The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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MILL - MIS

 

 

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]

 

 

 

MILL, DA. Scottish, Reel. Scotland, Sheltand Islands. A Mixolydian. Standard tuning (fiddle). AABB. Christine Martin (2002) says the tune is a work tune, imitating the sound of a mill, and should be played very freely. Martin (Traditional Scottish Fiddling), 2002; p. 98.

X:1
T:Mill, Da
D:Tom Anderson & Aly Bain, The Silver Bow
O:Shetland
N:"Work tune"
Z:Nigel Gatherer <gatherer@argonet.co.uk>
M:4/4
L:1/8
K:A mixolydian
ABcd e2 f2|d2 dd d2 fe|dcBA ABcA|B2 EE E2 ec|
dcBA ABcA|d2 dd d2 fe|dcBA (3Bcd cB|A2 A>B A4:|]
ecAc ecAc|fdBd fdBd|AFDF AFDF|BGEG BG E2|
ecAc ecef|d2 dd d2 fe|dcBA (3Bcd cB|A2 A>B A4:|]

                       

MILL, THE. AKA and see "Mill Oh."

           

MILL BRAE. Shetland. Composed by Ronnie Cooper (Shetlands). Front Hall FHR‑08, Alistair Anderson ‑ "Traditional Tunes" (1976).

           

MILL BURN [1], THE. Scottish, Reel. A Major. Standard tuning. AAB (Hunter): AABB' (Kerr). Composed by James Fraser. Hunter (Fiddle Music of Scotland), 1988; No. 246. Kerr (Merry Melodies), vol. 3; No. 82, pg. 11.

X:1

T:Mill Burn, The [1]

M:C

L:1/8

R:Reel

S:Kerr – Merry Melodies, vol. 3, No. 82  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

E|A2 (cA) GABc|dFBA GBEG|A2 (cA) Bcdf|ecdB A/A/A A:|

|:B|Aaga fedc|dFBA GBEG|1 Aaga fedc|dfec A/A/A A:|2 AcBd cedf|ecdB A/A/A A||

 

MILLBURN [2], THE. Canadian, Hornpipe. F Major. Standard tuning. AABB. Composed by fiddler/composer Wilfred Gillis who titled it after the name of an area near Arisaig, Antigonish County, Nova Scotia, where he was brought up. Paul Cranford (1997) remarks that in the 18th century a British man-of-war named The Malignant sank and the surrounding area became known as Malignant Cove. Later, some of the Scottish community members did not think it seemly that their beautiful area was associated with such a tragedy and they were successful in renaming it Millburn, though the original name, Malignant Cove, is still in use. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 46, pg. 17.

           

MILL FIELD. See “Millfield.”

           

MILL HOLLOW REEL.  American, Reel. A Dorian. AABB’. Composed by East Alstead, New Hampshire, fiddler and composer Randy Miller, who named the tune in honor of the half-dozen old mills that once formed the industrial center of the town. Miller (Fiddler’s Throne), 2004; No. 214, pg. 132.

                       

MILL NA MÁIDÍ (The Crushing of Twigs). See “Muilleann na Maidí,” "The Crushing of Twigs."

                                   

MILL OF GUTCHER, THE. AKA and see "Milly Goodger."

                                   

MILL O' HIRN, CRATHES. AKA and see "The Auld Wheel."

                                   

MILL OF KYLEMORE, THE. Irish, Reel. G Major. Standard. AABB’. Composed by Ballyfarnon, County Roscommon, flute player Josie McDermott (d. 1992), who also was a lilter, singer and saxaphone player.

X:1

T:The Mill of Kylemore

R:Reel

C:Josie McDermott

Z:Transcribed by Andrew Pickering

M:4/4

L:1/8

K:G

E|DGGF GABG|AGFG AB (3cBA|G2 GF GABd|cAFA G2 GF|

DG G2 BGAG|FGAB (3cBA Bc|d2 eg fdcA|(3Bcd cA G3:|

B|dg g2 bg g2|abag fdcA|Bgfg egdB|GBAG FDBc|

|1 dg g2 bg g2|abag fdcA|d2 eg fdcA|(3Bcd cA G3:|

|2 dg g2 bg g2|abag fdcA|defa gfdc|(3Bcd cA G3|]

                                   

MILL OF LAGGAN. Scottish, Reel. F Major. Standard tuning. AAB. Composed by William Marshall (1748-1833). A Scottish fiddler and composer, Marshall is most famous for his many fine strathspeys. Marshall worked for much of his life for the Duke of Gordon as the Steward of his Household, and it is fortunate that the Duke was an enthusiastic supporter and patron of Marshall’s music. Moyra Cowie, in her book The Life and Times of William Marshall (1999), says the mill, which dates to the 18th century, is on the Dullan water, although it is now almost a ruin. Interestingly, Cowie says that farmers in those days were assigned a mill to which they took their corn. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 52. Stewart-Robertson (The Athole Collection), 1884; pg. 207. Culburnie COL 102, Alasdair Fraser & Jody Stecher – “The Driven Bow” (1988).

X:1

T:Mill of Lagan, The

M:C|

L:1/8

R:Reel

B:The Athole Collection

Z:AK/Fiddler’s Companion

K:F

F|FAcf ~f2 e>f|gaba gGGA|FAcf ~f2 ef|afge fFF:|

B|A/B/c c>A B/c/d d>B|d/e/f f>d eccb|afge f2 dB|A/B/c GB AFFB|

A/B/c c>A B/c/d d>B|d/e/f f>d eccb|afca gece|fdcB A<FF||

 


MILL OF NEWE. Scottish, Strathspey. E Minor. Standard tuning. AAB. Composed by Alexander Walker. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 141, pg. 57. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 138, pg. 47. Breton Books and Records BOC 1HO, Winston “Scotty” Fitzgerald - “Classic Cuts” (reissue of Celtic Records CX 40).

 


MILL OF ROLEEN, THE. Irish, Double Jig. G Major. Standard tuning. AABB. Source for notated version: lilting of Miss Ellen Newport {d. 1887} (Rathangan, Co. Wexford, Ireland) [Darley & McCall]. Darley & McCall (The Darley & McCall Collection of Traditional Irish Music), 1914; No. 80, pg. 37.

 

MILL OF TYNETT. Scottish, Strathspey. E Major. Standard tuning. AB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 121, pg. 42.

 

MILL OH, THE. AKA – “The Mill,” “The Mill, Mill, O,” "The Mill, Oh, the Mill." AKA and see "The Cuba March," "The Soldier's Return," "The Blue‑Eyed Stanger [1]." Scottish, English. England, Northumberland. D Major. Standard tuning. AB: AAB (O’Farrell). "The Mill Oh" or "The Mill Mill O" was a popular tune common to collections printed in the 18th and early 19th centuries, and was the air Robert Burns in 1793 set "The Sodger's (Soldier's) Return" to. Burns' poem is a reworking of a folk theme, popular since Homer's Ulysses, of lovers parted by war ‑‑ when the man returns he is not recognized but finds his love has been true, reveals himself and is happily reunited. It begins:

***

When wild war's deadly blast was blawn,

And gentle peace returning,

Wi' mony a sweet babe fatherless,

And mony a widow mourning;

I left the lines and tented field,

Where lang I'd been a lodger,

My humble knapsack a' my wealth,

A poor but honest sodger.

***

Bayard (1981) believes that "(Merrily Danced) The Quaker's Wife" grew out of this tune, or else both tunes stem from an ancient original, primarily because of the "unmistakable" similarity of the 'B' parts, and the "noticeable" resemblance of the 'A' parts. 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. Glen reported it was first printed by William Thompson in his 1725 Orpheus Caledonius (No. 20); it also appeared in Thompson's 1733 edition (vol. 1, pg. 40). Bremner (Thirty Scots Songs), 1770; pg. 30. Crosby (The Caledonian Musical Repository), 1811, pg. 48. Johnson (Scots Musical Museum), vol. 3, 1787‑1803, No. 242. S. Johnson (Kitchen Musician No. 10: Airs & Melodies of Scotland's Past), 1992 (revised 2001); pg. 13. McGibbon (Collection of Scots Tunes, book III), 1768, pg. 76. McGlashan (A Collection of Scots Reels), vol. 2, 1781, pg. 4. O’Farrell (Pocket Companion, vol. II), c. 1806; pg. 157 (set as a “duett”). Oswald (Caledonian Pocket Companion), c. 1780, Vol. 1, pg. 74. Jerry O’Sullivan – “O’Sullivan meets O’Farrell” (2005).

X:1

T:Mill Mill O

M:C

L:1/8

R:Air

S:O’Farrell – Pocket Companion, vol. II (c. 1806)  duett

Z:AK/Fiddler’s Companion

K:D

d>e | f2 A>B A3d | B>ABd {f}e2 d>e | {d/e/}f2 A2 gfed | B3cd2 :|

zA | (defg) a3a | bagf e3A | (defg) (a>bag) | {g}f2 fg a2 zA |

defg a3 g/a/ | (bagf) {f}e2 d>e | f2A2A2 {g}f/e/d | B3cd2 ||

X:2

T:Mill Mill O, The

M:C

L:1/8

R:Air

N:”Slow”

S:McGibbon – Scots Tunes, book III, pg. 76  (1768)

Z:AK/Fiddler’s Companion

K:D

d>e | f2A2A3d | “tr”(B>AB)d e2 d>e | ({d/e/}f2) A2 (gf)”tr”(e>d) | “tr”B4d2 :: A2 | d>ef>g ({f/g/}a2)d2 |
(ba)”tr”(gf) ({f}e3)A | (d>e)(fg) (a>b)(ag) | “tr”f4 a3A | (de)(fg) a2 (ga) | {g/a/}(ba)”tr”(gf) e2 (de) |

({d/e/}f2)A2 (gf)”tr”(ed) | “tr”B4 ({c}d2 :: de | f2A2 AdFA | “tr”(BAB)d (e>f)(d>e) |

({d/e/}f2)A2 (gf)”tr”(ed) | “tr”B3d2 :: A2 | (d/4e/4d/4/c/4d/)e/ (f/4g/4f/4e/4f/)g/ adfa |

{g/a/}(ba)”tr”(gf) ({f}e3)A | (d/c/d/)e/ (f/e/f/)g/ a>b a/(g/f/g/) | f>g (f/d/)(f/g/) a3A |

d/(f/e/)(g/ f/)(a/g/)b/ afga | ({g/a/}b)a (3b/a/g/ (3a/g/f/ (e>f)(d>e) | ({d/e/}f2)A2 (gf)”tr”(e>d) | “tr”B4d2 :|

                       

MILL POND. Irish, Jig. G Major. Standard tuning. AABB. Treoir. Topic TSCD 602, Lough Gill Quartet – “Irish Dance Music” (1995. A reissue of the 1941 original).

X: 1

T: Mill Pond

S: "Treoir"

M: 6/8

L: 1/8

R: jig

Z: Transcribed by Bill Black

K: G

E | DGG BGG | dGG BGG | DFA DFA | DFA cBA |

DGG BGG | dGG BGG | DFA cBA | BGG G2 :|

d | Bdg bgg | aff gee | Ace a2 a | gag fed |

Bdg bgg | aff gee | ABc dcA | AGF G2 :|

                       

MILL STREAM, THE. Irish, Reel. Ireland, County Cork. G Major/Mixolydian. Standard. AB. Petrie identifies this as a County Cork reel. See also the first part of the tunes “Oíche Nollag,” " Strawberry Blossom [2],” “There’s nae luck aboot the house (there's nae luck ava) [1],” “ Ghile Beag le m’Anam Thú,” and Petrie’s (1905) untitled airs No. 154 and 258. Source for notated version: “From P. Carew’s MSS” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 396, pg. 100.

X:1

T:Mill Stream, The

M:C

L:1/8

R:Reel

S:Stanford/Petrie (1905), No. 396

Z:AK/Fiddler’s Companion

K:G

Bc | dBGB AGEG | dGBG c2 ce | dGBG AGEG | dBcA G2 || AG |

Ad de =fefd | dgg^f g2 ag | fdd=f ecce | dBcA G2 AG | Adde =fefd |

dgg^=f gbag | fdd=f ecce | dBcA G2 ||

                       

MILL TOWN MAID. AKA and see “Miltown Maid.”

                       

MILLADEN. Scottish, Strathspey. B Minor. Standard. AAB. From the Harp and Claymore collection, composed by the great Scots fiddler-composer J. Scott Skinner (1843-1927). Skinner (The Scottish Violinist), pg. 6. Skinner (Harp and  Claymore), 1904; pg. 76.

X:1

T:Milladen

M:C

L:1/8

R:Strathspey

C:J. Scott Skinner

N:”Slowly”

Z:AK/Fiddler’s Companion

K:Bmin

F | B2 d>B f>Bd>B | [A>A]c[e>e]^g {g}a2 e>c | B2 d>B c>^AB>[=Gg] |

[F>f][Ee][D>d][Cc] [(B,2B2][B,)FB] :|!

|| c | d2 (f>e) dfad’ | [A2A2] (c>B) Acea | B2 (d>c) Bdfb |

f>ed>c (B2 [F>B)]c | d2 f>d (3add’ (3afd |!

[A2A2] c>A (3eca (3ecA | B2 d>B c^AB>G | F>ED>C (B,2 B,) ||

                       


MILLAR OF DRONE. See "Miller of Drone".

                       

MILLBANK COTTAGE. Scottish, March (2/4 time). A Major. Standard tuning. AABBCCDD (Brody): AABB'CCDD' (Martin). Composed by W.R. (or 'W.D.') Drumbeck (though often listed as "traditional"). Favored at pipe competitions, says Robin Morton (1976). Brody (Fiddler’s Fakebook), 1983; pg. 188. Martin (Ceol na Fidhle), Vol. 2, 1988; pg. 6. Olympic 6151, The Angus Strathspey and Reel Society‑ "Scottish Traditonal Fiddle Music" (1978). Philo 1042, Boys of the Lough‑ "Piper's Broken Finger" (1976).

                       

MILLBRAE. Shetland, Reel. A Major. Standard tuning. AAB (Martin & Hughes): AABB’ (Songer). Composed by the late Shetland pianist and accordion player Ronald (Ronnie) Cooper of Lerwick, Shetland. Martin & Hughes (Ho-ro-gheallaidh), 1990; pg. 27. Songer (Portland Collection), 1997; pg. 134. BM-91, Buddy MacMaster – “Glencoe Hall.” Philo 1031, Boys of the Lough - “Lochaber No More” (1976).

                       

MILLEDGEVILLE. AKA and see "Long Road to Milledgeville." Old‑Time, Breakdown. USA, Alabama. This tune has been identified as distinct to the Rocky Ridge, Alabama, region.

                       

MILLER, THE.  AKA and see “Miller’s Reel [1].”

 

MILLER AND THE COLLIER, THE.  English, Jig. A Major. Standard tuning. AABB. The melody is unique to London publisher Charles and Samuel Thompson’s 1765 collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 50.

X:1

T:Miller & Collier, 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:A

(c/B/)|AaA AaA|edc “tr”B2A|def edc|BFA {A}GFE|AaA AaA|edc “tr”B2A|def edc|BAG A2:|

|:(G/F/)|EeE EeE|BAG “tr”F2E|A>BA A>ce|e>dc B3|AaA AaA|edc “tr”B2A|def edc|BAG A2:||

 

MILLER AND HIS SONS, THE. English, Air (4/4 time). England, Northumberland. D Major. Standard tuning. One part. "The miller of the olden time was deemed fair game for the satirist. Chaucer, describing the miller, says:

***

'A thief he was, forsooth, of corn and meal,

And that a sly, and usant for to steal.'

***

This ballad is one of the most popoular of the numerous songs written in ridicule of the trade. Many different versions of it are in existence; the tune also varies in different localities. The present air is evidently a slightly varied set of the old tune called 'The Oxforshire Tragedy', which Mr. Chappell believes to have been one of the old ditties used by the minstrels of the fifteenth and sexteenth centuries in chanting their lengthty narratives at Christmas dinners and bride‑ales" (Stokoe).

***

There was a jolly miller, and he

Had lusty sons, one, two, and three;

He called them all and asked their will,

If that to them he left his mill.

***

The song has indeed been collected in myriad versions; see, for example, the old‑timey versions called "The Miller's Will" as played by the Gypsy Gyppo String Band (Bay 209) and the New Lost City Ramblers (Folkways). Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pgs. 94‑95.

X:1

T:Miller and his sons, The

M:C

L:1/8
S:Bruce & Stokoe – Northumbrian Minstelsy (1882)

Z:AK/Fiddler’s Companion

K:D

FE|D2D2d2 AG|FF E2D2c2|d2d2e2A2|B2^G2A2 de|f2e2d2D2|

F2A2d2 dc|B2B2B2 dB|A2G2F2 DE|F2A2d2AG|F2E2D2||

                       

MILLER BOY. Old-Time. DDad tuning.

                       


MILLER LADS (Gillean ban a' mhuilleir). AKA and see "Dunmaglass."  Scottish, Strathspey. F Major. Standard tuning. AA'BB'. This tune "is the composition of a man of the name of Gow, who lived in Dunmaglass, in Inverness‑shire, during the last century. He was miller, carpenter, and minstrel to the family of Dunmaglass, and his sons, in the capacity of gamekeepers or sportsmen, supplied the table with venison and game. The air celebrates the alertness of those young fellows" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 80, pg. 29. Stewart-Robertson (The Athole Collection), 1884; pg. 212.

X:1

T:Miller Lads

M:C

L:1/8

R:Strathspey

B:Stewart-Robertson: The Athole Collection (1884)

Z:AK/Fiddler’s Companion

K:F

A|F<F A2 F<FA<c|G>GA>c d2 d<f|1 F<F A2 F<F A>c|G<G A>F D2D:|2

f>ga>c A>GF>A|G<G A>F D2D||

e|~f>c d/c/B/A/ f<c c>a|~f<c c>A d2 d>e|1 f>ga>c A>GF>A|G>GA>F D2D:|2

f>a g<a A>G F<A|G<G A>F D2D||

                       

MILLER OF CAMSERNEY, THE. Scottish, Strathspey. A Major. Standard. AAB. Composed by A(rchie) Menzies (according to Stewart-Robertson), perhaps the Archibald Menzies who was appointed Conductor of the Edinburgh Highland Reel and Strathspey Society in 1889. Upon his death in 1914 he was succeeded to the position by his son, Ian C. Menzies, until his death in 1949. Hunter (Fiddle Music of Scotland), 1988; No. 140. Stewart-Robertson (The Athole Collection), 1884; pg. 40.

X:1

T:Miller of Camserney, The

M:C

L:1/8

C:A. Menzies

R:Strathspey

S:Stewart-Robertson – The Athole Collection  (1884)

Z:AK/Fiddler’s Companion

K:A

c | {G}A>EC>A F>AE>G | A>EC>c {c}B>A B<c | {G}A>EC>A F>AE>C | (3DEF (3EGe c<AA :|

(c/d/) | {c/d/}e>c A<a f<d e>d | c>e (3cAc d<BB(c/d/) | {c/d/}e>c A<=g f<d e>c | {e}(3dcB (3GBe c<AA(c/d/) |

e>cA>a f<d e>d | c>e (3cAc d<BB(c/d/) | (3ecA (3AEC (3FDA E>C | (3DEF (3EGe c<AA ||

                       

MILLER O' DEE, THE. AKA ‑ "The Miller of the Dee." English, Scottish; Jig or Country Dance Tune. A Minor (Kerr, Raven): C Minor (Gow). Standard tuning. AB (Raven): ABB (Gow, Kerr). Cecil Sharp, writing in his book English Folk-Song (1907), begs comparison of two English versions of this tune (see abc’s below), one an “improved” version from a ballad opera, printed by Chappell in Popular Music of the Olden Times, and one collected by Vaughan Williams from a traditional singer. One can “see for himself how grievously a fine tune has suffered at the hands of the editing musician.” Chappell did print another version, says Sharp, that he did collect from a traditional source, noted down from a street singer in Kilburn, “one of the very few genuine traditionary (sic) airs in his book. The superiority of this second tune over the first does not, however, seen to have struck him; indeed, it may be doubted whether he perceived the connection between the two tunes.” Gow (Complete Repository), Part 3, 1806; pg . 8. Kerr (Merry Melodies), vol. 3; No. 406, pg. 44. Raven (English Country Dance Tunes), 1984; pg. 119. Sharp (English Folk Song), 1907; pg. 116.

X:1

T:Miller of Dee, The

M:6/8

L:1/8

R:Jig

S:Gow – 3rd Repository  (1806)

Z:AK/Fiddler’s Companion

K:C Minor

G|{E}c2 c {c}B2G|e2e d2f|(fe)c (ed)=B|c3 z2G|c>~dc {c}=B>=AG|e>fe d2 g/f/|

{f}e>dc {e}d>c=B|(c3 c2)||

|:e/f/|g2g g2e|f2f f2d|e>dc f2e|e3 {fe}d2G|c>dc {c}=B>=AG|~e>fe d2 g/f/|

{f}e>dc {e}d>c=B|(c3 c3):|

X:2

T:Miller o’ Dee

L:1/8

M:6/8

S:Chappell – Popular Music of the Olden Times  (1859)

Z:AK/Fiddler’s Companion

K:G Minor

D|G2G ^F2D|B2B A2c|B2G A2^F|(G3 G2):|

B/c/|d2d d2B|c2c c2A|BG2 c2B|B3 A2D|G2G ^F>=ED|

B2B A2c|B>AG A2^F|(G3 G2)||

X:3

T:Miller o’ Dee

L:1/8

M:6/8

S:Vaughan Williams – Collected from a traditional singer

K:G Minor

D|G2G F2D|B2c d2c|B2G B2A|(G3 G2):|

c|d2d dcB|c2c c2d|B2A G2D|F3 F2D|G2G F2D|B2c d2c|

B2G G2A|(G3 G2)||

 

MILLER O' DERVIL. AKA and see "The Auld Brig o' Ayr,” "Benholm Castle,” "Bob Steele," "Johnnie Steele," "The New Brig o' Dee." Scottish, Strathspey. D Major. Standard tuning. AAB. A tune reworked by many people, though it is principally associated (as "Johnnie Steele") with James Barnett of Kirkwall (1847‑1898). It is attributed to Tom Barnett in Skinner’s Scottish Violinist. Hardie (Caledonian Companion), 1992; pg. 54. Martin (Traditional Scottish Fiddling), 2002; pg. 141. Skinner (The Scottish Violinist), pg. 11.

X:1

T:Miller o’ Dervil, The

M:C

L:1/8

R:Strathspey

Z:AK/Fiddler’s Companion

K:D

A, | [DD<]D F>A d>c d<f | [DD<]D F>D E>B,B>E | D<D F>A d>cd>A | (3.B.c.d (3.A.B.G F<D D :|

|| A | (d>ef>).g (a>ba>).d | (=c>de>).f (g>ag>).e | (d>ef>).g (a>ba>).f |

(3.g.f.e (3.b.a.g f<d [Fd>]g | (3.f.d.f (3.a.f.d (3.g.f.g  (3.e.f.g | (3.f.d.f (3.e.c.e (3d.c.B (3.A.B.=c |

(3.B.G.B (3d.c.B (3[AA][Ff][Ae] (3.d.c.B |ABA GFE F<D [A,D] ||

 

MILLER OF DRAUGHIN, THE. AKA – “Miller of Droghan.” AKA and see “Man from Bundoran.” Irish, Reel. E Minor. Standard. AB. A distanced version of the Scots tune “Miller of Drone.” Source for notated version: Paddy O’Brien [Black]. Black (Music’s the Very Best Thing), 1996; No. 280, pg. 150. Green Linnet GLCD 1200, Lunasa – “Otherworld” (1999. Appears as “Miller of Drohan”). Green Linnet SIF 3040, De Dannan – “Ballroom” (learned from the playing of Dermy and Tara Diamond of Belfast, although the group thinks it may have originally come from fiddler Tommy Gunn, from Co. Fermanagh). Paddy O’Brien (et al) – “The Big Squeeze.”

X:1

T: Miller of Draughin

Q: 350

R: Reel

M: 4/4

L: 1/8

K: Edor

BA | GE ~E2 DEB,E | DEGA BcBA | BE~E2 DEB,E | DEGA B2BA |

GE~E2 DEB,E | DEGA BcBA | BE~E2 DEB,E | DEGA B2BA ||

G2 BG dGBG | Beef gedB | G2 BG dGBA | GEGA BdBA |

G2 BG dGBG | Beef gfeg | faef dedB | GEGA BABd ||

           

MILLER OF DROHAN. See “Miller of Draughin,” "Miller of Drone." Lunasa – “Otherworld.”

           


MILLER OF DRONE [1], THE. AKA – “Miller of Drum.” See "Cairistiona Chaimbel" and "Christy Campbell." Scottish (originally), English, Canadian; Strathspey. England, Northumberland. Canada; Cape Breton, Prince Edward Island. E Minor (Colclough, Hall & Stafford, Kennedy, Raven): F Sharp Minor (Athole, Cole, Gow, Hardie, Hunter, Kerr, Martin, Skye, Skinner, Surenne): A Minor (Carlin/Master, Honeyman, Perlman). Standard tuning. AB (Carlin, Cole, Gow, Hardie, Honeyman, Hunter, Martin, Perlman, Skinner, Surenne): AAB (Kennedy): AA'B (Athole, Skye): AABB (Colclough, Raven). This classic strathspey was probably composed by Nathaniel Gow (1763-1831), to whom it is often attributed, and appears in his Complete Repository, Part Second, 1802. Nathaniel’s father Niel Gow is also sometimes credited with the piece (e.g. by Perlman). “The Miller of Drone” was published about 1801 by John Pringle. It has been said that Pringle also claimed authorship, and certainly “Drone” is sometimes credited to him as well, however, Alburger (1983) points out that Pringle clearly identified other tunes on the same page as his own, but did not put his name with “Drone.” Although Gow published it a year later most authors seem to lean toward ascribing the tune to him, with the notable exception of the collector and Gow sceptic John Glen (1895), who called Gow’s claim "doubtful." J. Scott Skinner, never one to shy from self-promotion, predicted when he published his own famous strathspey "The Miller o' Hirn" that "'The Miller o' Drone' will drone no more"--time, however, has not proven him correct. A melody with this title (perhaps version #2) is one of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript. Cape Breton fiddlers made sound recordings of the tune relatively early: Angus Allan Gillis cut it on 78 RPM in 1935 (paired with “The Yetts of Muckart”). See also note for “Grey Eagle [1].” Sources for notated versions: Bill Hardie (Scotland) [Hunter]; Peter Chaisson, Jr. (b. 1942, Bear River, North-East Kings County, Prince Edward Island) [Perlman]. Alburger, 1983; Ex. 79, pg. 131 (appears as "Millar of Drone"). Carlin (Master Collection), 1984; No. 146, pg. 88. Carlin (The Gow Collection), 1986; No. 48. Colclough (Tutor for the Irish Union Pipes), c. 1830; pg. 13. Cole (1000 Fiddle Tunes), 1940; pg. 124. Gow (Complete Repository), Part 2, 1802; pg. 25. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 55. Hardie (Caledonian Companion), 1986; pgs. 26-27 (includes variations by Bill Hardie). Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 18. Hunter (Fiddle Music of Scotland), 1988; No. 144. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 125, pg. 30. Kerr (Merry Melodies), vol. 1; Set 30, No. 1, pg. 18. Lowe (A Collection of Reels and Strathspeys), 1844. MacDonald (The Skye Collection), 1887; pg. 2. Martin (Traditional Scottish Fiddling), 2002; pg. 15. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 197. Raven (English Country Dance Tunes), 1984; pg. 181. Ryan’s Mammoth Collection, 1883; pg. 163. Skinner (Harp and Claymore), 1904; pg. 108. Stewart-Robertson (The Athole Collection), 1884; pg. 10. Surenne (Dance Music of Scotland), 1852; pgs. 50-51. ACC-49398, Brenda Stubbert - “House Sessions” (1992). Beltona BL2128 (78 RPM), The Edinburgh Highland Reel and Strathspey Society (1936). Canadian Broadcasting Corp. NMAS 1972, Natalie MacMaster - "Fit as a Fiddle" (1993). Celtic CX 017, Dan J. Campbell. Green Linnet SIF3040, De Dannan - "Ballroom" (1987. The tune appears on the record as "The Miller of Drohan," rendered as a hornpipe. It was learned from the playing of Tara and Dermy Diamond of Belfast, though the version probably originally came from Co. Fermanagh fiddler Tommy Gunn.) Rounder 7003, John Campbell - “Cape Breton Violin Music” (1976). Rounder Records 7052, Buddy MacMaster – “The Cape Breton Tradition” (2003). “James F. Dickie’s Delights” (1976).

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:Miller of Dron [1]

Q:140

M:C

L:1/8

R:Strathspay

B:Stewart-Robertson – The Athole Collection (1884)

Z:AK/Fiddler’s Companion

K:A

c/B/|A<FF<A E>F E<C|A,<Ad>c B2 Bc/B/|1 A<FF>A E>F E<C|D<FE>G A2A:|2

e>Bc>G A>EF>C|D>FE>G A2A||c/d/|e<cc<a e>e f/e/d/c/|e<cc<a f2 f>a|e<c c>a e>e f/e/d/c/|

d>Bc>A F2 Fc/d/|e<cc<a e>e f/e/d/c/|e>fa>g f2 f>g|(3agf (3efg (3aed (3cBA|(3dcB (3cBA (3Ffe (3dcB|]

 

MILLER OF DRONE [2], THE. Scottish, Country Dance Tune (6/8 time). The piece appears in the Bodleian Manuscript (in the Bodleian Library, Oxford), inscribed "A Collection of the Newest Country Dances Performed in Scotland written at Edinburgh by D.A. Young, W.M. 1740."


                       

MILLER OF GLANMIRE, THE (An Muilleoir Ua Gleann-Magair). AKA and see “The Lilting Banshee,” “Ryan’s Favorite.” Irish, Double Jig. A Mixolydian. Standard tuning. AABB. O’Neill had the tune from a seventeen year old fiddler named George West, who, though gifted musically, was somewhat indigent and did not own a fiddle. He had formed a symbiotic musical relationship of sorts with one O’Malley, who did own a fiddle and who eked out a meager living playing house parties despite the loss of a finger from his left hand. O’Malley, however, invariable could only make it to midnight before he got too drunk to bow, at which time West took over his fiddle and finished the night’s engagement. “Thus lived the careless, improvident but talented Georgie, until an incident in his life rendered a trip to the far west advisable." See also the related tunes “Killaloe Boat” and “Ballinasloe Jig.” O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 765, pg. 143. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 48, pg. 24.

X:1

T:Miller of Glanmire, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 48

Z:AK/Fiddler’s Companion

K:A Minor

G|EAA EAA|~B3 G2A|Bee edB|de^f gag|eaa age|dBG G2A|Bee dBG|BAA A2:|

|:d|eaa age|dBG G2A|Bee edB|de^f gag|eaa age|dBG G2A|Bee dBG|BAA A2:|

           

MILLER OF GLENMIRE, THE. AKA and see “Ballinasloe Jig,” “Boholla Jig [1]," "The Lilting Banshee." Irish, Reel. Mary Bergin's title.

           

MILLER O' HIRN, THE. Scottish, Strathspey. D Major. Standard tuning. AAB. The first tune composed by J. Scott Skinner, for his friend James Johnston, the miller at Hirn, near Banchory, whom he visited as a child (Hunter says Skinner's grandfather and Johnston married sisters).  Skinner apparently was confident that his composition, which in fact is one of his best, would supplant the famous strathspey "Miller o' Drone" in the literature, for he prefaced the tune in his Harp and Claymore collection with:

***

We'll 'Drone' nae mair, sin' we ha'e got

The 'Miller o' the Hirn', O.

***

Hunter (1979) includes this bit of verse in his note on the melody:

***

'Lad, cam' ye doun by Feugh's green howe,

The Feugh that rins through Crathes, O?

Heard ye a fiddler dirl a bow,

Wi' something like a pathos, O?

Weel, gin he meet wi' your applause,

I brawly can discern, O,

The dusty‑noted fiddler was

"The Miller o' the Hirn", O.

***

Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 105, pg. 182. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 109 (appears as “Untitled Strathspey”). Hardie (Caledonian Companion), 1992; pg. 73. Hunter (Fiddle Music of Scotland), 1988; No. 111. MacDonald (The Skye Collection), 1887; pg. 67. Skinner (Harp and Claymore Collection), 1904; pg. 71. Skinner (The Scottish Violinist), pg. 2. Topic 12T280, J. Scott Skinner “The Starthspey King.” Tradition 2118, Jim MacLeod & His Band ‑ "Scottish Dances: Jigs, Waltzes and Reels" (1979).

See also listing at:

Alan Snyder’s Cape Breton Fiddle Recording Index

X:1

T:Miller o’ Hirn, The

M:C

L:1/8

R:Strathspey

S:MacDonald – Skye Collection (1887)

Z:AK/Fiddler’s Companion

K:D

D>E F<B A<F (D2|B,>)E G/F/E/D/ C<A, ~A,>C|D>E F<B A<F D2|

B,>D (C<A) F<D D2:|

A>G (F<d) B<(G ~G2)|B>A ^G<e c<A A>B|A>G (F<d) B>A (G<B)|

c>B A<a f<d ~d>B|A>G (F<d) B<(G ~G2)|B>A (^G<e) c<A A>c|

(3dAB (3cde (3fde (3fga|(3bag (3fed (3cBA (3GFE||

           

MILLER OF MANSFIELD, THE. English, Jig. England, Northumberland. F Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 2; No. 388.

X:1

T:Miller of Mansfield, The

M:6/8

L:1/8

R:Jig

S:William Vickers – Great Northern Tunebook, part 2, No. 388  (1780)

Z:AK/Fiddler’s Companion

K:F

D | GAG BAG | dBG A2D | GAG BAG | dBG A2 G/F/ | GFG AFG | AFG ABc |

dcB AGF | GEA D2 :: D | F2G AFD | ABc B2B | edc BAG | AFB E2E | GAG AcA |

FDF G2A | BAG dBG | dBG D2 E/F/ | GFE AcB | AGF G2D | GFE AcB | AGF G2 :|

           

MILLER OF MORPETH, THE. English. England, Northumberland. Title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800.

           

MILLER OF THE DEE, THE. AKA and see "The Miller O' Dee."

           

MILLER THAT GRINDS THE BARLEY, THE.  English, Single Reel. D Major. Standard tuning. AAB. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 126, pg. 30.

 

MILLER'S DANCE ON THE WINDMILL, THE. English, Jig. D Major. Standard tuning. AABB. The melody appears in Walsh’s collection of Lancashire tunes (Lancashire Jigs, Hornpipes, Joaks, etc.) published around the year 1730.

X:1

T:Millers Dance on the Windmill

B:Walsh

M:3/8

L:1/8

K:D

d3 DFA| d3 DFA| d3 def| ecA ace| ecA ace| ecA ace|ecA EA^G| AEC A,3::\

a3 Ace| a3 Ace| a3 efg |fda fda |fda fda|fda fda| fdf Adc| daf d3:|

                       


MILLER'S DAUGHTER [1], THE. AKA and see "Miller's Wedding," "Comin' Thro' the Rye," "My Dear, Durst I but Mow You." Scottish, Slow Strathspey; English, Reel. England, Northumberland. D Major. Standard tuning. AABB (Vickers): AABBCD (Athole, Skye): AABBCCDDEE (Gow). Familiar to most of us in modern times as a version of the air “Comin’ through the Rye.” It was printed early in the c. 1790 Sharpe MS., pg. 83, and Niel Gow's Strathspey Reels, vol. 1, 1784. John Glen (1891) finds the earliest appearance of the tune in print in Alexander McGlashan's c.1780 collection, however it was earlier printed in the c. 1770 Northumbrian collection of William Vickers and R. Bride’s London-published Twenty Four Country Dances for the Year 1770 (both under the “Miller’s Daughter” title). A version called “The Duke of Buccleugh’s Tune” appears in Joshua Campbell’s c. 1788 Collection of Newest and Best Reels and Minuets (Glasgow). Stewart-Robertson's version in the Athole Collection appears with the note "Old set," while Gow says his is “The Original Set.” See also note for "Auld Lang Syne." Carlin (The Gow Collection), 1986; No. 140. Gow (The First Collection of Niel Gow’s Reels), 1784 (revised 1801); pg. 19. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 50 (appears as "Miller's Wedding"). Jones [ed]. (Complete Tutor Violin), c. 1815; pg. 2. Kerr (Merry Melodies), vol. 3; No. 370 (appears as "Comin' Thro' the Rye"). McGlashan (Collection of Strathspey Reels), vol. III, 1786; pg. 5. MacDonald (The Skye Collection), 1887; pg. 51. Seattle (William Vickers), 1987, Part 3; No. 500. Stewart-Robertson (The Athole Collection), 1884; pg. 126.

X:1

T:Miller’s Daughter [1]

M:C|

L:1/8

R:Strathspey

N:”Old set.”

B:Stewart-Robertson – The Athole Collection  (1884)

Z:AK/Fiddler’s Companion

K:D

A,|B,<D D>B, E>DE>F|A,>A,B,>A, D2 C>A,|B,<D D>B, E>DE>F|A,<A, B,>A, D2D:|

|:B|D<D F>D A<F E>B|D<D F>D A>D F<D|GB/G/ Fd/F/ E>D E<F|A,<A, B,>A, D2D:|

|:f|d<d d>B e>d e<f|A<A B>A d2 d>f|d<d d>B e>d e<f|A<A B>A d3:|

f/g/|a>fd>f e>d e<f|a/g/f/e/ d>A d>ef>d|ga/g/ f/a/g/f/ e>d e<f|A<A B>A d2df|

D<D F>D E2 E>F|D<D F>A A>Bd>e|f>de>B d>FE>F|A,<A, B,>A, D3||

X:2

T:Miller’s Daughter, The

M:C|

L:1/8

S:McGlashan - Strathspey Reels  (1786)

Z:AK/Fiddler’s Companion

K:D

A,|D<D D>B, E>D E<F|A,<A, B,>A, D3 F | D<D D>B, E>D E<F |

A,<A, B,>A, D3 :: F | D<D F>D A>F E<B | D<D F>D A>DF>D | E>DF>D A>F E<B |

A,<A, B,>A, D3 :: A | d<d d>B e>d e<f | A<A B>A d3f | d<d d>B e>d e<f |

A<A B>A d3 :: f/g/ | a>fd>f e>d e<f | a/g/f/e/ d>A d>ef>d | g>af>b e>d e<f | A<A B>A d3 :|

|: f | D<D A>F E3B | D<D F>D A3f | D<D A>F E3B|D<D F>A d>ef>d | e>Bd>A B>F A>B, |

A,>A, B,>A, D3 :: f | d<df<d g>f e<a | d<d f>d g>ef>d | e>df>d g>f e<a | A<A B>A d3:||

 

MILLER'S DAUGHTER [2], THE (“Ingean an Muilleora” or “Iníon an Mhuilleora”). Irish, Reel. A Major. Standard. AA'B. Breathnach’s tunes are related to the O’Neill tune. Source for notated version: Sliabh Luachra fiddler John Buckley [Breathnach]. Breathnach (CRÉ V), 1999; Nos. 185 (i) & (ii). O'Neill (Krassen), 1976; pg. 112. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 553, pg. 102. O’Neill (Music of Ireland), 1903; No. 1288.

X:1

T:Miller’s Daughter, The [2]

M:C|

L:1/8
R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 553

Z:AK/Fiddler’s Companion

K:A

ag | e>c (3ccc ecfc | dfec B2 af | e>c (3ccc ecAc | BABc A2 af |

e>c (3ccc ecac | dfec B3f | ecea fdfa | gefg a2 || fg | afge fdef | afec B2 fg |

afge fdec | defg agaf | eaga bgaf | ecAc B2 Bc | Ad{e}dc defa | gefg a2 ||

 

MILLER'S DAUGHTER [3], THE. English, Scottish; Reel. G Major. Standard tuning. AABB. A Scottish sounding tune despite its numerous appearances in English publications, beginning with Charles and Samuel Thompson’s Compleat Collection (London, 1773). It can also be found in Straight and Skillern’s Two Hundred and Four Favourite Country Dances, vol. 1 (London, 1775), Longman and Broderip’s Compleat Collection of 200 Favourite Country Dances (London, 1781), and a Northumbrian collection of Newcastle piper John Peacock published in 1805. Glen (1891) finds Scottish versions earliest printed in Edinburgh publisher Neil Stewart's 1761 collection (pg. 45), a volume that the EASMES site dates to 1775 (which matters for provenance purposes). James Aird included it in his second collection of Selections of Scotch, English, Irish, and Foreign Airs (Glasgow, 1785, pg. 18). In America it was entered into the 1788 music manuscript copybook of fiddlers John and William Pitt Turner (Norwich, Conn.), as were numerous tunes from the Thompson’s 1773 collection. Miller (Fiddler’s Throne), 2004; NO. 215, pg. 133. Peacock (Peacock’s Tunes), c. 1805; No. 40, pg. 18. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 110.

X:1

T:Miller’s Daughter [3], The

M:C|

L:1/8

R:Reel

S:Peacock’s Tunes (1805), No. 40

Z:AK/Fiddler’s Companion

K:G

d2 dc B>cdB|G2 Gd e>deg|d2 dc B>cdB|ABcd e2 ef:|

|:gdgd BGGe/f/|gdgd e2 ef|gdgd BGGB|ABcd e2 eg:||

X:2

T:Miller’s Daughter, The  [3]

M:C|

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:A

a|e/e/e e2 c>ded|ceAa f2 eg|e/e/e e2 c>dec|B/B/B ce f2e:|
|:f/g/|a>ea>f ecAf/g/|aefg f2 ef/g/|aeaf ecaA|B/B/B ce f2e:||

           

MILLER'S FLOOR BOARDS. Canadian, Jig. A Major/Mixolydian. Standard tuning. AA'BB'. Composed by piano player Matthew Cook, editor of The Night in the Kitchen Collection and presently a student at St. Mary's Universtiy, Halifax, Nova Scotia. Cook (Night in the Kitchen), 1996; pg. 20.

           

MILLER'S FROLIC [1]. Old‑Time. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

 

MILLER'S FROLICS [2]. AKA and see "Peter Street [1]."

           

MILLER'S HORNPIPE. Scottish, Shetlands; Hornpipe. Shetland, Island of Whalsay. The Shetlands variant has a distinct character from the Scottish (Cooke).

           

MILLER'S MAGGOT, THE. Irish, Air or Jig (6/8 time). G Major/E Minor (Joyce, Songer): F Major/D Minor (O’Farrell). Standard tuning. AB (Joyce): AABB (O’Farrell): AABB’ (Songer). The word maggot refers to a unit of liquid measure, a dram (see Joyce, 1909), although in archaic use (e.g. Playford) a ‘maggot’ meant a slight or small tune, a plaything, a whim; from the Italian maggioletta, or plaything. Joyce (Old Irish Folk Music and Song), 1909; No. 438, pg. 248. O’Farrell (National Irish Music for the Union Pipes), 1804; pg. 31. Songer (Portland Collection), 1997; pg. 135. Kerry Elkin - “Soir et Matin” (1990).

X:1

T:Miller's Maggot, The

M:6/8

L:1/8

R:Jig

Z:NJI

K:G

G2A B2A|B2A BGE|G2A B2A|Bee dBA| G2A B2A|B2A BGE|gfe dBA|1 Bde dBA:|2

Bde dBd| |e2f g2e|d2B BAG|e2f gfg|a2a bge| e2f g2e|d2B BAG|A2B cBA|1 Bde dBd:|2 Bde dBA||

           

MILLER'S MAID [1], THE ("Aindear an Muilleoir/Muilleora" or "Cailín an Mhilleora"). Irish, Reel. D Major. Standard tuning. AAB (O'Neill/1850 & 1001): AABB (Cole, O'Neill/Krassen). Source for notated version: piper Seamus Ennis (Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 198, pg. 88. Cole (1000 Fiddle Tunes), 1940; pg. 13. O'Neill (Krassen), 1976; pg. 106. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1258, pg. 236. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 528, pg. 99. Ryan’s Mammoth Collection, 1883; pg. 37. Gael‑Linn Records CEF 022, Seamus Ennis ‑ "Seoda Ceoil II" (The title on the sleeve notes is “Flags of Dublin”).

X:1

T:Miller’s Maid, The [1]

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 528

Z:AK/Fiddler’s Companion

K:D

B | A2 FA BcdB | A2 FA BEEB | A2 FA Beec | dABG FD D :| c | dAFA dfaf |

gfed cdec|dAFA BABc|dABG FDDc|dAFA dfaf|gfed cd e2|defg abaf| gbag fd d ||

 


MILLER'S MAID [2], THE (Aindear an Muilleoir). Irish, Air (4/4 time). G Major. Standard tuning (fiddle). AB. This tune shares a resemblance to several others in the first half; "The Lass of Patie's Mill," "The Boatie Rows," "The Duke of Buccleuch [1]," "Carolan's Cup," and others‑‑though the resemblance does not imply a relationship. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 232, p. 40.

X:1

T:Miller’s Maid, The [2]

M:C

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 232

Z:AK/Fiddler’s Companion

K:G

d>c|B2 AG B>c d2|g3a b2 ze|efgf edcB|B2 A2 z2 d>c|B2 AG Bc d2|

g3 a/b/ d2 zg|e>fge fgab|g4||g2|gbag gfed|g2 ab d2 zd|efgd edcB|

B2 A2 z2 g>a|b>gaf g>fed|egdB A2 zd|e>fge fgab|g4||

 

MILLER’S MAID [3],  AKA and see “Flags of Dublin.”

           

MILLER'S MAN, THE. Scottish, Strathspey. D Major. Standard tuning (fiddle). AABB'. MacDonald (The Skye Collection), 1887; p. 71. Stewart-Robertson (The Athole Collection), 1884; p. 111.

X:1

T:Miller’s Man, The

M:C|

L:1/8

R:Strathspey

B:Stewart-Robertson – The Athole Collection (1884)

Z:AK/Fiddler’s Companion

K:D

A,|D<D F>D E>DF>D|A,<A, A,>B, E2 E>F|D<D F>D E>DF>D|

A,<A, A,>B, D2D:||:f|d<d f>d e>df>d|B>A B<d e3f|1

d<d f>d e>df>d|A>B A<F D2D:|2 a>fe>d B<d A>F|A>BA>F D2D||

           

MILLER'S RANT [1]. Scottish, Strathspey. D Major. Standard tuning (fiddle). AAB. Composed by the great Scottish concert fiddler and composer, James Scott Skinner (1843-1927), from his Logie Collection. Martin (Traditional Scottish Fiddling), 2002; p. 20. Skinner (The Scottish Violinist), 1900; p. 2.

X:1
T:The Miller's Rant
C:J Scott Skinner
Z:Nigel Gatherer <gatherer@argonet.co.uk>
M:4/4
L:1/8
R:Strathspey
K:D
A,<DF>D A>DF>D|B,<EG>EB>EG>E|A,<DF>D A>DF>D|G<BCA|

A<df>d a>df>d|B>^de>f g>ec>B|A|A<df>d a>df>d|B<dcA|
A<df>d a>df>d|B>^de>f g>ec>B|(3agf (3edc (3BAG (3FED|\
(3CDE (3A,B,C D2 D|]

 

MILLER'S RANT [2]. English, Country Dance Tune (6/8 time). England, Yorkshire. A Dorian. Standard tuning (fiddle). AABB. Source for notated version: an MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 77, p. 47.

 

MILLER'S REEL [1]. AKA and see "The Dawn [1],” “Dawning of the Day [5]” (Fáinne an Lae), "Dusty Miller [5]" (floating title), “The Spirit of 1880,” "Twenty-Eighth of January," "The Twenty-Second of February." AKA – “The Miller.” Old‑Time, New England, British Isles; Reel, Breakdown. A Major. Standard tuning (fiddle). AB (Bayard, Silberberg): AABB (most versions): AA'BB' (Phillips). Fairly common and widely known fiddle tune in America, although also popular Scotland (“The Miller”) and Ireland (“The Dawn,” “Dawning of the Day”). Very similar to "Spirit of 1880 Reel," and in modern times is also known as "The Twenty-Eighth of January." The melody appears as "The Twenty-Second of February" in George P. Knauff's Virginia Reels, volume II (Baltimore, 1839). Composition credited to New England bandleader and tune composer Zeke Backus in Ryan’s/Cole's 1000. Backus was also a minstrel performer, and apparently spent at least some time in San Francisco. It was published earlier, however, in Howe’s 1000 Jigs and Reels (c. 1867) as an untitled ‘reel’ included in the section of schottisches. See also the related “Big Tiger Special.” “John Sharp’s Hornpipe” is a distanced variant. Sources for notated versions: Frame Davis (Des Moines, Iowa) [Christeson]; Hogg (Pa., 1948) [Bayard]; learned by Byron Berline from his father [Frets]; Carthy Sisco [Silberberg]; Dr. John Turner, director of the Jink and Diddle School of Scottish Fiddling, held yearly in Valle Crucis, North Carolina [Johnson/2003]. Bayard, 1981; No. 135, pg. 74 (appears as untitled reel). Brody (Fiddler’s Fakebook), 1983; pg. 189. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; p. 19. Cole (1000 Fiddle Tunes), 1940; p. 45. Frets Magazine, "Byron Berline: the Fiddle," February 1986; p. 57. Howe (1000 Jigs and Reels), c. 1867, pg. 54 (appears as an untitled “Reel”). Jarman (The Cornhuskers Book of Square Dance Tunes), 1944; p. 25. Jarman, 1951; pg. 10. Jigs and Reels, vol. 1, p. 22. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 3 (appears as “The Miller”). Messer (Way Down East), No. 13. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 90. O'Malley, p. 14. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; p. 152. Ryan’s Mammoth Collection, 1883; p. 72. Silberberg (Tunes I Learned at Tractor Tavern), 2002; p. 98. Silberberg (Tunes I Learned at Tractor Tavern), 2002; p. 98. Songer (Portland Collection), 1997; p. 135. Sweet (Fifer’s Delight), 1965/1981; p. 71. Caney Mountain CEP 210 (privately issued extended play LP), Lonnie Robertson (Mo.), 1965‑66. County 707, Norman Solomon‑ "Texas Fiddle Favorites." F&W Records 2, "F&W String Band 2." Folkways FTS 31039, "Red Clay Ramblers" (1974. Learned from Armin Barnett). Fretless 101, "The Campbell Family: Champion Fiddlers." Front Hall 08, Alister Anderson‑ "Traditional Tunes." Rounder 0100, Byron Berline‑ "Dad's Favorites." Rodney Miller - “Airplang II” (1987).

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:Miller’s Reel [1]

M:C|

L:1/8

R:Reel

K:A

|:E2|A,2 CE D2 FA|E2 GB A2 cA|BE cE dE cE|BE cB AF EC|

A,2 CE D2 FA|E2 GB A2 ce|fe fg ag af|ec Bc A2:|

|:(3efg|a2 ga fe ce|b2 bg ag fe|ge be gb eg|fe ^df e2 (3efg|

a2 ga fe ce|fg ag fe ce|fd ge af ec|BA Bc A2:|

 


MILLER'S REEL [2]. Old‑Time, Breakdown. USA, Kentucky. G Major. Standard tuning. AB. Similar to above but in key of G Major. Source for notated version: J.P. Fraley (Rush, Ky.) via Jack Link (Seattle) [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 98. Bee Balm 302, “The Corndrinkers.” Philo 1040, Jay Ungar‑ "Catskill Mountain Goose Chase" (1977. Learned from fiddler J.P. Fraley of Rush, Ky.). Rounder 0037, J.P. Fraley‑ "Wild Rose of the Mountain".

X:1

T:Miller’s Reel [2]

L:1/8

M:C|

S:Jay Ungar

Z:AK/Fiddler’s Companion

K:G

G,A,B,D C2E2 | DEFD G2G2 | GABd gage | f2 d2d2 ef | gfga gfef |

edBd cBAG | FDEF DFAc| B2G2 G4 :: ef | g2 ga gfed | BA B2 AGBd |

e a2 b a4 | (3aba fa edef | gfga baga | efed BdcB | AGFE (3DEF Ac | B2G2G2 :|

 

MILLER'S WEDDING, THE. AKA and see "The Miller's Daughter [1]," "My Dear, Durst I But Mow You." Scottish, Strathspey. D Mixolydian. ADae or Standard tuning. AABB (Alburger): AABBCCDDEE (Johnson). Composed by Robert Bremner (c. 1713‑89), and noted in scordatura form in his collection, where it was first printed (pg. 41). It originally had rude or bawdy words attached to it. The tune (actually strains one and four) later used by Robert Burns for his song "Comin' Through the Rye." See also note for "Auld Lang Syne." Source for notated version: Bremner's Scots Reels (c. 1765), pg. 41 [Johnson]. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 30, pg. 54 (strains one and two only). Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 50, pgs. 114‑115.

X:1

T:The Miller's Wedding

T:The Miller's Daughter

B:Cumming's Collection, 1780, via...

B:The Popular Songs and Melodies of Scotland

Z:Nigel Gatherer

M:2/4

L:1/8

K:G

D|G<GG>E|A>GAB|D<DE>D|G3 B|

G<GG>E|A>GAB|D<DE>D|G3 z|

 

MILLER'S WIFE O' BLAYDON, THE. English, Air and Pipe Tune (4/4 time). England, Northumberland. G Major. Standard tuning. AB. "'The Miller's Wife o' Blaydon' is a pipe tune of the later date, probably written about a century ago, when reels began to be fashionable and popular at all assemblies for dancing in the north" (Bruce & Stokoe).

***

The miller's wife o' Blaydon,

The miller's wife o' Blaydon,

Sair she bang'd her ain gudeman

For kissing o' the maiden.

Yet aye the miller sings and swears,

Though kissing he'd had plenty,

For one kiss o' that bonny mouth

He'd freely give up twenty.

The miller's wife, &c. (Stokoe)

***

Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 169.

X:1

T:Miller’s Wife o’ Blaydon, The

M:C

L:1/8

S:Bruce & Stokoe – Northumbrian Minstrelsy  (1882)

Z:AK/Fiddler’s Companion

K:G

e|dB GB A2 ec|dB GB d2 (ge)|dB GB AA eg|dB GB d2 g||

f|gd BG AA ef|gd Bc d2 gf|gd Bd AA eg|dB GB d2g||

 

MILLEY'S BEQUEST. English, Morris Dance Tune (4/4 time). D Major. Standard tuning. AB. A tune for a morris two‑stick dance, collected in the village of Lichfield, Staffordshire, in England's Cotswolds. Bacon (The Morris Ring), 1974; pg. 235. Mallinson (Mally’s Cotswold Morris Book), 1988, vol. 2; No. 42, pg. 21.

 

MILLFIELD. English, Country Dance Tune (6/4 time). G Major. Standard tuning. AB. The air was published by Playford in his English Dancing Master 1650‑1658, though Chappell (1859) finds a reference to it as early as 1581. Chappell (Popular Music of the Olden Time), vol. 1, 1859; pg. 293. Raven (English Country Dance Tunes), 1984; pg. 40. Sharp (Country Dance Tunes), 1909/1994; pg. 63.

X:1

T:Millfield

M:6/8

L:1/8

S:Sharp – Country Dance Tunes  (1909)

Z:AK/Fiddler’s Companion

K:G

G|A2B c>BA|B>AG d2B|A2F D2G|F>EF G2G|A2B c>BA|

B>AG d2B|A2F D2G|F>EF G2||G|A2F D2d|B2G G2B|A2F D2G|

F>EF G2G|A2F D2d|B2G G2B|A2F D2G|F>EF G2||

 

MILLFIRE. Scottish. Composed by fiddler, singer and stepdancer Amy Geddes, brought up in Galloway, South West Scotland. Tartan Tapes CDTT1004, Amy Geddes – “Heat the Hoose” (1998).

 


MILLGOW'S REEL. American, Reel. USA, southwestern Pa. D Major. Standard tuning. AB. Bayard's source stated that Maxwell McCaslin, the Greene County representative to the state legislature in Harrisburg, Pa. (and Speaker of the House in 1854), played the tune at the balls of that city while he was there. Bayard thinks the tune Scottish sounding, and rashly speculates, with absolutely no evidence, that the name may be a corruption of 'Niel Gow', the famous Scottish fiddler. Source for notated version: George Strosnider (Greene County, Pa., 1928) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 2, pg. 17.

 

MILLHILLS. Scottish, Pastoral Air (4/4 time). A Major. Standard tuning. AB. The tune was composed by perhaps the most famous Scots fiddle/composer, J. Scott Skinner (b. Banchory in Kincardine‑shire, 1843). Neil (The Scots Fiddle), 1991; No. 89, pg. 121.

 

MILLICEN'S FAVOURITE. AKA and see "Millicent's Hornpipe."

 

MILLICENT'S HORNPIPE. AKA and see "Millicen's Favourite," "Royal Belfast," "Sweep's Hornpipe [1]." Scottish, English; Hornpipe. England, Northumberland. D Major. Standard tuning. AABBCC. Notated in Honeyman's three hornpipe styles: Newcastle, Sailor's, and Sand Dance. Hall & Stafford (Charlton Tune Book), 1974; pg. 47. Craig (The Empire Collection of Hornpipes), c. 1890’s; pg. 3. Honeyman (Strathpsey, Reel and Hornpipe Tutor), 1898; pg. 43. Kerr (Merry Melodies), vol. 1; No. 17, pg. 44.

X:1

T:Millicent’s Hornpipe

M:C

L:1/8

R:Hornpipe

S:Craig – The Empire Collection of Hornpipes (c. 1890’s)

Z:AK/Fiddler’s Companion

K:D

a>g|f>ad>f A>dF>A|D>FA>d f2 e>f|g>be>g c>eG>F|G>AB>G E2 a>g|f>ad>f A>dA>F|

D>FA>d f2 e>f | g>bg>e c>AB>c | d2 (f2 d2)::D2|G>FG>A B>cd>e|f3e d>cd>B|

A2 f2 f>Af>A|G2 e2 e>Ge>F|G>FG>A B>cd>e|f>gf>e d>cd>B|A>fe>d c>AB>c|d2 (f2 d2):|

|:a>g|(3fgf (3efe (3ded (3cdc | (3BcB (3ABA G2 (b>a) | (3gag (3fgf (3efe (3ded|

(3cdc (3BcB A2 a>g|(3fgf (3efe (3ded (3cdc|(3BcB (3ABA (3GAG (FGF|E>ge>d c>AB>c|d2 (f2 d2):||

 

MILLIE GODGER. AKA - Millie Goodger. Shetland, Air. D Major. Standard tuning. One part. "This tune was learned from the late Bobby Jamieson of Cullivoe, Yell, who said that this may have been a Mill tune, N.B., 'See Da Mill', No. 36 'Haand Me Doon Da Fiddle'. The late Peter Moar was of the opinion that the original title may have been 'Mill O' Gutcher'. This is published unbarred with pulses which seems to give a better sense of the rhythm" (Anderson). Anderson (Ringing Strings), 1983; pg. 46.

 

MILLINER’S CHOICE, THE. English, Country Dance Tune (cut time). G Major. Standard tuning. AABB. The melody is unique to London publishers Charles and Samuel Thompson’s 1757 country dance collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 62.

X:1

T:Milliner’s Choice, The

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:G

c|(B/c/d)BG B(dd)g|(B/c/d)BG F(AA)c|(B/c/d)BG B(dd)g|fgdB G/G/GG:|

|:g|fgdB fgdB|fgdB ddde|fefg afge|dgdB G/G/GG:||

 

MILLINER'S DAUGHTER, THE (Ingean an Boineadoir/Maintimeire). AKA and see “The Gardener’s Daughter [2].” Irish, Reel. G Major/Mixolydian. Standard tuning. AB (Mitchell): AAB (O’Neill): AABB (Miller, Taylor/Tweed). Sources for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; piper Emmett Gill (London) [Taylor/Tweed]. Miller (Fiddler’s Throne), 2004; No. 216, pg. 133. Mitchell (Dance Music of Willie Clancy), 1993; No. 55, pg. 61. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 265, pg. 136. O'Neill (Krassen), 1976; pg. 92. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1180, pg. 223. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 460, pg. 89. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 23. Claddagh 4CC 39, “The Pipering of Willie Clancy vol. 2” (1983). Great Meadow Music GMM 2018, Frank Ferrel & Joe Derrane – “Fiddledance” (2004). Green Linnet SIF 1135, Martin Mulhaire (with J. Coen & S. Connolly) - “Warming Up.” Kells Music KM 9509, Mike and Mary Rafferty - “The Dangerous Reel.” Shanachie 78030, Danú – “Think Before You Think” (2000).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Milliner’s Daugher, The

M:C|

L:1/8
R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 460

Z:AK/Fiddler’s Companion

K:G

G2 BG EGBG|A2 eg fdcA|G2 BG EGBd|cAFG AG G2:|

||dg {a}(3gfg dg {a}(3gfg|d=f {g}(3fef df {g}(3fef| dg {a}(3gfg dg {a}(3gfg|

dcde fdcA|dg {a}(3gfg bgaf|dcde fefg|afge fdec|dcde =fdcA||

 

MILLINER’S SHOP, THE.  English, Jig. B Flat Major. Standard tuning. AABB. The melody (and dance instructions) first appeared in John Hinton’s Universal Magazine of Knowledge and Pleasure (London, 1756). It also was printed in John Johnson’s 200 Favourite Country Dances, vol. 8 (London, 1758) as well as Charles and Samuel Thompson’s 1757 collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 102.

X:1

T:Milliner’s Shop, The

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>cB F>DF|B>cB F>DF|B>FB d>Bd|f3 F3::f>gf dbd|cac BgB|

f>gf dbd|”tr”d3 c3|f>gf dbd|cac AGF|ddB ccA|B3 B,3:||

 

MILLISON’S JEGGE.  English, Jig. D Minor. Standard tuning. AABB. "Millison's Jig" appears in the first edition of John Playford’s English Dancing Master (London, 1651), and in subsequent editions through the 7th (1686). Similar to Playford’s “Black Nag [1],” introduced in the 3rd edition of the Dancing Master (1657). Barlow (Complete Country Dances from Playford’s Dancing Master), 1985; No. 63, pg. 30. Barnes (English Country Dance Tunes, vol. 2), 2005; pg.63 (appears as “Impropriety”, the name of a 1999 dance by Brooke Friendly and Chris Sackett set to the tune). PARK PRKMC31, Maddy Prior & the Carnival Band – “Hang Up Sorrow and Care” (1995).

X:1

T:Millison’s Jigg

M:6/4

L:1/8

S:John Playford – English Dancing Master (1651)

K:D Minor

a2|a3g f2 e4d2|c4d2 e4a2|a3g f2 e4d2|^c6 d4:|

|:A2|A2c2A2A2c2A2|A2c2A2 c4 c2|d2f2d2 d2f2d2|d2f2d2 f4 f2|

e2g2e2 e2g2e2|e2g2e2 g4 a2|a3g f2 e4d2|^c6 d4:|

 

MILLPOND, THE. AKA and see "The Lough Gill Jig." Irish, Jig. G Major. Standard tuning. AABB. The Lough Gill Quartet, made of John Cawley (flute), Sarah Hobbs (fiddle), Sonny Brogan (accordion), and Bill Harte (accordion), recorded the tune in 1941. Bulmer & Sharpley (Music from Ireland), vol. 4, No. 47. Carlin (Master Collection), 1984; No. 254, pg. 146. Topic TSCD602, "Irish Dance Music."



MILLS ARE GRINDING [1], THE. Irish, Reel. G Dorian?. Standard tuning. AB. Other sets of this air are "Bunch of Keys [1]," "Down the Hill," "Ducks on/in the Pond," "Flowers of Limerick [1]," "Molly Maguire [1]," "Old Town Reel," "Paddy on the Turnpike [2]," "A Rainy Day [1]," "Salt River [2]," "Telephone Reel," "Pigeon on the Pies," "Whistling Barber," and one of the "Ewe with the Crooked Horn" tunes. The Old Ballinakil Ceili Band recorded a version of the tune under this title on a 78 RPM record in the early 1930's. Roche Collection, 1982, vol. 1; No. 140, pg. 56.

 

MILLS ARE GRINDING [2], THE ("Ata na Muilleann Ag Muilleoireacd" or "Ata na Muillte Ag Meilt"). Irish, Reel. G Mixolydian. Standard tuning. AB (O'Neill/1850): AA'BB' (O'Neill/Krassen). O'Neill (Krassen), 1976; pg. 128. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1378, pg. 257. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 627, pg. 113. Micho Russell - “Micho Russell.”

X:1

T:Mills are Grinding, The [2]

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 627

Z:AK/Fiddler’s Companion

K:G

GFGA B2 Bc|ded^c dg g2|=FEFG A2 Bc|dedc BGGz|GFGA B2 Bc|

ded^c dgga|bgaf gdde|=fdcA BGGz||gfga g2 ga|bgag fdde|=fefg f2 ce|

dcBA BGGz|gfga g2 ga|bgag fddg|bgaf gdde|=fdcA BGGz||

 

MILLS ARE GRINDING [3], THE (Ata na Muilleann Ag Muilleoireacd). Irish, Reel. D Mixolydian. Standard tuning. AB. Source for notated version: piper John Ennis, orginally from County Kildare, a policeman and jounalist who succeeded O’Neill as president of the Irish Music Club in Chicago [O’Neill]. O'Neill (Krassen), 1976; pg. 128. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1379, pg. 257.

X:1

T:Mill are Grinding, The [3]

M:C|

L:1/8

R:Reel

S:O’Neill – Music of Ireland (1903), No. 1379

Z:AK/Fiddler’s Companion

K:D

(3DDD DE {G}FEFG | ABGB Ad dz | (3DDD DE {G}FEFG |

ABGF EFGE | (3DDD DE {G}FEFG | ABGB Addg | fdec d2 AB |

{d}cBcG ED Dz || dcdB c2 (3ABc | d2 fd cAAc | dcdB cBcA |

GEcE ED Dz | dcdB c2 (3ABc | d2 fd cAAg | fdec d2 AB | {d}cBcG EFGE ||

 

MILLS ARE GRINDING [4].  AKA and see “Tuttle’s Reel.”

 

MILLS HILLS. Scottish, Slow Strathspey. Greentrax CDTRAX 9009, Hector MacAndrew (1903-1980) - “Scottish Tradition 9:The Fiddler and his Art” (1993).

 

MILLS' HORNPIPE. English, Hornpipe. England, Northumberland. G Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 3; No. 432.

              

MILLS OF KYLEMORE, THE.  Irish, Reel. Composed by flute player Josie McDermott.

 

MILLSTONE, THE. AKA and see "The Milestone [1]," "The College Grove(s)," "Cottage Groves," "The Green Jacket," "Whiskey in the Jar/Jug," "The New Domain," "The New Demense," "The Connacht Reel [1]," "The Old Locks and Quays of Galway," "An Cailin Fionn." Irish, Reel. D Major/Mixolydian. Standard tuning. AABBCCDD. The reel was first recorded under this title by James Morrison, though well‑known under the name "Cottage Groves." Source for notated version: fiddler Philip Duffy (b. 1966, London, now residing in Dublin) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 29. Copely Records 9-116 (78 RPM), Paddy Cronin (195?). Shanachie 29001, Paddy Carty. Shanachie 29002, "Andy McGann and Paul Brady."

 

MILLSTONE [2], THE. AKA and see “Star of Munster.” Irish, Reel.

 

MILLSTREAM, THE. AKA and see "Lough Allen [1]."

 

MILLTOWN LASSES, THE (Gearrchailí Bhaile an Mhuilinn). Irish, Reel. C Major/D Dorian. Standard tuning. AB. The tonality shifts between ‘C’ major and ‘D’ dorian. Source for notated version: “From a manuscript written by John and Tommy Gunn in County Fermanagh at the end of the 19th century” [Breathnach]. Breathnach (CRÉ V), 1999; No. 150, pg. 75.

 

MILLTOWN MAID.  AKA and see “Bush on the Hill [2],” “Lowdown Jig,” “McGlinchey’s.” Irish, Jig. See note for “Bush on the Hill.” The tune is credited (in notes to the Ennis Ceili Band CD) to New York fiddler Paddy Killoran, originally from County Sligo. The only other tune routinely credited to him is “Maid of Mount Kisco.” The melody was named in honor of his wife, who hailed from Coore, near Milltown Malbay, County Clare.

 

MILLTOWN (WALTZ), THE.  English (?), Waltz. A Major (‘A’ and ‘B’ parts) & A Minor (‘C’ and ‘D’ parts). Standard tuning. AABBCCDD. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 150, pg. 39

 

MILLY GOODGER. Shetlands, Shetland Reel. D Major. Standard tuning. AA'BB'. Shetland, Cullivoe (North Yell Island). Some Cullivoe fiddlers think the title to be a corruption of "Mill of Gutcher," the neighboring town to Cullivoe (Cooke, 1986). An assymetrical tune not used for dancing. Source for notated version: Bobbie Jamieson (North Yell, Shetland) [Cooke]. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex. 11, pg. 62.

 

MILTON AND AMBROSE. Canadian, Reel. Canada, Cape Breton. A Major. Standard tuning. AABB’. Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 22, pg. 7.

 


MILTON HORNPIPE [1]. English, Hornpipe. England, Yorkshire. G Major. Standard tuning. AABB. Source for notated version: an MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helperby) 1994; No. 35, pg. 37.

 

MILTON HORNPIPE [2].  AKA and see “Gypsy’s Hornpipe [3],” “Queen’s Hornpipe.” English, Hornpipe. D Major. Standard tuning. From the early 19th century music manuscripts of Joshua Burnett (Worsborough, Yorkshire). A different tune than “Milton Hornpipe [1].”

 

MILTOWN JIG. AKA and see “Boys of the Town [1]."

 

MILTOWN MAID, THE (Aindear Baile-Na-Muilleann). AKA – “Mill-Town Maid.” AKA and see “Cup of Tea/Tay [2],” “Merry Harriers [1],” “Merry Sisters,” “Mill Town Maid,” “Three Merry Sisters.” Irish, Reel. E Dorian. Standard tuning. AB (O'Neill/1850): AA'B (O'Neill/Krassen): AABB (Cole). The tune is the same as the first two parts of “Three Merry Sisters.” New York musician and writer Don Meade points out the relationship between this tune and "The Merry Harriers"/"Cup of Tea", though those tunes are in a different key. Source for notated version: Chicago fiddler John McFadden, originally from County Mayo [O’Neill]. Cole (1000 Fiddle Tunes), 1940; pg. 9. O'Neill (Krassen), 1976; pg. 120. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1329, pg. 249. Ryan’s Mammoth Collection, 1883; pg. 31.

X:1

T:Miltown Maid, The

M:C|

L:1/8

R:Reel

S:O’Neill – Music of Ireland (1903), No. 1329

Z:AK/Fiddler’s Companion

K:E Dorian

dc | BE E2 Bdcd | (3BAF DF dAFA | BE E2 Bcde | (3fed (3edc dAFA |

BE E2 Bdcd | (3BAF DF dAFA | BABc dcde | (3fed ec dAFA ||

Beec d2 dc | Beec dAFA | Beec dfag | fedc dAFA | Beec d2 dc |

Beec defg | afga gfeg | (3fga ef dfec ||

 

MILTOWN MAID [2]. See “Milltown Maid.”

 

MIMIE'S REEL. Shetland, Reel. D Major. Standard tuning. AAB. "Written for the wife of a very good fiddler friend of Tom (Anderson's) who has always been an inspiration to many of the young fiddlers" (Anderson). Composed by Shetland collector, teacher, fiddler and composer Tom Anderson, 1981. Anderson (Ringing Strings), 1983; pg. 96.

 

MIND MY BORDER. AKA and see "Ivy Leaf [4]."

 

MIND MY BROTHER. AKA and see "Ivy Leaf [4]."

                       

MIND THE NETTLES! (Seachain na Neantoga). Irish, Reel. A modern composition by Cork accordion player Eoghan O’Sullivan. Spin CD1001, Eoghan O’Sullivan, Gerry Harrington, Paul De Grae - “The Smoky Chimney” (1996).

                       

MIND WHAT YOU DO. AKA and see "Up and Waur Them A’, Willie [1]." Shetland, Reel. Shetland, Island of Whalsay and Mainland Shetland. Cooke (1986) prints the following text to this dance tune:

***

Mind what you do, mind what you do,

Never let the old men come to bed with you

They kiss you and cuddle you and say they'll be true,

And then in the morning they bid you adieu. (Cooke)

                       

MIND YOUR OWN BUSINESS. Old-Time, Country Blues. G Major. Standard tuning. AB. Source for notated version: Mel Durham [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 99.

                       

MINEAPOLIS HORNPIPE. American, Hornpipe. B Flat Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 96. Ryan’s Mammoth Collection, 1883; pg. 130.

X:1

T:Mineapolis Hornpipe

M:C|

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:B_

(dc) | B>FD>F B>Fd>B | d>Bd>f a>fd>B | F>Ac>A e>cA>F | A>FA>c e>cA>F |

B>DF>B d>BF>D | d>Bd>f b>fd>f | g>ab>a g>f=e>f | g>f{g}f>=e f2 :|

|: (Bd) | f>dg>d f>Bd>f | g>ab>a g>fe>d | e>fg>f e>dc>B | A>Bc>B A>GF>E |

D>BA>B G>BF>B, | D>BA>B G>BF>A | B>ba>g ^f>ge>A | B2b2B2 :|

                       

MINEOLA RAG. Old‑Time, Country Rag. USA, east Texas. D Major ('A' and 'B' parts) & G Major ('C' part). Standard tuning. AABBC (Brody): AA'BB'C (Phillips, Silberberg). Named by the East Texas Serenaders for the town of Mineola, Texas. The Serenaders were a popular string band in the 1920's, who featured a rare cello among the usual guitar and fiddles. The tune shows the ragtime influence on old‑time music, and also contains segments of other tunes. The original key was probably E flat major, as played by the Serenaders who played many tunes in flat keys. Sources for notated versions: Daniel Williams and the East Texas Serenaders (east Texas) [Brody, Phillips]; Hank Bradley [Silberberg]. Brody (Fiddler’s Fakebook), 1983; pg. 190. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 87. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 99. Adelphi 2004, Delaware Water Gap‑ "String Band Music." County 410, East Texas Serenaders‑ "1927‑1936" (1977). County 527, East Texas Serenaders‑ "Old‑Time Fiddle Classics, vol. 2."


                       

MINER’S JIG, THE. Irish, Jig. E Dorian/Minor. Standard tuning. AABB. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 5. Great Meadow GMM 2018, Frank Ferrel & Joe Derrane – “Fiddledance” (2004).

                       

MINERS OF WICKLOW, THE ("Na Tocalaide Ua Cill-Mantain" or "Mianairea Cille Meanntain"). AKA and see "Lassie of Gowrie," "Paddy O'Flynn," "The Wicklow's March," "Nolan the Soldier." Irish, Double Jig. D Major (O'Neill, Huntingdon): F Major (Bunting). Standard tuning. AA'BB'. Bunting includes the tune as an air in his third volume, The Ancient Music of Ireland. Sources for notated versions: the playing partners of Chicago police Sergeant James Early and John McFadden, a piper and fiddler from adjoining counties in the province of Connaght [O’Neill]; the Irish collector Edward Bunting obtained the melody from "Macdonnell, piper in 1797." Aird (Selection of Scotch, English and Irish Airs), volume I, c. 1795, No. 23. Feldman, pg. 231 (2nd tune, untitled). Bunting (Ancient Music of Ireland), 1840; pg. 76. Holden (Old Established...), pg. 6. Huntingdon (William Littens), 1977; pg. 29. Levey (Dance Music of Ireland), volume I, 1840; pg. 10. McGown (Repository of Scots and Irish Airs), c. 1800. O'Neill (Krassen), 1976; pg. 50. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 995, pg. 185. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 210, pg. 49. O'Sullivan/Bunting, 1983; No. 102, pgs. 148-149. Robbins, 1933; pg. 56.

X:1

T:Miners of Wicklow, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Music of Ireland (1903), No. 995

Z:AK/Fiddler’s Companion

K:D

D>EF/G/ ABc | dcB AGF | GBG EFE | FAF DED | D>EF/G/ ABc |

DcB AFA |1 Bcd edc | dAG FED :|2 Bcd efg | fdd d2 ||

|: g | fdd fdf | ecA efg | fdd def | {a}gfg efg | f/g/af gab |

afd cBA |1 Bcd efg | fdd d2 :|2 Bcd edc | dAG FED ||

X:2
T:The Miners of Wicklow
S:Tom Billy Murphy MS
B:Dan Herlihey, Sliabh Luachra Music Masters,
B:Volume 1, page 74.
R:jig
M:6/8
L:1/8
K:G
A/2B/2|:cBc dcd|eaa ged|efg ded|cAA GAB|
cBc dcd|eaa ged|ecA dBG|[1 EAA A2B:|][2 EAA Adc|]
eaa ged|eaa ged|efe ded|cAA GAB|
cBc dcd|eaa ged|ecA dBG|[1 EAA Adc:|][2 EAA A2|]

                       

MINISTER'S DAUGHTER, THE (Ingean An Ministeir). Irish, Reel. A Major. Standard tuning. AA'B (O'Neill/1850): AA'BB' (O'Neill/Krassen). O’Neill said of source Cronin:

***

…he would play on for hours at a time such tunes as

memory presented, his features while so engaged re-

maining as set and impassive as the sphinx…it was

his open boast the he never forgot nor forgave an injury…

***

Source for notated version: Chicago fiddler and composer Edward Cronin, originally from County Tipperary, also a weaver and machinist [O’Neill]. O'Neill (Krassen), 1976; pg. 117. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 1319, pg. 247.

X:1

T:Minister’s Daughter, The

M:C|

L:1/8

R:Reel

S:O’Neill – Music of Ireland (1903), No. 1319

Z:AK/Fiddler’s Companion

K:A

ed | cAce cAAe | cAce f2 ea |1 AceA cAec | Bcde f2 :|2 afge fdec |

Bfed cA A2 || a2 af ecAc | aecf e2 (3efg | a2 af ecAc | Bcde f2 (efg |

Abaf ecAc | aecf e2 (3efg | afge fdec | Bfed cA A2 ||

 

MINMORE SCHOTTISCHE. AKA and see "Glenlivet [1]."  Minmore is an elegant stone-built country house near where the famous Glenlivet whisky is distilled in Speyside.

 

MINNESOTA WALTZ. Old-Time, Waltz. G Major. Standard tuning. AA'BB'. Source for notated version: Al Sanderson [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 283.

 

MINNI FAN HER POT KOLLED IDA MORNING. Shetland, Strathspey. Composed by fiddler John Gaudie in the 18th century. Gaudie was reputedly the best fiddler in the islands of his time, though unfortunately was rendered increasingly mad by a blow to his head in a mining accident. He was given to violent outbursts, and the title of his composition was taken from his amusement at one such incident. It seems he was on his way to another town to view a prized fiddle when he was distracted by the smells of a dinner being prepared outside a house near the road he travelled. Sneaking up and letting out a bellow which thoroughly distraught the cook, Johnnie helped himself to the abandoned supper, then threw the cook's stool up on the side of a corn stack as he left.

***

When he looked back and saw the three‑legged pot leaning

drunkenly on the top of the 'screw', the picture silhouetted

against the western sky, it seemed so funny to Johnnie that

in his opinion it merited a composition, and when he

got home he composed a lively strathspey... (G.M. Nelson)

 


MINNIE FOSTER'S CLOG. AKA and see “The Black Swan,” “The Comet [2]," “Doctor Peter’s,” “Down the Glen,” "Mrs. Minnie Foster.” American (?), Clog. F Major. Standard tuning. AABB. Irish fiddler Sean McGuire recorded the tune several time under the title “The Black Swan,” although the tune was also popularized by accordion player Joe Burke. New York musician, writer and researcher Don Meade finds that Foster was a prominent performer of “Topsy” roles in the 1860’s and 1870’s in productions such as Uncle Tom’s Cabin (in which she was part of the cast in 1873 when it played in New York (albeit the company was playing it as a matinee, primarily aimed at an audience of women and children). Although productions of Uncle Tom’s Cabin were popular and rather ubiquitous in the second half of the 19th century, and Foster’s among the best, not everyone was pleased. A Lancaster, Pennsylvania, paper declared after one performance: “Minnie Foster’s Uncle Tom Cabin Com-pany to fair house, 17th. This is about the tenth Uncle Tom company that has visited us this season, and no more wanted.” “The Black Swan” is the title for the tune used on a Seán McGuire recording.

***

In his note to the tune, Séamus Connolly writes that he first heard “Minnie Foster’s” played in the home of Dave Collins in the Bronx in 1972 by the late fiddlers Andy McGann and Paddy Reynolds. Collins is the brother of fiddler Kathleen Collins and Dan Collins of Shanachie Records. Connolly (2002) says that McGann and Reynolds were part of a musical circle that included accordion player Joe Burke, fiddler and flute player John-Joe Gardiner, Kevin Burke, Paddy Glackin, Séamus MacMathúna, and Connolly’s uncle Paddy Connolly. Begin (Fiddle Music in the Ottawa Valley: Dawson Girdwood), 1985; No. 20, pg. 33. Cole (1000 Fiddle Tunes), 1940; pg. 118. Connolly & Martin (Forget Me Not), 2002; pgs. 72-73. Ryan’s Mammoth Collection, 1883; pg. 156. Rounder 7013, Joseph Cormier – “Old Time Wedding Reels.” Shanachie 14001, "The Early Recordings of Angus Chishlom" (1978). Smithsonian Folkways SFW CD 40481, Brian Conway – “First Through the Gate” (2002).

X:1

T:Minnie Foster’s Clog

M:C|

L:1/8

R:Clog

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:F

(A>B) | (c>.F)(A>c.) d>FB>d | c>FA>c f>ef>^f | g>ce>g b>ea>g | (3fef (3gfd c>AB>=B |

c>FA>c d>FB>d | c>FA>c f>ef>^f | g>eb>g e>cB>G | F2A2F2 :: (e>.f) | g>ce>g b>eg>b |

a>Ac>f a>cf>a | g>c’=b>a a>gf>d | c2 c’2 c>A,B,>=B, | (3c=Bc A,>C F>Ac>^c |

(3d^cd D>F B>df>b | a>cf>a e>gc>e | f2a2f2 :|

                       

MINNIE MACMASTER.  Canadian, Jig. Canada, Cape Breton. A Minor. Standard tuning. AABB. Composed by the late Cape Breton fiddler and composer Jerry Holland (1955-2009). Cranford (Jerry Holland: The Second Collection), 2000; No. 236, pg. 87.

 

MINNIE MOORE. AKA and see "The Village Quickstep," "The Pennsylvania Quickstep [1]," "Bartlett's Two‑Step." American, March (2/4 time, although it could be written in 6/8). D Major. Standard tuning. ABB. A note in Matteson's fife volume says the tune was composed by Dr. John C. Bartlett in 1843, and that it was popular during the Civil War era. Bayard (1981) states it was still a popular march with southwestern Pa. martial bands. Ford (Traditional Music in America), 1940; pg. 42.

                       

MINNIE, PUT THE KETTLE ON. Old-Time, Breakdown. Similarities with Bob Holt’s “Polly Put the Kettle On [6].” Rounder 0436, Ray Curbow – “Traditional Fiddle Music of the Ozarks, vol. 2: On the Springfield Plain.”

                       

MINONA COUNTY. Old-Time, Breakdown. A Major. Standard tuning AB. Source for notated version: Floyd Engstrom [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 100.

                       

MINSTREL. American?, "Straight Jig" (2/4 time). C Major. Standard tuning. AA'BB'. The title refers to a ‘blackface’ minstrel. Hardings All Round Collection, 1905; No. 71, pg. 22.

X:1

T:Minstrel

M:2/4

L:1/8

S:Harding’s All Round Collection (1905), No. 71

Z:AK/Fiddler’s Companion

K:C

G,|:C2E2|(G2 G/>)A/B/>c/|ed/>c/ B/>d/c/>G/|B2 AA,|D2F2|(A2 A/>)d/^c/>d/|1

f/>d/B/>A/ G/>A/D/>A/|GE G/>F/E/>D/:|2 f/>d/B/>A/ G/>B/A/>G/|cG cz||

|:Ee2d|c/>B/A/>c/ B/>^G/E|A/>G/=F/>A/ G/>E/C|1 E<BE/ c/>B/A:|2 E<BE/ A=G||

                       

MINSTREL BOY. AKA and see "Og‑Laoc Na Rann." AKA and see "The Lover's Lute," "The Morin," "The Moreen," "Then, Soldier, Come Fill High the Wine." Irish, Air (4/4 time). G Major. Standard tuning. AAB. The title is from a famous song by Thomas Moore first published in 1813 (in A Selection of Irish Melodies), though the original melody is, like many of Moore’s pieces, set to an older tune called "Moreen" or "Morin."

***

The minstrel boy to the war has gone,

In the ranks of death you'll find him.

His father's sword he hath girded on,

And his wild harp slung behind him.

"Land of song" said the warrior bard,

"Though all the world betray thee,

"One sword at least thy rights shall guard,

"One faithful barp shall praise thee."

***

Clearly an old air, O’Neill inexplicably gives credit to fiddler and collaborator James O’Neill in his Music of Ireland. The title appears in a list of tunes in his repertoire brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997). While mostly traditional in his repertoire, Goodman regularly played several novelty or ‘popular’ tunes. A modern rendition of the song is to be heard in the classic 1975 motion picture "The Man Who Would Be King.” Danny Dravot (played by Sean Connery) and Peachy Carnehan (Michael Caine) sing the song when it becomes apparent that they will never see each other again. The rather simple melody is a staple of Irish Great-(Highland) Pipe bands. Johnson (The Kitchen Musician No. 5: Mostly Irish Airs), 1985 (revised 2000); pg. 13. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 203, pg. 35. Sweet (Fifer’s Delight), 1965/1981; pg. 15.

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:The Minstrel Boy

T:"The Morin"

T:The Lover's Lute

T:Thou, Soldier, Come, Fill High the Wine

S:O'Neill's Music of Ireland no. 203 p. 35

Z:Jerome Colburn

N:O'Neill writes an ornament on the first half of the fourth bar

N:of the second part.

M:4/4

L:1/8

K:G

D | G3 A cBAD | B2 d2 g2 fg | e2 d2 BcdB | A4 G2 z :| d |\

g2 f2 e2 fg | f2 e2 d3 ^d | e3 B B2 ^d2 | edef g3 g |\

G3 A cBAD | B2 d2 g2 fg | e2 d2 BcdB | A4 G2 z |]**

 

MINSTREL OF THE MACDONALDS, THE. AKA ‑ "Smeorach Chlainn Domhnuill." Scottish, Slow Air (3/4 time). A Minor. Standard tuning. ABC. "This is a Highland melody, of a beautifully wild and solemn cast, totally unfit for any single instrument possessed in that country, and merely suited to a voice of sufficient length of tone. The editor's progenitor had various sets of words to it,‑‑but the organ is the instrument to display it" (Fraser). The piece also appears in Patrick MacDonald’s 1784 collection. It is considered by some to be an example of a fiddle pìobaireachd (an extended musical theme and variations first played on the bagpipes). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 86, pg. 32. Maggie’s Music MM220, Hesperus – “Celtic Roots.”

X:1

T:Minstrel of the Macdonalds, The

T:Smeorach Chlainn Domhnuill

M:3/4

L:1/8

S:Fraser Collection

Z:AK/Fiddler’s Companion

K:Amin

E2|A6|B2 B4|c4 B>A|B2 ~^G E2|B2 B4|c4 B>A|c>B B4|

c4 B>A|A3 G e2|A3 B c2|B2 ~^G2 E2|A4 A^G|e4 g2|d2 B2 ~A2|

(A4||A2)|(B3 A B2)|g6|B3 A G2|E2 E4|B3 A B2|g6|B4 ~d2|e4 g/^f/g/a/|

b3 a g2|ge e4|B3 A G2|GE E4|A4 A^G|e4 g2|d2 B2 ~A2|A4||BA|

G2 E2 A2|c4 B2|e3 d c2|B4 e2|d2 G2 A2|c4 B2|A3 ^GAB|A4 BA|

G2 E2 A2|c4 B2|e3 d c2|B4 e2|d2 G2 A2|e4 g2|e3 B d2|A4||

                       

MINSTREL TO HIS SOUL, THE.  Scottish, Air. A Major. Standard tuning. AB. Composed by the great Scots fiddler-composer J. Scott Skinner (1843-1927). Skinner (Harp and Claymore), 1904; pg. 157.

X:1

T:Minstrel to His Soul, The

M:C

L:1/8

C:J. Scott Skinner (1843-1927)

N:”With feeling”

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:A

C2 | (F^EFG) (AFBA) | G2d2c3c | d^ef=e dcBA | ({A}G6) C2 | (F^EFG) (AFBA) |

G2d2 (c^ef=e) | (dcBA) (GcC^E) | ({^E}F6) || ((3GAB | c^e/f/=e/ d2) (G=A | B^de=d c2) FG |

(ABcd) (c^EFA) ({A}G6)C2 | (F^EFG) (AFBA) | (G2d2) (c^ef=e) | (dcBA) (GcC^E) | ({^E}F6) ||

                       


MINSTREL'S FANCY. AKA ‑ "Minstrel's Favourite,” “Minstrel’s Hornpipe." AKA and see "McElligott's Fancy," "Pioneer Clog," "Hanover Hornpipe." Scottish, English, Canadian, American; Hornpipe or Clog. USA, New England. Canada; Prince Edward Island, Ontario. D Major. Standard tuning. AABB.

***

Blackface minstrels, England, c. 1880’s.

***

The melody was recorded in the 78 RPM era by flute player John McKenna under the title “The Buck from the Mountain.” Sources for notated versions: George MacPhee (b. 1941, Monticello, North-East Kings County, Prince Edward Island) [Perlman]; Dawson Girdwood (Perth, Ontario) [Begin]. Bayard (Dance to the Fiddle), 1981; No. 416, pgs. 395‑396 (appears as an untitled clog). Begin (Fiddle Music in the Ottawa Valley: Dawson Girdwood), 1985; No. 18, pg. 31. Cole (1000 Fiddle Tunes), 1940; pg. 119 (listed as a 'Clog'). Craig (The Empire Collection of Hornpipes), c. 1890’s; pg. 4 (appears as “Minstrel’s Hornpipe”). Kennedy (Fiddlers Tune Book), vol. 2, 1954; pg. 4. Kerr (Merry Melodies), vol. 2; No. 368, pg. 40. Lerwick (Kilted Fiddler), 1985; pg. 48. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 113, pg. 71. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 80. Raven (English Country Dance Tunes), 1984; pg. 165. Ryan’s Mammoth Collection, 1883; pg. 157. Fretless 132, "Ron West: Vermont Fiddler."

X:1

T:Minstrel’s Fancy

M:C

L:1/8

R:Clog or Hornpipe

K:D

(F>G)|:A>FA>d B>GB>d|A>FA>d (f/g/)f e>d|c>eg>f e>dc>d|

(3efe (3dcB A>DFG|A>FA>d B>GB>d|A>FA>d (f/g/)fe>d|

c>eg>f e>dc>A|1 d2 ({e/}d>)c d2 (F>G):|2 d2 ({e/}d>)c d2 e>f||

|:g>f g/fe/ c>AB>c|d>cd>e f2 (e>f)|g>f g/fe/ c>A ((3Bc)d|

(3efe (3dcB A>DF>G|A>FA>d B>GB>d|A>FA>d (3fgf e>d|

c>eg>f e>dc>A|1 d2 e/dc/ d2 (ef):|2 d2 e/dc/ d2 F>G||

 

MINSTREL'S FAVOURITE. See "Minstrel's Fancy."

                       

MINSTREL’S HOME. Scottish, Slow Air. Composed in 1926 by Aberdeenshire fiddler and composer J. Murdoch Henderson, dedicated to H. W. Coombs, an organist at the Capitol Cinema, Aberdeen. Henderson (Flowers of Scottish Melody), 1935.

           

MINSTREL’S HORNPIPE.  See “Minstrel’s Fancy.”

 

MINSTREL’S RETURN FROM THE WAR, THE. Air. C Major. Standard tuning. One part. Howe (Complete Preceptor for the Accordeon), 1843; pg. 31.

X:1

T:Minstrel’s Return from the War, The

M:C

L:1/8

R:Air

S:Howe – Complete Preceptor for the Accordeon (1843)

Z:AK/Fiddler’s Companion

K:C

G2 | c2cc c2 Bc | d4 z2G2 | d2dd d2 cd | e4 z2G2 | A2AA FAcA |

G4 z2G2 | G2 GG G2 AB | c4 z2G2 | Gceg gfdB | c4 z2 dc |

B2BB c2cc | d3B G2G2 | A2AA B2BB | A4 z2 dc | B2BB c2cc |

d4 e2 ec | G2 GG ^FcdF | G4 z2G2 | e2 cc G2EE | G4 z2G2 | A2AA Gcec |

e d3 z2 GG | e2 cc G2 EE | G4 z2G2 | ABcd e2 dB | d c3 ||

                       

MINSTREL’S STRAIN, THE (Cainc Y Datgeiniad). Welsh, Air. Composed by John Parry ‘Bardd Alaw’, a 19th century Welsh harper who was instrumental in keeping alive the Welsh triple harp tradition, and who played in music halls and society venues in England. Robin Huw Bowen remarks that the piece has been a vehicle in the past for penillion, a type of singing verses to harp airs which demands that the singer start after the harp, render the song (of a different metre and phrase length) in counterpoint, and finish at the same time! Flying Fish FF70610, Robin Huw Bowen – “Telyn Berseiniol Fy Ngwlad/The Sweet Harp of My Land” (1996).

 

MINT IN THE CORN, THE. AKA and see “Eammon Coynes,” “Geordie Affleck,” “Tommy Peoples’” Irish, Reel.  Ireland, County Donegal. The reel is the Scottish “Geordie Affleck,” originally set in E Flat Major.  Donegal fiddlers play it in both D Major (Francie Dearg & Mickey ban O Beirn) and A Major (John Doherty & Danny O’Donnell). Tommy Peoples plays it in D Major, learned from older Donegal fiddlers. It has also been recorded as “Eamonn Coynes” in Ireland. Breathnach, (CRÉ II), 1975; No. 191 (appears as untitled reel). Vallely (Play Fifty Reels with the Armagh Pipers Club), 1982; 48.

 


MINUET. The English spelling of the French Menuet, an exceedingly popular dance among society and on the stage in the 18th century and known as the "Queen of Dances." The dance had a long developmental history in France, but was imported to England soon after it gained international attention when it appeared in the operas of Lully, and several examples are to be found in publications of the latter decades of the 1600's, including Playford's Apollo's Banquet (ed. 6, 1690) and Musick's Hand-Maide (1678).

***

To dance the Minuet well became one of the marks of a gentleman, especially in Georgian England, as it was in France, however, the origins of the dance were quite humble. It originally appears to have been a rustic, lively, gay dance, probably derived from one of the forms of the Branle; however, by the time it arrived at court it had slowed considerably, and became more and more stately as time went on. Finally, the dance became effette, and the charm and grace that once adorned it more often showed signs of "the artificiality, the snobbery, the arrogance and the afflectation of the Eighteenth Century" (Pulver, 1923). Finally, the Republican social and political revolutions of the latter part of the century killed the dance, so associated with the nobility, though it survived as a movement of the Suite (between the Saraband and Jig).

 

MINUET DE LA COUR. American?, Minuet (3/4 time). E Major. Standard tuning. AAB. Morrison (Twenty-Four Early American Country Dances, Cotillions & Reels, for the Year 1976), 1976; pg. 17.

              

MINUET FOR LORD STANLEY.  The tune was written in 1774 by Thomas Alexander Erskine, Viscount Fenton, Sixth Earl of Kelly, born at Kellie Castle in Fife in 1732 and familiarly known as “Fiddler Tam”. Pulver (1992) says: “This is an extremely lively piece, suitable for a twenty-two year old aristocrat given to horse-racing and cock-fighting and, like Kelly, fond of his pleasures.

 

MINUET IN NANCY.  English, Minuet (3/4 time). G Major. Standard tuning. AABB. From 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.  The ballad opera Nancy, or The Parting Lovers, was written by London composer, poet and musician Henry Carey (1687-1743) in 1739. Carey’s most famous song was “Sally in Our Alley,” and “God Save the King” is often attributed to him. He was a pupil of Thomas Roseingrave and Francesco Geminiani, and wrote numerous songs, several libretti and a few other ballad operas.

X:1

T:Minuet in Nancy

M:3/4

L:1/8

R:Minuet

S:Henry Livingston’s manuscript copybook, late 18th century

Z:AK/Fiddler’s Companion

K:G

“tr”g6 | d2c2B2 | c2B2A2 | GF G2D2 | “tr”E6 | D2E2G2 | ed c2B2 | “tr”A6 :|

|: d6 | B2A2G2 | d2e2f2 | gf g2G2 | {c/d/}”tr”e6 | d2 cBAG | cA “tr”A4 | G6 :|

 

MIO-AD MIC PAIDIN. AKA and see "McFadden's Mishap."

 

MIONNÁN, AN (The Kid). Irish, Single Jig. G Major. Standard tuning. AA'BB. The tune was untitled until Breathnach named it “The Kid” when he printed it in Tacar Port (1961). Source for notated version: fiddler "Junior" Crehan, 1959 (Miltown Malbay, Co. Clare, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 76, pg. 42.

 

MIONNÁN AR AN SLIABH, AN. AKA and see "The Kid on the Mountain [1]."

 

MIR OBAIRAONLAE. AKA and see "The Job of Journey Work [1]."

 

MIRA. Canadian, Jig. Canada, Cape Breton. F Major (‘A’ part) & C Major (‘B’ part). Standard tuning. AABB’. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 59.

 

MIRACULOUS HEN AND THE BROKEN-LEGGED CHICKEN, THE. Northumbrian. Title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800.

 


MIRAMICHI FIRE, THE. Canadian, Reel. Canada; Prince Edward Island, Martimes. A Mixolydian/Major. Standard tuning. AABB. Perlman (1996) notes this tune is among the “good old tunes” on Prince Edward Island, and that the title commemorates a major conflagration in the forests of the Miramichi River Valley in 1825. The fire was so intense that it was visible from western Prince Edward Island. Source for notated version: Andrew Jones (b. 1918, Roseville, West Prince County, Prince Edward Island; now resides in Pleasant View, PEI) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 83. Rounder CD 7014, Dennis Pitre – “Fiddlers of Western Prince Edward Island” (1997).

 

MIREOG MIC GURTAIG. AKA and see "Gurty's Frolics."

 

MIREOG UI CONDUIN. AKA and see "Condon's Frolics."

 

MIRRIE BOYS O' GREENLAND, DA. Shetland, Shetland Reel. D Major. Standard tuning. AABB. A traditional Shetland reel known throughout the islands, said to have originated from Shetland whalers. It is the best known of  the Shetland reels and is to be found in many variants. Anderson & Georgeson (1970) say it bears a strong resemblance to a country dance tune from Jutland, Denmark. Purser (1992) notes that the reel as a dance, and with a tune similar to “Mirrie Boys”, seems to have spread from Shetland to the Netherlands. Sources for notated versions: Willie Hunter (Shetland) [Anderson & Georgeson]; fiddler Gilbert Gray [Purser]. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 16. Bain (50 Fiddle Solos), 1989; pg. 21. Hunter (Fiddle Music of Scotland), 1988; No. 217. Martin & Hughes (Ho-ro-gheallaidh), 1990; pg. 32. Martin (Traditional Scottish Fiddling), 2002; pg. 94. Purser (Scotland’s Music), 1992; Ex. 2, pg. 229.

X:1

T:Mirrie Boys o’ Greenland, The

L:1/8

M:C

R:Reel

K:D

ABde fd f2|e2 ce Aece|ABde fdfa|gecA d2d2:|

|:fgfe fgaf|gfec efge|fgfe fgaf|gecA d2d2:|

           

MIRTH AND JOLLITY.  English, Jig. B Flat Major. Standard tuning. AABB. The melody can also be found in the 1788 music manuscript copybook of John and William Pitt Turner (Norwich, Conn.). Country dance directions were given in the 1808 country dance volume entitled A Select Collection of the Newest and Most Favorite Country Dances, published by the Phinney family in Ostego, New York. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 184.

X:184

T:Mirth and Jollity

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

BcB F2E|D2F B3|Bcd cdB|ABG F3|BcB F2E|D2F B2|Bcd cdB|f3 F3:|

|:ded ded|e2c cde|ded cdB|ABG F3|ded ded|efg f2e|dcB FBA|B3 B,3:||

 

MIRTH AND MELODY. Scottish, Strathspey. Composed by Aberdeenshire fiddler and composer J. Murdoch Henderson (1902-1972), dedicated to Miss Francis Dickie, a pianist from Turriff, Scotland. Henderson (Flowers of Scottish Melody), 1935.

                       

MISART, THE. English, Jig. England, Northumberland. G Major. Standard tuning. AABB. The melody is from the 1770 Northumbrian music manuscript copybook of musician William Vickers, about whom unfortunately very little is known. Seattle (William Vickers), 1987, Part 2; No. 327.

X:1

T:Misart, The

M:6/8

L:1/8

R:Jig

S:William Vickers’ Northumbrian music manuscript copybook, pg. 90   (1770)

Z:AK/Fiddler’s Companion

K:G

GAG B2d|g2d e2d|efg dBG|ABA A3|GAG B2d|g2d e2d|efg dBG|cAF G2:|

|:gfg efg|aba gag|fgf eag|fdd def|gdB ecA|dBG F>GA|Bcd efg|BcA G3:|

 

MISCHIEVOUS BEE, THE. American?, Jig. C Major. Standard tuning. AB. Hardings All Round Collection, 1905; No. 111, pg. 35.

X:1

T:Mischievous Bee, The

M:6/8

L:1/8

R:Jig

S:Harding’s All Round Collection (1905), No. 111

Z:AK/Fiddler’s Companion

K:C

E/F/|GAG GAB|cce c2G|GFE GFE|ADD D2 E/F/|GAG GAB|

cce c2c|BAG AGA|BGG G2G||GAG FGF|EFE D2G|

GcG FdF|EcE D2(E/F/)|GAG GAB|ccd e2G|AAd GAB|cGe c2||

 

MISER [1].  AKA and see “Murphy Delaney,” “Parson in/on his Boots.”

 

MISER [2], THE ('Smairg A Chiùrradh Spiocaire). Scottish, Reel. F Major. Standard tuning. AAB.

***

The Miser (1905). Etching by Marcel Roux from the series Danse Macabre.

***

MacDonald (The Skye Collection), 1887; pg. 188.

X:1

T:Miser, The

T:’Smairg a chiùrradh spiocaire

M:C

L:1/8

R:Reel

S:MacDonald – Skye Collection

Z:AK/Fiddler’s Companion

K:F

c|AF F/F/F CFAc|AF F/F/F B2 Bd|AF F/F/F CFAc|_eE E/E/E B2B:|

c|Ac c/c/c fc c/c/c|Ac c/c/c f3a|Ac c/c/c fc c/c/c|_eE E/E/E B2 Bc|

Ac c/c/c fc c/c/c|Ac c/c/c f2 fb|af f/f/f cA A/A/A|BG _E/E/E B2B||

 

MISER THUS A SHILLING SEES, THE. AKA and see "O the broom." English, Air. The tune goes under this title in Gay's Beggar's Opera, 1729. It also appears in Orpheus Caledonius (1725‑6).

 

MISER’S JEWEL.  English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABBCC. The melody appears in Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (1765, pg. 70). It also appears in the late 18th century 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 Québec 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 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. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 135.

X:1

T:Miser’s Jewel

M:2/4

L:1/8

R:Country Dance Tune

S:Henry Livingston’s manuscript copybook, late 18th century

Z:AK/Fiddler’s Companion

K:G

G2 Gg | geed | BGGB | AFED | G2 Gg | gddc | BGAB | GG/G/ G2 :|

|: f2 fc’ agfd | efge | dcBG | g2 gb | agfd | egfa | g4 :: B2 (3BFB |

A2 (3AEA | B2 (3BGB | (3BdB A2 | B2 BGB | A2 (3AFA | (3BdB (3AcA | G2G2 :|

X:2

T:Miser’s Jewel, The

M:2/4

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:G

G2 Gg|gddc|BGGB|AFED|G2 Gg|gddc|BGAB|GG/G/G:|
|:g2gb|agfd|efge|dcBG|g2 gb|agfd|egfa|g4:|

|:B2 (3BGB|A2 (3AFA|B2 (3BGB|(3BdB A2|G2 (3BGB|A2 (3AFA|(3BdB (3AcA|G2G2:||

 

MISFORTUNE, THE. Irish, Reel. D Major. Standard tuning. AA'BB'CC'. Taylor (Where’s the Crack), 1989; pg. 7.

 

MISFORTUNATE RAKE, THE. AKA and see "The Unfortunate Rake [2]," "(Next) Sunday is/was My Wedding Day," "The Shamrock (Reel) [1]," "An Piobaire Caoch," "The Squint‑eyed Piper," "Rattle the Quilt (to Pieces)," "Kennedy's Jig," "Apples in Winter [1]."

 

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