSNE, No. 11, pg. 13, traces the tune back to the 14th century plain‑chant, "on the authority of Wilhelm Tappert's curious little book Wandernde Melodien' (Bayard, 1981). Bayard thinks that "Merrily Danced" is either devolved from "The Mill Mill O" or that both tunes evolved from a single tune; thus, to him if Barry is right and one tune stemmed from the late Middle Ages, then logically so does the other. John Glen (1891) finds the earliest appearance of the melody in print in Robert Bremner's 1757 Collection of Scots Reels or Country Dances, and it also early appears in the 1768 Gillespie Manuscript of Perth. However, an earlier printing can be found in Rutherford’s Choice Collection of Sixty of the Most Celebrated Country Dances (London, 1750).

***

Francis O’Neill (1922) remarks: “For over a century the name ‘Merrily Kissed the Quaker’ has been associated with a tune or Special Dance in Ireland, but no song or verse relating thereto has been traced. In O'Farrell's Pocket Companion for the Irish or Union Pipes (1804-10), we find the tune with name annotated ‘New Sett Irish’ {ed. note: the ‘New Sett’ tune, given below, appears to be a different tune or so distorted or distantly related it may be considered a different tune}. Continuing the investigation we discover that ‘Merrily Dance the Quaker’ (probably the original tune) was printed in No. 7 of Bremer's Collections of Scots Reels, or  Country Dances" issued in 1760. The traditional version in North Kerry taken from the Rice-Walsh manuscript serves to illustrate how far a tune may deviate from the original in a few generations.” The title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800. Merrily Danced the Quaker's Wife is also the name of a rather uncommon Scottish country dance. 

***

 

The Quaker’s wife sat down to bake

With all her bairns about her.

She made them all a sugar cake,

And the miller he wants his mouter (i.e. a fee for grinding flour).

Sugar and spice and all things nice,

And all things very good in it,

And then the Quaker sat down to play

A tune upon the spinet.

Merrily danced the Quaker’s wife,

And merrily danced the Quaker

Merrily danced the Quaker’s wife,

And merrily danced the Quaker.

 

 

***

The melody was well-known in America at the time of the War for Independence where it was employed as both a quick march and dance tune. As a march, it was published in Captain Robert Hinde’s (1720-1786) Collection of Quick Marches (Hinde was the author of The Discipline of the Light-Horse, an authoritative work on the use of light cavalry, and very influential in the British army). It appears in Henry Beck’s manuscript copybook for the flue (1786) and (as “So Merrily Danced the Quakers”) in the music manuscript copybook of Henry Livingston, Jr.  Livingston purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 he was a Major in the 3rd New York Regiment, which participated in Montgomery’s invasion of Canada in a failed attempt to wrest Montreal from British control. An important land-owner in the Hudson Valley, and a member of the powerful Livingston family, Henry was also a surveyor and real estate speculator, an illustrator and map-maker, and a Justice of the Peace for Dutchess County. He was also a poet and musician, and presumably a dancer, as he was elected a Manager for the New York Assembly’s dancing season of 1774-1775, along with his 3rd cousin, John Jay, later U.S. Chief Justice of Governor of New York.

***

Sources for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; the Rice-Walsh manuscript, a collection of music from the repertoire of Jeremiah Breen, a blind fiddler from North Kerry [O’Neill]; the 1823-26 music ms. of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds), originally set in the key of ‘C’ major [Sumner]. Bremner (Scots Reels), c1757; pg. 53 (appears as “Merrily dance the Quaker”).  Carlin (The Gow Collection), 1986; No. 460. Crosby (The English Musical Repository), 1811; pg. 121. Hardie (Caledonian Companion), 1992; pg. 40. Gale, pg. 21. Gow (Complete Repository), Part 2, 1802, pg. 17. Jarman, 1951; pg. 65. Johnson (Airs & Melodies of Scotland's Past), vol. 10, 1992; pg. 14 (appears as "The Quaker"). Kerr (Merry Melodies), vol. 1; No. 18, pg. 32. Mitchell (Dance Music of Willie Clancy), 1993; No. 91, pg. 81. O’Neill (Waifs and Strays of Gaelic Melody), 1922; Nos. 96 & 98. Saar, 1932; No. 48. Smith (Scottish Minstrel), 1820‑24, vol. 4, pg. 30. Sweet (Fifer’s Delight), 1965/1981; pg. 25. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 45. Taylor (Music for the Sets: Blue Book), 1995; pg. 6. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 42 (set for three instruments). Flying Fish 299, The Battlefield Band ‑ "There's a Buzz." Shanachie 79023, "Chieftains 3" (1971/1982). “The Fiddler’s Companion” (1980).

X:1

T:Merrily danced the quaker's wife

M:6/8

L:1/8

R:Jig

Q:1/4=200

K:G

D|GAB D2B|c2B A2D|GAB D2D|E2F G2D|GAB D2B|dcB A2D|

GAB D2D|E2F G2D|GAB D17/8B3/4z/8|c2B A2D|GAB D2D|

E2FG2D|GAB D2B|dcB A2D|GAB D2D|E2F G2D|G2B d2B|

e2cd2B|GAB dcB|A2d d2d|e2c ABc|d2B G2D|GAB D2D|

E2F G2D|G2B d2B|e2c d2B|GAB dcB|A2d d2d|e2c ABc|

d2B G2D|GAB D2D|E2F G2||

X:2

T:Merrily Danced the Quaker’s Wife

M:6/8

L:1/8

R:Jig

S:Gow – 2nd Repository  (1802)

Z:AK/Fiddler’s Companion

K:G

~G>AB D2B|{B}A2G E2D|G>AB D2D|E3G3|~G>AB D2B|

{B}A2 GED|G>AB D2D|E3G3:|

|:dcB edc|dcB ABc|dcB efg|B3 (d3|d)cB gfe|dcB {B}A2G|G>AB D2D|E3G3:|

X:3

T:Merrily Danc’d the Quaker’s Wife

M:6/8

L:1/8

R:Jig

S:Button & Whitaker’s Selection of Dances, Reels, Waltzes No. 1 (undated, early 19th S:century)

Z:AK/Fiddler’s Companion

K:D

d>ef A2f|g2f e2d|d>ef A2A|B3 d3|d>ef A2f|g2f e2d|d>ef A2A|B3 d3:|

|:d|d2f a2f|b2g a2f|d2f a2g|f3 a2f|b2g efg|a2f d2d|d>ef A2A|B3 d2:|

X:4

T:Merrily Kiss the Quaker

M:6/8

L:1/8

S:Rice-Walsh manuscript

Z:Paul Kinder

K:G

D|GAB DED|cBA BGE|GAB DED|ABA BGE|

GAB DED|cBA BGE|GAB DED G3 G2||

A|BBB BAG|ABA GBd|efe edB|egf/2a/2 gfe|

def gfe|dBG AGE|GAB DED|G3 G2||

X:5

T: Merrily Kiss the Quaker (Kerry setting)

S: "Treoir"

M: 12/8

L: 1/8

R: slide

Z: Transcribed by Bill Black

K: G

D | GAB D2 D B3 AGE | G2 E DEG ABA AGE |

GAB D2 D B3 AGE | GAB DBA G3 G2 :|

D | G2 B d3 edB d2 B | G2 B d2 B ABA AGE |

G2 B d3 edB d2 B | GAB DBA G3 G2 :|

D | G2 B d2 e dBd g2 e | dBA GBd e2 f g2 g |

ged BAB A2 G EDE | GAB DBA G3 G2 :|

 


MERRILY KISS(ED) THE QUAKER. AKA and see “Humours of Last Night,” "Merrily Kissed the Quaker's Wife," "Merrily Kiss the Crater." Irish, Slide (12/8 time). Ireland, West Kerry. G Major (most versions): D Major (Feldman & O’Doherty). Standard. AA’B (Feldman & O’Doherty/O’Donnell #1): AABB (Feldman & O’Doherty/O’Donnell #2): AABBCC (most versions). The jig‑like dance for the Irish slide is mainly done in the south west of Ireland, esp. west Clare and Cork, and County Kerry, according to the Boys of the Lough. The word 'crater' in the alternate title means whiskey. As “Humours of Last Night” the melody can be found in O’Neill’s collection of 1787, set in four parts (reprinted in Stanford/Petrie, No. 477). Sources for notated versions: Boys of the Lough [Brody]; accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border), recorded in recital in 1985 at Kenmare [Moylan]; fiddler Danny O’Donnell (County Donegal) [Feldman & O’Doherty]. Brody (Fiddler’s Fakebook), 1983; pg. 186. Bulmer & Sharpley (Music from Ireland), 1974, vol. 1, No. 77. Feldman & O’Doherty (The Northern Fiddler), 1978; pg. 183. Mac Amhlaoibh & Durham (An Pota Stóir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), No. 66, pg. 40. Moylan (Johnny O’Leary), 1994; No. 127, pgs. 74-75. O’Neill (Waifs and Strays of Gaelic Melody), No’s 111-113. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 28. Vallely (Learn to Play the Tin Whistle with the Armagh Pipers Club), vol. 2; 14. Great Meadow Music GMM 2018, Frank Ferrel & Joe Derrane – “Fiddledance” (2004. “A session chestnut, but learned mostly from Cathal McConnell of the Boys of the Lough”). Island 9379, Chieftains‑ "Chieftains 3." Kicking Mule 206, Tom Gilfellon‑ "Kicking Mule's Flat‑Picking Guitar Festival." Polydor 2383 379, Planxty‑ "Planxty Collection." Rounder 3006, Boys of the Lough‑ "Second Album" (1974). Shanachie 79009, "Planxty." Shanachie 79012, Planxty ‑ "The Planxty Collection" (1974).

X:1

T:Merrily Kiss the Quaker

L:1/8

M:6/8

K:G

D|\

GAB D2B|c2A BAG|GAB DEG|A3 A2D|\

GAB D2B|c2A BAG|GAB D2F|G3 G2:|*

|:A|\

BGG AGG|BGG AGG|GAB DEG|A3 A2A|\

BGG AGG|BGG AGG|GAB D2E|G3 G2:|*

|:d|\

g3 aga|bge dBG|g2d gab|a3 a2f|\

gag fgf|efe dBA|GAB D2E|G3 G2:|

 

MERRILY KISSED THE QUAKER—NEW SET. AKA and see “Around the House and Mind the Dresser,” “Irish Ragg.” Irish, Jig. D Major. Standard tuning. AABB. Source for notated version: O’Farrell’s Pocket Companion (1810) [O’Neill]. O’Farrell (Pocket Companion, vol. IV), c. 1810; pg. 95. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 97.

X:1

T:Merrily Kiss the Quaker – New Set

M:6/8

L:1/8

S:O'Farrell's Pocket Companion 1804-10

Z:Paul Kinder

K:D

g|fef A2 A|BAB G2 g|fef A2 A|B3 g3|

fef A2 A|BAB G2 g|faf gec|d3 d2:|

|: g|faf afd|ege gec|f/2g/2af afd|f3 a3|

faf afd|ege gec|f2 d gec|d3 d2:||

 

MERRILY KISSED THE QUAKER'S WIFE. AKA and see "Merrily Kiss the Quaker."

 

MERRILY MAY THE KEEL ROW. AKA and see "The Keel Row."

 

MERRIWEATHER. AKA - “Meriwether,” “Weriwhether.” Old-Time, Breakdown. G Major. Standard. AABB. Titon (2001) finds the tune related to the Irish reels “Tom Ward’s Downfall” and “The Mourne Mountains [1],” and opines that it is a “rare, appealing, and well-constructed tune.” Sources for notated versions: Bruce Greene (who learned it from Phelps) [Phillips]; W.L. “Jake” Phelps (Elkton, Todd County, Ky., 1973) [Titon]. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 151. Songer (Portland Collection), 1997; pg. 133. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 103, pg. 132. Berea College Appalachian Center AC001, Bruce Green – “Celebration! Old Time Music at Berea.” County 786, Clyde Davenport – “Clydoscope” (1986. Probably learned from Bruce Green, says Titon).

 

MERRY ANDREW, THE. English, Country Dance Tune (cut time). A Dorian. Standard. AABB. Barnes (English Country Dance Tunes), 1986.

 

MERRY ANNIE. Scottish, Reel. The melody appears in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), 1734, inscribed "A Collection of the best Highland Reels written by David Young, W.M. & Accomptant."

 

MERRY AT THE FAIR. AKA and see “The Marquis of Tullybardine/Tullibardine [1].” Scottish, Reel. The melody appears under this title in the MacKercher Collection (c. 1830).

 

MERRY BAGPIPES, THE. AKA ‑ "March, Boys, March." English, Country Dance Tune (2/2 time). G Major. Standard. AA'BA'. From Pepys V, circa 1690. Raven (English Country Dance Tunes), 1984; pg. 213.

 

MERRY BELLS POLKA. Scottish, Polka. G Major. Standard. AAB. Kerr (Merry Melodies), vol. 2; No. 444, pg. 51.

 

MERRY BITS OF TIMBER. AKA and see "Corney is Coming," "My Love in in America," "My Love is in the House [1]," "Knit the Pocky," "Cheese It," "I Saw Her," "Six Mile Bridge," "Crawford's Reel [1]," "Kelly's Reel," "Miss Wilson," "The Barrack Street Boys," "Shannon Breeze [2]," "The British Naggon," "Brides Away," "Brides to Bed."

 


MERRY BLACKSMITH, THE ("An Gaba Meadrac" or "An Gabha Meidhreach"). AKA and see "The Boys of the Lake [2]," "Collin's Reel [1]," "Corkonian Reel," “Devils in Dublin,” "Emminence Breakdown," "The Flags of Dublin," "Ike Forrester's Reel [1]," “Mist on the Loch,” "Paddy on the Railroad," "Peeler's Jacket [1]," "The Police Jacket," "The Peeler's Reel/Policeman's Reel," "The Railroad [2]," "The Shepherd in/on the Gap>." Irish, English; Reel. D Major. Standard. AB (O'Neill/1850 & 1001): AA'B (O'Neill/Krassen): AABB (Allan's, Kennedy, Martin & Hughes, Raven, Tubridy): ABCD (Breathnach). County Sligo/New York fiddler Michael Coleman recorded a version of this tune in 1921 as the second tune in a medley entitled “The Boys of the Lough.” Joyce gives the tune as “The Boys of the Lake” and again as an untitled tune (1909, No. 156). Goodman’s titles are “The Railroad” and “The Police Jacket.” “Devils in Dublin” is a related tune. Sources for notated versions: piper Séamus Ennis (Ireland) [Breathnach]; “sent to me many years ago by Mr. (now Dr.) Grattan Flood of Co. Wexford” [Joyce].  Allan's Irish Fiddler, No. 46, pg. 11. Breathnach (CRÉ III), 1985; No. 94, pgs. 48‑49. Giblin (Collection of Traditional Irish Dance Music),1928; 46. Joyce (Old Irish Folk Music and Songs), 1909; No. 156, pg. 79 (appears as untitled reel). Kennedy (Fiddlers Tune Book), vol. 1, 1951; No. 31, pg. 16. Martin & Hughes (Ho-ro-gheallaidh), 1990; pg. 38. O’Brien (Jerry O’Brien’s Accordion Instructor), 1949. O'Neill (Krassen), 1976; pg. 153. O'Neill (Dance Music of Ireland: 1001 Gems), 1903/1986; No. 728, pg. 128. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1509, pg. 279. Raven (English Country Dance Tunes), 1984; pg. 170. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 25. Green Linnet Records SIF 100, Seamus Ennis ‑ "Forty Years of Irish Piping" (1977).

X:1

T:Merry Blacksmith

M:4/4

L:1/8

R:Reel

K:D

:AB|d2dA BAFA|ABdA BAFA|ABde fded|Beed egfe|

d3A BAFA-|ABdA BAFA-|ABde fdec|dBAF D2:|

|:fg|a2ag f2fe|d2dA BAFA-|ABde fded|Beed egfg|

abag fgfe|dcdA BAFA|ABde fdec|dBAF D2:|

 

MERRY BOYS OF FORE, THE (Buachaillí Meidhreacha Bhaile Fhobhair). Irish, Reel. D Major. Standard tuning. AABB. Source for notated version: the mid-20th century collection of Jack Wade (County Monaghan) [Breathnach]. Breathnach (CRÉ IV), 1996; No. 159, pg. 76.

 

MERRY BOYS O' GREENLAND. Shetland, Reel. Just speculating, the tune may commemorate the greenland whale or fishing fleets that put out from the Shetland Islands. Olympic 6151, The Shetland Fiddlers' Society ‑ "Scottish Traditional Fiddle Music" (1978).

 

MERRY CHRISTMAS, A (Nodlog Meroreac). Irish, Double Jig. G Major. Standard tuning. AABB. O'Neill (Krassen), 1903/1976; pg. 32. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 103, pg. 32. 

X:1

T:Merry Christmas, A

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 103

Z:AK/Fiddler’s Companion

K:G

D|GAB AGE|ceg dBG|GAB AGE|FDD DEF|GAB AGE|ceg dBG|EFG A<dc|BGG G2:|

|:B|d^ce def|gfe dBG|Bcd efg|gbg afd|g/a/ba gfe|dBg dBG|EFG A<dc|BGG G2:|

 

MERRY CLAM DIGGERS, THE.  American (?), Hornpipe. B Flat Major. Standard tuning. AABBCCAA. Howe (1000 Jigs and Reels), c. 1867; pg. 60.

X:1

T:Merry Clam Diggers

M:2/4

L:1/8

R:Hornpipe

S:Howe – 1000 Jigs and Reels (c. 1867)

Z:AK/Fiddler’s Companion

K:B_

F | dd d/e/c/d/ | cB2F | B/A/c/B/ d/c/f/e/ | =Bc2F | ee g/f/e/d/ | dc f/e/d/c/ |

BB A/B/c/d/ | c2B :||: f | bf f/d/g/f/ | (ec c)f/e/ | d/c/B/A/ B/c/d/e/ | de/d/ c/f/g/a/ |

b/a/g/f/ e/d/g/f/ | e/d/c/B/ A/c/f/e/ | d/c/B/A/ B/c/d/=e/ | fff :: d | g2 d/e/d/c/ |

B2 G2A | B/A/G/^F/ G/A/B/^c/ | dD2d | g2 d/e/d/c/ | BG/^F/ GA | B=B c^c | ddd :|

 

MERRY CONCEIT, THE. English, Country Dance Tune (6/8 time). G Dorian. Standard tuning. ABB. A ‘merry conceit’ is an in-joke. Sharp (Country Dance Tunes), 1909/1994; pg. 31.

X:1

T:Merry Conceit, The

M:6/8

L:1/8

S:Sharp – Country Dance Tunes  (1909)

Z:AK/Fiddler’s Companion

K:G Minor

(B>AG A>Bc | d>cB f2)(c | fcd cAc | d>cA B3) |

(B>AG A>Bc | d>cB f2)(c | fcd cAc | d>cA B3 ||

|: (Acf A>GF | Ac2 f2)(A | BGB d>cB | fga b3) |

bbB d>=e^f | g2d B>AG | AdG F>=ED | A3 G3 :|

 

MERRY CONCLUSION, THE.  AKA and see “Northern Frisk.”

 

MER(R)Y CORPERALL/CORPORAL. English. England, Northumberland. One of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript.

 

MERRY COUNSELLOR, THE. English, Reel. England, Northumberland. G Major. Standard tuning. AAB. Seattle (William Vickers), 1987, Part 3; No. 348.

 

MERRY DANCE, THE. AKA and see "Come Up the Back Stairs." New England, Reel. G Major. Standard tuning. One part (Burchenal): ABB (Linscott): ABCA (Howe). "The tune closely resembles an old Irish air, 'The Fairy Dance', from which it probably is derived” (Linscott, 1939). Howe and Burchenal both print contra dance directions for the tune. Source for notated version: Smith Paine (Wolfeboro, N.H.) [Linscott]. Burchenal (American Country Dances, vol. 1), 1918; pg. 27 (appears as "Twin Sisters"). Howe (1000 Jigs and Reels), c. 1867; pg. 73. Linscott (Folk Songs of Old New England), 1939; pg. 96.

X:1

T:Merry Dance, The

M:2/4

L:1/8

S:Howe – 1000 Jigs and Reels (c. 1867)  pg. 73

Z:AK/Fiddler’s Companion

K:G

G/A/ | B/c/B/A/ GG/A/ | BG/B/ A/F/D | B/c/B/A/ Gg/f/ | e/d/c/B/ AG/A/ |

B/c/B/A/ GG/A/ | BG/B/ A/F/D | B/c/B/A/ Gg/f/ e/d/c/B/ A || G/A/ |

BG/A/ BG/A/ | BG/B/ A/F/D | B/c/B/A/ Gg/f/ | e/d/c/B/ AG/A/ |

BB/A/ GG/A/ | BG/B/ A/F/D | B/c/B/A/ Gg/f/ | e/d/c/B/ A || d |

g/f/g/a/ g/d/B/d/ | g/f/g/a/  b/g/e/g/ | g/f/g/a/ g/d/B/d/ | e/d/c/B/ Ad |

g/f/g/a/ g/d/B/d/ | g/f/g/a/ b/g/e/g/ | b/a/g/f/ g/f/e/d/ | e/g/f/a/ g ||

 


MERRY DANCERS, THE. AKA and see "The Bonny Lass [2]."  "Ellingham Hall." Scottish. John Glen (1891) finds the earliest appearance of a melody by this name in print in Scottish collecitions in Robert Bremner's 1757 collection, though in also appears in the Gillespie Manuscript of Perth, 1768. As might be surmised the title "The Merry Dance" or "The Merry Dancers" was a popular one in country dance literature and many dances and tunes can be found with this name in England, Scotland and America. One American dance with this title is included in Clement Weeks' dance MS (Greenland, New Hampshire, 1783). See also “Ryan’s Rant.” Bremner (Scots Reels), c. 1757; pg. 94.

X:1

T:Merry Dancers

M:6/8

L:1/8

R:Jig

S:Bremner – (Scots Reels), c. 1757   pg. 94

Z:AK/Fiddler’s Companion

K:G

c | (B>AB) cGE | GAG G2c | “tr”(B>AB) cGE DED D2c | “tr”(B>AB) cGE | GAG c2e |

dcB c2B | AFD D2 :: c | (B/c/d)B GAG | (B/c/d)B G2c | (B/c/d)B GAG | (F/G/A)F D2c |

(B/c/d)B GAG | (B/c/d)B c2e | dcB c2B | AFD D2 :: g | “tr”(f>ef) gdB | gdB G2g |

“tr”(fef) gdB | AFD D2g | “tr”(f>ef) gdB | def gdB | cac BgB | AFD D2 :|

 

MERRY DAYS OF EASTER [1], THE (Laete Soilbir na Casga). Irish, Reel. G Major. Standard. AABB. O'Neill (Krassen), 1976; pg. 94. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 470, pg. 91.

X:1

T:Merry Days of Easter, The [1]

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 470

Z:AK/Fiddler’s Companion

K:G

dc|BGGA Bcdg|(3efg dB A2 dc|BGGA Bcdg|(3def dB G2:|

||ga|bgaf gfed|ea{b}ag a2 ga|bgaf gfed|(3Bcd efg2 ga|(3bag af bgaf|

eaab a2 ga|bc’ba gfed|ea{b}af gedc||

 

MERRY DAYS OF EASTER [2], THE (Aimsir Aerach na Cásca). Irish, Reel. E Dorian. Standard tuning. AAB. No relation to O’Neill’s “Merry Days of Easter”; it is, however, related to “The Jolly Pigeons” in Donncha Ó Briain’s The Golden Eagle. Source for notated version: James Madigan (County Louth), whose collection dates from the 1840's [Breathnach]. Breathnach (CRÉ IV), 1996; No. 117, pg. 60.

 

MERRY FIDDLER. See “Y Crythor Llon.”

 

MERRY FROLIC. AKA and see "The Health." AKA ‑ "Merry Wassail."

 

MERRY GARDENER, THE (An Garadoir Sugac). Irish, Hornpipe. F Major. Standard tuning. AABB. Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1761, pg. 328.

X:1

T:Merry Gardener, The

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Music of Ireland (1903), No. 1761

Z:AK/Fiddler’s Companion

K:F

A>B | {d}c>AG>A F2 D>E | F>GA>c f2 f>g | a>gf>d c>AF>A |

d>cA>F G>BA>G | F>ED>E F>GA>c | d>fe>g f2 e>d |

c>AG>F G>BA>G | F2 F2 F2 :|

|: c>B | A>FA>c f>ag>f | e>gf>d c2 d>e | f>dc>A B>AB>c | A>FB>A G2 c> B |

A>cf>a b>ge>c | a>fc>A {c}B2 c>B | A>cf>c d>BG>E | F2 F2 F2 :|

                       

MERRY GIRL. American, Hornpipe. A Major. Standard tuning. AABBCC. Howe (1000 Jigs and Reels), c. 1867; pg. 56.

X:1

T:Merry Girl

M:2/4

L:1/8

R:Hornpipe

S:Howe – 1000 Jigs and Reels (c. 1867)

Z:AK/Fiddler’s Companion

K:A

E | AA A/B/c/A/ | B/A/B/c/ BB | c/d/e/f/ e/d/c/B/ | A/B/c/A/ EF/G/ | AA A/B/c/A/ |

B/A/B/c/ Bf | f/e/d/c/ e/d/c/B/ | AA A :: e | a/e/c/A/ A/c/e/c/ | d/B/G/B/ EE |

CE/E/ Ac/e/ | a/e/c/A/ Ee | a/e/c/A/ A/c/e/c/ | d/B/G/B/ Ee | f/g/a/f/ e/d/c/B/ | AA A :|

                       

MERRY GIRLS OF BRISTOL, THE.  English, Country Dance Tune (2/4). G Major. Standard tuning. First published in Thompson’s Compleat Collection of 200 Favourite Country Dances (vol. 4, 1780). It also appears in the music manuscript collection of Somerset shoemaker and fiddler William Winter (1774-1861)

 

MERRY GIRLS OF DUBLIN, THE. Irish, Jig. G Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 2; No. 232, pg. 26.

X:1

T:Merry Girls of Dublin, The

M:6/8

L:1/8

R:Jig

B:Kerr – Merry Melodies, vol. 2, No. 232  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

D|G2G G2G|F2E D2F|G2G G2A|(B3 d2)D|G2G G2G|

F2E D2F|BdB AFD|E2F G2::D|G2B BdB|BdB BAG|

F2A ABA|ABA AGF|G2B BdB|BdB BAG|dcB AFD|E2F G2:||

                       

MERRY GIRLS OF NEW YORK. American, Country Dance Tune (cut time). A Major. Standard tuning. AABB. The tune appears in the private (loose) manuscripts of the American painter William Sydney Mount, who was also a fiddler and much interested in the popular music of his day.  Alongside the tune in his manuscript reads the note: “Composed by T. Ntt(?).” At the top of the manuscript pate is the date: “Stony Brook (Long Island, New York), Jan. 7th, 1849.”

X:1

T:Merry Girls of New York

M:C|

L:1/8

S:William Sydney Mount manuscripts

N: Alongside the tune in his manuscript reads the note: “Composed by T. Ntt.” At the top

N:of the manuscript page is the date: “Stony Brook (Long Island, New York), Jan. 7th, N:1849.”

Z:Transcribed by Andrew Kuntz

K:A

E | A2A2 ABcA | BABc B3d | cdef edcB |ABcA EFGE |

A2A2 ABcA | BABc B2f2 | fedc edcB | B3 A A2 :|

|: (3efg | aece Acec | dBGB E2 ED | CEAE cAec | aecA E2 (3efg |

aece Acec | dBGB E2f2 | fgaf edcB | B3 A A2 :|

                       

MERRY GIRLS OF YORK, THE. AKA and see "Harrogate Lodge." English, Country Dance Tune (6/8 time). B Flat Major (McGlashan): D Major (Aird): B Flat Major (Aird). Standard tuning. AABB. The title perhaps refers to the young ladies who frequented the Assembly Rooms near York Minster, built in 1730 for the 3rd Earl of Burlington in the Palladian neo-classical style. They featured elegant interiors and sumptuous decoration, and were a center of social life in the 18th century. The melody appears in a few late 18th century published collections and musicians’ manuscripts from lowland Scotland. It was included in Alexander McGlashan's A Collection of Scots' Measures, Hornpipes, &c. (Edinburgh, c. 1780), with the caption “Danc’d by Aldridge,” referring to a famous dancer who graced the English popular stage in the latter 18th century.  In addition to James Aird’s printing (see below), “Merry Girls…” also appears in Neil Stewart’s Select Collection of Scots, English, Irish and Foreign Airs, Jiggs & Marches (1788, pg. 100). In Hodsall's Country Dances for 1810 the melody is called "Harrogate Lodge." “Merry Girls of York” appears in the music copybook, dated 1801, of John Beach, of Gloucester, Massachusetts, who appears to have arranged music for bands. Aird (Selections), vol. II, 1782; No. 88, pg. 32 & No. 89, pg. 33. Kidson (Old English Country Dances), 1890; pg. 17. McGlashan (Collection of Scots Measures), c. 1780; pg. 16.

X:1

T:Merry Girls of York

M:6/8