The Fiddler’s
Companion
© 1996-2009 Andrew Kuntz
_______________________________
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MER - MIC |
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 [1], THE. English, Jig. G Dorian. Standard
tuning. ABB. A ‘merry conceit’ is an in-joke. The melody first appeared in the
third edition of John Playford’s Dancing
Master (1657, reprinted in 1665). It appears as “The New Conceit” in the
next edition of the Dancing Master
(1670) and as “The (A)sparagus Garden” in the 7th edition (1687).
Barlow (Complete Country Dance Tunes from
Playford’s Dancing Master), 1985; No. 126, pg. 40. Sharp (Country Dance Tunes), 1909/1994; pg. 31.
X:1
T:Merry Conceit, The [1]
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 :|
X:2
T:Merry Conceit, The [1]
M:6/4
L:1/8
S:John Playford –Dancing Master (1657)
K:F
B3A G2 A3B c2|d3c B2 f4|c2|f2c2d2
c2A2c2|d3c A2 B6:|
|:A2c2f2 A3GF2|A2 c4 f4 A2|B2G2B2
d3c B2|f2g2a2 b6|
b2b2B2 d3e^f2|g4d2 B3A G2|A2d2G2 F3E
D2|A6 G6:|
MERRY CONCEIT [2], THE.
English, Jig. F Major. Standard tuning. AABC. The melody was composed by
dancing master Nathaniel Kynaston (1683-1757). Although very little is known
about him, Kynaston appears to have been active from 1705 to about 1722 in the
Shropshire/Wales border area. Walsh published some 120 of Kynaston’s tunes and
dances over several publications. The Selattyn parish register in Shropshire
records that a “Nathanial Kynaston, gent., & Mrs. Elizabeth Davies, both of
Oswestry” married on August 25th, 1719—although whether this was the
dancing master is unknown. Kynaston appears to have been a not uncommon name in
Shropshire, and the family includes Sir Humphrey Kynaston, a notorious 16th
century highwayman and Robin Hood figure, who preyed on the wool merchants of
Shrewsbury. Barnes (English Country Dance
Tunes, vol. 2), 2005; pg. 83.
MERRY CONCLUSION, THE. AKA
and see “Mr. Kynaston’s
Famous Dance,” “Northern Frisk.” English, Country Dance Tune
(3/2 time). A Minor. Standard tuning. AABBCCDD. The melody was composed by
dancing master Nathaniel Kynaston (1683-1757). Although very little is known
about him, Kynaston appears to have been active from 1705 to about 1722 in the
Shropshire/Wales border area. Walsh published some 120 of Kynaston’s tunes and
dances over several publications. The Selattyn parish register in Shropshire
records that a “Nathanial Kynaston, gent., & Mrs. Elizabeth Davies, both of
Oswestry” married on August 25th, 1719—although whether this was the
dancing master is unknown. Kynaston appears to have been a not uncommon name in
Shropshire, and the family includes Sir Humphrey Kynaston, a notorious 16th
century highwayman and Robin Hood figure, who preyed on the wool merchants of
Shrewsbury. The melody appears in John Walsh’s third collection of Lancashire
tunes (Lancashire Jiggs, Hornpipes,
Joaks, etc.) published around the year 1731. It also appears in the London Magazine, or Gentleman’s Monthly
Intelligencer of 1758 (pg. 93), and in Johnson’s Two Hundred Favourite Country Dances (vol. 8, pg. 33) of the same
year. “Mr. Kynaston’s” (without the “Famous Dance” part) appears as the
alternate title for “The Merry Conclusion” in Walsh’s Twenty Four Country Dances for the year 1716 (pg. 24), a copy of
which is in the Bodleian Library, Oxford. In fact, Walsh published one hundred
and twenty of Kynaston’s tunes and dances in various publications, from 1710 to
1719. “The Merry Conclusion” was also published by John Young in his second
volume of the Dancing Master, third
edition (1718) and fourth edition (1728). Barnes (English Country Dance
Tunes, vol. 2), 2005; pg. 84.
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." English,
Scottish; Jig. G Major. Standard tuning. AABBCC. The John Glen (1891) finds the
earliest appearance of a melody by this name in print in Scottish collections
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. Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 181.
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 :|
X:2
T:Merry Dancers, The
M:6/4
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:G
c2|”tr”B3AB2 c2B2E2|G2A2G2 G4c2|B3AB2 c2G2E2|D2E2D2 D4c2|B3AB2 c2G2E2|G3AG2 G4c2|
Bcd2B2 c4B2|A2F2D2 D4:|:c2|(Bc)d2B2 G2B2G2|(bc)d2B2 G4c2|(Bc)d2B2 G2B2G2|(FG)A2F2 D4c2|
(Bc)d2B2 G2B2G2|(Bc)d2B2 “tr”c4e2|d2c2B2 “tr”c4B2|A2F2D2 D4:||:g2|f3ef2 g2d2B2|g2d2B2 G4g2|
f3ef2 g2d2B2|A2F2D2 D4g2|f3ef2 g2e2B2|d2e2f2 g2d2B2|c2a2c2 B2g2B2|A2F2D2 D4:||
MERRY DAYS OF EASTER
[1], THE (Laete Soilbir
na Casga).
Irish, Reel. G Major. Standard tuning. 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 EPSOM.
English, Jig. B Flat Major. Standard tuning. AABB. The melody was first
printed in John Johnson’s Choice Collection of 200 Country Dances, vol.
6 (London, 1751), followed by appearances in David Rutherford’s Compleat
Collection of 200 of the Most Celebrated Country Dances (London, 1756) and
Charles and Samuel Thompson’s Compleat Collection (London, 1757). The
title honors the female inhabitants of Epsom in Surrey, England, south east of
London. The town was famous as a spa resort in the 18th century, and
for a race course and assembly rooms that attracted many of the city gentry to
visit the country. Thompson (Compleat Collection of 200 Favourite
Country Dances, vol. 1), 1757; No. 3.
X:1
T:Merry Girls of Epsom
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:Bb
B|FDE F2B|FDE F2B|cec BdB|cAF F2B|BDE F2B|FDE F2 f/e/|dcB FAB|BFD B,2:|
|:f|fdB
fg_a|{_a}(g3 g2)g|gec egb|{b}(a3 a2)g|fbf dfd|ege cec|dBA FBA|BFD B,2:||
MERRY GIRLS OF MAIDSTONE. English, Jig. G Major. Standard tuning. AABB. The melody and dance
instructions first appear in John Hinton’s periodical Universal Magazine of
Knowledge and Pleasure (London, 1755). The tune also appears in John
Johnson’s 200 Favourite Country Dances, vol. 8 (London, 1758). Maidstone
is the county town of Kent, 32 miles southeast of London, on the river Medway.
Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1),
1757; No. 118.
X:118
T:Merry Girls of Maidstone
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:G
B2B BdB|A2A “tr”A3|B2B BdB|G2G “tr”G3|B2B BdB|A2A A2g|(f/a/b)c BAG|DEF G3:|
|:B2B
B^c^d|efg “tr”f3|geb gfe|B^c^d e2g|dgd BdB|cAc B2e|(d/c/B)g BcA|(G3 G3):||
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 of Scotch, English, Irish and Foreign Airs), 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
L:1/8
B:McGlashan – Collection of Scots Measures
(c. 1780)
Z:AK/Fiddler’s Companion
K:Bb
B | FDE F2B | FDE F2B | cec BdB |
cAF F2B |
FDE F2B | FDE Ffe | dcB FBA | B3 B,2
:|
|: f | fdB
fg_a | _a3 g2g | g=ec gab | b3 a2g |
fbf dfd |
ege cde | dcB FBA | B3 B3 :|
X:2
T:Merry Girls of York, The
M:6/8
L:1/8
B:Aird, vol. II (1782)
Z:AK/Fiddler’s Companion
K:D
d | AFG A2d
| AFG A2d | ege dfd | ecA A2d |
AFG A2d |
AFG A>ag | fed ABc | d3 D3 :|
|: a | afd
ab=c’ | =c’3 b2b | bge bc’d’ | d’3 c’3 |
ad’a faf |
gbg eae | fed ABc | d3 D3 :|
MERRY GO ROUND, THE. Scottish, Reel. A Minor. Standard tuning. ABC.
Kerr (Merry Melodies), vol. 1; No. 27,
pg. 30.
X:1
T:Merry Go Round, The
M:2/4
L:1/8
R:Reel
B:Kerr – Merry Melodies, vol. 1, pg. 30
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:Amin
E|A/^G/A/B/ c/d/c/B/|A/B/c/d/
e(c/d/)|e/f/e/d/ c/d/e/c/|dGG (d/B/)|A/^G/A/B/ c/d/c/B/|A/B/c/d/ e(c/d/)|
e/f/e/d/ c(B/d/)|cAAz||aAAz|aAAz|gGGz|gGGz|aAaA|gGgG|a(e/f/)
e/d/c/B/ cAAz||
aAAz|aAAz|g(G/A/) G/A/B/c/|d/e/d/c/
BE|A/^G/A/B/ c/d/c/B/|A/B/c/d/ e(c/d/)|e/f/e/d/ c(B/d/)|cAA||
MERRY HARRIERS [1], THE ("Na Gadaraide Sugaig," "Na
Gadair Meadraca" or "Na Fiairí Feá"). AKA – “The Harrier’s.” AKA and see
“The Cup of Tea/Tay [2].” Irish,
Reel. A Dorian ('A' part) & G Major ('B' part). Standard tuning. AB
(Breathnach): AA'B (O'Neill/1850): AA'BB' (O'Neill/Krassen & 1001): AABB'
(Carlin). Breathnach (1976) identifies this as a County Mayo reel. Source for
notated version: fiddler Paddy Ryan (Co. Roscommon and Birmingham, England)
[Breathnach]. Breathnach (CRÉ II),
1976; No. 249, pg. 129. Carlin (Master
Collection), 1984; No. 196, pg. 117. Giblin (Collection of Traditional Irish Dance Music), 1928; 32. O'Neill
(Krassen), 1976; pg. 122. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 1339, pg. 250. O'Neill (Dance
Music of Ireland: 1001 Gems),
1907; No. 594, pg. 108. Green Linnet SIF‑1109,
Altan ‑ "The Red Crow" (1990). Shanachie 29009, "Andy
McGann and Paul Brady" (learned from Michael Coleman). Topic TSCD 602,
Belhavel Trio – “Irish Dance Music” (1995. A reissue of the 1938 original).
X:1
T:Merry Harriers, The [1]
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 594
Z:AK/Fiddler’s Companion
K:Ador
e>A (3AAA g2 fg | eAAc BG G2 |
e>A (3AAA g2 fg |1 afge dgfg :|2 afge d2 cd ||
|: eaag efgf | eaag edcd | eaag efgb
|1 afge d2 ^cd :|2 afge dgfg ||
MERRY HARRIERS [2], THE (Na Gadaraide Sugaig). Irish, Reel. A Dorian. Standard
tuning. AA'BB'. Very similar to version #1. O'Neill (Music of Ireland: 1850
Melodies), 1903/1979; No. 1338, pg. 250.
X:1
T:Merry Harriers, The [2]
M:C|
L:1/8
R:Reel
S:O’Neill – Music of Ireland (1903), No. 1338
Z:AK/Fiddler’s Companion
K:Ador
e>A (3AAA g2 fg | eAAc BG G2 | e>A (3AAA g2 fg |1 afge dgfg :|2 afge d2 ^cd ||
eaa^g
ef=gf |eaa^g ed^cd | eaa^g efgb |1 afge d2 ^cd :|2 afge dgfg ||
MERRY HARRIERS [3], THE. AKA and see “The Tipsy Sailor [2].” Scottish, Jig.
Credited to William Morrison in Joseph Lowe’s collection (1840).
MERRY HAY HAYMAKERS. English, Jig. G Major. Standard
tuning. AAB. Source for notated version: the c. 1845-47 music manuscript
collection of Ellis Knowles, a musician from Radcliffe, Lancashire, England [Plain
Brown]. Plain Brown Tune Book, 1997; pg. 21.
MERRY HUNTSMAN, THE (An Fiaguide Sugac). AKA and see “Daniel O’Rourke.” Irish, Double Jig. F
Major ('A' part) & C Major ('B' part). Standard tuning. AABB'. O'Neill (Dance
Music of Ireland: 1001 Gems),
1907/1986; No. 318, pg. 67.
X:1
T:Merry Huntsman, The
M:6/8
L:1/8
R:Jig
S:O’Neill – Dane Music of Ireland:
1001 Gems (1907), No. 318
Z:AK/Fiddler’s Companion
K:F
a/g/|:fcA AcA|fcA fag|fcA AcA|dBG
G2e|fcA AcA|fcA efg|afd gec|dBG G2:|
|:z|c2a gec|gec efg|c2a gec|d=BG
Bcd|c2a gec|gec efg|afd gec|1 d=BG Bcd:|2 d=BG fag||
MERRY JACK. English, Reel. D Major.
Standard tuning. AABB. A ‘merry jack’ is a children’s toy, sometimes known as
‘monkey-up-a-stick’, although its connection with the title, if any, is
unknown. This melody, like many in Charles and Samuel Thompson’s 1757
collection, first appears in John Johnson’s 200 Favourite Country Dances,
vol. 7 (London, 1756). Thompson (Compleat Collection of 200 Favourite
Country Dances, vol. 1), 1757; No. 90.
X:1
T:Merry Jack
M:C|
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
A/G/|FAdf ecBA|afed cecA|f2 ed cafa|ce E^G A3:|
|:e|ecBA
fgaf|gfed cBAG|FAdf GBeg|fe/d/ Ac d2:||
MERRY KITTY. AKA and see “Highland
Donald Kissed Kitty.” Scottish, Strathspey. G Major. Standard tuning. AABB.
Source for notated version: “As played by George Donald” [Skinner]. Skinner (Harp and Claymore), 1904; pg. 57.
See also listing at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
X:1
T:Merry Kitty
M:C
L:1/8
R:Strathspey
S:Skinner – Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:G
c | B<G G>B c>A B>g |
B<G G>A B<d A>c | B<G G>A c>A B<d | egdg Bg A :|
|: c | B(d d).e/.f/ ({f}g>)d
e<d | B(d d).e/.f/ gB A2 | B(d d).e/.f/ gf({f}e)d | e<g d<g B<g A
:|
MERRY LADS AND BONNY
LASSES (Fleasgaich og a's
Caileagan).
Scottish, Reel. F Major. Standard tuning. AAB. Originally collected by Captain
Simon Fraser of Knockie. See note for "The Marchioness Salute."
Source for notated version: Dr. John Turner, director of the Jink and Diddle
School of Scottish Fiddling, held yearly in Valle Crucis, North Carolina
[Johnson/2003]. Fraser (The Airs and
Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No.
213, pg. 87. Johnson
(A Twenty Year Anniversary Collection),
2003; pg. 2. Stewart-Robertson
(The Athole Collection), 1884; pg.
231.
X:1
T:Merry Lads and Bonny Lasses
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:F
C|AFEF CFA,F|B,DG,A, B,CDB|AFEF CFA,e|fdcf AFF:|
f|cf f2 efgb|af f2 GABd|cf f2 efga|bagf efgb|
afeg fBAc|BAGF EFGB|AfBf cfeg|fdcf AFF||
MERRY LADS OF AYR/AIR/AYER.
AKA and see "The Lads of Ayr/Air."
Scottish, English; Reel. England, Northumberland. D Major (Cole, Howe): C Major
(Alburger, Athole, Bremner, Gow, Seatle/Vickers, Surenne). Standard tuning. AB
(Cole, Seatle/Vickers, Surenne): AAB (Alburger, Athole, Gow): AABB (Bremner,
Howe). A still‑popular reel composed by the amateur fiddle‑composer
John Riddell of the family of
Glencarnock at Ayr (1718‑95), who may or may not have been blind from
birth. It was first published (without credit to Riddell) by Robert Bremner in 1757 (pg. 15), and
later appeared in Riddell's c. 1776 A
Collection of Scots Reels, Minuets, etc. (pg. 10). Emmerson (1971) states
that the tune is "obviously a set of a tune, 'The Lads of Ayr,' which
appears in the Bodleian MS." The
Merry Lads of Ayr is also the name of a Scottish country dance, taught by, for
one, 'Professor' Blackley of Lanard (1859-1943) in mainly in Dumfriesshire
(Flett & Flett, 1964). See also note for “Lads of Ayr.” Alburger (Scottish Fiddlers and Their Music),
1983; Ex. 85, pg. 138. Bremner (A Collection of Scots Reels), c. 1757;
pg. 15. Cole (1000 Fiddle Tunes),
1940; pg. 45. Gow (Complete Repository),
Part 1, 1799; pg. 19. Howe (1000 Jigs and Reels), c. 1867; pg. 47. Kerr
(Merry Melodies), Vol. 2, No. 75. Ryan’s Mammoth Collection, 1883; pg. 72.
Stewart-Robertson
(The Athole Collection), 1884; pg.
61. Seattle (William Vickers), 1987,
Part 2; No. 355 (appears as "Lads of Ayr"). Surenne (Dance Music of Scotland), 1852; pg. 7. Atlantica Music 02 77657 50222 26, Dave MacIssac - “Atlantic
Fiddles” (1994). UCCB Press 1007, Dave MacIssac - “Celtic Music of Cape Breton,
vol. 1" (1986).
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
X:1
T:Merry Lads of Ayr, The
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:C
f|eccB cGGf|ecce fagf|eccB cGGc|A/B/c GE D2D:|
e|cega gede|cega g2ed|cega gece|fage d2de|cega gede|
c/c/c ga g2ed|cega gece|fage defa||
X:2
T:Merry Lads of Air
M:C|
L:1/8
R:Reel
S:Bremner – Scots Reels (1757)
Z:AK/Fiddler’s
Companion
K:C
f | edcA cGGf | edcA f2 (e/f/g) | edcA cGGc | (A/B/c) GE D2 C :|
|: c2 g>a g>ede | c2 ga g2 “tr”(fe) | c/c/c ga gede | f>g a/g/f/e/ d2 d :|
MERRY LADS OF BANFF. Scottish. John Glen (1891) finds the earliest appearance of the tune in
print in Robert Ross's 1780 collection
(pg. 14).
MERRY LADS OF FOSS, THE. Scottish, Reel. D Major. Standard tuning. AB (Surenne): AAB (McGlashan). McGlashan (A Collection of Reels), c. 1786; pg. 15. Surenne (Dance Music of Scotland), 1852; pg. 152.
X:1
T:Merry Lads of Foss, The
M:C|
L:1/8
R:Reel
S:McGlashan – Reels (c. 1786)
Z:AK/Fiddler’s Companion
K:D
FA A/A/A B2 Ac|dBAF GEEG|FA A/A/A B2 Ag|fdef d/d/d d2:|
||g|f2 df aeeg|f2 df eBBg|f2 df aeeg|faef d/d/d df|
f2 df aeeg|f2 df eBBg|f2 df aeef|fdef d/d/d d2||
MERRY LADS OF NEW
PITSLIGO. Scottish, Strathspey. A Major.
Standard tuning. AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches,
&c.), 1866; No. 9, pg. 4.
MERRY LASSES, THE. AKA and see "The Ew(i)e Wi' the Crooked
Horn [1]," "The Ram with the Crooked Horn," "Bob with the one Horn [2],"
"The Ewe Reel," "The Red Blanket," "The Lowlands of Scotland,"
"My Love is Far Away,"
"The Kerry Lasses [1],"
"The Pretty Girl in Danger,"
"Miss Huntley's,"
"Go see the Fun," "The Foe," "Sweet Roslea and the Sky over
it."
MERRY MAIDEN [1], THE (An Aindear Meidreac). Irish, Double Jig. D Major.
Standard tuning. AABB. The ‘A’ part is shared with “The Wandering Minstrel,” “The Dandy Scholar,” and “Willy Walsh’s Jig.” Allan's Irish Fiddler, No. 7, pg. 3.
O'Neill (Krassen), 1976; pg. 63. O’Neill (Music
of Ireland), 1903; Nos. 823 & 1063. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 267, pg. 59. Roche Collection, 1982, vol. 3; No. 104,
pg. 32.
X:1
T:Merry Maiden, The [1]
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 267
Z:AK/Fiddler’s Companion
K:D
d/B/|ADD BAF|ABd edB|ADD BAF|AFE
E2B|ADD BAF|ABd edB|AdB AFE|FDD D2:|
B|AFA d2e|fdf ecA|BAB d2e|faf
gfe|AFA d2e|fdf ecA|BdB AFE|FDD D2:|
MERRY MAIDEN POLKA [2]. American, Polka. USA, Central Pa. D Major. Standard tuning. AA'BB'.
Source for notated version: Ralph Sauers (Dice, Pa.) [Guntharp]. Guntharp (Learning the Fiddler’s Ways), 1980; pg.
69.
MERRY MAIDS. AKA and see “Merry Maid’s Wedding.”
MERRY MAIDS MEETING. AKA and see "Haugh's o'
Cromdale."
MERRY MAID’S WEDDING. AKA and see “The Haughs o'
Cromdale.” Scottish, Reel. A Mixolydian. Standard tuning. John Glen (1891)
finds the earliest appearance of this tune in print in Alexander McGlashan's collection.
McGlashan (Collection of Strathspey Reels),
c.1780/81; pg. 31.
X:1
T:Merry Maid’s Wedding
M:C|
L:1/8
R:Reel
S:McGlashan – Strathspey Reels (c. 1780/81)
Z:AK/Fiddler’s Companion
K:Amix
f|eA A/A/A e>dB>d|eAA>B
G>AB>d|eA A/A/A e>dB>d|egdB A2 A:|
g|edeg a>bag|e>gdB
e>gdB|ede>g a>bag|egdB A2 Ag|
edeg a>bag|e>gdB
e>gdB|e>deg a>bag|edgB A2 A2||
MERRY MAKERS
SCHOTTISCHE. Scottish, Schottische. G Major ('A'
& 'B' parts) & C Major ('C' & 'D' parts). Standard tuning.
AA'BBCDD. Composition credited to J. Coutts by Kerr. Kerr (Merry Melodies), vol. 1; pg. 46.
X:1
T:Merry Makers Schottische
M:C
L:1/8
R:Schottische
B:Kerr – Merry Melodies, vol.
1, pg. 46 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
D2|:G>AB>c d>B G2|e>f (3gec d>B
G2|e>f (3gec d>BG>B|A>BA>G F>E D2|
G>AB>c d>B G2|e>f (3gec
d>B G2|e>f (3gec d>BG>B|A>GA>B G2:|
|:d2|e2 e2
e>fg>e|d>^cd>e d>B G2|c2 c2 B>cd>B|A>BA>G F>E D2|
G>AB>c d>B G2|e>f (3gec
d>B G2|e>f (3gec d>BG>B|A>GA>B G2:|
K:C
G2|e2f ^f2g2|a>ge>c
G4|e2f2^f2g2|b>af>d A4|d2e2f2^f2|a>g^f>g b2a2|a2g2f2d2|
(^d4 e2)G2|e2f2^f2g2|a>ge>c
G4|e2f2^f2g2|b>af>d A4|
b>db>d
b>af>d|a>ca>c a>ge>c|(3ded A>d B>Ge>d|c>Ge>d
c2||
“Trio”
G2|c2 c>d e2 e<g|d2 d>e c2
c>B|A2 A>G c2 A>G|(E4 G2)c2|
d>cd>e f2f2|e>dA>d
c>BA>B|c>AG>E G2 c>e|(d4 c2):|
MERRY MAKING, THE (A' Chridhealachd). Scottish, Pipe Reel. F Major.
Standard tuning. AABCCD (Cranford/Holland): AABB'CCD (Fraser,
Stewart-Robertson). "The Highlands of Banffshire, extending south of the
Spey, have been long famous for the best dancers of the strathspeys, which must
have been well performed to inspire them sufficiently. In this district also
lie the most picturesque scenery, the finest sporting grounds and deer forests,
perhaps in Great Britain, belonging to the Duke of Gordon, Earl of Fife,
&c., long inaccessible to strangers, from the badness of the roads, and
want of bridges. (This tune) is one of the pipe‑reels referred to in Note
13" (Fraser). Emmerson (1971) suggests the tune may have been written for
a bellows‑pipe ("they have the staccato characteristics of the
'closed' chanter"), like the Irish Union pipes or the Northumbrian small‑pipes,
which were known in the Highlands and the Isles before the 18th century.
Cranford (Jerry Holland: The Second Collection), 2000; No. 175, pg. 66.
Emmerson (Rantin’ Pipe and Tremblin’
String), 1971; No. 46, pg. 138. Fraser (The
Airs and Melodies Peculiar to the Highlands of Scotland and the Isles),
1874; No. 36, pg. 12. Stewart-Robertson
(The Athole Collection), 1884; pg.
231. Culburnie COL
113D, Aladair Fraser & Tony McManus – “Return to Kintail” (1999).
X:1
T:A’ Chridhealachd
T:Merry Making, The
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:F
B|A/B/c cB Acfc|A/B/c cd _eGGB|A/B/c cB Acfc|e/f/g g>e f2f:|
|:b|af~fg a>gfc|egfg eccb|1 af~fg agfc|dbge ~f2f:|2 afge fdcB| Afge ~f2f||
|:c|A/B/c cf dBBd|A/B/c ce fcac|A/B/c cf dBBd|cbge ~f2f:|
g|bggb affa|gece cega|babg afaf|ecge ~f2 fg|bggb affa|gece ~fdcB| AfBf cfdf|e/f/g ge ~f2f||
X:2
T:Merry Making, The
T: A’ Chridhealachd
L:1/8
M:C
S:Fraser Collection
(1874)
Z:AK/Fiddler’s Companion
K:F
B|A/B/c c>B Acfc|A/B/c cd _eGGB|A/B/c cB Acfc|e/f/g g>e f2 f:|
|:b|affg a>gfc|egfg eccb|1 affg a>gfc|dbge f2f:|2 f/g/|afge fdcB|Afge f2f||
|:c|A/B/c cf dBBd|A/B/c ce fcac|A/B/c cf dBBd|cbge f2f:|
g|bggb affa|bece cega|bgbg afaf|ecge f2fg|bggb affa|gece fdcB|AfBf cfdf| e/f/g ge f2f||
MERRY MAKING [2]. See “Astrope wells the new way,” “Why Did You Promise to Marry.”
MERRY MAN HORNPIPE, THE. Irish, Hornpipe. G Major. Standard tuning. AABB. See also the related “Pet of the House.” Source for notated version: copied from Wilson’s Companion to the Ballroom (1816) [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 333.
X:1
T:Merry Man Hornpipe, The
M:4/4
L:1/8
S:Wilson's Companion to the Ballroom 1816
Z:Paul Kinder
R:Hornpipe
K:G
DE/2F/2|G2 G2 GBAc|B2 B2 Bdce|dgfe dcBA|BGdB cAFD|
G2 G2 GBAc|B2 B2 Bdce|dgfe dcBA|G2 GG G2:|
|:dc|Bgdg Bgdg|cgeg cgeg|c'afd c'afd|b2 g2 g2 dc|
Bgdg
Bgdg|cgeg cgeg|c'afd c'afd|g2 gg g2:||
MERRY MARY. Irish, Jig. D Major. Standard tuning. AABB. O’Neill (Dance Music of
Ireland: 1001 Gems), 1907/1986;
No. 365, pg. 74.
X:1
T:Merry Mary
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of Ireland: 1001
Gems (1907), No. 365
Z:AK/Fiddler’s Companion
K:D
DFA ABc|dcB A2A|B2E EFG|FEF D3|DFA
ABc|dcB A2A|Bcd edc|d3 d2:|
|:fdf ece|dcB A2A|B2E EFG|FEF D3|fdf
ece|dcB A2A|Bcd edc|d3 d2:|
MERRY MASONS, THE. AKA and see "The Devonshire Waltz." English,
Scottish; Waltz or Jig. D Major (Kennedy, Raven): G Major (Kerr). Standard
tuning. AABB. Kennedy (Fiddlers Tune Book),
vol. 2, 1954; pg. 28. Kerr (Merry
Melodies), vol. 3; No. 266, pg. 29. Raven (English Country Dance Tunes), 1984; pg. 139.
X:1
T:Merry Masons, The
M:3/4
L:1/8
R:Waltz
K:D
A2 | d3e fg | f2e2d2 | c3d ef |
e2c2A2 | d3e fg | f2e2d2 | f2a2a2 | a4 :: f2 |
g2a2b2 | a4g2 | f2e2d2 | a4f2 | g3f
g2 | e2a2a2 | f2d2d2 | d4 :|
MERRY MAY THE MAID BE.
Scottish, Air (4/4 time). E Minor. Standard tuning. AABB. O’Farrell (Pocket
Companion, vol. IV), 1810; pg. 87.
X:1
T:Merry May
the Maid Be
M:C
L:1/8
S:O’Farrell
– Pocket Companion, vol. IV (1810)
Z:AK/Fiddler’s Companion
K:Emin
MERRY MAY THE PAIR BE (Gu ma mear a charaid). Scottish, Reel. A Major. Standard
tuning. AA'B. "These two (with "Huntly's Wedding Medley")
form a medley, in high request, from the occasion which gave rise to them. It
may readily be remembered that it was not only where Huntly's wedding took
place it fell to be celebrated,‑‑many gentlemen interested in the
prosperity of his framily, assembled their friends, and celebrated this wedding
ideally at their own homes,‑‑others entertained their tenantry
round a bonfire, with Highland cheer, and dancing to the bag‑pipe,‑‑Lovat,
in particular, had bonfires on all his hills. Indeed, where all were so anxious
to testify their respectful attachment to this amiable noblemen, it is
impossible to discriminate. Let the editor's mite be permitted to commemorate
it" (Fraser). Fraser (The Airs and
Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No.
100, pg. 38. Kerr (Merry Melodies),
vol. 3; No. 102, pg. 13. Stewart-Robertson
(The Athole Collection), 1884; pg.
26.
X:1
T:Merry May the Pair Be
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:A
A2Aa cAec|A2Aa cAea|1 A2Aa cAec|dBBc defa:|2 A2Aa cABG|AB,B,C DEFG||
AAGA FAED|CA,EA, FA,EG|AAGA FAEC|DB,B,C DEFG|AAGA FAED|
CA,EA,
FA,Ed|cAeA aAec|dBfB bBfa||
MERRY MEETING, THE. English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABB. Aird (Selection of Scotch, English, Irish and Foreign Airs), vol. II, 1785; No. 65, pg. 24.
X:1
T:Merry Meeting, The
M:2/4
L:1/8
S:Aird, vol. II (1785)
Z:AK/Fiddler’s Companion
K:G
G2 Bd | cBAG | e2 fa | (gf)(ed) | (cB)AG | FGAB | (B2A2) |
G2 Bd | cBAG | e2 fa | (gf).e.d | cBAG | FGAF | G4 :|
|: GABc | dBec | dB G2 | DEFG | AFBG | AFBG | AF D2 |
G2
Bd | cBAG | e2 fa | (gf).e.d | (ed).c.B | (cB)(AG) | FGAF | G4 :|
MERRY MEN
HOME FROM THE GRAVE. English?, Quickstep March (6/8 time). G
Major. Standard tuning (fiddle). AABB. The tune was used in the early 19th
century (if not before) as a quickstep used in returning from a funeral. The
melody appears in Bruce and Emmett’s
Drummers’ and Fifers’ Guide, published in 1862 to help codify and train the
hordes of new musicians needed for Union Army service early in the American Civil
War. Therein it is directed: “After having deposited the body in its final
resting place, and the Escort having fired the customary salute over the grave,
the musicians will not play again until outside the enclosure,--when they will
strike up a lively air; the ‘Merry Men Home from the Grave’ being considered
the most appropriate.” George Bruce was a drum major in the New York National
Guard, 7th Regiment, and had served in the United States Army as
principal drum instructor at the installation at Governor’s Island in New York
harbor. Emmett was none-other than Daniel Decatur Emmett, a principal figure in
the mid-19th century minstrel craze and composer of “Dixie”
(ironically turned into a Confederate anthem during the war) and “Old Dan
Tucker,” among other favorites. Emmett had been a fifer for the 6th
U.S. Infantry in the mid-1850’s. Bruce & Emmett’s Drummers’ and
Fifers’ Guide,
1862; p. 52.
X:1
T:Merry Men (Home from the Grave)
M:6/8
L:1/8
R:Quickstep March
S:Bruce & Emmett’s Drummers’ and Fifers’ Guide (1862)
Z:AK/Fiddler’s Companion
gfe edB | dBG G2 :: d | gfg efg | ab^g afd | egf edB |
BAA A2B | GAB BAB | GBd def | gfe edB | dBG G2 :| |
MERRY MERCHANT [1], THE (An Reacadoir Meadrac). Irish, Reel. G Major. Standard
tuning (fiddle). AB (O'Neill/1850): AA'B (O'Neill/Krassen). Source for notated
version: John McFadden [O’Neill]. O'Neill (Krassen), 1976; p. 116. O'Neill (Music
of Ireland: 1850 Melodies), 1903; No. 1313, p. 246.
X:1
T:Merrry Merchant, The [1]
M:C|
L:1/8
R:Reel
S:O’Neill – Music of Ireland (1903), No. 1313
Z:AK/Fiddler’s Companion
K:G
GBdg (3efg dB|GABG AGEF|GBdg
egdg|egfa gedB|G3g (3efg dB|GABG AGEF|
GBdg egdg|egfa g2 dg||ea{b}ag
fdef|{a}gfga bged|ea{b}ag fddf|
egfa g3 dg|ea{b}ag fddf|gfga
bgef|gfeg a2 ga|bc’bagedB||
MERRY MERCHANT [2], THE (An Ceannaide Sugac). AKA and see "Bright Sun's Glorious Ray,"
"Canny Sugach," "Jolly Merchant," "The Merchant's Daughter," "Who'll Buy My Besoms,"
"World is Turned Upside Down." Irish, March (4/4 time). D Major.
Standard tuning. AB. O’Neill (1913) states there was a special dance performed
to this melody which required particular agility; “for nothing more
complimentary could be said of a young man’s activity than to remark ‘he could
dance the Canny Sugach.” A rollicking
song was also sung to the air at least as late as the middle of the 19th
century (O’Neill, 1913). O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1843, pg. 347. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 993, pg. 171.
O’Neill (1913), pg. 430.
X:1
T:Merry Merchant, The [2]
T:Canny Sugach
M:C
L:1/8
R:March
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
993
Z:AK/Fiddler’s Companion
K:D
AG|Addc ABAG|Addc B2 AG|Addc
ABAF|GFGA B2 AG|
Addc ABAG|Addc B2 AG|Addc ABAF|GFGA
B2||Bd|
cAAF GFGA|FDDG B2 Bd|cAAF GFGA|FDEC
D2 Bd|
cAAF GFGA|FDDG B2 Bd|cAAF GFGA|FDEC
D2||
MERRY, MERRY MILKMAIDS, THE. English, Country Dance Tune (6/4 or 6/8 time).
C Major (Barnes, Karpeles, Raven, Sharp): G Mixolydian (Chappell). Standard
tuning. AB (Chappell): AABB (Barnes, Karpeles, Raven, Sharp). This air, which
Chappell (1849) believes a country dance air from c. 1600 or earlier, was
published by Playford in his English
Dancing Master (1650). Walker (History
of Music in England, 1924) concurred with Chappel, opinining that the
mixolydian tune was “obviously earlier” than the latter half of the 17th
century. Barnes (English Country Dance
Tunes), 1986. Chappell (Popular Music
of the Olden Time), Vol. 1, 1859; pgs. 290‑291. Karpeles &
Schofield (A Selection of 100 English
Folk Dance Airs), 1951; pg. 16. Raven (English
Country Dance Tunes), 1984; pg. 26 & 40 (the latter is a facsimile copy
of the Playford original). Sharp (Country
Dance Tunes), 1909/1994; pg. 35. Dorian 90238, The
Baltimore Consort – “A Trip to Killburn.” Maggie’s Music MMCD216, Hesperus -
“Early American Roots” (1997).
X:1
T:Merry, Merry Milkmaids, The
M:6/8
L:1/8
S:Sharp – Country Dance Tunes (1909)
Z:AK/Fiddler’s Companion
K:C
|: c | (c>dc G2g | e3) e2c |
(c>dc G2_B | A3) A2(F |
F>GA/B/ c2)(A | d>cB/A/ G2)(g | e>fg d2c | c3) c2 :|
|: (c | e>fg g>ag | e>fg
g>f)(e | f2g a2b | c’3) c’2 (g |
c’2g e>f)(g | a2f d>e)(f | g2e
c>d)(e | d2B G>AB |
c3) (A>Bc | d3) (B>AG) |
(c>de d2c) | (c3 c2) :|
MERRY MILD MAIDS IN
GREEN, THE. English, Country Dance Tune (6/4
time). C Major. Standard tuning. AAB. The tune was published in Playford's Danceing Master edition of 1725. Watson
(A Rollick of Recorders or Other
Instruments), 1975; No. 11, pgs. 12‑13.
MERRY MISS MARY D., THE.
Canadian, Strathspey. Canada, Cape Breton. B Flat Major. Standard
tuning. AB. Composed by Cape Breton fiddler and baroque violinist David
Greenberg. Cranford (Jerry Holland: The Second Collection), 2000; No.
60, pg. 25. Jerry Holland – “Crystal Clear” (2000).
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index |
MERRY MONTH OF MAY, THE. AKA and see “Month
of May [1].” English, Scottish; Jig. A Major (Kerr, Raven): G Major
(Kennedy). Standard tuning. AB (Kerr): AAB (Raven): AABB (Kennedy). Kennedy
(Jigs & Quicksteps, Trips & Humours), 1997; No. 115, pg. 28. Kerr (Merry Melodies), vol. 1; No. 18, pg. 29. Raven (English Country Dance Tunes), 1984; pg.
113.
X:1
T:Merry Month of May, The
T:Month of May
M:6/8
L:1/8
R:Jig
S:Kerr – Merry Melodies, vol. 1, pg.29
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
E|A2A AGA|B2c d2e|f2f ecA|AGA
BGE|A2A AGA|
B2c d2e|f>ga edc|BAG A2||G/A/|B2B
B2c|ded c2e|
a2e a2e|c>BA e3|B2B B2c|d>ed
c2e|a2e a2e|efe dcB||
MERRY MORTALS, THE. English, Reel. England, Northumberland. F
Major. Standard tuning. AABB. Source for notated version: the 1770 music
manuscript of Northumbrian musician William Vickers, about whom, unfortunately,
nothing is known [Seattle]. Seattle (William
Vickers), 1987, Part 3; No. 227.
X:1
T:Merry Mortals, The
M:C|
L:1/8
R:Reel
S:William Vickers’ music manuscripts
(Northumberland, 1770)
Z:AK/Fiddler’s Companion
K:F
e|fage fcce|fagf gdde|fage fdcB|BGAF
GDD:|
|:d|cABG AFFd|cABG ADDd|cABG
AFFA|GBAG FDD:|
MERRY NIGHT AT TUMBLE
BRIG [1]. AKA and see “Mr. Lindsay.” Scottish, Reel. E Minor. Standard
tuning. AB. Cole (1000 Fiddle Tunes),
1940; pg. 45. Ryan’s Mammoth Collection,
1883.
X:1
T:Merry Night at Tumble Brig [1]
M:C|
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:E Minor
EBGB E/E/E “tr”B2 | FDAF DEFD | EBGB
E/E/E “tr”B2 | FDAF (BE) E2 |
EBGB E/E/E “tr”B2 | FDAF DEFD |
EB,GE FDAF | GBAF E/E/E E2 ||
efge bgfe | Bgfg afdf | efge bgfe |
Bagf {f}e2e2 | efge bgfe | Bgfg afdf |
bfge fdeF | GBAF E/E/E E2 ||
MERRY NIGHT AT TUMBLE BRIDGE [2].
Scottish, Reel. A Major. Standard tuning. AABB. Composed by Malcolm MacDonald, who dedicated his
entire collection to Mrs. Baird of Newbyth. MacDonald (A Collection of Strathspey Reels, vol. 1); pg. 6.
X:1
T:Mirry Night at tumble Bridge [2]
M:C|
L:1/8
R:Reel
S:MacDonald – Collection of Strathspey Reels
Z:AK/Fiddler’s Companion
K:A
B | (ABc)A BAFB | (A/B/c/d/ e)d cAec | dfce BAF(f | e)dcB A3 :|
|: f | (ef/g/ a)(c B)AFf | (ef/g/
a)g feae | fdec BAFf | e(dcB) A3 :|
MERRY OLD MAID, THE. Irish, Jig. E Dorian. Standard tuning. AABB. O'Neill
(Krassen), 1976; pg. 20.
MERRY OLD WOMAN [1] (An Sean Bean Sultmar). AKA and see "Ballai Lios Chearbhaill," "The Mouse in the Cupboard,"
"The Rakes of Newcastle West,"
"Repeal of the Union
[2]," "Tumble the Tinker,"
"Walls of Enniscorthy,"
"The Walls of Liscarroll [2],"
"Wollop the Potlid." Irish,
Double Jig. G Major. Standard tuning. AAB (Cranitch, O'Neill/1915): AABB
(Roche): AABB' (O'Neill/Krassen & 1001). Joyce prints the tune as “The
Rakes of Newcastle-West,” though O’Neill points out it is a “much simpler
setting” than his. “The Merry Old Woman” is probably O’Neill’s title, for in
Irish Folk Music he says:
***
None of our best performers had any name for this favorite jig,
dint of persistent investigation we eventually learned that it was
so it could not be permitted to remain nameless any longer. By
known as ‘Walls of Enniscorthy.’ Few double jigs equal it. None
excell it , and I’m inclined to believe that it is one of “Old Man”
Quinn’s tunes preserved to us by Sergeant Early.
***
Cranitch (Irish Fiddle Book), 1996; No. 10, pg. 128. O'Neill (O’Neill’s Irish Music), 1915/1987; No.
172, pg. 95. O'Neill (Krassen), 1976; pg. 24. O'Neill (Dance Music of
Ireland: 1001 Gems), 1907/1986;
No. 72, pg. 28. Roche Collection,
1982, vol. 1; No. 80, pg. 37 (appears as "Repeal of the Union" 1st
Setting). Topic TSCD 602, Frank Lee’s Tara Ceilidh
Band – “Irish Dance Music” (1995. A reissue of the original 1932 recording).
X:1
T:Merry Old Woman, The [1]
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No. 72
Z:AK/Fiddle’s Companion
K:G
G/A/ | B3 AGF | DGG G2A | BAB cBc |
dgg fdc | BGB AFA | DGG FGA | BdB cAF
| AGG G2 :: A | BAB cBc | dgg fdc |
dgg gfg | agf g2[Aa] |1 BAB cBc | dgg fdc |
B2d cAF AGG G2 :|2 bgb afa | gfd cAF
| Bcd cAF | AGG G2 ||
MERRY OLD WOMAN [2], THE. AKA and see “Old Women’s Money [2].” Irish,
Slip Jig or Air (9/8 time). D Major/Mixoldyian. Standard tuning. AAB
(O’Farrell, Standford/Petrie): AABB’ (Kennedy). Kennedy (Fiddler’s Tune-Book: Slip
Jigs and Waltzes), 1999; No. 46, pg. 11. O’Farrell (Pocket Companion, vol. 2), c. 1806; pg.
118. Stanford/Petrie (Complete Collection),
1905; No. 354, pg. 89.
X:1
T:Merry Old Woman [2]
M:9/8
L:1/8
R:Slip Jig
S:O’Farrell
– Pocket Companion, vol. 2 (c. 1806)
Z:AK/Fiddler’s
Companion
K:D
A | Add ded =c2A | f2f fga gfe | aba gfe f2d | A2B =c2A GFE :|
|: D2D F2F E2E | D2D F2F GFE | D2D F2F E2 f/g/ | aba gfe f2e | A2B =c2A GFE :|
X:2
T:Merry Old Woman, The [2]
M:9/8
L:1/8
B:Stanford/Petrie, No. 354 (1905)
Z:AK/Fiddler’s Companion
K:D
A|A2d ded
c2A|f2f fga gfe|aba gfe f2d|A2B =c2A GFE:||
D2D F2F
E2E|D2D F2F GFE|D2D F2F E2E {F/G/}|A2B =c2A GFE||
MERRY
OLD WOMAN [3], THE. AKA and see “Humours of Bandon,” “Humours of Listivain,” “The Jolly Old Woman,” “Plangsty
Callagh,” “Terry’s Rambles,” “(An) tSeanbhean Sultmhar.” Irish,
Jig. B Minor. Standard tuning. AB. As “The Humours of Listivain” it appears in
Jackson’s Celebrated Irish Tunes (c. 1775), a collection from the famous 18th
century gentleman piper Walker ‘Piper’ Jackson of the townland of Lisduan in
the parish of Ballingarry, Aughrim, County Limerick. However, it appears the
tune is older than this, for as “The Humours of Bandon” it was known as far
back as 1690 when the Irish (who had learned it from the supporters of William
III) played it when they sacked Kilbrogan (Winstock, 1970, pg. 26).
Stanford/Petrie (Complete Collection), 1905; No. 356, pg. 90.
X:1
T:Merry Old
Woman, The [3]
M:6/8
L:1/8
R:Jig
S:Stanford/Petrie
(1905), No. 356.
Z:AK/Fiddler’s Companion
K:B Minor
F | FBB BAB
| c2B ABc | d2c Bcd | cBc a^ga | f2e def |
ecB ABc |
dcB AFE | FBB B2 || f | f^ga b2d’ | c’2 (3d’/c’/b/ a2c’ |
b2
(3c’/b/g/ f2^g | a2 (3b/a/g/ e2g | f2 (3g/f/e/ d2f | ecB ABc | dcB AFE | FBB B2
||
MERRY OLD WOMAN [4], THE. Irish, Jig. A Dorian/G Major.
Standard tuning. AABB. The tonality varies, but resolves on a G chord at the
cadences. Kennedy (Jigs &
Quicksteps, Trips & Humours), 1997; No. 116, pg. 29.
MERRY PAIR, THE.
English, Jig. F Major. Standard tuning. AABB. The melody appears in
Charles and Samuel Thompson’s Compleat Collection of 200 Favourite Country
Dances, vol. 2 (London, 1765). Barnes (English Country Dance Tunes, vol.
2), 2005; pg. 84. Thompson (Compleat Collection of 200 Favourite
Country Dances, vol. 2), 1765; No. 168.
X:1
T:Merry Pair, The
M:6/8
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
D3 FDF|AFA d3|”tr”A3 AFD|”tr”E3 D3|D3 FDF|AFA d3|”tr”c3 ecA|”tr”B3 A3:|
|:A3 cAc|ece g3|”tr”f3 afd|efd cBA|”tr”B3 BdB|”tr”A3 AdF|G2B
AFD|E3 D3:||
MERRY PLOWMAN, THE. English (?), Country Dance Tune (2/4 time). G
Major. Standard tuning. AABB. Aird (Selections of
Scotch, English, Irish and Foreign Airs), vol. II, 1785; No. 41, pg. 15.
X:1
T:Merry
Plowman, The
M:2/4
L:1/8
S:Aird,
vol. II (1782)
Z:AK/Fiddler’s
Companion
K:G
G | Bdde | dBAG | Bdde | d2 G>A | Bdde | dBAG | (B/c/)d e/f/g/e/ | d2 G :|
|: e/f/ | (g/f/e/d/) (e/d/c/B/) | cB A(e/f/) | g/f/e/d/ B/c/d/B/ | g2 de/f/ |
(g/f/)(e/d/) (e/d/)(c/B/) | gBAc | B/c/d e/f/g/e/ | d2 G :|
MERRY PRIEST, THE. AKA and see “James
Gannon’s (Barndance) [2].” Irish, Barn Dance. G Major. Standard tuning. AA’BB’.
See note under the alternate title for more on this tune, popularized by Sligo
fiddler Michael Coleman. Reavy (The Music of Corktown).
X:1
T:Merry
Priest, The
M:C|
L:1/8
R:Barn Dance
Z:AK/Fiddler’s Companion
K:G
GA | B2 AB
e2 dB | d2 cA E2 (FG) | (AG)A(B {d}c)AFA | (GA)BG D2 B,D |
B2 AB e2 dB
| d2 cA E2 (FG) | (AG)AB (cA)FA |1 (3GFG BA G2 :|2 G2g2g3f ||
|: e(de)f
({g/a/}gf)ga | b2d2d3(B | c)BAB (cd)ef | g2B2 Bgfg | (ed)e(f g) ({a/g/}fga |
b2d2d3B |
(cB)A(B c)def |1 (3gag fa g2 gf :|2 (3gag fa g2 ||
MERRY SCOT, THE. English, Reel. England, Northumberland. D
Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 3;
No. 278.
X:1
T:Merry
Scot, The
M:C|
L:1/8
R:Reel
S:Willaim
Vickers’ music manuscript book (Northumberland, 1770)
Z:AK/Fiddler’s
Companion
K:D
D2 DF
Addc|BEEF GABc|dBAF GE g2|fdec Add:|
|:f>gaf
ec A2|B>cdB AF D2|GABc dBg2|fdec Ad d2:|
MERRY
SHERWOOD RANGERS. AKA and see "Durham Rangers,"
"Sherwood Rangers." The Albion Band - “The
Prospect Before Us.”
MERRY SISTERS, THE (Na Deirbsiuiraca Sugaca). AKA and see “Cross Road,” “Miltown Maid,”
"Mill Town
Maid," “The Three
Merry Sisters of Fate.” Irish, Reel. Ireland, Counties Sligo, Donegal. A
Dorian (Brody): E Dorian (Flaherty, O'Neill). Standard tuning. AABC (Brody):
AA'BC (Flaherty): AA'BC (O'Neill/1001): AA'BCC' (O'Neill/Krassen). A popular
reel in County Donegal. An early recording of the melody was by Frank O’Higgins
(1891-1975), a fiddler from Glenamona, Kilskeer, County Meath, in Dublin in
1937 (who paired it with “Dogs Among the Bushes”). Paddy Ryan, writing in Treoir, says O’Higgins “was a highly esteemed figure in
traditional music circles in and around Dublin. He also taught the fiddler for
many years and, among his star pupils was Larry Redican, who was prominent in
New York traditional music circles during his lifetime there.” Compare the ‘B’
part with that of “The Shepherd’s Daughter [1].”
Source for notated version: fiddler Kathleen Morris (Corlisheen, Ballyrush, Co.
Sligo) [Flaherty]. Brody (Fiddler’s Fakebook), 1983; pg. 186. Flaherty (Trip
to Sligo), 1990; pg. 57. O'Neill (Krassen), 1976; pg. 108. O'Neill (Dance Music of Ireland: 1001 Gems),
1907/1986; No. 535, pg. 100. Peoples (Fifty Irish Fiddle Tunes), 1986;
46. Treoir, vol. 36, No. 1, 2004; pg. 29. Vallely (Play Tin Whistle
with the Armagh Pipers Club), vol. 2; 30. Island 9379, Chieftains‑ "Chieftains 3."
Shanachie 79023, "Chieftains 3" (1971/1982). Matt Molloy – “Shadows
on Stone” (learned from the Frank O’Higgins recording). Tommy Peoples – “The
Iron Man.”
X:1
T:Merry Sisters, The
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of Ireland: 1001
Gems (1907), No. 535
Z:AK/Fiddler’s
Companion
K:Edor
B>E
(3FED|BdcA|B>E (3FED dAFA|B>E (3FED BdcA|1 d>D (3DDD ADFA:|2
dfec
dAFA||Beec d2 cA|Beec dAFA|Beec d2 cA|BABc dAFA|Beec e2 cA|Beec defg|
(3agf (3gfe
fdec|BABc dAFA||BdcA BFAF|B>E (3EEE BEFA|BdcA BFAF|
d>D
(3DDD ADFA|BdcA BFAF|B>E (3EEE BEFA|DFAc d2 eg|fdec dAFA||
MERRY SOLDIER (An Soigdiur Sugac). AKA and see "The Lamplighter's Hornpipe [1]."
Irish, Hornpipe. G Major. Standard tuning. AABB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1630, pg. 303.
X:1
T:Merry
Soldier
M:C|
L:1/8
R:Hornpipe
S:O’Neill –
Music of Ireland (1903), No. 1630
Z:AK/Fiddler’s
Companion
K:G
Bc | d^cdB
dgfe | dcBc dgfe | dBdB edcB | c2 A2 A2 Bc |
d^cdB dgfe
| dcBc dgfe | decd BGAF | D2 G2 G2 :|
|: Bc |
dcBc d2 ed | cBAB c2 dc | BGBG cBAG |FGAF D2 Bc |
dcBc d2 ed
| cBAB c2 dc | BgGB AcFA | D2 G2 G2 :|
MERRY STAMPMAKER, THE. Irish, Reel. G Dorian. Standard
tuning. AABBCC. Composed by Falmouth, Massachusetts, musician and writer Bill
Black, in honor of his friend John “Squirrel” Casey, from
“North-Cork-almost-Kerry.” Black (Music’s the Very Best Thing), 1996;
No. 112, pg. 58.
X:1
T:Merry Stampmaker
C:© B. Black
Q:350
R:reel
M:4/4
L:1/8
K:Gdor
BGG^F G3 D | CDFG AcAF | BGG^F GABc | dBcA BGGA |
BGG^F G3 D | CDFG Ac A2 | fdec dBcA | BcdB AG G2 :|
F2 AF cFAF | ^F2 AF dFAF | BcBA G^FGA | dBcA BG G2 |
F2 AF cFAF | ^F2 AF dFAF | BGGB cAAc | dBcA BG G2 :|
K: D
(3FED AD BDAD | dBAF EDEF | DF F2 dFAF | GBAF D3 e |
fddc d3 A | BGGF G3 E | F2 AF BDAD | dBAF D4 :|
MERRY STROLLERS, THE. English, Country Dance Tune. The
tune appears in John Carr’s First Book of Cotillions (1801). Maggie’s Music MMCD216, Hesperus - “Early American Roots”
(1997).
MERRY TAILOR, THE. AKA and see "Is the Big Man Within?"
MERRY THATCHER, THE (An Tuíodóir
Aerach). AKA
and see “Autumn Leaves,” "The Day I Met Tom Moylan,” “Ginley’s Fancy,” “Handsome Sally [1],” “Ivy Leaf [4],” “The Man of the House,” "Mind My Border," "Mind My Brother," “Miss Kelly’s Favourite,”
“Old Tom,” “The New Potatoes,” “Paddy Carthy’s Reel [2],”
"Sally Grant," “Through the Heather." Irish, Reel. E Dorian. Standard tuning.
AABB. Not the same as the “Merry Thatcher” in CRÉ II. Source for notated
version: from the Jack Wade (County Monaghan) collection, c. 1960's, with the
note “The above reel was a favourite of Arthur Kelly, flute player, from Ring
Common, Co. Dublin. Kelly is about 40 years dead and was a food friend of Jimmy
Ennis, Naul, Co. Dublin, present Séamus Ennis’s father” [Breathnach].
Breathnach (CRÉ IV), 1996; No. 134, pg. 66.
MERRY THING, THE. English, Jig. England,
Northumberland. D Major. Standard tuning. AABB. Seattle (William Vickers),
1987, Part 3; No. 412.
MERRY THOUGHT [1], THE. English, Reel. G Major. Standard
tuning. AABB. Seattle (William Vickers), 1987, Part 2; No. 295.
X:1
T:Merry
Thought, The [1]
M:C|
L:1/8
R:Reel
S:William
Vicker’s manuscript (Northumberland, 1770)
K:G
G2 FE F/D/D
Bc|dBcA BGFD|G2 FE F/D/D Bc|dBcA G/G/G G2:|
|:GABc dedc|BddB café|GABc dedc|dBcA G/G/G G2:||
MERRY THOUGHT [2], THE.
English, Jig. G Major. Standard tuning. AABB. Originally published in
Charles and Samuel Thompson’s Compleat Collection vol. 3 (London, 1773),
also appearing in Straight & Skillern’s Two Hundred and Four Favourite
Country Dances, vol. 1 (London, 1775). Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 84.
X:1
T:Merry Thought, The [2]
M:6/8
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:G
G3 BdB|cAG FED|G3 BdB|A3 D3|G3 ABc|def gab|afd ge^c|d3 D3:|
|:a3 afc|B3 B2d|e3 ecA|F3 F2G|ADA B2c|def g2c|BdB cAF|G3 [G,3G3]:||
MERRY THRESHER (Buailteori Aerach). Irish, Reel. G Major. Standard tuning. AABB. Treoir.
X: 1
T: Buailteoir Aerach (Merry Thresher)
S: Treoir
M: 4/4
L: 1/8
Q: 350
Z: Transcribed by Bill Black
R: reel
K: G
dc | B3 A GBdB | cBAG FA D2 | BG G2 dcAG | (3FED AD GFED |
B2 BA GBdB | cBAG FAdc | BG G2 dcAG | (3FED EF G2 :|
(3ABc | d3 g e2 ed | ^cA A2 d2 d=c | BG G2 dcAG | (3FED AD GFED |
d3 B e2 ed | ^cA A2 ded=c | BG G2 dcAG | (3FED EF G2 :|
MERRY WAKEFIELD. AKA and see "The Shipwreck [2]." English, Slip
Jig? Old Hornpipe? (9/8 time). G Major. Standard tuning. AABB. Kidson (1890)
notes the epithet 'Merry' has been applied to the Yorkshire town of Wakefield
"from time immemorial, and there are many very old songs in which this
term is used." The melody is from David Rutherford's Complete
Collection of 200 of the Most Celebrated Country Dances (London, 1756, pg.
34), although earlier published in Merry Medley (1744), and, even earlier, in
Walsh’s Caledonian Country Dances, vol. 3 (c. 1740). Later in the 18th
century it was published in Longman and Broderip’s Compleat Collection of
200 Favorite Country Dances (London, 1781, pg. 54). It appears in the 1790
music manuscript copybook of Thomas Hammersley, a London musician, the 1770
copybook of William Clarke (Lincoln), the late 18th century copybook
of Thomas Watts (Peak Forest, Derbyshire), and in the 1770 music manuscript
book of Northumbrian musician William Vickers (where is appears as “The
Shipwreck”). In America “Merry Wakefield” shows up in the 1782 music
commonplace book of Jeremiah Brown, a musician from Seabrook, on New
Hampshire’s coast. Ashton & Dyson, 1985; pg. 10. Callaghan (Hardcore
English), 2007; pg. 81. Kidson (Old English Country Dances), 1890;
pg. 16. Seattle (William Vickers), 1987, Part 3; No. 316.
X:1
T:Merry
Wakefield
M:9/8
L:1/8
R:Jig
S:Frank
Kidson – Old English Country Dances
(1890)
Z:AK/Fiddler’s
Companion
K:G
Bdg gdB
gdB|dfa afd a2c|Bdg gdB gdB|gdB|B/c/dB e/f/gB A2G:|
|:Bcd dBG
AFD|EFG ABc c2B|gdB ecA dBG|B/c/dB e/f/gB A2G:|
MERRY WASSAIL. AKA and see "The Health." AKA ‑ "Merry Frolic."
MERRY WEAVER, THE.
English, Jig. G Major. Standard tuning. AABB. The melody is unique to
London publisher Charles and Samuel Thompson’s 1765 country dance collection.
Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2),
1765; No. 115.
X:1
T:Merry Weaver, The
M:6/8
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:G
D|GAB G2g|gfg B2g|gfg d2g|fag fed|[DA]>[GB][GB] [G2B2] [G/B/][G/B/]|[DA]>[GB][GB] [G2B2] [G/B/][G/B/]|
eag fdf|g3 G2::D|G2g G2g|G2g G2g|[DA]>[GB][GB] [G2B2] [G/B/][G/B/]|[DA]>[G/B/][G/B/] [G2B2] [G/B/][G/B/]|
D2d D2d|D2d D2d|fag fdf|g3 G2:||
MERRY WEDDING, THE. English, Reel. England,
Northumberland. G Major. Standard tuning. AAB. Seattle (William Vickers), 1987,
Part 3; No. 268.
MERRY WIDOW WALTZ. American, Waltz. OKeh
40110 (78 RPM), A.A. Gray (north Ga., his only solo fiddle record, backed with
"Bonaparte's Retreat"), 1924.
MERRY WIVES (HIGHLAND), THE. Irish, Highland (cut time). C
Major. Standard tuning. AB. The tune is printed in Ed Reavy's collected works
and is claimed by him, however, Caoimhin Mac Aoidh (1994) finds it identical to
a Donegal reel entitled "An
Baintreach Mna," learned by the late fiddler Francie Dearg O'Byrne
as a boy from the playing of his father (in the key of D Major). See also the
reel settings “Limerick Lasses
[2]" and “Con
McGinley’s.” Mick Brown
(commenting on the Irtrad list on Sept. 2nd, 1999) is of the opinion
that Reavy based “Merry Wives” on “Con McGinley’s,” an “indeed its similarity
with the Glencolmcille (Donegal) setting would suggest Paddy Bhillí na Rópaí as
a possible source (Reavy mentions him elsewhere as 'Pat Boyle').” Reavy (The Collected Compositions
of Ed Reavy), No. 123, pg. 137.
MERRY WIVES OF CARLILE, THE. Scottish. The melody appears in the
Gillespie Manuscript of Perth, 1768.
MERRY WOODSMAN, THE. AKA and see “The Hag at the Churn,” “The Maid at the Churn.”
MERRYMAKER'S CLUB (Cumann Na
Sugairead). AKA
and see “The Norfolk Hornpipe [2],”
"The Stage Hornpipe [1]."
Irish, Hornpipe. G Major. Standard tuning. AABB. Source for notated version:
Chicago Police Sergeant James O’Neill, a fiddler originally from County Down
and transcriber for many of Francis O’Neill’s tunes [O’Neill]. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 1775, pg. 331. Peoples (Fifty
Irish Fiddle Tunes), 1986; 7.
X:1
T:Merrymaker’s
Club
M:C|
L:1/8
R:Hornpipe
S:O’Neill –
Music of Ireland (1903), No. 1775
Z:AK/Fiddler’s
Companion
K:G
(3def |
g>ag>e d>gb>d | c>fa>c B>dg>d | B>Gd>B
c>Aa>g | (3fgf (3efe d>ef>d|
g>ag>e
d>gb>d | c>fa>c B.dg>d | B.gf>g e>cA>F | G2 G2 G2:|
|:d>c|B>GF>G
E>GD>G|B,>DG>B c>BA>G|A>^GA>B c>B A>G|(3GBG (3FGE
(3DEC (3B,CA,|
G,>B,D>G
B>dc>B|c>de>f g>fg>e|d>bc>a e>cA>F | G2 G2 G2 :|
MERT PLUNKETT’S. AKA and see “Din Tarrant’s [6]," “Jim Keeffe’s (Polka) [4],” “O’Keeffe’s (Polka) [1]."
MERVYN PRATT. Irish, Air or 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.
156, pg. 106.
MES TROIS COPAINS (My Three Best
Friends).
French-Canadian, Reel. G Major ('A' part), C Major ('B' part) & F Major
('C' and 'D' parts). Standard tuning. AABB'CC'C"D. Source for notated
version: transplanted French-Canadian fiddler Omer Marcoux (Concord, N.H.) who
learned the tune from his brother Emile [Miskoe & Paul]. Miskoe & Paul
(Omer Marcoux), 1994; pgs. 13-14.
MESSAGE OF THE SEA, THE. AKA and see "Sanas Cuain."
MESSE, LE. Scottish, Violin Solo or Polka (2/4
time). A Major ('A', 'B' & 'C' parts) & D Major ('Trio'). Standard
tuning. AABCCDD (the 'D' part is a trio). Composed by Scottish fiddler J. Scott Skinner and published in 1904 in his Harp and
Claymore collection, with the note: “The finest Violin in the world. Now the
property of Mr. Crawford, Trinity, Leith, who purchased it for ₤2,000.”
The melody was dedicated "To A.W" in the Scottish Violinist.
The tune features pizzicato runs. Caoimhin Mac Aodh reports the tune was in the
repertoire of Donegal fiddler John Doherty as “The Postman’s Knock [2].”
Hardie (Caledonian Companion), 1992; pgs. 132‑133. Skinner (The
Scottish Violinist, with variations), pg. 47.
MESSENGER, THE (An Teacdaire/Teactaire). Irish, Reel. G Major. Standard
tuning. AA'B. O'Neill (Krassen), 1976; pg. 101. O'Neill (Music of Ireland:
1850 Melodies), 1903/1979; No. 1231, pg. 232. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 506, pg. 96.
X:1
T:Messenger,
The
M:C|
L:1/8
R:Reel
S:O’Neill –
Dance Music of Ireland: 1001 Gems
(1907), No. 506
Z:AK/Fiddler’s
Companion
K:G
D2|:G2 Bd
g2 dg|edcB ABcA|BGGB g2 dg|1 ecAF GFED:|2 ecAF G2||ef|gfeg fddf|
gfef g2
ef|gfeg fedc|BGAF G2 ef|gfeg fddf|gfef g2 ga|bgaf gedc|BGAF GFED||
MESSER'S MEMORIAL WALTZ. Canadian; Waltz. F Major. Standard
tuning. Composed by Sarnia, southwestern Ontario, fiddler John(ny) Durocher
(1934-1989), the night Canadian radio and TV fiddler Don Messer died (according
to Ron Ritchie). Messer had recorded and popularized many of Durocher’s
compositions. The waltz has some modern currency at Canadian fiddle contests.
Durocher was born the youngest of sixteen children, to a modest family of few
resources. He quit school in his young teens to help make family ends meet and
remained a factory worker for most of his life, not even possessing a drivers
license. John came to fiddling when he found a broken fiddle in the trash one
day and asked the owner for permission to retrieve it; with some repair work he
had his first instrument. A few lessons from a local teacher (which served to
teach him how to read and write music), were all the formal music education
John received. He was a prolific composer of fiddle tunes, however, and named
them for sports and current events, family and friends and topics of his day,
explains Ritchie. Durocher’s music was picked up by radio fiddler Don Messer,
who included many of his tunes in his broadcasts and printed collections,
helping Durocher to become quite influential in the Ontario scene for his over
400 compositions. [For more see Ron Ritchie, “John Durocher: A Gifted
Composer,” Fiddler Magazine, vol. 12, No. 2, Summer 2005, pgs. 25-27]. Missouri State Old Time Fiddlers Association 001, Pete
McMahan ‑ "Ozark Mountain Waltz."
METACOMET’S MARCH.
American, March (4/4 time). G Major. Standard tuning. AB. Composed by
Alstead, New Hampshire, fiddler Randy Miller, in honor of the notable 17th
century Native-American war chief or sachem of the Wampanoag, Metacomet (c.
1639-1676), also known as King Phillip. Miller (Fiddler’s Throne), 2004;
No. 248, pg. 204.
METAL BRIDGE. AKA and see “Nóra Críona.” Irish, Jig. A version of
the jig “Nóra Críona.” Bulmer & Sharpley (Music from Ireland), 1974,
vol. 3, No. 46. Shanachie 79006, Mary Bergin –
“Feadoga Stain.”
METAL MAN. English. Composed by English
musician Robin Dransfield. The tune is titled after an iron lighthouse off the
coast of County Cork, Ireland. Kicking Mule KM‑327,
"Scartaglen" (1984. Learned from Barry Dransfield). Topic Records,
Barry Dransfield – “Bowin’ and Scrapin’” (1984).
METEOR, THE. Shetland, Reel. B Flat Major.
Standard tuning. AABB. "Written (by Tom Anderson) to commemorate a
memorable visit to the good ship 'Meteor' of the Bergen Line, in 1961"
(Anderson). Anderson (Ringing Strings), 1983; pg. 77.
METHLICK STYLE, THE. Scottish, Slow Air (6/8 time). E
Flat Major. Standard tuning. AAB. Source for notated version: communicated to
Bill Hardie by his grandfather, William Hardie, Jr., of Methlick (c. 1856‑1944).
Hardie (Caledonian Companion), 1992; pg. 64.
METHODIST PREACHER. Bluegrass, Breakdown. USA,
Kentucky. G Major. Standard tuning. One part (Fiddler Magazine): ABCDC (Brody):
ABCDDC (Phillips). Composed by Kentucky mandolin player Bill Monroe, the
'Father of Bluegrass." The tune ends on the 'D' part. Sources for notated
versions: Bill Monroe (Ky.) [Brody]; Kenny Baker [Phillips]; Richard Greene [Fiddler
Magazine]. Brody (Fiddler’s Fakebook), 1983; pg. 187. Fiddler
Magazine, vol. 3, No. 2, Summer 1996; pg. 24. Phillips (Traditional
American Fiddle Tunes), vol. 1, 1994; pg. 152. MCA
DL7‑5348, Bill Monroe‑ "Uncle Pen." Rebel 1714, Richard
Greene - "The Grass is Greener." Rounder 0075, Richard Greene‑
"Duets."
METHVEN CASTLE. Scottish, Strathspey. A Major.
Standard tuning. AAB. Composed by Alexander Walker. Walker (A Collection of
Strathspeys, Reels, Marches, &c.), 1866; No. 28, pg. 11.
METS TA ROBE BARREE. See "Embrasse-moi Encore."
METSÄKUKKIA (“Forest Flower
Waltz” or “Woodland Flowers”). Finnish, Waltz. USA, northern Wisconsin, Massachusetts. G Minor
(Matthiesen): A Minor (Johnson). Standard tuning. AABBCC (Johnson): AA'BB'CC'
(Matthiesen). A very popular tune in Finland. The tune has been picked up by
American contra-dance musicians, and some wag invented the alternate title
“Meadow Cookies” (i.e. cow pies, cow dung) in imitation of the Finnish. Source
for notated version: "Crosscut" Larson (Midland, Michigan) [Johnson];
Ruthie Dornfeld (Cambridge, Mass./Seattle). Johnson (The Kitchen Musician’s
No. 7: Michigan Tunes), vol. 7, 1986‑87; pg. 14. Matthiesen (The
Waltz Book), 1995; pgs. 36-37. Varrick VR‑038,
Yankee Ingenuity ‑ "Heatin' Up the Hall" (1989). Boys of the
Lough – “Sweet Rural Shade.”
X:1
T:
Metsäkukkia (Woodland Flowers)
O: Trad
Finland
Z: 1998 by
John Chambers <jc@trillian.mit.edu>
M: 3/4
L: 1/8
K: Gm
z4 \
|
"Gm"D2 G2 A2 | B2 A2 G2 | d6- | d6 \
| D2 G2 A2
| B2 A2 G2 | "Cm"e6- | e6 \
| c2 d2 e2
| e2 d2 c2 | "Gm"d6- | [d6B6] |
|
"D7"D2 ^F2 A2 | c2 B2 A2 | "Gm"G6- | G2 :: g3f \
|
"F7"f6- | f2 g3 e | "Bb"d6- | d2 e3 d \
|
"D7"c6- | c2 d3 c | "Gm"B6- | B2 d2 d2 |
|
"Gm"d6- | d2 c2 B2 | "D7"A6- | A2 B2 A2 \
| D2 ^C2 D2
| B4 A2 | "Gm"G6- | G2 :: z2 ~g>^f \
|
"Gm"g z3 ~d>^c | d z3
~B>A | B z3 ~G>^F | G4 d2 |
|
"Cm"e4 d2 | c2 e2 g2 | "Gm"d6- | d6 \
|
"D7"D2 ^F3 G | A6 | "Gm"D2 G3 A | B6 \
|
"D7"D2 ^F3 A | B4 A2 | "Gm"G6- | G2 :|
MEXICAN WALTZ. American, Waltz. American Heritage Music Corporation AH-4-1-4, Harold Allen –
“Fiddling Around” (on the album Allen is credited with composing the tune).
MGO AND DAGA. English, Dance Tune (2/4 time). D Major ('A' part) & G Major ('B'
part). Standard tuning. AABB. Huntington (William Litten's), 1977; pg.
14.
MHAIGHDEAN MHARA, AN. AKA and see “The
Mermaid.”
MHAIDHDEOG, AN. AKA and see “The Pivot.”
MHAILI BHEAG OG. AKA and see "Molly Veagg O"
MHAIREAD OG, A (Young Margaret). AKA and see "Oran An Amadain
Bhoidheich" (Song of the Handsome Fool). Scottish, Air (3/4 time). G
Major. Standard tuning. AA. The gaelic words, which may have been the
composition of Domhnall Donn (Brown Donald), relate a tale common in folklore
of a young man who inadvertently kills his sweetheart while she is bathing,
mistaking her for a duck. A similar story is the basis for the ballet
"Swan Lake." Neil (The Scots Fiddle), 1991; No. 154, pg. 199.
MHÀIRI BHÀN ÒG [1], A (“Fair Young Mary”
or “Mary Young and Fair”). AKA -
“Mary Young and Fair.” Scottish, Slow Air (6/8 time). A Minor. Standard tuning.
AAB. The tune is the opening to a Gaelic love song written by the celebrated
poet Duncan Ban MacIntyre (b. Glenorchy, Argyllshire, 1724) in honor of his
wife. The air is traditional, one of the many variants of “Gilderoy,” but (according to Simon
Fraser) words were written by MacIntyre. MacIntyre was “a Breadalbane man, who
published a volume of Gaelic songs; the air was previously known, as sung by
the gentlemen alluded to in the prospectus" (Fraser). John Purser says the
air is one of the most famous of all Scottish Gaelic love-songs (adding that in
addition to her youth and pulchritude, Mary brought talents as a fine whiskey
distiller to the union). Emmerson (1971) says this "well‑known and
beautiful air" has the character of the ancient 'ports' of the harper's
repertoire. Martin (2002) says the tune is popular both as a fiddle and pipe
solo, and that many versions exist, including one in the Patrick McDonald
Collection (1784). Fraser (The Airs and Melodies Peculiar to the Highlands
of Scotland and the Isles), 1874; No. 47, pg. 17. Kerr (Merry Melodies),
vol. 1; No. 22, pg. 49. Martin (Traditional Scottish Fiddling), 2002;
pg. 60. Neil (The Scots Fiddle), 1991; No. 157, pg. 203. Redwing Music RWMCD 5410,
Abby Newton – “Castles, Kirks and Caves” (2001).
X:1
T:Mary Young and Fair
T:Mairi bhàn òg, A
M:6/8
L:1/8
R:Slow Air
S:Fraser Collection
Z:AK/Fiddler’s Companion
K:A Minor
E|A>BA c2d|e2c dcB|e2A A>BA|^G3 z2E|A>BA c2d|e2c deg|e2c dcB|
A3 z2:|eg|a>ba g2f|e2c deg|e2A A>BA|^G3 z2E|A>BA c2d|
e2c agf|e2c dcB|A3 z2e/g/|a>ba g2f|e2c deg|e2A A>BA|^G3 z2E|
c>Bc d>^cd|e>^de c’2 b/a/|e2c d>cB|A3 z3||
MAIRI BHAN OG [2]. Scottish, Slow Air (3/8 time). E Minor. Standard tuning. One part. Morison (Highland Airs and Quicksteps, vol. 2), c. 1882; No. 16, pg. 8.
X:1
T:Mairi bhan og [2]
T:Fair young Mary
M:3/8
L:1/8
R:Air
N:”Slowly”
S:Morison – Highland Airs and Quicksteps, vol. 2, No. 16 (c. 1882)
Z:AK/Fiddler’s Companion
K:E Minor
B,EE | E2E
| F2E | E>DE | F2E | E<DB, | D3 | E>EE | G2A| B2d |
B>AG |
G2G | ddB | A2G | FAd | E2E | F2E | EDE | F2E | EDB, |
D3 |
E>EE | G2A | B2e | e>Bd | B>AG | A>GF | E3 ||
MHÁIRE NI CHUILLIONÁIN, A.
See “My Mary Cullenan.”
MHEAIG CHABACH, AN (The Chattering
Magpie). AKA
and see “The Chattering Magpie.”
'MHOIDH. AKA and see "Moy Hall."
MHUC Ó ÁTH EASCRACH, AN (The Pig from
Ahascragh). AKA
and see "Henry Doogan's Jig."
Irish, Jig. D Mixolydian. Standard tuning. AABB. Source for notated version:
flute player Stephan Moloney, 1960 (Ballinakill, Co. Galway, Ireland)
[Breathnach]. Breathnach (CRÉ II), 1976; No. 37, pg. 22.
MI M'SHUIDH AN
DEIREADH BATA. AKA and see "Sitting in the Stern of a
Boat."
MI SUEGRA APRIETA MIS
BOTAS (My Mothe-in-law Has Tightened My Boots). Tex‑Mex, Polka. USA, New
Mexico.
MIANAIREA CILLE MEANNTAIN. AKA and see "The Miners of Wicklow."
MICAELIN COIS NA TEINE. AKA and see "Mickey By the Fireside."
MICE IN THE CUPBOARD. AKA
and see “Willie Coleman’s Jig.”
MICEAL AN FEADAIRE. AKA and see "Whistling Mike."
MICHAEL A. MACLEAN’S. Canadian, Reel. Canada, Cape
Breton. D Major. Standard tuning. AB. Composed by Cape Breton fiddler and
composer Dan R. MacDonald (1911-1976). Source for notated version: Winston Fitzgerald
(1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald),
1997; No. 127, pg. 52.
MICHAEL ANDERSON’S. AKA and see “Anderson’s Reel [1],” “Pretty Girls of the
Village [2],” “Ríl Mhic Aindriú.”
MICHAEL BROWN’S REEL. Canadian, Reel. Canada, Cape
Breton. B Flat Major. Standard tuning. AABB. Composed by fiddler Jerry Holland
(Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 54, pg.
16.
MICHAEL CAMPBELL. Canadian, Reel. Canada, Cape
Breton. E Flat Major. Standard tuning. AB. Composed by Cape Breton fiddler and
composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994;
pg. 29.
MICHAEL CARNEY’S REEL (Ril Mhichil Ui
Cheithearnaigh).
AKA and see “The Peeler’s Jacket
[5].” Irish, Reel. Carney was an uilleann piper who recorded the tune
(as “The Peeler’s Jacket”) in duet with famed Sligo fiddler James Morrison.
Carney gave Morrison lodging when the fiddler arrived in New York, an émigré
from Ireland. When Clare piper Willie Clancy recorded the reel on 78 RPM in the
1950’s he called it “Michael Carney’s Reel,” although later he began calling it
“The Ravelled Hank of Yarn
[1].” Gael-Linn CE 14 (78 RPM), Liam (Willie)
Clancy.
MICHAEL COLEMAN'S (JIG). AKA and see "Coleman's (Jig) [2]." Irish,
Jig.
MICHAEL COLEMAN'S (REEL). Irish, Reel. Green Linnet GLCD 3009, Kevin Burke - "If the Cap Fits" (1978).
MICHAEL COLEMAN’S (WALTZ). Irish, Waltz. The tune is called “Michael
Coleman’s” on Seamus Tansey and Joe Sheridan’s Outlet LP entitled “Sligo
Ceili,” although the great Sligo-born fiddler Michael Coleman did not record
the tune commercially, says Philippe Varlet. It appears as “Kevin’s Viennese”
on Joe Ryan & Eddie Clarke’s album “Crossroads.” Jim Coogan reports the
tune was a great favorite of box player Joe Mills’, who called it “Diablo.”
MICHAEL COLEMAN’S DREAM. Irish, Reel. C Major. Standard
tuning. AB. Source for notated version: Brendan Mulvihill (Baltimore, Md.)
[Mulvihill]. Mulvihill (1st Collection), 1986; No. 12, pg. 3.
MICHAEL COLEMAN’S (WALTZ). Irish, Waltz. G Major. Standard tuning.
AABB. Green Linnet CSF 1030, Joe Ryan & Eddie
Clark – “Crossroads.”
X:1
T:Diablo Viennese Waltz
T:Michael Coleman's
M:3/4
L:1/8
Q:180
Z:Bob Pfeffer
S:Joe Ryan
S:Kevin Keegan, Joe Mills, Seamus Tansey & Joe Sheridan, Aughrim Slopes
D:Joe Ryan & Eddie Clark: "Crossroads" [Green Linnet CSIF 1030]
D:Seamus Tansey & Joe Sheridan: "Sligo Ceili"
R:Waltz
K:G
|:(3GFE|D2 B>A B2|D2 c>B c2|D2 d>c d2|e2 f2 (3agf|g2 g2 (3gfe|f2 f2
f>e|
d>ed>c A>F|d>e d>c A>F|!
D2 B>A B2|D2 c>B c2|D2 d>c d2|e2 f2 (3agf|g2 g2 (3gfe|f2 f2
f>e|d>ed>cA>F|G4 :|!
|:(3ABc|d2 d2 d/2e/2d/2^c/2|d2 d2 d/2e/2d/2^c/2|d>e d>c A>F|G2 B2
(3GBd|
g2g2 g/2a/2g/2f/2|g2 g2 g/2a/2g/2f/|g>a g>e
d>B|A2B2c2|!
d2 d2 d/2e/2d/2^c/2|d2 d2 d/2e/2d/2^c/2|d>e d>c A>F|G2B2 g>e|f2 f2
A>d|
f2f2 f>e|d>e d>c A>F|G4 :||!
MICHAEL CRAMER’S. See “Creamer’s Reel,” “Tinker’s Daughter.” Irish, Reel.
MICHAEL DELARGY HORNPIPE. Irish, Hornpipe. A Major. Standard tuning.
AABB. Composed by fiddler and pianist Josephine Keegan (b. 1935), of
Mullaghbawn, south County Armagh. See note for “Lament for Michael Delargy.”
Keegan (The Keegan Tunes), 2002; pg. 92.
MICHAEL DWYER’S FAVOURITE.
AKA and see “Boil
the Kettle Early [3],” “The
Cloontia Reel,” “The Far Field,”
"An Garda Nua," "Lady Cork's Reel." “Michael Dwyer’s Favourite,”
"The New Policeman [3],"
"Paddy Bolster's Reel,"
“The Tinker’s Stick,” "The Twin Brothers [1]."
MICHAEL DWYER’S JIG. Irish, Jig. A re-working of “The Two-and-Sixpenny Girl” with
the addition of another part. Jackie Daly and Seamus Creagh recorded the tune
as "Connie O'Connell's.”
MICHAEL DWYER’S REEL. AKA and see “Bobby Casey’s,” “Crosses at Annagh [2],” “Hump in the Bed.” Irish, Reel.
D Major. Standard tuning. AABB. Composed by Michael Dwyer. Bulmer &
Sharpley (Music from Ireland), vol. 2; 31.
X:1
T:Michael
Dwyer's Reel
T:The
Crosses of Annagh [2]
T:The Hump
in the Bed
C:Michael
Dwyer
R:reel
M:4/4
L:1/8
K:D
DFAB‑B2
AB|~d2 fd edBd|DFAB‑B2 AB|d2 gf edBd|
DFAB‑B2
AB|dcdf efge|fgaf g2 fe|defd edBA:|
|:d3 f eA
~A2|defg afge|d2 fd eB ~B2|gB ~B2 dBAB|
d2 fd
edfe|defe edBd|ABdf bafb|afeg fd d2 :|
MICHAEL GALLAGHER’S REEL (Ríl Mhichil Uí
Ghallchobhair).
AKA and see “Gallagher’s Fancy,”
“Leitrim Fancy [1],” “Moran’s Hornpipe.” Irish,
Hornpipe. Despite the title the tune was recorded as a hornpipe by west Clare
piper Willie Clancy (1918-1973). Gallagher was a piper with a staccato style of
playing. Gael-Linn CE 18 (78 RPM), Liam (Willie)
Clancy. Gael-Linn CEF 075, Liam (Willie) Clancy - “Na Ceirnini 78,
1957-1960" (appears as “Gallagher’s Fancy”).
MICHAEL GORMAN’S. AKA and see “Tipperary Hills.” Irish, Hop Jig.
The tune is an idiosyncratic rendering of the slip jig “Tipperary Hills.”
Gorman plays it in 9/8 time, although with a similar rhythm to a single jig,
the result giving the feeling of a ¾ tune, like a mazurka. Green Linnett, SIF 3005, Bothy Band - “Old Hag You Have
Killed Me” (Probably called Michael Gorman’s after the 1956 recording of the
tune by Gorman on Folkways FW 6819, “Irish Jigs, Reels & Hornpipes”
{1956}).
X:1
T:Micahel
Gorman’s
M:9/8
L:1/8
R:Hop Jig
K:D
F3 A2F A2F
| G3 B2G B2G | F3 A2F A2F | Bcd A2G FED | ...
MICHAEL JOE KENNEDY'S. Irish, Hornpipe. Tara Records 4008, “Josephine Marsh” (1996).
MICHAEL JOE KENNY’S. Irish, Reel. Tara Records 4008, “Josephine Marsh” (1996).
MICHAEL KENNEDY'S SCHOTTISCHE. Irish, Schottishe. G Major. Standard tuning. AABB'. Carlin (Master
Collection), 1984; No. 284, pg. 159.
MICHAEL KENNEDY'S REEL. Irish, Reel. Flying Fish FF‑266, Malcolm Dalglish & Grey Larsen
‑ "Thunderhead" (1982).
MICHAEL MALLOY/MOLLOY. AKA and see "The Black Rogue." Irish, Jig. C
Major. Standard tuning. ABC. Said to be a version of “The Black Rogue,” though
Petrie’s (1855) tune seems quite distant. Stanford/Petrie (Complete
Collection), 1905; No. 750, pg. 188.
X:1
T:Michael
Molloy
M:6/8
L:1/8
S:Stanford/Petrie
(1905), No. 750
Z:AK/Fiddler’s Companion
K:C
c | BGF EFG
| Gcd edc | BGG AGF | GEC C2c | BGF EFG | Gcc edc |
BGF AGF |
GEC C2 || c/d/ | e3 fef | gec cBG | ede fef | gec c2 e/f/ |
gfe fed |
edc c>de | BGG AGF | GEC C2 || c | BGG/F/ EFG |
Gcc edc |
_BGG AGF | GEC C2 ||
MICHAEL MURPHY’S SLIDE. AKA and see “Colm Danagher’s,” “Jim Keeffe’s [2],” "The Cullen Slide [2]," “Rachael Finch’s Fancy,” “Siobhán Hurl’s.” Irish, Slide. Irish,
Slide (12/8 time). G Major. Standard tuning. AABB’. Cranitch (The Irish Fiddle
Book), 1996; No. 24, pg. 134.
MICHAEL O'CONNOR [1]. Irish Planxty ('A' and 'B' parts in
cut time, 'C' and 'D' parts in jig time). C Major. Standard tuning. ABCD.
Composed by Turlough O'Carolan (1670-1738). The jig section of the tune became
detached at some point and was collection by Petrie, appearing both in his
volume and the Stanford edition of Petrie’s work (No. 99, appearing untitled
and un-attributed). Donal O’Sullivan could find no pedigree of a Michael
O’Connor in either of the O’Connor families familiar to Carolan (the O’Conors
of Belanagare, and the O’Connors of Offaly). He did find a reference to a
Michael O’Connor in one of harper Charles O’Conor’s diaries following a poem in
praise of his mother, which was attributed to “Michél O Conchubhair cct. 1728.”
O’Sullivan suggests that the author of the poem may have been the subject of
Carolan’s compositions bearing his name.
Complete Collection of Carolan's
Irish Tunes, 1984; No. 120, pg. 87. O’Sullivan (Carolan: The Life, Times
and Music of an Irish Harper), 1958; No. 120, pg. 165.
MICHAEL O'CONNOR [2]. AKA and see "Michael Ward." Irish, Planxty. D Minor.
Standard tuning. AB. A second air to the patron, composed by Turlough O'Carolan
(1670-1738). P.W. Joyce (Old Irish Folk Music and Songs, 1909) prints
the tune with the primary title “Michael Ward,” imported from the Forde
collection, ultimately sourced to Carey’s manuscript. Donal Sullivan (1958)
believes the ‘Ward’ title is probably incorrect because it appears in John
Lee’s published collection of Carolan tunes (Dublin, 1780) as “Mr. Mich.
Connor.” Complete Collection of Carolan's
Irish Tunes, 1984; No. 121, pg. 88. O’Sullivan (Carolan: The Life, Times
and Music of an Irish Harper), 1958; No. 121, pg. 166.
X:1
T:Michael
Ward
T:Michael
O’Connor
M:C
L:1/8
R:Air
N:”Slow”
B:Joyce – Old
Irish Folk Music and Songs, No. 448 (1909)
Z:AK/Fiddler’s
Companion
K:Emin
D|E2 EF G2 AB|cBAG F>E D2|e2 dB
c2BA|GFGA B4|
EFGA BABG|AGAF GFGE|d2G2d2B2|bagf
g4|
f2 Bg f2d2|edef d2B2|BAGF G2A2|B4
z2||fa|bagb agfa|
g2 fe dBdB|g2 g/a/b GBGB|A2B2 e4|g2
f/g/a gdBd|gdga bc’ba|
g2 fe deBA|GFGA B4|E2 EF GFGE|FEFG
AGAF|GFGA BABG|
A2B2 c4|B2 eB cBAc|BAGB A2 GF|GFEG
FEDF|B2 [B,2B2] E4||
MICHAEL PRESTON’S. Irish,
Reel. Coleman Center CD CC004, Michael Hurley, Mairead
Hurley & Jim Corry – “The Mountain Road” (1999. Various artists. “A
Compilation of tunes popular in South Sligo”).
MICHAEL RANKIN’S.
Canadian, Reel. Canada, Cape Breton. Composed by the late Cape Breton
fiddler John Morris Rankin (d. 2000). Smithsonian
Folkways Records, SFW CD 40507, The Beaton Family of Mabou – “Cape Breton Fiddle
and Piano Music” (2004).
MICHAEL REILLY'S. AKA and see “Seán Ryan’s Dream,” “Twilight in Portroe.” Irish,
Reel. G Major. Standard tuning. AABB (Flaherty). The tune is a composition of
Nengah, Tipperary, fiddler Seán Ryan (d. 1985) called “Twilight in Portroe,”
originally in the key of ‘A’. Source for notated version: fiddler Philip Duffy
(b. 1966, London, now residing in Dublin) [Flaherty]. Bulmer & Sharpley (Music from Ireland), 1974, vol. 3, No.
12. Flaherty (Trip to Sligo), 1990;
gp. 25. Coleman Center CD CC004, Phillip Duffy &
Kevin Brehony – “The Mountain Road” (1999. Various artists. “A Compilation of
tunes popular in South Sligo”).
X:1
T:Michael
Reilly’s
M:4/4
L:1/8
R:Reel
S:From a
transcription by Jo-Ellen King
Z:AK/Fiddler’s Companion
(G,B,)D(B,
CE)G(E | {F}ED)B,(D GB)dB | c2 ec dBGB | AcBG AGEG |
G,B,DB,
CEGE | {F}EDB,D GBdB | c2 ec dBGB |1 AcBG AGEG :|2
ABGA BEE |:
A | B2 dB eBdB | ~G3B ABGE | {F}EDB,D GBdB |
c2 ef gfec | B2 dB eBdB | G3B ABGE |
{F}EDB,D GBdB | cedc BA A2 :|
MICHAEL RELIHAN’S. AKA and see “The Dream of Home,” “Maid in the Meadow [2]."
Irish, Reel. D Major. Standard tuning. AAB. Maire O’Keeffe (in liner notes to
“The Smoky Chimney”) reports that this tune was a great favorite of fiddle and
concertina player John Kelly (Sr.) Of Kilbaha, near Loop Head, West Clare. The
tune was recorded by Brendan Breathnach from the playing of Listowel, County
Kerry, fiddler Tom Barrett, who called it “Mick Relihan’s,” and the tune is
attributed to Relihan in Treoir (vol.
2, No. 4). Spin CD1001, Eoghan O'Sullivan, Gerry
Harrington, and Paul de Grae - “The Smoky Chimney” (1996).
X:1
T:Michael Relihan's
R:reel
Z:Jeff Myers
M:C|
L:1/8
Q:1/4=240
K:D
d3{f}d cAGB|Ad{f}dc da{b}ag|fdec dcAG|EFGE EDDe:|
fd{f}dc {f}d2cd|eaag efge|fd{f}dc {f}d2cd|eaag ed{f}de|
fd{f}dc {f}d2cd|eaag efge|f2ec d2cd|eaag efge||
X:2
T:Michael
Relihan's
R:reel
M:4/4
L:1/8
K:D
d3 d =cAGB|Addc dfag|f2 ed =cAAG|EG=cE ED D2:||
fddc d2 cd|eaag efge|fddc d2 cd|eaag edde|
fddc d2 cd|eaag efge|f2 ec d2 cd|eaag efge||
MICHAEL RILEY’S JIG. Irish, Single Jig. Giblin (Collection
of Traditional Irish Dance Music), 1928; 100.
MICHAEL TURNER'S NO. 3. English, Jig. England, Sussex. A
Major. Standard tuning. AABB'. Michael Turner was a 19th century fiddler from
Sussex, England, who left behind some fiddler's manuscripts. Carlin (Master Collection), 1984; No. 14, pg.
21.
MICHAEL TURNER'S WALTZ. English, Waltz. England, Sussex. G
Major. Standard tuning. Paul Davenport (English
Dance and Song, 2003) identified this unnamed tune as derived from a
portion of a 1788 suite by none-other than Austrian composer Wolfgang Amadeus
Mozart, contained in Austrian Dances
KV 536 No. 2 (the second, or trio part) in G Major. The English waltz is
credited to Michael
Turner (1796-1885), who adapted the melody and set it down in his
1842-52 manuscript, though it is clearly based on the Mozart original. It was
also published in Canfield’s Choice
Collection of Flue Melodies (1823), according to Barry Callaghan (2007).
Turner was for fifty years a Parish Clerk, Sexton and choir leader of a church
in Warnham, Sussex. His gravestone reads:
***
His duty done, beneath this stone
Old Michael lies at rest
His rustic rig, his song, his jig
Were ever of the best.
With nodding head the choir he led
That none should start too soon,
The second he sang full true
His viol played the tune
One hundred—less eleven,
With faithful cling to fiddle string
He sang himself to heaven.
***
Dave Shepherd, fiddle player for the
group Blowzabella, came up with a setting of “Michael Turner’s Waltz” in 5/4
time (!). The melody was employed as the air for a hymn in America, called
“When He Cometh.”
***
Callaghan (Hardcore English), 2007; pg. 85. Loughran & Gammon (A Sussex Tune Book). Pukka Records YOP 04, The Oyster Band ‑ "Lie Back
and Think of England" (198?. Learned from Eddie Upton who had it from Vic
Gammon who had it, untitled, from Turner's fiddler's manuscripts). Eliza Carthy
& Nancy Kerr – “Shape of Scrape.” Wild Goose WGS 313, Dave Arthur – “Return
Journey.”
X:1
T:Michael Turner’s Waltz
M:3/4
L:1/8
R:Waltz
K:G
GA|B2 BD cD|d2d2 gf|e2e2 ge|d2d2 GA|B2 BD cD|
d2d2 cA|G2 G2 AB|G2 z2::AB|c2 cd Bc|A2A2 Bc|
d2 de cd|B2B2gf|e2e2 ge|d2d2 GA|B2 Bc AB|G2
z2:|
X:2
T:Violino I
M:3/4
L:1/8
S:Mozart – Trio from KV536
K:G major
GA|B2B2cA|d2d2gf|{f}e2e2ge|{e}d2d2GA|B2B2cA|d2d2cA|G2G2AB|G2z2:|
|:AB|c2cdBc|A4Bc|d2decd|B4gf|{f}e2e2ge|{e}d2d2GA|B2BcAB|G4:|
MICHAEL WARD. AKA – “Michael O’Connor.” Irish, Slow Air (4/4 time). E Minor. Standard
tuning. AB. "By Carolan" (Joyce). Source for notated version:
"...copied from a MS. lent to him by Patrick Carey a piper of the Co.
Cork; who, I believe, is the same as Patrick Carew whom Petrie often mentions
in his 'Ancient Music of Ireland'" (Joyce). Joyce (Old Irish Folk Music and Song), 1909;
No. 448, pgs. 251‑252.
X:1
T:Michael
Ward
T:Michael
O’Connor
M:C
L:1/8
R:Air
N:”Slow”
B:Joyce – Old
Irish Folk Music and Songs, No. 448 (1909)
Z:AK/Fiddler’s
Companion
K:Emin
D|E2 EF G2 AB|cBAG F>E D2|e2 dB
c2BA|GFGA B4|
EFGA BABG|AGAF GFGE|d2G2d2B2|bagf
g4|
f2 Bg f2d2|edef d2B2|BAGF G2A2|B4
z2||fa|bagb agfa|
g2 fe dBdB|g2 g/a/b GBGB|A2B2 e4|g2
f/g/a gdBd|gdga bc’ba|
g2 fe deBA|GFGA B4|E2 EF GFGE|FEFG
AGAF|GFGA BABG|
A2B2 c4|B2 eB cBAc|BAGB A2 GF|GFEG
FEDF|B2 [B,2B2] E4||
MICHAEL WIGGINS. English, Jig. D Major. Standard tuning. AABB.
The melody was printed in a variety of early 19th century
publications (listed at Early American
Secular Music and Its European Sources), including Carr’s Pocket Companion (Baltimore, c. 1800), Graupner’s A Collection of County Dances and Cotillions
(Boston, c. 1808), Willig’s Collection of
Popular Country Dances, No. 4 (Philadelphia, c. 1812), Riley’s Flute Melodies 1 (New York, 1814), and J. & G. Balls’ The Gentleman’s Amusement, Book 3
(London, 1815). The melody is a
different one than "Michael Wiggins in Ireland." Raven (English Country Dance Tunes), 1984; pg.
127.
X:1
T:Michael Wiggins
M:6/8
L:1/8
R:Jig
K:D
A|f2f fed|cBA A2A|f2f fed|g(e2
e2)A|f2f fed|dcB AFA|
Bcd cde|f(d2 d2)::d/c/|dBA ^GBd|ecB
Ace|fdB ^Ged|
c(e2 e2)e|a2e a2e|aec Ace|fdB
^Ged|c(A2 A2):|
MICHAEL WIGGINS IN IRELAND. English, Jig. England, Yorkshire. C Major
(Hardings): D Major (Merryweather & Seattle). Standard tuning. One part
(Hardings): AABBCC (Merryweather & Seattle). The melody was printed in The Gentlemens Amusement No. 2 in New
York c. 1812. Perhaps the “…in Ireland” part of the title parallels the
“Morgiana” tunes (e.g. “Morgiana” and “Morgiana in Ireland” with “Michael
Wiggins” and “Michael Wiggins in Ireland.” Instructions for a dance called
Michael Wiggins in Ireland were printed in dancing master T. Wilson’s The Treasures of Terpsichore; or, A
companion for the ballroom (London, 1816). The tune appears in the music
manuscript book of William Tildesley, Swinton, Lancashire, dating from the
1860’s, and a similar tune likewise appears in John Clare’s (Northants)
manuscript under the title “Micheal Wiggens.” Source for notated version: an MS
collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire)
[Merryweather & Seattle]. Harding’s
All-Round Collection, 1905; No. 19, pg. 6. Merryweather & Seattle (The Fiddle of Helperby), 1994; No. 71,
pg. 46.
X:1
T:Michael Wiggins in Ireland
M:6/8
L:1/8
R:Jig
N:Transposed from the key of ‘C’
S:Harding’s All-Round Collection (1905)
Z:AK/Fiddler’s Companion
K:D
A|dfe dBd|ABA AFA|DFA dfa|baf
e2A|dfe dBd|
ABA AFA|DFA dfa|gfe d2e||afd dfa|b2a
g2f|
gab afd|cee efg|afd dfa|b2a g2f|gba
gfe|fdd d2g||
fdf ece|dBd AFD|EFE DFA|agf e2g|fdf
ece|
dBd AFD|FGA Bgf|edc d2||
MICHAEL’S MAZURKA. Shetland,
Mazurka (3/4 time). G Major. Standard tuning. AABBCC. Composed by the late
Michael Ferrie, a member of the Shetland group Fiddler’s Bid. Catriona MacDonald – “Bold.” Fiddler’s Bid – “Hamnataing”
(1996).
X:1
T:Michael's Mazurka
M:3/4
L:1/8
C:Michael Ferrie
R:Mazurka
N:Michael Ferrie wrote this in 1996
in the last week of his life
K:G
D2|: G4 (3ABc | B4 (3AGF| E G2 B AG|
Fd Dc DF| G3 A Bc|
B d2 c BG| E c2 B AF| G4 D2 :||
G3 A _Bc | d3 c _BG| AF AF DF| GA
(3_Bcd g2| DG GA _Bc|
d3 c _BG| AF AF (3DEF| G4 {GA}GF| D
G2 A _Bc| d3 c _BG|
AF AF DF| GA (3_Bcd g2| DG GA _Bc|
d3 c _BG| AF AF (3DEF| G4 (3def||:
g6| d3 c cB| A2 a3 g| fd ^cd ef| g4
b2| g4 (3dcB| A2 a3 g| fd cB AF|
G2 AB G2| A2 Bc A2| B2 cd B2| c2
dec2| d2 g2 (3efg|1 f3 g (3agf| g3 a {ga}gf| g4 (3def :||
MICHAEL’S PIG.
American, Reel. D Major. Standard tuning. AABB. Composed by
Peterborough, New Hampshire, keyboard player and composer Bob McQuillen. Miller
(Fiddler’s Throne), 2004; No. 210,
pg. 130. McQuillen (Bob’s Note Book #1),
1976.
MICHEÁL CARR’S BARNDANCE. Irish, Barndance (cut time). D
Major: G Major (Cranford/Holland). Standard tuning. AABB (Cranford/Holland):
AA’BB. A popular barndance melody in County Donegal, from the playing of James
Byrne and others. Micheál Carr, a fiddle and accordion player in Donegal,
learned this and other barndances from his father, Mick Carr. Source for
notated version: Donegal fiddler Máire O’Keeffe, who associates the tune with
the playing of Danny O’Donnell (Meenafanad, the Rosses, Co. Donegal) [Cranford/Holland].
Cranford (Jerry Holland: The Second Collection), 2000; No. 124, pg.
47.
See also listings at: Alan Ng’s Irishtune.info |
X:1
T:Micheál Carr’s Barndance
T:Mick Carr’s
M:C|
L:1/8
N:swing the rhythm
R:Barndance
K:G
Bc|dedc BGBc|de (3dcB g2AB|cdcB
AFAB|cd (3cBA d2Bc|dedc BGBc|
de (3dcB g2fg|ecge dBcA|G2 B2
G2::(3GFE|D2 GB d^cdg|edcB c2 AF|
D2 FA cBce|dcBA B2 (3GFE|D2 GB
d^cdg|edcB (3cdc AF|DFAB cABA|G2 B2 G2:||
MICHEÁL’S POLKA. Irish,
Polka. Ossian OSS CD 130, Sliabh Notes – “Along
Blackwater’s Banks” (2002).
MICHAEL'S REEL. AKA and see
"Keel Row."
MICHO RUSSELL’S…
See under “Micko Russells…
MICK CARR’S. AKA and see “Micheál Carr’s Barndance.” Irish, Barndance.
MICK COEN’S. AKA and see “Mike Coen’s.”
MICK COLLINS’ REEL.
Irish, Reel. A Minor/C Major. Standard tuning. AB. Mick Collins was a
neighbour of source Paddy O’Brien, and frequently lilted this tune. Since he
had no name for it, O’Brien named it after Collins. Source for notated version:
Paddy O’Brien (County Tipperary) via Larry Gavin [Connolly & Martin].
Connolly & Martin (Forget Me Not),
2002; pgs. 70-71.
MICK DUGGAN’S POLKA [1]. Irish, Polka. D Major. Standard
tuning. AABB. Cranitch (Irish Fiddle Book),
1996; No. 45, pg. 142. Cranitch (Irish
Session Tunes: Red Book), 2000; 42.
MICK DUGGAN’S POLKA [2]. Irish, Polka. D Major. Standard
tuning. AABB. Cranitch (Irish Fiddle Book),
1996; No. 46, pg. 143. Cranitch (Irish
Session Tunes: Red Book), 2000; 46.
MICK DUGGAN’S POLKA [3]. AKA and see “Mikie Duggan’s.” Irish, Polka. D
Major. Standard tuning. AABB. Cranitch (Irish
Fiddle Book), 1996; No. 47, pg. 143. Cranitch (Irish Session Tunes: Red Book), 2000; 47. Moylan (Johnny O’Leary), 1994; 257.
MICK DUGGAN’S (SLIDE) [1]. Irish, Slide (12/8 time). Ireland,
Sliabh Luachra region of the Cork-Kerry border. D Major. Standard tuning. AABB.
Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra
region), recorded at Na Piobairi Uilleann, October, 1984 [Moylan]. Moylan (Johnny O’Leary), 1994; No. 146, pg. 85.
MICK DUGGAN’S SLIDE [2]. AKA and see “Meentogues Lad.” Irish, Slide (12/8
time). A Major. Standard tuning. AABB. A different tune than “Mick Duggan’s
[1].” Breathnach (CRÉ II), 1976; No.
89, pg. 47. Cranitch (Irish Fiddle Book),
1996; pg. 62. Moylan (Johnny O’Leary),
1994; 24.
MICK FINN’S. AKA and see “Cill Abhaill,” “The
Farewell Reel,” “The
Killavil Reel [1],” “Tilly Finn’s.” Irish, Reel. D Major. Standard tuning.
AA’BB’. Mick Finn is the name of a late fiddler from County Galway. However,
‘Mick’ was also the nickname of Michael Finn, father of famous Sligo fiddler
Fred Finn, both from Killavil, Sligo. Given the connection with the alternate
title (“Killavil Reel”) it is likely the title refers to the Sligo Finn, not
the Galway fiddler. Miller (Fiddler’s
Throne), 2004; No. 211, pg. 131. Green Linnet SIF
3018, “Molloy, Brady, and Peoples” (1985).
See also listings at: Alan Ng’s
Irishtune.info |
X:1
T:Killavil Reel, The
T:Mick Finn’s
T:Cill Abhaill
R:reel
N:Second part with variations
D:Molloy, Peoples, Brady
Z:id:hn-reel-480
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:D
D2AD BDAD|D2AD BDAD|E2B# cEBE|E2 Bc
dBAF|
D2AD BDAD|D2AD BDAF|GFEF GABc|1 d2fd
BdAF:|2 defd BdAB||
d2fd Adfa|g2fg egfe|d2fd Adfa|g2fg
~e3f|
d2fd Adfa|g2fg edBc|dBBA Bcde|f2ed
BdAB|
defd adfa|gefd edBc|defd adfa|gefd
~e3f|
defd adfa|g2fg edBc|dBBA Bcde|f2ed BdAF||
MICK FLAHERTY’S. Irish, Reel. E Dorian. Standard tuning. AABB.
A version of "An Bearrchaile sa gCrann Silini," "Coleman's Fancy,"
“Curragh Races [1],” "The Hare in the Corn
[7]," "The Humors of Old Knockaney,"
and "The Maid in the
Cherry Tree [3]," although those tunes are usually set in the key
of A dorian or D dorian. Miller (Fiddler’s
Throne), 2004; No. 212, pg. 131. Green Linnet SIF
1034, Billy McComiskey – “Makin' the Rounds” (1981).
See also listing at: Alan Ng’s
Irishtune.info |
X:1
T:Mick Flaherty's
R:reel
S:Billy McComiskey, "Makin' the
Rounds"
D:Billy McComiskey, "Makin' the Rounds"
Z:Jeff Myers; up to Edor for flute
M:C|
L:1/8
K:Edor
BEGE BEGE|ADFD ADFD|BEGE BEGA|(3Bcd
AF FEE2|
B~E3 BEGB|A~F3 DAFD|~G3E ~F3A|1
(3Bcd AF FEE2:|2 (3Bcd AF FEEF||
~G3A BedB|A~F3 DAFD|~G3A BedB|AFDE
FEEF|
~G3A BedB|A~F3 DAFD|~G3E ~F3G|1 AFDE
FEEF:|2 AFDE FEE2|
MICK HAND'S REEL (Ríl Mhícheáil Mhig Laithimh). AKA and see "The Sandymount," "The Sandpiper." Irish, Reel. A
Dorian. Standard tuning. AAB. Source for notated version: whistle player Mary
Bergin (Ireland) [Breathnach]. Breathnach (CRÉ
III), 1985; No. 170, pg. 78. Gael‑Linn
Records CEF 071, Mary Bergin ‑ "Feadoga Stain" (1979).
Shanachie 79006, Mary Bergin – “Feadog Stain” (appears as Mick Hand’s”).
MICK HANLY’S. AKA and see “Jessica’s Polka.”
MICK HOWARD’S. AKA and see “Dan Sweeney’s,” “Johnny Leary’s (Polka) [1],”
“Munster Bank,” “The Sod of Turf We Took to
School,” “Tarrant’s [3].”
Irish, Polka.
MICK HOY’S. See “Jig Away the Donkey.”
MICK MAHONY’S [1]. AKA and see “If I Had a Wife [1].”
MICK MAHONY’S [2]. AKA and see “Cullen Slide [1].” Irish, Slide (12/8
time). Ireland, Sliabh Luachra region of the Cork-Kerry border. D Major.
Standard. AABB. Mick ‘Dash’ Mahony was an accordion player from west County
Kerry who played for some time with fiddler Denis Murphy. Source for notated
version: accordion player Johnny O’Leary (Sliabh Luachra region) [Moylan].
Moylan (Johnny O’Leary), 1994; No.
111, pg. 64. Gael-Linn CEF132, Johnny O’Leary - “An
Calmfhear/The Trooper” (1989).
MICK McKEIGUE’S. Irish, Reel. G Major. Standard tuning. AB. May
be related to “The Merry Days of Easter.”
Source for notated version: flute player Colm O’Donnell (b. 1962, outside
Aclare, County Sligo) [Flaherty]. Flaherty (Trip
to Sligo), 1990; pg. 20 (appears as “Unknown”).
MICK MULCAHY’S [1]. AKA and see "Banks of
Ahasnagh," "Crossing the Bogs," “Out on the Ocean [1],” “Over the Sea [2],” “O’Connell’s Jig on
the Top of Mount Everest,” “The
Portroe [1].” Irish, Jig. G Major. Standard tuning. AB. Source for
notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the
Cork-Kerry border), recorded in recital at Na Piobairi Uilleann, March, 1987
[Moylan]. Moylan (Johnny O’Leary),
1994; No. 164, pgs. 94-95.
MICK MULCAHY’S [2]. AKA and see “Cuil Aodha Jig.” Irish, Jig. D Major.
The tune differs slightly from “Cuil Aodha Jig” by being in the key of ‘D’ with
a flattened 7th in the ‘B’ part.
MICK MULKERRIN.
Canadian, Reel. 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.
128, pg. 49.
MICK O’CONNOR’S (JIG). Irish, Jig. A Major/Mixolydian.
Standard tuning. AABB. Composed by Falmouth, Massachusetts, musician and writer
Bill Black, dedicated to London banjo player Mick O’Connor. Black (Music’s the Very Best Thing), 1996; No.
222, pg. 119.
X:1
T: Mick O'Connor's
C: © B. Black
Q: 325
R: jig
M: 6/8
L: 1/8
K: A
D | EAA cAA | eAA cAA | fdf ecA | Bcd BGE |
EAA cAA | eAA cAA | fdB FAd | BGB A2 :|
e | aga ecA | Ace aec | dBB =gBB | ba=g ef^g |
aAA
eAA | efe ecA | EAc dBG | BAG A2 :|
MICK O’CONNOR’S (REEL). AKA and see “Katie Taylor,” “Lansdowne Lass,” “Rafferty’s Mustache.” Irish,
Reel. Mike Rafferty had no name for the tune (which he found as an untitled
tune obtained from Willie Kelly) so invented one. The tune is a actually a
Paddy Taylor composition called “Katie Taylor,” although it is also similar to
County Roscommon flute player Josie McDermott’s “The Lansdowne Lass.” Source
for notated version: London banjo player Mick O’Connor [Bulmer & Sharpley].
Bulmer & Sharpley (Music from Ireland),
vol. 4, No. 20. Kells Music 9509, Mike and Mary
Rafftery – “The Dangerous Reel” (appears as “Rafferty’s Mustache”). Green Linnet
SIF 1095, Altan – “Horse with a Heart” (appears as untitled last tune of first
track, referred to as “another northern reel”). Shanachie SHA 65005, Seamus
Egan – “A Week in January.”
X:1
T:Lansdowne Lass, The
T:Mick O'Connor's
T:"Rafferty's Mustache”
M:4/4
L:1/8
B:Bulmer & Sharpley vol 4 No. 20
B:Willie Kelly, source for Mike
Rafferty, who found the tune in a collection
R:reel
D:Altan, Horse With a Heart, 1st
track, 4th reel (not named)
D: Mike and Mary Rafferty, The
Dangerous Reel, 2nd track, 2nd reel
Z:Lorna LaVerne
K:G
|: DEFA G2AG | FDFA d2fa | g2ge fddc
| ABcA EFGE |
DEFA G2AG | FDFA defa | g2ge fddB |
cAGE FDD2 :|
|: defa g2ag | fdfa egag | fdcA G2FG
| ABcA dcAd |
defa g2ag | fdfa egag | fddc ABcA |
EFGE FDD2 :|
MICK O’GRADY’S. Irish, Reel. D Major. Standard tuning. AABB. Composed by Falmouth, Massachusetts, writer and musician Bill Black. Black (Music’s the Very Best Thing), 1996.
X:1
T: Mick O'Grady's
C: © B.Black
Q: 350
R: reel
M: 4/4
L: 1/8
K: D
A | FEFG AB B2 | GB B2 AddA | FEFG ABcA | dBAF G2 AG |
FEFG AB B2 | Ad d2 effg | a2 fa bafe | dFFA B3 :|
c | defe defg | a2 fa bafe | fddc B2 fB | ABde fddc |
defe
defg | affe dBBF | GB B2 Ad d2 | AFEF D3 :|
MICK RELIHAN’S. AKA
and see “The Dream of Home,” “Michael Relihan’s.”
MICKIE AINSWORTH. Shetland, Reel. D Major. Standard tuning.
AABB. Composed by the late Shetland pianist, piano-accordion player and
composer Ronnie Cooper (d. 1982), of Lerwick. See also his compositions “Da Tushkar/Tushker” and “Miss Susan Cooper.” Martin
& Hughes (Ho-ro-gheallaidh),
1990; pg. 28. Topic 12TS381, The Battlefield Band ‑
"At the Front" (1978).
MICKEY BY THE FIRESIDE (Micaelin Cois Na
Teine). Irish,
Reel. D Major. Standard tuning. AB (O'Neill/1850 & 1001): AA'B
(O'Neill/Krassen). O'Neill (Krassen), 1976; pg. 140. O'Neill (Music of Ireland:
1850 Melodies), 1903/1979; No. 1445, pg. 268. O'Neill (Dance Music of
Ireland: 1001 Gems), 1907/1986;
No. 680, pg. 121.
X:1
T:Mickey by the Fireside
L:1/8
M:C|
R:Reel
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 680
Z:AK/Fiddler’s Companion
K:D
d2 dB AFAB|d2 dB gfec|d2 dB
ADFA|gfed cABc|d2 dB AFAB|
d2 dB gfec|d2 dB ADFA|gfed cdef||d2 ad fdad|d2 ad
gfec|d2 ad fdad|
cBAB cdef|d2 ad fdad|d2 ad cdef|gbaf
gefd|edcB ABcA||
MICKEY CHEWING BUBBLE GUM. See “Micky Chewing Bubblegum.”
MICKY CONNELL’S HORNPIPE (Cornphíopa Mhicí Uí
Chonaill). AKA
and see “Billy Taylor’s Fancy.”
Irish, Hornpipe. G Major. Standard. AABB. O’Neill prints a version as “Billy
Taylor’s Fancy,” and the melody appears twice in the Goodman manuscripts at “The Man of War Hornpipe” and “Constantine Hornpipe.” Source
for notated version: from a manuscript attributed to the Pigott family, County
Kerry, in which it appeared as an untitled tune. Breathnach found the tune and
the title in another manuscript in his collection [Breathnach]. Breathnach (CRÉ V), 1999; No. 216, pg. 105.
MICKEY DOHERTY'S. Irish, Reel. Green
Linnet SIF‑1109, Altan ‑ "The Red Crow" (1990).
MICKI O’CALLAGHAN. See “Micky
Callaghan’s.”
MICKIE MURPHY{’S JIG} (Port Mhicí Uí Mhurchú). Irish, Scottish; Single Jig. D Major. Standard
tuning. AABB'. See also the related tunes “Yellow John [1]” or “Seán Buidhe/Buí.” Scots variants include
“Over the Water to Charlie”
and “Kinloch (of Kinloch).”
Breathnach (CRÉ IV), 1996; No. 54,
pg. 29. Kerr (Merry Melodies), vol.
3; No. 239, pg. 27.
X:1
T:Mickie Murphy
M:6/8
L:1/8
R:Jig
S:Kerr – Merry Melodies, vol. 3, No. 239
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
d2f ecA|BdB AFD|d2f ecA|B2c d3|d2f
ecA|BdB AFD|GAB Adc|(d3 d2)z:|
|:dfa afd|ced cBA|1 dfa afd|f3a3:|2
GAB Adc|(d3 d2)||
MICKY O’CALLAGHAN’S FAVOURITE (Rogha Mhicí Uí
Cheallacháin).
Irish, Hornpipe. D Major. Standard tuning. AABB. O’Callaghan was a neighbor of
fiddle John Kelly’s in County Clare, from whom he learned the tune. Source for
notated version: fiddler John Kelly/Seán O'Kelly (Dublin) [Breathnach].
Breathnach (CRÉ I), 1963; No. 214,
pg. 86.
MICKEY O’CALLAGHAN’S (JIG). AKA and see “Micky Callaghan’s.”
MICKY QUINN’S. Irish,
Jig. Patty Furlong – “Traditional Irish Music on the
Button Accordion” (1999. Learned from Bronx flute player Jack Coen, who played
the tune paired with “Humors of Ballingarry” with the late Paddy O’Brien from
Tipperary).
MICKEY RATTLEY’S FANCY. Irish, Reel. G Major. Standard tuning. AA’B. Source for notated version: the Rice-Walsh manyscript, a collection of music from the repertoire of Jeremiah Breen, a blind fiddler from North Kerry, notated by his student [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 282.
X:1
T:Mickey Rattley's Fancy
M:4/4
L:1/8
S:Rice-Walsh manuscript
Z:Paul Kinder
R:Reel
K:G
Bd (3ddd d2 dc|Bddg ad d2|1Bd (3ddd d2 dc|ABcA BG G2:|
2gfed edcB|cdef gfdc||B2 BA G2 DF|
GBAF G2 dc|B2 BA G2 AB|cBAB cedc|
B2
BA GBAF|GBAF G2 AB|cBAc BAGE|DEGA BG G2||
MICKEY THE MOULDER. AKA and see “Bold Doherty,” “The Connaughtman’s Rambles [1],”
“The Duck from Drummuck,”
“Gathering Dilisk.” Irish,
Jig. The tune, from the Murphy family, is apparently a version of
“Connaughtman’s Rambles.” Green Linnet SIF1122, Kevin
Burke - "Open House" (1992. From the Murphy Family).
MICHO RUSSELL'S FAVORITE [1]. AKA and see "Ballyket Courthouse,"
"Barry's Fancy,"
"Kathleen's Fiddle," "Rattigan's Reel [3]," "St.
Andrew's," "The Swallow
[2]." Irish, Reel.
MICHO RUSSELL’S FAVORITE [2]. Irish, Reel. G Major. Standard tuning.
AA’B. Treoir.
X: 1
T: Miko Russell's Favorite
S: "Treoir"
M: 4/4
L: 1/8
Z: Transcribed by Bill Black
R: reel
K: G
Bd | d2 de dBAG | EAAG A2 Bd | d2 eg dBAG |1
EGGF G2 :|2 EGGF G3 z ||
g2 ag edBd | eaab agef | g2 ag ed (3Bcd | egfa
g3 z |
g2
ag edBd | eaab agef | gbaf gfed | (3Bcd ef gedB ||
MICKO DOYLE'S JIG. AKA and see "Treoir II,"
"Patsy Mack," "Dinny Mescal's Slide." See
also the closely related “Old
Favourite” and “Kilfenora
Jig [2].”
MICHO RUSSELL’S JIG [1]. AKA and see “Timmy Clifford’s.” Irish, Double
Jig. G Major. Standard tuning. Doolin, County Clare, tin whistle player
Russell’s first name is sometimes spelled Micho and other times appears as
Micko. It is a setting of “The Munster
Lass.” The tune was learned by fiddler Gerry Harrington from Chicago
musician John Williams (states the liner notes to The Smoky Chimney), who
himself had the tunes from Micho Russell. Sean Cleland, however, says that
Williams learned the jig from his father Brendan, a concertina player, who had
learned it from Timmy Clifford (active in Chicago sessions off and on since the
early 1980’s). Spin CD1001, Eoghan O’Sullivan, Gerry
Harrington, Paul De Grae - “The Smoky Chimney” (1996). Shanachie 78002, “Solas”
(appears as “Timmy Clifford’s”).
X:1
T:Micho Russell's (Jig) [1]
S:The Smoky Chimney
R:Jig
N:usually played in G
M:6/8
L:1/8
K:D
DFA B2A|Bdcd3|DFA Bgf|edc d3|DFA
B2A|Bdc dfa|b3 a2f|edc dfa:|
b3 a3|fdd dfa|b3 a3|fed efa|b3
a3|fdd def|g3 f3|1 edc dfa|2 edc d3:||
MICHO RUSSELL’S JIG [2]. Irish, Single Jig. D Major. Standard
tuning. ABC. Tubridy (Irish Tradtional
Music, Book Two), 1999; pg. 30.
X:1
T:Micho Russell’s Jig [2]
L:1/8
M:6/8
K:D
A|F2A AFA|Bcd A2G|F2A d2e|f3 fef|g2g
f2f|e2e d2B|A2A AFD|E3 EDE||
F2A AFA|Bcd A2G|F2A d2e|f3 fef|g2g
f2f|e2e d2B|ABA f2e|d3 d2||
e|f2e f2e|f2e fga|A2A BAF|A3 ABd|e3
e2e|efe dfa|baf afe|d3 d2||
MICKO RUSSELL'S SLIDE [1]. AKA and see "Micky Callaghan's Jig."
MICKO RUSSELL'S SLIDE [2]. Irish, Slide (12/8 time). D Major. Standard tuning.
ABB. Treoir.
X: 1
T: Miko Russell's (Slide) [2]
N: version of "Callaghan's"
S: "Treoir"
M: 12/8
L: 1/8
R: slide
K: D
DFA AFA BdB BAG | F2 A d2 e f3 f2 f | g3 f3 efe
d2 B | AdB AFD E3 EFE |
DFA AFA BdB BAG | F2 A d2 e f3 f2 f | g3 f3 efe
d2 B | ABA GFE D3 D2 ||
e
| f3 d2 f aba a3 | A3 BAF A3 ABd | efe e2 e efe dfa | baa afe d3 d2 :|
MICKO RUSSEL(L)’S REEL [1]. AKA and see “Carthy’s Reel,” “Carty’s Reel.” Irish, Reel. E Dorian.
Standard tuning. AAB (Sullivan): AABB (Mulvihill). A variant of “The
Ashplant” and the only known composition of Doolin, County Clare, tin whistle
player Micho Russell (1915-1944). It is commonly known as “Micho Russell’s
Reel” although, according to Charlie Piggott (Blooming Meadows, 1998), Russell
himself called it “Carthy’s Reel.” The
tin-whistle player, known for his weaving stories, lore and associations into
his music, and not above some purposeful playing with the tradition, said he
had long ago learned it from an old man named Carthy. “At the time there used
to be such a thing on the Aran Island called a Pattern Day (June 14th).
People from here used to go over in curraghs. An awful lot used to come up from
Galway, pipers and others, with different classes of instruments. So Carthy was
beyond anyway and he heard the old tune from a piper playing it and he had the
first part but only three-quarters of the
second part. So when Séamus Ennis came around collecting the music, I
put in the last bit. That’s roughly the story of the tune.” Russell won the
All-Ireland Tin Whistle championship at the age of 58. Source for notated version: flute and whistle
player Micho Russell, 1966 (Doolin, Co. Clare, Ireland) [Breathnach].
Breathnach (CRÉ II), 1976; No. 294,
pg. 149 (appears as “Carty’s Reel.” Source for notated version: Tony Smith
(County Cavan & Dublin) [Mulvihill]. Mulvihill (1st Collection), 1986; Nos. 148 & 149, pgs. 40 &
41 (two settings). Sullivan (Session
Tunes), vol. 3; No. 51, pg. 21.
X:1
T:Carty’s Reel
T:Carthy’s Reel
T:Micho Russell’s Reel [1]
M:C
L:1/8
K:E Minor
ed|B ~E3 G2 GB|B ~E3 BEdE|Be (3eee d2 dB|ABAF DEFA|
Beed G2 GA|B ~E3 BEdE|Be (3eee d2 dB|ABAF DEFA:|
|:BcBA G2 GA|B ~E3 Bdgd|BcBA G2 FG|A ~d3 A ~d3|
BcBA
g2 GA|B2 BA Bdgd|gbaf g2 ge|dedB A2 GA:|
MICKO RUSSELL’S REEL [2]. AKA and see “The Boys of Forty-Five (45),” “The Doonagore Reel.” Irish, Reel. G
Major. Standard tuning. AA’B. Josie McDermott recorded the tune as “Micho
Russell’s Reel.” Treoir, 1973. GTD Heritage GTDH CD 104, Micho Russell – “The Limestone
Rock” (1990. Appears as first tune of “The Sisters Reel” set). Josie McDermott
– “Darby’s Farewell.”
See also listing at:
Alan Ng’s Irishtune.info |
X:1
T:Doonagore Reel, The
M:4/4
L:1/8
Q:180
S:Gearoid O hAllmhurain
R:Reel
P:ABAB
A:Doolin, Co. Clare
N:Packie & Micho Russel
Z:Transcribed by Paul Kinder
K:G
A>F|:D>GGE F>GAd|B>GGG
A>BcA|d2 c>A B>GGA|1B>dcA GBAF:|
2B>dcA G2 (3Bcd||!
g2 g>e f>dde|f>age
f>dd2|g2 g>e f>dde|d>efa g2 Bd|!
g>bag f>ddc|B>GGG
A>BcA|d2 c>A B>GGA|B>dcA G2||!
X: 2
T: Miko Russell's (Reel) [2]
S: Treoir
M: 4/4
L: 1/8
Z: Transcribed by Bill Black
Q: 350
R: reel
K: G
F |: DG G2 FGAc | BGGB ABcA | d2 cA BG G2 | BdcA
GcAF :|
g2
ge fddd | BGGB A2 cA | d2 cA BG G2 | BdcA G3 z :|
MICHO RUSSELL’S (REEL) [3]. Irish, Reel. G Major. Standard
tuning. AABB. Source for notated version: tin whistle player Deirdre Collis
(County Sligo), from a CCE concert in Waltham, Massachusetts, in 1974 [Miller
& Perron]. Black (Music’s the Very
Best Thing), 1996. Miller & Perron (Irish
Traditional Fiddle Music), 1977; vol. 3, No. 37 (appears as “Waltham
Whistle Tune”). Miller & Perron (Irish
Traditional Fiddle Music), 2nd Edition, 2006; pg. 88.
X:1
T: Micho Russell's
S: Mary Bergin
Z: transcribed by B.Black
Q: 350
R: reel
M: 4/4
L: 1/8
K: G
BdBG AcAG | (3FED AD BDAD | DGGF G2 ag | fddc ABcA |
BdBG AcAG | (3FED AD BDAD | DGGF G2 ge | fddc BG G2 :|
dggf g2 ag | fdde fdcA | dggf g2 gb | a2 ga bg g2 |
b2 af gbag | fdde f3 g | a2 ag a2 ga | fddc ABcA :|
MICHO
RUSSELL’S (REEL) [4].
AKA and see “Foxhunter’s (Reel) [2],” “Mary McMahon,” “Noel Hill’s,” “The Sister’s Reel.” Irish, Reel. D
Major. Standard tuning.
MICHO RUSSELL’S (REEL) [5].
AKA and see “The Flurry Reel,”
“The Sporting Days of Easter
[2].” Irish, Reel. D Mixolydian. Standard tuning. “Micho Russell’s” was
the title used by Arty McGlynn on his album “Lead the Knave.” Russell was
Brendan Breathnach’s source for the same melody in his CRÉ II, where it was printed under the title “The Sporting Days of
Easter.”
MICHO RUSSELL’S (REEL) [6].
AKA and see “Miss Galvin,” “Peg McGrath’s Reel,” “Upstairs in a Tent [1].” Irish, Reel. G
Major. Standard tuning. AABB’. Cranford (Jerry Holland: The Second
Collection), 2000; No. 200, pg. 75. Jerry Holland
– “Master Cape Breton Fiddler” (1982).
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:Micho Russell’s (Reel) [6]
S:Mary Bergin
Z:Bill Black
M:C|
L:1/8
R:Reel
K:G
BdBG AcAG | (3FED AD BDAD | DGGF G2 ag | fddc ABcA |
BdBG AcAG | (3FED AD BDAD | DGGF G2 ge | fddc BG G2 :|
dggf g2 ag | fdde fdcA | dggf g2 gb | a2 ga bg g2 |
b2
af gbag | fdde f3 g | a2 ag a2 ga | fddc ABcA :|
MICKY CALLAGHAN'S JIG (Port Mhaidc Uí
Cheallacháin).
AKA – “Micky O’Callaghan’s.” AKA and see “Kimmel’s (Jig) [1],” "Micko Russell's Slide [1]," “Patsy Geary’s,” “The Yellow Rose.” Irish, Slide (12/8
time). Ireland, County Clare. D Major. Standard tuning. ABB. The tune is
printed in Treoir V, 2, as “Micko Russell’s Slide.” It is named for a
friend of John Kelly’s. See note for “Kimmel’s (Jig) [1].” Source for notated
version: fiddler John Kelly (Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 51, pg. 23. Bulmer
& Sharpley (Music from Ireland),
1976, vol. 4; No. 59 (appears as “Mickey O’Callaghan’s”). Vallely (Learn to Play the Tin Whistle with the
Armagh Pipers Club), vol. 2; 3. Gael‑Linn
Records CEF 018, John Kelly ‑ "Seoda Ceoil I" (1968). GTD
Records, Micho Russell – “Limestone Rock” (1989. Appears as “Kerry Slide”).
Triskel Records, Micho Russell (1982).
MICKY CHEWING BUBBLEGUM. AKA and see “Bill Sullivan’s,” “Denis Murphy’s (Polka).”
Irish, Polka. D Major. Standard tuning. AABB. Composed by the late Terry
"Cuz" Teahan as a youngster prior to leaving Ireland for America.
Philippe Varlet says that Teahan composed the tune while still taking lessons
with the great Sliabh Luachra fiddler Padraig O’Keeffe. O’Keeffe liked the composition and continued
to teach it after Teahan’s departure, and it eventually circulated among local
musicians; hence the name “Bill Sullivan’s” after a local player (by which
title it appears on the Jackie Daly & Seamus Creagh album {CEF 057}).
Vallely (Learn to Play the Fiddle with
the Armagh Pipers Club); 24. Wild Goose WGS 320,
Old Swan Band – “Swan-Upmanship” (2004).
X:1
T:Micky Chewing
Bubblegum
M:2/4
R:Polka
K:D
a2 a>f|ec a>f|ec
a>g|ec (3B/c/B/A|a2 a>f|ec a2|
ce BB/c/|1 BA A2:|2 BA
AB||:ce ec|df fd|ce eA/B/|
cB BA/B/|ce ec|df f2|ec
B>c|1 BA AB:|2 BA A2||
MICKY “CUMBAW” O’SULLIVAN’S. Irish, Air. Sean Keane says his
version of the air is an adaptation by Kerry musician Cumbaw who claimed to be
the personal piper to one of the founding fathers of modern Ireland, Daniel
O’Connell. Before he died the piper was recorded on a primitive recording
machine, but evidently was not impressed. The tune is derived from “Máirseáil
Alasdroim” (Alastair’s March—see note for “MacAlisdrum’s March”). Claddagh CC17, Seán Keane ‑ "Gusty's
Frolics" (1975).
__________________________________
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