The Fiddler’s
Companion
© 1996-2008 Andrew Kuntz
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MOLL - MOM |
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Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s Companion
work fine in most abc conversion programs. For example, I use abc2win and
abcNavigator 2 with no problems whatsoever with direct cut-and-pasting.
However, due to an anomaly of the html, pasting the abc’s into the
concertina.net converter results in double-spacing. For concertina.net’s
conversion program to work you must remove the spaces between all the lines
of abc notation after pasting, so that they are single-spaced, with no
intervening blank lines. This being done, the F/C abc’s will convert to
standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth
it. [AK] |
MOLL AND TIARNA. AKA and see “Mol na Tiarna.”
MOLL DUBH A' GHLEANNA. AKA and see “Bean Dubh
a’ Ghleanna [1].” Irish, Air.
MOLL
HALFPENNY/HA’PENNY. AKA and see "Molly MacAlpin," "Paul/Poll Ha'penny," "Maili Nic
Ailpin," "O'Carolan's Farewell to Music," "Carolan's
Dream," "(Remember the Glories of) Brian the Brave [1]."
Irish, Air (4/4 time). A Minor/A Dorian. Standard tuning. AB. "This name
is the same as 'Molly MacAlpin,' and the air is a dance setting, and also a
song setting‑‑a very good one too‑‑of the fine air
(Molly MacAlpin) to which Moore wrote his song, 'Remember the glories of Brian
the Brave'" (Joyce). See also hornpipe versions under the titles of “Poll
Ha’Penny.” Joyce (Old Irish Folk Music
and Song), 1909; No. 134, pgs. 68‑69. Green
Linnett GLCD 1181, Martin Hayes & Dennis Cahill - “The Lonesome Touch”
(1997).
X:1
T:Moll Halfpenny
L:1/8
M:C
S:Joyce – Old Irish Folk Music
Z:AK/Fiddler’s Companion
K:A Minor
ed|c2A2A2Bc|dcAF G2cd|edce
dcAG|A2A2A2de|f2gf e2fe|dcde g2 (3e^fg|
aged cAdc|A2A2A2||e^f|g2ga
gede|g^fga gede|a2 ab c’bag|
e2aa a2ag|fagf egfe|dcde eaaf|gfed
cAdc|A2A2A2||
MOLL IN THE WAD [1], THE. AKA and
see “Kelly the Rake.” Canadian; Jig. G
Major/Minor ('A' part) & B Flat Major ('B' part, Cole; ‘C’ part,
Fitzgerald]: G Minor [Messer]. Standard tuning. AABB (Cole, Messer):
AA’BB’AA’CC’ (Cranford/Fitzgerald). Paul Cranford (1997) remarks that the
second turn in Fitzgerald’s three-part version was likely composed by him (the
first and third parts appear in Ryan’s/Cole’s. The second part of Ryan’s/Cole’s
version appears as the first part of Fitzgerald’s version; the first part of
Ryan’s/Coles version appears as the third part of Fitzgerlad’s version. Francis
O’Neill printed a nearly identical version in his Music of Ireland (1903) under the title “Kelly the Rake” (No. 737). He also
printed a single jig called “Moll in the Wad,” but it bears no resemblance to
the Ryan’s Mammoth Collection (1883) tune, although curiously (as Paul De Grae
points out) it is printed immediately following “Kelly the Rake” in his volume
(No. 738). As Caoimhin Mac Aoidh suggests, perhaps O’Neill made an error in
borrowing tunes from Ryan’s voulme for his own collection. Source for notated
version: Winston Fitzgerald (1914-1987,
X:1
T:Moll in the Wad [1]
L:1/8
M:6/8
S:Cole’s 1000
K:G
gdB gdB|gdB g2a|_bag gfg|afd dcd|gdB
gdB|
gdB g2a|_bag fga|1 (g3 g2)z:|2 (g3
f2)z||
K:B_
fdB {c}BAB|fBB gBB|fdB {c}BAB|cAF
FAc|fdB {c}BAB|
fBB gBB|fba gfe|1 dcB AGF|2 dcB
A^Fd||
X:2
T:Moll in the Wad [1A]
L:1/8
M:6/8
S:
K:B_
g|fBB (BAB)|fBB gBB|fBB (BAB)|cAF
FAc|fBB (BAB)|fBB gBB|
bag fed|1 cAF F2:|2 cBA GFD||
|:B3 BFD|BFD B2c|dcB BAB|cAF FGA|BFD
BFD|BFD B2c|
dcB ABc|1 B3 Bdc:|2 B3 B3||
K:G
gdB gdB|gdB d2a|_bag gfg|afd def|gdB
gdB|gdB g2 a|
_bag fga|1 g3 G2 a:|2 g3 {cd}=e2||
MOLL
IN THE WAD [2], THE ("Maire
Annsa Sop" or "Maire San t-Sop"). AKA – “Moll o’ the Wood.” Irish,
English, Scottish; Single Jig. G Major. Standard tuning. AABB. A different tune
than “Moll in the Wad [1]." The word ‘wad’ at one time signified (a bundle
of) straw, so that the title means “Moll in the straw.” Moll-in-the-straw was
also a euphemism for after-childbirth, and as a bawdy term for a harlot. Barry
Callagahn (2007) identified Moll i’ the Wad, or Mother Goose, as a popular
pantomime figure of the late 18th century. There are nursery rhymes
and old songs called “Moll in the Wad.” G.F. Northall’s English Folk Rymes (1892) notes the rhymes were popular in
Gloucestershire more than fifty years before, and says that ‘wad’ was
pronounced wod locally. They go:
***
Moll-in-the-wad and I fell out,
What do you think it was about?
She had money and I had none,
And that was how the work begun.
***
Moll-in-the-wad and I fell out,
What do you think it was about?
I gave her a shilling , she swore it was bad,
It’s an old soldier’s button says
Moll-in-the-wad.
***
Moll-in-the-wad and I fell out,
What do you think it was about?
I gave her a shilling, she wanted a crown,
So I took up my fist and I knock’d her down.
***
Moll-in-the-wad and I fell out,
What do you think it was about?
I gave her a shilling, she said it was bad,
You may go to the devil, said Moll-in-the-wad.
***
Washington
Irving wrote a sketch of a going to the theatre in 1802 in
***
What I heard of the music, I liked very well
(though I was told by one of my neighbors
that the same pieces have been played every
night for these three years;) but it was often
overpowered by the gentry in the gallery, who
vociferated ludly for Moll in the wad, Tally
ho the
grinders, and several other airs more
suited to their tastes.
***
There were
several racehorses named Moll in the Wad, notabley a thoroughbred mare born in
1810, descended from the great Matchem (1748). Gow labels the tune
“Irish," but it was played in
***
The melody
was transformed by morris dance musicians in the
***
The melody
appears in a number of publications and musicians’ manuscripts of the late 18th
and 19th centuries. It appears in the John Fife (Perthshire) music
copybook of 1780-1804, Williams Andrews (Sheepstor,
***
Source for
notated version: the music manuscript book of Ellis Knowles, a musician from
Radcliffe,
X:1
T:Moll in the Wadd (sic) [2]
M:6/8
L:1/8
R:Jig
S:Gow – 1st Repository
(1799)
Z:AK/Fiddler’s Companion
K:G
c|BAB G2F|E2F G2c|BAB G2B|AFD
D2c|BAB G2F|E2F G2c|
BcB {^c}d2B|AFD D2:||:c|BGB
{Bc}d2c|BGB {Bc}d2c|BGB d2B|
ecA A2c|BGB {Bc}d2c|BGB
def|{ef}g>fe dcB|AFD D2:|
MOLL NA TIAR NA. Irish, Reel.
MOLL O' THE WOOD. English, Jig. G Major. Standard tuning. AABB. See “Moll in the Wadd.” Raven (English Country Dance Tunes), 1984; pg. 114.
MOLL PATELY. AKA – “Moll Peatly.” AKA and see “Mall Peatly.” English, Air and
Country Dance Tune. B Flat Major. Standard tuning. The tune appears in John
Playford’s (1622-1686) English Dancing
Master of 1670 (pg. 95) where it appears as “Moll Peatly or the old
marinett.“ John Gay used the tune for a song in his ballad opera Achilles. It was mentioned in the
satirical newspaper The Spectator
(1711-1712) in an article on country dancing, purportedly in a letter written
by a country squire outraged at the spectacle of seeing his sixteen-year-old
daughter dancing in public for the first time:
***
acquaint you that very
great abuses are crept into this entertainment.
I was amazed to see my
girl handed by and handing young fellows
with so much
familiarity, and I could not have thought it had been
my child. They very
often made use of a most impudent and
lascivious step called
setting to partners, which I know not how to
describe to you but by
telling you that it is the very reverse of back
to back.
***
At last an impudent young Dog bid the Fidlers
play a Dance
called Mol Patley,
and after having mad two or three Capers,
ran to his Partner, locked his Arms in hers,
and whisked her
round cleverly above Ground in such manner,
that I who sat
upon one of the lowest Benches, saw further
above her Shoe
than I can think fit to acquaint you with. I
could no longer
endure these Enormities; wherefore just as my
Girl was going
to be made a Whirligig, I ran in, seized the
Child, and carried
her home.
***
Dorian 90290, Hesperus
– “The Food of Love.” Familiar Records FAM 47, Pyewackett ‑ "
MOLL PINTLEY. English.
MOLL ROE{'S} [1] (Maire
Ruaid). AKA and
see "Moll Roe in the Morning,"
"Mall Rua," "Sweet Molly Roe," "One Bumper At Parting," "The Munsterman's Flattery,"
"The Market Stake," "Ditherum
Doodle," "Though
late was I plump," "Come
under my Dimity," "The
Night of the Fun [3]," "B'fhearr liomsa ainnir gan
guna," "I'll
take a glass with a friend," "Jig an da Thuistiun." Irish,
Slip Jig and Air. G Minor (Cole): G Major (O’Farrell, O'Neill): D Major
(Breathnach/CRE II). Standard tuning.
AB (O'Neill/1850 & 1001): AABB (Breathnach/CRE II, Cole, O’Farrell,
O'Neill/Krassen). Moll Roe is an anglicization of the Irish Mall (Máire)
Ruadh, or Red (haired) Mary. This was a pipe tune written in praise of Miss
Molly Roe, the daughter of Mr. Andrew Roe of
***
Come fill up in bumpers your glasses,
And let the brown bowl overflow;
Here's health to the brightest of lasses,
The queen of all toasts‑‑Molly Roe.
***
Another, earlier, source for the
title is given by Paul de Grae, who remarks:
***
17th century lady called Ma/ire Ruadh Ni/
of
the road from Ennis up to The Burren (the castle's remains, that is, not Ma/ire
Ruadh's). She was a formidable
character, who lost her second husband, Conor
O’Brien (who built
grafting it on to an existing 15th century
tower house), fighting
Cromwell's invading army. When his
grieving soldiers bore his body back to
the castle, she shouted from the battlements,
"We want no dead men here!",
and refused them entrance. She
subsequently married one of Cromwell's
lieutenants (thereby securing the castle and
lands for her young son), Coronet
John Cooper, but some time later when husband
no. 2 made some disparaging
remark about husband no. 1, she kicked him from an upstairs window and
killed him. I don't know who husband no.
3 was, but he must have been a very
brave (or foolish) man indeed.
***
"A contemporary portrait of this
redoubtable lady shows her to have been
no beauty, though magnificently dressed in a rich gown with a broad lace collar
and adorned with many jewels."
("The Houses of Ireland", by Brian de Breffny
and Rosemary ffolliott, p.45).
***
The tune was introduced under the
name "Moll Rue" in Henry Brooke's Jack
the Giant Queller in 1748, and it was also called "Moll Rue in the
Morning." It appeared in O'Keefe's Poor
Soldier in 1783, and in O'Farrell's A
Pocket Companion for the Irish Pipes in 1810.
***
In the journal Ceol (volume 2, No. 4) we are informed that "Moll Roe,"
as found in O'Neill's Dance Music of
Ireland (No. 441), is a common name for the tune to the song "Taim in
Arrears." Breathnach says O’Neill also prints variants under the titles “Ditherum Doodle", "Moll Roe in the
Morning", "Though late I was plump" and "Munsterman's
Flattery." As “I’ll Take a Glass with a Friend” it appears in O’Farrell’s Pocket
Companion (printed before 1811). Ryan’s Mammoth Collection (1883)
has versions as “Moll Roe’s” and “Come Under My Dimity,” while Goodman gives it
as “Late on a Saturday Night” is a variant printed by Goodman, and identifies
“The Night of Fun” as a variant.
***
Source for notated version:
accordion player James Gannon, 1960 (
X:1
T:Moll Roe
M:9/8
L:1/8
R:Slip Jig
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:G
DGG GAG FGA|BGB cAB c2c|DGG GAG
FGA|BGB cAF G2 G/F/|
DGG GAG FGA|BGB cAB c2 B/c/|ded cAG
FGA|BGB cAF G2||
B/c/|ded cAG FGA|ded cAB c2 B/c/|ded
cAG FGA|BGB cAF G2 B/c/|
ded cAG FGA|ded cAB c2 d/e/|fed cAG
FGA|BdB cAF G2||
MOLL ROE [2]. Irish, Slip Jig. G Major. Standard tuning. AB. Source for notated
version: piper Liam Ó Floinn (Kildare) [Breathnach/Man & his Music]. Breathnach (The Man and his Music), 1996; No. 2, pg. 102.
X:1
T:Moll Roe
M:9/8
L:1/8
R:Slip Jig
S:Breathnach – Man & his Music
K:G
A|BGG AGE GED|EGD DEG A3|BGG AGE
GED|EGD DEF G3||
Bdd edd BAG|Bdd edB A3|Bdd edd
BAG|GED DEF G3||
MOLL ROE [3]. See note for “Taim
in Arrears.”
MOLL ROE IN THE MORNING. AKA and see "Moll Roe{‘s} [1]."
Irish, Slip Jig. D Major/Mixolydian (Cole, Kerr, Ryan): G Major (Kennedy).
Standard tuning. AABB. A setting of “Moll Roe.” Cole (1000 Fiddle Tunes), 1940; pg. 52. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 50, pg. 12.
Kerr (Merry Melodies), vol. 2; No.
244, pg. 27. Ryan’s Mammoth Collection,
1883; pg. 98. Rounder 0215, James Bryan ‑
"The First of May."
X:1
T:Moll Roe in the Morning
M:9/8
L:1/8
R:Slip Jig
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:D
A | ddd efd cde | fff gef (g2A) |
ddd efd cde | fga gec d2 :|
|: A | aff ged cde | aff gef g3 |
aff ged cde | fga gec d2 :|
MOLL ROE ON TOP OF THE
CASTLE. AKA and see "Moll Roe('s) [1]," "Mall Rua."
MOLL ROONE. Irish, March or Air. D Major. Standard tuning. AAB. The tune contains
much melodic material from the English melody "The Nutting Girl." Miller & Perron (Irish Traditional Fiddle Music), 1977;
vol. 3, No. 69. Tradition TLP 1024, Mary O'Hara.
MOLL SHURKIE'S. Irish, Dance Tune (2/4 time). A Dorian. Standard tuning. AABB. The tune
is labelled a ‘jig’ in Ryan’s Mammoth
Collection, referring not to the familiar 6/8 time Irish jig, but rather to
a type of syncopated 19th century (clog-type) dance tune often
played on the banjo. They were sometimes called “straight” jigs or “sand” jigs
(the latter from the practice of spreading sand on the stage to reduce friction
during a dance performance). Cole (1000
Fiddle Tunes), 1940; pg. 81. Ryan’s
Mammoth Collection, 1883; pg. 113.
X:1
T:Moll Shurkie’s
M:2/4
L:1/8
R:Clog dance tune
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:A Dorian
A/B/ | [Ac]B [A/c/<]A/ z/c/ |
B/^G/ A/<E/ z/B/ | [Ac]B [A/c/<]A/z/A/ | G,/<G,/z/C/ A>B |
[Ac]B [A/c/<]A/ z/c/ | B/^G/
A/<E/ z/B/ | [Ac]B [A/c/<]a | ({c}B/)A/^G A :|
|: A | A2 {A/4B/4c/4d/4}e/e/z/c/ |
B/A/^G/B/ A/<E/z/E/ | c2 {c/4d/4e/4f/4} =g/g/z/c/ |
B/A/^G Az/A/ | A2
{A/4B/4c/4d/4}e/e/z/c/ | B/A/^G/B/ A/<E/z/B/ | [Ac]B [Ac<]a | ({c}B/)A/^G
A :|
MOLLIE BRANNIGAN. AKA and see "Garranta Glasa Mheiricea," "The Greenfields of America [1],"
"Judy Brannigan/Brallaghan,"
"Charming Molly Brannigan,"
"Jimmy O'Brien's Jig,"
"Cossey's Jig."
MOLLIE MACALPIN (Maire Ni Mic Alpin). Irish, Air (4/4 time). A Minor. Standard
tuning. AB. O'Neill (Music of Ireland:
1850 Melodies), 1903/1979; No. 193, pg. 34.
MOLLIE McCARTHY. See "Molly McCarthy." Irish,
Reel
MOLLIE McCARTHY’S
JIG NO. 1.
Irish, Jig. D Mixolydian. Standard tuning. AABB. Composed by Mollie McCarthy
(b. 1896) of Shean Kilmaley, who had her 104th birthday in the year
2000. Treoir, vol. 32, No. 3, 2000;
pg. 33.
X:1
T:Mollie McCarthy’s Jig No. 1
M:6/8
L:1/8
R:Jig
K:D Mixolydian
|:ded BAB|cBc A2 F|DGG Acc|BGG
ABc|ded BAB|cBc A2F|DGG Acc|BGG G3:|
|:gfe d2d|edB B2d|eaa a2 g|fag
fed|gfe d2d|edB B2d|eaa a2g|fdd d3:|
MOLLIE'S BONNET. AKA and see "Molloy's Night Cap."
MOLLOY'S FAVOURITE [1]. Irish, Reel. D Major/Mixolydian. Standard tuning. AABB. A double tonic
tune. Allan's Irish Fiddler, No. 64,
pg. 16.
X:1
T:Molloy’s Favourite [1]
M:C|
L:1/8
R:Reel
K:D
c|d2 AG FADF|E=c {d}(3cBc Ec
{d}(3cBc|dBcA BGAG|FGEF Dgfe|
d2 AG FADG|(3EFG AB =c2 Bc|(3d=cB cA
BGAG|FGEG FDD:|
|:g|fd (3ddd fdge|fd (3ddd cdeg|fd
(3ddd fdad|faeg fddg|
fd (3ddd ad (3ddd|e=c (3ccc gc
(3ccc|afge fded|ceag fdd:|
MOLLOY'S FAVOURITE [2]. AKA and see “Colonel Fraser,”
“Green Fields of Ireland,” “Malloy’s Favorite.” Irish, Reel.
MOLLOY'S FAVOURITE [3]. AKA – “Molloy’s.” Irish, Reel. D Major. Standard tuning. AAB.
X:1
T:Molloy’s Favorite [3]
M:4/4
L:1/8
R:Reel
K:D
d2Ad fdAF | GFEF GABc | d2Ad fdAF |
GBAG FD D2 :||
fg{a}gf g2ag | fg{a}gf gfeg |
fg{a}gf gbag | faeg fddA |
dfaf g2ag | fg{a}gf gfeg | fedc dcBA
| ^GABc defe ||
MOLLOY'S FAVORITE
(JIG). Irish, Jig. E Dorian. Standard
tuning. AABB.
MOLLOY’S JIG. AKA ‑ "Malloy's Favorite." AKA and see AKA and see “Ballinamere Jig,” “Father Morrison’s Delight,” “Molloy’s Favorite (Jig),” “Moss Martin’s,” “O’Connell’s Welcome to Dublin.”
“Paddy Carty’s Favourite,” “Tongs by the Fire [2],” “Tony Molloy’s.” Irish, Double Jig. E
Dorian. Standard tuning. AABB. The tune has South Sligo associations. Recorded
by
|
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:Molloy’s Jig
M:6/8
L:1/8
R:Jig
D:Sean Ryan and PJ Moloney LP
Z:Stephen Jones
K:Em
gfg edB | BAB EFG | FEF DFA | dAF
AFD |!
gfg edB | BAB EGA | BdB AGF | GEE
E3 :||!
e3 Beg | bge gfe | ded Adf | afd fed |!
e3 Beg | bge gfe | BdB AGF | GEE E2 :||!
MOLLOY'S NIGHT CAP. AKA and see "The Family
Estate," "The
Girl with the Handsome Face," "Joshua
Gray," "McKenna's Reel," "Miss Wright's Reel," "Mollie's Bonnet," "The Pigeon on the Gate [1],"
"The Pride of the Ball,"
"The Queen's Wedding," "The Swallow's Tail Reel," "Take your Hand Away," "The Village Reel."
MOLLOY’S REEL. Irish, Reel. D Major. Standard tuning. AABB. Source for notated
version: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Mulvihill (1st Collection), 1986; No.
54, pg. 14.
MOLLY ASTHORE (Molly My Treasure). AKA and see "The harp that once
through Tara's halls," "Gramachree,"
"Little Molly O!" Irish, Air (2/4 time). A Major. Standard
tuning. One part. Thomas Moore used this popular air for his famous song
"The harp that once through
MOLLY ASTHOREEN. Irish, Air (3/4 time, “rather slow”). F Minor. Standard tuning. AB. See
also “The Dewy Morning” and, in the
major tonality, “When
I am dead and my days are over, come Molly astoreen and lay me down.” Stanford/Petrie (Complete Collection), 1905; No. 447, pg. 113.
X:1
T:Molly Asthoreen
M:3/4
L:1/8
R:Air
S:Stanford/Petrie (1905), No. 447,
pg. 113
Z:AK/Fiddler’s Companion
K:F Minor
C/=D/4=E/4 FG | A2 G=E F>F | e2
f>e cB | A>F GF/E/ FB | E2 C/=D/4E/4 FG |
(A2 G)F/=E/ FF | e2 f>e cB |
A>F Gc FF | F3 || A/B/ c=d/=e/ | f2 gf e=d | e2 GA/B/ cc |
B2 AG FB | E2 C=D/=E/ FG | A2 GF/=E/
FF | e2 fe cB | A>F Gc FF | F3 ||
MOLLY AT THE FAIR. Irish?, Reel. F Sharp Minor. Standard tuning. AABB. Hardings All Round Collection, 1905; No.
69, pg. 21.
X:1
T:Molly at the Fair
M:C
L:1/8
R:Reel or March
B:Harding’s All Round Collection, No. 69 (1905)
Z:AK/Fiddler’s Companion
K:A
AB|c2F2c2B2|A2 (GA) F2 (EF)|(AG).A.B
(cB).c.e|f2 (Bc) B2 (AB)|c2 (ce) (dc)(BA)|
B2c2a2g2|(fa).f.e (cB)c^e|f2 FG
F2::cd|e3f fedc|a2 ef e2 ag|
f3g (ag)ab|c2 cd c2 ed|c2a2
(ec).B.A|B2c2 a2g2|(fa).f.e (cB).c.^e|f2 FG F2:|